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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!
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...
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 church at Rand is dedicated to St Oswald and has been standing in remote fields since the early 14th century. The present building is of grey stone, with a slated roof. It has a broad west tower that was built in the 15th century. The bell openings are Decorated and the west window has a Norman monster head. The nave and chancel were restored during the last century but the chancel arch is over 500 years old. There is a stone pulpit with a brass rail. The octagonal font is also of stone, with carvings, and was re-set in 1902 to commemorate the end of the Boer War. The head moulds of the east window are early 14th century but the communion rail and the choir stalls are Victorian. There is an Estey American organ (Harmonium).
The church possesses a wonderful array of monuments, both in brass and stone. in 1890, portions of 6 brasses found loose in the vestry were grouped and refixed on a slab on the north wall of the nave. The most outstanding part of this memorial is an Elizabethan lady with hands clasped and wearing a gown with a beautifully embroidered front panel, with a ruff and cap. There is a bust of another lady similarly attired and the legs and feet of a knight in plate armour with spurs, the feet resting on a lion. An oblong plate at the foot of the memorial bears the following inscription:-
"Here lyeth Willyam Metham of Bolington Esqvier who was sonne of Robarte Metham second sonne of Sir Thomas Metham of Cave Knight He had 4 wyves the first was the widdow of one Good the second was Ellen the davghter of Mr Whyttington and he had by hir issue Charles Svsan and Anne the third Fravncs davghter to Willyam Lord Willovghby of Parham and by her had issve Catheren and Dorotie He dyed the 12 of Ianvary 1590 and the 66 yeare of his age"
There are three shields of arms with inscriptions on a small oblong plate to three children of William Metham - Anne, married to William Welcum of Lincolne; Susan, married to Henry Winfeilde of Nocton; and Charles, married to Anne, daughter of Robert Dimock of Skrelsbye. There is also a shield with mantling crests and quarterings of Metham.
In the north wall of the chancel is the late 13th century effigy of a lady. Her head is upon a pillow, supported at each end by an angel, her hands are placed together as if in prayer and her feet are resting on a dog. This monument is thought to have been inspired by the Angel Choir in Lincoln Cathedral. There are five monuments in the nave - three in the north wall and two in the south. The first on the north side is to Sir Vincent Fulnetby, Kn, 1606, his armorial bearing being the three crescents and a chief ermine. Several shields of arms are included.
The second is to Sir Sapcote Harrington, 1630. He and his wife are represented kneeling at a desk with three daughters and two sons beneath them.
The third is to Dame Dorothy Leigh, first wife of Sir Thos. Leigh of Ingoldsby, and afterwards to Chas. Metham, Esqre of Bullington.
In the south wall there is a monument to Anna Metham, she is represented kneeling amongst her children, 1604.
The other memorial on the south side is to Chas. Metham, Esq. He and his wife are kneeling at a desk (1628).
More than 100 dedicated DMPS employees from a variety of departments were honored at a special luncheon on Wednesday at the Wakonda Club in Des Moines. Chief of Human Resources Dr. Anne Sullivan offered congratulations with Amanda Lewis and Kathie Danielson, and School Board Chair Rob Baron presented retirees with a golden apple for their service.
Students Alexia Sanachit (Findley Elementary School), Samiro Gado (Merrill Middle School) and Carolina Ramos (Lincoln High School) talked about the special teachers in their lives and the impact school has had on them.
Congratulations to our retiring employees!
Peggy Aerisolphal
Roxanne Antisdel
Susan Atkin
Mary Alice Baker
Lynda Bates
Sarah Behrens
Jessie Bell
Janice Bibbins
Annette Bierkamp
Michael Blair
Janis Bowden
Jan Brandt
Karlette Brannon
Susan Breese
Leslie Buchanan, Jr.
Nancy Clark
Sandra Cloe
Cynthia Cooper
Jennifer Corkrean
Linda Daniels
Janice De Gan
Deborah Delpierre
Earl Edwards
Kathleen Erickson
Lora Evans
Margaret Faidley
Tammy Fastenau
Carroll Fetters
Shirley Forbush
Robin Fulton
Victor Glawe
James Goodwin
Patricia Graham
Phillip Green
Norma Greenlee
Sherry Harding
Jeanne Haydon
Robert Heitman
Jackie Helvig
Darlene Hiatt
Donald Hotovec
Mary Humke
Larry Johnson
Dorothy Jones
Jane Kalyagina
Mark Keese
David Kehm
Walter Kennedy
Julia Kiley
Wanda Lamb
Mark Lang
James Lindsey
Sally Littell
Carol Lortscher
Jean Mack
Molly Malone
Kathryne Marek
Karen Maresh
Deborah Marriott
Daniel McCain
Gary McClanahan
Joni McConnell
James McNear
Patricia McCombs
Maureen McWilliams
Rebecca Meade
Marilyn Moore
Roberta Morgan
Sachiko Murphy
Sandra Nauman
Daniel Nicholson
Jeanne Nusbaum
Diane Oleson
Lynda O’Meara
Keith Pedersen
Richard Powell
John Randolph
Linda Revell
Jennifer Roberts
Steven Romine
Scott Rosin
Linda Scobba
Mary (Sue) Skinner
Lourdes Smeader
Peg Smith
Penny Spriggs
Norma Terry
Linda Troutman
Delores Tyler
Dale Vande Haar
Roberta Vermillion
Pamela Wadle
Lynnette Wall-Slechta
Nancy Ward
Sherry Ward
Carol Weaver
Cynthia Weeks
Darolyn White
Julie Wiemers
Karen Wignall
Gregory Wildman
Patricia Wilkes
Juliann Woodhouse
Dedicated To Secret i ♥
www.flickr.com/photos/secreti/
Congrats for your Explore,
So happy for you
And many many more
...................................
