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Land Finance Hub Use and Registration Training at Yogyakarta with JAVLEC (Java Learning Center) & Formekers Indonesia (Forum for Furniture, Crafts, and Arts), 9 November 2022.
Photo by Perdana Putra/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
Sicily. Ortygia, Syracusa.
Late spring break.
The third chapel is the one consecrated to the "Santissimo Sacramento", also called the "Torres chapel", is defined artistically and structurally as the most beautiful in the Cathedral, due to its frescoes on the dome and due to the elaborate architectural decorations that compose it.
It was built in 1616 by the brothers Andrea and Giovanni Vermexio. Its plan is octagonal and its main feature are the wall bas-reliefs that surround it, composed of Corinthian-style columns adorned with numerous gilded finishes. In Baroque style, the center of the chapel has a tabernacle (or ciborium) in gilded wood in the shape of a small temple, the work of the Neapolitan architect and painter Luigi Vanvitelli, known for being the one who designed the Royal Palace of Caserta in Naples. On the sides of the altar there are two portals, surrounded by elaborate sculptural decorations, which lead to the Sacristy of the Cathedral.
At the center of the altar there is a carved marble frontal, the work of the Florentine sculptor Filippo Valle who worked there in 1762 and which depicts the Last Supper of Jesus. The marble balustrade and the artistic decoration of the floor are the work of the Palermitan Ignazio Marabitti and Neapolitan Giovan Battista Marino, the contract for the work was made to them by the Syracusan architect Pompeo Picherali who, now in old age, admired the work of the young Marabitti and entrusted them with the work in 1746. The floor of the chapel is thought to be the work of the same two sculptors mentioned above, but we rely on intuition for the attribution since no document in this regard has been found, however by observing the similarity and similar harmony that exists with the balustrade, this theory has therefore been deduced.
In the chapel, on the left side, there is the Sepulcher of Archbishop Luigi Bignami, a structure sculpted by the Catanese sculptor Sebastiano Agati. Also laterally in the chapel there is also a precious statue depicting the Madonna del Rosario, the work of unknown artists, the statue is placed on a small altar, placed on a cavity which is surrounded by two slender Corinthian-style marble columns that overlook the gray -green and above them there is a worked tympanum with sculpted bas-reliefs in the center. Three cartaglorias were the work of the Roman silversmith Giuseppe Veladier (1791. The censers and the shuttle were the work of the silversmith Lorenzo Petronelli and other silver furnishings were instead the work of the Syracusan Chindemi brothers. He informs in his studies about the silverware of the chapel, and to relations with the Roman silverware school, the Syracusan (from Canicattini Bagni) Giuseppe Agnello
The wrought iron gates with the Eucharistic symbols found between the Doric columns and the entrance to the chapel were worked by Domenico Ruggeri from Catania on the designs of Alessandro Campo in 1807-1811. The chapel is also called "Torres" because it was the Spanish bishop of Syracuse, Juan de Torres Osorio, who wanted its construction and edification, for this reason the chapel, in addition to the sacrament to which it was dedicated, also bears his name
The oldest documented structure surviving in the City of Petersburg, Old Blandford Church preserves an important, if difficult, history for its region. Bristol Parish was established by an Act of Assembly in 1643, separated from Martins Brandon Parish. At the time that the present brick church was built in 1735, Bristol Parish had grown to over 2,000 parishioners only to suddenly decline when two new parishes were erected within its former boundaries. Construction of the new parish church at Blandford was completed in two years, a brick church of Georgian design laid in Flemish bond with glazed headers and oriented on an east-west axis. Entrance to the church was permitted through a large door on the west end and a smaller on placed on the south side of the altar near the east end. The parish church was designed and built by Thomas Ravenswood at a cost of 485 pounds and was believed to have been modeled on Merchant's Hope Church in nearby Hopewell.
Soon after the completion of the Bristol Parish Church, the congregation witnessed a sermon by Rev. George Whitfield, an early Methodist evangelist whose tour of the English colonies in North America was the culmination of the first Great Awakening.
Given its location on the Appomattox River, Petersburg developed quickly to become a prosperous port town. Bristol Parish grew to the extent that he vestry ordered the addition of a wing to the north side of the parish church in 1752. The work was overseen by Col. Richard Bland and took several years to complete. The final payment of 400 pounds for the work was made by the vestry in 1767. In addition to the north wing of the church, a brick wall was erected around the churchyard which remains intact today.
