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Tombstone of author Anne Gregg Ryan (? - July 10, 1901) in St. James Cemetery. Toronto, Canada. Spring afternoon, 2021. Pentax K1 II.
www.biographi.ca/en/bio.php?id=ryan_anne_gregg_13F.html
RYAN, ANNE GREGG (Savigny), author; b. likely in the 1830s in England, daughter of James Shepard Ryan and Jane Elizabeth Lopdell; m. after 1871 Hugh Paine Savigny; d. 10 July 1901 in Toronto.
Annie Gregg Savigny, as she was identified on her publications, was recognized by contemporaries as one of Toronto’s more active authors, yet her personal record remains surprisingly uncertain. Details of her birth, immigration, marriage, children (if any), and early places of residence still await discovery. Recent research has disclosed the names of her parents, but also reveals the unreliability of historical documents. Both her death certificate and the record of her interment incorrectly list her place of birth as Toronto; moreover, these cite her age at death as 65 and 75 respectively, when she may have been only about 53.
The paucity of accurate information on Annie reflects the obscurity of women’s lives in the historical record. Far more biographical material survives about her husband, surveyor Hugh Paine Savigny (1821–81), though she was the more notable person. From 1866 to 1880 he is listed as living in Toronto but there is no indication whether he was accompanied by a wife (Annie appears to have been his second, after one Henrietta Simpson, whom he married in 1862). The census of 1881 recorded Scottish-born Hugh Savigny, age 60, and English-born Annie, age 32, living in Port Perry, Ont. The Savigny name reappears in Toronto directories in 1886, when the widowed Annie was living on Bloor Street West. From 1888 she resided on Isabella Street. Although at her death she left only a modest estate, valued at less than $1,800, financial need does not seem to have been her primary reason for writing. The nature of most of her fiction suggests that moral edification was the stronger motive.
Of Savigny’s novels, her first, A heart-song of today, published in Toronto by George Maclean Rose* in 1886, is the most likely to have been aimed at the commercial market. This high-life romance set in London, England, concerns amorous and financial intrigues within the social class that has no better way to amuse itself. A preface, handwritten by the author in the copy possessed by the University of Western Ontario, proclaims her social purpose: she warns that “the ‘unruly member’ set in motion by that ancient firm of ‘envy hatred & malice’ (with jealousy [also] as motive power) is more to be dreaded as an instrument of evil than dynamite in any form.” Her next book, A romance of Toronto (Toronto, 1888), published by William Briggs*, is specifically rooted in the city she knew best. Today it is of more interest for its local references and celebration of late-19th-century Toronto than for its unsubtle and unlikely double plot, one strand concerning a woman trapped by an unwanted promise of marriage, the other recounting the attempted duping of a naïve heir by unscrupulous relatives.
Also distinctly set in Toronto are Savigny’s two juvenile books written on behalf of the Toronto Humane Society, in which she focuses on the plight of abused animals and “the barbarous cruelties to which they are subjected by reason of the faithlessness of man to his trust.” Lion, the mastiff (1895), again published by Briggs, enjoyed at least two reprints (1897 and 1900) and would have been welcomed by the same readers who made a best seller of Beautiful Joe (Philadelphia, 1893), by Margaret Marshall Saunders*, the best known of Canada’s early animal rights novelists. Like Saunders, Savigny allows her animal characters to speak directly to their young potential protectors and advises children to join the Band of Mercy. This message is repeated in Dick Niven and his horse Nobby (Toronto, 1898); the work’s subtitle – lantern slide lecture teaching kindness to animals – indicates its didactic purpose.
During her final years Savigny also contributed to several local periodicals. One source claims that she “wrote extensively on astronomical subjects for the Toronto Astral Society.” This organization has now been identified as the Astronomical and Physical Society of Toronto, and its published Transactions record her serious interest in science. Her many presentations included papers on the planet Mars (1897) and on planetary observations taken at Lowell Observatory in Flagstaff, Ariz. (1899, 1900). Savigny’s will confirms the social values proclaimed in her writing; her major beneficiaries included the Toronto Humane Society, the Lord’s Day Alliance, the Toronto General Hospital, and John Joseph Kelso* (founder of the Children’s Aid Society) for his work among children.
La cathédrale Saint-Gatien de Tours est l'église cathédrale catholique romaine, située à Tours, en Indre-et-Loire. Dédiée Saint-Gatien, elle est le siège du diocèse de Tours et la cathédrale métropolitaine de la province ecclésiastique de Tours.
Elle a été classée monument historique par liste de 1862.
La cathédrale Saint-Gatien a été construite entre 1170 et 1547. Lors de sa création, elle était située presque au débouché du pont franchissant la Loire, sur la route reliant Paris au sud-ouest de la France. Elle fait l’objet d’un classement au titre des monuments historiques par la liste de 18621.
La première cathédrale Saint-Maurice a été édifiée par Lidoire, évêque de Tours de 337 à 371 et prédécesseur de Martin. Incendiée en 561, elle est restaurée par Grégoire de Tours et dédicacée en 590. Du fait de son emplacement, à l'angle sud-ouest du castrum, et de son orientation à l'est, l'accès se faisait, sinon au travers de l'enceinte tardo-antique, du moins en baïonnette depuis la voie traversant la cité ; une telle configuration est rare2. La cathédrale de Tours est reconstruite au cours du deuxième quart du xiie siècle et est incendiée en 1166 lors des luttes entre Louis VII de France et Henri II d'Angleterre, comte d'Anjou. On ne connaît pas le plan de cet édifice.
La nef et le chœur :
La cathédrale actuelle remplace cet édifice roman. La première campagne a concerné le croisillon sud et les tours, dès 1170. Le chœur est reconstruit de 1236 à 1279 par Étienne de Mortagne. C'est la nef qui a demandé le plus de temps pour son édification. L'architecte Simon du Mans reconstruit le transept et entame la nef, dont six travées, bas-côtés et chapelles sont édifiés au xive siècle — les deux premières travées correspondent à celles de l'ancienne cathédrale romane et remontent au xiie siècle. La nef n'est achevée qu'au xve siècle par les architectes Jean de Dammartin, Jean Papin et Jean Durand, grâce aux libéralités accordées par Charles VII et le duc de Bretagne Jean V. À l'occasion de l'édification du bâtiment actuel, la nef a donc été allongée vers l'ouest et les tours encadrant l'entrée sont élevées en dehors de l'ancienne cité, accentuant la particularité de l'édifice mentionnée supra ; l'enceinte tardo-antique est visible en coupe à l'arrière des tours depuis le nord. En 1356, la cathédrale reçoit le nouveau vocable de Gatien.
La façade a perdu les grandes statues des piédroits, détruites par les protestants au cours des guerres de Religion. Mais elle demeure une des plus extraordinaires créations du gothique flamboyant dans ce qu'il a de plus éxubérant, véritable dentelle de pierre sans guère d'équivalent, chef-d'œuvre décoratif de premier plan. Les tours sont élevées dans la première moitié du xvie siècle : la tour nord a été édifiée en 1507 par Pierre de Valence, et la tour sud entre 1534 et 1547 par Pierre Gadier.
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La catedral San Gaciano de Tours, también llamada Catedral de Tours es la iglesia catedral de la diócesis de Tours y la catedral metropolitana de la provincia eclesiástica de Tours. Fue construida entre 1170 y 1547. Estaba situada durante su creación casi a la salida del puente que cruza el Loira, sobre la ruta que une París con el suroeste de Francia.
Historia:
La primera catedral de San Mauricio fue edificada por Lidoire, obispo de Tours del 337 al 371 y predecesor de Martín de Tours. Incendiada en el 561, fue restaurada por Gregorio de Tours y dedicada en el 590.
Su situación, en el ángulo suroeste del castrum, hace que la orientación al este haya hecho que el acceso se haga, sino a través de la muralla tardo-antigua, desde la vía que atraviesa la ciudad. Tal configuración es poco común. No se conoce el plano de este edificio.
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Saint Gatien's Cathedral is the Roman Catholic cathedral church of the Tours diocese and the metropolitan cathedral of the Tours ecclesiastic province, in Indre-et-Loire, France. Saint-Gatien's Cathedral was built between 1170 and 1547. At the time construction began, it was located at the south end of the bridge over the Loire, on the road from Paris to the south-west of France. It has been a classified Monument historique since 1862.
The first cathedral of Saint-Maurice was built by Lidoire, bishop of Tours from 337 to 371 (preceding St Martin). Burnt in 561, it was restored by Gregory of Tours and rededicated in 590. Its location, at the south-west angle of the castrum, as well as its eastern orientation, resulted in the original access being through the late-Roman surrounding wall (such a configuration is quite rare).
The cathedral was then rebuilt during the second quarter of the 12th century and again burnt in 1166 during the conflict between Louis VII of France and Henry II of England (also count of Anjou, the neighboring region).
The present cathedral replaces the 13th century Romanesque building. The first phase concerned the south transept and the towers, as early as 1170. The chancel was rebuilt from 1236 to 1279 by Étienne de Mortagne but the nave took much longer to build. The architect Simon du Mans rebuilt the transept and started the nave, including six spans, aisle and chapel, built during the 14th century — the first two spans correspond to those of the old Romanesque cathedral and date back to the 12th century. The nave was only finished during the 15th century by architects Jean de Dammartin, Jean Papin and Jean Durand, thanks to the generosity of Charles VII and the Duke of Brittany Jean V.
While building the present cathedral, the nave was then extended westward and the towers surrounding its entrance were erected during the first half of the 16th century, the first tower in 1507 by Pierre de Valence 87 m high, and the second tower during 1534 and 1547 by Pierre Gadier. Highlighting the special feature of the building, called supra, the towers were erected outside of the old city. The late-Roman surrounding wall is visible in cross section at the rear of the towers from the north.
In 1356, the cathedral received its new name of saint Gatien. Its construction having been particularly slow, it presents a complex pattern of French religious types of architecture from the 13th century to the 15th. For example, the tower buttresses are Romanesque, the ornamentation generally is pure Gothic, and the tops of the towers are Renaissance (beginning of the 16th century).
Working groups meetings in the Kade, Kwaebibirem Municipality.
Photo by CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Working groups meetings in the Kade, Kwaebibirem Municipality.
Photo by CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Matt 6:1-6, 16-18
Give alms, pray and fast in God's sight, not others.
Traditionally Lent has been a time of prayer, fasting, and giving to those in need. Many Catholics make a special effort to add scripture reading accompanied by prayer, Stations of the Cross, or Eucharist during the week to emphasize prayer. We fast on Ash Wednesday and Good Friday and abstain from meat on Wednesdays and Fridays as a Church. This season is about creating memories and traditions within your family and your faith. We do all of this not for the edification of others, but in thanks to a good, gracious and giving God.
Myself? I feel as if I am giving thanks for all that I have been given, and to pray for all that I have sacrificed in order to prepare myself for the re-birth that will be experienced at Easter.
Created with fd's Flickr Toys.
The text on the back of the stereoview reads as follows:
“From 1525 to 1707 India was ruled by the Great Moguls. This Dynasty was at the height of its power during the reign (1628-1658) of Shah Jehan. Wonderful temples, thrones and tombs had been erected by the Moguls, but none were so wonderful as the tomb before us, said to be the most beautiful building in the world. It was built for Moomtaij-i-Mahal, the favorite wife of Shah Jehan. She was married at twenty and died in 1631, at twenty-nine years of age. At her death she made two requests; one that the Emperor should not marry again, the second that he should build for her a tomb that would perpetuate her name. The two requests were faithfully fulfilled. This memorial tomb was commenced immediately.
