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Semaphore Wesleyan Church 1867 now the Semaphore Uniting Church
Methodism in the Semaphore dates from about 1865, when preaching services and a Sunday school were held in a small building situated near where Hall Street and Woolnough Road now intersect. The little building was also used as a schoolroom, and was attached to the North Adelaide circuit.
The father of the present church, erected in 1867, was the late Rev C T Newman who was indefatigable in his work and visitation among the scattered population on the Peninsula side of the water.
Mr W Deverall was the honorary architect of the church, which cost approximately £650.
In 1877 increased accommodation had to be provided and the transepts to the church were built, and also a commodious stone schoolroom running east and west at the back of the church, the total cost being £1,500. [Unfortunately a sad mistake was made in continuing the low plastered ceiling in the old church over the new transept and schoolroom, instead of leaving a roof lined with pine. This had to be paid for in later years when the organ was installed.]
In 1884 the interior of the church was reconstructed. £450 was spent in buying new land and a cottage, and the handsome pedal organ and engine were erected at a cost of £650. Later the shop on the corner was bought for £600.
During Mr W L Rofe’s tenure of office as Sunday School Superintendent six new classrooms and offices were erected, at a cost of £900. Towards which the Sunday School raised £600.
The parsonage for many years was in Semaphore Road, but two years ago another property was secured in Woolnough Road. Last year an electric blower for the organ was installed, and a fine up-to-date gymnasium hall was erected and equipped.
The total cost of the valuable pile of buildings and land (including parsonage) is approximately £8,000.
In the church is a fine Roll of Honour, containing the names of over 100 who enlisted during the Great War, nineteen of whom made the supreme sacrifice. [Ref: Pictorial Historical Souvenir Back to Semaphore January 1930 by Captain R W Osborne]
The owner of the original building (about 20 x 14) used by the church was Mrs Harvey. At this time LeFevre Peninsula was a dreary waste of spinifex, reeds, and drifting sand.
From March till July 1867, trustee meetings were held in the old Port Adelaide Methodist schoolroom, and attendees included the Rev C T Newman, and W Deverall. At these meetings the purchase of land and the erection of a building were decided upon, the honorary architect being Mr Deverall, and £100 cash being in hand. Unfortunately there is a gap in the minute book between 1867 and 1873, memoranda having been mutilated and lost without entry.
An old resident records as follows: The "revival" under the ministry of the Rev Jas Reid is brought vividly to mind. The district was wild with excitement. Such scenes took place as would hardly be credited were they here described. The little church was open every night, sometimes till midnight, as the people would not leave. The feeling ran so high that the building was commonly known as "The Little Glory”. [Ref: Australian Christian Commonwealth (SA) Semaphore Methodist Church Jubilee 1867–17 by EGS. 14-9-1917]
Built in 1867 of Melbourne bluestone sent as ballast in the wheat ships, it was first church on LeFevre Peninsula. Repeated extensions have produced a massive complex.
In 1903 a handsome organ was installed necessitating the raising of the transept ceiling. Sensitive extensions contribute to the architecture of the original building.
*Semaphore Uniting Church was built in 1867 as a Methodist Church. The beautiful bluestone came from the ballast that came from wheat ships during the 1800s.
Our pipe organ, built in 1870 in England, fell into disrepair for many years, but a generous donation allowed it to be restored to its former glory. The organ is now regularly used in our Sunday worship services.
Semaphore Methodist Church purchased the organ for 275 pounds, and an additional 254 pounds was charged for cartage and installation. It was unveiled on September 15, 1903.
The organ was built by P C Conacher and Co, Huddersfield, England. It has three keyboards, each with 56 notes, and the pedal board contains 30 notes. There are 17 speaking stops, five couplers and a total of 986 pipes. The largest pipes are approximately 8 feet long and the smallest pipes are half an inch. An electric blower was installed in 1929.
During the power restricts of the war years, the young men of the church were called upon to power the organ, but they were unable to sustain sufficient power to allow the pedal organ to be used. Ref: The Uniting Church in Australia, Semaphore. [Ref: Church website]
On Tuesday evening the unveiling of the new organ in the Methodist Church, Semaphore, was performed in the church by Mrs John Dunn, of Mount Barker.
The desire to sustain the psalmody of the church, combined with a decision to perpetuate the memory of two of the honoured church officers, Messrs. George Shorney and John Burton, resulted in the erection of a beautiful three manual memorial organ. The compass of the organ is well suited to the church, whilst, its tonal facilities are good, some of the stops being exceptionally fine for an instrument of the size. The case, which is of solid English walnut, is probably one of the most chaste and beautiful in the State. Mr T H Jones, Mus. Bac. expressed himself as highly pleased with the action of the instrument, and was loud in his praise of the manner in which Mr Dodd (the builder) carried out the work of erecting it. He then gave an organ recital in his usual finished style, and he succeeded in showing to the greatest advantage the possibilities of the instrument. [Ref: Express and Telegraph (Adelaide)Wednesday 16-9-1903]
The thirty-seventh anniversary services were conducted on Sunday by Rp Sir Frederick Holder and the Rev E T Cox. On Monday evening a pleasant social gathering was held in the lecture hall. The pastor’s report showed that spiritual progress had been marked. The treasurer reported an income of £132, added to £25 brought forward. They now had £4 11, in hand after providing for an expenditure of £153, including £20 off the trust debt. During the past two years £450 had been raised for a pipe organ fund, so that the financial position was extremely satisfactory. [Ref: Register (Adelaide) Tuesday 27-9-1904]
The trustees of the Semaphore Methodist church have decided to proceed with the renovation of the inside and outside of the edifice. A new face will be put upon the old structure. [Ref: Port Adelaide News (SA) 29-8-1913]
The Semaphore Methodist Church Diamond Anniversary celebrations concluded this week. Special services were held on Sunday, September 25, and last Sunday, a concert in the Semaphore Town Hall on Monday evening, and the final gathering of former and present members and adherents was held at the church on Wednesday evening.
This meeting took the form of a reunion tea at 6 pm, an organ recital and community singing at 7 pm, and the public meeting at 7.45 pm over which the Mayor of Port Adelaide (Mr A O R Tapp) presided, the Rev J G Jenkin being the principal speaker.
Wednesday's meetings were fitly described as a "Great Back to Semaphore Gathering." There was a record attendance of members from the district, and of former residents. Many apologies for non attendance were received from people in far-away parts, even including Western Australia. Five members were present who attended the opening ceremony sixty years ago.
The Rev T E Geddes White (pastor) introduced the Mayor.
The Mayor said he was delighted to know that the Semaphore Methodist Church had made such undoubted advancement. They had profound respect for the worthy pioneers of that church, and the pioneers of Methodism.
The report of the treasurer (Mr R A Cotton) was highly satisfactory in regard to the response to the appeal for the cost of renovations, now completed. It showed that members and adherents from near and far had forwarded no less than £332, which was cause for extreme gratitude. [Ref: Port Adelaide News (SA) 7-10-1927]
The gardens of the Grade I Listed Bishop's Palace, Wells, Somerset.
Construction began around 1210 by Bishop Jocelin of Wells but principally dates from 1230. Bishop Jocelin continued the cathedral building campaign begun by Bishop Reginald Fitz Jocelin, and was responsible for building the Bishop's Palace, as well as the choristers' school, a grammar school, a hospital for travellers and a chapel within the liberty of the cathedral. The chapel and great hall were built between 1275 and 1292 for Bishop Robert Burnell. The windows had stone tracery. Stone bosses where the supporting ribs meet on the ceiling are covered with representations of oak leaves and the Green Man. The building is seen as a fine example of the Early English architectural style.
In the 14th century, Bishop Ralph of Shrewsbury continued the building. He had an uneasy relationship with the citizens of Wells, partly because of his imposition of taxes, and surrounded his palace with crenellated walls, a moat and a drawbridge. The 5 metres (16 ft) high three-storey gatehouse, which dates from 1341, has a bridge over the moat. The entrance was protected by a heavy gate, portcullis and drawbridge, operated by machinery above the entrance, and spouts through which defenders could pour scalding liquids onto any attacker. The drawbridge was still operational in 1831 when it was closed after word was received that the Palace of the Bishop of Bristol was subject to an arson attack during the Bristol riots. These took place after the House of Lords rejected the second Reform Bill. The proposal had aimed to get rid of some of the rotten boroughs and give Britain's fast growing industrial towns such as Bristol, Manchester, Birmingham, Bradford and Leeds greater representation in the House of Commons; however there was no rioting in Wells. The water which filled the moat flowed from the springs in the grounds which had previously chosen its own course as a small stream separating the cathedral and the palace and causing marshy ground around the site. The moat acted as a reservoir, controlled by sluice gates, which powered watermills in the town.
The north wing (now the Bishop's House) was added in the 15th century by Bishop Beckington, with further modifications in the 18th century, and in 1810 by Bishop Beadon. It was restored, divided, and the upper storey added by Benjamin Ferrey between 1846 and 1854. Following the Dissolution of the Monasteries in 1548, Bishop Barlow sold Edward Seymour, 1st Duke of Somerset the palace and grounds. These were recovered after the Duke's execution in 1552.
