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St. Thomas Church, Catthorpe, Leicestershire.
Catthorpe is a village and civil parish in the Harborough district of Leicestershire, England. It is located beside the River Avon and close to the A5 road, and hence close to the tripoint formed by Leicestershire, Northamptonshire and Warwickshire; the nearest town is Rugby, around 4 miles to the southwest.
The parish church, dedicated to St Thomas, dates from the 14th century and is Grade II* listed.
Westbeth Artists Community, NYC. Westbeth Artists Housing is a nonprofit housing and commercial complex dedicated to providing affordable living and working space for artists and arts organizations in New York City. Its campus comprises the full city block bounded by West, Bethune, Washington and Bank Streets in the West Village neighborhood of Manhattan, New York City.
It occupies buildings that were the headquarters of Bell Telephone Laboratories before being converted in 1968-1970. That conversion was overseen by architect Richard Meier.[2] This low- to moderate-income rental housing and commercial real estate project, the largest in the world of its type, was developed with the assistance of the J.M. Kaplan Fund and federal funds from the National Endowment for the Arts. Westbeth is among the first examples of adaptive reuse of industrial buildings for artistic and residential use in the United States. It is a complex of 13 buildings in Manhattan's West Village. The complex was originally the site of Bell Laboratories (1868–1966), one of the world's most important industrial research centers and home to many inventions, including the vacuum tube, the condenser microphone, an early version of television,[5] and the transistor. [6]The complex was vacated by Bell Labs in the middle 1960s, and remained empty until the Westbeth project started later in the decade. Using seed money from the J.M. Kaplan Fund and help and encouragement from the National Council for the Arts (which has since become the National Endowment for the Arts), an ambitious renovation project designed to create live-work spaces for 384 artists of all disciplines was initiated under the direction of developer Dixon Bain. The project was the first significant public commission of Richard Meier, who later won the Pritzker Prize for architecture and who is still a significant figure in modern architecture. Westbeth opened in 1970 for artists, dancers, musicians, actors, writers and film makers.
Artists of all disciplines are admitted as tenants in Westbeth after review by a committee of residential tenants in their discipline. They must also meet certain income requirements at the time of admission. (The waiting list for new residential tenants was closed in 2007.)
In addition to its residential component, there are also large and small commercial spaces, performance spaces, and rehearsal and artists' studios.[7] Westbeth is home to a number of major cultural organizations, including The New School for Drama, the LAByrinth Theater Company, the Martha Graham Center of Contemporary Dance, the Brecht Forum, and Congregation Beit Simchat Torah, the first LGBT synagogue in New York and the largest in the world, with more than 800 members. On Oct. 25, 2011, Westbeth was designated a landmark by the New York City Landmarks Preservation Commission. New York City landmark.
Explore 178
Thanks Tony for Identification.
Common name: Satawari, Wild Asparagus • Hindi: सतावरी satawari, bojhidan, शतवीर shatavir • Manipuri: নুংগাৰৈ Nunggarei • Marathi: सतावरी मूल Satavari-mul, आसवेल Asvel • Tamil: ஸதாவரீ Sadavari, Tannir-muttan-kizhangu, கிலவரீ Kilavari • Malayalam: ചതവലീ Chatavali, സതവലീ Satavali • Telugu: challa-gaddalu, challagadda, ettavaludutige • Kannada: aheruballi, ashadhi, halarru-makkal • Bengali: সতমুলী Satamuli, সতমূল Satamul • Oriya: ବରୀ Vari • Urdu: ستاور Satawar, شقاقل مسری Shaqaqul misri • Assamese: সতোমূল Satomul • Sanskrit: Abhiru, शतावरी Shatavari, हिरण्यस्रिंगी Hiranyasringi • Mizo: Arkebawk
Botanical name: Asparagus racemosus Family: Liliaceae (Lily family)
Synonyms: Asparagus volubilis
Satawari is a woody climber growing to 1-2 m in height, with leaves like pine needles, small and uniform and the flowers white, in small spikes. It contains adventitious root system with tuberous roots. Stems are climbing, branched, up to 2 m; branches usually distinctly striate-ridged. Leaves are just modified stems, called cladodes. Branches contain spines on them. Inflorescences develope after cladodes, axillary, each a many-flowered raceme or panicle 1-4 cm. Pedicel 1.5-3 mm, slender, articulate at middle. Flowers are white with a pink tinge, 2-3 mm, bell-shaped with 6 petals. Stamens equal, ca. 0.7 mm; anthers yellow, minute. Within India, it is found growing wild in tropical and sub-tropical parts of India including the Andamans; and ascending in the Himalayas up to an altitude of 1500 m. Flowering: October-November.
Medicinal uses: In Ayurvedic medicine, the root of Satavari is used in the form of juice, paste, decoction and powder to treat intrinsic haemorrhage, diarrhoea, piles, hoarseness of voice, cough, arthritis, poisoning, diseases of female genital tract, erysipelas, fever, as aphrodisiac and as rejuvinative.
Dedicated to Jean-Claude Auert.
Don't invite this photo in any group, please.