“With what love, devotion and fidelity the last request of Moomtaij-i-Mahal was carried out, you have the testimony before you. The Taj Mahal is built entirely of polished white marble, inlaid within and without with precious stones wrought in a thousand designs and inscriptions. The matchless dome and spire rise 275 feet and the slender minarets at the corners of the platform are each 133 feet high. Of the architects, it has been said: “They built like Titans and finished like jewelers.” Massiveness and delicacy, majesty and beauty, dignity and tenderness are mingled and harmonized in this perfection of Saracenic art. Twenty thousand men labored twenty-two years to build the Taj, and Shah Jehan’s imperial treasury was said to have been more than $20,000,000 poorer. But the Moslem emperor’s faithful love of one woman was enshrined for the admiration and edification of the ages.” [Text by the Keystone View Company]
(Note: An inexpensive viewer can turn the side-by-side images on the computer screen into a 3-D image. The viewer is available from the following source:
Journalists visit in Yangambi - DRC.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
......anyone remember this little fella?
......EMITAPE Soundhog C120 cassette
......I bought this cassette, secondhand, out of Beano's, at
......Croydon, who were in the process of closing down.
......I am told that they will be back, and I for one would welcome that,
......as they have been a fine purveyor of recorded product for 30+
......years......Oh Man, bring Beano's back out again !!
......I just love cassettes. I have had a love affair with them since
......about 1968, when Philips, Sony and Hitachi were the brand
......leaders in blank tape. So handy, so retro, ...so why d'ya wanna
......go and put starz in their eyes ?............
......I have recorded all sorts of stuff, mostly music, for my own
......edification, and it marks a passage through my life.
......scanned using an Epson Perfection V300 Photo
(further pictures and information you can see by clicking on the link at the end of page!)
Chronicle of the parish | parish church | parsonage
Parish Centre | Lourdes Chapel
History of the parish
1187, Wolkersdorf was for the first time as "Wolfkersdorf" in a deed of donatio by Manhard and Ulrich von Hintperch (= Himberg) mentioned. The parish Wolkersdorf appears in 1328 for the first time as a manorial establishment. The parish has always been limited to the local area. Over the centuries, the residents of the parish brought it through diligence and thrift to a modest prosperity. As to infestations, natural disasters and two plague epidemics are mentioned. The parish, located in the eastern border area of Austria, in times of war through occupation and looting had to suffer much. Mention should be made in this respect of the Turkish threat, the incursion of the Swedes during the 30 Years War, the plundering by the French under Napoleon as well as the Prussian army, which had advanced after the defeat of Austria in Hradec Králové in 1866 to the Rußbach (brook); finally the difficult time of the Soviet occupation after the Second World War should be mentioned. By order of the Lower Austrian Provincial Government of 14th November 1968 Wolkersdorf was conferred upon it the town charter. By the archbishop of Vienna the deanery Pillichsdorf on 1st January 1996 was renamed into the deanery Wolkersdorf. The parish has about 3,000 Catholics.
Parish Church
The parish church was built by Stephan von Slaet 1341-1350 and dedicated to Saint Margaret. This small gothic church (9.40 m long, 5.45 m wide, about 9 m high) is the presbytery for the today's parish church. 1727 Emperor Charles VI. the house of God by the Baroque nave had to its present size expanded (21.8 m long, 9.9 m wide, 12.5 m high). Despite the uniform external facade design, the two phases of construction are still recognizable, the Gothic presbytery and the Baroque ship. In 1754 Empress Maria Theresa the tower had built (37 m high).
Interior equipment: When you enter the church through the main gate under the tower, you are received by a bright, in cheerful colors decorated space. In the vertex of the presbytery wall the mighty Habsburg imperial eagle can be seen. The heart shield of the double eagle is surrounded by the insignia of the Order of the Golden Fleece and bears the monogram Emperor Charles VI . - CVI. In the claws the eagle holds sword and scepter, while a banner the motto of the Emperor and the year of the expansion of the church shows: "Constantia et Fortitudine" (with steadiness and fortitude) 1727.
The Baroque high altar was built in 1768 in imitation marble. The structure has over the tabernacle yet a Drehtabernakel (revolving tabernacle) for exposure of the Blessed Sacrament. Above it forms a plastic, the apocalyptic Lamb of God representing, flanked by two adoring angels, the conclusion. The retabel structure fits organically into the Gothic choir. Right of the altar is on a high pedestal saint Rochus represented, on the left, in the same way the holy Sebastian. In the middle part is behind the high altar in a picture larger than life the church patron, saint Margaretha represented (the painting is signed "FB 1832" - painter unknown). The saint stands upright and holds in her left hand a cross against the dragon (symbolizing the temptation to apostasy), while Schwurhand (oath hand) and look to our Heavenly Father are elevated, which appears above her. In the right wall of the presbytery there are seating niches with small ribbed vaults in the Gothic style (around 1350) with the coat of arms of the Counts of Nuremberg worked off.
On the side altars are two late Baroque wood-carved figures (1760), saint Joseph and the most blessed Virgin Mary, erected. The pulpit in the Rococo style dates back to 1770. The Stations of the Cross - by Viennese artist Eduard Kerschbaum 1968 of basswood carved - are attached to the side walls of the nave. The organ was built in 1897 by the Viennese organ builder Johann M. Kauffmann as a mechanical cone chests organ with 16 registers.
From the church square the church staircase on a bridge (flying buttress) above the Mittelstraße (central road) leads to the parish church. In 1727, this staircase was decorated with six life-sized Baroque stone sculptures. This is probably an expression of gratitude for the successful baroque church reconstruction under Emperor Charles VI. Initiator of the edification of the saints was the then minister Christoph Leopold Edler von Guarient and Raall. The work was financed by donations from the guilds and by donations from individual citizens.
On the right side of the ascent there are statues
of saint Charles Borromeo, who was regarded as the patron saint against the plague.
of saint John of Nepomuk, who as a "bridge saint" was very revered among the people, and above
of st. Florian, who was popular as a patron of the fire and the forge.
On the left side there are the statues
of st. Joseph, who was called on as a patron for a good hour of death, and as a protector against an unprepared, sudden death,
the Mother of God as immaculately received Virgin who crushes the serpent's head, and above
of saint Leopold, the country's (Lower Austria) patron saint, who is represented as founder of churches and monasteries (church on the right arm).
Vicarage
The vicarage was built around 1727. The building with a Gothic core in 1797 was increased and adapted as parsonage. During the March battles against Napoleon, Emperor Franz I had from 16th May to 6th July 1809 here his headquarters installed. In 1997, the exterior facade was renovated.
Parish centre
By 1970 the parish center was built as a meeting place. Inside is an auditorium and seminar rooms which are used by the parochial groups. The parish center was built from 1971 to 1973 under Pastor Karl Ponweiser as a meeting place. The house is intended for cultural and pastoral events. It is used by all parish groups and for individual events (eg lectures, concerts, theatrical performances, balls) also leased.
Lourdes Chapel
At the point where yet in 1783 a cross was erected "to the glory of God and the consolation of the poor souls", the chapel was built in honor of Our Lady of Lourdes in 1890. 1909 this church was enlarged in the neo-Gothic-Romanesque style, so this first chapel is forming the presbytery for the present chapel.
In the curvature of the chancel 1971 a by Viennese artist Eduard Kerschbaum of basswood carved statue of Mary (1.3 m high) was erected. The statue is carved in the style of "lovely Madonnas" of the Gothic. The Mother of God carries in her right arm the Infant Jesus and in her left hand she holds a bunch of grapes, and she is therefore worshiped as "Wine-Producing Country Madonna", too.
www.pfarre-wolkersdorf.at/frameset.htm?http://www.pfarre-...
(further pictures and information you can see by clicking on the link at the end of page!)
Chronicle of the parish | parish church | parsonage
Parish Centre | Lourdes Chapel
History of the parish
1187, Wolkersdorf was for the first time as "Wolfkersdorf" in a deed of donatio by Manhard and Ulrich von Hintperch (= Himberg) mentioned. The parish Wolkersdorf appears in 1328 for the first time as a manorial establishment. The parish has always been limited to the local area. Over the centuries, the residents of the parish brought it through diligence and thrift to a modest prosperity. As to infestations, natural disasters and two plague epidemics are mentioned. The parish, located in the eastern border area of Austria, in times of war through occupation and looting had to suffer much. Mention should be made in this respect of the Turkish threat, the incursion of the Swedes during the 30 Years War, the plundering by the French under Napoleon as well as the Prussian army, which had advanced after the defeat of Austria in Hradec Králové in 1866 to the Rußbach (brook); finally the difficult time of the Soviet occupation after the Second World War should be mentioned. By order of the Lower Austrian Provincial Government of 14th November 1968 Wolkersdorf was conferred upon it the town charter. By the archbishop of Vienna the deanery Pillichsdorf on 1st January 1996 was renamed into the deanery Wolkersdorf. The parish has about 3,000 Catholics.
Parish Church
The parish church was built by Stephan von Slaet 1341-1350 and dedicated to Saint Margaret. This small gothic church (9.40 m long, 5.45 m wide, about 9 m high) is the presbytery for the today's parish church. 1727 Emperor Charles VI. the house of God by the Baroque nave had to its present size expanded (21.8 m long, 9.9 m wide, 12.5 m high). Despite the uniform external facade design, the two phases of construction are still recognizable, the Gothic presbytery and the Baroque ship. In 1754 Empress Maria Theresa the tower had built (37 m high).
Interior equipment: When you enter the church through the main gate under the tower, you are received by a bright, in cheerful colors decorated space. In the vertex of the presbytery wall the mighty Habsburg imperial eagle can be seen. The heart shield of the double eagle is surrounded by the insignia of the Order of the Golden Fleece and bears the monogram Emperor Charles VI . - CVI. In the claws the eagle holds sword and scepter, while a banner the motto of the Emperor and the year of the expansion of the church shows: "Constantia et Fortitudine" (with steadiness and fortitude) 1727.
The Baroque high altar was built in 1768 in imitation marble. The structure has over the tabernacle yet a Drehtabernakel (revolving tabernacle) for exposure of the Blessed Sacrament. Above it forms a plastic, the apocalyptic Lamb of God representing, flanked by two adoring angels, the conclusion. The retabel structure fits organically into the Gothic choir. Right of the altar is on a high pedestal saint Rochus represented, on the left, in the same way the holy Sebastian. In the middle part is behind the high altar in a picture larger than life the church patron, saint Margaretha represented (the painting is signed "FB 1832" - painter unknown). The saint stands upright and holds in her left hand a cross against the dragon (symbolizing the temptation to apostasy), while Schwurhand (oath hand) and look to our Heavenly Father are elevated, which appears above her. In the right wall of the presbytery there are seating niches with small ribbed vaults in the Gothic style (around 1350) with the coat of arms of the Counts of Nuremberg worked off.
On the side altars are two late Baroque wood-carved figures (1760), saint Joseph and the most blessed Virgin Mary, erected. The pulpit in the Rococo style dates back to 1770. The Stations of the Cross - by Viennese artist Eduard Kerschbaum 1968 of basswood carved - are attached to the side walls of the nave. The organ was built in 1897 by the Viennese organ builder Johann M. Kauffmann as a mechanical cone chests organ with 16 registers.
From the church square the church staircase on a bridge (flying buttress) above the Mittelstraße (central road) leads to the parish church. In 1727, this staircase was decorated with six life-sized Baroque stone sculptures. This is probably an expression of gratitude for the successful baroque church reconstruction under Emperor Charles VI. Initiator of the edification of the saints was the then minister Christoph Leopold Edler von Guarient and Raall. The work was financed by donations from the guilds and by donations from individual citizens.
On the right side of the ascent there are statues
of saint Charles Borromeo, who was regarded as the patron saint against the plague.
of saint John of Nepomuk, who as a "bridge saint" was very revered among the people, and above
of st. Florian, who was popular as a patron of the fire and the forge.