In the 1550s, Bishop Barlow sold the lead from the roofs of the great hall. This resulted in it falling into a ruined state. It can be seen in an engraving of 1733 but was largely demolished around 1830 by Bishop Law. He created a "more picturesque ruin" by removing the south and east walls and laying out and planting the area previously occupied by the great hall. The palace was used as a garrison for troops in both the English Civil War and Monmouth Rebellion after which it was used as a prison for rebels after the Battle of Sedgemoor.
Bishop Kidder was killed during the Great Storm of 1703, when two chimney stacks in the palace fell on him and his wife, while they were asleep in bed. A central porch was added around 1824 and, in the 1840s and 1850s, Benjamin Ferrey restored the palace and added an upper storey. He also restored the chapel using stained glass from ruined French churches.
The palace now belongs to the Church Commissioners and is managed and run by The Palace Trust. The main palace is open to the public, including the medieval vaulted undercroft, chapel and a long gallery, although the Bishops House is still used as a residence and offices. There is a cafe overlooking the Croquet Lawn. The palace is licensed for weddings and used for conferences and meetings. The croquet lawn in front of the palace is used on a regular basis. The palace was used as a location for some of the scenes in the 2007 British comedy Hot Fuzz, and more recently in the 2016 film The Huntsman.
Key Events and Dates
The Chapel
653 AD
The arrival of St Cedd.
654
Cedd founded a Celtic style community at Othona, built his Cathedral of St Peters on the foundations of the Roman fort and was consecrated Bishop of Essex. In fact Cedd's Cathedral was built where the gatehouse of the fort had been - so it was built on the wall of the fort - hence the name - Saint Peter-on-the-Wall.
664
Cedd died of the plague at Lastingham in October. Soon after the death of Cedd, Essex was taken into the Diocese of London and St Peter's became a minster for the surrounding country.
1068
The Chapel became the property of the Benedictine monastery of St Valery on the Somme.
1391
The Chapel was sold to William of Wykeham.
1750
For many years it was used as a barn for the storage of grain and shelter of cattle.
1920
Restored for use as a Chapel.
The Early History
1300 years ago there were people working in Ireland and Scotland to spread the Christian faith. In Ireland, Patrick had established many monasteries and from there Columba had come to Iona, a tiny island off the west coast of Scotland, to establish a monastery and many other Christian centres.
From Columba's monastery, a man called Aidan was sent from Iona at the invitation of King Oswald of Northumbria to set up a monastery at Lindisfarne on the north-east coast. It was also to be a school where Anglo-Saxon boys could be trained to become priests and missionaries. It was in this school that Cedd and his brothers Caelin, Cynebil and Chad learnt to read and write in Latin, and learnt to teach the Christian faith.
The four brothers were all ordained as priests and two of them, Cedd and Chad, later became bishops. Cedd's first mission was to go to the midlands, then called Mercia, at the request of its ruler, King Paeda, who wanted his people to become Christians. Cedd was so successful that when King Sigbert of the East Saxons (Essex) asked for a similar mission, it was Cedd who was sent.
Toast round topped w/ guacamole and scrambled egg, with bacon wrapped, cheese-stuffed dates on the side.
OK, I now have a new "best breakfast I've ever made" winner. This was awesome! Totally random, of course, but very tasty.
Notes
Toast - cut out with one of those fluted shortbread cookie types of cutters (I have a nesting set)
Guacamole - simple guac made w/ avocado, garlic, lime juice, cilantro, salt (this particular variation of guac came from Rick Bayless' "Everyday Mexican" cookbook)
Scrambled egg - made with a sour cream and milk mixture (I got this idea from the sopranos, thanks to the headless man.... haha... get it?)
Dates - stuffed w/ slivers of parmesan (seemed like the most appropriate cheese, considering what I had on hand)
A friend asked "Who did you make this for?" Well, me, of course! That's right, I'm single, ladies.
Norman font dates to 1180 having a scalloped bowl , 3 cones to each side with intersection dart; roll moulding to neck; cylindrical shaft; circular base on 19c plinth
- Church of St Andrew, Halberton Devon
Picture with thanks - copyright Peter flic.kr/p/79L7tY
Although most of the 2004 romantic comedy "50 First Dates" (top) was filmed in Hawaii, the scene that takes place at the Callahan Institute for Brain Injurys was shot at L.A. County's Cabrillo Beach in San Pedro.
The Cabrillo Beach Bathhouse was built in 1932 and is the last standing example of the bathhouses that used to line Southern California's shoreline. After falling into disrepair over the years, it was closed, fully remodeled, and reopened in 2002.
This is the second floor ballroom.
This location was also used as the chapel for the 1997 thriller "Face/Off".
Grade I listed
The church dates from the twelfth century onwards, having a Norman four bay north arcade with round piers, scalloped capitals and square abaci.
There is a western tower, nave with north and south aisles and clerestory, a transeptal chapel, now a vestry, three bay chancel with north chapel, and north and south porches.
The tower is perpendicular with four stages and an embattled parapet with eight crocketted pinnacles. There are six bells, and a carillon which plays three hymn tunes.
The nave has a four bay north aisle, a five bay south aisle, and clerestory with three light windows. Most of the glass in the church is clear.
The nave has a low pitched roof with bosses. There is a fifteenth century octagonal font with trefoil panels.
In the north chapel, there is a fifteenth century effigy of a priest near the wall.
The chancel has a four light east window with prayer boards either side, and blind arcading with textured tiles.
The east end of the chancel and chapel were rebuilt in the mid eighteenth century, and again in the mid nineteenth century. There were also restorations from 1895 to 1903 by Prothero.
There is a two manual organ on the north side of the chancel.
This store dates back to the 1960's, I'm quite sure. The exterior offers certain clues, but the interior even more.
When you have a K-Mart store with the giant ROUND ceiling vents, for heating and cooling, and tiny square tiles on restroom walls and floors, you are in an OLD K-Mart.
While this location does have what once was a linked grocery store, at the west end, it does not have the vast amount of retail trailing off into the distance that some K-Marts did.
Update, May 2nd, 2013: After being a Sears Grand location, then back to a K-mart for a time, this store is now closed! I am floored. It is one of the oldest ones on the Kansas side of the entire KC area, dating to around 1965.
Dates: ca. 1900
Maker: T. H. McAllistar
Place: USA: New York
Donor: Gift of the Estate of Gerard Dallas Jencks
Photographer Credit: Scottish Rite Masonic Museum & Library
For more information on Magic Lanterns, check out our blog!
Although most of the 2004 romantic comedy "50 First Dates" was filmed in Hawaii, the scene that takes place at the Callahan Institute for Brain Injurys was shot at L.A. County's Cabrillo Beach in San Pedro.
The Cabrillo Beach Bathhouse was built in 1932 and is the last standing example of the bathhouses that used to line Southern California's shoreline. After falling into disrepair over the years, it was closed, fully remodeled, and reopened in 2002.
This is the second floor ballroom.
This location was also used as the chapel for the 1997 thriller "Face/Off".
The beloved and blessed Prophet (May Peace and blessing of Allah be upon him) said, "A household that has dates does not feel hunger". (Mishkat Sharif)
Wedding save the dates pictures
www.wedding.jabezphotography.com/Blog/Wedding-Save-The-Da... wedding save the dates photos
Karen Buchanan, Wedding Dates, Stephanie Lynch, On The QT and Susie Horgan, Springboard PR at the March Network Cork meeting titled The 'Power of Positive Thinking' with Dr. Maureen Gaffney in the Cork International Airport Hotel.
Pic Darragh Kane
A weathered and worn fence at the Empire Ranch historic site in southern Arizona. The Ranch dates from 1871. Shot in digital infrared.
Although most of the 2004 romantic comedy "50 First Dates" (top) was filmed in Hawaii, the scene that takes place at the Callahan Institute for Brain Injurys was shot at L.A. County's Cabrillo Beach in San Pedro.
The Cabrillo Beach Bathhouse was built in 1932 and is the last standing example of the bathhouses that used to line Southern California's shoreline. After falling into disrepair over the years, it was closed, fully remodeled, and reopened in 2002.
This location was also used as the chapel for the 1997 thriller "Face/Off".
Although most of the 2004 romantic comedy "50 First Dates" was filmed in Hawaii, the scene that takes place at the Callahan Institute for Brain Injurys was shot at L.A. County's Cabrillo Beach in San Pedro.
The Cabrillo Beach Bathhouse was built in 1932 and is the last standing example of the bathhouses that used to line Southern California's shoreline. After falling into disrepair over the years, it was closed, fully remodeled, and reopened in 2002.
This is the enclosed balcony which is adjacent to the second floor ballroom.
This location was also used as the chapel for the 1997 thriller "Face/Off".
Students, dates, family and friends gather in the environs of Memorial Chapel for the Chateau Dance photo shoot on May 24, 2019. Photography by Glenn Minshall.
[This set contains 7 photos] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
This red brick structure in Charlotte Court House, Virginia dates from about 1825. It presumably began as a tavern then became a store for general merchandise and an office building. It is in a state of disrepair but is slated for preservation by the APVA. The pedimented front gable is a classic feature of Federal-style architecture. The facade is Flemish Bond and the sides are 5-course American bond. Old photographs show that the structure once had a portico with two tall columns; however, when the street was widened in 1954, the portico became a casualty. A single window is above the Federal-style entrance. Two 6/6 windows presently flank the entry, but in a 1928 photo shows that the building had two 9-light store windows. Tucker's Store gained the name after the owners and operators of a mercantile store at this location. The building is one of 4 brick buildings in a row built in similar style.