Services continued to be held at Blandford Church through the disestablishment, but the continued growth of Petersburg led to the removal of the congregation to a new church built in the downtown. By 1806, the old parish church was abandoned and in 1818, the building was sold to John Grammer who in turn donated the church along with much of the surrounding land to the city for use as a cemetery. During the Civil War, Old Blandford Church was used as a telegraph station and was hit by at least three shells during the siege of the city in 1864/65.
In 1889, the Ladies Memorial Association began its connection with the property, purchasing pews and a podium to accommodate public speaking engagements within the church which the city had restored a few years earlier. In 1901, the building was transferred to the association which proceeded to convert the church into a memorial for Confederate soldiers. The Ladies Memorial Association solicited funds from the former Confederate states to procure Tiffany stained glass windows for the church. These windows were installed and dedicated in 1912 in a ceremony that came during the height of southern edification and "Lost Cause" mythology that increased post-Reconstruction tension between white and African American populations in the United States and a rise in hate crimes and Jim Crow discrimination.
For visitors today, Old Blandford Church should stand as a paradox. The ancient brick walls and elegant wall surrounding the aged stones of its churchyard instill a deep sense of history. This beauty stands in sharp contrast as one walks by Confederate battle flags and views windows which glorify rebellion against the United States for the sake of an abhorrent institution. This provocative juxtaposition leaves one with deep questions upon exiting the churchyard at Old Blandford.
The oldest documented structure surviving in the City of Petersburg, Old Blandford Church preserves an important, if difficult, history for its region. Bristol Parish was established by an Act of Assembly in 1643, separated from Martins Brandon Parish. At the time that the present brick church was built in 1735, Bristol Parish had grown to over 2,000 parishioners only to suddenly decline when two new parishes were erected within its former boundaries. Construction of the new parish church at Blandford was completed in two years, a brick church of Georgian design laid in Flemish bond with glazed headers and oriented on an east-west axis. Entrance to the church was permitted through a large door on the west end and a smaller on placed on the south side of the altar near the east end. The parish church was designed and built by Thomas Ravenswood at a cost of 485 pounds and was believed to have been modeled on Merchant's Hope Church in nearby Hopewell.
Soon after the completion of the Bristol Parish Church, the congregation witnessed a sermon by Rev. George Whitfield, an early Methodist evangelist whose tour of the English colonies in North America was the culmination of the first Great Awakening.
Given its location on the Appomattox River, Petersburg developed quickly to become a prosperous port town. Bristol Parish grew to the extent that he vestry ordered the addition of a wing to the north side of the parish church in 1752. The work was overseen by Col. Richard Bland and took several years to complete. The final payment of 400 pounds for the work was made by the vestry in 1767. In addition to the north wing of the church, a brick wall was erected around the churchyard which remains intact today.
Services continued to be held at Blandford Church through the disestablishment, but the continued growth of Petersburg led to the removal of the congregation to a new church built in the downtown. By 1806, the old parish church was abandoned and in 1818, the building was sold to John Grammer who in turn donated the church along with much of the surrounding land to the city for use as a cemetery. During the Civil War, Old Blandford Church was used as a telegraph station and was hit by at least three shells during the siege of the city in 1864/65.
In 1889, the Ladies Memorial Association began its connection with the property, purchasing pews and a podium to accommodate public speaking engagements within the church which the city had restored a few years earlier. In 1901, the building was transferred to the association which proceeded to convert the church into a memorial for Confederate soldiers. The Ladies Memorial Association solicited funds from the former Confederate states to procure Tiffany stained glass windows for the church. These windows were installed and dedicated in 1912 in a ceremony that came during the height of southern edification and "Lost Cause" mythology that increased post-Reconstruction tension between white and African American populations in the United States and a rise in hate crimes and Jim Crow discrimination.
For visitors today, Old Blandford Church should stand as a paradox. The ancient brick walls and elegant wall surrounding the aged stones of its churchyard instill a deep sense of history. This beauty stands in sharp contrast as one walks by Confederate battle flags and views windows which glorify rebellion against the United States for the sake of an abhorrent institution. This provocative juxtaposition leaves one with deep questions upon exiting the churchyard at Old Blandford.