On the left side there are the statues
of st. Joseph, who was called on as a patron for a good hour of death, and as a protector against an unprepared, sudden death,
the Mother of God as immaculately received Virgin who crushes the serpent's head, and above
of saint Leopold, the country's (Lower Austria) patron saint, who is represented as founder of churches and monasteries (church on the right arm).
Vicarage
The vicarage was built around 1727. The building with a Gothic core in 1797 was increased and adapted as parsonage. During the March battles against Napoleon, Emperor Franz I had from 16th May to 6th July 1809 here his headquarters installed. In 1997, the exterior facade was renovated.
Parish centre
By 1970 the parish center was built as a meeting place. Inside is an auditorium and seminar rooms which are used by the parochial groups. The parish center was built from 1971 to 1973 under Pastor Karl Ponweiser as a meeting place. The house is intended for cultural and pastoral events. It is used by all parish groups and for individual events (eg lectures, concerts, theatrical performances, balls) also leased.
Lourdes Chapel
At the point where yet in 1783 a cross was erected "to the glory of God and the consolation of the poor souls", the chapel was built in honor of Our Lady of Lourdes in 1890. 1909 this church was enlarged in the neo-Gothic-Romanesque style, so this first chapel is forming the presbytery for the present chapel.
In the curvature of the chancel 1971 a by Viennese artist Eduard Kerschbaum of basswood carved statue of Mary (1.3 m high) was erected. The statue is carved in the style of "lovely Madonnas" of the Gothic. The Mother of God carries in her right arm the Infant Jesus and in her left hand she holds a bunch of grapes, and she is therefore worshiped as "Wine-Producing Country Madonna", too.
www.pfarre-wolkersdorf.at/frameset.htm?http://www.pfarre-...
Visit to IIAP Carbon monitoring site, Quistococha.
Photo by Junior Raborg/CIFOR-ICRAF
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org
Pisciculture workshop in Kisangani. Establishing fish sex - DRC.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Pisciculture workshop in Kisangani - DRC.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Le château de Chambord est un château français situé dans la commune de Chambord.
Construit au cœur du plus grand parc forestier clos d’Europe (environ 50 km2 ceint par un mur de 32 km de long), il s'agit du plus vaste des châteaux de la Loire. Il bénéficie d'un jardin d'agrément et d'un parc de chasse.
Le site a d'abord accueilli une motte féodale, ainsi que l'ancien château des comtes de Blois. L'origine du château actuel remonte au XVIe siècle et au règne du roi de France François Ier qui supervise son édification à partir de 1519.
fr.wikipedia.org/wiki/Château_de_Chambord
The royal Château de Chambord at Chambord is one of the most recognizable châteaux in the world because of its very distinctive French Renaissance architecture which blends traditional French medieval forms with classical Renaissance structures. The building, which was never completed, was constructed by King Francis I of France.
Chambord is the largest château in the Loire Valley; it was built to serve as a hunting lodge for Francis I, who maintained his royal residences at the châteaux of Blois and Amboise.
Taken on the event of Probarona Purnima, Dhaka 2011
Press L Please
Probarona Purnima, the second largest festival of the Buddhist community is celebrated across the country with traditional religious festivity and due solemnity.
Also known as Ashwini Purnima, the festival marks conclusion of the three-month long seclusion of the monks inside their monasteries for self-edification and atonement of their defilement.
The festival follows a month-long preaching of sermons by the Buddhist monks for the welfare of every beings and whole humankind through yellow robes offering ceremony that begins today.
The day also celebrates another event in the life of Buddha.
According to legend, Buddha once clipped some strands of hair from his head and said that if he was qualified to attain supreme wisdom and enlightenment, the hairs would not fall down but go up instead, which they did.
To mark this event, Buddhists ignited and send up balloons made of coloured paper to flow towards the sky as a symbol of lighting up the sky which is the chief attraction of the festival.
The main attraction of the day's programmes is releasing of lighted balloons in the sky soon after the sunset simultaneously from all monasteries.
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Pisciculture workshop in Yanonge - DRC.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
April 2021 acacia plantation near the village of Moussa, Yangambi - DRC.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
(further pictures and information you can see by clicking on the link at the end of page!)
Chronicle of the parish | parish church | parsonage
Parish Centre | Lourdes Chapel
History of the parish
1187, Wolkersdorf was for the first time as "Wolfkersdorf" in a deed of donatio by Manhard and Ulrich von Hintperch (= Himberg) mentioned. The parish Wolkersdorf appears in 1328 for the first time as a manorial establishment. The parish has always been limited to the local area. Over the centuries, the residents of the parish brought it through diligence and thrift to a modest prosperity. As to infestations, natural disasters and two plague epidemics are mentioned. The parish, located in the eastern border area of Austria, in times of war through occupation and looting had to suffer much. Mention should be made in this respect of the Turkish threat, the incursion of the Swedes during the 30 Years War, the plundering by the French under Napoleon as well as the Prussian army, which had advanced after the defeat of Austria in Hradec Králové in 1866 to the Rußbach (brook); finally the difficult time of the Soviet occupation after the Second World War should be mentioned. By order of the Lower Austrian Provincial Government of 14th November 1968 Wolkersdorf was conferred upon it the town charter. By the archbishop of Vienna the deanery Pillichsdorf on 1st January 1996 was renamed into the deanery Wolkersdorf. The parish has about 3,000 Catholics.
Parish Church
The parish church was built by Stephan von Slaet 1341-1350 and dedicated to Saint Margaret. This small gothic church (9.40 m long, 5.45 m wide, about 9 m high) is the presbytery for the today's parish church. 1727 Emperor Charles VI. the house of God by the Baroque nave had to its present size expanded (21.8 m long, 9.9 m wide, 12.5 m high). Despite the uniform external facade design, the two phases of construction are still recognizable, the Gothic presbytery and the Baroque ship. In 1754 Empress Maria Theresa the tower had built (37 m high).
Interior equipment: When you enter the church through the main gate under the tower, you are received by a bright, in cheerful colors decorated space. In the vertex of the presbytery wall the mighty Habsburg imperial eagle can be seen. The heart shield of the double eagle is surrounded by the insignia of the Order of the Golden Fleece and bears the monogram Emperor Charles VI . - CVI. In the claws the eagle holds sword and scepter, while a banner the motto of the Emperor and the year of the expansion of the church shows: "Constantia et Fortitudine" (with steadiness and fortitude) 1727.
The Baroque high altar was built in 1768 in imitation marble. The structure has over the tabernacle yet a Drehtabernakel (revolving tabernacle) for exposure of the Blessed Sacrament. Above it forms a plastic, the apocalyptic Lamb of God representing, flanked by two adoring angels, the conclusion. The retabel structure fits organically into the Gothic choir. Right of the altar is on a high pedestal saint Rochus represented, on the left, in the same way the holy Sebastian. In the middle part is behind the high altar in a picture larger than life the church patron, saint Margaretha represented (the painting is signed "FB 1832" - painter unknown). The saint stands upright and holds in her left hand a cross against the dragon (symbolizing the temptation to apostasy), while Schwurhand (oath hand) and look to our Heavenly Father are elevated, which appears above her. In the right wall of the presbytery there are seating niches with small ribbed vaults in the Gothic style (around 1350) with the coat of arms of the Counts of Nuremberg worked off.
On the side altars are two late Baroque wood-carved figures (1760), saint Joseph and the most blessed Virgin Mary, erected. The pulpit in the Rococo style dates back to 1770. The Stations of the Cross - by Viennese artist Eduard Kerschbaum 1968 of basswood carved - are attached to the side walls of the nave. The organ was built in 1897 by the Viennese organ builder Johann M. Kauffmann as a mechanical cone chests organ with 16 registers.
From the church square the church staircase on a bridge (flying buttress) above the Mittelstraße (central road) leads to the parish church. In 1727, this staircase was decorated with six life-sized Baroque stone sculptures. This is probably an expression of gratitude for the successful baroque church reconstruction under Emperor Charles VI. Initiator of the edification of the saints was the then minister Christoph Leopold Edler von Guarient and Raall. The work was financed by donations from the guilds and by donations from individual citizens.
On the right side of the ascent there are statues
of saint Charles Borromeo, who was regarded as the patron saint against the plague.
of saint John of Nepomuk, who as a "bridge saint" was very revered among the people, and above
of st. Florian, who was popular as a patron of the fire and the forge.
On the left side there are the statues
of st. Joseph, who was called on as a patron for a good hour of death, and as a protector against an unprepared, sudden death,
the Mother of God as immaculately received Virgin who crushes the serpent's head, and above
of saint Leopold, the country's (Lower Austria) patron saint, who is represented as founder of churches and monasteries (church on the right arm).
Vicarage
The vicarage was built around 1727. The building with a Gothic core in 1797 was increased and adapted as parsonage. During the March battles against Napoleon, Emperor Franz I had from 16th May to 6th July 1809 here his headquarters installed. In 1997, the exterior facade was renovated.
Parish centre
By 1970 the parish center was built as a meeting place. Inside is an auditorium and seminar rooms which are used by the parochial groups. The parish center was built from 1971 to 1973 under Pastor Karl Ponweiser as a meeting place. The house is intended for cultural and pastoral events. It is used by all parish groups and for individual events (eg lectures, concerts, theatrical performances, balls) also leased.
Lourdes Chapel
At the point where yet in 1783 a cross was erected "to the glory of God and the consolation of the poor souls", the chapel was built in honor of Our Lady of Lourdes in 1890. 1909 this church was enlarged in the neo-Gothic-Romanesque style, so this first chapel is forming the presbytery for the present chapel.
In the curvature of the chancel 1971 a by Viennese artist Eduard Kerschbaum of basswood carved statue of Mary (1.3 m high) was erected. The statue is carved in the style of "lovely Madonnas" of the Gothic. The Mother of God carries in her right arm the Infant Jesus and in her left hand she holds a bunch of grapes, and she is therefore worshiped as "Wine-Producing Country Madonna", too.
www.pfarre-wolkersdorf.at/frameset.htm?http://www.pfarre-...
José Carlos Polidoro durante a sua palestra sobre"Visão estratégica de fertilizantes no Brasil"; no 26ª Seminário Cooplantio - O produtor como diferencial no Agronegócio, que acontece de 20 a 22 de junho, no hotel Serrano, em Gramado, Rio Grande do Sul. FOTO: Jefferson Bernardes/Preview.com
Pisciculture workshop in Kisangani - DRC.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Pisciculture workshop in Kisangani - DRC.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
still experimenting with lights inside containers-- this is a set of battery operated christmas lights inside a home depot tool cookies' container (set up shot shows it better).
and this is a small glass float that was destined for a dear one's tree and didn't get mailed in time. the float is about 2 inches tall and a red/orange color. this type of float used to tied to fishing nets and lobster traps, altho the buoy is probably more common.
scavchal5...... texture to set off a smooth surface. am not sure that this is what the challenge was calling for?? possibly the SC wanted more of a foreground/background kind of thing?? awaiting edification.......
113 pics in 2013 #78 "rope, string, or twine" (2/113)
looks very neat on black
Wolkersdorf, Lower Austria, Kloster Maria Lourdes, Monastero di Maria Lourdes, Monasterio de María Lourdes, Monastère de Marie Lourdes, Monastery of Mary Lourdes
(further pictures and information you can see by clicking on the link at the end of page!)
