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I photographed light refracting through the surface of a soap bubble to produce these amazing images. No two patterns or color combinations are alike, and the entire photograph is of an area no larger than the tip of my finger!
:// Begin Marcus' personal log \\:
Having left the imperial facility on Ilum, we decided to return to Coruscant to simply relax for a bit and wait for Frons' arm to fully recover and give Charla some time to rest. The twins decided to accompany us as their transport had left them stranded on Ilum and we had gotten along with them pretty well.
Well, we made it to Coruscant without any larger problems and found some decent lodging for the 9 of us. After that we all went about our business; Kas and Vase played Sabacc, Veto went to go search for the nearest bar, and the rest of us relaxed and got some rest.
A couple of minutes later a droid arrived at the doorstep of our current residence which presented itself as H-24, a messenger droid with some important information for us. He handed me a small data chip and as quick as it had come, the droid was gone.
Braik took a quick look at the chip, confirming it was neither a secret explosive nor a hostile virus.
We plugged it into Vase's computer and accessed the one file stored on the chip - a simple audio clip. Without hesitation, I played the clip.
Immediately, a disembodied female voice begin speaking to us through the computer's speakers;
"Greetings, My name is Lagra Romlow. I heard your little band was in the region, and coincidentally I happen to be in need of the services of a bounty hunter. There is an underground imperial prison on Kashyyyk under these coordinates:
41°24'12.2"N 2°10'26.5"E. There is a prisoner in cell 42 on level 3 that I need kidnapped and returned to Coruscant. The person you're looking for is a female Keshiri in her early twenties. I regret to inform you that I can not equip you with more information at this time, however I can assure you that if you choose to accept this mission you shall be justly rewarded. Knowing bounty hunters, this isn't enough to convince you to join, so if you enter the following code in the intersystems bank network you'll find a number of credits already waiting for you: 5GD04KL38."
I signalled to Vase to enter the code into the network. Once he had entered the network and used the code, we were granted access to a high security account with some very pleasing numbers on it.
"Should you chose to accept this job, I shall be more than obliged to triple this number. I'm sorry, I can not supply you with more information. End transmission."
I looked at Vase.
"Well, I don't usually like taking jobs from unknown people, but that number is very convincing."
"Welp, if it turns out to be a scam, we can always just track the droid back to the owner and give them a talking too"
I looked at Vase's tracking computer, which was blinking with a soft blue light.
"You planted a tracker on that thing, didn't you?"
He just raised an eyebrow and smirked.
I sighed.
"Eh, I was never one for relaxing anyways. Call in Vase, we've got a job to do. And bring the twins too, they can fill in for Frons and Charla while they recuperate . They won't protest once you show them that account"
:// End Marcus's personal log \\:
:// Begin Marcus' personal log \\:
We reached Kashyyyk and followed the coordinates to a small clearing in a forest of towering trees. In the middle of the clearing was a small hatch. The plan was fairly simple: Braik had brought with him all the equipment we would need for a quick heist, or in this case a breakout. Among the equipment was a laser drill and grappling line and spool. After entering the prison, Braik and I would slide down the line equipped with the drill to level 3 and break out the prisoner, with Veto holding the grappling spool and the twins providing us with some extra protection. Kas would stay in the clearing and alert us if any reinforcements were on their way.
We broke into the prison after a brief fire fight with the guards and prepared for our descent to level 3. As far as we could tell, no alarms had been triggered and no one knew of our presence. Kas stayed behind, Veto grabbed the spool, and the rest of us slid down to level 3. Or at least, what we thought was level 3.
After a quick search of the containment cells, we found cell 42 and prepared for the extraction. Braik calibrated the drill and the twins took up defensive positions and I took to work on disengaging the alarm. After a couple of tense, quiet minutes, I was able to disable the alarm and Braik informed me that the drill was ready.