This building is part of the Charlotte Court House Historic District (Virginia Dept. of Historic Resources ID: 185-0023; the building's ID is 185-23-480. The entire district was placed on the Natrion Register of Historic Places 8 Feb 1995. NHRP #95000023.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
Apex Festival 2014 Show Dates: 10-11th May
Thanks to our sponsors and supporters:
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This is not a static show! The Lydden Hill Race Circuit in Kent, UK ( Just 10mins from the Dover International Ferry & Tunnel Ports - ideal for our European visitors! ) will once again be the fantastic venue for the events and entertainment over the weekend, where YOU can be part of the on track spectacle!
The race circuit is the focal point for the weekends activities with circuit racing, drifting, exhibition features, demo cars from all over Europe, and plenty of trackday sessions where YOU can take your vehicle (whatever it may be!) out on the track for some safe, fast fun. There will be the hugely popular Circuit Parade laps for everyone to join in, where you can literally take your ride and passengers out on the track for some fantastic photo opportunities circumnavigating the track which you have just seen the race cars tearing up the tarmac!
Fancy a race pace passenger ride? Many of the demo cars and drift cars will be offering sessions where you can have a thrilling ride around the circuit - albeit fast laps in a racer or sideways antics in a drift car!
There is plenty to keep you occupied all day and evening, with a big Show n Shine arena, Car displays and features, BMX displays, an open paddock to explore, and of course the popular Drive-in Movie which kicks off the Saturday nite entertainment with the insane Silent Disco to party in!
Catering will be by independents for all you ‘foodies’ who like great quality grub, ranging from artisan organic foods, Wood Fired Pizza's, Charcoal Hog Roast, themed outlets in retro vehicles… delicious is the word!
If you haven’t been to Lydden Hill before, you are in for a visual and aural treat! There are spectacular views of the entire circuit from virtually everywhere in the venue. You have the chance to park around the perimeter of the track itself too, so not to miss a moment of the action!
We're proud to present a truly family friendly event, yes that includes well behaved family dogs too, which are welcomed to the event! (The typical pet etiquette rules apply). the vast majority of kids activities are 100% FREE all weekend - families love fact that the kids zone is ideally placed so you can keep one eye on the kids and the other on all the action.. so it's smiles all round! This year we will have even more FREE fun activities and welcome distractions for our young guests.
Lowenstark’s Log: … uhh… dates are sort of funny. I think I’ll start like this:
Lowenstark’s Log: Day 299.
Man, I suppose I should start with the beginning. Hell, I should’ve probably been taking these journal notes this entire time. Now that I can’t do it in my head anymore, it never really occurred to me…but I think it’s time I start chronicling again. I mean, my story should be put to paper, in case I die or something. Again.
It’s been almost three hundred days since I was brought to the Dreamscape. At first I thought I was dead. Hell, whoever brought me here even had the sense of humor to leave me atop a big tuft of clouds – as if I were in some comic version of Heaven itself. It took days for me to realize that I could actually fly, and even that came about when I decided I’d rather take a swift fall than die of dehydration.
As I wondered from curious wonderland to curious wonderland, marveling at the sheer oddity, surreality, and absurdity (when it’s not simply horror) of the Dreamscape, I eventually realized I wasn’t actually in Heaven. The first clue was a slobbering Fade that nearly killed me, and managed to break a few bones before found myself nearly crapping my pants and teleporting to some new location. .. and, thankfully, found another Dreamwalker.
An explorer, that Dreamwalker didn’t have time or inclination to deal with me. Begrudgingly he patched me up, gave me the Cliffnotes version of my situation, and wandered off a few hours later.
If you’re a Dreamwalker, you can imagine this Deer-In-Headlights moment. That ‘oh shit’ moment when you realize you’re A: Dead, and B: Way in over your head. Only in my case, I had the added dread of finding out I'm not even real... we'll get back to that point later on.
Now, If you’re a Dreamwalker and you’ve never heard of this… sorry to give you that same ‘oh shit’ moment. You're probably lost and confused, and reading this journal is going to only make you question your situation even further... that's a good thing! Here, I'll do you a solid, and give you a bit of the skinny. Here's the cliff notes version I received when -I- got here:
A: You died in your sleep, in the middle of some lucid dream. When you died, the dream was so lucid, it continued to hold your entire consciousness here – in the Dreamscape, the world of Dreams.
B: There are others like you. Untold numbers who travel around, form bands, occasionally towns, and just try to survive. Aside from those of us TRAPPED here in the Dreamscape, there are other Dreamers, who are people who are STILL sleeping and dreaming. Fair warning: Never, ever, ever try to forcibly make these people aware that you don’t belong in their dreams. That ALWAYS ends poorly- for YOU.
C: There are other things you can encounter besides 'Walkers and Dreamers. Among the worst possible encounter for you are the Fades. These are beings of pure emotion, also brought into this realm by lucid dreams. You have your most common, Nightmare Fades, which are horrors of all varieties – extremely powerful, no matter how good you are at manipulating the Dreamscape – but there other, more subtle kinds as well. Don’t go thinking you can take one all by your lonesome – I don’t care what kind of Stephen Seagal badass you were in real life, or how naturally gifted you are at bending the Dreamscape to your will. Oh, and chances are that lucid dream that brought you here also created a fade - a personal nightmare torn straight from your dreams. So, uh, watch your back.
D: There are parts of the Dreamscape that are intensely ORDERLY. Most of this world (which is the collective human subconscious) is complete chaos, warping and changing, inconsistent for much longer than a few hours. Some parts last longer, and still,there are places called Dreamplanes that are WAY more consistent. The Dreamers here aren’t just having a simple little dream, they’re having a massive, collective dream. They are dreaming that they are other people, like fictional characters, and these characters all live out full lives in the Dreamplane. Everything humans fantasize about likely has a dreamplane. You’ll find Wild West Dreamplanes, Science Fiction Dreamplanes, Cyberpunk Dreamplanes.. a lot of variety, and each one like it’s own little pocket-world. Just, again, don’t go trying to convince the dreamers there about who you really are… the psychic backlash from the paradox could literally tear your mind apart. Just, act cool, act like you belong there. Don't worry, you'll find that to protect the fragile reality there, the Dreamscape will give you some backup to help make a cover identity... you'll see what I mean. It's actually pretty neat.
E: It’s possible, though extraordinarily rare and unusual for one of these Dreamers in those aforementioned Dreamplanes to be “forced” awake. To be made to realize the world that they are in is not only a dream, but part of the larger Dreamscape. When that happens, the shock is so great that the Dreamer dies… and leaves behind only the fictional version of themselves. All memories of whoever they were in the “real world” are gone.
Option E up there? That’s me. I’m a fictional character who was being dreamt up by someone who I will never know. Someone who died so that I can exist, thanks to some OTHER unknown figure who went through a LOT of trouble to “Birth” me into the Dreamscape. See, to ME it’s the year 2077, and I was part of dystopian future fighting a corrupt government, looking for freedom and trying to build a better tomorrow. In truth, in reality, it’s somewhere around the year 2010. And I’m a fictional character that’s part of a fictional environment.
Most Dreamwalkers aren’t. They’re part of that world, the 2010 mundane world. The real world. Not me, though. I’m… well, the ‘real’ me, is dead. I’m a figment of his imagination… but I still FEEL real. Hell, I have 37 years of memories of a world that exists, for real, in the Dreamscape. It may not be what’s considered the “real world” – but to me, it was utterly real. Full of life, love, challenge and triumph, and even though I can never go back to that particular Dreamplane again, it was my home for my entire life. Unfortunately, I am dead there, so it's the one place in the Dreamscape I can never return to.
In fact, I’ve considered the possibility that maybe these lives those people lived, in their ‘real world’, in the early 21st century, my ALSO be a dream. Who’s to say? Why is their world more real than my world? Besides general consensus that is.
Anyway, that’s the beginning of my story. Well… it’s the beginning of my NEW story. My old story had a beginning, middle, and end… and it was a fantastic story, full of people I will miss (painfully so.) Since I was awakened, and went through this process of discovery my entire last few hundred days has been dedicated to understanding about as much about this place and it’s Dreamwalkers as I can. I'm training to manipulate the Dreamscape, trying to understand where I am and what our limits are... but more Dreamwalkers crop up every day. So many people are new, frightened and in need of aid… and naturally, it’s my job to find and help them.
What can I say… I’m not good, I’m just dreamt that way.
Aizanoi Antique City.
UNESCO Tentative Lists
whc.unesco.org/en/tentativelists/5724/
Description
The Aizanoi ancient city is located in the inner Western Anatolia Region, 48 km Southwest of the Kütahya Province, and within the boundaries of the Çavdarhisar district. Today, it is approximately at a 1000-1050 m altitude in the flat treeless plateau which is known as Örencik Plain. The City was located approximately 40 km Southwest of the Cotiaeum, 25 km Northeast of Cadi, 40 km Northwest of Appia, West of Alia and on the edge of the River Rhyndakos.