Chronicle of the parish | parish church | parsonage
Parish Centre | Lourdes Chapel
History of the parish
1187, Wolkersdorf was for the first time as "Wolfkersdorf" in a deed of donatio by Manhard and Ulrich von Hintperch (= Himberg) mentioned. The parish Wolkersdorf appears in 1328 for the first time as a manorial establishment. The parish has always been limited to the local area. Over the centuries, the residents of the parish brought it through diligence and thrift to a modest prosperity. As to infestations, natural disasters and two plague epidemics are mentioned. The parish, located in the eastern border area of Austria, in times of war through occupation and looting had to suffer much. Mention should be made in this respect of the Turkish threat, the incursion of the Swedes during the 30 Years War, the plundering by the French under Napoleon as well as the Prussian army, which had advanced after the defeat of Austria in Hradec Králové in 1866 to the Rußbach (brook); finally the difficult time of the Soviet occupation after the Second World War should be mentioned. By order of the Lower Austrian Provincial Government of 14th November 1968 Wolkersdorf was conferred upon it the town charter. By the archbishop of Vienna the deanery Pillichsdorf on 1st January 1996 was renamed into the deanery Wolkersdorf. The parish has about 3,000 Catholics.
Parish Church
The parish church was built by Stephan von Slaet 1341-1350 and dedicated to Saint Margaret. This small gothic church (9.40 m long, 5.45 m wide, about 9 m high) is the presbytery for the today's parish church. 1727 Emperor Charles VI. the house of God by the Baroque nave had to its present size expanded (21.8 m long, 9.9 m wide, 12.5 m high). Despite the uniform external facade design, the two phases of construction are still recognizable, the Gothic presbytery and the Baroque ship. In 1754 Empress Maria Theresa the tower had built (37 m high).
Interior equipment: When you enter the church through the main gate under the tower, you are received by a bright, in cheerful colors decorated space. In the vertex of the presbytery wall the mighty Habsburg imperial eagle can be seen. The heart shield of the double eagle is surrounded by the insignia of the Order of the Golden Fleece and bears the monogram Emperor Charles VI . - CVI. In the claws the eagle holds sword and scepter, while a banner the motto of the Emperor and the year of the expansion of the church shows: "Constantia et Fortitudine" (with steadiness and fortitude) 1727.
The Baroque high altar was built in 1768 in imitation marble. The structure has over the tabernacle yet a Drehtabernakel (revolving tabernacle) for exposure of the Blessed Sacrament. Above it forms a plastic, the apocalyptic Lamb of God representing, flanked by two adoring angels, the conclusion. The retabel structure fits organically into the Gothic choir. Right of the altar is on a high pedestal saint Rochus represented, on the left, in the same way the holy Sebastian. In the middle part is behind the high altar in a picture larger than life the church patron, saint Margaretha represented (the painting is signed "FB 1832" - painter unknown). The saint stands upright and holds in her left hand a cross against the dragon (symbolizing the temptation to apostasy), while Schwurhand (oath hand) and look to our Heavenly Father are elevated, which appears above her. In the right wall of the presbytery there are seating niches with small ribbed vaults in the Gothic style (around 1350) with the coat of arms of the Counts of Nuremberg worked off.
On the side altars are two late Baroque wood-carved figures (1760), saint Joseph and the most blessed Virgin Mary, erected. The pulpit in the Rococo style dates back to 1770. The Stations of the Cross - by Viennese artist Eduard Kerschbaum 1968 of basswood carved - are attached to the side walls of the nave. The organ was built in 1897 by the Viennese organ builder Johann M. Kauffmann as a mechanical cone chests organ with 16 registers.
From the church square the church staircase on a bridge (flying buttress) above the Mittelstraße (central road) leads to the parish church. In 1727, this staircase was decorated with six life-sized Baroque stone sculptures. This is probably an expression of gratitude for the successful baroque church reconstruction under Emperor Charles VI. Initiator of the edification of the saints was the then minister Christoph Leopold Edler von Guarient and Raall. The work was financed by donations from the guilds and by donations from individual citizens.
On the right side of the ascent there are statues
of saint Charles Borromeo, who was regarded as the patron saint against the plague.
of saint John of Nepomuk, who as a "bridge saint" was very revered among the people, and above
of st. Florian, who was popular as a patron of the fire and the forge.
On the left side there are the statues
of st. Joseph, who was called on as a patron for a good hour of death, and as a protector against an unprepared, sudden death,
the Mother of God as immaculately received Virgin who crushes the serpent's head, and above
of saint Leopold, the country's (Lower Austria) patron saint, who is represented as founder of churches and monasteries (church on the right arm).
Vicarage
The vicarage was built around 1727. The building with a Gothic core in 1797 was increased and adapted as parsonage. During the March battles against Napoleon, Emperor Franz I had from 16th May to 6th July 1809 here his headquarters installed. In 1997, the exterior facade was renovated.
Parish centre
By 1970 the parish center was built as a meeting place. Inside is an auditorium and seminar rooms which are used by the parochial groups. The parish center was built from 1971 to 1973 under Pastor Karl Ponweiser as a meeting place. The house is intended for cultural and pastoral events. It is used by all parish groups and for individual events (eg lectures, concerts, theatrical performances, balls) also leased.
Lourdes Chapel
At the point where yet in 1783 a cross was erected "to the glory of God and the consolation of the poor souls", the chapel was built in honor of Our Lady of Lourdes in 1890. 1909 this church was enlarged in the neo-Gothic-Romanesque style, so this first chapel is forming the presbytery for the present chapel.
In the curvature of the chancel 1971 a by Viennese artist Eduard Kerschbaum of basswood carved statue of Mary (1.3 m high) was erected. The statue is carved in the style of "lovely Madonnas" of the Gothic. The Mother of God carries in her right arm the Infant Jesus and in her left hand she holds a bunch of grapes, and she is therefore worshiped as "Wine-Producing Country Madonna", too.
www.pfarre-wolkersdorf.at/frameset.htm?http://www.pfarre-...
(further pictures and information you can see by clicking on the link at the end of page!)
Chronicle of the parish | parish church | parsonage
Parish Centre | Lourdes Chapel
History of the parish
1187, Wolkersdorf was for the first time as "Wolfkersdorf" in a deed of donatio by Manhard and Ulrich von Hintperch (= Himberg) mentioned. The parish Wolkersdorf appears in 1328 for the first time as a manorial establishment. The parish has always been limited to the local area. Over the centuries, the residents of the parish brought it through diligence and thrift to a modest prosperity. As to infestations, natural disasters and two plague epidemics are mentioned. The parish, located in the eastern border area of Austria, in times of war through occupation and looting had to suffer much. Mention should be made in this respect of the Turkish threat, the incursion of the Swedes during the 30 Years War, the plundering by the French under Napoleon as well as the Prussian army, which had advanced after the defeat of Austria in Hradec Králové in 1866 to the Rußbach (brook); finally the difficult time of the Soviet occupation after the Second World War should be mentioned. By order of the Lower Austrian Provincial Government of 14th November 1968 Wolkersdorf was conferred upon it the town charter. By the archbishop of Vienna the deanery Pillichsdorf on 1st January 1996 was renamed into the deanery Wolkersdorf. The parish has about 3,000 Catholics.
Parish Church
The parish church was built by Stephan von Slaet 1341-1350 and dedicated to Saint Margaret. This small gothic church (9.40 m long, 5.45 m wide, about 9 m high) is the presbytery for the today's parish church. 1727 Emperor Charles VI. the house of God by the Baroque nave had to its present size expanded (21.8 m long, 9.9 m wide, 12.5 m high). Despite the uniform external facade design, the two phases of construction are still recognizable, the Gothic presbytery and the Baroque ship. In 1754 Empress Maria Theresa the tower had built (37 m high).
Interior equipment: When you enter the church through the main gate under the tower, you are received by a bright, in cheerful colors decorated space. In the vertex of the presbytery wall the mighty Habsburg imperial eagle can be seen. The heart shield of the double eagle is surrounded by the insignia of the Order of the Golden Fleece and bears the monogram Emperor Charles VI . - CVI. In the claws the eagle holds sword and scepter, while a banner the motto of the Emperor and the year of the expansion of the church shows: "Constantia et Fortitudine" (with steadiness and fortitude) 1727.
The Baroque high altar was built in 1768 in imitation marble. The structure has over the tabernacle yet a Drehtabernakel (revolving tabernacle) for exposure of the Blessed Sacrament. Above it forms a plastic, the apocalyptic Lamb of God representing, flanked by two adoring angels, the conclusion. The retabel structure fits organically into the Gothic choir. Right of the altar is on a high pedestal saint Rochus represented, on the left, in the same way the holy Sebastian. In the middle part is behind the high altar in a picture larger than life the church patron, saint Margaretha represented (the painting is signed "FB 1832" - painter unknown). The saint stands upright and holds in her left hand a cross against the dragon (symbolizing the temptation to apostasy), while Schwurhand (oath hand) and look to our Heavenly Father are elevated, which appears above her. In the right wall of the presbytery there are seating niches with small ribbed vaults in the Gothic style (around 1350) with the coat of arms of the Counts of Nuremberg worked off.
On the side altars are two late Baroque wood-carved figures (1760), saint Joseph and the most blessed Virgin Mary, erected. The pulpit in the Rococo style dates back to 1770. The Stations of the Cross - by Viennese artist Eduard Kerschbaum 1968 of basswood carved - are attached to the side walls of the nave. The organ was built in 1897 by the Viennese organ builder Johann M. Kauffmann as a mechanical cone chests organ with 16 registers.
From the church square the church staircase on a bridge (flying buttress) above the Mittelstraße (central road) leads to the parish church. In 1727, this staircase was decorated with six life-sized Baroque stone sculptures. This is probably an expression of gratitude for the successful baroque church reconstruction under Emperor Charles VI. Initiator of the edification of the saints was the then minister Christoph Leopold Edler von Guarient and Raall. The work was financed by donations from the guilds and by donations from individual citizens.
On the right side of the ascent there are statues
of saint Charles Borromeo, who was regarded as the patron saint against the plague.
of saint John of Nepomuk, who as a "bridge saint" was very revered among the people, and above
of st. Florian, who was popular as a patron of the fire and the forge.
On the left side there are the statues
of st. Joseph, who was called on as a patron for a good hour of death, and as a protector against an unprepared, sudden death,
the Mother of God as immaculately received Virgin who crushes the serpent's head, and above
of saint Leopold, the country's (Lower Austria) patron saint, who is represented as founder of churches and monasteries (church on the right arm).
Vicarage
The vicarage was built around 1727. The building with a Gothic core in 1797 was increased and adapted as parsonage. During the March battles against Napoleon, Emperor Franz I had from 16th May to 6th July 1809 here his headquarters installed. In 1997, the exterior facade was renovated.
Parish centre
By 1970 the parish center was built as a meeting place. Inside is an auditorium and seminar rooms which are used by the parochial groups. The parish center was built from 1971 to 1973 under Pastor Karl Ponweiser as a meeting place. The house is intended for cultural and pastoral events. It is used by all parish groups and for individual events (eg lectures, concerts, theatrical performances, balls) also leased.
Lourdes Chapel
At the point where yet in 1783 a cross was erected "to the glory of God and the consolation of the poor souls", the chapel was built in honor of Our Lady of Lourdes in 1890. 1909 this church was enlarged in the neo-Gothic-Romanesque style, so this first chapel is forming the presbytery for the present chapel.
In the curvature of the chancel 1971 a by Viennese artist Eduard Kerschbaum of basswood carved statue of Mary (1.3 m high) was erected. The statue is carved in the style of "lovely Madonnas" of the Gothic. The Mother of God carries in her right arm the Infant Jesus and in her left hand she holds a bunch of grapes, and she is therefore worshiped as "Wine-Producing Country Madonna", too.
www.pfarre-wolkersdorf.at/frameset.htm?http://www.pfarre-...
The object of this society is to help altar-boys to fulfill their sacred duties attentively and devoutly, through St. John Berchmans' intercession and by bis example, so that Almighty God may be glorified, and the people may receive edification. Among the simple little rules, we find that each member of the society is to avoid carefully unnecessary talking, looking around, moving his head and feet, or playing with his hands while serving at Mass and that he shall be punctual in attendance, and make the responses devoutly.