Community-Based Fire Prevention and Peatland Restoration Phase 2. Penyengat Village, Siak.
Photo by Perdana Putra/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 and a.sanjaya@cgiar.org
Community-Based Fire Prevention and Peatland Restoration Phase 2. Penyengat Village, Siak.
Photo by Perdana Putra/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 and a.sanjaya@cgiar.org
The oldest documented structure surviving in the City of Petersburg, Old Blandford Church preserves an important, if difficult, history for its region. Bristol Parish was established by an Act of Assembly in 1643, separated from Martins Brandon Parish. At the time that the present brick church was built in 1735, Bristol Parish had grown to over 2,000 parishioners only to suddenly decline when two new parishes were erected within its former boundaries. Construction of the new parish church at Blandford was completed in two years, a brick church of Georgian design laid in Flemish bond with glazed headers and oriented on an east-west axis. Entrance to the church was permitted through a large door on the west end and a smaller on placed on the south side of the altar near the east end. The parish church was designed and built by Thomas Ravenswood at a cost of 485 pounds and was believed to have been modeled on Merchant's Hope Church in nearby Hopewell.
Soon after the completion of the Bristol Parish Church, the congregation witnessed a sermon by Rev. George Whitfield, an early Methodist evangelist whose tour of the English colonies in North America was the culmination of the first Great Awakening.
Given its location on the Appomattox River, Petersburg developed quickly to become a prosperous port town. Bristol Parish grew to the extent that he vestry ordered the addition of a wing to the north side of the parish church in 1752. The work was overseen by Col. Richard Bland and took several years to complete. The final payment of 400 pounds for the work was made by the vestry in 1767. In addition to the north wing of the church, a brick wall was erected around the churchyard which remains intact today.
Services continued to be held at Blandford Church through the disestablishment, but the continued growth of Petersburg led to the removal of the congregation to a new church built in the downtown. By 1806, the old parish church was abandoned and in 1818, the building was sold to John Grammer who in turn donated the church along with much of the surrounding land to the city for use as a cemetery. During the Civil War, Old Blandford Church was used as a telegraph station and was hit by at least three shells during the siege of the city in 1864/65.
In 1889, the Ladies Memorial Association began its connection with the property, purchasing pews and a podium to accommodate public speaking engagements within the church which the city had restored a few years earlier. In 1901, the building was transferred to the association which proceeded to convert the church into a memorial for Confederate soldiers. The Ladies Memorial Association solicited funds from the former Confederate states to procure Tiffany stained glass windows for the church. These windows were installed and dedicated in 1912 in a ceremony that came during the height of southern edification and "Lost Cause" mythology that increased post-Reconstruction tension between white and African American populations in the United States and a rise in hate crimes and Jim Crow discrimination.
For visitors today, Old Blandford Church should stand as a paradox. The ancient brick walls and elegant wall surrounding the aged stones of its churchyard instill a deep sense of history. This beauty stands in sharp contrast as one walks by Confederate battle flags and views windows which glorify rebellion against the United States for the sake of an abhorrent institution. This provocative juxtaposition leaves one with deep questions upon exiting the churchyard at Old Blandford.
Oscar Schmidt durante a palestra "Obstinação" 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
Rossauer Barracks
9th district
The Rossauer Barracks should be together with Franz Joseph's Barracks and the arsenal part of a planned fortress triangle, which should provide protection against internal unrest. On 1 August 1864, ground was broken for the construction of the barracks in the Rossau. Full six years took the edification, and 5 July 1870 the entire area was handed over and the first troops moved. The Barracks underwent several alterations and changes of use over time. During World War II falling bombs destroyed the Danube side infantry officer tract completely, but then it was mostly true to the original rebuilt.
The Rossauer barracks is built in the style of late romantic historicism and recalls the medieval fortress architecture with towers, battlements, attachments and eaves. The equipment of the barracks was already inadequate and doubtful designed in the early days when it came to spatial proportions and sanitation. It was sometimes the story that the architect committed suicide because he had forgotten to install toilets. The barracks offered after their completion accommodation for 2,900 men and 390 horses. Next to it 99 officers flats of different sizes, 43 apartments for married officers, a chapel and office spaces were housed. The building has huge proportions. The length is 269m and width of 136m. In the barracks there are three large courtyards. Due to the proximity to the water, when building a very strong foundation was needed, which is located on about 30,000 pilots. It is worthwhile to make the approximately 850m long walk around the building.
www.planet-vienna.com/spots/Rossauerkaserne/rossauerkaser...
