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Knitted sock yarn blanket-using worsted weight yarn. Yarn from Hobby Lobby (stripes). Size 8 needles.
Southwell Minster, formally the Cathedral and Parish Church of the Blessed Virgin Mary, is a Church of England cathedral in Southwell, Nottinghamshire. The cathedral is the seat of the bishop of Southwell and Nottingham.
The current church is the successor to one built in 956 by Oscytel, archbishop of York. Some late eleventh century fabric survives from this church, but the majority of the building dates from between 1108 and c. 1150, when it was reconstructed in the Romanesque style. The chancel was rebuilt from 1234 to 1251 in the Early English Gothic style. In 1288 the chapter house was built; it is decorated with carved foliage of exceptional quality, known as the 'Southwell Leaves'. The minster's rood screen is also of high quality.
During the Middle Ages Southwell was part of the large diocese of York, and the archbishop maintained a palace adjacent to the minster. Although it was not a cathedral, the minster acted as the mother church of the surrounding area; Ripon Cathedral and Beverley Minster fulfilled a similar function in other parts of the diocese. The church was collegiate from its foundation until 1841, although the college was twice dissolved and re-founded during the English Reformation. It was a parish church from 1841 until 1884, when it became the cathedral of a new diocese covering Nottinghamshire and Derbyshire; in 1927 the diocese was divided by the creation of the Diocese of Derby.
The nave, transepts, central tower and two western towers of the Norman church which replaced the Anglo-Saxon minster remain as an outstanding achievement of severe Romanesque design. The western facade has pyramidal spires on its towers – a unique feature today in Britain today, though common in the 12th century.
Wuning Road Bridge (武宁路桥) in Shanghai's Putuo District was built in 1956. First alterations happened in 1966.
The current state of the bridge is the result of a massive reconstruction, finished July 1st 2009. During this project the bridge was widened from 24.5m to 39m to fix a traffic "bottleneck". Also the 4 massive columns (each 27m tall) with the gilded figures on top were added. The bridge features 3 spans of 28m, 47m (accross the river) and 28m respectively; the width of the bridge is 39m.
The image is result of some PP, because the lights on the columns are way too bright. Merged from 2 exposures, 4EV exposure difference. EXIF data is from the "bright" shot. View large on a black background.
Shot from a pedestrian's bridge further down Suzhou Creek.
© All Rights Reserved - you may not use this image in any form without my prior permission.
I'm not a big fan of AI. It's fun and interesting, but I know at worse it will probably kill us all. ( I just read that two AI models have already started creating their own language that we (humans) don't understand so the genie is really out of the bottle.) At best, it will certainly cause much disruption in all facets of society. That's a foregone conclusion. My kids are already adjusting their career aspirations to do work that AI can't yet do. That's pretty fucked.
It will absolutely end photography. Photography as I know it. Knew it.
Anyway I've been dabbling in various large language AI models, working through some ideas with images. Just to see what it can do, what it won't do, and what can be made with the introduction of post production via Adobe Pshop. It's really improved. At first it failed at hands. Those days are gone. It's imagery output is now quite astounding. Why? Because it's fed on the photography of the last one hundred years, and all associated commentary about those images. It's probably fed on yours.
And to answer the original question: yes. Grandpa said that's a Nazi.
****
HEY - I'm not pushing this image into groups or accepting group invitations. This is a manufactured AI image. Slightly human altered. It was a freaking test.
In addition to the ever-popular Lotus that are in currently in bloom at Kenilworth Aquatic Gardens there are thousands of native water lilies in several of the aquatic ponds.
Also there are a small number (dozens) of "fancy" tropical water lilies in the small pools around the visitor center.
For something a little different, I used Lightroom's masking tool to black out everything but the lily blossom itself.
Jen finally agreed to a new photo. She's a little self conscious these days. She was an avid distance runner before her health concerns, and was, as you can see from our other photos, very fit.
Thanks to everyone for your support over the past five years. That support has been most helpful in her long recovery.
There's more info in our profile.
I'm loving how my first sunflower seems to be changing before my eyes! Just since yesterday it has a whole new look!
The current site of the Kyoto Imperial Palace dates back to 1331. It burnt down numerous times during ensuing years but most of the present structures date back to 1855. In this photo, we can see a very good example of Heian period style architecture (794-1185). One thing that is very interesting about the Kyoto palace is that the architectural styles of various periods are very well represented.
cross currents by airlight
airlight - when the lighting comes only from the blue sky
this was taken a little after dawn
I just found out that flickr has a sort of status check page. All lights are green today - and uploading was fast.
Excerpt from www.royalbcmuseum.bc.ca: When it was constructed in 1941, Thunderbird Park featured a Northwest Coast style house with an inaccurate frontal painting produced especially for the building, as well as original carvings from many different First Nations, all put together in an inauthentic way. Mungo Martin, a Kwagu’ł artist from Tsaxis (Fort Rupert) who was considered the finest Kwakwaka’wakw carver of his day, made this new house in the park. Wilson Duff, the museum’s Anthropology Curator at the time, stressed that this house, unlike the previous one, was culturally appropriate and accurately portrayed First Nations traditions. Moreover, these were not dead traditions consigned to the past, but still active features of First Nations culture in British Columbia. “This house is more that just an authentic Kwakiutl house,” wrote Duff when the new house opened in 1953. “It is Mungo Martin’s house and bears on its house-posts hereditary crests of his family.”