The city was re-discovered by the European travellers in 1824 and surveyed and identified between the years of 1830 and 1840. The scientific excavations within Aizanoi were launched in 1926 by D. Krencker and M.Schede on behalf of the German Archeological Institute and presently the excavations works are being carried out by the Pamukkale University.
Aizanoi was the capital of Aizanitis, who belonged to Phrigia. There was less information about Pre-Roman period for Aizanoi. It is said that the early settlement in the region dates back to the second millennium BC. During the excavations carried out around the Zeus Temple, settlement layers dated to the third millennium were unearthed. Aizanoi acquired importance in the political sense, during the conflict between the Bithyniaand PergamonKingdoms. During the Hellenistic Period, Aizanoi was alternated between the hegemonies of the Pergamon and Bithynia Kingdoms and then came under Roman control in 133 BC. Phrygia Epictetos which consists of Aizanoi, Nacoleia, Cotiation, Midaion, Doryleion, Cadoi minted their own coins after 133 BC. This case shows that Aizanoi was in metropolis statue in the first century BC. However, big monumental public buildings and urban infrastructure in the city were constructed during the early imperial period. During the Roman Period Aizanoi was not only one of the most important cities in the Phrgyia Region but also had an important status as a commercial road network. Through its production of cereals, wine and sheep's wool the city was to rise to prosperity during the period of the Roman Empire.Since the intensive architectural development activities were realized especially in the 2nd and 3rd centuries AD., the local stone workshops gained importance during that period. Because of the religious and political power of Aizanoi, Rome provided an important relationship with the communities in the region. During the early Byzantine Period, the city was the seat of a bishopric and it had lost its importance after the 7th century. In medieval times the hill upon which the temple stands was transformed into a fortified citadel which subsequently served a group of the Çavdar Tatars as a fort of Seljuk dynasties, thus giving the community its present name, Çavdarhisar.
The visible remains of the city are mostly derived from the period of the Roman Empire. The city has significant remains such as the Zeus Temple, the Complex of Stadium-Theatre, Macellum, Portico Street, the bridges and dam, two necropolises, odeon, the Roman Baths
Justification of Outstanding Universal Value
Aizanoi is one of the most significant cities of the Roman Period with the Zeus Temple, the Complex of Stadium-Theatre and the Macellum.
The structure of the Temple which is one of the best preserved Zeus Temples in the world. The Temple of Zeus, situated upon a hill, was the city's main sanctuary.There is an area covered with vaults under the temple. The temple has an unusual feature in Anatolia with this plan. The temple is composed of pronoas, naos, opisthodomos and a vaulted room under the basement. The distance between the columns and the walls of the inner rooms is twice as much as the distance between the columns; that means the building is a pseudodipteros. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. Covering the ancient inscriptions and ashlar masonry of the temple are simple representations of riders, combat scenes and horses. These engraved images depict episodes from the life of the Çavdar Tatars in the 13th century, who lived within the citadel walls surrounding the temple plateau. The magnificent Temple of Zeus contributed much to the city's prominence in antiquity and it is among the rarest ancient buildings in Anatolia which have survived till today by preserving its original form.
The Complex of Stadium-Theatre is located in the north part of the city and was one of the most intensive development activities in the city during the Roman Period. The stadium with a capacity of 13500 people and the theatre with the capacity of 20.000 people were constructed adjacently and as such it is unique in the ancient world.
One of the first stock exchange markets of the world was established in Aizanoi. The Macellum (Round Building) is dated to the midst of the 2nd century AD., probably serving as a food market. Inscriptions on the walls of this building show the prices of all goods sold in the markets of the Imperial that were controlled by an edict issued in 301 A.D. by the Roman Emperor Diocletianus in order to fight the inflation in that period. The inscriptions survived till today and can be read completely at present. It can be understood that Aizanoi was a cradle of trade with such as the most significant inscription.
Criterion (ii): The Macellum in Aizanoi dated to the midst of 2nd century AD is one of the first exchange stock markets in the world. Inscriptions on the Macellum showing the prices of all goods sold in the markets of the Imperial survived till today and can be read completely. These inscriptions have been used as a reference source for the other similar inscriptions unearthed during the excavations.
Criterion (iv): The Stadium with a capacity of 13500 people and the theatre with a capacity of 20.000 people were constructed adjacently and as such it is unique in the ancient world. The form of the complex erected in Aizanoi is not seen elsewhere in the ancient times.
The structure of the Temple is one of the best preserved Zeus Temples in the world. There is an area covered with vaults under the temple. The temple has an unusual feature in Anatolia with this plan. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. The temple is among the rarest ancient buildings in Anatolia which have survived till today by preserving its original form.
Statements of authenticity and/or integrity
Aizanoi Ancient City was first registered as an archaeological site with the decision of the Superior Council of Immovable Antiquities and Monuments dated 20th December 1975 numbered 8854. By the decision of the related Conservation Council dated 1989 numbered 488, the borders of the 1st and 3rd degree archaeological site were determined. Afterwards, by the decision of the Conservation Council taken in 2011, the rural settlement area located within the first degree archeological site was registered as an urban archeological site.
The conservation plan prepared for the 3rd degree archeological site was approved by the related Conservation Council in 1993. Its revision was approved in 2000. Also, the conservation plan prepared for the 1st archeological site and the urban archeological site was approved by the related conservation council in 2011.
The scientific excavations within Aizanoi were launched in 1926 by D. Krencker and M. Schede on behalf of the German Archeological Institute and today the excavation works are being carried out by the Pamukkale University.
Comparison with other similar properties
When compared to the other Zeus Temples in the World, the Zeus Temple in Aizanoi is one of the best preserved. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. The temple is among the rarest religious buildings in Anatolia which have survived till today by preserving its form.
The Complex of Stadium-Theatre which was constructed adjacently is unique in the ancient world. The Macellum in Aizanoi dated to the midst of 2nd century AD is one of the first exchange stock markets in the world. Inscriptions on the Macellum showing the prices of all goods sold in the markets of the Imperial are survived till today and can be read completely at present.
Penkalas Bridge
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Penkalas Bridge
Penkalas Bridge in 1992
Coordinates
39.200833°N 29.612222°E
Coordinates: 39.200833°N 29.612222°E
Crosses
Penkalas (Kocaçay)
Locale
Aezani, Turkey
Characteristics
Design
Arch bridge
Material
Stone
No. of spans
5
History
Construction end
2nd century AD
Penkalas Bridge
Location in Turkey
The Penkalas Bridge is a Roman bridge over the Penkalas (today Kocaçay), a small tributary of the Rhyndakos (Adırnas Çayı), in Aezani, Asia Minor (Çavdarhisar in present-day Turkey).
The 2nd-century AD structure was once one of four ancient bridges in Aezani and is assumed to have been the most important crossing-point due to its central location in the vicinity of the Zeus temple and the direct access it provided to the Roman road to Cotyaeum (Kütahya).[1] According to reports by European travellers, the ancient parapet remained in use as late as 1829, having been replaced today by an unsightly iron railing.[1]
Around 290 m upstream, another well-preserved, almost identical five-arched Roman bridge leads across the Penkalas.[
For me, to see this dates tree bearing fruit is worth a thousand miles journey.
The Souk in Old Tripoli
Diana F+ / Fomapan 100
Although most of the 2004 romantic comedy "50 First Dates" was filmed in Hawaii, the scene that takes place at the Callahan Institute for Brain Injurys was shot at L.A. County's Cabrillo Beach in San Pedro.
The Cabrillo Beach Bathhouse was built in 1932 and is the last standing example of the bathhouses that used to line Southern California's shoreline. After falling into disrepair over the years, it was closed, fully remodeled, and reopened in 2002.
This is the second floor ballroom.
This location was also used as the chapel for the 1997 thriller "Face/Off".
Kathmandu Durbar Square (Nepali: वसन्तपुर दरवार क्षेत्र, Basantapur Darbar Kshetra) in front of the old royal palace of the former Kathmandu Kingdom is one of three Durbar (royal palace) Squares in the Kathmandu Valley in Nepal, all of which are UNESCO World Heritage Sites.
Several buildings in the Square collapsed due to a major earthquake on 25 April 2015. Durbar Square was surrounded with spectacular architecture and vividly showcases the skills of the Newar artists and craftsmen over several centuries. The Royal Palace was originally at Dattaraya square and was later moved to the Durbar square.
The Kathmandu Durbar Square held the palaces of the Malla and Shah kings who ruled over the city. Along with these palaces, the square surrounds quadrangles, revealing courtyards and temples. It is known as Hanuman Dhoka Durbar Square, a name derived from a statue of Hanuman, the monkey devotee of Lord Ram, at the entrance of the palace.
CONTENTS
HISTORY AND CONSTRUCTION
The preference for the construction of royal palaces at this site dates back to as early as the Licchavi period in the third century. Even though the present palaces and temples have undergone repeated and extensive renovations and nothing physical remains from that period. Names like Gunapo and Gupo, which are the names referred to the palaces in the square in early scriptures, imply that the palaces were built by Gunakamadev, a King ruling late in the tenth-century. When Kathmandu City became independent under the rule of King Ratna Malla (1484–1520), the palaces in the square became the Royal Palaces for its Malla Kings. When Prithvi Narayan Shah invaded the Kathmandu Valley in 1769, he favored the Kathmandu Durbar Square for his palace. Other subsequent Shah kings continued to rule from the square until 1896 when they moved to the Narayan Hiti Palace.