Rossauer Barracks
9th district
The Rossauer Barracks should be together with Franz Joseph's Barracks and the arsenal part of a planned fortress triangle, which should provide protection against internal unrest. On 1 August 1864, ground was broken for the construction of the barracks in the Rossau. Full six years took the edification, and 5 July 1870 the entire area was handed over and the first troops moved. The Barracks underwent several alterations and changes of use over time. During World War II falling bombs destroyed the Danube side infantry officer tract completely, but then it was mostly true to the original rebuilt.
The Rossauer barracks is built in the style of late romantic historicism and recalls the medieval fortress architecture with towers, battlements, attachments and eaves. The equipment of the barracks was already inadequate and doubtful designed in the early days when it came to spatial proportions and sanitation. It was sometimes the story that the architect committed suicide because he had forgotten to install toilets. The barracks offered after their completion accommodation for 2,900 men and 390 horses. Next to it 99 officers flats of different sizes, 43 apartments for married officers, a chapel and office spaces were housed. The building has huge proportions. The length is 269m and width of 136m. In the barracks there are three large courtyards. Due to the proximity to the water, when building a very strong foundation was needed, which is located on about 30,000 pilots. It is worthwhile to make the approximately 850m long walk around the building.
www.planet-vienna.com/spots/Rossauerkaserne/rossauerkaser...
Land Finance Hub Use and Registration Training at Yogyakarta with JAVLEC (Java Learning Center) & Formekers Indonesia (Forum for Furniture, Crafts, and Arts), 9 November 2022.
Photo by Perdana Putra/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
Luiz Ataídes Jacobsen durante sua palestra "Perspectivas para o mercado de soja e milho" no 26ª Seminário Cooplantio - O produtor como diferencial no Agronegócio. Gramado, 20 a 22 de junho de 2011. FOTO: Jefferson Bernardes/Preview.com
Sicily. Ortygia, Syracusa.
Late spring break.
The third chapel is the one consecrated to the "Santissimo Sacramento", also called the "Torres chapel", is defined artistically and structurally as the most beautiful in the Cathedral, due to its frescoes on the dome and due to the elaborate architectural decorations that compose it.
It was built in 1616 by the brothers Andrea and Giovanni Vermexio. Its plan is octagonal and its main feature are the wall bas-reliefs that surround it, composed of Corinthian-style columns adorned with numerous gilded finishes. In Baroque style, the center of the chapel has a tabernacle (or ciborium) in gilded wood in the shape of a small temple, the work of the Neapolitan architect and painter Luigi Vanvitelli, known for being the one who designed the Royal Palace of Caserta in Naples. On the sides of the altar there are two portals, surrounded by elaborate sculptural decorations, which lead to the Sacristy of the Cathedral.
At the center of the altar there is a carved marble frontal, the work of the Florentine sculptor Filippo Valle who worked there in 1762 and which depicts the Last Supper of Jesus. The marble balustrade and the artistic decoration of the floor are the work of the Palermitan Ignazio Marabitti and Neapolitan Giovan Battista Marino, the contract for the work was made to them by the Syracusan architect Pompeo Picherali who, now in old age, admired the work of the young Marabitti and entrusted them with the work in 1746. The floor of the chapel is thought to be the work of the same two sculptors mentioned above, but we rely on intuition for the attribution since no document in this regard has been found, however by observing the similarity and similar harmony that exists with the balustrade, this theory has therefore been deduced.