Description: Article by Julia Ward Howe printed in the Christian Register, "Summons Woman to Her Greater Task", 1924. Page 2 of 2.
Full Text: … domain. Women are women still, but behold what a beneficent metamorphosis results from a change of object. No longer a secondary person with education limited at the pleasure of the opposite sex, with duties prescribed 'and limitations carefully measured and enforced. The woman of to-day may follow the noblest dictates of her heart and conscience. Do we find her conspiring to usurp the place of her brother man? No. We find her walking beside him with equal steps, referring, as he refers, to the divine of conscience, to the inspiration of high aims and noble doctrine.
Let us reflect a little upon the vastness of the undertaking. To moralize the world, whose population is born neither good nor bad, but full of capacity for splendid service or miserable demerit. In view of the gigantic task, shall not each one of us ask for at least a little bit of the work? We can begin by making out our requisitions. To reclaim so much raw human material, so many strong hands and watchful eyes are needed. We are not all gifted alike. Some of us have the quick eye, others have the deft touch, and the loving heart is not the most common gift of the" three. But the sense of duty admirably supplements the shortcomings of nature. New work will bring to light new power of work; and self-distrust and discouragement will flee before the energetic will. Row much more blessed than self-glorification will be the uplifting of humanity, as it may come to any and all of us. Christ cries out to God, "Glorify Thyself!" He does not say, "Glorify me."
Please remember that the features-of my vision were twofold. I saw the microscopic work in which the men and women were equally engaged. And I also saw the luminous ether which made their task a happy one. And the new light which shone upon the women shone equally upon the men. Little had they thought that in making the world dark for the women, they had made it dark for themselves also. So it is ordained. He who gives receives in proportion to what he bestows. He who withholds from others impoverishes himself. Does not God receive what He gives, the sublime of hope and happiness? Surely, He keeps our holidays with us.
The victories of love are astounding. They are like the conquest in which the spring annually dismisses the winter to his icy dungeons at the far North. More light and ever more light! More warmth and ever more warmth! And lo! the season of sweet promise holds the fort for summer and autumn to run their appointed course.
The present occasion seems to me to fill the two conditions of my prophetic dream. Each group among your many represents its portion of the close and scrutinizing labor which analyzes the risks and evils of society. And in the joy of this great reunion I see the new illumination which makes the new work possible. Blessed even in a dream was the vision of a world redeemed by loving care. Most blessed is the dream 'as a promise of the glory that shall be revealed.
The Moral Test
To the Editor of THE CHRISTIAN REGISTER:- A religious; service will be held at 12.30 o'clock in All Souls Church, New York City, on Defense Test Day, September 12. Governor 'Smith has urged that such services be held in all the churches of the State.
No one knows what will be the net result of the Defense Test Day. The great majority of our people believe that a rational preparedness is necessary in a war cursed world and that such preparedness cannot be measured by standards which might have been deemed sufficient at the time of the Civil War. War is now inconceivably destructive. It is an affair of entire nations. No individual can escape it.
From that point of view, I can see that the Defense Test Day will have positive value. I can also see its possible evils, but now that the plan is actually to be carried out, I can conceive of no better way than to co-operate with it by holding a religious service. I can see no better way to counteract its possible evils than by making use of the opportunity to talk peace and the possible steps toward peace. I shall try to point out that the most important test on September 12 will be a moral one. It will be revealed in the mentality which we bring to the day. Our ministers can help greatly by exerting their influence at that time in behalf of the peace mind.
MINOT SIMONS.
NEW YORK CITY.
How Long Should A Sermon Be?
To the Editor of THE CHRISTIAN REGISTER:- I returned from church this morning after listening to a sermon of forty minutes duration, and then read or: the editorial page of THE CHRISTIAN REGISTER of August 21, ' the article on "Notice to Speakers' and Mr. 'Clark's letter in the same number. The sentiment in. both struck a responsive chord in my mind. I go to church not from a sense of duty, but because I enjoy church-going. I stay away from church more than I go because the only available one inflicts upon me three-quarters-of-an-hour sermons that impart nothing that could not have been said in fifteen minutes. Most of the educated people in my community do not attend at all, probably for the same reason.
To answer my question, "How 'long should a sermon be?" I turn to the greatest sermon the world has ever known, preached not from a pulpit but from the wayside. I timed myself as I read aloud, beginning after these• words: "He opened his mouth and taught them saying" (Math. v. 2), and closing with the words preceding these: "And it came to pass, when Jesus ended these words" (Math. vii. 28).
Let anyone who wants to know a suitable length for a sermon time himself as he reads aloud 'Math. v.3 to Math. vii. 27, and gain, as well as the answer to the question, the uplift and refreshment that come anew as often as one reads this world's greatest sermon from the Master of men. As this sermon has been read in the privacy of the home and from the pulpit, the verdict that has re-echoed down the ages has not varied "one jot or one title" from the verdict pronounced at the close of its first utterance in these words: "And it came to pass, when Jesus ended these words, the multitudes were astonished at his teaching: for he taught them as one having authority, and not as the scribes" (Math. vii. 28-29).
As an humble listener, I would commend to our preachers and to all who would speak for the religious edification and instruction of others the fact that the Sermon on the Mount takes less time to read aloud than the delivery of the average sermon. If the preacher would astound his hearers, let it be by the substance of his teaching, not the duration of his talk.
E. B. H.
Cause for Regret
To the Editor of THE CHRISTIAN REGISTER:- The explanation of the military maneuvers on September 12 lacks convincingness. We are told that the object is to keep our regular army as small as possible. But the plan originated with men high up in the War Department, who are avowed advocates of a bigger army and navy, and are always pushing for bigger appropriations for this purpose. We might as well suspect Jane Addams and Rev. Charles F. Dole of hatching a scheme to enlarge our standing army as credit these War Department heads with forming a plan to keep it from being enlarged.
It is clear enough that the real object of what was at first called Mobilization Day was to arouse interest in and enthusiasm for the army; but when this called out widespread protest, the originators of the plan tried to put a different color upon it. The President has accepted their explanation; but there will be many who cannot accept it, in view of the obvious facts in the case.
"A rose by any other name would smell as sweet," and by whatever name they may be called, nation-wide military maneuvers in time of peace must be a cause for regret.
ALICE STONE BLACKWELL.
CHILMARK, MASS.
The Red Bough
CLARIBEL WEEKS AVERY
The maple trees look glad and young
A green, unbroken wall,
Save where a single branch is hung
With red, the Sign of fall.
The air is warm and sweet as wine.
The sun-born insects hum.
But Autumn shows his crimson sign
To tell us he will come.
Date: 1924
Creator: Christian Register
Format: text
Digital Identifier: AG28-19-2b
Biographical note: Julia Ward Howe (1819-1910) was an author, lecturer, poet, activist, abolitionist and leader in the Women's suffrage movement. Born in New York City to affluent parents, Ward Howe was well educated but expected to be a wife. In 1843 Ward Howe married Samuel Gridley Howe the founding director of Perkins after meeting him at a tour of the school. Despite conventional expectations that she not live a public life she initially published work anonymously before becoming a social activist that wrote, spoke, and worked for many social causes. She is commonly known for writing the words to “Battle Hymn of the Republic” and in 1908, she became the first woman elected to the American Academy of Arts. In 1988 she was inducted into the National Women’s Hall of Fame.
Source: Hale, Jen. (2022) ”Julia Ward Howe”. Hale, Jen. “Julia Ward Howe” Perkins Archives Blog, Perkins School for the Blind, Watertown MA, October 26, 2022
Rights: Samuel P. Hayes Research Library, Perkins School for the Blind, Watertown, MA
When historians of art apply the term “sacred” to any and every work that has a religious subject, they overlook the fact that art is essentially form. An art cannot be called sacred solely because its subjects derive from spiritual truths; its formal language must also derive from the same source. This is by no means the case with a religious art like that of the Renaissance or Baroque periods, which, as far as style is concerned, in no way differs from the fundamentally profane art of those periods; neither its subjects, which, in a wholly outward and so to speak literary manner, it takes from religion, nor the devotional feelings with which it is often permeated, nor even the nobility of soul which sometimes finds expression in it, suffice to confer on it a truly sacred character. No art merits the epithet sacred unless its very forms reflect the spiritual vision characteristic of a particular religion.
Every form “vehicles” a particular quality of being. The religious subject of a work of art can be merely superimposed on a form, in which case it lacks any relation to the formal “language” of the work, as is demonstrated by Christian art since the Renaissance. Such productions are merely profane works of art with a religious theme.
On the other hand, there is no sacred art which is profane in form, for there is a rigorous analogy between form and spirit. A spiritual vision necessarily finds its expression in a particular formal language. If this language has been forgotten—with the result that a socalled sacred art draws its forms from absolutely any kind of profane art—it means that a spiritual vision of things no longer exists.
It would be meaningless to seek to excuse the protean style of a religious art, or its indefinite and ill-defined character, on the grounds of the universality of dogma or the freedom of the spirit. Granted that spirituality in itself is independent of forms, this in no way implies that it can be expressed and transmitted by any and every kind of form. Through its qualitative essence, form has a place in the sensible order analogous to that of truth in the intellectual order; this is the significance of the Greek notion of eidos.
Just as a mental form, such as a dogma or a doctrine, can be an adequate, albeit limited, reflection of a Divine Truth, so a sensible form can retrace a truth or a reality which transcends both the plane of sensible forms and the plane of thought. Every sacred art is therefore founded on a science of forms, or in other words, on the symbolism inherent in forms.
It must be borne in mind that a sacred symbol is not merely a conventional sign; it manifests its archetype by virtue of a certain ontological law.
As Ananda Coomaraswamy has observed, a sacred symbol is, in a sense, that which it expresses. For this very reason, traditional symbolism is never devoid of beauty. In the terms of a spiritual vision of the world, the beauty of an object is nothing other than the transparency of its existential envelopes. An art worthy of the name is beautiful because it is true.
It is neither possible nor necessary that every artist or craftsman engaged in sacred art be conscious of the Divine Law inherent in forms; he will only know certain aspects of it, or certain applications that arise within the limits of the rules of his craft. These rules will enable him to paint an icon, to fashion a sacred vessel, or to practice calligraphy in a liturgically valid manner, without it being necessary for him to know the ultimate significance of the symbols he is working with. It is tradition that transmits the sacred models and the working rules, and thereby guarantees the spiritual validity of the forms.
Tradition possesses a secret power which is communicated to an entire civilization and determines even those arts and crafts whose immediate objects include nothing particularly sacred.
This power creates the style of a traditional civilization. A style—something that cannot be imitated from the outside—is perpetuated without difficulty, in a quasi-organic manner, by the sole power of the spirit by which it is animated.
One of the most tenacious of modern prejudices is the one that opposes the impersonal and objective rules of an art for fear that they might stifle creative genius. In reality, there is no traditional work—one governed by immutable principles—which does not give sensible expression to creative joy in the soul; modern individualism, on the other hand, has produced, apart from a few works of genius which are nevertheless spiritually barren, all the ugliness—the endless and hopeless ugliness—of the forms that fill the “ordinary life” of our time.
One of the fundamental conditions of happiness is to know that everything one does has an eternal meaning; but who at the present time can still conceive of a civilization in which all its vital aspects are developed “in the likeness of Heaven”? In a theocentric society, the humblest activity participates in this heavenly benediction.
The ultimate objective of sacred art is not to evoke feelings or communicate impressions; it is a symbol, and as such it employs simple and primordial means. It cannot in any case be anything more than allusive, its real object being ineffable. It is of angelic origin, because its models reflect supra-formal realities. By recapitulating the creation—the “Divine art”—in parables, it demonstrates the symbolical nature of the world, and so liberates the human spirit from its attachment to crude and ephemeral “facts”.