On this summer day
Then you might as well
Take the sun away
All the birds that flew
In the summer sky
And our love wa new
And our hearts were high
When the day was young
And the night was long
And the moon stood still
For the night bird song
If you go away , if you go away, if you go away
But if you stay
I'll make you a day
Like no day has ever been
Or will be again
We'll sail on the sun
We'll ride on the rain
We'll talk to the trees
And worship the wind
But if you go
I'll understand
Leave me just enough love
To fill up my hand
If you go away, if you go away, if you go away
If you go waAs i know you must
There'll be nothing left
In the world to trust
Just an empty room
Full of empty space
Like the empty look
I see on your face
Can i tell you now
As you turn to go
I'll be dying slowly
Till your next hello
If you go away, if you go away, if you go away,
But if you stay
I'll make you a night
Like no night has ever been
Or will be again
I'll sail on you smile
I'll ride on your touch
I'll talk to your eyes
That i love so much
But if you go
I wont cry
For the good has gone from the world
goodbye
If you go away, if you go away, if you go away, if you go away
...............................Julio,,,,,,IF You Go Away.........................
The Lakshmana Temple is a Hindu temple located in Khajuraho, India. Dedicated to Vaikuntha Vishnu - an aspect of Vishnu.
This temple is located in the Western Temple complex in Khajuraho. Khajuraho is a small village in Chattarpur District of Madhya Pradesh, India.
It is a Sandhara Temple of the Panchayatana Variety. The entire temple complex stands on a high platform (Jagati). The structure consists of all the elements of Hindu temple architecture. It has entrance porch (ardh-mandapa), Mandapa, Maha-Mandapa, Antarala and Garbhagriha.
Unlike other temples in Khajuraho, its sanctum is Pancharatha on plan. Its sikhara is clustered with minor urushringas.
The wall portion is studded with balconied windows with ornate balustrades.
It has two rows of sculptures including divine figures, couples and erotic scenes.
The sanctum doorway is of seven sakhas (vertical panels). The central one being decorated with various incarnation of Lord Vishnu. The Lintel depicts goddess Lakshmi in the centre flanked by Brahma and Vishnu. The sanctum contains four-armed sculpture of Vishnu.
Main image is of tri-headed & four-armed sculpture of Vaikuntha Vishnu.
The central head is of human, and two sides of boar (depicting Varaha) and lion (depicting Narshima).
_____________________________
Der Lakshmana-Tempel ist der erste wirklich große Tempelbau der Chandella-Dynastie im Tempelbezirk von Khajuraho; zu seiner Bauzeit (ca. 930−950) war er der größte Tempel im Norden Indiens. Der Tempel ist dem Gott Vishnu in seinem Aspekt als Vaikuntha ('Herr des Paradieses') geweiht; im Zentrum der Cella (garbhagriha) steht eine dreiköpfige Vishnu-/Vaikuntha-Figur.
In den Ecken der Tempelplattform sind noch vier Begleitschreine erhalten und so ergibt sich das seltene Bild eines kompletten nordindischen Tempelkomplexes (panchayatana), wie es schon im frühen 6. Jahrhundert im Dashavatara-Tempel von Deogarh geplant und verwirklicht wurde, sich aber dort nicht erhalten hat.
ETYMOLOGIE
Der Name Vaikuntha ist wahrscheinlich von den Sanskritwörtern vi und kuntha herzuleiten und bedeutet in etwa 'ohne Bruch' im Sinne von 'ganzheitlich' oder 'vollkommen'. Vaikuntha ist für viele Anhänger Vishnus (vaishnavas) Ziel und Ort nach Erreichung der Erlösung (moksha), d. h. nach der Befreiung aus dem endlosen Kreislauf der Wiedergeburten (samsara). Dieser Ort − in etwa gleichzusetzen mit dem Paradies − liegt an den Hängen des Weltenbergs Meru und besteht nur aus Gold und kostbaren Edelsteinen; der Ganges fließt mitten durch ihn hindurch. Das Bildnis im Innern der Cella wurde − da seine ursprüngliche Bedeutung in Vergessenheit geraten war − in späterer Zeit volkstümlich auch als Lakshmana, Ramachandra oder Chaturbuja bezeichnet; der Name 'Lakshmana-Tempel' ist haften geblieben.
BAUGESCHICHTE
Eine während der Ausgrabungs- und Restaurierungsarbeiten zu Beginn des 20. Jahrhunderts in der Nähe gefundene Steinplatte mit einer Weiheinschrift aus dem Jahr 953/4, die sich auf eine Vaikuntha-Statue bezieht, erwähnt den Chandella-Herrscher Yasovarman (reg. ca. 925−950) als Bauherren und Stifter. Bei einer angenommenen Bauzeit von etwa 20 Jahren dürfte der Baubeginn des Tempels etwa um das Jahr 930 anzusiedeln sein, als die Chandellas gegenüber ihren Lehnsherren, den Pratiharas, mehr und mehr an Einfluss und Macht gewannen. Die Inschriftenplatte ist heute in der kleinen Vorhalle (mukhamandapa) des Tempels angebracht.
ARCHITEKTUR
Der komplett aus Sandstein errichtete Tempel ist ca. 21,5 m hoch, etwa 24,5 m lang und ca. 14,5 m breit. Er erhebt sich auf einer rechteckigen, ca. 3 m hohen, ca. 40 m langen und ca. 27 m breiten Umgangsplattform (jagati), die über einen vorgezogenen Treppenaufgang erreichbar ist. Der Tempel selbst ruht auf einem mehrfach gegliederten und leicht zurückgestuften Unterbau (adhishthana), so dass ein weiterer, ebenfalls etwa 3 m hoher Treppenaufgang notwendig ist um in den Portikus (mukhamandapa oder ardhamandapa) zu gelangen; es folgt die Vorhalle (mandapa), dann die Große Vorhalle (mahamandapa) und schließlich der Sanktumsbereich mit innenliegender Cella (garbhagriha) sowie einem Umgang (pradakshinapatha).
Sanktumsbereich und Große Vorhalle sind flächenmäßig etwa gleich groß − ein Schema, dass bereits ca. 250 Jahre früher beim Kalika-Mata-Tempel in Chittorgarh erstmals auftritt und über Zwischenstufen in Rajasthan und Gyaraspur nach Khajuraho gelangte. Da die Dachaufbauten des Tempels im Wesentlichen auf Pfeilern ruhen, konnten die drei Vorhallen sowie der Umgangsbereich der Cella durch schräggestellte Brüstungen mit gedrechselten Steinsäulchen, vor denen sich im Innern steinerne Sitzbänke befinden, nach außen geöffnet werden.
Die verschiedenen Räume sind durch Stufen voneinander getrennt und haben somit ein geringfügig wechselndes Bodenniveau; die Cella des Tempels mit dem Vaikuntha-Bildnis hat von allen Räumen das höchste Fußbodenniveau und wird von einem Shikhara-Turm mit kleinen Begleittürmchen (urushringas) überhöht. Die Vorhallen sind jeweils von pyramidenförmigen Dächern (phamsanas) bedeckt. Im Äußeren entsteht so das Bild eines die umgebende Landschaft überragenden Gebirges oder Bergstocks, doch auch im Innern müssen die Gläubigen einige Stufen überwinden um zum "Höchsten", dem Vaikuntha-Bildnis, zu gelangen.
Im Innern wie im Äußeren ist jedes Bauteil des Tempels reich gegliedert und mit Skulpturen oder abstrakten geometrischen oder vegetabilischen Ornamenten bedeckt; eine Wand- bzw. Steinsichtigkeit wird also weitgehend vermieden.
SKULPTUREN
Die obere Ebene der mehrfach gestuften Sockelzone ist als etwa 35 cm hoher umlaufender Fries mit über hundert kleinen Elefanten gestaltet, die den gesamten Tempel auf dem Rücken tragen − ein Hoheitszeichen, das sich an keinem der anderen Tempel Khajurahos findet. Die Elefanten werden von jeweils zwei Wärtern (mahuts) begleitet.
Plattform und Tempel sind mit über tausend kleineren und größeren Figuren geschmückt. Vor allem die größeren Skulpturen sind nicht mehr – wie früher – von Architekturelementen oder Nischen eingerahmt, sondern stehen nahezu vollplastisch auf Steinplatten, d. h. sie sind kaum noch mit dem rückwärtigen Reliefgrund verbunden. Sie sind nicht mehr als künstliche Abbilder gemeint, sondern als lebendige, lebensnahe Figuren. Die etwas hervorstehenden Bauteile zeigen zumeist Götterfiguren (Shiva, Vishnu u. a.), die seitlich in den etwas zurückspringenden Teilen von gleich großen weiblichen Figuren – leicht bekleideten 'Schönen Mädchen' (surasundaris) in unterschiedlichen Posen und aus bildhauerischen Gründen stets mit aufgebundenem Haar – begleitet werden. Die etwas breiteren, aber am stärksten zurückgestuften Mittelregister der drei Außenwände des Sanktums präsentieren in der unteren Ebene erotische Szenen aller Art, für die die Tempel von Khajuraho in der ganzen Welt berühmt sind; darüber finden sich 'Himmlische Liebespaare' (mithunas). Die oberste Zone zeigt in der Mitte ein Götterbild mit Begleitfiguren; die seitlichen Dekorfelder (udgamas) zeigen ornamentalen Schmuck bestehend aus neben- und übereinander angeordneten kleinen Fensternischen (chandrasalas).
PLATTFORM
Als einziger Tempel in Khajuraho hat der Lakshmana-Tempel einen weitgehend erhaltenen und die gesamte Plattform umschließenden Figurenfries mit Szenen aus dem höfischen Alltagsleben – Unterricht, Kriegszug, Musikanten, erotisch-sexuelle Liebesszenen etc.; Götterfiguren oder Dämonen sind dagegen hier nicht zu sehen. Die Szenen des etwa in Augenhöhe angebrachten Frieses sind zwar originell, aber von keiner großen handwerklichen oder künstlerischen Meisterschaft.
TEMPEL (AUSSEN)
Während die kleinen Vorhallen außen keinerlei Figurenschmuck besitzen, sind die Eckpfeiler zwischen Vorhalle (mandapa) und Großer Vorhalle (mahamandapa) in zwei Ebenen mit Figuren versehen. Hauptsächlich ist jedoch der Bereich zwischen Großer Vorhalle (mahamandapa) und Sanktum in mehreren Ebenen und überreich mit Figuren besetzt. Hier überwiegen ganz eindeutig Götterfiguren, 'Himmlische Liebespaare' (mithunas) und 'Schöne Mädchen' (surasundaris). Nur die unteren Ebenen der Mittelregister zeigen auch erotisch-sexuelle Szenen; somit ist am Lakshmana-Tempel noch die Hierarchie zwischen der oberen (himmlischen) Ebene und der unteren (erdnahen) Ebene gewahrt.
TEMPEL (INNEN)
Zu den interessantesten und künstlerisch bedeutsamsten Figuren im Innern des Tempels gehören die weiblichen Nymphen (apsaras) an den Streben im Deckenbereich der Großen Vorhalle (mahamandapa); diese zeigen sich in verschiedenen − oft extrem verdrehten − Posen beim Musizieren, beim Ballspiel aber auch beim Entkleiden. In den Wandnischen finden sich diverse Götterfiguren, darunter auch einige nicht (mehr) identifizierbare.
VAIKUNTHA-KULTBILD
Das freiplastisch aus einer großen Steinplatte herausgearbeitete Götterbildnis ist in ganz Indien nahezu einzigartig und zeigt Vishnu/Vaikuntha mit vier zerstörten Armen, so dass keinerlei Attribute mehr vorhanden sind, sowie drei Köpfen (Mensch, Eber und Löwe). Ein rückwärtiger vierter Kopf, der die Universalität Vishnus vervollkommnet hätte, ist nicht ausgeführt; stattdessen findet sich ein in Indien einzigartiger durchbrochener und gezackter Strahlenkranz um Vaikunthas Haupt. Die Figur ist umgeben von einem – aus derselben Steinplatte herausgearbeiteten – Rahmen mit Wächterfiguren sowie Ganga und Yamuna im Sockelbereich und jeweils drei darüber befindlichen vorstehenden Nischen mit Vishnu-Avataras (Matsya, Varaha, Vamana, Kurma, Narasimha, Parashurama). Zwei seitliche Pfeiler mit reichem z. T. freiplastischen Architektur- und Figurendekor und einem doppelten, aus dem aufgerissenene Mäulern von Wasserungeheuern (makaras) hervorquellenden Torana-Bogen als verbindendem oberem Abschluss bilden den äußeren Rahmen des Kultbildes.
BEDEUTUNG
Der Lakshmana-Tempel (ca. 930−950) mit seinen vier hintereinanderliegenden und in der Höhe gestaffelten Bauteilen sowie seiner − im Wesentlichen auf Pfeilern ruhenden − Bauweise gilt als früher Höhepunkt der Chandella-Architektur und war nach seiner Fertigstellung für etliche Jahrzehnte der größte Tempelbau Indiens. Spätere Tempelbauten in Khajuraho wurden von ihm maßgeblich beeinflusst, darunter auch der Kandariya-Mahadeva-Tempel.
Das außergewöhnliche Vaikuntha-Bildnis in der Cella sowie der reiche, beinahe vollplastische Figurenschmuck sind innen wie außen nahezu vollständig erhalten und bezeugen die handwerkliche und künstlerische Meisterschaft der Bildhauer der damaligen Zeit.
Mit seinem mehrteiligen Grundriss, einer von einem Umgang umschlossenen Cella und in Teilen seines Dekors (Balkonbrüstungen mit gedrechselten Säulchen) ist der Lakshmana-Tempel wahrscheinlich direkt beeinflusst von dem ca. 50 Jahre zuvor erbauten, aber insgesamt noch der Pratihara-Architektur zuzurechnenden Maladevi-Tempel in Gyaraspur.
WIKIPEDIA
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An entire store dedicated to Pokemon items! Wanted to go here for years! #pokemon #pokemoncenter #tokyo
22 Likes on Instagram
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
Dedicated to the Running Agent . He just ran The Edinburgh Marathon in 4:11:18 Yay!
But I can´t say which one I like the most, this one has an arrow that tells him the way to run and the other one is only the running man and his racing stripes.
Which one do you like?
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.
World Impact is a Christian missions organization dedicated to ministering God's love in the inner cities of America.
--
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.
--
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.
--
World Impact Center
2017 S. Ervay
Dallas, TX 75215
214-426-0044
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 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?)
Dedicated in 1899,The Horse Tamers, by Frederick MacMonnies (1863-1937), flank the Park Circle Entrance of Brooklyn's Prospect Park. Horse Tamers is an allegory of the Triumph of Mind over Brute Strength. The sculptures depict nude young men riding bareback on rearing, unbridled horses. To achieve their great dynamic energy, MacMonnies sculpted the horses after live Andalusian models.
(textures thanks to ghostbones and playingwithbrushes)
* * * * * * * * * * * * *
The Fox and the Little Prince
it was then that the fox appeared.
"good morning" said the fox.
"good morning"
the little prince responded politely
altho when he turned around he saw nothing.
"I am right here" the voice said, "under the apple
tree."
"who are you?" asked the little prince, and added,
"You are very pretty to look at."
"I am a fox", the fox said.
"Come and play with me,"
proposed the little prince, "I am so unhappy."
"I cannot play with you," the fox said,
"I am not tamed."
"AH please excuse me,"said the little prince.
But after some thought, he added:
"what does that mean---'tame'?"
"you do not live here," said the fox,
"what is it you are looking for?"
"I am looking for men," said the little prince.
"What does that mean---tame?"
"Men,"said the fox,
"they have guns, and they hunt.
It is very disturbing.
They also raise chickens.
These are their only interests.
Are you looking for chickens?"
"No," said the little prince.
"I am looking for friends.
What does that mean---tame?"
"It is an act too often neglected,"
said the fox.
"It means to establish ties."
"To establish ties?"
"Just that," said the fox.
"to me, you are still nothing more than
a little boy who is just like
a hundred thousand other little boys.
And I have no need of you.
And you, on your part, have no need of me.
To you I am nothing more
than a fox like a hundred thousand other foxes.
But if you tame me, then we shall need each other.
To me, you will be unique in all the world.
To you, I shall be unique in all the world. . ."
"I am beginning to understand,"
said the little prince.
"There is a flower. . .I think she has tamed me. . ."
"It is possible," said the fox.
"On earth one sees all sorts of things."
"Oh but this is not on the earth!"
said the little prince.
The fox seemed perplexed, and very curious.
"On another planet?"
"Yes"
"Are there hunters on that planet?"
"No"
"Ah that's interesting! Are there chickens?"
"No"
"Nothing is perfect," sighed the fox.
But he came back to his idea.
"My life is very monotonous," he said.
"I hunt chickens; men hunt me.
All chickens are just alike,
and all the men are just alike.
And in consequence, I am a little bored.
But if you tame me,
it will be as if the sun came to shine on my life.
I shall know the sound of a step that will be
different from all the others.
Other steps send me hurrying back
underneath the ground.
Yours will call me, like music out of my burrow.
And then look:
you see the grain-fields down yonder?
I do not eat bread.
Wheat is of no use to me.
The wheat fields have nothing to say to me.
And that is sad.
But you have hair that is the color of gold.
Think how wonderful that will be
when you have tamed me!
The grain, which is also golden,
will bring me back the thought of you.
And I shall love to listen
to the wind in the wheat. . ."
The fox gazed at the little prince,
for a long time.
"Please---tame me!" he said.
"I want to, very much," the little prince replied.
"But I have not much time.
I have friends to discover,
and a great many things to understand."
"One only understands the things that one tames,"
said the fox.
" Men have no more time to understand anything.
They buy things all ready made at the shops.
But there is no shop anywhere
where one can buy friendship,
and so men have no friends any more.
If you want a friend, tame me. . ."
"What must I do, to tame you?
asked the little prince.
"You must be very patient," replied the fox.
First you will sit down
at a little distance from me
-like that-in the grass.
I shall look at you out of the corner of my eye,
and you will say nothing.
Words are the source of misunderstandings.
But you will sit a little closer to me,
every day..."
The next day the little prince came back.
"It would have been better to come back
at the same hour," said the fox.
"If for example, you came at four o'clock
in the afternoon,
then at three o'clock I shall begin to be happy.
I shall feel happier and happier
as the hour advances.
At four o'clock,
I shall be worrying and jumping about.
I shall show you how happy I am!
But if you come at just any time,
I shall never know at what hour
my heart is ready to greet you. . .
One must observe the proper rites. . ."
"What is a rite?" asked the little prince.
"Those also are actions too often neglected,"
said the fox.
"they are what make one day
different from other days,
one hour different from other hours.
There is a rite, for example, among my hunters.
Every Thursday they danse with the village girls.
So Thursday is a wonderful day for me!
I can take a walk as far as the vineyards.
But if the hunters danced at just any time,
every day would be like
every other day,
and I should never have any vacation at all."
So the little prince tamed the fox.
And when the hour of his departure drew near---
"Ah," said the fox, "I shall cry."
"It is your own fault," said the little prince.
"I never wished you any sort of harm;
but you wanted me to tame you. . ."
"Yes that is so", said the fox.
"But now you are going to cry!"
said the little prince.
"Yes that is so" said the fox.
"Then it has done you no good at all!"
"It has done me good," said the fox,
"because of the color of the wheat fields."
And then he added:
"go and look again at the roses.
You will understand now
that yours is unique in all the world.
Then come back to say goodbye to me,
and I will make you a present of a secret."
The little prince went away,
to look again at the roses.
"You are not at all like my rose," he said.
"As yet you are nothing.
No one has tamed you, and you have tamed no one.
You are like my fox when I first knew him.
He was only a fox
like a hundred thousand other foxes.
But I have made a friend,
and now he is unique in all the world."
And the roses were very much embarrassed.
"You are beautiful, but you are empty," he went on.
"One could not die for you.
To be sure, an ordinary passerby would think
that my rose looked just like you
--the rose that belongs to me.
But in herself alone she is more important
than all the hundreds of you
other roses: because it is she that I have watered;
because it is she
that I have put under the glass globe;
because it is for her
that I have killed the caterpillars
(except the two or three we saved
to become butterflies);
because it is she that I have listened to,
when she grumbled,
or boasted,
or even sometimes when she said nothing.
Because she is MY rose."
And he went back to meet the fox.
"Goodbye" he said.
"Goodbye," said the fox.
"And now here is my secret, a very simple secret:
It is only with the heart that one can see rightly;
what is essential is invisible to the eye."
"What is essential is invisible to the eye,"
the little prince repeated,
so that he would be sure to remember.
"It is the time you have wasted for your rose
that makes your rose so important.
"It is the time I have wasted for my rose--
"said the little prince
so he would be sure to remember.
"Men have forgotten this truth," said the fox.
"But you must not forget it.
You become responsible, forever,
for what you have tamed.
You are responsible for your rose. . ."
"I am responsible for my rose,"
the little prince repeated,
so that he would be sure to remember.
From the Little Prince by Antoine de Saint-Exupery
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Dedicated in August 2002, the Belcher Veterans Memorial was established by Whayland H. Greene, a WWII veteran who earned a Purple Heart and two Bronze Stars. The memorial honors those who served in WWI, WWII, Korean War, Vietnam War, Gulf War and the War on Terror.
Photo by Courtney Avery for Shreveport-Bossier Convention and Tourist Bureau.
The Murphy Ranks Memorial, dedicated to Dameon Chambers, is located at George Floyd Square in Minneapolis. Chambers was killed on Juneteenth 2020, and his memorial is one of many tributes that emerged following the murder of George Floyd and subsequent protests. The memorial, situated along Chicago Avenue, features concrete barriers adorned with graffiti and personal offerings, serving as a focal point for remembrance and community expression.
This image is part of a continuing series following the unrest and events in Minneapolis following the May 25th, 2020 murder of George Floyd.
LEGOLAND Windsor a theme park dedicated to children aged 3-12 years old and of course big kid adults.
An inspirational land where the kids are the hero and adults relive their childhood.
The fun never stops and imagination knows no bounds, a family attraction like no other.
Set in 150 acres of beautiful parkland, LEGOLAND Windsor is a unique family theme park with over 55 interactive rides, live shows, building workshops, driving schools and attractions.
It's amazing what can be built with LEGO bricks - nearly 55 million of them!
From comical camels to fearsome fire-breathing dragons, world landmarks to musical pirates, young and old alike will be fascinated by the incredible LEGO models throughout the park.
Fun Facts about LEGOLAND Windsor
There are 34 LEGO pieces in an average Miniland figure.
The largest model in Miniland is the Canary Wharf Tower which is 5.2 metres tall and took 3 model makers 850 hours to complete using 200,000 LEGO Bricks!
The smallest models are the pigeons in Trafalgar Square which contain 5 LEGO bricks each
New in 2011 - Atlantis Submarine Voyage
Take a deep breath and submerge yourself in an underwater adventure.
Plunge into the depths with this world-first LEGO® submarine ride and immerse yourself in a magical underwater adventure.
So what’s New in 2012
STAR WARS MINILAND EXPERIENCE - The Force has arrived at LEGOLAND
Take a trip to a galaxy far, far away at the UK’s only indoor LEGO® Star Wars™ Miniland Experience at the LEGOLAND® Windsor Resort. Enjoy seven of the most famous scenes from the six live-action Star Wars movies, as well as a scene from the animated series Star Wars: The Clone Wars™ all made out of 1.5 million LEGO® bricks built in 1:20 scale. Follow the chronological path through the Star Wars timeline and retrace the major events of the beloved Saga featuring 2,000 LEGO® models, authentic sounds and lighting effects in the ultimate LEGO® Star Wars experience.
LEGOLAND WINDSOR RESORT HOTEL - Now open
An exciting LEGO adventure awaits you, as the amazing 150 room, fully themed LEGOLAND Hotel opens at LEGOLAND Windsor RESORT!
Staying overnight at the new LEGOLAND Windsor Resort Hotel is a must for all LEGO fans. From the spectacular dragon-guarded entrance and interactive LEGO features through to the brightly coloured pirate splash pool and fully themed bedrooms, the new hotel will inspire imaginations and create laugh-out loud memories. With dedicated indoor play areas, entertainment and a buffet-style restaurant serving child-friendly meals, it’s the perfect family treat.
She really wanted to see this, after I told her that yesterday my job involved taking pictures of poop that a Maine resident brought in. She said it was different than any other poop she'd seen and wanted us to test it and see if it's Mountain Lion poop. In Maine, there is a big battle between residents claiming there to be Mountain Lions in the state, and Inland Fisheries & Wildlife not having enough evidence to prove that they do exist in Maine.
This poo was extremely large and consisted of a lot of hair, and some small bones, as noticed below the poo in this picture.
The abbey was founded within the 8th century. It is dedicated to Saint Papoul, a disciple of Saint Saturnin, missionary and first bishop of Toulouse. It was believed that Saint Papoul was martyred near the place, where the abbey is now.
Later a monk named Berenger (or Berengar) lived a pious life here. After he got canonized his relics attracted the first pilgrims to this place. In the aftermath of the crusade against the Cathars the papal organisation created new (smaller) dioceses to enable a stricter control. So (like Saint-Pons-de-Thomières) since 1317 the abbey church of Saint Papoul was promoted to a cathedral, holding a bishopric (upto 1801).
Saint Papoul has been one of my favourite places for a long time. So, I took a detour, to return, but reached the village at noon time, so the abbey was locked. This was not such a desaster, as the "jewels" here are two capitals high on the apse.
The two capitals are created by the "Maître de Cabestany" ("Master of Cabestany"), who is known under this name since the 1930s when a tympanum and other carvings were found in Cabestany (near Perpignan). The carvings had been used as "building materials" inside a wall of the local cementery.
The carvings did have a very specific style and so the anonymous artist was named "Maître de Cabestany". Research started and so far more than 120 carvings of these origins, all carved within the second half of the 12th century, are known. The carvings are spread over an area between the Tuscany in Italy, Southern France - and Catalonia in Spain. This led to the theory, that the "Maître de Cabestany" may not be a single master-carver, but a studio, where carvers learned this style. Meanwhile there is a museum in Cabestany, to is dedicated to these works of art - and their creator(s). - and of course a flickr-group.
The artistic style is very dynamic and creativ. The faces have almond eyes, a sharp nose, great ears and a triangular shape. The fingers of the hands are long, sometimes perspective.....
The second capital in St. Papoul refers as well to the Book of Daniel.
Daniel 6:24
"At the kings command, the men who had falsely accused Daniel were brought in and thrown into the lions den, along with their wives and children. And before they reached the floor of the den, the lions overpowered them and crushed all their bones."
Calcutta (Kolkata) Kalighat Kali Temple (Bengali: কালীঘাট মন্দির) is a Hindu temple in West Bengal India dedicated to the Hindu goddess Kali
New set-up built specifically for delicate work and autopilot programming on the Vulture 2 spaceplane
Dedicated by the Vawser family in loving memory of their departed loved ones.
Prospect Wesleyan / Methodist / Uniting / later Chapel of St Albert the Great, Blackfriars Priory School, Highbury Street.
The church was also referred to as the Highbury Church, probably to distinguish it from the Pulsford Street Methodist Church, six streets north of Highbury Street.
On Thursday evening, September 22, a drawing room entertainment, in behalf of the fund for the erection of a new Wesleyan church at Prospect was given by the pupils of Mrs Whitby’s establishment, to a large and appreciative audience. The whole affair was a complete success. Proceeds £11. (Christian Colonist (SA) 20-9-1881)
The opening services of the new Wesleyan Church, Prospect, took place on Sunday and Monday, December 11 and 12. The Sabbath services were conducted by the Revs J B Stephenson (president of the Conference), J James, and D O'Donnell.