The square is still the center of important royal events like the coronation of King Birendra Bir Bikram Shah in 1975 and King Gyanendra Bir Bikram Shah in 2001.
Though there are no written archives stating the history of Kathmandu Durbar Square, construction of the palace in the square is credited to Sankharadev (1069–1083). As the first king of the independent Kathmandu City, Ratna Malla is said to have built the Taleju temple in the Northern side of the palace in 1501. For this to be true then the temple would have had to have been built in the vihara style as part of the palace premise surrounding the Mul Chok courtyard for no evidence of a separate structure that would match this temple can be found within the square.
Construction of the Karnel Chok is not clearly stated in any historical inscriptions; although, it is probably the oldest among all the courtyards in the square. The Bhagavati Temple, originally known as a Narayan Temple, rises above the mansions surrounding it and was added during the time of Jagajaya Malla in the early eighteenth century. The Narayan idol within the temple was stolen so Prithvi Narayan Shah replaced it with an image of Bhagavati, completely transforming the name of the temple.
The oldest temples in the square are those built by Mahendra Malla (1560–1574). They are the temples of Jagannath, Kotilingeswara Mahadev, Mahendreswara, and the Taleju Temple. This three-roofed Taleju Temple was established in 1564, in a typical Newari architectural style and is elevated on platforms that form a pyramid-like structure. It is said that Mahendra Malla, when he was residing in Bhaktapur, was highly devoted to the Taleju Temple there; the Goddess being pleased with his devotion gave him a vision asking him to build a temple for her in the Kathmandu Durbar Square. With a help of a hermit, he designed the temple to give it its present form and the Goddess entered the temple in the form of a bee.
His successors Sadasiva (1575–1581), his son, Shiva Simha (1578–1619), and his grandson, Laksmi Narsingha (1619–1641), do not seem to have made any major additions to the square. During this period of three generations the only constructions to have occurred were the establishment of Degutale Temple dedicated to Goddess Mother Taleju by Shiva Simha and some enhancement in the royal palace by Laksminar Simha.
UNDER PRATAP MALLA
In the time of Pratap Malla, son of Laksminar Simha, the square was extensively developed. He was an intellectual, a pious devotee, and especially interested in arts. He called himself a Kavindra, king of poets, and boasted that he was learned in fifteen different languages. A passionate builder, following his coronation as a king, he immediately began enlargements to his royal palace, and rebuilt some old temples and constructed new temples, shrines and stupas around his kingdom.During the construction of his palace, he added a small entrance in the traditional, low and narrow Newari style. The door was elaborately decorated with carvings and paintings of deities and auspicious sings and was later transferred to the entrance of Mohan Chok. In front of the entrance he placed the statue of Hanuman thinking that Hanuman would strengthen his army and protect his home. The entrance leads to Nasal Chok, the courtyard where most royal events such as coronation, performances, and yagyas, holy fire rituals, take place. It was named after Nasadya, the God of Dance, and during the time of Pratap Malla the sacred mask dance dramas performed in Nasal Chok were widely famed. In one of these dramas, it is said that Pratap Malla himself played the role of Lord Vishnu and that the spirit of the Lord remained in the king's body even after the play. After consulting his Tantric leaders, he ordered a stone image of Lord Vishnu in his incarnation as Nara Simha, the half-lion and half-human form, and then transferred the spirit into the stone. This fine image of Nara Simha made in 1673 still stands in the Nasal Chok. In 1650, he commissioned for the construction of Mohan Chok in the palace. This chok remained the royal residential courtyard for many years and is believed to store a great amount of treasure under its surface. Pratap Malla also built Sundari Chok about this time. He placed a slab engraved with lines in fifteen languages and proclaimed that he who can understand the inscription would produce the flow of milk instead of water from Tutedhara, a fountain set in the outer walls of Mohan Chok. However elaborate his constructions may have been, they were not simply intended to emphasize his luxuries but also his and the importance of others' devotion towards deities. He made extensive donations to temples and had the older ones renovated. Next to the palace, he built a Krishna temple, the Vamsagopala, in an octagonal shape in 1649. He dedicated this temple to his two Indian wives, Rupamati and Rajamati, as both had died during the year it was built. In Mohan Chok, he erected a three roofed Agamachem temple and a unique temple with five superimposing roofs. After completely restoring the Mul Chok, he donated to the adjoining Taleju Temple. To the main temple of Taleju, he donated metal doors in 1670. He rebuilt the Degutale Temple built by his grandfather, Siva Simha, and the Taleju Temple in the palace square. As a substitute to the Indreswara Mahadeva Temple in the distant village of Panauti he built a Shiva temple, Indrapura, near his palace in the square. He carved hymns on the walls of the Jagannath Temple as prayers to Taleju in the form of Kali.
At the southern end of the square, near Kasthamandap at Maru, which was the main city crossroads for early traders, he built another pavilion named Kavindrapura, the mansion of the king of poets. In this mansion he set an idol of dancing Shiva, Nasadyo, which today is highly worshipped by dancers in the Valley.
In the process of beautifying his palace, he added fountains, ponds, and baths. In Sundari Chok, he established a low bath with a golden fountain. He built a small pond, the Naga Pokhari, in the palace adorned with Nagakastha, a wooden serpent, which is said he had ordered stolen from the royal pond in the Bhaktapur Durbar Square. He restored the Licchavi stone sculptures such as the Jalasayana Narayana, the Kaliyadamana, and the Kala Bhairav. An idol of Jalasayana Narayana was placed in a newly created pond in the Bhandarkhal garden in the eastern wing of the palace. As a substitute to the idol of Jalasayana Narayana in Buddhanilkantha, he channeled water from Buddhanilkantha to the pond in Bhandarkhal due bestow authenticity. The Kalyadana, a manifestation of Lord Krishna destroying Kaliya, a water serpent, is placed in Kalindi Chok, which is adjacent to the Mohan Chok. The approximately ten-feet-high image of terrifyingly portrayed Kal Bhairav is placed near the Jagannath Temple. This image is the focus of worship in the chok especially during Durga Puja.
With the death of Pratap Malla in 1674, the overall emphasis on the importance of the square came to a halt. His successors retained relatively insignificant power and the prevailing ministers took control of most of the royal rule. The ministers encountered little influence under these kings and, increasingly, interest of the arts and additions to the square was lost on them. They focused less on culture than Pratap Malla during the three decades that followed his death, steering the city and country more towards the arenas of politics and power, with only a few minor constructions made in the square. These projects included Parthivendra Malla building a temple referred to as Trailokya Mohan or Dasavatara, dedicated to Lord Vishnu in 1679. A large statue of Garuda, the mount of Lord Vishnu, was added in front of it a decade later. Parthivendra Malla added a pillar with image of his family in front of the Taleju Temple.
Around 1692, Radhilasmi, the widowed queen of Pratap Malla, erected the tall temples of Shiva known as Maju Deval near the Garuda image in the square. This temple stands on nine stepped platforms and is one of the tallest buildings in the square. Then her son, Bhupalendra Malla, took the throne and banished the widowed queen to the hills. His death came early at the age of twenty one and his widowed queen, Bhuvanalaksmi, built a temple in the square known as Kageswara Mahadev. The temple was built in the Newari style and acted as a substitute for worship of a distant temple in the hills. After the earthquake in 1934, the temple was restored with a dome roof, which was alien to the Newari architecture.
Jayaprakash Malla, the last Malla king to rule Kathmandu, built a temple for Kumari and Durga in her virginal state. The temple was named Kumari Bahal and was structured like a typical Newari vihara. In his house resides the Kumari, a girl who is revered as the living goddess. He also made a chariot for Kumari and in the courtyard had detailed terra cotta tiles of that time laid down.
UNDER THE SHAH DYNASTY
During the Shah dynasty that followed, the Kathmandu Durbar Square saw a number of changes. Two of the most unique temples in the square were built during this time. One is the Nautale, a nine-storied building known as Basantapur Durbar. It has four roofs and stands at the end of Nasal Chok at the East side of the palace. It is said that this building was set as a pleasure house. The lower three stories were made in the Newari farmhouse style. The upper floors have Newari style windows, sanjhya and tikijhya, and some of them are slightly projected from the wall. The other temple is annexed to the Vasantapur Durbar and has four-stories. This building was initially known as Vilasamandira, or Lohom Chok, but is now commonly known as Basantapur or Tejarat Chok. The lower floors of the Basantapur Chok display extensive woodcarvings and the roofs are made in popular the Mughal style. Archives state that Prthivi Narayan Shah built these two buildings in 1770.