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Titus Burckhardt: The Universality of Sacred Art
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Icon: The vision of St. Eulogius
The theme of this icon is drawn from the sayings of the Desert Fathers, intended for the spiritual edification of monks. It illustrates the story of the vision of Eulogius of Alexandria. During a service, he saw angels distributing gold, silver, and bronze coins to the monks according to their degree of asceticism; the negligent were given nothing.
In the foreground, two holy abbots who are doubtless Sergius of Radonezh and Cyril of Belozersk bow down before a bowl containing offerings of bread. Their blessing prefigures the Eucharist, evoked by the Virgin and Child—an image of the Incarnation aligned with the altar, a promise of the Sacrifice and Resurrection.
Visit to IIAP Carbon monitoring site, Quistococha.
Photo by Junior Raborg/CIFOR-ICRAF
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Lesson at UNIKIS, Kisangani - DRC.
Photo by Axel Fassio/CIFOR-ICRAF
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: news@cifor-icraf.org and a.sanjaya@cifor-icraf.org
Awwww.. they were curious what that clicking sound was.
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Measurements at the experimental agriculture plot at pk17 in Yangambi - DRC.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Students of SDN 04 Jongkong at Pengerak village (distance class) go home after class. During the wet season the basin of Lake Sentarum will be flooded, West Kalimantan, Indonesia, May, 2010.
Photo by Ramadian Bachtiar/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Participatory 3 Dimensional Mapping of Kwaebibirem municipality in the Eastern Region of Ghana.
Photo by Yvonne Baraza/CIFOR-ICRAF
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Afrormosia planting at the experimental agriculture plot at pk17 in Yangambi - DRC.
Photo by Axel Fassio/CIFOR
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L'église paroissiale de Tonquédec est dédiée à saint Pierre. Son édification a été financée par la maison de Coëtmen, seigneur du château fort de Tonquédec.
Elle est construite en plusieurs phases entre 1442 et 1496.
The parish church of Tonquédec is dedicated to Saint Peter. Its construction was financed by the House of Coëtmen, lord of the Tonquédec fortified castle.
It was built in several phases between 1442 and 1496.
NASA Astronauts Stuart A. Roosa (left) and Alfred M. Worden (right) watch a demonstration of North American Rockwell’s (NAR) lunar flying vehicle while visiting the vast NAR facility in Downey, CA., possibly ca. 1968.
George W. Jeffs, NAR assistant Apollo(?) program manager & chief program engineer, wearing the orange coveralls, is airborne, flying it, rather poorly I might add. 😉
Mr. Jeffs…who subsequently became president of Rockwell International's North American Aerospace Operations…amongst at least another half-dozen heady Rockwell titles/positions…some concurrently. Not to mention all the awards & honors. DANG, Mr. Jeffs = THE REAL DEAL+:
youtu.be/FILvMDSgbZI?si=a4SNxjqenoTLY6C5
Credit: Stephen Isherwood/Apollo Spacecraft History FB group
As with the impact test facility image, I’ve posted this primarily for my own edification, as a compliment to my posting of my NAR lunar flying vehicle/pogo stick photo. Structures in the immediate vicinity & visible in this “frame grab” correlate with those seen in the impact test facility image & my actual photograph. Specifically, the two cylindrical “silos” and the larger A-frame building (possibly Building no. 124)…visible through the legs of the impact test facility, which I've linked to below.
At/From:
www.youtube.com/watch?v=FILvMDSgbZI
Credit: lunarmodule5/YouTube
Pisciculture workshop in Kisangani - DRC.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
How Nicolas Poussin the son of a Norman farmer became Nicolas Poussin 'painter-philosopher' in Rome, with 'a mind...as it were naturalized in antiquity', is one of the great triumphs of pertinacity over circumstance. Few artists of his importance have had such inadequate training, or found their true vocation so late. His interest in art was aroused by a minor itinerant painter working in a local church in Les Andelys. In the same year, 1611/12, Poussin left home for Paris. After years of hardship, and two unsuccessful attempts to reach Rome, he attracted favorable attention in 1622 with six paintings for the Jesuits. In 1624 he finally settled in Rome, firmly intent on emulating Raphael and ancient sculpture.
Poussin's early period in Italy was barely easier than his years in Paris. As well as Raphael, engravings, statuary and a famous ancient wall-painting then in a princely collection, he studied Domenichino and Guido Reni and discovered Titian, whose Bacchus and Ariadne among other mythological scenes had just been brought to Rome from Ferrara. Not until he was about 35 did Poussin find his own voice, and patrons to heed it. From about 1630, with the exception of an unhappy interlude in Paris working for the king in 1640-2, he mainly painted smallish canvases for private collectors. Out of his very limitations, he created a new kind of art: the domestic 'history painting' with full-length but small-scale figures, for the edification and delight of the few. Seldom has a painter been more intense, more serious and, in the event, more influential.
The Adoration of the Golden Calf was originally paired with the Crossing of the Red Sea now in Melbourne. Both illustrate episodes from Exodus in the Old Testament; this painting relates to chapter 32. In the wilderness of Sinai the children of Israel, disheartened by Moses' long absence, asked Aaron to make them gods to lead them. Having collected all their gold earrings, Aaron melted them down into the shape of a calf, which they worshipped. In the background on the left Moses and Joshua come down from Mount Sinai with the tablets of the Ten Commandments. Hearing singing and seeing 'the calf and the dancing...Moses' anger waxed hot, and he cast the tablets out of his hands, and brake them beneath the mount.' The tall bearded figure in white is Aaron still 'making proclamation' of a feast to the false god.
Poussin is said to have made little figures of clay to use as models, and the story is confirmed by the dancers in the foreground. They are a mirror image of a pagan group of nymphs and satyrs carousing in Poussin's earlier Bacchanalian Revel also in the National Gallery. Within a majestic landscape painted in the bold colors Poussin learned from Titian, before a huge golden idol more bull than calf (and many earrings' worth), these Israelite revelers give homage to the potency of Poussin's vision of antiquity. As on a sculpted relief or painted Greek vase, figures are shown in suspended animation, heightened gestures or movements isolated from those of their neighbors, so that the effect of the whole is at one and the same time violent and static.
(further pictures and information you can see by clicking on the link at the end of page!)
Chronicle of the parish | parish church | parsonage
Parish Centre | Lourdes Chapel
History of the parish
1187, Wolkersdorf was for the first time as "Wolfkersdorf" in a deed of donatio by Manhard and Ulrich von Hintperch (= Himberg) mentioned. The parish Wolkersdorf appears in 1328 for the first time as a manorial establishment. The parish has always been limited to the local area. Over the centuries, the residents of the parish brought it through diligence and thrift to a modest prosperity. As to infestations, natural disasters and two plague epidemics are mentioned. The parish, located in the eastern border area of Austria, in times of war through occupation and looting had to suffer much. Mention should be made in this respect of the Turkish threat, the incursion of the Swedes during the 30 Years War, the plundering by the French under Napoleon as well as the Prussian army, which had advanced after the defeat of Austria in Hradec Králové in 1866 to the Rußbach (brook); finally the difficult time of the Soviet occupation after the Second World War should be mentioned. By order of the Lower Austrian Provincial Government of 14th November 1968 Wolkersdorf was conferred upon it the town charter. By the archbishop of Vienna the deanery Pillichsdorf on 1st January 1996 was renamed into the deanery Wolkersdorf. The parish has about 3,000 Catholics.
Parish Church
The parish church was built by Stephan von Slaet 1341-1350 and dedicated to Saint Margaret. This small gothic church (9.40 m long, 5.45 m wide, about 9 m high) is the presbytery for the today's parish church. 1727 Emperor Charles VI. the house of God by the Baroque nave had to its present size expanded (21.8 m long, 9.9 m wide, 12.5 m high). Despite the uniform external facade design, the two phases of construction are still recognizable, the Gothic presbytery and the Baroque ship. In 1754 Empress Maria Theresa the tower had built (37 m high).
Interior equipment: When you enter the church through the main gate under the tower, you are received by a bright, in cheerful colors decorated space. In the vertex of the presbytery wall the mighty Habsburg imperial eagle can be seen. The heart shield of the double eagle is surrounded by the insignia of the Order of the Golden Fleece and bears the monogram Emperor Charles VI . - CVI. In the claws the eagle holds sword and scepter, while a banner the motto of the Emperor and the year of the expansion of the church shows: "Constantia et Fortitudine" (with steadiness and fortitude) 1727.
The Baroque high altar was built in 1768 in imitation marble. The structure has over the tabernacle yet a Drehtabernakel (revolving tabernacle) for exposure of the Blessed Sacrament. Above it forms a plastic, the apocalyptic Lamb of God representing, flanked by two adoring angels, the conclusion. The retabel structure fits organically into the Gothic choir. Right of the altar is on a high pedestal saint Rochus represented, on the left, in the same way the holy Sebastian. In the middle part is behind the high altar in a picture larger than life the church patron, saint Margaretha represented (the painting is signed "FB 1832" - painter unknown). The saint stands upright and holds in her left hand a cross against the dragon (symbolizing the temptation to apostasy), while Schwurhand (oath hand) and look to our Heavenly Father are elevated, which appears above her. In the right wall of the presbytery there are seating niches with small ribbed vaults in the Gothic style (around 1350) with the coat of arms of the Counts of Nuremberg worked off.
On the side altars are two late Baroque wood-carved figures (1760), saint Joseph and the most blessed Virgin Mary, erected. The pulpit in the Rococo style dates back to 1770. The Stations of the Cross - by Viennese artist Eduard Kerschbaum 1968 of basswood carved - are attached to the side walls of the nave. The organ was built in 1897 by the Viennese organ builder Johann M. Kauffmann as a mechanical cone chests organ with 16 registers.
From the church square the church staircase on a bridge (flying buttress) above the Mittelstraße (central road) leads to the parish church. In 1727, this staircase was decorated with six life-sized Baroque stone sculptures. This is probably an expression of gratitude for the successful baroque church reconstruction under Emperor Charles VI. Initiator of the edification of the saints was the then minister Christoph Leopold Edler von Guarient and Raall. The work was financed by donations from the guilds and by donations from individual citizens.
On the right side of the ascent there are statues
of saint Charles Borromeo, who was regarded as the patron saint against the plague.
of saint John of Nepomuk, who as a "bridge saint" was very revered among the people, and above
of st. Florian, who was popular as a patron of the fire and the forge.
On the left side there are the statues
of st. Joseph, who was called on as a patron for a good hour of death, and as a protector against an unprepared, sudden death,
the Mother of God as immaculately received Virgin who crushes the serpent's head, and above
of saint Leopold, the country's (Lower Austria) patron saint, who is represented as founder of churches and monasteries (church on the right arm).
Vicarage
The vicarage was built around 1727. The building with a Gothic core in 1797 was increased and adapted as parsonage. During the March battles against Napoleon, Emperor Franz I had from 16th May to 6th July 1809 here his headquarters installed. In 1997, the exterior facade was renovated.
Parish centre
By 1970 the parish center was built as a meeting place. Inside is an auditorium and seminar rooms which are used by the parochial groups. The parish center was built from 1971 to 1973 under Pastor Karl Ponweiser as a meeting place. The house is intended for cultural and pastoral events. It is used by all parish groups and for individual events (eg lectures, concerts, theatrical performances, balls) also leased.
Lourdes Chapel
At the point where yet in 1783 a cross was erected "to the glory of God and the consolation of the poor souls", the chapel was built in honor of Our Lady of Lourdes in 1890. 1909 this church was enlarged in the neo-Gothic-Romanesque style, so this first chapel is forming the presbytery for the present chapel.