Ho esitato a lungo prima di pubblicare queste foto. Alla fine, per mantenere una promessa, ho deciso per la loro pubblicazione, sperando nella comprensione di tutti. Le dedico alla memoria di Jean-Claude Auert e del mondo che amava.
I hesitated long before publishing these photos. Finally, for to keep a promise, I decided to publish them, hoping for comprehension by all. Is dedicated to the memory of Jean-Claude Auert and the world he loved.
Prairie dogs (genus Cynomys) are burrowing rodents native to the grasslands of North America. There are five different species of prairie dogs: black-tailed, white-tailed, Gunnison's, Utah and Mexican prairie dogs. They are a type of ground squirrel, found in the United States, Canada and Mexico. In the U.S., they range primarily to the west of the Mississippi River, though they have also been introduced in a few eastern locales. They are herbivorous, and will eat all sorts of vegetables and fruits. Prairie dogs are named for their habitat and warning call, which sounds similar to a dog's bark. Its genus, Cynomys, derives from the Greek for dog mouse.
Shrine dedicated to Filipina revolutionary Melchora Aquino de Ramos. "Tandang Sora" means "Elder Sora," a title given to her in respect to her age at the time she started assisting the independence movement (she was already 84 - the Revolution broke out 1896). Her home and a store she operated became a refuge for sick & wounded revolutionaries and secret meetings of the Katipuneros (revolutionaries). "Grand Woman of the revolution," "Mother of Balintawak," "Mother of the Katipunan," "Mother of the Philippine Revolution" are also affectionate titles referring to her.
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Commonly known as Hellebores, members of the genus Helleborus comprise approximately 20 species (ongoing fieldwork may see this figure change) of herbaceous perennial flowering plants in the family Ranunculaceae, within which it gave its name to the tribe of Helleboreae. Many species are poisonous.
The genus is native to much of Europe, from western Great Britain, Spain and Portugal, eastward across the Mediterranean region and central Europe into Romania and Ukraine, and along the north coast of Turkey into the Caucasus. The greatest concentration of species occurs in the Balkans. One atypical species (H. thibetanus) comes from western China; another atypical species (H. vesicarius) inhabits a small area on the border between Turkey and Syria.
Helleborus è un genere della famiglia delle Ranunculaceae, noto col nome comune di elleboro; originario dell'Europa, Caucaso e Asia Minore.
I fiori dell'elleboro sono formati da 5 sepali che sono diversamente colorati ed assumono spesso un aspetto petaloide. Questi sepali circondano e proteggono dei nettari che derivano dalla trasformazione dei veri petali. I sepali rimangono persistenti dopo l'impollinazione e studi condotti in Spagna suggeriscono che il calice persistente possa contribuire allo sviluppo dei semi .
Shrine dedicated to Filipina revolutionary Melchora Aquino de Ramos. "Tandang Sora" means "Elder Sora," a title given to her in respect to her age at the time she started assisting the independence movement (she was already 84 - the Revolution broke out 1896). Her home and a store she operated became a refuge for sick & wounded revolutionaries and secret meetings of the Katipuneros (revolutionaries). "Grand Woman of the revolution," "Mother of Balintawak," "Mother of the Katipunan," "Mother of the Philippine Revolution" are also affectionate titles referring to her.
Charlieu Abbey, founded already in 872 was dedicated to Saint Fortunatus, who like Saint Hilary, whom we met in Semur-en-Brionnais, was bishop of Poitiers (600/610). In 932 the abbey was annexed by Cluny, one of the first acquisitions of Cluny, that was founded 910.
Pope Urban II consecrated the new church here in 1094. This has been already the third church here. The narthex was added 1130. The layout of the church is similar to that one of the priory church in Anzy-le-Duc (25kms to the north). Both churches have architectural "roots" in Cluny II, that got demolished in 1088 to make room for Cluny III.
The Benedictine community went through the centuries, the village Charlieu prospered. Times got harder for the monks in the 18th century.
In September 1792 a Revolutionary mob broke into the abbey - and burnt all records. In 1795 the church was sold as a quarry for building materials. The eastern side of the church is gone since then. Of the church only the narthex and the westernmost bay still exist - as ruins. Some parts of the monastery, like the cloister, were reconstructed.
Here is the "Agnus Dei", that tops the right (larger) tympanum. The sheep only lost one leg, but seems otherwise pretty untouched. The wool is perfectly carved. The sheep has a little tired facial expression, no wonder after the turmoil, that happened after the Revolution.
St. Salvator's Cathedral, dedicated to the Risen Savior and to St. Donatian and located in Bruges , is the main church of the Diocese of Bruges .
History
This church was not built to become the city's cathedral. She only assumed this status in 1834. Originally, Sint-Salvator was a Romanesque stone church founded in the 9th century . Then the Sint-Donaaskerk , in the heart of Bruges, on the Burgplein , was one of the most important religious buildings of the city. At the end of the 18th century, Bishop Felix Brenart went into exile. The diocese was abolished and St Donaa's Cathedral was sold as a national asset and demolished.