We grabbed the drill and began slowly moving it in a circle around the door of the cell. Once we completed the circle, we took a deep breath and pushed the door in. What met our eyes was certainly not a female Keshiri.
"Wassa youa doin?" asked the confused Gungan.
"What the heck...," I muttered under my breath.
Braik accessed the information panel next to the cell.
"Kidool Depels," he read. "He was charged with first degree murder and treason to the empire for a successful assassination attempt on an imperial senator."
"Oh yeah?" I asked. "How did he do that?"
"He poisoned the senator's meal. This guy was a chef for 6 years before being imprisoned."
I glanced at the Gungan. "Nice" I said.
He was too busy slobbering to notice.
"Markus," said Braik. "There isn't enough juice in this thing for another extraction. This is it, we had one shot to get this gal out and we're stuck with a Gungan instead."
"I don't get it," I said. "We're on level 3 and this is cell 42, where did we go wrong?"
"Thisa not level tree" said the Gungan.
I looked down over the edge of the catwalk.
"I know you Gungans aren't big on brains, but I'm pretty sure we're on the 3rd level."
"No, yousa under da ground man. Yousa count lavals begging from tha top."
I glanced at Braik who was pounding his head against into the wall.
"Well, I'm not leaving this place without the prisoner. Come on Braik, we're going down another level."
Braik lifted his head. "I already told you Markus, we can't use the drill for another extraction - it just doesn't have enough power."
"I'll think of something." I said.
"When you 'think of something,' it usually involves a lot of explosives, and I thought we weren't trying to alert the garrison stationed here?"
"Whatever, this was getting boring anyway," I said, grabbing onto the line and sliding down to level 3 (the real one this time).
Braik followed me next, then the twins, confusion evident on their faces.
I found cell 42 and reached into my coat. I brought out a thermal detonator and Without hesitation tossed it at the door. It exploded outward, showering the catwalk in dust.
Out of the cell stepped a female Keshiri wearing a pair of electro-cuffs.
Braik read from the information panel near the cell; "Lagra Romlow, imprisoned for multiple crimes, including theft, plagiarism, and dealing in illegal arms and drugs."
"You hired us to rescue yourself? Clever, I like it," I said.
"No time for chit-chat Markus," said Bren. "The first guards have arrived."
Sure enough, 2 prison guards had appeared on the level below us and began raining shots on our little party.
"Keep them distracted," I told Bren and Krista. "We'll get the girl out first, follow us once we're done."
After a quick nod from Bren, I gestured for Lagra to grab the line and signalled Veto to lift us out.
The twins made quick work of the guards and followed us moments later.
"Whasa you doin?" asked the Gungan. "Don leave mesa! They thinka I with yousa!"
"Then grab on," I told the Gungan. "We could use a good chef, another day of Charla's cooking might kill me."
After a few seconds of thought, I glanced at the Gungan. "Don't tell her I said that"
The Gungan just stood there, empty-headed. It didn't occur to me that he had no idea what I was talking about.
"Just grab the heck on." I told him.
He happily obliged, and we exited the prison safe and sound.
Once we exited the prison we were met by Kas who had a concerned look on his face.
"I intercepted a signal for reinforcements just now, they'll be here shortly. I was just about to tell you when you came out."
"Then let's get out of here," I said. "Our work here is done"
:// End Markus' personal log \\:
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Built for Brickanics' contest over on YouTube. Due to the fact that vacation is coming to an end, I decided I didn't want to start any larger/longer projects, but I did want to enter this contest as well as just build another Star Wars MOC. The result: The breakout, a small SW MOC for the Dark Times RPG built in less than 2 days.
Feedback is always appreciated,
Happy Building!
Steep Hill in Lincoln, Lincolnshire.
It started out as a footpath behind the Roman road Ermine Street. In the 11th Century Ermine Street was diverted east to the current route of The Strait & Steep Hill. It was previously named The Poultry after the local poultry market, then Polther Hill, the Pultry before taking its current name Steep Hill in 1732. The part between Well Lane and Strait was called Foot of the Hill in 1826.