In the chapel, on the left side, there is the Sepulcher of Archbishop Luigi Bignami, a structure sculpted by the Catanese sculptor Sebastiano Agati. Also laterally in the chapel there is also a precious statue depicting the Madonna del Rosario, the work of unknown artists, the statue is placed on a small altar, placed on a cavity which is surrounded by two slender Corinthian-style marble columns that overlook the gray -green and above them there is a worked tympanum with sculpted bas-reliefs in the center. Three cartaglorias were the work of the Roman silversmith Giuseppe Veladier (1791. The censers and the shuttle were the work of the silversmith Lorenzo Petronelli and other silver furnishings were instead the work of the Syracusan Chindemi brothers. He informs in his studies about the silverware of the chapel, and to relations with the Roman silverware school, the Syracusan (from Canicattini Bagni) Giuseppe Agnello
The wrought iron gates with the Eucharistic symbols found between the Doric columns and the entrance to the chapel were worked by Domenico Ruggeri from Catania on the designs of Alessandro Campo in 1807-1811. The chapel is also called "Torres" because it was the Spanish bishop of Syracuse, Juan de Torres Osorio, who wanted its construction and edification, for this reason the chapel, in addition to the sacrament to which it was dedicated, also bears his name
Metz, France - St Stephen's Cathedral
Saint-Étienne de Metz (French for "Saint-Stephen of Metz"), also known as Metz Cathedral, is a historic Roman Catholic cathedral in Metz, capital of Lorraine, France. Saint-Étienne de Metz is the cathedral of the Roman Catholic Diocese of Metz and the seat of the Bishop of Metz, currently Pierre Raffin.The cathedral treasury exhibits the millennium rich collection of the Bishopric of Metz, including paraments and items used for the Eucharist.
Saint-Stephen of Metz has one of the highest naves in the world. The cathedral is nicknamed the Good Lord's Lantern (French: la Lanterne du Bon Dieu), displaying the largest expanse of stained glass in the world with 6,496 m2 (69,920 sq ft). Those stained glass windows include works by Gothic and Renaissance master glass makers Hermann von Münster, Theobald of Lixheim, and Valentin Bousch and romantic Charles-Laurent Maréchal, tachist Roger Bissière, cubist Jacques Villon, and modernist Marc Chagall.
Built between 1220 and 1552, it is the product of the unification of two distinct churches. With its 42 metre high vaults, it is one of the highest Gothic edifices in Europe. With its 6,500 m² of stained glass windows, the nickname “God’s lantern” is well merited. There are windows from the 13th to the 20th centuries by Hermann de Münster, Thiebault de Lixheim, Valentin Bousch, Jacques Villon and Marc Chagall. These masterpieces of the art of fire and light form a veritable encyclopaedia of the art of stained glass.
Architecture
Saint-Stephen Cathedral is a Rayonnant Gothic edifice built with the local yellow Jaumont limestone. Like in French Gothic architecture, the building is compact, with slight projection of the transepts and subsidiary chapels. However, it displays singular, distinctive characteristics in both its ground plan and architecture compared to most of the other cathedrals. Because of topography of Moselle valley in Metz, the common west-east axis of the ground plan could not be applied and the church is oriented north-northeast. Moreover, unlike the French and German Gothic cathedrals having three portals surmounted by a rose window and two large towers, Saint-Stephen of Metz has a single porch at its western facade. One enters laterally in the edifice by another portal placed at the south-western side of the narthex, declining the usual alignment of the entrance with the choir.
The nave is supported by flying buttresses and culminates at 41.41 metres (135.9 ft) high, making one of the highest naves in the world. The height of the nave is contrasted by the relatively low height of the aisles with 14.3 metres (47 ft) high, reinforcing the sensation of tallness of the nave. This feature permitted the architects to create large, tall expanses of stained glass. Through its history, Saint-Stephen Cathedral was subjected to architectural and ornamental modifications with successive additions of Neoclassical and Neogothic elements.
Construction history
The edification of Saint-Stephen of Metz took place on an Ancient site from the 5th century consecrated to Saint Stephen protomartyr. According to Gregory of Tours, the shrine of Saint Stephen was the sole structure spared during the sack of 451 by Attila's Huns. The construction of the Gothic cathedral began in 1220 within the walls of an Ottonian basilica dating from the 10th century. The integration into the cathedral's ground plan of a Gothic chapel from the 12th century at the western end resulted in the absence of a main western portal; the south-western porch of the cathedral being the entrance of the former chapel. The work was completed around 1520 and the new cathedral was consecrated on 11 April 1552.
In 1755, French architect Jacques-François Blondel was awarded by the Royal Academy of Architecture to built a Neoclassical portal at the West end of the cathedral. He disengaged the cathedral's facade by razing an adjacent cloister and three attached churches and achieved the westwork in 1764.
