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Dedicated to @flipkeat, @Greta Adores Pink & @DMC43...whom have all experienced great loss recently... <3.
My thoughts are with you...
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).
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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
Dedicated to the Glory of Ukraine - 20 images - Canon EOS 40D with Legacy Super-Takumar 1:3.5 28mm Prime (M42 mount) & Fotodiox M42-EOS adapter & Polarizer - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
This is from right after I graduated high school, and had broken my ankle as a result of an unfortunate encounter with a red-winged blackbird (really!). Didn't stop me from playing!
dedicated to nils, bless ;)
www.youtube.com/watch?v=3rEkN2klsMY&feature=related
aww..and now i'm in his tunes again^^:
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.
Dedicated to Екатерина Аверкина and her colours (and Eka Shonya). But you're much better than me as photographers.
Dedicated to the memory of our dear friend, John Fawcett, Head of Collection Development, Buswell Library, Wheaton College, Illinois. A man of great soul, mighty laughter, profound depth of faith, a counselor of others, a musician, and, in his long battle with cancer, an inspiration and amazement to us all. For Margie, Charlotte, and Josiah, may you find yourselves wrapped in the tender love of family and friends, as you suffer this great loss.
For my double portrait of John & Margie, and tribute to them both, see also:
www.flickr.com/photos/walford/2363827457/
While the doctors thought John would die the night before this poem was written, in his great fortitude, he pressed on until the end of May, defying all possible expectations, and inspired many in the intervening months. Such was John!
John Fawcett's funeral was a three-hour epic of music and celebration for a life richly lived and devoted to the worship and service of the God he loved. It was masterfully crafted and composed--in all its parts--around a dazzlingly rich array of musical sound and acclaimed Word of God--that took all present through a full gamut of emotions, from the grieving of our loss, to the joyful celebration of the resurrection, the latter aspect of which included all the many children dancing in the aisles--something I have never seen at a funeral. It was a fitting culmination to his long recent months (and years) of battle with cancer, and the tone of the service was triumphal, while not escapist, nor pretending that death is not anything but our last and worst enemy. I have never experienced anything like it, and I presume that John himself orchestrated the entire musical production, which included a piece composed and performed especially for the event, by his friend, professional pianist, Danial Paul Horn, also of Wheaton College.
96th Bomb Group Museum (Snetterton Heath WW2)
Aurora Eccles School
Quidenham
Norfolk
NR16 2NZ
A friendly museum dedicated to the personnel who served with the 96th Bomb Group during World War II.
Their aim is to tell the stories of all personnel who served with the 96th from the cooks to the pilots where it actually happened as the museum is based on the old base hospital site. We also have two stunning memorials to visit, one based at the entrance to Snetterton race circuit and one in St Andrew`s Church Quidenham.
Link to their website – g.co/kgs/UWALzJn
RAF Snetterton Heath airfield was constructed by Taylor Woodrow Ltd, in 1942 at a cost of £950,000 to Class-A specifications. The main runway was 6,000 feet long with two secondaries of 4,200 feet each. Originally thirty-six hardstands of the ''frying pan'' type were constructed as when work started, the base was intended for RAF use. When rescheduled for the USAAF, the number was increased to fifty, all of them being on the south and eastern side of the airfield as a railway line and the A11 road restricted dispersed locations. Total area of concrete laid in its construction was 530,000 square yards with storage provided for 144,000 gallons of fuel.
The airfield was allocated for USAAF use in 1943, its designation was Station 138, Station-ID ''SN''. At one stage, it was planned to add an air depot, known as Eccles on the northern side of the airfield, access being across the A11. Four additional T-2 hangars were constructed on this site. Apparently a reduction in the number of heavy bombers being sent to the UK led to this depot becoming surplus to Eighth Air Force requirements and construction was stopped before all facilities were completed. From 13th September 1943 though 18th June 1945, RAF Snetterton Heath served as headquarters for the 45th Combat Bombardment Wing of the 3rd Bomb Division.
The 386th Bomb Group equipped with B-26's occupied this station for a week in early June 1943, and was replaced in mid-June by the 96th Bomb Group equipped with B-17's. After some 300 missions from RAF Snetterton Heath, the 96th Bomb Group left for the USA during November-December 1945. The station was then placed under Care and Maintenance by the RAF and kept in operational condition until closed in the late 1940's. The airfield was bought privately in 1952 for development as a motor cycle and motor car racing circuit, the first race meeting being held in 1953. The much modified and upgraded circuit has since become a thriving venue for local club, national and international racing, and also for development and testing of motor vehicles.
Information sourced from –
Germanwings confirmed its flight #4U9525 from Barcelona to Dusseldorf crashed in the French Alps with 144 passengers and six crew members on board.
My thoughts go out to families of the victims :'(
www.reuters.com/article/2015/03/24/us-france-crash-airbus...
Dedicated to Sir Saint and Kfir...
Bus No: 5032
Year released: 1995
Capacity: 66; 2x3 seating configuration
Route: Pasay/Cubao- Alaminos via Tarlac/Dau/Camiling/Mangatarem/Socony
Body: Five Star Bus Body(rebodied)
Engine: Nissan Diesel PE6
Fare: Airconditioned
Aircon System: n/a
Transmission System: M/T
Previous Body: 1995 SR-AKR ordinary series
Taken on: November 23, 2008; 6:29pm
Location: Romulo Highway, Brgy. Malacampa, Camiling, Tarlac
Foz do Arelho, Portugal.
Dedicated to my Flickr friend Sunset Luísa, wishing you a less stressing year.
The long text below has to do with the Portuguese language and the way we should write "sunset" in Portuguese : "pôr-do-sol", "por-do-sol", "por do sol", "pôr do sol" or "pôr do Sol" ? Believe me or not, there are Portuguese using all those forms - and I shall not tell you about the problems with the plural!
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Dedicada à minha amiga do Flickr Luísa-dos-pores-do-sol, desejando-te um ano menos desgastante.
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Nota para o/a visitante de língua portuguesa, que anda muito baralhado/a
(pois, pois, a maioria das pessoas, professores e tudo, anda no Flickr a escrever "o sol" e não "o Sol", como devia e, se calhar, também me apanham a mim)
Escreve-se "pôr-do-sol" e o plural é "pores-do-sol".
"Pôr" tem acento, para não se confundir com a preposição "por", mas os verbos por si formados (supor, compor, repor, etc.) não têm, pois não são susceptíveis de confusão. Perde o acento no plural. E escreve-se com hífenes, quando nos referimos ao momento do dia e não ao astro em determinada posição. "Sol" passa a "sol com minúscula, porque não se usam maiúsculas entre hífens.
Fontes:
ciberduvidas.sapo.pt/pergunta.php?id=486
ciberduvidas.sapo.pt/pergunta.php?id=541
ciberduvidas.sapo.pt/pergunta.php?id=2845
ciberduvidas.sapo.pt/pergunta.php?id=268 (quanto ao plural)
www.gramaticaonline.com.br/gramaticaonline.asp?menu=3&... (fonte brasileira)
Discorda? Siga para o 1º comentário, s.f.f.
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Army Medical Department Museum: Dedicated in 1989, the museum traces the history of medicine in the US military from the Revolution to present. A large artifact collection displays the unique and sometimes ghastly history of medical care on the battlefield. There is a large outdoor display of medical evacuation helicopters, ambulances and even a rail car. The iconic statue of a combat medic near the main entrance is a must-see.
Dedicated in 1869, with its first burial on July 25, 1870. Has a lot of rather tall, densely packed headstones for a rural cemetery.
Dedicated to the designers, developers and engineers who build the world’s most engaging user interfaces. From the community, for the community.
A series of shots dedicated to the Dannee and Sam\Sanguine first so called “Night to Remember” something that Dannee indeed always to remember the first and only evening when that mysterious Sam challenged her into contest and his brew her so drunk that her memory of whole night was like erased… until recently when with some unexpected “help” she remembered everything…
Everything about their romantic rendezvous was perfect - the jokes, their travel to misty Grove, where Dannee in attempt to refresh jumped into waterfall and how Sam carried her back, gave her a new dress, then the dancing and the romantic atmosphere, when it was just two of them, two people enjoying themselves, free from responsibilities, doubts and fears at least for a while.
However those joking words of Sam about Dannee losing her dress to an uneven battle with the dirt, that kind compliment about her looking like a golden dragoness in her new scaled dress turned darker as his sympathy and tenderness vanished to savage desire, those moments he never spoke with her about of finally revealed… As his darker lustful side emerged with her immense fear what it might lead too… Dannee managed to soothe his fierce desire in other way then being defiled but for her it has been humiliation, then came the fear and almost despair when she realized she wasn't in Skyrim, but in Oblivion, at the mercy of the Daedric Prince, realizing that she truly didn't know who that mysterious Sam was and trusted him so easily but before she could further torment herself he found her.
He didn’t know what to say, she looked so lost and sad, such a contrast to him. It has been so long he felt himself so happy… she gave him such intense satisfaction he didn’t feel for years, like tidal wave, drowning out anything else in the world. It felt so raw and intimate and personal, even more intimate than if he had taken her. He should have been touching her too, take her to his home, to his bed, he thought guiltily, he should be offering her pleasure in return and giving her the comfort and touch she so desperately needs. But he was drunk and everything was happening all at once, the sensations so overwhelming and new that they destroyed any possibility of coherent thought at that time… But it wasn’t only physical satisfaction, she made him happy even by her company. He felt something coiled lazily deep inside him, something that’s just waiting to be given a chance, and here he is, giving it a chance. He’s letting someone in. But apparently Dannee had different opinion… He tried to comfort her until he realized it would no good, he still could make it up for her, make her smile again, make her really happy but first thing was to erase this whole evening from her mind, because it seems no matter what he will say will help her now, nothing but something like spell, that would not be strong enough to erase her entire memory of the night, but it would suffice in blurring it enough to make her second guess its truth, perhaps labeling it as just another unbidden fantasy without anything that may hurt her feelings…
One magic trick and Dannee found that she was at some new magical looking place with her friend, Sam who looked at her with something like affection, like he craves so much more than her touch and company, like he craves her more than anything else in the entire world…
“Why do you look at me like this, Sam?” The last thing she remembered how he brought her here to breathe a fresh air…
“It is just… you made me so happy, and you are so beautiful, dearie, body and soul.”
Another long-over due return to a City church.
It must have been at least 5 years since I was here, back then just starting out on the quest to visit all City churches, and also now with a keener eye to pick up detail.
And with new camera and lenses too I might add.
St Lawrence sits opposite the Guildhall, and I have always found it open and welcoming. On this Monday morning, I had the whole church to myself.
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t Lawrence Jewry next Guildhall is a Church of England guild church in the City of London on Gresham Street, next to the Guildhall. It was destroyed in the Great Fire of London in 1666, and rebuilt to the designs of Sir Christopher Wren. It is the official church of the Lord Mayor of London.
The church was originally built in the twelfth century and dedicated to St Lawrence; the weather vane of the present church is in the form of his instrument of martyrdom, the gridiron.[1] The church is near the former medieval Jewish ghetto,[2] which was centred on the street named Old Jewry.[3] From 1280 it was within the advowson of Balliol College, Oxford.
Sir Thomas More preached in the older church on this site.
In 1618 the church was repaired, and all the windows filled with stained glass paid for by individual donors.[5]
The medieval church was destroyed in the Great Fire of London and rebuilt by Christopher Wren between 1670 and 1687.[6] The parish was united with that of St. Mary Magdalen, Milk Street, which was not rebuilt.[5] The church is entirely faced in stone, with a grand east front, on which four attached Corinthian columns, raised on a basement, support a pediment placed against a high attic.[6]George Godwin, writing in 1839, described the details of this facade as displaying " a purity of feeling almost Grecian", while pointing out that Wren's pediment acts only as a superficial adornment to the wall, rather than, as in Classical architecture, forming an extension of the roof.[5]
Inside, Wren's church has an aisle on the north side only, divided from the nave by Corinthian columns, carrying an entablature that continues around the walls of the main body of the church, where it is supported on pilasters. The ceiling is divided into sunken panels, ornamented with wreaths and branches.[5] The church is 81 feet long and 68 feet wide.
The church suffered extensive damage during the Blitz on 29 December 1940,[8] and after the war the City of London Corporation agreed to restore it as Balliol College had no funds to do so. It was restored in 1957 by Cecil Brown to Wren's original design. It is no longer a parish church but a guild church, the advowson transferred to the City as its official church.
The church was described by Sir John Betjeman as "very municipal, very splendid."[9] It was designated a Grade I listed building on 4 January 1950.[10]
The church was the burial place of John Tillotson, archbishop of Canterbury;[11] and of merchant Francis Levett, as well as the site of the wedding of his niece Ann Levett, daughter of William Levett, Dean of Bristol and former Principal of Magdalen Hall, Oxford .[12]
The church is used by the New Zealand Society UK, who celebrate Waitangi Day here in February each year.
en.wikipedia.org/wiki/St_Lawrence_Jewry
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There has been a church on the present site since the twelfth century. The first church is thought to have been built in 1136, and was destroyed in the Great Fire of London. The church was one of many re-built by Sir Christopher Wren. Work began in 1670 and was completed in 1677. It was one of Wren's most expensive City Churches.
The name Jewry is a geographical descriptor. Before the great fire of 1666 there were many churches in the City (about 150+) and some had the same saint's name. To distinguish them another title was attached. This is why so many of the City churches have interesting and odd names. The church is located close to a street called Old Jewry. This is where a Jewish community lived from 1066 to 1290. They came to the country with William the Conqueror and were expelled by Edward I. Hence St Lawrence Jewry.
During the Second World war, the church was extensively damaged but not completely destroyed on 29th December 1940.
Restored in 1957, it is now the official Church of the Corporation of London. Like most Wren Churches few walls are at right angles but the "sumptuous barn" white interior with its gold-leaf and chandeliers is spectacular. The church was described by Sir John Betjeman as "very municipal, very splendid." It was designated a Grade I listed on January 4, 1950.
The dedication of the church is to St Lawrence.
Lawrence was a native of Huesca (Roman Osca) in Hispania Tarraconensis who had received religious instruction from Archdeacon Sixtus in Rome. When Sixtus became Bishop of Rome in 257, Lawrence was ordained a deacon and was placed in charge of the administration of Church goods and care for the poor. For this duty, he is regarded as one of the first archivists and treasurers of the Church and was made the patron of librarians.
In the persecutions under Valerian in 258 A.D., numerous priests and deacons were put to death, while Christians belonging to the nobility or the Roman Senate were deprived of their goods and exiled.
The Prefect of Rome, a greedy man, thought the Church had a great fortune hidden away. So he ordered Lawrence to bring the Church's treasure to him. The Saint said he would, in three days. Then he went through the city and gathered together all the poor and sick people supported by the Church, or in some versions of the story all the children. When he showed them to the Prefect, he said: "This is the Church's treasure!"
In great anger, the Prefect condemned Lawrence to a slow, cruel death. The Saint was tied on top of an iron grill over a slow fire that roasted his flesh little by little, but Lawrence had so much love of God that it is said he almost did not feel the flames. In fact, God gave him so much strength and joy that he even joked. "Turn me over," he said to the judge. "I'm done on this side!" And just before he died, he said, "It's cooked enough now." Then he prayed that the city of Rome might be converted to Jesus and that the Faith might spread all over the world. Saint Lawrence's feast day is August 10th.
His symbol is a gridiron such as the one in the picture which is the weather vane of this church.
Dedicated to the Canadians that lost their lives in 1914-1918 War in Belgium.
Designed by Frederick Chapman Clemesha.
More than 2000 Canadians died and over 4500 were wounded and gassed.
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
Anek Kuson Sala (Viharnra Sien) The Viharn Sien is a beautiful Chinese temple South of Pattaya now in use as a museum. The museum houses a unique collection, which is believed to be one of a kind outside of China.