In 1834, the diocese of Bruges was re-established and the Ghent auxiliary bishop Frans René Boussen became the new bishop of Bruges. The St. Salvator's Church officially became the St. Salvators and St. Donaas Cathedral. However, the building did not quite resemble a cathedral. It was less impressive than the nearby Church of Our Lady . Sint-Salvator therefore had to be adapted to his new status. This was done, among other things, through the internal decoration, in which works of art from the former St. Donaas Cathedral were recovered.
The building
The Romanesque-Gothic west tower (79 m) still has the tuff and sandstone substructure of the Romanesque church from 1127-1166. This is the oldest part of the church. Three echo holes, traces of the Scheldt Gothic , were discovered during repairs in 1992-1993 and reopened.
The outside gives the impression of a sturdy castle. This tall Gothic building has no flying buttresses but heavy buttresses. The lateral pressure of the vaults is absorbed by the western tower, side aisles and transepts; sufficient for the relatively short church nave. The corner turrets of the transepts refer to the Scheldt Gothic.
Characteristic of the High Gothic period are the transepts, completely opened up by the large windows with rich tracery, divided into four parts, along which a gallery runs.
The expansion from 1480 to 1550 created an unusual relationship between the parts of the building. The choir, the transepts and the ambulatory with the five radiating chapels take up more than half of the surface. The Brabant late Gothic style is noticeable on the outside through the large windows with variously refined tracery and the elaborate cornice.
Overview of construction history
Like many other medieval buildings, St. Salvator's Cathedral has often undergone renovations and changes:
9th century: Romanesque chapel
According to tradition, Sint-Elooi built a chapel around 646. Historically, the church was founded in the 9th century by the older parish of Snellegem , which may trace its roots back to Sint-Eloi. The small chapel was elevated to a parish church in 1089.
1127: Romanesque church
After a fire in 1116, construction of a large Romanesque church began in 1127, which was destroyed by another fire in 1166. The lower structure of the tower has been preserved.
1250–1350: Gothic church
The main parts still have characteristics of the Scheldt Gothic, a transitional style between Romanesque and Gothic style. The choir, modeled on that of Tournai, was strongly influenced by French High Gothic.
1480-1550: ambulatory and radiating chapels
After a third fire in 1358, the church was expanded during the restoration. Jan van den Poele built the ambulatory with five radiating chapels in Brabant late Gothic from around 1480.
1834: cathedral
A new chapter building was built next to the south aisle from 1837 onwards. Karel Verschelde 's proposal to demolish the tower and extend the nave of the church by three bays and complete it with a new tower did not go ahead.
1839: fire and new tower
After the fire of 1839, the tower was restored and a higher superstructure built in the neo-Romanesque style (1843-1846), based on a design by the English architect Robert Chantrell , executed by the Bruges architect Pierre Buyck . In 1871 the tower was topped with a spire, designed by architect Eugène Carpentier .
Significant interior embellishment works were carried out, some of which were carried out on the advice of architect Jean Bethune and in neo-Gothic style (1874-1875).
1912-2010
In 1912, the chapter building from 1838 was demolished and new chapter and museum rooms were built according to a design by Adolf Duclos .
In 1935, Bishop Hendrik Lamiroy decided for liturgical reasons to move the rood loft and organ to the back of the church, thereby opening up the choir.
From 1976 onwards, thorough restoration and consolidation of the tower and the external church were carried out for a quarter of a century. Archaeological excavations also took place in the church.
In 2011, the thorough renovation of the church began, with extensive painting and restoration. In 2013, the repairs and refreshing of the nave and the aisles were completed. In 2014, similar work began on the choir, the transept, the ambulatory, the garland chapels and the sacristy, completed in 2017. This was followed by the controversial restoration and duplication of the organ into two organs.
Pulpit
The pulpit in rococo and Louis XVI style was built between 1777 and 1785, according to a design by Hendrik Pulinx . Opinions about the aesthetic quality in the 19th century were not unambiguously positive. For example, Karel Verschelde spoke about “the most precious yet most insignificant piece of art that the church council created in the course of the 18th century”, which has “neither life nor expression”, regretting that “the stiff and insensitive construction style of that time was preferred”. Medard Verkest is also not entirely convinced: “The pulpit is somewhat stiff; it lacks life and grace in conception and yet it is remarkable as a material embodiment. More craftsmen and artists worked on not one piece of furniture in this church; not one has cost more." The pulpit is made of acajou wood and the wood, from the Caribbean, for the tub was supplied by carpenter Andreas Lombaert .
Organs
In 2015, the file was approved for the restoration of the two organs in the cathedral. The file explained the restoration as follows:
The romantic Klais organ will be placed at the back of the rood loft and the baroque Van Eynde organ on a rood loft in front of the choir entrance of the southern transept. Because the pipework of the Van Eynde organ is located in the Klais organ, the restoration of both organs must be done simultaneously.
The restoration of the Van Eynde organ is complex, because the historic interior has suffered a lot of damage due to neglect: for example, the 18th century windchests of the main organ were left outside in the elements for a long time. The restoration of the organ case with its abundant ornamentation and numerous statues also requires intensive and specialized restoration work. The designers declare that Van Eynde's masterpiece will once again be heard in its full sound richness and at a suitable pitch.