In 1877, the Saint-Stephen of Metz was heavily damaged after a conflagration due to fireworks. After this incident, it was decided the refurbishment of the cathedral and its adornments within a Neogothic style. The western facade was completely rebuilt between 1898 and 1903; the Blondel's portal was demolished and a new Neogothic portal was added.
Many of the bridges which crop its bed (there being one at the intersection of every street) were entirely swept off; Merchandise of every description in its immediate vicinity occupying the lower story’s of the buildings were either entirely destroyed or greatly damag’d. Such was the velocity of the current that whole houses were taken totally from their original site. And the pavements of some of the streets were wholly rooted out into ravines & gullies; Its great perpendicular height was occation’d: by its limits being so contracted & confer’d by the buildings on either side for so great a distance: Had it of been otherwise the damage would have been but inconsiderable. Many of the bridges are still in a ruinous state And it will require time with no small expense to reserect them.
Immediately after breakfast I was called on by three gentlemen; with one of which I had the happiness of an acquaintance: volunteering their services to wait on me with pleasure; to any place I should name. And give every necessary information appertaining to the City in their power; for my amusement & edification. We accordingly lent our way for Fells Point; Once detach’d from the city: but now bridges & buildings inceparably have united them; This is the rendezvous for all the heavy shipping; As the water is not of sufficient depth to admit them to ascend higher up; Their were several fine ships at anchorage: some just arriv’d others about to embark. But it has the appearance: & I was enform’d was a place of great dissipation, prostitution & wickedness; Being satisfied sufficiently with a transcient view of this place we…
A manuscript account of a journey from Wilmington to Baltimore and back. MS 523 Special Collections,
Milton S. Eisenhower Library, The Johns Hopkins University
Portmeirion is a popular tourist village in Gwynedd, North Wales. It was designed and built by Sir Clough Williams-Ellis between 1925 and 1975 in the style of an Italian village and is now owned by a charitable trust.
Portmeirion has served as the location for numerous films and television shows, most famously serving as The Village in the 1960s television show The Prisoner.
The oldest documented structure surviving in the City of Petersburg, Old Blandford Church preserves an important, if difficult, history for its region. Bristol Parish was established by an Act of Assembly in 1643, separated from Martins Brandon Parish. At the time that the present brick church was built in 1735, Bristol Parish had grown to over 2,000 parishioners only to suddenly decline when two new parishes were erected within its former boundaries. Construction of the new parish church at Blandford was completed in two years, a brick church of Georgian design laid in Flemish bond with glazed headers and oriented on an east-west axis. Entrance to the church was permitted through a large door on the west end and a smaller on placed on the south side of the altar near the east end. The parish church was designed and built by Thomas Ravenswood at a cost of 485 pounds and was believed to have been modeled on Merchant's Hope Church in nearby Hopewell.
Soon after the completion of the Bristol Parish Church, the congregation witnessed a sermon by Rev. George Whitfield, an early Methodist evangelist whose tour of the English colonies in North America was the culmination of the first Great Awakening.
Given its location on the Appomattox River, Petersburg developed quickly to become a prosperous port town. Bristol Parish grew to the extent that he vestry ordered the addition of a wing to the north side of the parish church in 1752. The work was overseen by Col. Richard Bland and took several years to complete. The final payment of 400 pounds for the work was made by the vestry in 1767. In addition to the north wing of the church, a brick wall was erected around the churchyard which remains intact today.
Services continued to be held at Blandford Church through the disestablishment, but the continued growth of Petersburg led to the removal of the congregation to a new church built in the downtown. By 1806, the old parish church was abandoned and in 1818, the building was sold to John Grammer who in turn donated the church along with much of the surrounding land to the city for use as a cemetery. During the Civil War, Old Blandford Church was used as a telegraph station and was hit by at least three shells during the siege of the city in 1864/65.
In 1889, the Ladies Memorial Association began its connection with the property, purchasing pews and a podium to accommodate public speaking engagements within the church which the city had restored a few years earlier. In 1901, the building was transferred to the association which proceeded to convert the church into a memorial for Confederate soldiers. The Ladies Memorial Association solicited funds from the former Confederate states to procure Tiffany stained glass windows for the church. These windows were installed and dedicated in 1912 in a ceremony that came during the height of southern edification and "Lost Cause" mythology that increased post-Reconstruction tension between white and African American populations in the United States and a rise in hate crimes and Jim Crow discrimination.