In the curvature of the chancel 1971 a by Viennese artist Eduard Kerschbaum of basswood carved statue of Mary (1.3 m high) was erected. The statue is carved in the style of "lovely Madonnas" of the Gothic. The Mother of God carries in her right arm the Infant Jesus and in her left hand she holds a bunch of grapes, and she is therefore worshiped as "Wine-Producing Country Madonna", too.
www.pfarre-wolkersdorf.at/frameset.htm?http://www.pfarre-...
Training in bamboo transformation in Yangambi, DRC.
Photo by Fiston Wasanga/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Strange grass formations and pinecones in the Ansel Adams Wilderness backcountry.
Thanks for all the kind words on my previous images!
Please view large, even large the compression really hurts this one.
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Bangui (RCA), 11 août 2021 : L'unité de police constituée indonésienne de la MINUSCA, en patrouille de proximité au marché de PK5 dans le 3earrondissement de Bangui, pour échanger avec les jeunes du quartier sur leur perception de la sécurité. Cette activité entre en droite ligne avec la déclaration du SG Antonio Guterres disant que « Les jeunes sont le fer de lance des efforts visant à édifier un avenir meilleur pour l’humanité. J’appelle chacun à garantir la participation des jeunes à l’édification d’un monde fondé sur un développement inclusif, juste et durable pour toutes et tous ».
Bangui (CAR), 11 August 2021: Peacekeepers with MINUSCA’s Indonesian Formed Police Unit, on proximity patrol at the PK5 market in Bangui's 3rd district, interact with local youth who share on their views on security. This activity is in line with the UN Secretary-General’s clarion call for youth empowerment: “Youth are at the forefront of efforts to build a better future for humanity. I call on everyone to ensure the participation of youth in building a world based on inclusive, just and sustainable development for all.”
A sugar plantation; an abandoned investment property; a cattle ranch; a landscape of defiance in the face of the Army Corps of Engineers--Oak Alley has been many things in its over 200 years of history. Today it is a historic site, dedicated to preserving and interpreting each chapter of this plantation’s memory. Our mission, established by Mrs. Josephine Stewart is as follows:
Oak Alley Foundation is a 501(c)(3) public non-profit trust organized and operated exclusively for charitable, literary and educational purposes. Its trustees are charged with maintaining and preserving the mansion (Big House) and surrounding sixty-three (63) acre National Historic Landmark site for public exhibition as an historical monument to the times and area in which the property was built and for the instruction, education, enlightenment, information, edification and cultural benefit of the citizens of the State of Louisiana, the United States and the public generally.
Open to the public since 1976, our institutional values include complete respect for the National Landmark with which we have been entrusted. This not only is evident in our dedication to it’s preservation and maintenance but in our complete adherence to narrative integrity, in deference to this iconic historic site whose past includes serving as a place of enslavement even as it was celebrated for its stunning landscape. SOURCE: OAK VALLEY PLANTATION WEBSITE.
■ Ruins of the medieval castle at Cogolludo (Guadalajara, Castile-La Mancha, Spain), built in the 11th century and partially destroyed in 1811.
Taken handheld with a Panasonic Lumix TZ7 (ZS3) in available light under a very cloudy but bright sky ( 25 mm, F5.6, 1/800 sec., ISO 80, EV -2/3 ).
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■ Ruinas del castillo medieval en Cogolludo (Guadalajara, Castilla-La Mancha), construido en el siglo XI y destruido parcialmente en 1811.
Tomada a pulso con una Panasonic Lumix TZ7 (ZS3) en luz ambiente bajo un cielo muy nuboso pero brillante ( 25 mm, F5.6, 1/800 seg., ISO 80, EV -2/3 ).
La cathédrale Saint-Gatien de Tours est l'église cathédrale catholique romaine, située à Tours, en Indre-et-Loire. Dédiée Saint-Gatien, elle est le siège du diocèse de Tours et la cathédrale métropolitaine de la province ecclésiastique de Tours.
Elle a été classée monument historique par liste de 1862.
La cathédrale Saint-Gatien a été construite entre 1170 et 1547. Lors de sa création, elle était située presque au débouché du pont franchissant la Loire, sur la route reliant Paris au sud-ouest de la France. Elle fait l’objet d’un classement au titre des monuments historiques par la liste de 18621.
La première cathédrale Saint-Maurice a été édifiée par Lidoire, évêque de Tours de 337 à 371 et prédécesseur de Martin. Incendiée en 561, elle est restaurée par Grégoire de Tours et dédicacée en 590. Du fait de son emplacement, à l'angle sud-ouest du castrum, et de son orientation à l'est, l'accès se faisait, sinon au travers de l'enceinte tardo-antique, du moins en baïonnette depuis la voie traversant la cité ; une telle configuration est rare2. La cathédrale de Tours est reconstruite au cours du deuxième quart du xiie siècle et est incendiée en 1166 lors des luttes entre Louis VII de France et Henri II d'Angleterre, comte d'Anjou. On ne connaît pas le plan de cet édifice.
La nef et le chœur :
La cathédrale actuelle remplace cet édifice roman. La première campagne a concerné le croisillon sud et les tours, dès 1170. Le chœur est reconstruit de 1236 à 1279 par Étienne de Mortagne. C'est la nef qui a demandé le plus de temps pour son édification. L'architecte Simon du Mans reconstruit le transept et entame la nef, dont six travées, bas-côtés et chapelles sont édifiés au xive siècle — les deux premières travées correspondent à celles de l'ancienne cathédrale romane et remontent au xiie siècle. La nef n'est achevée qu'au xve siècle par les architectes Jean de Dammartin, Jean Papin et Jean Durand, grâce aux libéralités accordées par Charles VII et le duc de Bretagne Jean V. À l'occasion de l'édification du bâtiment actuel, la nef a donc été allongée vers l'ouest et les tours encadrant l'entrée sont élevées en dehors de l'ancienne cité, accentuant la particularité de l'édifice mentionnée supra ; l'enceinte tardo-antique est visible en coupe à l'arrière des tours depuis le nord. En 1356, la cathédrale reçoit le nouveau vocable de Gatien.
La façade a perdu les grandes statues des piédroits, détruites par les protestants au cours des guerres de Religion. Mais elle demeure une des plus extraordinaires créations du gothique flamboyant dans ce qu'il a de plus éxubérant, véritable dentelle de pierre sans guère d'équivalent, chef-d'œuvre décoratif de premier plan. Les tours sont élevées dans la première moitié du xvie siècle : la tour nord a été édifiée en 1507 par Pierre de Valence, et la tour sud entre 1534 et 1547 par Pierre Gadier.
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La catedral San Gaciano de Tours, también llamada Catedral de Tours es la iglesia catedral de la diócesis de Tours y la catedral metropolitana de la provincia eclesiástica de Tours. Fue construida entre 1170 y 1547. Estaba situada durante su creación casi a la salida del puente que cruza el Loira, sobre la ruta que une París con el suroeste de Francia.
Historia:
La primera catedral de San Mauricio fue edificada por Lidoire, obispo de Tours del 337 al 371 y predecesor de Martín de Tours. Incendiada en el 561, fue restaurada por Gregorio de Tours y dedicada en el 590.
Su situación, en el ángulo suroeste del castrum, hace que la orientación al este haya hecho que el acceso se haga, sino a través de la muralla tardo-antigua, desde la vía que atraviesa la ciudad. Tal configuración es poco común. No se conoce el plano de este edificio.
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Saint Gatien's Cathedral is the Roman Catholic cathedral church of the Tours diocese and the metropolitan cathedral of the Tours ecclesiastic province, in Indre-et-Loire, France. Saint-Gatien's Cathedral was built between 1170 and 1547. At the time construction began, it was located at the south end of the bridge over the Loire, on the road from Paris to the south-west of France. It has been a classified Monument historique since 1862.
The first cathedral of Saint-Maurice was built by Lidoire, bishop of Tours from 337 to 371 (preceding St Martin). Burnt in 561, it was restored by Gregory of Tours and rededicated in 590. Its location, at the south-west angle of the castrum, as well as its eastern orientation, resulted in the original access being through the late-Roman surrounding wall (such a configuration is quite rare).
The cathedral was then rebuilt during the second quarter of the 12th century and again burnt in 1166 during the conflict between Louis VII of France and Henry II of England (also count of Anjou, the neighboring region).
The present cathedral replaces the 13th century Romanesque building. The first phase concerned the south transept and the towers, as early as 1170. The chancel was rebuilt from 1236 to 1279 by Étienne de Mortagne but the nave took much longer to build. The architect Simon du Mans rebuilt the transept and started the nave, including six spans, aisle and chapel, built during the 14th century — the first two spans correspond to those of the old Romanesque cathedral and date back to the 12th century. The nave was only finished during the 15th century by architects Jean de Dammartin, Jean Papin and Jean Durand, thanks to the generosity of Charles VII and the Duke of Brittany Jean V.
While building the present cathedral, the nave was then extended westward and the towers surrounding its entrance were erected during the first half of the 16th century, the first tower in 1507 by Pierre de Valence 87 m high, and the second tower during 1534 and 1547 by Pierre Gadier. Highlighting the special feature of the building, called supra, the towers were erected outside of the old city. The late-Roman surrounding wall is visible in cross section at the rear of the towers from the north.
In 1356, the cathedral received its new name of saint Gatien. Its construction having been particularly slow, it presents a complex pattern of French religious types of architecture from the 13th century to the 15th. For example, the tower buttresses are Romanesque, the ornamentation generally is pure Gothic, and the tops of the towers are Renaissance (beginning of the 16th century).
Kloster Maria Lourdes, Monastero di Maria Lourdes, Monasterio de María Lourdes, Monastère de Marie Lourdes, Monastery of Mary Lourdes
(further pictures and information you can see by clicking on the link at the end of page!)
Chronicle of the parish | parish church | parsonage
Parish Centre | Lourdes Chapel
History of the parish
1187, Wolkersdorf was for the first time as "Wolfkersdorf" in a deed of donatio by Manhard and Ulrich von Hintperch (= Himberg) mentioned. The parish Wolkersdorf appears in 1328 for the first time as a manorial establishment. The parish has always been limited to the local area. Over the centuries, the residents of the parish brought it through diligence and thrift to a modest prosperity. As to infestations, natural disasters and two plague epidemics are mentioned. The parish, located in the eastern border area of Austria, in times of war through occupation and looting had to suffer much. Mention should be made in this respect of the Turkish threat, the incursion of the Swedes during the 30 Years War, the plundering by the French under Napoleon as well as the Prussian army, which had advanced after the defeat of Austria in Hradec Králové in 1866 to the Rußbach (brook); finally the difficult time of the Soviet occupation after the Second World War should be mentioned. By order of the Lower Austrian Provincial Government of 14th November 1968 Wolkersdorf was conferred upon it the town charter. By the archbishop of Vienna the deanery Pillichsdorf on 1st January 1996 was renamed into the deanery Wolkersdorf. The parish has about 3,000 Catholics.
Parish Church
The parish church was built by Stephan von Slaet 1341-1350 and dedicated to Saint Margaret. This small gothic church (9.40 m long, 5.45 m wide, about 9 m high) is the presbytery for the today's parish church. 1727 Emperor Charles VI. the house of God by the Baroque nave had to its present size expanded (21.8 m long, 9.9 m wide, 12.5 m high). Despite the uniform external facade design, the two phases of construction are still recognizable, the Gothic presbytery and the Baroque ship. In 1754 Empress Maria Theresa the tower had built (37 m high).