A largely new cabinet will be made for the Klais organ in which a symphonic organ will sound: according to the designers, more powerful and mainly more differentiated than in its existing state. The existing Klais organ is one of the most monumental in Flanders, thanks to the imposing Van Eynde case, which forms the central part of it. The new organ case will be slightly larger than the existing case, and will mainly have more depth so that appropriate space is freed up for sounding out the pipes and for maintenance and tuning work. In its new state, the organ will also consist of a main work, a positive, a swell work and a pedal work, together accounting for 55 registers or games. The total number of pipes is 3562, the largest of which will be more than 8 meters long. The design of pipes and cabinet is contemporary.
Main works of art
St. Salvator's Cathedral has many works of art, some of which come from the destroyed predecessor St. Donatian. Most striking are the tapestries from Brussels, which were woven by Jasper van der Borcht in 1731, following the example of the paintings of the Brussels painter Jan van Orley . They were purchased by Bishop Hendrik Jozef van Susteren for Saint Donatianus. Sint-Salvator also owns the original paintings that were made as cardboards for the tapestries.
From the choir you can admire the original 17th century rood loft, which was moved in the twentieth century, and the cathedral organ is also worth mentioning. The image of God the Father in the center of the rood screen is by Artus Quellinus the Younger . The cathedral has 17 paintings by Jacob van Oost . In addition, there is also work by Rogier Van der Weyden , Dirk Bouts , Jan Garemijn , Lanceloot Blondeel , Pieter Pourbus and Hugo van der Goes .
In the church hangs a portrait of Count Charles the Good , murdered in 1127, from St. Donaas Cathedral .
The triptych with the Martyrdom of Saint Hippolytus by Dirk Bouts and his studio hangs in the museum (called treasury) of St. Salvator's Cathedral. Hugo van der Goes painted the founders on the left panel. There is also the Calvary from around 1520.
Art theft
In November 2009 , several masterpieces from the goldsmith's collection were stolen in a spectacular art theft . The thieves broke into the sacristy of the canons and destroyed the secure display cases. The alarm system did not work sufficiently. The stolen pieces are of a difficult to estimate value.
Among the looted pieces are:
the signet ring of Hendrik Lamiroy ;
the pectoral of Hendrik Jozef van Susteren ;
a tower monstrance by Jan (Baptist) Vandamme (1900);
an 18th-century chalice by Jan Baptist Walgrave;
a chalice by François Gheuns (1639 to 1640): inscription, inside the base: + DVDZEELE 16 [coat of arms] 40 PROC HIE;
a reliquary cross by François Gheuns, ca 1624-1625 made of rock crystal, marbled stone, semi-precious stones and enamel;
a chalice donated by the Van Zuylen van Nyevelt family ;
a rock crystal reliquary cross, 18th century (height 38.5 cm);
a relic monstrance of St. Elooi, 15th/16th century;
a ray monstrance, with crystals by Thomas Lyns, 17th century (70 cm);
a neo-Gothic chalice by Bourdon (1896) gilt and enamel, with inscription, engraved: Calicem salutaris accipiam et nomen Domini invocabo;
a ray monstrance by Adriaan Pierins senior, 17th century with precious stones;
a chalice by Antoon Kerckhove with the inscription DEKEN S ... IER + ... STRAETE + ... ROES + PIE ... VS + IA ... ... GREFFIER.
I have a dedicated garden sketchbook which I have been using in preparation for upcoming Garden Sketchabouts - first one this Saturday!!!
I wasn't sure what to do for the title page - somehow I wanted to include the logo and my sketching tools (keeping up my usual tradition). Since I first started this book the garden logo has changed and all of a sudden last night when I was about to go to bed I had an idea of how to combine the two...
You can see the logo here
www.rbgsyd.nsw.gov.au/AutumnOfTheArts/sketchabout
From Saturday 12 March - 18 April, the Royal Botanic Garden Sydney will host a free afternoon Sketchabout. You can meet other sketch artists and chat to our Volunteer Guides about the sights in the Garden. The Restaurant will be offering a special lunch and an afternoon tea with a creation by Chef Hamish Watts that's good enough to sketch (bookings essential). For more information visit www.autumnofthearts.com.au Please also check out the BLOG!
Dedicated in July 2004 the Garden of Peace is a memorial commemorating victims of homicide including those murdered by terrorists on September 11, 2001. It is a living reminder of the impact of violence and a visual testament to the need for eliminating terror and violence. The Garden is a symbol of hope for peace and renewal in our lives, our community, and the world.
The central feature of the memorial is a dry streambed containing smooth river stones engraved with the names of victims of homicide. The streambed begins with a circular black granite stone called "Tragic Density" that symbolizes the enormous weight of sadness and grief. The streambed moves through the Garden and culminates with a trickle of water into a pool out of which rises "Ibis Ascending", a skyward sculpture representing hope.
Sadly the Garden of Peace appears to be Boston's least known memorial. It took us a really long time to find it - none of the people that we asked had heard of it. The Boston police officer we asked directed us instead to the 9/11 Peace Garden in the Boston Public Gardens. Despite being in downtown Boston the Garden of Peace is off the beaten tourist trails. It is lost within a narrow maze of twisting streets hidden between government office buildings. A few of the streets were sealed off because of construction. Unlike other Boston tourist attractions there are no signs pointing the way, no cops and no tourists. On the weekday evening that we visited the area was poorly lit and the Garden of Peace was home to homeless people. I imagine the area is fairly safe on a weekday with people working in the adjacent buildings, but I wouldn't loitter here in the evening or during the weekend.