The Stamford Mercury in 1856 and Williamsons 1901 Guide to Lincoln also record the name Bower or Bowyers/Bowers Hill to Steep Hill, this was perhaps a short section on the west side opposite the Mayors Chair. John Speeds original 1607 survey plan names it Bore Hill. Lease plans of the early 19th century market it as High Street.
Two Norman houses lie on the street, Jew's House and Norman House, the latter formerly known as "Aaron the Jew's House". Both display characteristic Norman mullioned windows. Adjacent to and above the Jew's House stands Jew's Court, said to be from the Norman period but not displaying any obvious Norman features. There are some jettied half-timbered houses towards the top.
The Hill now consists of independent shops, tea rooms and pub and in 2011 Steep Hill was named "Britain's Best Place" by the Academy of Urbanism. The central (and steepest) part of the route is unsuited to any form of vehicle, and only passable on foot. A handrail is provided along this section.
Vanilla Bae - Tanja Bodysuit
Rigged for LaraX, Maitreya, Waifu, and Reborn.
PG and Strippable versions(6 stage plus fully nude)
Strip me menu access includes: Private, Public, Add Master
Non interactive option (step 1 only, no strip scripts)
Available at Uber Event
Essenz Wisconsin Heels
Rigged for Legacy, LaraX, and Reborn.
Includes heels and socks.
Thirsty Event is a monthly event that showcase current trends and fashion, as well as up and coming high fashion streetwear and urbanwear from the very best designers on the grid!
Guaranteed to bring out your inner fashionista!
Opens every 15th of the month @ 3PM SLT
Ends every 5th of the month @ 12PM SLT
Men crying in my DMs.
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Shop: Crémie
Available on Marketplace
Soft Contour: Cremie ~ *Soft Contour* ~ [EVOX]
Soo Line train 425,departs the Cut Off in Milwaukee,running westbound on the eastbound on a pleasant August 1990 afternoon.
From L to R :
Arkham Knight Gordon (for Mr.Gs contest)
Elseworld Zod
Elseworld Aquaman
A special LoLH figure from a certain group ;D
Thats that , school started today so I might not be online a lot
Night mates
Over breakfast, she glanced at the headlines—this morning it was about the assassination of Charlie Kirk, a high-profile political figure who was fatally shot during a speaking event. In the photo, she’s seated by a window, hands clasped, eyes lifted—caught in a moment between the present and reflection. The light spilling in through the glass softens the scene: it’s not anger or shock exactly, but something quieter — pondering, absorbing, maybe unsettled. The patterned tabletop beneath her suggests that even in “ordinary” life, the weight of big events presses in.
Recording the last days & hours of the Reading trolleybus system in 1968, the photographer has chanced their luck in capturing this precious moment from a moving car. Hoping the camera has fully framed the passing trolleybus at speed, the outcome will remain an unknown until the film is processed and returned.
Successfully captured to slide film, the image shows Reading trolleybus 186 accelerating up Wokingham Road towards the Three Tuns terminus on Wokingham Road. The 17 route was a cross-town service that operated between Tilehurst to the West of the town, to the borough boundary at the Three Tuns pub, to the East of Reading.
The petrol station in the backdrop was situated on Wokingham Road at its junction with St Peter's Road. Today, the site still remains dedicated to cars, but as a Hertz car hire concern. Sadly, the stylish period garage canopy is no more, replaced by a cabin.
On a more positive note, the trolleybus (VRD186) still exists. The bus was sold by Reading to Teesside Municipal Transport in 1968. The bus was one of several ex Reading trolleys that were to supplement the small fleet of Teesside trolleybuses in Middlesborough. The Teesside system closed in April 1971, and 186 was chosen as the last official trolleybus to operate the network.