Rana Bahadur Shah was enthroned at the age of two. Bahadur Shah, the second son of Prithvi Narayan Shah, ruled as a regent for his young nephew Rana Bahadur Shah for a close to a decade from 1785 to 1794 and built a temple of Shiva Parvati in the square. This one roofed temple is designed in the Newari style and is remarkably similar to previous temples built by the Mallas. It is rectangular in shape, and enshrines the Navadurga, a group of goddesses, on the ground floor. It has a wooden image of Shiva and Parvati at the window of the upper floor, looking out at the passersby in the square. Another significant donation made during the time of Rana Bahadur Shah is the metal-plated head of Swet Bhairav near the Degutale Temple. It was donated during the festival of Indra Jatra in 1795, and continues to play a major role during the festival every year. This approximately twelve feet high face of Bhairav is concealed behind a latticed wooden screen for the rest of the year. The following this donation Rana Bahadur donated a huge bronze bell as an offering to the Goddess Taleju. Together with the beating of the huge drums donated by his son Girvan Yudha, the bell was rung every day during the daily ritual worship to the goddess. Later these instruments were also used as an alarm system. However, after the death of his beloved third wife Kanimati Devi due to smallpox, Rana Bahadur Shah turned mad with grief and had many images of gods and goddesses smashed including the Taleju statue and bell, and Sitala, the goddess of smallpox.
In 1908, a palace, Gaddi Durbar, was built using European architectural designs. The Rana Prime Ministers who had taken over the power but not the throne of the country from the Shahs Kings from 1846 to 1951 were highly influenced by European styles. The Gaddi Durbar is covered in white plaster, has Greek columns and adjoins a large audience hall, all foreign features to Nepali architecture. The balconies of this durbar were reserved for the royal family during festivals to view the square below.
Some of the parts of the square like the Hatti Chok near the Kumari Bahal in the southern section of the square were removed during restoration after the devastating earthquake in 1934. While building the New Road, the southeastern part of the palace was cleared away, leaving only fragments in places as reminders of their past. Though decreased from its original size and attractiveness from its earlier seventeenth-century architecture, the Kathmandu Durbar Square still displays an ancient surrounding that spans abound five acres of land. It has palaces, temples, quadrangles, courtyards, ponds, and images that were brought together over three centuries of the Malla, the Shah, and the Rana dynasties. It was destroyed in the April 2015 Nepal earthquake.
VISITING
Kathmandu's Durbar Square is the site of the Hanuman Dhoka Palace Complex, which was the royal Nepalese residence until the 19th century and where important ceremonies, such as the coronation of the Nepalese monarch, took place. The palace is decorated with elaborately-carved wooden windows and panels and houses the King Tribhuwan Memorial Museum and the Mahendra Museum. It is possible to visit the state rooms inside the palace.
Time and again the temples and the palaces in the square have gone through reconstruction after being damaged by natural causes or neglect. Presently there are less than ten quadrangles in the square. The temples are being preserved as national heritage sites and the palace is being used as a museum. Only a few parts of the palace are open for visitors and the Taleju temples are only open for people of Hindu and Buddhist faiths.
At the southern end of Durbar Square is one of the most curious attractions in Nepal, the Kumari Chok. This gilded cage contains the Raj Kumari, a girl chosen through an ancient and mystical selection process to become the human incarnation of the Hindu mother goddess, Durga. She is worshiped during religious festivals and makes public appearances at other times for a fee paid to her guards.
WIKIPEDIA
200 grams margarine.(melted)
1 teaspoon baking powder.
vanilla.
75 m"l orange juice.
50 m"l oil.
420 grams flour.
Filling:
450 grams dates spread.
100 grams hazelnuts.
2 tablespoons sugar.
mix all ingredients in a bowel. Work to a dough, then knead lightly. Divide to 4 balls and chill for at least 1 hour.
Roll out each ball to a 3 mm rectangle .Spread the filling and roll up.
Cut before baking.
180 C.
Kathmandu Durbar Square (Nepali: वसन्तपुर दरवार क्षेत्र, Basantapur Darbar Kshetra) in front of the old royal palace of the former Kathmandu Kingdom is one of three Durbar (royal palace) Squares in the Kathmandu Valley in Nepal, all of which are UNESCO World Heritage Sites.
Several buildings in the Square collapsed due to a major earthquake on 25 April 2015. Durbar Square was surrounded with spectacular architecture and vividly showcases the skills of the Newar artists and craftsmen over several centuries. The Royal Palace was originally at Dattaraya square and was later moved to the Durbar square.
The Kathmandu Durbar Square held the palaces of the Malla and Shah kings who ruled over the city. Along with these palaces, the square surrounds quadrangles, revealing courtyards and temples. It is known as Hanuman Dhoka Durbar Square, a name derived from a statue of Hanuman, the monkey devotee of Lord Ram, at the entrance of the palace.
CONTENTS
HISTORY AND CONSTRUCTION
The preference for the construction of royal palaces at this site dates back to as early as the Licchavi period in the third century. Even though the present palaces and temples have undergone repeated and extensive renovations and nothing physical remains from that period. Names like Gunapo and Gupo, which are the names referred to the palaces in the square in early scriptures, imply that the palaces were built by Gunakamadev, a King ruling late in the tenth-century. When Kathmandu City became independent under the rule of King Ratna Malla (1484–1520), the palaces in the square became the Royal Palaces for its Malla Kings. When Prithvi Narayan Shah invaded the Kathmandu Valley in 1769, he favored the Kathmandu Durbar Square for his palace. Other subsequent Shah kings continued to rule from the square until 1896 when they moved to the Narayan Hiti Palace.
The square is still the center of important royal events like the coronation of King Birendra Bir Bikram Shah in 1975 and King Gyanendra Bir Bikram Shah in 2001.
Though there are no written archives stating the history of Kathmandu Durbar Square, construction of the palace in the square is credited to Sankharadev (1069–1083). As the first king of the independent Kathmandu City, Ratna Malla is said to have built the Taleju temple in the Northern side of the palace in 1501. For this to be true then the temple would have had to have been built in the vihara style as part of the palace premise surrounding the Mul Chok courtyard for no evidence of a separate structure that would match this temple can be found within the square.
Construction of the Karnel Chok is not clearly stated in any historical inscriptions; although, it is probably the oldest among all the courtyards in the square. The Bhagavati Temple, originally known as a Narayan Temple, rises above the mansions surrounding it and was added during the time of Jagajaya Malla in the early eighteenth century. The Narayan idol within the temple was stolen so Prithvi Narayan Shah replaced it with an image of Bhagavati, completely transforming the name of the temple.
The oldest temples in the square are those built by Mahendra Malla (1560–1574). They are the temples of Jagannath, Kotilingeswara Mahadev, Mahendreswara, and the Taleju Temple. This three-roofed Taleju Temple was established in 1564, in a typical Newari architectural style and is elevated on platforms that form a pyramid-like structure. It is said that Mahendra Malla, when he was residing in Bhaktapur, was highly devoted to the Taleju Temple there; the Goddess being pleased with his devotion gave him a vision asking him to build a temple for her in the Kathmandu Durbar Square. With a help of a hermit, he designed the temple to give it its present form and the Goddess entered the temple in the form of a bee.
His successors Sadasiva (1575–1581), his son, Shiva Simha (1578–1619), and his grandson, Laksmi Narsingha (1619–1641), do not seem to have made any major additions to the square. During this period of three generations the only constructions to have occurred were the establishment of Degutale Temple dedicated to Goddess Mother Taleju by Shiva Simha and some enhancement in the royal palace by Laksminar Simha.
UNDER PRATAP MALLA
In the time of Pratap Malla, son of Laksminar Simha, the square was extensively developed. He was an intellectual, a pious devotee, and especially interested in arts. He called himself a Kavindra, king of poets, and boasted that he was learned in fifteen different languages. A passionate builder, following his coronation as a king, he immediately began enlargements to his royal palace, and rebuilt some old temples and constructed new temples, shrines and stupas around his kingdom.During the construction of his palace, he added a small entrance in the traditional, low and narrow Newari style. The door was elaborately decorated with carvings and paintings of deities and auspicious sings and was later transferred to the entrance of Mohan Chok. In front of the entrance he placed the statue of Hanuman thinking that Hanuman would strengthen his army and protect his home. The entrance leads to Nasal Chok, the courtyard where most royal events such as coronation, performances, and yagyas, holy fire rituals, take place. It was named after Nasadya, the God of Dance, and during the time of Pratap Malla the sacred mask dance dramas performed in Nasal Chok were widely famed. In one of these dramas, it is said that Pratap Malla himself played the role of Lord Vishnu and that the spirit of the Lord remained in the king's body even after the play. After consulting his Tantric leaders, he ordered a stone image of Lord Vishnu in his incarnation as Nara Simha, the half-lion and half-human form, and then transferred the spirit into the stone. This fine image of Nara Simha made in 1673 still stands in the Nasal Chok. In 1650, he commissioned for the construction of Mohan Chok in the palace. This chok remained the royal residential courtyard for many years and is believed to store a great amount of treasure under its surface. Pratap Malla also built Sundari Chok about this time. He placed a slab engraved with lines in fifteen languages and proclaimed that he who can understand the inscription would produce the flow of milk instead of water from Tutedhara, a fountain set in the outer walls of Mohan Chok. However elaborate his constructions may have been, they were not simply intended to emphasize his luxuries but also his and the importance of others' devotion towards deities. He made extensive donations to temples and had the older ones renovated. Next to the palace, he built a Krishna temple, the Vamsagopala, in an octagonal shape in 1649. He dedicated this temple to his two Indian wives, Rupamati and Rajamati, as both had died during the year it was built. In Mohan Chok, he erected a three roofed Agamachem temple and a unique temple with five superimposing roofs. After completely restoring the Mul Chok, he donated to the adjoining Taleju Temple. To the main temple of Taleju, he donated metal doors in 1670. He rebuilt the Degutale Temple built by his grandfather, Siva Simha, and the Taleju Temple in the palace square. As a substitute to the Indreswara Mahadeva Temple in the distant village of Panauti he built a Shiva temple, Indrapura, near his palace in the square. He carved hymns on the walls of the Jagannath Temple as prayers to Taleju in the form of Kali.
At the southern end of the square, near Kasthamandap at Maru, which was the main city crossroads for early traders, he built another pavilion named Kavindrapura, the mansion of the king of poets. In this mansion he set an idol of dancing Shiva, Nasadyo, which today is highly worshipped by dancers in the Valley.
In the process of beautifying his palace, he added fountains, ponds, and baths. In Sundari Chok, he established a low bath with a golden fountain. He built a small pond, the Naga Pokhari, in the palace adorned with Nagakastha, a wooden serpent, which is said he had ordered stolen from the royal pond in the Bhaktapur Durbar Square. He restored the Licchavi stone sculptures such as the Jalasayana Narayana, the Kaliyadamana, and the Kala Bhairav. An idol of Jalasayana Narayana was placed in a newly created pond in the Bhandarkhal garden in the eastern wing of the palace. As a substitute to the idol of Jalasayana Narayana in Buddhanilkantha, he channeled water from Buddhanilkantha to the pond in Bhandarkhal due bestow authenticity. The Kalyadana, a manifestation of Lord Krishna destroying Kaliya, a water serpent, is placed in Kalindi Chok, which is adjacent to the Mohan Chok. The approximately ten-feet-high image of terrifyingly portrayed Kal Bhairav is placed near the Jagannath Temple. This image is the focus of worship in the chok especially during Durga Puja.
With the death of Pratap Malla in 1674, the overall emphasis on the importance of the square came to a halt. His successors retained relatively insignificant power and the prevailing ministers took control of most of the royal rule. The ministers encountered little influence under these kings and, increasingly, interest of the arts and additions to the square was lost on them. They focused less on culture than Pratap Malla during the three decades that followed his death, steering the city and country more towards the arenas of politics and power, with only a few minor constructions made in the square. These projects included Parthivendra Malla building a temple referred to as Trailokya Mohan or Dasavatara, dedicated to Lord Vishnu in 1679. A large statue of Garuda, the mount of Lord Vishnu, was added in front of it a decade later. Parthivendra Malla added a pillar with image of his family in front of the Taleju Temple.
Around 1692, Radhilasmi, the widowed queen of Pratap Malla, erected the tall temples of Shiva known as Maju Deval near the Garuda image in the square. This temple stands on nine stepped platforms and is one of the tallest buildings in the square. Then her son, Bhupalendra Malla, took the throne and banished the widowed queen to the hills. His death came early at the age of twenty one and his widowed queen, Bhuvanalaksmi, built a temple in the square known as Kageswara Mahadev. The temple was built in the Newari style and acted as a substitute for worship of a distant temple in the hills. After the earthquake in 1934, the temple was restored with a dome roof, which was alien to the Newari architecture.
Jayaprakash Malla, the last Malla king to rule Kathmandu, built a temple for Kumari and Durga in her virginal state. The temple was named Kumari Bahal and was structured like a typical Newari vihara. In his house resides the Kumari, a girl who is revered as the living goddess. He also made a chariot for Kumari and in the courtyard had detailed terra cotta tiles of that time laid down.
UNDER THE SHAH DYNASTY
During the Shah dynasty that followed, the Kathmandu Durbar Square saw a number of changes. Two of the most unique temples in the square were built during this time. One is the Nautale, a nine-storied building known as Basantapur Durbar. It has four roofs and stands at the end of Nasal Chok at the East side of the palace. It is said that this building was set as a pleasure house. The lower three stories were made in the Newari farmhouse style. The upper floors have Newari style windows, sanjhya and tikijhya, and some of them are slightly projected from the wall. The other temple is annexed to the Vasantapur Durbar and has four-stories. This building was initially known as Vilasamandira, or Lohom Chok, but is now commonly known as Basantapur or Tejarat Chok. The lower floors of the Basantapur Chok display extensive woodcarvings and the roofs are made in popular the Mughal style. Archives state that Prthivi Narayan Shah built these two buildings in 1770.
Rana Bahadur Shah was enthroned at the age of two. Bahadur Shah, the second son of Prithvi Narayan Shah, ruled as a regent for his young nephew Rana Bahadur Shah for a close to a decade from 1785 to 1794 and built a temple of Shiva Parvati in the square. This one roofed temple is designed in the Newari style and is remarkably similar to previous temples built by the Mallas. It is rectangular in shape, and enshrines the Navadurga, a group of goddesses, on the ground floor. It has a wooden image of Shiva and Parvati at the window of the upper floor, looking out at the passersby in the square. Another significant donation made during the time of Rana Bahadur Shah is the metal-plated head of Swet Bhairav near the Degutale Temple. It was donated during the festival of Indra Jatra in 1795, and continues to play a major role during the festival every year. This approximately twelve feet high face of Bhairav is concealed behind a latticed wooden screen for the rest of the year. The following this donation Rana Bahadur donated a huge bronze bell as an offering to the Goddess Taleju. Together with the beating of the huge drums donated by his son Girvan Yudha, the bell was rung every day during the daily ritual worship to the goddess. Later these instruments were also used as an alarm system. However, after the death of his beloved third wife Kanimati Devi due to smallpox, Rana Bahadur Shah turned mad with grief and had many images of gods and goddesses smashed including the Taleju statue and bell, and Sitala, the goddess of smallpox.
In 1908, a palace, Gaddi Durbar, was built using European architectural designs. The Rana Prime Ministers who had taken over the power but not the throne of the country from the Shahs Kings from 1846 to 1951 were highly influenced by European styles. The Gaddi Durbar is covered in white plaster, has Greek columns and adjoins a large audience hall, all foreign features to Nepali architecture. The balconies of this durbar were reserved for the royal family during festivals to view the square below.
Some of the parts of the square like the Hatti Chok near the Kumari Bahal in the southern section of the square were removed during restoration after the devastating earthquake in 1934. While building the New Road, the southeastern part of the palace was cleared away, leaving only fragments in places as reminders of their past. Though decreased from its original size and attractiveness from its earlier seventeenth-century architecture, the Kathmandu Durbar Square still displays an ancient surrounding that spans abound five acres of land. It has palaces, temples, quadrangles, courtyards, ponds, and images that were brought together over three centuries of the Malla, the Shah, and the Rana dynasties. It was destroyed in the April 2015 Nepal earthquake.
VISITING
Kathmandu's Durbar Square is the site of the Hanuman Dhoka Palace Complex, which was the royal Nepalese residence until the 19th century and where important ceremonies, such as the coronation of the Nepalese monarch, took place. The palace is decorated with elaborately-carved wooden windows and panels and houses the King Tribhuwan Memorial Museum and the Mahendra Museum. It is possible to visit the state rooms inside the palace.
Time and again the temples and the palaces in the square have gone through reconstruction after being damaged by natural causes or neglect. Presently there are less than ten quadrangles in the square. The temples are being preserved as national heritage sites and the palace is being used as a museum. Only a few parts of the palace are open for visitors and the Taleju temples are only open for people of Hindu and Buddhist faiths.
At the southern end of Durbar Square is one of the most curious attractions in Nepal, the Kumari Chok. This gilded cage contains the Raj Kumari, a girl chosen through an ancient and mystical selection process to become the human incarnation of the Hindu mother goddess, Durga. She is worshiped during religious festivals and makes public appearances at other times for a fee paid to her guards.
WIKIPEDIA
Exhibition Dates: January 30 - February 16, 2018
Reception: Tuesday, January 30, 2018 5:00-7:00pm
Gallery hours are 10am - 5pm each day.
Ceramics Program, Office for the Arts at Harvard
224 Western Ave, Allston, Massachusetts 02134
This exhibition features ceramics in experimental architectural applications made by students from the Harvard Graduate School of Design during the Fall 2017 course, Material Systems: Digital Design and Fabrication.
Harvard University Graduate School of Design Material Processes and Systems Group (MaP+S)
with support from ASCER Tile of Spain
Led by: Professor Martin Bechthold and Jose Luis García del Castillo y López
Assisted by: Ngoc Doan, Saurabh Mhatre, Chien-Min Lu, Zach Seibold and Diana Yan
in collaboration with Harvard Ceramics Program
Consultants:
Kathy King, Director of Education
Geoff Booras, Instructional Ceramics Technician
Assisted by: Mark Burns, Artist In Residence; Casey Zeng, Ceramics Program Staff; Natalie Andrew, Independent Artist
Exhibition curated by Chien-Min Lu and Jose Luis García del Castillo y López.
Featuring the work of Harvard Graduate School of Design Students:
Sulaiman Alothman
Nicole Bakker
Andrew Bako
Kenner Carmody
Jiawen Chen
Olga Geletina
Margaret George
Iain Gordon
Jin Guo
Maitao Guo
Mia Guo
Nicolas Hogan
Ching Che Huang
Anqi Huo
Hyeonji Im
Aurora Jensen
Meng Jiang
Mari Jo
Francisco Jung
Haeyoung Kim
Yonghwan Kim
Ao Li
Xinyun Li
Lubin Liu
Marcus Mello
Nathalie Mitchell
Peter Osborne
Xiaobi Pan
Nathan Peters
Sejung Song
Ziwei Song
Alexandru Vilcu
Na Wang
Math Whittaker
Diana Yan
HyeJi Yang
Evelyn Zeng
Jianing Zhang
Xin Zheng
The translation between architectural design and the subsequent actualization process is mediated by various tools and techniques that allow design teams, fabricators and installers to engage the materiality of architecture. Over the past decade advances in material development have been catalyzed by increasingly robust implementations of digital design and fabrication techniques that have empowered designers through digital modeling, simulation, and the increasingly digital augmentation of all physical processes. Creative applications of material related technologies have produced new forms of expression in architecture, triggered a debate on digital ornament, and continue to advance the performative aspects of buildings. Yet we are only at the beginning of a new age of digital materiality…
The exhibition positions material systems as combinations of design technologies with material processing and manipulation environments. Material systems are positioned as central to a research based design enquiry that capitalizes on opportunities that emerge when craft-based knowledge is synthesized with CNC-machines, robotic technologies, additive manufacturing and material science. This year’s course will focus on ceramic systems and includes a collaboration with the Harvard Ceramics Program in Allston (consultant: Kathy King). The course builds on years of collaborative research by the Material Processes and Systems (MaP+S) group at the GSD. Ceramics is the first ever material created by mankind – it is omnipresent in the craft-studio as well as in high-volume manufacturing environments. Pleasing to the touch and easily manipulated by hand, it can just as easily be subject to digital technologies and robotic approaches. While ceramic-specific aspects of material design and manipulation will be taught emphasis is on understanding ceramics as a microcosm of material research that offers insights which transfer to work with almost any material used in architecture.
The course is supported by a grant from ASCER Tile of Spain. A selection of project will also be shown at the 2018 CEVISAMA in Valencia, Spain.
www.gsd.harvard.edu/course/material-systems-digital-desig....
The temple, or Roman sanctuary, above Terracina dates back to the fourth century BC, though much of the development belongs to the first and second centuries BC. The complex is large and spectacularly-situated, dominating the shoreline and sea. The sanctuary has long been assumed to have been dedicated to Jupiter, although Venus has been another suggestion.
Monte Sant'Angelo, 227m high, is the end of the Monti Ausoni mountain range. Descending straight to the sea, the mountain blocked the path of the Appian Way (Via Appia), which veered north of the summit until Trajan had the rock face cut to clear a route at sea level. This commanding position on a major communications route and above a port gave the site obvious significance, and the religious complex was designed on a large scale, to incorporate a military base.
The large complex consisted of several buildings constructed over several centuries. The principal temple would have dominated the skyline, sitting on a large platform above the arcaded substructure and accessed up twelve steps. Behind this building a colonnaded portico ran along the cliffs. At a short distance a smaller temple had its own levelled rocky base, while other features included an 'oracle's cave', cisterns and military headquarters. A huge wall with nine towers protects the headland.
The most impressive remains are those of the vaulting at the base of the main temple area. A sequence of eleven arches provide a panoramic and striking cloister facing the sea, while on the landward side, the passage opens onto a 60m-long vaulted hall.
Il tempio di Giove Anxur è un tempio romano costruito su un'imponente costruzione del I secolo a.C. sul monte Sant'Angelo, sopra la città di Terracina (LT).
Il monte Sant'Angelo, noto anche come monte Giove (per i Romani mons Neptunius, 227 m s.l.m.) costituisce l'ultima propaggine dei Monti Ausoni, che giunge fino al Mar Tirreno, chiudendo a sud la pianura pontina.
Sulle sue pendici meridionali era sorto il centro ausonio di Tarracina, poi volsco con il nome di Anxur e conquistato definitivamente dai Romani alla fine del V secolo. Nel 329 a.C. la città divenne colonia romana e nel 312 a.C. il monte fu aggirato alle spalle dal tracciato della nuova via Appia, tra Roma e Capua. A quest'epoca risalgono i primi terrazzamenti in opera poligonale, per l'erezione di un primo santuario, probabilmente legato al culto oracolare e forse non comprendente un tempio.
Alla seconda metà del II secolo a.C. si deve un rifacimento con una serie di ambienti addossatti alla roccia a monte (cosiddetto "piccolo tempio").
La facciata della grande sostruzione a terrazzaIn epoca sillana, agli inizi del I secolo a.C. si data infine una monumentale ricostruzione, con una cinta muraria e un campo militare per il controllo del passaggio della via Appia e il nuovo grande tempio, edificato su una scenografica terrazza di fondazione in opera incerta, con portico retrostante.
Dopo l'epoca romana il santuario fu distrutto e incendiato e i resti furono noti in epoca medioevale con il nome di "Palazzo di Teodorico". Nell'alto Medioevo nella zona del cosiddetto "piccolo tempio" si insediò un monastero dedicato a San Michele Arcangelo, dal quale l'intero colle prese il nome attuale. In particolare un corridoio interno di sostruzione fu trasformato in chiesa, con affreschi del IX secolo. Altre strutture medioevali (resti di una torre quadrata e di mura di recinzione e tracce di frequentazione del XIII secolo) testimoniano la continuazione dell'uso militare della sommità del colle.
Fonte : Wikipedia
The Morgan Street Drive-In Market opened at Morgan Junction (Fauntleroy, Morgan and California) in 1934. The tax assessor's photo dates from 1937.
I will be speaking about this building on May 20 at 2pm at High Point Library as bart of the Southwest Seattle Historical Society series SouthWest Stories. www.loghousemuseum.info/events/southweststories/
To discover about Seattle's drive-in markets, check out my article ba-kground.com/seattles-drive-in-markets/ .
This photo appears in my roundup of assessor's photos of Seattle's drive-in markets, ba-kground.com/car-architecture-seattle-photos/
From property file 563750-0005, address 6500 California Ave SW, Washington State Archives Puget Sound Regional Branch.
Abydos dates back to the dawn of Ancient Egyptian civilisation when it was established as the cult centre of the god of the Netherworld Osiris and the burial site for a number of the earliest kings. en.wikipedia.org/wiki/Abydos,_Egypt
Over the centuries several temples were constructed at the site on the edge of the desert, the Great Osiris Temple being at the heart of the god's cult but little remains of this structure. What visitors come to Abydos to see today are the far more substantial remains of the New Kingdom temples built by Seti I and his son Ramesses II.
The Temple of Seti I is the glory of Abydos, an impressive complex that originally comprised two large forecourts with towering pylons followed by a succession of pillared halls and chapels beyond. Today the forecourts and pylons are so ruined that only their lower parts remain, but beyond this the heart of the temple remains almost intact, and its many chambers, walls and pillars bear some of the very finest relief decoration in all of Egypt.
The interior is somewhat gloomy and takes a while to adjust to after the glare of the sun outside. The roof is largely a modern restoration in order to protect the ancient colouring that remains on much of the carving and admits little natural light. initially the decoration the visitor encounters in the first hypostyle hall is of a standard type, sunken relief from the reign of Ramesses II who fiinished his father's temple after the latter's death. It is only when one progresses into the second hypostyle halls and the group of chapels and chambers beyond that the fame of the art of Abydos becomes clear.
The relief sculpture of Seti I's reign are without parallel in the New Kingdom, the pinnacle of artistic achievement in the surviving temples of Egypt. The figures are all in raised (rather than the easier sunken) relief and the carving is of such delicacy that one can only assume that Seti must have placed great emphasis on the quality of the decoration he commissioned during his fifteen year reign (evidence of this can be seen in other projects commissioned by the king, but none more so than his temple at Abydos). The survival of much of the ancient colouring in many areas simply adds to the magic, with some scenes in pristine condition. Luckily the sort of vandalism that afflicted many temples during the post-Pharaonic period was only confined to one or two rooms and most decoration remains intact.
At the rear of the second hypostyle halls is a sequence of seven chapels dedicated to six major deities along with the pharaoh himself. Beyond these lie further sumptuously decorated rooms connected to various rituals of Osiris.
To the rear of the temple is a wing with further chambers accessed via a corridor inscribed with the famous Abydos 'King's List', which bears the cartouches of all the Pharaohs up to Seti's reign (with a few notable omissions). The corridor also leads out to a separate structure behind the temple known as the Osireon, a sunken monolithic chamber erected as a cenotaph to the god Osiris.
Some distance to the north of the Temple of Seti I lies the much smaller temple of his son Ramesses II (who decided to add his own temple in addition to finishing his father's). This is much less well preserved, with the walls only standing up to around three metres high, but much of the relief decoration of these lower courses remains, and much of the vivid colouring is beautifully preserved.
Abydos is one of Egypt's most important sites, both historically and artistically and will richly reward the visitor.