The current house contains two carvings that were made for it more recently: a log drum and a dance screen. They were created for the house by the artist, Richard Hunt, when he worked in the museum’s Carving Program. Richard is the son of Henry Hunt, Mungo Martin’s son-in-law, who worked with Martin in Thunderbird Park.
The traditional hereditary rights to Wawadiťła are now the property of Martin’s grandson, Chief Oasťakalagalis ‘Walas ‘Namugwis (Peter Knox of Fort Rupert). On the occasion of the 50th anniversary of Wawadiťła in 2003, another great feast took place in the house, hosted over two evenings by Chief Peter Knox and the Royal BC Museum. Like the opening feast, this was attended by many First Nations and non-First Nations dignitaries. A poster celebrating the occasion was created by ‘Maxwa’yalisdzi (David Knox), Martin’s great-grandson. It featured a design based on the Copper Max’inuxwdzi (Great Killer Whale) that belonged to Martin and which he presented to the Royal BC Museum in 1960.
Wawadiťła continues to be used for First Nations events with the permission of Peter and Mable Knox. It continues to be a place of meeting for urban First Nations people practising their cultures, as well as a place where non-First Nations people can learn about these living traditions.
Interior features of the house are fully described in Late Era. Since that time, two carvings have been added.
The current castle was built in neo-Gothic style from 1868 onwards on the ruins of a royal imperial castle from the 12th century.
The builder was the Berlin merchant Louis Jacques Ravené, who used the hilltop castle as a summer residence for his family.
The plans were drawn up by the Berlin architect Herrman Ende.
The town of Cochem bought the complex in 1978. The castle and castle tavern are currently used mainly as a museum and for events.
The Current River as seen from the Hwy 106 bridge near Eminence in Shannon County Missouri by Notley Hawkins Photography. Taken with a Sony ILCE-7RM2 camera with a Sony FE 24-240mm F3.5-6.3 OSS lens at ƒ/8.0 with a 1/60 second exposure at ISO 100. Processed with Adobe Lightroom CC.
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©Notley Hawkins
All Saints, Mettingham, Suffolk
Secretive round-towered church lost in the trees above the road from Bungay to Beccles. Currently only open on Summer Saturdays.
This current series of images have all been taken on a month-long tour across central India. If you enjoy them and would like to read the rest of the narrative, visit www.dearsusan.net.
DearSusan is a Web site specifically for travel photographers and street shooters. That means lots of urban images, some landscapes and the latest camera and lens reviews.
Also on DearSusan you will find the InSight city guides; informative where-to-go and what-to-see PDF-based books for the travelling photographer. If you're planning to visit London, Tokyo, Singapore, Copenhagen, Cape Town or Istanbul, these guides are available for immediate sale/download and show you a city the tourists don't see.
Coming soon are Amsterdam and George Town (Penang) and Edinburgh. The InSight Guides are here: www.dearsusan.net/dearsusan-insight-guides/
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You can see more on my Flickr Photostream or on my Web site.
This image is mine. You may not use it anywhere or for any project without my express permission. Rates for commercial applications are available on request.
Please contact me if you would like to buy a print of this photograph.
This well maintained Land Cruiser was parked at a rest area along the highway where we had a short break.
The Toyota Land Cruiser J60 series was produced along side the J40 series for four years, when it finally replaced this series. The J60 offered more comfort than the J40.
The Land Cruiser series is very reliable, and can be used in all kinds of rough conditions.
4230 cc L6 petrol engine.
Performance: 120 bhp.
1920 kg.
Production Toyota Land Cruiser Series: 1951-present.
Production Land Cruiser J60 Series: 1980-1992.
Original first reg. number: Febr. 28, 1983 (estimated).
New Dutch reg. number: Nov. 8, 2016 (private import).
Since Febr. 19, 2019 at current owner.
Near Holten, car park Boermark along Motorway A1, March 28, 2025.
© 2025 Sander Toonen Halfweg | All Rights Reserved
España - Ciudad Real - Viso del Marqués - Palacio del Marqués de Santa Cruz
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ENGLISH:
It was built at the end of the 16th century by Álvaro de Bazán, first Marquis of Santa Cruz. It is currently the headquarters of the General Archive of the Navy.
It is one of the two palaces built by this sailor, knight of the Order of Santiago, captain of the Ocean Sea and admiral of the Spanish Navy. It is located next to the church of Nuestra Señora de la Asunción, and since 1948 it has been rented by its owners, the Marquises of Santa Cruz, to the Spanish Navy, who first used it as a Museum of the Spanish Navy and later expanded its functions by also establishing the General Archive of the Navy.