For visitors today, Old Blandford Church should stand as a paradox. The ancient brick walls and elegant wall surrounding the aged stones of its churchyard instill a deep sense of history. This beauty stands in sharp contrast as one walks by Confederate battle flags and views windows which glorify rebellion against the United States for the sake of an abhorrent institution. This provocative juxtaposition leaves one with deep questions upon exiting the churchyard at Old Blandford.
Monterey, California (Feb 2, 2015) - Poora Chakravarthy Student Profile in Middlebury Institute of International Studies at Monterey. (Photo © Jessica Riehl)
Land Finance Hub Use and Registration Training at Yogyakarta with JAVLEC (Java Learning Center) & Formekers Indonesia (Forum for Furniture, Crafts, and Arts), 9 November 2022.
Photo by Perdana Putra/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
Rossauer Barracks
9th district
The Rossauer Barracks should be together with Franz Joseph's Barracks and the arsenal part of a planned fortress triangle, which should provide protection against internal unrest. On 1 August 1864, ground was broken for the construction of the barracks in the Rossau. Full six years took the edification, and 5 July 1870 the entire area was handed over and the first troops moved. The Barracks underwent several alterations and changes of use over time. During World War II falling bombs destroyed the Danube side infantry officer tract completely, but then it was mostly true to the original rebuilt.
The Rossauer barracks is built in the style of late romantic historicism and recalls the medieval fortress architecture with towers, battlements, attachments and eaves. The equipment of the barracks was already inadequate and doubtful designed in the early days when it came to spatial proportions and sanitation. It was sometimes the story that the architect committed suicide because he had forgotten to install toilets. The barracks offered after their completion accommodation for 2,900 men and 390 horses. Next to it 99 officers flats of different sizes, 43 apartments for married officers, a chapel and office spaces were housed. The building has huge proportions. The length is 269m and width of 136m. In the barracks there are three large courtyards. Due to the proximity to the water, when building a very strong foundation was needed, which is located on about 30,000 pilots. It is worthwhile to make the approximately 850m long walk around the building.
www.planet-vienna.com/spots/Rossauerkaserne/rossauerkaser...
While Murray assumes considerable real estate in the foreground of the painting, there is great care in the representation of Belle. She is not darkened nor obscured, her gaze is fixed and direct; she is smiling and is dressed as an aristocrat. The portrait is exceptional for these reasons. Other images of the period present a black identity negatively and these images exist in great abundance. And what we learn from looking back at these images is telling: the white European perception of our bodies, our beauty rendered in such monstrous ways to the edification of whiteness is the tool of white supremacy. We are very much still negotiating the impact of seeing images that erase and obscure black beauty and humanity today. Our blended histories have yet to be accurately represented in popular consciousness, so every old story uncovered becomes a new retelling and a demand that we examine some painful truths about our past and how it shapes our present. -Syreeta McFadden, “Belle Navigates Blurred Lines Between Race, Gender, and Class in 18th Century Britain” (feministing.com) Medievalpoc posts tagged “Dido Elizabeth Belle”
Community-Based Fire Prevention and Peatland Restoration Phase 2. Penyengat Village, Siak.
Photo by Perdana Putra/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 and a.sanjaya@cgiar.org
Les fontaines Wallace sont des points d’eau potable publics qui se présentent sous la forme de petits édicules en fonte. Dessinées par Charles-Auguste Lebourg, elles tiennent leur nom de Richard Wallace, le philanthrope britannique qui finança leur édification. Elles sont souvent associées par les étrangers à l'image de Paris où elles furent implantées en premier et qu’on en trouve le plus en France. Celle-ci fut d'ailleurs offerte par la ville de Paris.
Wallace fountains are public drinking water points in the form of small cast iron kiosks. Designed by Charles-Auguste Lebourg, they take their name from Richard Wallace, the British philanthropist who financed their construction. They are often associated by foreigners with the image of Paris where they were first established and that we find most in France. Moreover, this one was offered by the city of Paris.