Latterly owned by the late David Brown, the bus is now destined to operate at the Beamish industrial Museum in Co Durham. The trolley will feature as part of their 1950s townscape, currently being constructed on site.
The current wall. My masterpiece. When I moved, a few years ago, this was the first thing I thought of, "where to put the new 'wall'?"
It's smaller, to be sure. The last wall took up the majority of my apartment. But it's more concentrated, in an anteroom between the living room and the bedroom. More enveloping, hitting you from all sides.
Not as good for photo shoot backgrounds...but I'd pretty much tired of doing that, anyway.
And yes, pretty much every day, I stop, look around it for a bit, bask in its glory.
Currently the most widely used light truck in the USST. They are produced in many variants, such as medical or a simple flatbed. On the right we can see a distiller, to provide fresh and clean water anywhere. However, some people might use it for other purposes.
Nottinghamshire Fire & Rescue Service - Scania R360 - Specialist Rescue Unit - Currently based at Newark Fire Station - September 2021
Rivanna River, Charlottesville
Rolleiflex 3.5 shooting Portra 400 developed in dying Cinestill Cs-41 chemistry, dslr scanned, whacked with Negative Lab Pro and cleaned up in Photoshop
Harry Potter is the third and currently last franchise I could think of with enough characters to fill the Emotional Spectrum. Here's my versions of Harry Potter Lanterns:
Left to right:
Black Lantern (Death): Voldemort
Red Lantern (Rage): Bellatrix Lestrange
Orange Lantern (Avarice): Gilderoy Lockhart
Yellow Lantern (Fear): Death Eater
Green Lantern (Will): Harry Potter
Blue Lantern (Hope): Ron Weasley
Indigo Lantern (Compassion): Luna Lovegood
Violet Lantern (Love): Lily Potter
White Lantern (Life): Albus Dumbledore
*Harry Potter is cool, but JK Rowling sucks for being a TERF*
After interchanging with CSX, the FMID Winter Haven turn heads to Bartow Airport, 1 March 2019.
Locomotives 57 & 55 are the short lines' current power
Currently up for sale by DRS so facing an uncertain future,37610 "T.S (Ted) Cassady" working top & tail with 37602 passes Little Eaton with the 1Z68 1206 Neville Hill - Derby RTC PLPR2 test train on 14th Jan 17....The third track to the right of the loco was the former Denby branch which curved off to the right beyond the back of the train....sadly now all lifted and the trackbed blocked here by those containers
Alien art
We have been developed according to the tree of life.
The current biological development-stage is not enjoyable. We suffer from illnesses (mentally and physically), from aggressions we do to each other, etc.
We are that what nature could do until now in our biological development. Our societies couldn’t do much either to lead us to a better life. We are stuck, our scientific, technological and psychological knowledges are no help too. We kill other human beings, inflicting suffering to each other. We are not in a proper stage of our biological development, we didn’t biologically develop enough. We have a lot of warriors and guns ready to kill others. We prepare us and plan for the very sad actions.
Maybe some aliens are very lucky that they could able to pass this horrible stage we are in now.
We are not able get it that "killing any human being for any reason is not acceptable". Our feelings and emotions put us on a road which doesn’t have any exits.
Currently listening to: [Pavement - Grounded]
Somewhere in Kuala Lumpur, couldn't really remember where.
This truck bed was filled with dirt. I'm filling in areas to keep rain from puddling around my poly tunnel. Hard work, back hurts, feet ache, hands and wrists burn. Gotta keep on and tomorrow is a new day.
This is a photo of patterns in the river current. I used the LunaPic photo editing website to mirror and copy the image twice to generate this symmetrical image.
Current River
Thunder Bay
Don't use this image on websites, blogs or other media without explicit permission.
© All rights reserved
Current lineup of the CV-100 family of medium armoured fighting vehicles.
Left to right: CV-100A3 Bayonet IFV, CV-120 Charger FSV, CV-100 Spadroon APC, CV-100W 8x8 wheeled variant of the Spadroon APC.