Interior equipment: When you enter the church through the main gate under the tower, you are received by a bright, in cheerful colors decorated space. In the vertex of the presbytery wall the mighty Habsburg imperial eagle can be seen. The heart shield of the double eagle is surrounded by the insignia of the Order of the Golden Fleece and bears the monogram Emperor Charles VI . - CVI. In the claws the eagle holds sword and scepter, while a banner the motto of the Emperor and the year of the expansion of the church shows: "Constantia et Fortitudine" (with steadiness and fortitude) 1727.
The Baroque high altar was built in 1768 in imitation marble. The structure has over the tabernacle yet a Drehtabernakel (revolving tabernacle) for exposure of the Blessed Sacrament. Above it forms a plastic, the apocalyptic Lamb of God representing, flanked by two adoring angels, the conclusion. The retabel structure fits organically into the Gothic choir. Right of the altar is on a high pedestal saint Rochus represented, on the left, in the same way the holy Sebastian. In the middle part is behind the high altar in a picture larger than life the church patron, saint Margaretha represented (the painting is signed "FB 1832" - painter unknown). The saint stands upright and holds in her left hand a cross against the dragon (symbolizing the temptation to apostasy), while Schwurhand (oath hand) and look to our Heavenly Father are elevated, which appears above her. In the right wall of the presbytery there are seating niches with small ribbed vaults in the Gothic style (around 1350) with the coat of arms of the Counts of Nuremberg worked off.
On the side altars are two late Baroque wood-carved figures (1760), saint Joseph and the most blessed Virgin Mary, erected. The pulpit in the Rococo style dates back to 1770. The Stations of the Cross - by Viennese artist Eduard Kerschbaum 1968 of basswood carved - are attached to the side walls of the nave. The organ was built in 1897 by the Viennese organ builder Johann M. Kauffmann as a mechanical cone chests organ with 16 registers.
From the church square the church staircase on a bridge (flying buttress) above the Mittelstraße (central road) leads to the parish church. In 1727, this staircase was decorated with six life-sized Baroque stone sculptures. This is probably an expression of gratitude for the successful baroque church reconstruction under Emperor Charles VI. Initiator of the edification of the saints was the then minister Christoph Leopold Edler von Guarient and Raall. The work was financed by donations from the guilds and by donations from individual citizens.
On the right side of the ascent there are statues
of saint Charles Borromeo, who was regarded as the patron saint against the plague.
of saint John of Nepomuk, who as a "bridge saint" was very revered among the people, and above
of st. Florian, who was popular as a patron of the fire and the forge.
On the left side there are the statues
of st. Joseph, who was called on as a patron for a good hour of death, and as a protector against an unprepared, sudden death,
the Mother of God as immaculately received Virgin who crushes the serpent's head, and above
of saint Leopold, the country's (Lower Austria) patron saint, who is represented as founder of churches and monasteries (church on the right arm).
Vicarage
The vicarage was built around 1727. The building with a Gothic core in 1797 was increased and adapted as parsonage. During the March battles against Napoleon, Emperor Franz I had from 16th May to 6th July 1809 here his headquarters installed. In 1997, the exterior facade was renovated.
Parish centre
By 1970 the parish center was built as a meeting place. Inside is an auditorium and seminar rooms which are used by the parochial groups. The parish center was built from 1971 to 1973 under Pastor Karl Ponweiser as a meeting place. The house is intended for cultural and pastoral events. It is used by all parish groups and for individual events (eg lectures, concerts, theatrical performances, balls) also leased.
Lourdes Chapel
At the point where yet in 1783 a cross was erected "to the glory of God and the consolation of the poor souls", the chapel was built in honor of Our Lady of Lourdes in 1890. 1909 this church was enlarged in the neo-Gothic-Romanesque style, so this first chapel is forming the presbytery for the present chapel.
In the curvature of the chancel 1971 a by Viennese artist Eduard Kerschbaum of basswood carved statue of Mary (1.3 m high) was erected. The statue is carved in the style of "lovely Madonnas" of the Gothic. The Mother of God carries in her right arm the Infant Jesus and in her left hand she holds a bunch of grapes, and she is therefore worshiped as "Wine-Producing Country Madonna", too.
www.pfarre-wolkersdorf.at/frameset.htm?http://www.pfarre-...
PB140460a
From myjewishlearning.com:
"Haredim are perhaps the most visibly identifiable subset of Jews today. They are easy to spot–haredi men in black suits and wide-brimmed black hats, haredi women in long skirts, thick stockings, and headcoverings–but much harder to understand.
Indeed, the history, beliefs, and practices of these devout Jews remain a mystery to many who live outside their cloistered communities. The word “haredi” is a catchall term, either an adjective or a noun, which covers a broad array of theologically, politically, and socially conservative Orthodox Jews, sometimes referred to as “ultra-Orthodox.” What unites haredim is their absolute reverence for Torah, including both the Written and Oral Law, as the central and determining factor in all aspects of life. Consequently, respect and status are often accorded in proportion to the greatness of one’s Torah scholarship, and leadership is linked to learnedness.
In order to prevent outside influence and contamination of values and practices, haredim strive to limit their contact with the outside world, avoiding, as much as possible, both non-haredi Jews and non-Jews. Interaction with outsiders is generally confined to basic economic contact and unavoidable public interactions, such as going to the post office. However, certain groups of haredim, notably, but not exclusively, members of Chabad Lubavitch, do make contact with non-haredi Jews for the purpose of kiruv–encouraging others to adopt more stringent religious observance."
Hasidism is a sub-sect within Haredi Judaism. It can often (but not always) be distinguished by its clothing:
"Clothing
Another notable distinction among Hasidic Jews is their mode of dress. Though black outerwear and white shirts are standard for men and long-sleeved and high-necked clothing are typical for women, several groups have subtly distinct clothing for men identifying them as members of a particular Hasidic sect. Chabad men, for example, wear a black fedora-style hat. In other groups, the men wear a more elaborate fur-trimmed hat called a shtreimel or a spodik. (Some non-Hasidic ultra-Orthodox Jews also wear black hats.) Hasidic men typically wear a black overcoat known as a bekishe or a kapota. And in some groups, men wear distinctive white stockings. Most Hasidic groups still use Yiddish as their primary language." — myjewishlearning.com
From Studies in Judaism, First Series by Solomon Schechter (1911) [9th excerpt]:
The few chosen spirits who through the successful persistency with which they have sought God in all things have become, though yet on earth, absorbed in Him, are known in Chassidic literature by the name of the “Zaddikim.” The Hebrew word Zaddik18 means “just” or “righteous,” and the term was probably chosen in conscious opposition to the title of Rabbinic heroes, “disciples of the wise.” For the Zaddik is not so much the product of learning as of intuition: his final consummation is reached by a sudden and direct illumination from God. The Zaddik not only resembles Moses, but, in virtue of his long communion with the Divine, he is also the true child of God. He is, moreover, a vivifying power in creation, for he is the connecting bond between God and his creatures. He is the source of blessing and the fount of grace. Man must therefore learn to love the Zaddik, [pg 037] so that through the Zaddik he may win God's grace. He who does not believe in the Zaddik is an apostate from God. Here then we have the fatal exaggeration to which I have alluded, and here its logical consequence. The step to man-worship is short.
This peculiar doctrine of the Intermediary soon became the distinguishing feature of Chassidism. By a Chassid was understood not a man who held such and such opinions in theology and religion, but a believer in the Zaddik, and one who sought to attain salvation through the worship of the Zaddik. Every other doctrine of Chassidism was rapidly pushed into the background and overlooked. Even the grand and fundamental doctrine of Omnipresence in the Creation was veiled by the special presence in the Zaddik. Chassidism became mere Zaddikism, and its subsequent history is identical with the downward development of that cult.
Whether Baalshem named his successor is doubtful. But the lead after his death was assumed by his disciple Beer of Mizriez. This man's conversion to Chassidism was an important event for the new community; his piety and learning were beyond dispute, and, whereas during Baalshem's life Chassidism had found its chief adherents among the lower classes of society, Beer managed to gather round him many of the most learned among his contemporaries. It was to these new and ardent disciples of Beer that the expansion of Chassidism was chiefly due. They came together from many quarters, and after Beer's death separated and preached the new doctrine far and wide. Many even went forth during the lifetime of their master, and at his command, to found fresh branches of the new sect. Like Beer himself, they directed their efforts [pg 038] mainly to winning over the educated sections of the Jews. The elder men paid little heed to their word, but the youths, just fresh from their casuistic studies, which had sharpened their wits and starved their souls, lent a ready ear and an eager heart to the new doctrine. The uneducated were by no means excluded; to them Chassidism held out a deeper consolation and a grander hope than the current Rabbinism of the age; they therefore joined the young community in large numbers without any special effort being necessary to gain them over.
In their methods of Prayer the Chassidim most conspicuously differed from the older communities. Laying as they did supreme stress on the importance and efficacy of prayer, they soon found it necessary to secede from the existing synagogues and erect separate buildings for themselves. The usual salaried Reader “with the beautiful voice and empty head,” who naturally regarded his function as a matter of business, was done away with and his place taken either by the Zaddik himself or by some other distinguished person in the community. The Chassidim also effected many changes in the liturgy. Instead of the German they adopted the Spanish ritual. They excised many prayers which, lacking the authority of antiquity, were cumbrous in form or objectionable in matter. They inserted new prayers and hymns of their own. They paid little regard to the prescribed hours at which public worship should be held. Prayer began when they had got themselves into the proper devotional frame of mind. Frequent ablutions, perusal of mystical writings, introspective meditation were the means by which they sought to gain the befitting mood. The prayers themselves were [pg 039] accompanied by the usual phenomena of religious excitement. Some in the zeal of their devotion began to dance; others were rapt in a motionless ecstasy; some prayed aloud; others in solemn silence. They justified their abrogation of fixed hours for prayer by saying that you cannot order a child when to speak with its father: such restraint were fit only for slaves.
As a rule the larger number of the younger Chassidim were able to devote their whole time to religious exercises. It was the custom among the Jews in Eastern Europe for the young men to live at the expense of their own or their wives' parents, in order that they might give themselves up entirely to religious study. According to the old notions, this meant the study of the Talmud and its Commentaries; the Chassidim who cared little for the legal side of Jewish literature betook themselves to the literature of edification and mysticism. No small part of their time was taken up with endless conversations about the Zaddik, his piety, goodness, and self-sacrifice and the wonderful miracles which he had wrought. If a Zaddik was living in his own town, the youthful Chassid spent as many hours as he could in the Zaddik's company, in order to observe and study this embodied Torah as constantly as possible. Where no Zaddik was at hand, periodical pilgrimages were made to the town in which he lived, and endless were the tales which were afterwards repeated, to those who were obliged to stay at home, of the Zaddik's marvellous wisdom and extraordinary deeds. The last hours of the Sabbath day were looked upon as a special season of grace, and the Chassidim were therefore in the habit of collecting together in the waning of the Sabbath and celebrating the so-called “Supper of the Holy Queen.” [pg 040] The meal was accompanied by the usual conversations as well as by hymns and prayers.
The Chassidim were second to no other sect in their loyalty and affection for each other. No sacrifice for a brother Chassid was too great. They knew no difference of rich and poor, old and young, wise and ignorant; for they all, with one accord, worshipped one common ideal, the Zaddik, who in his exalted position was equally raised above them all. Before him all minor differences of rank disappeared. When a Chassid travelled, he had no scruple in asking for lodging or entertainment in the house of any Chassid who could afford to give them. If he was in money difficulties the purse of his host was at his disposal. If that was not sufficient, it was supplemented by a grant from the fund of the community. These gifts were not looked upon in the light of charity either by giver or receiver; they were made to the Zaddik, to whom all Chassidim alike were debtors. It sometimes even happened that a Zaddik said that the son of some rich merchant was to marry the daughter of a poor schoolmaster, and both parties were equally delighted to fulfil the wish of their beloved chief.