It is made up of a three story central building and a number of pavilion halls. The Viharn Sien is built in elegant Chinese style, but the real attraction lies inside the building. This museum is one of the best places in Asia outside of China itself to see some priceless and rare Chinese artifacts and antiques.
The Viharn Sien is also called Viharnra Sien, which means House of the Gods, and was built in 1987 for the current King of Thailand’s 60th birthday, King Bhumibol Adulyadej or Rama IX of the Chakri dynasty.
Set in a well kept area of almost 3 acres,the museum sits next to a beautiful lake on the Wat Yansangwararam Temple complex. The museum, which is also known as Wihan Sian or Anek Kuson Sala houses one of the best Chinese art collections in Thailand.
Before entering the building you can see a number of Chinese mythological figures and two enormous stone Peking lions. Inside the museum there is a collection of fine Chinese pottery from several dynasties, one of them the Shang dynasty, making this pottery at least 3,000 years old. Also on display are the statues of 18 Shaolin monks, all displaying a martial art form for which the 15 centuries old Shaolin Monastery in China is famous.
Inside the central building are the hand made terracotta figures of 8 arhats, who are the followers of the Buddha that have reached a high stage of Enlightenment. A great number of precious antiques, paintings, statues and artwork are displayed here, some of which were a gift from the Chinese government.
Terracotta Army
Some very unique items like a number of figures of terracotta warriors and horses, chariots from the tomb of Emperor Qin Shi as well as a golden throne can be viewed.
This is one of the very few places where a terracotta army like this can be seen, especially outside of China. Apart from that the museum houses a large number of other items, such as granite carvings, old paintings, bronze and earthenware, sculptures of Chinese Gods, Buddha statues and a jade statue of Guanyin, the Chinese Goddess of Mercy. Some items are from the famous Chinese Ming dynasty.
One section of the Viharn Sien is dedicated to Thai art and history. Here you can see a number of paintings showing the history of some of Thailand’s great Kings, such as King Chulalongkorn (Rama V) and King Taksin, under whose rule Siam was freed from Burmese occupation.
Apart from a museum, the Anek Kuson Sala, the Thai name for Viharn Sien, is also a place for worshipping Chinese Gods
Hoover High School dedicated an American flag in the Technology Learning Center in honor of Sergeant Steven W. Mullins on October 3rd. Mullins was a member of the Hoover Class of 1982 who enlisted in the United States Army upon graduation and was one of 248 soldiers killed when a plane carrying them home from Egypt for Christmas crashed in Newfoundland on December 12, 1985.
Speakers included Hoover Principal Doug Wheeler; Steven’s mother, Sandi McCann; Lt. Col. Townley Hedrick from Steven’s unit based at Fort Campbell, Kentucky; Ron Peterson, Steven’s track coach at Hoover; Nancy William, Steven’s cousin and the President of the AIB College of Business and Iowa Congressman Leonard Boswell. Music by Hoover’s band opened and closed the ceremonies.
Steve’s mother spoke and expressed her appreciation for the permanent recognition of her son and his sacrifice. She singled out Congressman Boswell for his assistance in arranging for the dedicated flag to fly above the United States Capitol on July 7 of this year, Steve’s 48th birthday.
Williams remembered that her cousin joined the Army because he wanted to see the world before starting college and he did see a lot of it through postings in Europe and the Middle East. When he died his fiancée was waiting to meet a plane that never arrived.
“The Des Moines Public Schools exist so that graduates possess the knowledge, skills and abilities to be successful at the next stage of their lives.” So reads the district’s mission statement. Regardless of length, no life could better embody that than Steven. W. Mullins’. Mission accomplished, Sergeant. Your alma mater salutes you.
Along with Eric Cooper, a major league umpire from the Hoover Class of 1985, Sgt. Mullins will also be inducted into the Hoover Hall of Fame in connection with Homecoming festivities this weekend.
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.
My personal gym trainer, Mr. Brian Chong (No. 30), from Body Alignment (BERCHAM branch), had participated in VS Gym - Bodybuilding Competition – dated Saturday, February 14, 2009.
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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