The CV-100 family is a key asset to NDC ground forces, with different variants filling a multitude of vehicle roles. As part of the NDC's comprehensive MCVS (Modular Combat Vehicle System) programme, the CV-100's adaptability is even further enhanced.
Sorry, forgot to upload this yesterday
The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.
It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.
The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.
The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.
The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.
Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X (Giovanni di Lorenzo de' Medici), who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II (Giuliano della Rovere) who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.
Already in the Gallerie Degli Uffizi, it was then moved to the Pitti Palace by the beginning of the eighteenth century. It was listed in inventories in 1723 and 1761 as being on display in the Grand Prince Ferdinando's bedroom. It was later moved throughout the Rooms of the Planets, starting with the Room of Jupiter (c. 1771) and later the Room of Mars (c. 1793), after the Leopoldine rearrangement of the picture gallery. Towards the end of the eighteenth century, it was taken during the Napoleonic looting of Florence and was in Paris from 1799 to 1815. Back in Florence, the painting has been in the Room of Saturn since 1882.
The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione (c. 1514–1515). The painting is oil on panel, with St John the Baptist painted in a different key range. The painted black background is lacking the usual landscape, which typically would harmonize all the colors and figures. The composition is entirely from Raphael's hand, which was a result of him shuddering off the legacies of Leonardo da Vinci and Pietro Perugino, who early on had influenced his career and style substantially. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna (c. 1510).
The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.
The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas. There are a few enchanting legends connected to the Madonna della Sedia painting, one being about a beautiful Urbino peasant girl, who was as good as she was beautiful, charitable, and pious, who gave her assistance to an ill hermit she had stumbled upon. The hermit rewarded the girl by blessing her and stating that she would be painted as the mother of God. Many years later, on a sunny day holding her infant in the garden and with her toddler son playing at her knees, she was spotted by a handsome young man at her garden gate. That young man was Raphael Sanzio who immediately said he would like to paint her as she sat there with her two sons, later represented as the original Virgin, Christ child, and St. John.
Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.
Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and La Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.
Johann Zoffany also included this painting along with many others in his 1770s painting of the Tribuna of the Uffizi.
In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".
The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.
Reino Unido de Gran Bretaña - Escocia - Saint Andrews - Catedral
ENGLISH
The Cathedral of St Andrew (often referred to as St Andrews Cathedral) is a ruined Roman Catholic cathedral in St Andrews, Fife, Scotland. It was built in 1158 and became the centre of the Medieval Catholic Church in Scotland as the seat of the Archdiocese of St Andrews and the Bishops and Archbishops of St Andrews. It fell into disuse and ruin after Catholic mass was outlawed during the 16th-century Scottish Reformation. It is currently a monument in the custody of Historic Scotland. The ruins indicate that the building was approximately 119m (391 feet) long, and is the largest church to have been built in Scotland.
The cathedral was founded to supply more accommodation than the older church of St. Regulus (St. Rule) afforded. This older church, located on what became the cathedral grounds, had been built in the Romanesque style. Today, there remains the square tower, 33 metres (108 feet) high, and the quire, of very diminutive proportions. On a plan of the town from about 1530, a chancel appears, and seals affixed to the city and college charters bear representations of other buildings attached. To the east is an even older religious site, the Church of St Mary on the Rock, the Culdee house that became a Collegiate Church.
Work began on the new cathedral in 1158 and continued for over a century. The west end was blown down in a storm and rebuilt between 1272 and 1279. It was dedicated on 5 July 1318, in a ceremony before King Robert I . When intact it had, besides a central tower, six turrets; of these remain two at the east and one of the two at the western extremity, rising to a height of 30 metres (100 feet).
A fire partly destroyed the building in 1378; restoration and further embellishment were completed in 1440.
The cathedral was served by a community of Augustinian Canons, the St Andrews Cathedral Priory, which were successors to the Culdees of the Celtic church.