If you do decide to visit look for a courtyard adjacent to the plaza of the 100 Cambridge Street Building (formerly the Saltonstall State Office Building) and bring friends.
Boston Garden of Peace - 100 Cambridge Street in Boston, Massachusetts - Google Map
I took a walk today. As an experiment switched the camera to black and white. That felt immediately liberating as it seems to simplify the search for a pleasing composition.
I've made no edits at all here, except to crop slightly and also compress/reduce the file size to make uploading easier.
I'd love to be able to enjoy this scene in colour. The leaves are so colourful. But if we look carefully, beyond the people, to the South side of the Yarra... who's idea was it to erect disturbingly unsightly bright-blue fencing all the way along the Yarra. It's been there for weeks now, and serves no useful purpose I can see. Not that I've tried to figure it out. Other than to create a hazard for pedestrians who reach a point where they can either turn back, or are forced to cross the road... stupid.
In Autumn. When the colours are special. But our views are unfortunately being compromised.
Now the Swan Street bridge is also being revamped somewhat constricting pedestrian crossing. Ok, accept the need for progress and once a Century upgrades. But then who's idea was it to rip up the surface of the dedicated Pedestrian bridge a couple of hundred metres further East (the Morell Bridge) making it doubly difficult to cross the Yarra. Someone could make money operating a pontoon service me thinks.
But honestly, I don't get the need for bright barriers and fences everywhere. We're not all so stupid we need to be fenced out of everything. It's no wonder we live in troubled times. There's noise pollution on every channel. There's visual pollution everywhere we look. It's enough to drive one slightly silly.
Recently I was told by someone genuinely concerned for my safety while taking long exposures beside my car which was parked several metres off the side of an 80km/hr road "You should wear high vis next time ... ". He'd probably also think it wise to ban all grey or dark coloured cars.
I almost feel there's so much "high vis" everywhere we might as well switch to black and white.
Anyhow I've written far too much. The headache I had last night, the one I woke up with, is threatening to return...
Dedicated to Saint Gerasimus of Kefalonia, if my reading of the iron lettering above the door is correct.
According to Wikipedia, In 1953, immediately after a powerful earthquake on the island of Kefalonia destroyed 90% of the island, there were many claimed sightings of Saint Gerasimus throughout the island who is believed to have comforted and tended to the injured trapped inside homes and buildings.
I had assumed the cupboard contained icons, but they look very like electricity meters.
Dedicated to @flipkeat, @Greta Adores Pink & @DMC43...whom have all experienced great loss recently... <3.
My thoughts are with you...
Banteay Srei or Banteay Srey (Khmer: ប្រាសាទបន្ទាយស្រី) is a 10th-century Cambodian temple dedicated to the Hindu god Shiva. Located in the area of Angkor in Cambodia. It lies near the hill of Phnom Dei, 25 km north-east of the main group of temples that once belonged to the medieval capitals of Yasodharapura and Angkor Thom.[1] Banteay Srei is built largely of red sandstone, a medium that lends itself to the elaborate decorative wall carvings which are still observable today. The buildings themselves are miniature in scale, unusually so when measured by the standards of Angkorian construction. These factors have made the temple extremely popular with tourists, and have led to its being widely praised as a "precious gem", or the "jewel of Khmer art."
HISTORY
FOUNDATION & DEDICATION
Consecrated on 22 April 967 A.D., Bantãy Srĕi was the only major temple at Angkor not built by a monarch; its construction is credited to a courtier named Yajnavaraha / Yajñavarāha (modern Khmer: យជ្ញវរាហៈ), who served as a counsellor to king Rajendravarman II (modern Khmer: ព្រះបាទរាជេន្រ្ទវរ្ម័ន).The foundational stela says that Yajnavaraha, grandson of king Harsavarman I, was a scholar and philanthropist who helped those who suffered from illness, injustice, or poverty. His pupil was the future king Jayavarman V (r. 968- ca. 1001). Originally, the temple was surrounded by a town called Īśvarapura.
Yajñavarāha's temple was primarily dedicated to the Hindu god Śiva. Originally, it was carried the name Tribhuvanamaheśvara—great lord of the threefold world—in reference to the Shaivite linga that served as its central religious image. However, the temple buildings appear to be divided along the central east-west axis between those buildings located south of the axis, which are devoted to Śiva, and those north of the axis, which are devoted to Viṣṇu.
The temple's modern name, Bantãy Srĕi—citadel of the women, or citadel of beauty—is probably related to the intricacy of the bas relief carvings found on the walls and the tiny dimensions of the buildings themselves. Some have speculated that it relates to the many devatas carved into the walls of the buildings.