ADDITIONS
The church had cost, exclusive of the organ, £800, the whole of which amount had been subscribed, with the exception of £4. The sum of £223 odd had been raised by the late bazaar, which, with the amount in hand, brought the total to £796. The organ, a Smith-American instrument, cost about £60. (Christian Colonist (SA) 16-12-1881)
The present building, which seats 200 persons, was erected a little more than two years ago,
when it was considered large for the place.
The population, however, has increased so rapidly that for some time past the church has been overcrowded and the trustees have been compelled to enlarge it.
Additions are to consist of a transept 51feet wide by 27 feet deep, lighted by two semi-gothic windows, surmounted by a rose window filled in with stained glass at each end, and ventilated by means of a turret in the centre of the roof. At the rear will be two vestries and a domed organ-loft, the latter of which will be opened into the church by means of an ornamental gothic arch in the transept wall. The additions, including furniture and a new porch for the church, are to cost £1,070. The contractor is Mr J Lang, of North Adelaide, who is to complete the structure by the end of the year.
Mrs Thomas Johnson laid the foundation stone of the additions. (Express and Telegraph (Adelaide) 9-10-1883)
SUNDAY SCHOOL HALL – foundation stone day 7 April 1934
The original buildings have done good service in the intervening years, but have now been demolished to make way for a new structure.
Plans of the new building were drawn by Mr Rex Lloyd, and the tender of Mr Thurmer has been accepted. The building, when completed, will be a fine addition to Methodist property.
Three stones shall be laid in the new edifice, and those who have been honoured are Mr W Knill, who was a foundation member of the school, and for twenty-five years was secretary, Mrs A F Gardner, nee Miss Braund, one of the early infant teachers, and Mr H H Pritchard, the oldest living superintendent, and a member of the Trust. (Australian Christian Commonwealth (SA) 6-4-1934)
In 2003 the then Uniting Church was purchased by Blackfriars Priory School and the church became the Chapel of St Albert the Great: and the sunday school hall an early learning centre.
St Albert’s Chapel was opened on 14 November 2003.
Former parishioners of the Uniting Church were invited to attend. On a very hot day the new air conditioning saved the day. Former parishioners were full of praise for the work done on ‘their church’. They appreciated that much of the former furniture, the wooden ceiling and some of the special windows remembering those who had died among their congregation, had been retained.
(Ref: Blackfriars Priory School – 60 Years Diamond Jubilee. By Bro B O’Hearn OP)
... and stil my noise have your name.
This pic is dedicated to Sabrina Dacos, cos although she has a loooot of coments and contacts, she always takes the time to comment my pics... thanx Sabri. :)
When Chinese settlers in Sydney decided to build a temple dedicated to the Chinese folk hero and god, Kwung Ti, they prayed for a sign showing where the temple should be built. This led them to a market garden in Francis Street (now Edward Street) in Glebe which they purchased from the owner for £325. The temple was funded by immigrants from the area known as Sze Yup in the province of Kwongtung, China.
The renowned Sze Yup Temple is dedicated to Kwun Ti, a warrior and patriot in the era of the Three Kingdoms 220 - 265 AD. Kwung Ti is famous for his loyalty, physical prowess and masculinity. In Australia, immigrant Chinese worshipped him as a wise judge, a guide and a protector. Many important business decisions, for example, were not made until Kwung Ti had been consulted for his guidance and blessing.
The central temple in the Sze Yup complex was built in 1898. The simple red brick cottage was designed with the principles of Feng Shui in mind; it was located on land that sloped from the temple to the waters of Rozelle Bay. Inside the central temple is an altar with embroidered images of Kwun Ti and his guards, racks which hold Kwun Ti's Red Hair Horse and weapons, engraved couplets, prayers, a huge drum and gong and two beautiful carved columns which date from 1898. In 1904 the temple was flanked by two chapels, the Chapel of Departed Friends and the Chapel of Good Fortune.
For the Chinese community in Sydney the Sze Yup Temple was a cultural centre as well as a place for worship. It was here that they could find social contact and companionship, material assistance or accommodation for travellers, new migrants and the sick. Celebrations and festivals such as the colourful and lively Chinese New Year took place at the temple. It was also used to house the bones of the deceased, before they were taken to China in urns for permanent burial, as tradition demanded.
In 1978 the temple was restored following a fund raising appeal. The newly renovated temple had a green tiled roof and a traditional Chinese architectural combination of red and green. In 1982 an archway was added to the temple complex with two stone lions guarding the huge entrance. In 1985 the temple was covered by a Permanent Conservation Order.
After 100 years, the Sze Yup Temple remains a sacred place to the Chinese community. Worshippers now include new arrivals from Hong Kong, Malaysia, Singapore, Taiwan, China and, in particular, Indo-China.
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.
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