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Oil.
They say there is no light without dark, no good without evil, no male without female, no right without wrong.
-Incubus Dreams by Laurell K. Hamilton
Saturday Self Challenge: tanden
Het gebit van één van de leeuwen in de Kungsträdgården (Koningstuin) in Stockholm.
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Saturday Self Challenge: teeth
The teeth of one of the lions at the Kungsträdgården (King's Garden) in Stockholm.
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A retake of a picture I shot a while ago... this time I'm the model and the photographer, not just the eye behind the camera...
sorry about the shitty stitching job. i had a really hard time getting a decent pic of this due to the lighting situation in the place. we spend about 3 and a half hours trying to stitch these pics together with my slow ass computer. and it still looks like crap
are you ready to devour?🎀
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SL URL: maps.secondlife.com/secondlife/Green%20Hollow/236/124/24
There seems to be 3 different species of pines in the plantation. Scots, an Oriental type, and a 3rd unknown! Around 80% of the Scots have had their buds eaten. Think it's a small rodent, as also found these little droppings amongst the needles below the buds (see in comments). Of the other 2 species, the Oriental had a few nibbled buds, but very little, and the unknown species appeared to be untouched! I would imagine that this would severely impede this year's growth on the Scots?? Anyone have an idea about the culprits? There must be a lot of them, as a huge amount of trees in quite a large area are affected!
As an aside, I also found it interesting that usually, I find most ladybirds nestled amongst the Scots buds, but there were more in the surrounding heather and on some of the Oriental pines, where I normally see very few. I guess this is down to the pine bud munchers disturbing the overwintering ladybirds, who've then sought other places to shelter!
Shawbury Heath - Shropshire
Still life photography of worn-out frying pans.
de•vour (d`-vour)
1) To eat up greedily.
2) To destroy, consume, or waste.
3) To take in eagerly.
4) To prey upon voraciously.
Still life photography of worn-out frying pans.
de•vour (d`-vour)
1) To eat up greedily.
2) To destroy, consume, or waste.
3) To take in eagerly.
4) To prey upon voraciously.
It's serviceberry season and the birds, especially the robins, are eating them as fast as they can. We have a bumper crop this year. One year a family of cedar waxwings cleaned out all the berries in less than an hour. The serviceberry is a native plant in Missouri, a great tree for birds. Box turtles love them too.
There are a lot of seed poops in the garden...
i did this fan-art for a fellow website i belong too
this one took a while but i am pretty damn happy about it!
paint, marker and digital barcodes on cardboard
Devouring Hate.
Dannedd Ffwrneisi berffeithrwydd dadleuon ymhelaethu melltithio wedi'i rannu silio cysgodion,
méprisant indéterminée terrifié solitude immortel martelant douleurs haine colères,
cantibus aer cogetur in interitum sitiens inedia rotarum fumus inhabilia montis contemnendum,
محذرا من الإصابات غضب النيران حامل لقب المحبة عويل حروب الإبادة في,
Abdecken Paläste schaudernd Schrecken Rache verletzt Unschuld Glückseligkeit,
τιμωρία αμόνια καρδιές συμπυκνωμένες ουσίες επιθυμίες σκληρά δολοφονίες καύση αρμοδιότητες θανάτους,
накопления искушения поймали слёзы математические глубины закапывали фундаментов рев,
chauffeured simplicities beoefend hardvochtigheid tusschen toovenaressen verboden heksen ketens,
tremor lasciva afluência rostos débeis dispersantes pecadores censurou bocas terremoto,
проклињање Профанације неодољиво смрдљиви ђавола малигнитета одмотавања монструозне пустош беса је,
סמיילינג טענות טיף אויסדרוקן שורש סאַקסעסיוו וואָלופּטואָוסנעסס אַביססעס שעה,
の有罪同情有毒裏切り赦さ大衆のおかげで非難.
Steve.D.Hammond.
Hand pulled, 3 layer print. edition of 6.
Size: 28x36cm (printed surface), 38x48cm (paper size). Hand signed and numbered.
Satan sits in the corner as a composite beast in chains with a fish-like head receiving lost souls through its wide open maw, whilst below his torso bears a second monstrous face, a frequent feature of medieval devils suggesting the seat of their intelligence being misplaced for their lower appetites. His right hand bears a trident-like sceptre.
Detail of the lower half of the west window depicting the Last Judgement. The Last Judgement is Fairford's most celebrated window for its dramatic composition and graphic depiction of the horrors of hell in the lower half. The window sadly suffered badly during the great storm of 1703 with the upper half depicting Christ in Judgement and the surrounding company of saints and angels the most seriously affected part.
The lower half depicts Archangel Michael at the centre with the elect entering Heaven to the left and the damned being condemned to Hell on the right. This depiction of Hell is renowned for its exotic demons dragging their victims to the red glow of hellfire, culminating in the monstrous soul-devouring figure of Satan seated in the bottom right hand corner.
St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.
The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.
One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.
Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.
The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.
The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.
It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.
Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.
My last capture of this favorite subject. A bit of this farm equipment is visible on the opposite side. Each visit the hub sinks a bit deeper into the tree trunk
Saint-Genès, erected in the 11th and 12th century, was the church of the priory Saint-Etienne, dependent from the important Abbaye Notre-Dame in Déols. This abbey, now in ruins, had been founded in 917 and developed into one of the most powerful regional institutions. It was one of the first in the Cluniac network. Odo of Cluny (+ 942) was abbot of three monasteries: Cluny, Massy and Deols. This is important, as Saint-Genès has architectural parralells to Cluny II and Cluny III.
The building got severely damaged, when Louis VII (aka "Louis le Jeune", 1. husband of Eleanor of Aquitaine) burnt down the town in 1152 during a feud with Abbo II de Déols, a supporter of Henri Plantagenêt (aka Henry II, "Curtmantle", 2. husband of Eleanor of Aquitaine). In 1569 the Huguenots set fire here - and many restorations followed that. During the French Revolution the bell tower was destroyed and the church became a "Temple of Reason".
The carvings inside were created by (at least) two different workshops. There are rough and archaic capitals, that are probably older than the more elaborated, "sophisticared" ones. This one is probably from a third workshop.
A hellish creature is just about to devour the person in the center. What thought to be a "helmet" over the wrinkeld face - is the giant mouth of that creature. To the left a bird swallows a fish, probably a symbol, of how easy it is for a devil, to devour a soul. To the right a devil bites into the shoulder of a large sitting person, who himself bites into a apple..
Embrace the sun
... so I won't see its light
Cover It's light
... so I could hide this pain
Take away this pain
... so I could breath again
Hand pulled, 2 layer print. edition of 5.
Size: 28x36cm (printed surface), 38x48cm (paper size). Hand signed and numbered.