EXPANSION & REDICATION
Bantãy Srĕi was subject to further expansion and rebuilding work in the eleventh century. At some point it came under the control of the king and had its original dedication changed; the inscription K 194 from Phnoṃ Sandak, dated Monday, the 14th or 28 July 1119 A.D. records (line B 13) the temple being given to the priest Divākarapaṇḍita and being rededicated to Śiva. It remained in use at least until the fourteenth century according to the last known inscription K 569, dated Thursday, 8 August 1303 A.D.
RESTAURATION
The temple was rediscovered only in 1914, and was the subject of a celebrated case of art theft when André Malraux stole four devatas in 1923 (he was soon arrested and the figures returned). The incident stimulated interest in the site, which was cleared the following year, and in the 1930s Banteay Srei was restored through the first important use of anastylosis at Angkor whereby a ruined building or monument is restored using the original architectural elements to the greatest degree possible. Until the discovery of the foundation stela in 1936, it had been assumed that the extreme decoration indicated a later date than was in fact the case. To prevent the site from water damage, the joint Cambodian-Swiss Banteay Srei Conservation Project installed a drainage system between 2000 and 2003. Measures were also taken to prevent damage to the temples walls from nearby trees.
Unfortunately, the temple has been ravaged by pilfering and vandalism. When toward the end of the 20th century authorities removed some original statues and replaced them with concrete replicas, looters took to attacking the replicas. A statue of Shiva and his shakti Uma, removed to the National Museum in Phnom Penh for safekeeping, was assaulted in the museum itself.
MATERIALS & STYLE
Banteay Srei is built largely of a hard red sandstone that can be carved like wood. Brick and laterite were used only for the enclosure walls and some structural elements. The temple is known for the beauty of its sandstone lintels and pediments.
A pediment is the roughly triangular space above a rectangular doorway or openings. At Banteay Srei, pediments are relatively large in comparison to the openings below, and take a sweeping gabled shape. For the first time in the history of Khmer architecture, whole scenes of mythological subject-matter are depicted on the pediments.
A lintel is a horizontal beam spanning the gap between two posts. Some lintels serve a structural purpose, serving to support the weight of the superstructure, while others are purely decorative in purpose. The lintels at Banteay Srei are beautifully carved, rivalling those of the 9th century Preah Ko style in quality.
Noteworthy decorative motifs include the kala (a toothy monster symbolic of time), the guardian dvarapala (an armed protector of the temple) and devata (demi-goddess), the false door, and the colonette. Indeed, decorative carvings seem to cover almost every available surface. According to pioneering Angkor scholar Maurice Glaize, "Given the very particular charm of Banteay Srei – its remarkable state of preservation and the excellence of a near perfect ornamental technique – one should not hesitate, of all the monuments of the Angkor group, to give it the highest priority." At Banteay Srei, wrote Glaize, "the work relates more closely to the art of the goldsmith or to carving in wood than to sculpture in stone".
THE SITE
The site consists of three concentric rectangular enclosures constructed on an east-west axis. A causeway situated on the axis leads from an outer gopura, or gate, to the third or outermost of the three enclosures. The inner enclosure contains the sanctuary, consisting of an entrance chamber and three towers, as well as two buildings conventionally referred to as libraries.
THE OUTER GOPURA
The gopura is all that remains of the outer wall surrounding the town of Isvapura. The wall is believed to have measured approximately 500 m square, and may have been constructed of wood. The gopura's eastern pediment shows Indra, who was associated with that direction, mounted on his three-headed elephant Airavata. The 67 m causeway with the remains of corridors on either side connects the gopura with the third enclosure. North and south of this causeway are galleries with a north-south orientation.
THE THIRD (OUTER) ENCLOSURE
The third enclosure is 95 by 110 m; it is surrounded by a laterite wall breached by gopuras at the eastern and western ends. Neither pediment of the eastern gopura is in situ. The west-facing pediment is now located in the Musée Guimet in Paris.[18] It depicts a scene from the Mahabhārata in which the Asura brothers Sunda and Upasunda fight over the Apsara Tilottama. The east-facing pediment is lying on the ground. It depicts a scene from the Rāmāyaṇa in which a demon seizes Rama's wife Sita. Most of the area within the third enclosure is occupied by a moat divided into two parts by causeways to the east and west.
THE SECOND ENCLOSURE
The second enclosure sits between an outer laterite wall measuring 38 by 42 m, with gopuras at the eastern and western ends, and a brick inner enclosure wall, measuring 24 by 24 m. The western gopura features an interesting bas relief depicting the duel of the monkey princes Vāli and Sugriva, as well as Rāma's intervention on Sugrīva's behalf. The inner enclosure wall has collapsed, leaving a gopura at the eastern end and a brick shrine at the western. The eastern pediment of the gopura shows Śiva Nataraja; the west-facing pediment has an image of Durga. Likewise, the laterite galleries which once filled the second enclosure (one each to north and south, two each to east and west) have partially collapsed. A pediment on one of the galleries shows the lion-man Narasiṃha clawing the demon Hiranyakashipu.
THE FIRST (INNER) ENCLOSURE
Between the gopuras on the collapsed inner wall are the buildings of the inner enclosure: a library in the south-east corner and another in the north-east corner, and in the centre the sanctuary set on a T-shaped platform 0.9 m high. Besides being the most extravagantly decorated parts of the temple, these have also been the most successfully restored (helped by the durability of their sandstone and their small scale). In 2010, the first enclosure is open to visitors again, but the inner temples are roped off and inaccessible.
THE LIBRARIES
The two libraries are of brick, laterite and sandstone. Each library has two pediments, one on the eastern side and one on the western. According to Maurice Glaize, the four library pediments, "representing the first appearance of tympanums with scenes, are works of the highest order. Superior in composition to any which followed, they show true craftsmanship in their modelling in a skilful blend of stylisation and realism."
The east-facing pediment on the southern library shows Śiva seated on the summit of Mount Kailāsa, his mythological abode. His consort Umā sits on his lap and clings anxiously to his torso. Other beings are also present on the slopes of the mountain, arranged in a strict hierarchy of three tiers from top to bottom. In the top tier sit bearded wise men and ascetics, in the middle tier mythological figures with the heads of animals and the bodies of humans, and in the bottom tier large animals, including a number of lions. In the middle of the scene stands the ten-headed demon king Rāvaṇa. He is shaking the mountain in its very foundations as the animals flee from his presence and as the wise men and mythological beings discuss the situation or pray. According to the legend, Śiva stopped Rāvaṇa from shaking the mountain by using his toe to press down on the mountain and to trap Rāvana underneath for 1000 years.
The west-facing pediment on southern library shows Śiva again seated on the summit of Mount Kailāsa. He is looking to his left at the god of love Kāma, who is aiming an arrow at him. Umā sits to Śiva's right; he is handing her a chain of beads. The slopes of the mountain are crowded with other beings, again arranged in a strict hierarchy from top to bottom. Just under Śiva sit a group of bearded wise men and ascetics, under whom the second tier is occupied by the mythological beings with the heads of animals and the bodies of humans; the lowest tier belongs the common people, who mingle sociably with tame deer and a large gentle bull. According to the legend, Kāma fired an arrow at Śiva in order to cause Śiva to take an interest in Umā. Śiva, however, was greatly angered by this provocation, and punished Kāma by gazing upon him with his third eye, frying Kāma to cinders.
The east-facing pediment on the northern library shows the god of the sky Indra creating rain to put out a forest fire started by the god of fire Agni for purposes of killing the nāga king Takshaka who lived in Khandava Forest. The Mahābhāratan heroes Kṛṣṇa and Arjuna are shown helping Agni by firing a dense hail of arrows to block Indra's rain. Takṣaka's son Aśvasena is depicted attempting to escape from the conflagration, while other animals stampede about in panic.
The west-facing pediment on the southern library depicts Kṛṣṇa slaying his wicked uncle Kamsa.
THE SANCTUARY
The sanctuary is entered from the east by a doorway only 1.08 m in height: inside is an entrance chamber (or maṇḍapa) with a corbelled brick roof, then a short corridor leading to three towers to the west: the central tower is the tallest, at 9.8 m. Glaize notes the impression of delicacy given the towers by the antefixes on each of their tiers. The six stairways leading up to the platform were each guarded by two kneeling statues of human figures with animal heads; most of those now in place are replicas, the originals having been stolen or removed to museums.
WIKIPEDIA
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Dedicated in May, 1926 as the Boulevard Congregational Church, the current congregation is the Carter Metropolitan CME. The architect was Lancelot Sukert, who designed the Scarab Club in Detroit's Cultural Center, as well as Saint Columba Episcopal Church on the city's East Side.
Top marks to the guys on the end of platform 3, braving the elements to record 60163 Tornado's latest visit to Shrewsbury, in her new coat of BR blue livery.
The working is the return Cathedrals Express, 1Z28 Shrewsbury to Paddington, 17.52 departure in extremely wet and inclement weather. The wind had got up by this time, as can be seen from the spare steam from the safety valves, my brolly turned inside out too! Saturday, 24.11.12.
The wedding of Mr and Mrs D
wow
WHAT A DAY !!!!!
The big (beautiful) day
was at City Hall in Cardiff
I would recommend it to anyone to have their wedding there
and mix together
the company of wonderful friends
yummy food
and THE most perfect couple
Mrs D is Welsh and Mr D is Scottish
so a piper played to lead our stunning bride in
and at dinner in the evening
a surprise
Male Voice Choir
singing the such a magical setting, candlelit and so memorable
By now I had cried a thousand times
and hearing the haunting singing coming up the stairs
and seeing them sing before us
I cried just one more time - big time
so Mr and Mrs D
I dedicate my Valentine's Day post to you
to say thank you for letting us all share your day
and your love
and hey !!!!!
there is hope for me to maybe find Mr Right this year ?
I caught the bouquet ;)
♥ dommie ♥
I hereby dedicate this picture to Randy Sanger, and his lovely wife Melissa and their dog Rocky. They graciously hosted us for the weekend at the New River Gorge. Even though the lighting was rough during the day, I managed to get some nice shots at dawn and dusk. Many thanks to the Sangers for their hospitality to us and Randy for his photographic inspiration. Randy's (Randall Sanger) photos are great, but he is an even better person and friend. We hope to get to see them again soon for another weekend of exploration in Wild and Wonderful West Virginia.
I took this shot on Dunloup Creek about 200 yards upstream from Dunloup falls. I thought it was pretty, but then I noticed those swirling bubbles in the upper left corner. After doing some working with my nd filters, the above image is the result. I think it is one of my best ever. Hopefully I can get over to the over side of the creek next trip up there to get the swirl in the foreground.
Dedicated on May 2, 1997 by President Bill Clinton, 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 sculpture by George Segal. A bronze statue of First Lady Eleanor Roosevelt standing before the United Nations emblem honors her dedication to the UN. It is the only presidential memorial to depict a First Lady. - Wikipedia... en.wikipedia.org/wiki/Franklin_Delano_Roosevelt_Memorial
Dedicated to my daughter, Arisa, on her birthday today. You are wished happiness, the knowledge that you are loved, abundance and good health.
I photographed this flower, growing outdoors, in December! It seems hardy, as well as beautiful and reminded me of you:) Best seen large by clicking on the photo or pressing Z.
Thanks for your visits and feedback:)
Dedicated to the memory of Ellison Shoji Onizuka and the other astronauts aboard the space shuttle Challenger.
Dedicated to Winter, a man who has dedicated his life to visiting every Starbucks in the world.
Check his documentary:
Buy it at amazon.com
St Aloysius Gonzaga Church in hdr. The church was dedicated 10-12 1911. It is currently undergoing some renovations.
A 4 shot merge in Photomatix with final processing in Nik's Color Efex Pro.
Dedicated to the designers, developers and engineers who build the world’s most engaging user interfaces. From the community, for the community.
UNESCO WORLD HERITAGE SITE.
The complex comprises the Greek Catholic church dedicated to St. Paraskewa, a free-standing bell tower, erected in the end of the 16th c., and a masonry mortuary from the 19th c.
The whole is surrounded by a stone wall from the mid 19th c. In 1648, the church was decorated with a polychrome. It was renovated in the 3rd quarter of the 18th c., with the bell tower above the women’s gallery being dismantled. Subsequently, it was renovated in 1832 and 1845. After 1947, it was taken over by the State Treasury. Between 1964 and 1966, the complex was again thoroughly renovated. The church in Radruz is one of the most precious wooden churches in Poland and was erected by master carpenters who used the experience of the late Gothic carpentry.
Dedicated to the Domestic Princess, Robyn.
I got a Dyson today. What better way to commemorate this occasion than to do a spoof of Robyn's shot. :D I almost didn't post this because it's just so lame. Don't get me wrong...Robyn's shot was awesome. But it doesn't quite have the same effect here.
On a side note...the Dyson rocks...big time! I quickly vacuumed a few rooms this evening and wow...it picked up so much dust, lint, hair, etc. It's a keeper.
St. Rumbold's Cathedral (Dutch: Sint-Romboutskathedraal) is the Belgian metropolitan archiepiscopal cathedral in Mechelen, dedicated to Saint Rumbold, Christian missionary and martyr who had founded an abbey nearby. His remains are rumoured to be buried inside the cathedral. State-of-the-art examination of the relics honoured as Saint Rumbold's and kept in a shrine in the retro-choir, showed a life span of about 40 years and a death date between 580 and 655, while tradition had claimed 775 AD.
Construction of the church itself started shortly after 1200, and it was consecrated in 1312, when part had become usable. From 1324 onwards the flying buttresses and revised choir structure acquired Brabantine Gothic characteristics, distinct from French Gothic. After the city fire of 1342, the Master Mason Jean d'Oisy managed repairs and continued this second phase, which by the time of his death in 1375 formed the prototype for that High Gothic style. His successors finished the vaults of the nave by 1437, and those of the choir by 1451.
During the final phase of 1452–1520, the tower was erected, financed by pilgrims and later by its proprietor, the city. Designed to reach 600 Mechlinian feet or about 167 metres, higher than any church tower would ever attain (Ulm Minster has measured 161 metres since the 19th century), the very heavy St. Rumbold's tower was built on what had once been wetlands, though with foundations only three metres deep its site appears to have been well-chosen. After a few years, in 1454, its chief architect Andries I Keldermans constructed the Saint Livinus' Monster Tower (or St.-Lievensmonstertoren as it is called in Dutch) in Zierikzee (in the present-day Netherlands), where leaning or sagging of the tower (now 62 metres but designed for ca. 130) could wreck the church. This concern led to fully separate edifices, a solution also applied in Mechelen. At both places, in the early 16th century the upper part of the tower was abandoned, not for technical but for financial reasons. St-Rumbold's should have been topped by a 77-metre spire but only seven metres of this were built, hence the unusual shape. A deliberately weak connection closed the gap between tower and church upon finishing the construction.
The church has functioned as a cathedral since 1559. In the 18th century, each capital's surrounding ornament of sculpted cabbage leaves, that had been an inspiration for numerous Brabantine Gothic churches, was replaced with a double ring of crops. In 2005, after engineers had figured out the support capacity of ground and tower, there was talk of completing the entire spire from the original drawings
Dedicated to the most awesome, adventurous and tiresome trip that my friends and I been in the last few days. Snapped on the way to Keokradong just after leaving Boga Lake.
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.