View allAll Photos Tagged divinity
Just slow time down and click your shutter...... oh, and point it at a buncha red leaves. This is straight out of the camera. Well, 'cept for the RAW to jpg.
I love this girl! I'm shipping her off tomorrow to have some very slight customization done! Looking forward to having her back with a lovely matted-face!
Elliot: “No. This is her cousin, Magpie Callaghan. She’s a violinist. I saw her in concert once and stole this poster… “
Female photographer: “Uh-huh.”
Elliot (defensively): “Hey, it’s NOT like anybody needed it! Not more than I did, anyway.”
Female photographer: “Oh, if you put it that way…”
Elliot: “I ain't sure if that was a hint or not… I hope it wasn’t, ‘cause then your mind would be as dirty as mine. Just so you know: I don’t admire this lady for the way she looks, but for the way she plays that violin. I mean: she’s totally gorgeous and all, but the beauty we may have on the outside is totally overrated. It’s all just a shell that covers the beauty we have on the inside.”
Female photographer: “And you’ve been thinking this way since when?”
My nephew on his Bar Mitzvah day before reading the Torah.
Being assisted with his Talit by his teacher.
Taken not on the Shabbat
The Divinity School is a medieval building and room in the Perpendicular style in Oxford, England, part of the University of Oxford. Built between 1427 and 1483, it is the oldest surviving purpose-built building for university use, specifically for lectures, oral exams and discussions on theology. It is no longer used for this purpose, although Oxford does offer degrees in Theology and Religion taught by its Faculty of Theology and Religion.
The ceiling consists of very elaborate lierne vaulting with bosses (455 of them), designed by William Orchard in the 1480s.
The building is physically attached to the Bodleian Library (with Duke Humfrey's Library on the first floor above it), and is opposite the Sheldonian Theatre where students matriculate and graduate. At the far end from the Bodleian Library entrance, a door leads to Convocation House (built 1634–7).[1]
Larian have released another character spotlight video from Divinity: Original Sin 2, looking at the elf Sebille.
www.pcinvasion.com/divinity-original-sin-2-origin-video-i...
ISO 100 - 25mm - f/4.0 - 1/160 - Canon T1i - Tamron 17-50mm f/2.0
(+2 & -2 bracketed exposures)
THis is an amazing building. Very beautiful in its wood and stone work. It is amazing to be at a place that has a ton of history and has been such an incredibly influential school of theology and western life. So much of the way the average person lives in life is due to the theological philosophers from this school and its contemporaries. This is also my favorite HDR to date. It turned out great for my expectations. Almost no noise, lots of texture, a great vibrant range of color that is not too unrealistic. :) Very fun.
The city of Barcelona must have received the light of Christian faith very early on. The martyrdoms of Saint Eulalia and Saint Cucuphas during the Diocletianic Persecution bear witness to the existence of Christians in Barcelona at least by the late 3rd and early 4th centuries.
Unfortunately, we have no historically proven records of the ecclesiastical organization of our dioceses until 343, when Bishop Praetextatus of Barcelona and another five bishops of Hispania attended the Council of Sardica to ratify the provisions set forth in the Ecumenical Council of Nicea (325) as to the divinity of Jesus Christ.
Certain solidly grounded conjectures lead us to believe that Barcelona already had an Episcopal temple or Cathedral at that time, which would be used soon thereafter for pastoral ministry by other key bishops of our diocese: Saint Pacian (390), Lampius (400), Nundinarius (461), Nebridius (540), Ugne (599), Severus (633), Quiricus (656), Idalici (688), Laülf (693), Frodoí (890), etc. In the year 599 our Cathedral appears in a document dedicating it to the Holy Cross (Second Council of Barcelona).
Recent excavations of the substrata of the Carrer dels Comtes of Barcelona (which currently runs along the Eastern wall of the Cathedral) brought to light a building comprising three naves separated by two series of white marble columns. This undoubtedly identifies with the paleo-Christian basilica constructed in the 4th century and ennobled by subsequent bishops over seven centuries despite the difficulties caused by the Arian fight.
That early basilica solemnly housed the relics of Saint Eulalia in one of its chapels, hidden to avoid profanation by the Arab invaders of our peninsula (711). In 877 they were miraculously discovered at the temple of Santa María de les Arenes (or Santa María del Mar).
The primitive Cathedral, profoundly affected when the Arab chieftain Almanzor burned and destroyed the city, remained standing until 1046, when the Count of Barcelona, Ramon Berenguer the Old and his wife Almodis, together with Bishop Guislabert, commenced construction of another Cathedral, called the Romanesque Cathedral. That second Cathedral was consecrated o sn 18 November 1058 by the Archbishop Wilfred of Narbonne.
The Gothic Cathedral we have today was built on the foundations of the primitive paleo-Christian basilica and the subsequent Romanesque Cathedral. Construction commenced on 1 May 1298 during the mandate of Bishop Bernardo Pelegrí and the reign of King James II of Aragon, the Just, and was virtually completed by the mid-15th century, under the mandate of Bishop Francisco Clemente Sapera and the rule of King Alfonso V of Aragon.
Three distinct periods can be defined within the 150 years of construction: in the first, the building was planned and the apse and radial chapels were built, as were the presbytery - with its altar and crypt- and the pseudo transept; afterward, the three naves, with their respective lateral chapels, were extended back to the choir; finally, construction of the basilica continued to the façade, which was later closed with a simple wall (1417). The Cloister was finished in 1448.