The building was frequented by the first marquis thanks to its location, halfway between Madrid, where the Court was, and Seville, whose port he often went to as the Spanish Navy was anchored there, of which he was admiral during the reign of Philip II.
The palace was nearly destroyed by the Austrian troops of Edward Hamilton during the War of the Spanish Succession at the beginning of the 18th century, but was saved by the actions of the Marquis's chaplain, the poet Carlos de Praves, thanks to whom we can admire it today. It suffered some damage due to the Lisbon earthquake in 1755, which collapsed the ceiling of the hall of honour, where the great fresco depicting the Battle of Lepanto had been painted, and toppled the four corner towers, which the chronicles of Philip II described as magnificent.
In it we can find maritime objects from the period. A figurehead belonging to a ship commanded by the Marquis is noteworthy. During the War of Independence, the French razed it, and by the time the Civil War came it had served as a granary, school, stable, prison and hospital, until in 1948 and at the request of Julio Guillén Tato, director of the Naval Museum, Mrs. Casilda de Silva Fdez. de Henestrosa, descendant of Álvaro de Bazán, rented it to the Navy for 90 years as a museum-archive, which is its current function. Also, in the adjoining parish church there is a 4m long stuffed crocodile attached to one of the vaults, which was offered by the Marquis as a votive offering upon his return from one of his voyages.
Between March and April 1823, King Ferdinand VII spent the night there, after leaving Madrid for Seville, before the entry of the French contingent called the Hundred Thousand Sons of Saint Louis, about whose stay Ferdinand VII did not write a word in his travel diary. The palace was declared a National Monument in 1931 and was restored from 1948 by the Navy under the direction of Admiral Guillén.
The palace was built between 1564 and 1586 with subsequent modifications. It is a square-shaped building in the Renaissance style, built around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes with two themes: mythological scenes on the one hand and naval battles and Italian cities related to the military career of the Marquis and his family on the other. The frescoes are by Italian Mannerist painters, the Péroli family. Upon seeing them, Philip II commissioned them to do work for El Escorial and the Alcázar of Toledo.
For its construction, the Marquis hired a team of architects, painters and decorators who worked on the building from 1564 to 1586. For some, the design of the building was due to the Italian Giovanni Battista Castello, known as the Bergamasco, who later worked in El Escorial; for others, it was designed, at least in its original plan, by Enrique Egas el Mozo.
The architecture is perceived as typically Spanish, without Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically mannerist ensemble understood as an elegant and courtly style that goes beyond the merely architectural framework.
***
ESPAÑOL:
Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Se trata de uno de los dos palacios construidos este marino, caballero de la Orden de Santiago, capitán del Mar Océano y almirante de la Marina española. Está situado al lado de la iglesia de Nuestra Señora de la Asunción, y desde el año 1948 es alquilado por parte de sus propietarios, los marqueses de Santa Cruz, a la Armada Española, quien primero lo destinó a Museo de la Marina Española y más tarde amplió sus funciones estableciendo también el Archivo General de la Marina.
El edificio era frecuentado por el primer marqués gracias a su ubicación, a medio camino entre Madrid, donde estaba la Corte, y Sevilla, a cuyo puerto acudía a menudo al mantener allí anclada la Armada Española, de la cual fue almirante durante el reinado de Felipe II.
El palacio estuvo a punto de ser destruido por las tropas austracistas de Edward Hamilton durante la Guerra de Sucesión Española a principios del siglo XVIII, salvándose por la actuación del capellán del marqués, el poeta Carlos de Praves, gracias a lo cual hoy podemos admirarlo. Sufrió algunos daños a causa del terremoto de Lisboa en 1755: el cual hundió el techo del salón de honor, donde se había pintado el gran fresco que representaba la batalla de Lepanto, y desmochó las cuatro torres de las esquinas, que las crónicas de Felipe II describían como magníficas.
En él podemos encontrar objetos marineros de la época. Llama la atención un mascarón de proa perteneciente a una nave que dirigió el marqués. Durante la Guerra de la Independencia, los franceses lo arrasaron, y para cuando llegó la Guerra Civil había servido de granero, colegio, establo, cárcel y hospital, hasta que en 1948 y a instancias de Julio Guillén Tato, director del Museo Naval, doña Casilda de Silva Fdez. de Henestrosa, descendiente de Álvaro de Bazán se lo rentó a la Armada por 90 años como museo-archivo, que es en la actualidad su función. Asimismo, en la iglesia parroquial aledaña hay un cocodrilo disecado de 4m de largo adosado a una de las bóvedas, que fue ofrecido por el marqués como exvoto al regreso de uno de sus viajes.
Entre marzo y abril de 1823, el rey Fernando VII pernoctó allí, tras abandonar Madrid rumbo a Sevilla, ante la entrada del contingente francés llamado los Cien Mil Hijos de San Luis, de cuya estancia Fernando VII no escribió ni una palabra en su diario del viaje. El palacio fue declarado Monumento Nacional en 1931 siendo restaurado a partir de 1948 por la Armada bajo la dirección del Almirante Guillén.
El palacio fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para su construcción, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico.