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Franklin Delano Roosevelt Memorial
Dedicated on May 2, 1997, the monument, spread over 7.5 acres (30,000 m2), traces 12 years of the history of the United States through a sequence of four outdoor rooms, one for each of FDR's terms of office. Sculptures inspired by photographs depict the 32nd president alongside his dog Fala. Other sculptures depict scenes from the Great Depression, such as listening to a fireside chat on the radio and waiting in a bread line. A bronze statue of First Lady Eleanor Roosevelt standing before the United Nations emblem honors her dedication to the UN.
Considering Roosevelt's disability, the memorial's designers intended to create a memorial that would be accessible to those with various physical impairments. Among other features, the memorial includes an area with tactile reliefs with braille writing for people who are blind. However, the memorial faced serious criticism from disabled activists. Some of the braille and reliefs were placed well above the reach of even a very tall person, rendering the braille pointless because no blind person could reach high enough to read it. The statue of FDR also stirred controversy over the issue of his disability. Designers decided against plans to have FDR shown in a wheelchair. Instead, the statue depicts the president in a chair with a cloak obscuring the chair. In deference to the disability advocates, the sculptor added casters to the back of the chair, making it a symbolic "wheelchair." These casters can only be seen if one looks behind the statue.
Many disability advocates remained upset with the FDR statue. A group spearheaded by the National Organization on Disability raised $1.65 million over two years to fund the addition of another statue that clearly showed the president in a wheelchair. In January 2001, the additional statue was placed near the memorial entrance showing FDR seated in a wheelchair much like the one he actually used.
Running water is an important physical and metaphoric component of the memorial. Each of the four "rooms" representing Roosevelt's respective terms in office contains a waterfall. As one moves from room to room, the waterfalls become larger and more complex, reflecting the increasing complexity of a presidency marked by the vast upheavals of economic depression and world war.
Tour guides describe the symbolism of the five main water areas as:
* A single large drop - The crash of the economy that led to the Great Depression
* Multiple stairstep drops - The Tennessee Valley Authority dam-building project
* Chaotic falls at varying angles - World War II
* A still pool - Roosevelt's death
* A wide array combining the earlier waterfalls - A retrospective of Roosevelt's presidency
Smaller waterfalls and a reflecting pool located between the "rooms" lend continuity to the water theme.
The memorial was designed by Lawrence Halprin, and includes sculptures and works by Leonard Baskin, Neil Estern, Robert Graham, Thomas Hardy, and George Segal. The national memorial is part of National Mall and Memorial Parks. As an historic area managed by the National Park Service, the memorial was administratively listed on the National Register of Historic Places on date of its establishment, May 2, 1997.
World Impact is a Christian missions organization dedicated to ministering God's love in the inner cities of America.
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Since it's establishment in June of 1996, the Dallas ministry has sought to share the love of Christ with the community through Bible clubs for children, youth ministries, church planting, and leadership training for indigenous leaders.
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History of World Impact
In 1965, Keith Phillips, a student at UCLA, began teaching Youth For Christ Bible clubs in Watts. He began recruiting BIOLA students to volunteer with him and the ministry to the urban poor grew. By 1971, God called Keith to full-time ministry and World Impact was incorporated. Full-time missionaries moved into the communities they served. Evangelism to children expanded to teens and whole families.
News of the ministry spread to other urban areas of the country and by 1972 World Impact was ministering in San Diego, California, and Wichita, Kansas. In 1975, Keith wrote about World Impact's experiences in They Dare to Love the Ghetto. In 1976, the St. Louis and Newark ministries began and World Impact moved into their present headquarters at 20th and Vermont in Los Angeles. In 1977, the Fresno ministry began.
During the 1970's, while retaining a strong emphasis on evangelism, World Impact became more intentional about discipleship. By 1981, Keith Phillips wrote The Making of a Disciple, still recognized as one of the seminal books on discipleship. Films depicting urban ministry, as well as urban ministry training materials, were developed.
In the early 1980's, World Impact started ministries to the whole person, while keeping its priority of evangelism and discipleship. In 1982, the Los Angeles Christian School was opened and Morning Star Ranch was acquired to disciple young men from the inner city. By 1984, World Impact began job training opportunities (Inner City Enterprises), a thrift shop (The Sonshine Shop), and the Newark Christian School, while writing a culturally-conducive "through-the-Bible" curriculum. Out of these experiences, Keith wrote No Quick Fix, explaining the need for ministry to the whole person and the importance of whole families.
In 1986, the Wichita Village property was acquired, from which the Good Samaritan Clinic was launched, an old Y.M.C.A building was remodeled for ministry in St. Louis, low-income housing was developed in Newark, and God provided THE OAKS camp, 65 miles north of Los Angeles. In 1988, the Chester, Pennsylvania, ministry opened, and ministry centers in San Diego and Fresno were remodeled.
During the 1980's, the efforts of evangelism and discipleship were bearing fruit and new believers were forming into worshiping communities, leading World Impact to plant culturally-relevant churches in the inner city. The massive numbers of immigrants from Central America and Asia, along with the growing numbers of urban poor, underscored the need to not only evangelize and disciple individuals, but to establish new churches among the poor. In 1990, church planting became the primary strategy to evangelize, equip, and empower the urban poor.
In the early 1990's, as national attention was focused on the inner-city during the Los Angeles riot, World Impact acquired Harmony Heart camp in Pennsylvania, began ministry in Oakland and San Francisco, opened schools in Watts and Chester, launched The Urban Ministry Institute (TUMI) and planted its first churches in various cities.
In 1996, World Impact celebrated its 25th anniversary as Deer Creek camp (outside Denver) and the Dallas ministry were added. Keith Phillips wrote about World Impact's emerging church planting ministry in Out of Ashes. In 1999, World Impact hosted the first of three conferences on urban church planting, called Crowns of Beauty, each of which welcomed over 1200 international delegates.
In 2000, World Impact began hosting its School for Urban Cross-Cultural Church Planting, training urban church plant teams from all over the nation. In 2001, The John Mark Curriculum was published to train cross-cultural missionaries and three TUMI satellite campuses were opened. By 2004, 20 churches had been planted in eight World Impact cities, and an auditorium at THE OAKS Adult Conference Center was completed, dedicated in honor of board member Dr. Jack Hayford.
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World Impact Center
2017 S. Ervay
Dallas, TX 75215
214-426-0044
Cropredy has ancient origins, a chapel in the church is dedicated to St Fremund, an anglo-saxon saint thought to be the son of King Offa. It's name combines the Old English croppe or hill and ridig, a small stream. The village is only a few miles from Banbury, in hilly country along the banks of the River Cherwell. Before the Dissolution of the Monasteries Cropredy belonged the Bishop of Lincoln. More recently Brasenose College, Oxford, has become a significant landlord giving it's name to the local pub.
Dramatic changes to centuries of agrarian life were heralded by the excavation of the Oxford canal which runs alongside the Cherwell south-east of the church. This busy waterway was superseded by the Great Western railway, the village even had it's own station until 1956.
Unusually Cropredy retains the ringing of the curfew bell, in Medieval times this was a signal to return home and 'cover their fires'. Roger Lupton local priest between 1487 and 1528 was so lost in dense fog that he could only find his way from nearby Chacombe by the ringing of Cropredy's bells. He founded a fund in gratitude which paid for the daily winding of the clock and tolling the bell morning, noon and night. The bell is still rung Tuesday and Thursday nights for five minutes after eight O'clock.
The village is best known for the Civil War 'Battle of Cropredy Bridge'. A rare Royalist victory at a time when the Parliamentary forces were in the ascendancy. In June 1644 the King slipped out of Oxford to avoid two Roundhead armies which were rapidly approaching. At this point the Earl of Essex chose to lead his army south and relieve the siege of Lyme Regis leaving Sir William Waller to pursue the King with half of the men. Waller shadowed the Royal army to Worcester only for the King to double back towards Banbury where the Parliamentary commander saw an opportunity to split the Royal forces which were strung out along the Daventry road. Waller's artillery crossed Cropredy bridge but were too far ahead of the infantry and were overrun. Fierce fighting followed but neither side achieved a significant advantage and a chance of capturing the King was lost. As children we were told stories of a phantom drummer boy.
Cropredy's most prominent claim to fame is their music festival founded when Fairport Convention played the village fete in 1976. Cropredy Music Festival grew from these modest beginnings and now attracts over 20,000 music fans every year.
St. Mary the Virgin is an impressive building constructed from the local rust-coloured ironstone. While part of the wall of the south aisle has been dated to c1050 the present church begins in the 13th century with significant 14th and 15th century additions. The south wall has two tomb recesses thought to be built for Simon de Cropredy and his son c1200. The church has an interesting 13th century parish chest and the chapel dedicated to the anglo-saxon saint Fremund has two 15th century screens, one of which has the initials AD which may stand for Alice Danvers. The nave arcading, tower and choir arches are Perpendicular in style with no capitals and continuous moulding from ground level. The tower is early 15th century with the belfry and parapets added 80 years later, There are eight bells, six from the late 17th century, two added in 2007 called Fairport and Villager. Fragments of a Doom survive above the chancel arch. The church has a 17th century pulpit and a rare pre-reformation eagle lectern which is said to have been hidden in the river before the Battle of Cropredy where it lost one of it's lion feet. The beak has a slot for collecting 'Peter's Pence'. There is a beautiful 15th century head of the Virgin Mary in stained glass which was found in the churchyard. There are two fonts, one Norman and one Victorian. In the tower is a magnificent clock by John Moore of Clerkenwell dated 1831.
Cropredy is just off the Daventry road a few miles from Banbury about an hour from Stratford-upon-Avon.
The Province is helping keep people safe by creating hubs of police, dedicated prosecutors and probation officers focused on tackling repeat violent offending in every region of the province. Learn more: news.gov.bc.ca/28552
The Pashupatinath Temple (Nepali: पशुपतिनाथ मन्दिर) is a famous, sacred Hindu temple dedicated to Pashupatinath and is located on the banks of the Bagmati River 5 kilometres north-east of Kathmandu Valley in the eastern city of Kathmandu, the capital of Nepal. This temple is considered one of the sacred temples of Hindu faith. The temple serves as the seat of the national deity, Lord Pashupatinath. This temple complex is on UNESCO World Heritage Sites's list Since 1979. This "extensive Hindu temple precinct" is a "sprawling collection of temples, ashrams, images and inscriptions raised over the centuries along the banks of the sacred Bagmati river" and is included as one of the seven monument groups in UNESCO's designation of Kathmandu Valley as a cultural heritage site. One of the major Festivals of the temple is Maha Shivaratri on which day over 700,000 devotees visit here.
The twelve Jyotirlinga (in India) are the body and the Jyotirlinga at Pashupatinath in Kathmandu (Nepal) is the head over this body.
The temple is one of the 275 Paadal Petra Sthalams (Holy Abodes of Shiva) on the continent. Kotirudra Samhita, Chapter 11 on the Shivalingas of the North, in Shiva Purana mentions this Shivalinga as the bestower of all wishes.
HISTORY
The temple was erected anew in the 15th century by Lichhavi King Shupuspa after the previous building had been consumed by termites. Countless further temples have been erected around this two -storied temple. These include the Vaishnav temple complex with a Ram temple from the 14th century and the Guhyeshwari Temple mentioned in an 11th-century manuscript.
LEGEND ABOUT THE TEMPLE ORIGIN
Pashupatinath Temple is the oldest Hindu temple in Kathmandu. It is not known for certain when Pashupatinath Temple was founded. But according to Nepal Mahatmaya and Himvatkhanda, the deity here gained great fame there as Pashupati, the Lord of all Pashus, which are living as well as non-living beings. Pashupatinath Temple's existence dates back to 400 A.D. The richly-ornamented pagoda houses the sacred linga or holy symbol of Lord Shiva. There are many legends describing as to how the temple of Lord Pashupatinath came to existence here. Some of them are narrated below:
THE COW LEGEND
Legend says that Lord Shiva once took the form of an antelope and sported unknown in the forest on Bagmati river's east bank. The gods later caught up with him, and grabbing him by the horn, forced him to resume his divine form. The broken horn was worshipped as a linga but overtime it was buried and lost. Centuries later an astonished herdsmen found one of his cows showering the earth with milk. Digging deep at the site, he discovered the divine linga of Pashupatinath.
THE LINCHCHAVI LEGEND
According to Gopalraj Vamsavali, the oldest ever chronicle in Nepal, this temple was built by Supuspa Deva, a Linchchhavi King, who according to the stone inscription erected by Jayadeva 11 in the courtyard of Pashupatinath in 753 AD, happened to be the ruler 39 generations before Manadeva (464-505 AD).
THE DEVALAYA LEGEND
Another chronicle states that Pashupatinath Temple was in the form of Linga shaped Devalaya before Supuspa Deva constructed a five storey temple of Pashupatinath in this place. As the time passed, the need for repairing and renovating this temple arose. It is learnt that this temple was reconstructed by a medieval King named Shivadeva (1099-1126 AD). It was renovated by Ananta Malla adding a roof to it. Thousands of pilgrims from all over the world come to pay homage to this temple, that is also known as 'The Temple of Living Beings'.
OTHER BELIEFS
There are several complex stories involving the origins of Pashupatinath. One story goes, in brief, that Shiva and Parvati came to the Kathmandu Valley and rested by the Bagmati while on a journey. Shiva was so impressed by its beauty and the surrounding forest that he and Parvati changed themselves into deers and walked into the forest. Many spots in the Kathmandu Valley are identified as places where Shiva went during his time as a deer. After a while the people and gods began to search for Shiva. Finally, after various complications, they found him in the forest, but he refused to leave. More complications ensued, but ultimately Shiva announced that, since he had lived by the Bagmati in a deer's form, he would now be known as Pashupatinath, Lord of all animals. It is said that whoever came here and beheld the lingam that appeared there would not be reborn as an animal.
FINDING OF SHIVA LINGA AT PASHIPATINATH TEMPLE
It is said that the wish-fulfilling cow Kamadhenu took shelter in a cave on the Chandravan mountain. Everyday Kamadhenu went down to the place the lingam was sunken into the soil and poured her milk on top of the soil. After ten thousand years some people saw Kamadhenu pouring milk on that same spot everyday, and started to wonder what that would be. So they removed the soil and found the beautiful shining lingam and started worshiping it.
TEMPLE COMPLEX
The area of Pashupatinath encompasses 264 hectare of land including 518 temples and monuments. Main pagoda style temple is located in the fortified courtyard within the complex guarded by Nepal Police and has a police outpost post along with living quarter within. In front of the western door there is a huge statue Nandi bull, in bronze. Along with many temples and shrines of both Vaishnav and saiva tradition.
TEMPLES AND SHRINES IN THE INNER COURTYARD
Vasuki nath temple
Unmatta Bhairav temple
Surya narayan temple
Kirti mukh bhairav shrine
Budanil kantha shrine
Hanuman shrine
184 shivaling shrine
TEMPLES AND SHRINES IN THE OUTER COMPLEX
Ram mandir
Virat swaroop temple
12 jyotirlingha and Pandra Shivalaya
Guhyeshwari Temple
MAIN TEMPLE ARCHITECTURE
This main temple is built in the Nepalese pagoda style of architecture. All the features of pagoda style is founded here like cubic constructions, beautifully carved wooden rafters on which they rest (tundal). The two level roofs are of copper with gold covering. The temple resides on a square base platform with a height of 23m 7 cm from base to pinnacle. It has four main doors, all covered with silver sheets. This temple has a gold pinnacle (Gajur). Inside are two Garbhagrihas, outer and inner. The inner garbhagriha or sanctum sanctorum is where the idol is placed and outer sanctum is an open corridor like space.
THE DEITY
The sacro sanctum, or the main idol is a stone Mukhalinga with a silver yoni base bound with silver serpent. The lingam is one metre high and has faces in four directions. These faces represents various ascepts of Shiva; Sadyojata (also known as Barun), Vamdeva (also known as Ardha nareshwor), Tatpurusha, Aghor & Ishana (imaginative). Facing West, North, East, South and Zenith respectively representing five primary elements namely earth, water, air, light and ether. Each face has tiny protruding hands holding rudraksha mala on right hand and a kamandalu on the other.Unlike other shiva lingams in India and Nepal this pashupati shiva lingam is always Dressed in its golden vastra except during abhishakam, so pouring milk and ganga jal is only possible during abhishakam through the main priests.
PRIESTS
Daily rituals of Pashupatinath are carried out by two sets of priests ;one being the Bhatt priests and other Bhandari. Bhatta or Bhatt are the one who performs the daily ritual and can touch the lingam, where as Bhadaris are the helper and temple care taker priests but are not qualified perform pooja rituals or to touch the deity.
Bhatta or Bhat are highly educated Vedic bhramin Scholars from Brahmin family from South Indian State Karnataka.Unlike other Hindu temples priesthood of Pashupatinath is not hereditary. Priests are selected from a group of scholars educated by Shri Shankaracharya Dakshinamnaya Peeth Sringeri on Rig Vedic Recitation, initiated in Pashupata Yoga by Kashi Math,Shiva Āgama and learned Recitation of Samaveda from Haridwar.After qualifying and fulfilling all those criteria they will be selected for Priesthood by Raj Guru of Pashupatinath Temple undergoing strict examination on Vedas and Shiva Agamas and then the qualifies are sent to Kathmandu for performing Puja and Daily Worship of Lord Shri Pashupatinath This tradition is reported to have started by the request of Adi Shankaracharya in the 8th century, who sought to unify the different states of Bharatam (Unified India) by encouraging cultural exchange. This procedure is also followed in other temples around Bharata-varsa which were sanctified by Adi Shankaracharya. The unique feature of this temple is that only 4 Bhatta priests can touch the deity.Current Bhatt priests of the temple are;
Ganesh Bhat (15th head priest of the Pashupatinath Temple aka Mool Bhat) from Udupi.
Ram Karanth Bhat from Mangaluru.
Girish Bhat from Sirsi.
Narayan Bhat(Recently appointed) from Bhatkal
Raghavendra Bhat (Priest for Vasuki Nath temple only)
Bhandaris or Rajbhandari are the treasurers, temple caretakers, and assistant priest of the temple.
These Bhandaris are the descendants of helper priests brought up by early Bhatts, but were allowed to settle in Kathmandu valley and later assimilated in existing Newar caste of Rajbhandari - a high-caste Chathariya/Kshatriya clan of Kashyapa gotra. Their main function is to help the Bhatta priest and perform maintenance of the inner Garbhagriha. They can have little or no Vedic knowledge but still qualify as assistant priests if they belong from the same family lineage and undergo some basic criteria like caste, gotra, lineage purity, educational qualification, etc. They work in set of four and change in every full moon day. There are a total of 108 Bhandaris.
ENTRY AND DARSHAN
Temple courtyard has 4 entrances in all directions.The western entrance is the main entrance to the temple courtyard and rest three entrances are only opened during big festival . Temple security (Armed Police Force Nepal) is selective regarding who is allowed entry into the inner courtyard . Practicing Hindus and buddhist of Indian and Tibetan descendent are only allowed into temple courtiyard . Practicing Hindus of western descent are not allowed into the temple complex along with other non Hindu Visitors. Sikh and Jain groups are allowed into the temple compound if they are of Indian ancestry. Others can look at the main temple from adjacent side of the river and has to pay a nominal fee of $10 (1000 Nepali rupee) for visiting hundreds of small temples in the external premises of the temple complex . The inner temple courtyard remains open from 4 am to 7 pm for the devotee but the Inner Pashupatinath Temple where the Lingam of lord Pashupatinath is established is open from 5am to 12 pm for the morning ritual and viewing and from 5pm to 7 pm for evening ritual. Unlike many other Saiva temples devotees are not allowed to enter in the inner-most Garbhagriha but are allowed to view from the exterior premises of the outer Garbhagriha.
FESTIVALS
There are many festivals throughout the year .Thousands of people attend these festival.The most important festival is the Maha Shiva Ratri .Bala chaturthi and Teej.
CONTROVERSY OF 2009
In January 2009, after the forced resignation by the chief priest of Pashupatinath temple, the Maoist-led government of Nepal "hand picked" Nepalese priests to lead the temple, thus bypassing the temple's long-standing requirements. This appointment was contested by the Bhandaris of the temple, stating that they were not against the appointment of Nepalese priests but against the appointment without proper procedure. After the appointment was challenged in a civil court, the appointment was overruled by Supreme Court of Nepal.However, the government did not heed the ruling and stood by its decision. This led to public outrage and protests over a lack of transparency. The paramilitary group of the CPN (Maoist), called YCL, attacked the protesters, leading to over a dozen injuries. Lawmakers and activists from opposition parties joined protests, declaring their support for the Bhatta and other pro-Bhatta protesters. After long dissatisfaction and protest by Hindus both in and outside Nepal, the government was forced to reverse its decision that had been declared illegal by the Supreme Court of Nepal and reinstate Bhatta priests.
2015 EARTHQUAKE
The main temple complex of Pashupatinath and the sanctum sanctorum was left untouched but some of the outer buildings in the World Heritage Site were damaged by the April 2015 Nepal earthquake.
WIKIPEDIA
Weizberg Church
The Roman Catholic Weizberg Church is located on a hill in the east of the town of Weiz in Styria. The high altar is dedicated to "Our Lady of Sorrows " .
Architectural History (other pictures are clickable at the end of page!)
Weizberg Church, seen from Oberfladnitz
Weizberg church, high above the city
When the first church on the hill Weizberg was erected is unclear. One suspects the middle of the 11th Century. It is a three-nave Romanesque basilica with a two-storey east tower. It was mid-14th Century (1357 ?) extended by the construction of a choir .
Since there were as windows only hatches under the roof, it was very dark in the church, what was often complained. Various attempts to improve the light conditions in the church by modifications failed and so the dean and archpriest Dr. Franz Leopold Riedlegger (1726-1755) decided to erect a new church. But he died before.
His successor, Dr. Paul Hieronymus Schmutz, thus figures as the builder of the new church. Work began in 1757. The shell construction, built by architect Joseph Hueber, was finished after something more then a year, on 8 December 1758 the picture of grace (a Pietà by the Master of Neustift in the first quarter of the 15th century ) was brought to the new church and the first service has been celebrated.
For the interior design of the one-naved late-Baroque building initially lacked the money. Not until 1769, the sculptor Veit Koniger and the painter Joseph Adam Ritter von Mölk which were also employed in the Tabor Church, could begin their work. On 22 July 1776 consecrated Bishop Joseph Philipp Graf Spaur von Seckau the church.
221 days needed native of Vienna Court painter (Hofmaler) Joseph Adam Knight von Mölk and his colleagues in 1771 for his frescoes. Theme of the five ceiling paintings are the five major Marian feasts of the liturgical year .
From Veit Koniger stems the magnificent high altar, on which the earlier mentioned Pietà is placed.
The 1775 completed pulpit stems from sculptor Jacob Peyer. Of him are also the two side altars. They are dedicated to Saints Anne and Joseph. The large altar pictures are the work of Knight of Mölk .
In a fire in 1792 the church roof and the roofs of the 44 meter high towers were damaged.
Already in the 12th Century, the church on the "Mountain of Heaven" was a popular pilgrimage church. The pilgrimages found, however, during the Reformation a temporary end. Only in the middle of the 17th Century the number of pilgrims increased again. During the reign of Emperor Joseph II, the number of pilgrims fell and never recovered until the present .
Looking into the sanctuary
The organ of the Weizberg church was built in 2001 by the company Mathis Orgelbau (organ building) and it has 31 stops on three manuals and pedal.
Memorial
In May 2011, next to the Weizberg church a memorial was erected to commemorate the systematic murder of the Roma and Sinti during the time of National Socialism. It was designed by artist Walter Kratner of Graz and shows a broken wheel axle of a freight car, which is understood as a symbol of deportation and genocide. Behind there is an orange-colored plate with the words "Porajmos". In early July of the same year by unknown part of a wheel axle of the memorial was overturned. The act was heavily criticized by Kratner and reported to the police.
Weizbergkirche
Die römisch-katholische Weizbergkirche liegt auf einer Anhöhe im Osten der Stadt Weiz in der Steiermark. Der Hochaltar ist der „Schmerzhaften Muttergottes“ geweiht.
Baugeschichte
Weizbergkirche, hoch über der Stadt
Wann die erste Kirche auf dem Weizberg errichtet wurde, ist unklar. Man vermutet die Mitte des 11. Jahrhunderts. Es handelte sich dabei um eine dreischiffige romanische Basilika mit einem zweigeschossigen Ostturm. Sie wurde Mitte des 14. Jahrhunderts (1357?) durch den Zubau eines Chores erweitert.
Da es als Fenster nur Luken unter dem Dach gab, war es in der Kirche sehr dunkel, worüber oft geklagt wurde. Verschiedene Versuche, durch Umbauten die Lichtverhältnisse in der Kirche zu verbessern, scheiterten und so entschloss sich der Dechant und Erzpriester Doktor Franz Leopold Riedlegger (1726–1755), eine neue Kirche errichten zu lassen. Er starb aber vorher.
Sein Nachfolger Doktor Paul Hieronymus Schmutz scheint daher als Bauherr der neuen Kirche auf. 1757 begannen die Arbeiten. Der Rohbau, errichtet unter Baumeister Joseph Hueber, war nach etwas mehr als einem Jahr fertig, am 8. Dezember 1758 brachte man das Gnadenbild (eine Pietà vom Meister von Neustift aus dem ersten Viertel des 15. Jahrhunderts) in die neue Kirche und feierte den ersten Gottesdienst.
Für die Innengestaltung des einschiffigen, spätbarocken Baus fehlte zunächst das Geld. Erst 1769 konnten der Bildhauer Veit Königer und der Maler Joseph Adam Ritter von Mölk, die auch in der Taborkirche beschäftigt waren, diese Arbeiten beginnen. Am 22. Juli 1776 konsekrierte der Bischof Joseph Philipp Graf Spaur von Seckau die Kirche.
221 Tage brauchte der aus Wien stammende Hofmaler Joseph Adam Ritter von Mölk mit seinen Mitarbeitern im Jahr 1771 für seine Fresken. Thema der fünf Deckengemälde sind die fünf großen Marienfeste des Kirchenjahres.
Von Veit Königer stammt der prächtige Hochaltar, auf dem die schon vorher erwähnte Pietà aufgestellt ist.
Die 1775 fertiggestellte Kanzel stammt von dem Bildhauer Jakob Peyer. Von ihm sind auch die beiden Seitenaltäre. Sie sind der Heiligen Anna und dem Heiligen Josef geweiht. Die großen Altarbilder stammen von Ritter von Mölk.
Bei einem Brand im Jahr 1792 wurden das Kirchendach und die Dächer der 44 Meter hohen Türme beschädigt.
Schon im 12. Jahrhundert war die Kirche auf dem „Himmelberg“ eine beliebte Wallfahrtskirche. Die Wallfahrten fanden allerdings während der Reformationszeit ein vorübergehendes Ende. Erst in der Mitte des 17. Jahrhunderts vermehrte sich die Zahl der Wallfahrer wieder. Während der Regierungszeit von Kaiser Joseph II. sank die Zahl der Pilger wieder und erholte sich bis in die Gegenwart nicht mehr.
Blick in den Altarraum
Die Orgel der Weizbergkirche wurde 2001 durch die Firma Mathis Orgelbau errichtet und verfügt über 31 Register auf drei Manualen und Pedal.
Mahnmal
Im Mai 2011 wurde neben der Weizbergkirche ein Mahnmal errichtet um der systematischen Ermordung der Roma und Sinti in der Zeit des Nationalsozialismus zu gedenken. Es wurde vom Grazer Künstler Walter Kratner gestaltet und zeigt eine zerbrochene Radachse eines Güterwaggons, die als Sinnbild für Deportation und Genozid zu verstehen ist. Dahinter befindet sich eine orangefarbene Tafel mit dem Schriftzug „Porajmos“. Anfang Juli desselben Jahres wurde von Unbekannten ein Teil einer Radachse des Mahnmals umgeworfen. Die Tat wurde von Kratner heftig kritisiert und polizeilich angezeigt.
Andrzej Pitynski's Mściciel (Avenger) is dedicated to Polish soldiers. This monument is also sometimes called the "Hussar" or "Polish Hussar" because the figure is that of a 16th century Polish Hussar in full armor. These elite heavy cavalrymen were known for their signature 'wings' This kneeling Hussar (bronze, 10 x 5 x 6 meters) watches over the final resting place of his brothers and sisters in arms - the Veterans cemetery at the Czestochowa Shrine.
Mściciel was unveiled on August 14, 1988.
Military campaigns are listed on the base
Niepodległość 1914 - 1918 (Independence)
Bitwa Warszawska 1920 (Battle of Warsaw)
Kampania Wrzesniowa 1939 (September Campaign)
Kampania Francuska 1940 (French Campaign)
Narvik 1940
Tobruk 1941
Battle of Britain 1940
Battle of Atlantic 1940 - 1944
Monte Cassino - Ancona - Bologna 1944
Falaise - Breda - Arnhem 1944
Powstanie Warszawskie 1944 (Warsaw Uprising)
There are two plaques on the base - a plaque dedicated to the victims of 1940 Katyn massacres and a plaque dedicated to the victims of the 2010 Polish Air Force Tu-154 crash in Smolensk.
Veterans cemetery at the National Shrine of Our Lady of Czestochowa - 654 Ferry Road in Doylestown, Pennsylvania 18901 - Google Map -
On 26 September 2013 in Sochi the International Olympic Committee (IOC), Sochi 2014 Organizing Committee, Russian Olympic Committee (ROC), Russian Olympic University (RIOU) and Sochi City Administration established a dedicated Sochi 2014 Olympic and Paralympic Games Archive.
More details here www.sochi2014.com/en/media/news/74272/
Jalakantesvara Temple (Tamil: ஜலகண்டேஸ்வரர் கோவில்) is an temple dedicated to Lord Shiva which is located in the Vellore Fort, Tamil Nadu State, India. The temple of the Vijaynagar period stands inside the Vellore Fort, which is under the control of the Archaeological Survey of India, along with the St. John's Church, Tippu Mahal, Hyder Mahal, Candy Mahal, Badhusha Mahal and the Begum Mahal.
HISTORY
According to legend, there used to a giant ant-hill at the location where the sanctum sanctorum of temple now stands. This ant-hill was surrounded by stagnant water, as a result of collection of rain water, and at some time a Shiva Lingam was placed in this water around the ant hill and worshiped. Chinna Bommi Nayaka, a Vijayanagar chieftain, who was controlling the fort had a dream where the Lord Shiva asked him to build a temple at that location. Nayaka, proceeded to demolish the anthill and build the temple in 1550 AD, and since the Lingam was surrounded by water (called Jalam in Tamil) the deity was called as Jalakandeswarar (translated as "Lord Siva residing in the water"). The temple was built during the reign of the Vijayanagaram king Sadasivadeva Maharaya (1540 - 1572 AD). The temple also has the statue of Sri Akhilandeshwari Amma, the consort of Jalakandeswarar.
ARCHITECTURE
The Jalakantesvara Temple is a fine example of Vijayanagaram Architecture. The temple has exquisite carvings on its gopuram (tower), richly carved stone pillars, large wooden gates and stunning monoliths and sculptures. These Vijayanagara sculptures are similar to the ones present in Soundararajaperumal Temple, Thadikombu, Krishnapuram Venkatachalapathy temple, Srivilliputhur Divya Desam and Alagar Koyil. The Gopuram of the tower is iver 100 ft. in height. The temple also has a Mandapam, with the hall supported by carved stone pillars of dragons, horses and yalis (lion like creature).
The temple itself built in middle of a water tank (called Agazhi in Tamil), and there is water surround the temple like a garland. The circumference of the water tank is 8000 ft. The wedding hall (Kalyana Mantapam) inside the temple has a 2 faced sculpture, that of a bull and an elephant. The water user for bathing the deity (abishekam) is drawn from an ancient well called the Ganga Gouri Thhertam, within the temple.
SPECIALTY
Behind the Nandi statue, there is an earthen lamp, which is said to revolve when some people place their hands on it. The revolving is said to indicate that their wishes have been granted. Some devotees of the temple worship the golden and silver lizard sculptures and the snake sculptures in order to get relief from 'sarpa dosham'.
MUTILATION
The temple was mutilated during the Muslim invasion and capture of Vellore Fort. Following the desecration of the temple during Muslim invasion and rule, worship in the temple was stopped. An Islamic structure was also built to serve as a makeshift mosque, after destroying an Amman (Nagalamman) Temple, which stood on that site. The temple was being used as an arsenal for nearly 400 years. On the fears of desecration, the main deity was moved away to the Jalakanda Vinayakar Temple in Sathuvacheri for safe keeping. The temple was vacant for nearly 400 years. In 1921, the Vellore Fort was handed over to the Archaeological Survey of India for maintenance. At that time, the temple was not used for worship, and the ASI was keen to maintain this status quo. However, in 1981, the deity was smuggled inside the fort and re-installed inside the temple, and worship re-instated.
RE-CONSECRATION 1981
Several attempts had been made in the 20th century, to re-instate the main deity inside the Jalakantesvara Temple. However, the Archaeological Survey of India wanted to maintain the status quo, an did want the temple to be used for worship. However, on 16 March 1981, the deity was removed from the Jalakanda Vinayakar Temple in Sathuvacheri and secretly smuggled inside the fort, hiding it inside a closed truck, and stealthily installed in the early morning hours.
According to AK Seshadhri, author of the book 'Vellore Fort and the Temple through the Ages', "The staff of ASI could do nothing to prevent the forcible action of the mob, except watch the happenings and complain the incident to the police and the district collector. The district authorities took no action, saying that this is a sensitive religious matter and therefore any preventive action would lead to a law and order problem…"
Consequently, the first kumbabishekam after re-consecration was held in 1982, followed by 1997 and 2011. For the third kumbabishekam in 2011, a special gold plated car are made at a cost of INR 30 million, and used nearly 7 kg Gold.
In 2006, the 25th anniversary of the re-consecration of the Jalakantesvara Temple was celebrated by taking out the deity in a grand procession passing through Long Bazaar, Saidapet, Kagitha Pattarai and Main Bazaar of Vellore.
GOVERNMENT TAKE OVER
On Saturday, 22 June 2013, the Department of Hindu Religious and Charitable Endowments, Government of Tamil Nadu took over the administration of the Jalakantesvara Temple, at the Vellore Fort, following government order dated 18 June 2013, asking the Assistant Commissioner of Vellore to take over the temple and assume charge as the 'Fit Person' (Thakkar) of the temple. Previously the temple was managed by a private trust called Sri Jalakanteswarar Dharma Sthabanam. The private trust had opposed the takeover, by approaching the Madras High Court. However, nearly 10 years of legal proceedings resulted in the court ruling in favor of the Government of Tamil Nadu. However, the temple structure is owned and maintained by the Archaeological Survey of India, with only the administration taken over by the government.
WIKIPEDIA
Dedicated to Josef K., the main character of The Process, the novel by Franz Kafka. Josef K., awakens one morning and, for reasons never revealed, is arrested and prosecuted for an unspecified crime.
These last days I remembered him as so many strange things happened in the financial markets and so many normal workers lost their savings and employments for reasons still not revealed.
The six-day festival dedicated in a long waterfall Hakusan shrine on January 6 (13:00 starts) every year is called in the alias “The festival which takes a flower " That has taken the lead in this festival is ennen performed in Todaiji in Nara, etc., and ennen of a long waterfall is an event of the Shinto-and-Buddhist-deities mixture to which the long waterfall 1 mountain-god Lord and an old priest pray for national peace and a bumper crop in the new year. It is suitable for the tradition of about 1000 year, ennen dance is simple and graceful folk performing arts, also all over the country, only several places are existing, and ennen of this long waterfall is designated as the significant intangible folk cultural asset of the country. five big paper hats with artificial flowers of the cherry tree, the chrysanthemum, the peony, the camellia, and mustard which takes a flowe began from the middle of this ennen and was hung by the ceiling of an oratory earthen floor, and about 6 meters in height -- brave young men -- 3 -- it will become a struggle for a flower to be taken if human ladder of half the next is constructed and dropped.If this flower is brought home, it is said that it becomes a good harvest, the safety of the family, and prosperity in business.
World Impact is a Christian missions organization dedicated to ministering God's love in the inner cities of America.
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Since it's establishment in June of 1996, the Dallas ministry has sought to share the love of Christ with the community through Bible clubs for children, youth ministries, church planting, and leadership training for indigenous leaders.
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History of World Impact
In 1965, Keith Phillips, a student at UCLA, began teaching Youth For Christ Bible clubs in Watts. He began recruiting BIOLA students to volunteer with him and the ministry to the urban poor grew. By 1971, God called Keith to full-time ministry and World Impact was incorporated. Full-time missionaries moved into the communities they served. Evangelism to children expanded to teens and whole families.
News of the ministry spread to other urban areas of the country and by 1972 World Impact was ministering in San Diego, California, and Wichita, Kansas. In 1975, Keith wrote about World Impact's experiences in They Dare to Love the Ghetto. In 1976, the St. Louis and Newark ministries began and World Impact moved into their present headquarters at 20th and Vermont in Los Angeles. In 1977, the Fresno ministry began.
During the 1970's, while retaining a strong emphasis on evangelism, World Impact became more intentional about discipleship. By 1981, Keith Phillips wrote The Making of a Disciple, still recognized as one of the seminal books on discipleship. Films depicting urban ministry, as well as urban ministry training materials, were developed.
In the early 1980's, World Impact started ministries to the whole person, while keeping its priority of evangelism and discipleship. In 1982, the Los Angeles Christian School was opened and Morning Star Ranch was acquired to disciple young men from the inner city. By 1984, World Impact began job training opportunities (Inner City Enterprises), a thrift shop (The Sonshine Shop), and the Newark Christian School, while writing a culturally-conducive "through-the-Bible" curriculum. Out of these experiences, Keith wrote No Quick Fix, explaining the need for ministry to the whole person and the importance of whole families.
In 1986, the Wichita Village property was acquired, from which the Good Samaritan Clinic was launched, an old Y.M.C.A building was remodeled for ministry in St. Louis, low-income housing was developed in Newark, and God provided THE OAKS camp, 65 miles north of Los Angeles. In 1988, the Chester, Pennsylvania, ministry opened, and ministry centers in San Diego and Fresno were remodeled.
During the 1980's, the efforts of evangelism and discipleship were bearing fruit and new believers were forming into worshiping communities, leading World Impact to plant culturally-relevant churches in the inner city. The massive numbers of immigrants from Central America and Asia, along with the growing numbers of urban poor, underscored the need to not only evangelize and disciple individuals, but to establish new churches among the poor. In 1990, church planting became the primary strategy to evangelize, equip, and empower the urban poor.
In the early 1990's, as national attention was focused on the inner-city during the Los Angeles riot, World Impact acquired Harmony Heart camp in Pennsylvania, began ministry in Oakland and San Francisco, opened schools in Watts and Chester, launched The Urban Ministry Institute (TUMI) and planted its first churches in various cities.
In 1996, World Impact celebrated its 25th anniversary as Deer Creek camp (outside Denver) and the Dallas ministry were added. Keith Phillips wrote about World Impact's emerging church planting ministry in Out of Ashes. In 1999, World Impact hosted the first of three conferences on urban church planting, called Crowns of Beauty, each of which welcomed over 1200 international delegates.
In 2000, World Impact began hosting its School for Urban Cross-Cultural Church Planting, training urban church plant teams from all over the nation. In 2001, The John Mark Curriculum was published to train cross-cultural missionaries and three TUMI satellite campuses were opened. By 2004, 20 churches had been planted in eight World Impact cities, and an auditorium at THE OAKS Adult Conference Center was completed, dedicated in honor of board member Dr. Jack Hayford.
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World Impact Center
2017 S. Ervay
Dallas, TX 75215
214-426-0044
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One of my contacts Duncan takes some amazing photos of swans so I'm dedicating my feeble attempt to him!
Mike and I will be gone today so no need to comment as I won't be able to visit you!
Stop The War Coalition rally "Hands Off The Middle East", Downing Street, London 12.03.2011
A small but dedicated group pf Stop The War Coalition members rallied outside Downing Street today before handing in a petition protesting against the Cameron government's growing support for a No-Fly Zone in Libya, which, apart from being unenforceable, is an act of war against a soverign state (which by a bizarre coincidence happens to have huge oil reserves) by a different name. Many Libyans, despite the violence being rained down on them by the murderous troops still loyal to Muammar Gaddafi do not want foreign states to get involved. They especially do not want American or NATO interference, which always ends up with America helping themselves a country's prime resources whilst shackling them with vast, punitive debt regimes under the IMF, guaranteeing that state's servitude to American foreign policy demands for generations to come. They want a Libyan solution to a Libyan problem.
On the other side of the argument are those who believe that, completely unchecked, Gaddafi's thugs will murder and torture freedom fighters and ordinary citizens with no fear of reprisals. Thousands have already vanished, dragged off by Gaddafi's troops. There are already reports of mass graves in various isolated areas away from the prying eyes of the foreign media.
Speakers at the rally were Chris Nineham (Officer, Stop The War Coalition), Lindsay German (Convenor, Stop The War Coalition), Egyptian activist Gigi Ibrahim, and Daniel Lember from CND. Afterwards a small delegation crossed the road to hand in a petition to No. 10.
Anti-war artist Chris Holden displayed some of his poignant artwork at the rally. To see more of his work, visit www.antiwarart.co.uk
All photos © 2011 Pete Riches
Do not use without my written permission
These dedicated volunteers spent the day calling local voters out of a Virginia field office.
Photo by OFA Virginia for Obama for America.
Dedicated to the designers, developers and engineers who build the world’s most engaging user interfaces. From the community, for the community.
Dedicated: Work by »Rait«, spotted in the Dedicated HoF at night. Early July 2013. – Thanx to Babak and the Shop-Crew.
Dedicated on Nov 19, 1992, the monument to police officers killed in the line of duty was designed by Texan Jesus Bautista Moroles who was born in Corpus Christi in 1950 and raised in Dallas. Shaped like a cross, the pink granite monument consists of 5 stepped pyramids, each 40 ft square at the base. Each pyramid has grassy levels and stairs in middle of each side. The central pyramid rises 12.5 ft from ground to apex. The names of fallen officers are etched on a granite stone just to the west of the larger memorial.
Featured on Houston Press blog "May 14 to 20: The Week in Art Photos": blogs.houstonpress.com/artattack/2011/05/may_14_to_20_the...
5340 8th St., Zephyrhills. A plaque dedicated on Dec. 11, 1979, reads: “Union Civil War veterans ad townspeople constructed this largest frame building in the county about 1910 as a meeting place for Garfield Post 39, Grand Army of the Republic (GAR), and a community center. The City of Zephyrhills, requested by Women's Relief Corps 9, auxiliary to the post, gave it to Zephyr Post 118, American Legion, first veterans group to organize after the GAR disbanded.” The Historic Places of Pasco County has: “Heart pine number sawed at the Greer Mill north of town and hauled by ox cart was used in constructing this first auditorium, concert hall, movie house, and community meeting place in Zephyrhills. The work force included a Mr. Black, Mr. White, Mr. Gray, and Mr. Green. A distinctive feature is the vintage stage curtain on which are painted advertisements for businesses and political figures of yesteryear. The spacious hall accommodates annual community-wide patriotic observances sponsored by the Zephyrhills United Veterans Council." July 24, 2008, photo.
East 42nd Street, Midtown Manhattan
The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.
History of Construction
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.
William Van Alen (1882-1954) studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "
His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.
'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.
The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.
In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.
The Chrysler Building and Art Deco
Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.
The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.
In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.
The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,
The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.
The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.
Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.
In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.
The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.
The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.
The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.
On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.
- From the 1978 NYCLPC Landmark Designation Report
The Palitana temples of Jainism are located on Shatrunjaya by the city of Palitana in Bhavnagar district, Gujarat, India. The city of the same name, known previously as Padliptapur, has been nicknamed "City of Temples". Along with Shikharji in the state of Jharkhand, the two sites are considered the holiest of all pilgrimage places by the Jain community. As the temple-city was built to be an abode for the divine, no one is allowed to stay overnight, including the priests. Every Jain believes that a visit to this group of temples is essential as a once in a life time chance to achieve nirvana or salvation.
This site on Shatrunjaya hill is considered sacred by Jains and have hundreds of temples. There are approximately 863 marble-carved temples on the hills. It is said that 23 tirthankaras (a human being who helps in achieving liberation and enlightenment), except Neminatha (a liberated soul which has destroyed all of its karma), sanctified the hill by their visits. The main temple is dedicated to Rishabha, the first tirthankara; it is the holiest shrine for the Svetambara Murtipujaka sect. Digambara Jain have only one temple here.
ETYMOLOGY
Jain temples are called as derasaras. Shatrunjaya means a "place of victory" or "which conquers enemies". There are 108 names of Shatrunjaya but only some of them are in common use.
GEOGRAPHY
The Gulf of Cambay is to the south of the Shatrunjaya Hills, and Bhavanagar town is to the north of the hills with the Shetrunji River flowing in between. Palitana, a city in the Bhavnagar district of Gujarat, is 2 kilometres away. The Palitana Temples are situated at the twin summits and the saddle linking them. The temple complex is located 56 kilometres southwest of Bhavnagar, a major pilgrimage centre for Jains. The summit is situated at an elevation of 2,221 m. Reaching it involves climbing over 3,750 stone steps. However, during the monsoon season the temples are closed for devotees.
PATHS
It takes approximately two hours to make the 3.5 kilometres climb. There are multiple routes. The shortest one goes around the outer walls of the temples on the hilltop and passes Angar Pir, the shrine of a Muslim saint who is reported to have protected the temples during Muslim invasions. A second route goes around the foot of the mountain. A large number of pilgrims take part in a third route in the month of Phalguna (February/March), which passes five sacred temple sites over a distance of 45 kilometres. Elderly pilgrims who cannot climb the stairs are carried on a doli (swing chair) carried by porters and charged based on the pilgrim's weight.
GROUNDS
From the top of Shatrunjaya are views of the Gulf of Cambay and the rugged, drought-affected landscape. The narrow streets or lanes in the temple complex are similar to the ones found in the medieval cities of Europe. The high walls surrounding the temples give the appearance of a fort. Important features include the Ashok tree, the Chaitra tree, Jaytaleti, four-mouthed idol of Bhagawan Mahavir, Hingraj Ambikadevi (known as Hinglaj Mata, the presiding deity of the hill), Kumarpal, Vimalshah and Samprati.
HISTORY
Palitana was a princely state of India till it merged with India after independence in August 1947. It was the capital of the Kingdom of Rajpipla and Gohil Rajput clan.
Rishabha sanctified the hill where he delivered his first sermon. It was his grandson Pundarik, grandson of Rishabha who received salvation at Shatrunjay, hence the hill was originally known as "Pundarikgiri". Bharata, the father of Pundarik and half-brother of Bahubali, also came to Shatrunjaya many times. He is also credited with building a temple here.
The Palitana temples were built over a period of 900 years starting in the 11th century. They were destroyed by Turkish Muslims invaders in 1311 AD, when the saint Jinaprabhasuri, who was then 50 years old, presided over the temples. Two years later, the rebuilding began. While some temple building activity took place under Samara Shah, it was only two centuries later that it picked up momentum, when in 1593, Hiravijayasuri (Chief of Tapa Gaccha) organized a major pilgrimage to this location to attend the consecration ceremony of the temple built for Rishabha by Tej Pal Soni, a merchant. Following this, there was proliferation of temples here.
The most important temples are those of Adinath, Kumarpal, Sampratiraja, Vimal Shah, Sahasrakuta, Ashtapada and Chaumukh. Some of them are named after the wealthy patrons who paid for the construction. Most of them which are now present date to the 16th century. In 1656, Shah Jahan's son Murad Baksh (the then Governor of Gujarat) granted Palitana villages to the prominent Jain merchant Shantidas Jhaveri, a Svetambara Jain, in 1656, and subsequently when all taxes were also exempted that the temple town further prospered. It was brought under the control of the Anandji Kalyanji Trust in 1730 to manage not only Palitana temples but also many other temples of Svetambara Jains, since the Mughal period.
It is said that sculptors' skills and capacity to carve with abrasive cords (not tools) the intricate designs was paid on the basis of the marble dust that they had collected every evening after their hard labour. Kumarpal Solanki, a great Jain patron, probably built the earliest temples.
History also makes a mention that Lunia Seth Tilokchand, a merchant from Ajmer led a very large contingent of pilgrims to the Shatrunjaya temples when he heard that there were some disturbances at the Angarshah Pir on the hills. But he continued his pilgrimage and pleased the Pir by his offerings. This tradition is followed to this day by his descendents by offering an expensive cloth to cover the dome of the shrine.
Many of these temples are kept in “mint” condition with large donations provided by the rich Jain merchant community.
RELIGIOUS PRACTICES
It is inferred that the temples are built in clusters known as tunks, as Jains undertake pilgrimage mostly on foot and hence they would like to reduce the distance of travel on foot to the minimum. As a religious practice they cover their mouth while offering puja to the tirthankaras at the temples so that they don't hurt any insects by swallowing them with an open mouth. Also, for this reason they do not offer open lighted lamps but offer aarti with covered lanterns. The religious practice also involves pilgrimage by fasting throughout the journey to and from the shrines. They also build their temples in white marble to demonstrate purity. Silence and prayers are the order of the day when one is climbing up the hills on pilgrimage. Fasting continues until they have returned to the auditorium of Anandji Kalyanji Trust at the foothill. Only the elderly and children can take the curd which can be purchased at the top of the hill.
RENOVATIONS
There have been frequent renovations and many of them are dated to the 16th century. New temples continue to be built here. Renovations occurred at least 16 times during the avasarpinikala (the descending half of the wheel of time)
ARCHITECTURE & FITTINGS
The Palitana temples are considered to be the most sacred tirtha (pilgrimage place) by the Jain community. There are hundreds of temples, with estimates ranging between 863 and 1,008. They are arranged in systematic groupings with variation in height and space. The buildings are carved in marble and are considered to be prayers in stone. They are grouped in nine separate wings or tuks, each wing having a separate central shrine or temple with minor shrines surrounding it. They have the unique features of the Chaumukh temple which is stated to be their creative preoccupation for large halls for holding discourses. This was prompted by their first tirthanakara’s discourse. It is an ensemble involving four sided buildings with doors so that images would be visible from all four sides or directions. The four sides are called the caturbimba (four sided views), which is considered auspicious from all directions. Their religious texts also are oriented towards building "cities of temples" like Palitana and Ranakpur, a particular feature in Jainism.
The larger temples have considerable marble halls with columns and towers, and plenty of openings, unlike Hindu temples. They are situated in separate enclosures, surrounded by high fortified walls. Many of the temples are very small buildings only about 0.28 m2, with Jain emblems, and sacred to Mahavira. The marble floors have tesselated patterns. The interiors are intricately carved, with carved ceilings with geometrical lace designs, clustered together to form a canopy.
The Adinath temple, which venerates Rishabha, is the main temple (in the apex of the northern ridge of the complex) in the complex and is the grandest. It has ornate architectural motifs, though in its overall plan, it is simpler than the Chaumukh temple. The jewellery collection of this temple is large, which can be seen with special permission from the Anandji Kalyanji Trust. The prayer halls of this temple (renovated in 1157 by Vagabhatta) is decorated with ornamental friezes of dragons. There are stairs from the quadrangle surrounding the temple which lead to a balcony from where one gets a scenic view of the temple complex. There are a series of domes with high spires, 1245 pitchers, 21 images of brightly coloured lions, four yoginis, ten digpals (guards), 72 devkulikas, 32 dolls and 32 toranas. There are three pradakshina routes, followed in a clockwise direction, which are associated with this temple. The first is circular and includes the Sahasrakuta temple, the foot-idols under the Rayan tree, the temple of idols of feet of Ganadhar, and the temple of Simandhar Swami. The second passage passes the new Bhagawan Adishwar temple, Mt. Meru, the temple of Samavasaran temple, and Sammet Shikhar temple. The third passage passes the Ashtapada temple, the Chaumukh temple.
The Adishvara Temple, dated to the 16th century, has an ornamented spire; its main image is that of Rishabha. The Chaumukh temple, built in 1616, has a four-faced Adinatha image deified on a white pedestal, each face turned towards the cardinal directions. Vimal Shah temple is a square structure with towers. Saraswatidevi temple, Narsinh Kesharji temple, and the Samavasaran temple, with 108 life-sketches in sculpture, are also notable. A modern temple, Samvatsarana, was built at the base of the hills of the main temple complex.
In the shrines, on a pedestal, are large figures of Mahavira, sitting with feet crossed in front, like those of Buddha, often decorated with gems, gold plates, and silver. The Adinath temple has an image 2.16 metres in height of a white-colored idol in the Padmasana posture. The main iconic image of Adinath, carved in fine piece of marble, has crystal eyes. Devotees offer flowers and sandal paste to the deity as they approach the statue for worship. The quadrangle opposite in front of the temples is elaborately designed. There is another shrine opposite to Adishwara temple where the Hindu saint Pundrick Swamy lived in the 5th century. After visiting Adishwara, a temple similar in design, Dilwara temple, is located to the right of the steps used for descending from the main shrine, which is also very elegantly designed with architectural piece in marble. In this temple, Suparswanatha is carved in the centre of a cube-shaped column; Adinatha and Parswanatha adorn the top and bottom of the column. Carvings on the ceiling, floor and the column are very elegantly sculpted. Parswanatha Temple is located in front of this temple.
CULTURE
BELIEFS
Every devout Jain aspires to climb to the top of the mountain at least once in his lifetime because of its sanctity to attain nirvana. The code for the climbers is stringent, in keeping with the rigours of the Jain faith. Food must neither be eaten nor carried on the way. The descent must begin before it is evening, for no soul can remain atop the sacred mountain during the night. The Shatrunjaya hills are considered by many Jains to be more important than the temple-covered hills of Jharkhand, Mount Abu and Girnar.
FESTIVALS
On one special day (Fagun Sud 13), which commonly falls in February/March, thousands of Jain followers visit the temple complex to attain salvation. Three times as many pilgrims come at this time, which is also called "6 Gaon".
The special festival day is the "Chha Gau Teerth Yatra" at the temple complex held on Purnima day (Full Moon Day) of Kartika month according to the Jain calendar, Vira Nirvana Samvat (October–November as per the Gregorian Calendar). Jains, in very large numbers assemble on this day at the temple complex on the hills as it opens after 4 months of closure during the monsoon season. During this pilgrimage, considered a great event in the life time of devout Jain, pilgrims circumambulate the Shatunitjaya Hills covering a distance of 21.6 km on foot to offer prayers to Lord Adinatha on the Kartik Poornima Day at the top of the hill.
Mahavir Jayanti, the birthday of Mahāvīra, is a notable festival celebrated at the temple complex. A procession carrying images of the tirthankara is made in huge decorated chariots, concurrently accompanied by religious ceremonies in the temples. Rituals include fasting and giving alms to the poor.
WIKIPEDIA
Cropredy has ancient origins, a chapel in the church is dedicated to St Fremund, an anglo-saxon saint thought to be the son of King Offa. It's name combines the Old English croppe or hill and ridig, a small stream. The village is only a few miles from Banbury, in hilly country along the banks of the River Cherwell. Before the Dissolution of the Monasteries Cropredy belonged the Bishop of Lincoln. More recently Brasenose College, Oxford, has become a significant landlord giving it's name to the local pub.
Dramatic changes to centuries of agrarian life were heralded by the excavation of the Oxford canal which runs alongside the Cherwell south-east of the church. This busy waterway was superseded by the Great Western railway, the village even had it's own station until 1956.
Unusually Cropredy retains the ringing of the curfew bell, in Medieval times this was a signal to return home and 'cover their fires'. Roger Lupton local priest between 1487 and 1528 was so lost in dense fog that he could only find his way from nearby Chacombe by the ringing of Cropredy's bells. He founded a fund in gratitude which paid for the daily winding of the clock and tolling the bell morning, noon and night. The bell is still rung Tuesday and Thursday nights for five minutes after eight O'clock.
The village is best known for the Civil War 'Battle of Cropredy Bridge'. A rare Royalist victory at a time when the Parliamentary forces were in the ascendancy. In June 1644 the King slipped out of Oxford to avoid two Roundhead armies which were rapidly approaching. At this point the Earl of Essex chose to lead his army south and relieve the siege of Lyme Regis leaving Sir William Waller to pursue the King with half of the men. Waller shadowed the Royal army to Worcester only for the King to double back towards Banbury where the Parliamentary commander saw an opportunity to split the Royal forces which were strung out along the Daventry road. Waller's artillery crossed Cropredy bridge but were too far ahead of the infantry and were overrun. Fierce fighting followed but neither side achieved a significant advantage and a chance of capturing the King was lost. As children we were told stories of a phantom drummer boy.
Cropredy's most prominent claim to fame is their music festival founded when Fairport Convention played the village fete in 1976. Cropredy Music Festival grew from these modest beginnings and now attracts over 20,000 music fans every year.
St. Mary the Virgin is an impressive building constructed from the local rust-coloured ironstone. While part of the wall of the south aisle has been dated to c1050 the present church begins in the 13th century with significant 14th and 15th century additions. The south wall has two tomb recesses thought to be built for Simon de Cropredy and his son c1200. The church has an interesting 13th century parish chest and the chapel dedicated to the anglo-saxon saint Fremund has two 15th century screens, one of which has the initials AD which may stand for Alice Danvers. The nave arcading, tower and choir arches are Perpendicular in style with no capitals and continuous moulding from ground level. The tower is early 15th century with the belfry and parapets added 80 years later, There are eight bells, six from the late 17th century, two added in 2007 called Fairport and Villager. Fragments of a Doom survive above the chancel arch. The church has a 17th century pulpit and a rare pre-reformation eagle lectern which is said to have been hidden in the river before the Battle of Cropredy where it lost one of it's lion feet. The beak has a slot for collecting 'Peter's Pence'. There is a beautiful 15th century head of the Virgin Mary in stained glass which was found in the churchyard. There are two fonts, one Norman and one Victorian. In the tower is a magnificent clock by John Moore of Clerkenwell dated 1831.
Cropredy is just off the Daventry road a few miles from Banbury about an hour from Stratford-upon-Avon.
An entire store dedicated to Pokemon items! Wanted to go here for years! #pokemon #pokemoncenter #tokyo
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2 Comments on Instagram:
juliiow: @michaelwuilfredo clica na LOCALIZAO das fotos.. e vê as fotos.. do poke centro que tem lá em Tokyo 😢😢😢😢😢 partiu morar lá ????
michaelwuilfredo: Top @juliiow
Te dedico estas fotos hechas en el parque que conoces. Te echamos de menos y como se q entras a leer todos los días, quiero decirte que te quiero mucho.
De todos modos, como dice Benedetti, para vos no es novedad
que el mundo
y yo
te queremos de veras
pero yo siempre un poquito más que el mundo.
A statue dedicated to Pablo Picasso by Miguel Ortiz Berrocal in the 'Jardines de Picasso', a small park just a kilometre or so west of the city centre on the Avenida de Andalucia. Just strolling around this city and taking in the diverse styles of architecture with their different colours/tones is a sheer delight. With a population of just over half a million, Málaga is the second largest city in Andalucia after Seville, the sixth biggest in Spain and, of course, the birthplace of artist, Pablo Picasso, and actor Antonio Banderas! It lies on the 'Costa del Sol' about 100 km (62 miles) east of the Straits of Gibraltar and only about 130 km (81 miles) north of Africa. For many tourists, Málaga is nothing more than an airport destination but for those willing to explore it a bit further, Málaga has much to offer in the way of historical monuments, serious retail therapy, good food, relaxing walks and views to die for! There are plenty more photos of Málaga and other Spanish towns/locations if you take a look at my 'Albums' page, www.flickr.com/photos/36623892@N00/sets/ - thank you.
There has been a church on this site for over 900 years and its name is usually taken to mean that it is the oldest of the City churches dedicated to the Virgin Mary. Stow, in his 1598 Survey of London, mentioned various dignitaries who were benefactors or who were buried in the early church. These include Richard Chaucer, vintner, a relative of the poet Geoffrey Chaucer.
In 1510, Sir Henry Keeble, a grocer and Lord Mayor, financed the building of a new church on the site. When he died in 1518, however, the tower was substantially unfinished and remained so until 1629 when two legacies enabled it to be completed. The church was said to have been among the largest and finest of the City's churches and a number of City notables were buried there. John Milton, the poet, married his third wife in the church in 1663. The parish registers date from 1558, the year Elizabeth I ascended the throne. All documents now extant are deposited in the Guildhall Library.
homepage.ntlworld.com/mothersole/history/history.htm
St Mary Aldermary is an Anglican church in Bow Lane in the City of London. Of medieval origin, it was rebuilt from 1510. Badly damaged in the Great Fire of London in 1666, it was rebuilt once more, this time by Sir Christopher Wren, unlike the vast majority of his City churches in a Gothic style.
There has been a church on the site for over 900 years. Its name is usually taken to mean that it is the oldest of the City churches dedicated to the Virgin Mary.[1] The patronage of the rectory of St Mary Aldermary belonged to the prior and chapter of Canterbury, but was transferred to the Archbishop of Canterbury in 1400.[2]
In 1510, Sir Henry Keeble financed the building of a new church. The tower was still unfinished when he died in 1518. In 1629, two legacies enabled it to be completed, and the work, begun 120 years before, was finished within three years.[3] Keble was buried in a vault beneath the floor of church, but his grave was not allowed to remain for long. Richard Newcourt recorded that
Sir William Laxton, who died in 1556, and Sir Tho. Lodge, who died in 1583, (both which were Grocers and had been Mayors of this City) were buried in the Vault of this Sir Henry Keeble , his bones unkindly cast out, and his Monument pull'd down, in place whereof, Monuments were set up of the others.[3]
John Stow mentions various dignitaries buried in the early church in his 1598 Survey of London. They include Richard Chaucer, vintner, said by Stow to be the father of the poet Geoffrey Chaucer.[2] John Milton married his third wife, Elizabeth Minshull in the church in 1663.The parish registers date from 1558, and are now deposited in the Guildhall Library.
St Mary Aldermary was badly damaged in the Great Fire of London of 1666,[4] although parts of its walls and tower survived. It was mostly rebuilt by Sir Christopher Wren in a Gothic style.[5] A legacy of £5,000 had been left by one Henry Rogers for the rebuilding of a church, and his widow agreed to use it to fund the reconstruction of St Mary's.[2] According to some sources, she stipulated that the new church should be an exact imitation of the one largely destroyed.[2]
The church as rebuilt has an aisled nave, six bays long, with a clerestory.[6] There is a short chancel.[6] The tower is attached to the south west corner of the building, and is entered through a western lobby. It is divided into storeys by string courses; the corners have octagonal turrets, terminating in what George Godwin called "carved finials of impure design". The nave and aisles are separated by arcades of clustered columns, supporting somewhat flattened Gothic arches. The ceilings are decorated with elaborate plaster fan vaulting. [7] The east wall of the chancel is set askew in relation to the axis of the church.[citation needed]
According to Nikolaus Pevsner, St Mary Aldemary is "the chief surviving monument of the 17th century Gothic revival in the City and – with Warwick – the most important late 17th century Gothic church in England."[8]
The parish of the church of St Thomas the Apostle, destroyed in the Great Fire and not rebuilt, was united with that of St Mary's.[1]
In 1781 a new organ was installed, built by George England and Hugh Russell.
St Mary Aldermary was damaged by German bombs in the London Blitz during the Second World War. ([9]) All the windows were shattered and some plaster fell from the vaulting but the building itself remained intact.
The church has been repaired and restored many times over the years. In 1876 -7 there were major changes to the interior: a new oak screen was inserted dividing the church from the lobby; the pews and stalls were replaced, the organ was moved from the western gallery to the chancel; the floor was repaved, new stained glass put into the windows, and a new reredos installed.[10]
The latest interior restoration was finished in April 2005, with special attention paid to the plaster ceilings and the memorials on the north wall. A service was held on April 21, 2005 to celebrate the restoration, presided over by Richard Chartres, the Bishop of London. From 2005 until 2009, Father John Mothersole was the priest-in-charge and oversaw much of the restoration work at that time. He was succeeded in 2010 by Reverend Ian Mobsby, initially as curate and then as priest-in-charge, who continues in post at present.
The church was designated a Grade I listed building on 4 January 1950.
Hoysaleswara temple (Kannada: ಹೊಯ್ಸಳೇಶ್ವರ ದೇವಸ್ಥಾನ) (also spelt "Hoysaleshwara" or Hoysaleshvara") is a temple dedicated to Hindu god Shiva. It was built in Halebidu (in modern Karnataka state, India) during the rule of King Vishnuvardhana of the Hoysala Empire in the 12th century. The construction was started around 1120 CE and completed in 1150 CE. During the early 14th century, Halebidu was sacked and looted by Muslim invaders from northern India and the temple fell into a state of ruin and neglect. Previously known as Dorasamudra or Dwarasamudra, Halebidu is 16 km from Belur, 31 km from Hassan and 149 km from Mysore, in the state of Karnataka, India.
HISTORY
According to art critic and historian S. Settar, from contemporary inscriptions it is known that the temple derives its name from the Hoysala ruler at that time, King Vishnuvardhana Hoysaleswara, though interestingly, the construction of the temple was initiated and financed by wealthy Shaiva (a Hindu sect) citizens of the city, prominent among who were Ketamala and Kesarasetti. The temple building activity was taken up in competition to the construction of the Chennakesava Temple at Belur, a Vaishnava (a Hindu sect) temple. Surrounded by numerous tanks, ponds and mantapas, the temple is built in the vicinity of the large Dorasamudhra lake. The tank preceded the temple by nearly 75 years. It is one of the largest temples dedicated to the god Shiva in South India.
TEMPLE PLAN
The temple is a simple dvikuta vimana (plan with two shrines and two superstructures), one for "Hoysaleswara" (the king) and the other for "Shantaleswara" (named after Shantala Devi, queen of King Vishnuvardhana) and is built with chloritic chist (more commonly known as Soapstone or potstone). The temple complex as a whole is elevated on a jagati (platform), which according to historian Kamath, is a feature that became popular in contemporary Hoysala constructions. According to art historian Foekema, the two shrines which are adjoining, face east and each have a mantapa (hall) in front. The two mantapas are connected giving a large and imposing view of the hall. Individually, each shrine is smaller than the one at the Chennakesava Temple at Belur and contains a simple linga, the universal symbol of the god Shiva. The plan of the inside of the temple is simple but the exterior looks different because of the introduction of many projections and recesses in the walls. The towers of the shrines that are missing must have followed the star shape of the shrine, just as in many existing well-preserved towers in other Hoysala temples. The superstructure over the vestibule which connects the shrine to the mantapa, called sukanasi (a low tower that looks like an extension of the main tower), and the row of decorated miniature roofs above the eaves of the hall are all missing. The temple was built at a height that provided the architects sufficient horizontal and vertical space to depict large and small sculptures. According to the art critic James Fergusson, the overall effect of the vertical and horizontal lines, the play of the outline, the effect of light and shade and the plan of the projections and recesses all amounts to a "marvellous exhibition of human labor to be found even in the patient east and surpasses anything in Gothic art". The outer walls of these temples contain an intricate array of stone sculptures. The temple of Halebidu, has been described by art critics James Fergusson and Percy Brown as an "outstanding example of Hindu architecture" and as the "supreme climax of Indian architecture".
The temple has four porches for entry and the one normally used by visitors as main entry is actually a lateral entrance (north). There is one entry on the south side and two on the east side, facing two large detached open pavilions whose ceiling is supported by lathe turned pillars. All entry porches have miniature shrines as flanking. In addition there is a sanctuary for the Sun god Surya, whose image stands 2.1 m tall. The pavilions enshrine large images of Nandi, the bull, an attendant of Shiva. The pavilions share the same jagati as the main temple. As in the Chennakesava temple, this temple originally had an open mantapa to which outer walls with pierced window screens made with the same material were erected, making the mantapa a closed one. The window screens are devoid of any art work. The interior of the temple is quite plain except for the lathe turned pillars that run in rows between the north and south entrances. According to Settar, the four pillars in front of each shrine are the most ornate and the only ones that have the madanika (chaste maidens) sculptures in their pillar brackets. There are no other madanikas in the temple.
SCULPTURES
The Hoysaleswara temple is most well known for its sculptures that run all along the outer wall, starting with an dancing image of the god Ganesha on the left side of the south entrance and ending with another image of Ganesha on the right hand side of the north entrance. In all there are two hundred and forty such images. According to the art critic Gerard Foekema, perhaps no other Hoysala temple is as articulate in sculpture as this is and these sculptures are "second to none in all of India". The most intricate of all sculptures are found in the lintels over two of the doorways, one on the south side doorway and the other on one of the eastern doorways.
HORIZONTAL TREATMENT
In this temple the Hoysala architects have broken from the tradition of using five moldings with friezes (which is the "old stlye") at the base of the temple, below the large wall sculptures and the window screens. The outer walls have two eaves that run around the temple. The top eaves is at the roof of the temple where the superstructure meets the wall, and the second eaves is about a meter below. In between there are decorated miniature towers (aedicule). Below the lower eaves are the wall sculptures and below them, the eight moldings. Historian Kamath calls this type of relief work "horizontal treatment". Each of the eight friezes carries an array of decoration. Going from the bottom where the temple wall meets the platform, the lowest frieze depicts charging elephants which symbolize strength and stability, above which, in order, are friezes with lions which symbolize courage, floral scrolls as decoration, horses symbolizing speed, another band of floral scrolls, depictions from the Hindu epics, mythical beasts called makara and finally a frieze with hansas (swans). According to Foekema, no two animals are alike in a total frieze span of over 200 m. In the epic frieze, the epics are not continuous as they are mixed with other depictions. After the construction of this temple, Hoysala architects used this new kind of horizontal treatment only fifty years later, making it a standard style, though they reduced it to six molding friezes.
GARUDA PILLAR
Another interesting object in the temple complex is the rare Garuda Sthamba (Garuda pillar). According to Settar, these are different from virgals (Hero stone). Garudas were elite bodyguards of the kings and queens. They moved and lived with the royal family and their only purpose was to protect their master. Upon the death of their master, they committed suicide. The rare pillar on the south side depicts heroes brandishing knives and cutting their own heads. The inscription honors Kuruva Lakshma, a bodyguard of Veera Ballala II. A devoted officer, he took his life and that of his wife and other bodyguards after the death of his master. This event is narrated in an old Kannada inscription on the pillar. A 2.4 m tall sculpture of Ganesha including the platform rests at the South entrance
WIKIPEDIA
The story of this monument is complex. It was originally dedicated in 1897 to commemorate the Diamond Jubilee of Queen Victoria, but also to remember a former Estate Steward of the Barton family; In 1977 it was restored to commemorate the Queen's Silver Jubilee. The village War Memorials are in the church, which is usually locked, and the parish council decided to have a more public memorial by attaching new plaques bearing names of the war dead to this monument. Since it is a listed monument that necessitated getting appropriate consents and the memorial was re-dedicated on 23rd April by Major the Revd Ivan Howitt, a retired priest who is also an Army Cadet Chaplain.
the main stars of the upcomming movie, "hunger games" showed up at the westfield mall in century city to promote their movie. it was a start of a multi-city tour. thanks to a friend of mine from archery, she hooked me up with a VIP wrist band which enabled me to do a quick meet and greet with the cast, however no photos were allowed until the Q&A part which was pretty packed and chaotic. all my shots of the cast were taken with my camera fully extended over my head and using live preview. and if you've ever held a D300, with a grip and a 70-200mm VRII lens... you know how heavy it is. all in all, it was a fun event and i'm looking forward to the movie even more now.
Dedicated to Love.
My Love.
This is my first attempt to "write" on an object more than 300 meters away.
Unfortunatelly the letters are not very clear but i hope you can read it!
Below you can find my other today attempts.
"Η αλήθεια έρχεται στο φώς, χωρίς να την αναζητούμε κάποτε"
Μενάνδρου - "Ραπιζομένη"
"Truth comes to light without looking for it"
Menandros
(I had this idea for more than a couple of months. I tried to find one lazer pointer but in 3 shops i was told that it was illegal and they had no stock.
Maybe due to some "nice guys" using them against opponents in football and basket games, or even some idiots use them against airplanes when landing, cars on highways etc!!
So while taking pics last night on a rather isoladed port, a nice Indi-Pakistan guy was selling torches, radios etc and also had lazer pointers. If i purchased it? What do you think?)