Greyfriar (Franciscan) and Blackfriar (Dominican) friars had properties in the town by the late 15th century and possibly as late as 1518.
The ruins of the nave of St. Andrews Cathedral
Historic view of St Andrews Cathedral
In 1559, during the Scottish reformation, the building was stripped of its altars and images; and by 1561 it had been abandoned and left to fall into ruin.
At about the end of the sixteenth century the central tower apparently gave way, carrying with it the north wall. Afterwards large portions of the ruins were taken away for building purposes, and nothing was done to preserve them until 1826. Since then it has been tended with scrupulous care, an interesting feature being the cutting out of the ground-plan in the turf. The principal portions extant, partly Norman and partly Early Scottish, are the east and west gables, the greater part of the south wall of the nave and the west wall of the south transept.
At the end of the seventeenth century some of the priory buildings remained entire and considerable remains of others existed, but nearly all traces have now disappeared except portions of the priory wall and the archways, known as The Pends.
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ESPAÑOL
La Catedral de St. Andrews fue, en su momento, la mayor de toda Escocia y, aunque en la actualidad solo quedan en pie sus ruinas, puede deducirse por su grandiosidad la enorme pujanza que debió tener durante su época de mayor esplendor.
Sus orígenes se remontan hasta el año 742, cuando las reliquias del apóstol San Andrés (St Andrews), luego patrón de Escocia, llegaron a esas tierras. Sobre una zona rocosa, justo donde hoy se alzan las ruinas de la catedral, se levantó entonces la iglesia de St Mary on the Rocks, la primera de las tres que sucesivamente irían ocupando este lugar. En 1140 una comunidad de agustinos fundó aquí mismo su propia iglesia (iglesia de St. Rules), cuya alta torre cuadrada y aislada aún se conserva y usa como mirador de todo este lugar privilegiado sobre la costa escocesa. Finalmente, sería ya en el año 1160 cuando el Obispo de Sant Andrews promovió la construcción de una gran catedral, cuyas ruinas son las que hoy podemos ver.
Su construcción se llevó a cabo a lo largo de 158 años, siendo finalmente consagrada en 1318. A partir de ahí su historia fue muy agitada, pasando por numerosas vicisitudes. Así, en 1270 y por tanto antes de su terminación, su costado oeste fue destruido por los efectos de una galerna. Posteriormente sufrió un importante incendio en 1378, lo que obligó a su reconstrucción; y más adelante, en 1409 otra tormenta acabó con el lado sur; como se ve, tormentas y vendavales que le efectaron muy directamente debido a su posición directa frente a la costa abierta, en un paraje agreste y muy expuesto a las inclemencias naturales.
Pero además la catedral de Saint Andrews fue víctima de los turbulentos momentos vividos en Escocia durante el siglo XVI con motivo de la Reforma Protestante y la dura reacción del presbítero John Knox, lo que dio lugar a que fuera semiderruida. Tras un tiempo en el que se dudó sobre la posibilidad de su reconstrucción, poco a poco sus piedras se fueron utilizando para distintas obras civiles en la propia localidad de Saint Andrews. Así, de aquella catedral hoy solo queda una gran explanada con algunos muros en pie, uno de los testeros frontales casi completo con sus dos altas torres a los lados, y parte de lo que fue su claustro, de estilo gótico.
Gran parte del terreno se encuentra ocupado por un enorme cementerio, donde antiguas tumbas de distintos tamaños y categorías se distribuyen libremente por doquier, dando lugar a un escenario impresionante que evoca la grandiosidad de esta catedral, en su día la más grande de Escocia. La torre cuadrada de la antigua iglesia de Sant Rule se conserva en relativo buen estado y es visitable, con unas vistas espectaculares desde su parte superior, tanto del acantilado y la costa, como de las propias ruinas de la catedral, de las ruinas del cercano castillo, o de la actual localidad de Saint Andrews.