At the end of the 19th century, the Barcelona industrialist Manuel Girona Agrafel offered to undertake the work on the façade and on the two side towers, in keeping with the plans drawn up by the architect Josep O. Mestres and inspired by the initial 15th-century project. Mr Girona's children finalized their father's work in 1913 on completion of the cimborio.
Recreation of the terracotta pediment from Via di San Gregorio, presented in an exhibition in 2002, has been made part of the route through the museum.
In the high relief of the tympanum is portrayed in a scene showing a sacrifice in the presence of three divinities, Mars and two goddesses, celebrated by an offerer wearing a toga to whom three bare-chested servants lead six animals in two rows starting from the two extremities of the pediment.
There is still also part of the architectural framework of the sloping roof (pediment's sima), with at the centre a small relief showing the myth of Heracles and Hesione.
The permanent exhibition makes a proposal of reconstruction of the decoration of the pediment in polychrome terracotta of a Roman temple of the mid second century B.C., discovered in the late nineteenth century in Via San Gregorio, in the valley between the Palatine and the Caelian Hill, while working on the implementation of a large sewerage. The terracotta were found in the middle of the street below a layer covering the debris of Nero’s fire in 64 AD.
The new additions emphasize the exceptional nature of this archaeological find, which represents the most complete example of a closed terracotta pediment of the late Republican age discovered in Rome so far.
The high-relief pediment depicts a scene of sacrifice to Mars and two female deities: celebrated by an officiant wearing a toga to whom three bare-chested servants lead six animals in two rows starting from the two extremities of the pediment.
The scene captures the moment after the initial phase (praefatio), when wine and incense are poured on the altar, and immediately before the animal consecration to the gods (immolation). The animals presented to the officiant are sprinkled with a special mixture of spelt and salt (mola salsa) and with wine on their snouts, they are also symbolically marked with a knife from head to tail. The killing will take place immediately after and parts of their bodies will be offered to the deities on the altar.
A little relief depicting of the myth of Hercules versus the sea monster to save Hesione, daughter of King Laomedon of Troy and sister of Priam, was situated on the top of the roof and applied to the central panels of the brightly painted cornice that fringed the eaves.
Terracotta votive plaque representing a female figure flanked by snakes.
The polychrome technique employed here is rare in Athens at that time.
From a sanctuary at the north west slope of the Agora.
7th century BC.
T175.
(Chthonic- deities or spirits of the underworld)
Ancient Agora Museum, Athens
This was built in 1427-83. Through the door opposite is the Convocation House, where Charles I and Charles II held their Parliaments during the Civil War. This room was also used in the Harry Potter films, as the infirmary at Hogwarts.
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) Premios 40 Principales Ballantines 2015 - BarclayCard Center - Madrid - 11/12/15
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Detail of one of the three apse windows that constitute the first major stained glass commission of John Piper & Patrick Reyntiens, executed 1954-6 and portraying nine aspects of Christ's divinity.
The also constitute the first major flowering of a new, contemporary approach to stained glass design, radically different from anything produced in this country before, and therefore a milestone in the evolution of modern stained glass in Britain.
This was my second visit to Oundle School Chapel, an impressive building designed by Sir Arthur Blomfield in 1922-3 and standing completely detached in splendid isolation in the grounds of Oundle School. The chapel was built in a late Perpendicular Gothic style with a nave flanked by low aisles and a tall clerestorey that floods the interior with light..The east end is formed by a polygonal apse surrounded with a low ambulatory (forming a hidden corridor within).
The interior is vast and spacious as a grand school chapel should be, but fine though the architecture is it is the explosions of coloured light that punctuate the aisles and the deep, brooding tones of the glass in the apse that draw the eye here. Oundle's chapel is a treasure house of modern stained glass, from the three altar windows by John Piper & Patrick Reyntiens (their first ever commission dating from 1954-6, often considered the first windows in a modern style in Britain) to the extensive scheme of aisle windows recently commissioned from Mark Angus and installed in 2002-5.
Piper & Reyntiens' apse windows are quite unique, and more figurative than so much of their more familiar later work. The images represent nine aspects of Christ, each personifying a different aspect of his divinity. The colouring is rich and dense and the stylisation bold, many of the faces being more reminiscent of some powerful tribal mask than anything seen in a British church before. It took great vision and courage to commission these windows (Piper & Reyntiens had little experience at this stage and no previous collaboration to their names) and is perhaps symptomatic of postwar optimism and a more forward thinking approach than is often seen in today's commissions in glass. John Betjeman was so impressed on first seeing these works that he stated that the chapel would become a place of pilgrimage to art lovers, and so it should be to anyone with an interest in modern glass.
The aisle windows by Mark Angus are no less richly coloured, and some (at the west end) are equally figurative but most use a more abstract symbolic language. Much of the drawing has a rather charming, almost childlike naivety and the designs are in many cases kept refreshingly simple, allowing the various bold colours to dominate these smaller apertures.
Oundle School Chapel is a must for anyone with an interest in contemporary stained glass and the School is to be commended for its vision in making such a statement in its choice of artists. The chapel may be open to visitors much of the time but it might be advisable to check if making a special journey to see it.
This is the pillar of Ranganatha swamy temple. Pillars at the entrance are very typical of Hindu temples. This temple was submerged when the Krishna Raj Sagar dam was constructed. The temple was moved block by block, brick by brick on land beside the waters. The temple has been successfully moved with each stone being placed exactly where it was supposed to be.
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