[Photo prise avec un Nikon FG-20]
The oldest documented structure surviving in the City of Petersburg, Old Blandford Church preserves an important, if difficult, history for its region. Bristol Parish was established by an Act of Assembly in 1643, separated from Martins Brandon Parish. At the time that the present brick church was built in 1735, Bristol Parish had grown to over 2,000 parishioners only to suddenly decline when two new parishes were erected within its former boundaries. Construction of the new parish church at Blandford was completed in two years, a brick church of Georgian design laid in Flemish bond with glazed headers and oriented on an east-west axis. Entrance to the church was permitted through a large door on the west end and a smaller on placed on the south side of the altar near the east end. The parish church was designed and built by Thomas Ravenswood at a cost of 485 pounds and was believed to have been modeled on Merchant's Hope Church in nearby Hopewell.
Soon after the completion of the Bristol Parish Church, the congregation witnessed a sermon by Rev. George Whitfield, an early Methodist evangelist whose tour of the English colonies in North America was the culmination of the first Great Awakening.
Given its location on the Appomattox River, Petersburg developed quickly to become a prosperous port town. Bristol Parish grew to the extent that he vestry ordered the addition of a wing to the north side of the parish church in 1752. The work was overseen by Col. Richard Bland and took several years to complete. The final payment of 400 pounds for the work was made by the vestry in 1767. In addition to the north wing of the church, a brick wall was erected around the churchyard which remains intact today.
Services continued to be held at Blandford Church through the disestablishment, but the continued growth of Petersburg led to the removal of the congregation to a new church built in the downtown. By 1806, the old parish church was abandoned and in 1818, the building was sold to John Grammer who in turn donated the church along with much of the surrounding land to the city for use as a cemetery. During the Civil War, Old Blandford Church was used as a telegraph station and was hit by at least three shells during the siege of the city in 1864/65.
In 1889, the Ladies Memorial Association began its connection with the property, purchasing pews and a podium to accommodate public speaking engagements within the church which the city had restored a few years earlier. In 1901, the building was transferred to the association which proceeded to convert the church into a memorial for Confederate soldiers. The Ladies Memorial Association solicited funds from the former Confederate states to procure Tiffany stained glass windows for the church. These windows were installed and dedicated in 1912 in a ceremony that came during the height of southern edification and "Lost Cause" mythology that increased post-Reconstruction tension between white and African American populations in the United States and a rise in hate crimes and Jim Crow discrimination.
For visitors today, Old Blandford Church should stand as a paradox. The ancient brick walls and elegant wall surrounding the aged stones of its churchyard instill a deep sense of history. This beauty stands in sharp contrast as one walks by Confederate battle flags and views windows which glorify rebellion against the United States for the sake of an abhorrent institution. This provocative juxtaposition leaves one with deep questions upon exiting the churchyard at Old Blandford.
Metz, France - St Stephen's Cathedral
Saint-Étienne de Metz (French for "Saint-Stephen of Metz"), also known as Metz Cathedral, is a historic Roman Catholic cathedral in Metz, capital of Lorraine, France. Saint-Étienne de Metz is the cathedral of the Roman Catholic Diocese of Metz and the seat of the Bishop of Metz, currently Pierre Raffin.The cathedral treasury exhibits the millennium rich collection of the Bishopric of Metz, including paraments and items used for the Eucharist.
Saint-Stephen of Metz has one of the highest naves in the world. The cathedral is nicknamed the Good Lord's Lantern (French: la Lanterne du Bon Dieu), displaying the largest expanse of stained glass in the world with 6,496 m2 (69,920 sq ft). Those stained glass windows include works by Gothic and Renaissance master glass makers Hermann von Münster, Theobald of Lixheim, and Valentin Bousch and romantic Charles-Laurent Maréchal, tachist Roger Bissière, cubist Jacques Villon, and modernist Marc Chagall.
Built between 1220 and 1552, it is the product of the unification of two distinct churches. With its 42 metre high vaults, it is one of the highest Gothic edifices in Europe. With its 6,500 m² of stained glass windows, the nickname “God’s lantern” is well merited. There are windows from the 13th to the 20th centuries by Hermann de Münster, Thiebault de Lixheim, Valentin Bousch, Jacques Villon and Marc Chagall. These masterpieces of the art of fire and light form a veritable encyclopaedia of the art of stained glass.
Architecture
Saint-Stephen Cathedral is a Rayonnant Gothic edifice built with the local yellow Jaumont limestone. Like in French Gothic architecture, the building is compact, with slight projection of the transepts and subsidiary chapels. However, it displays singular, distinctive characteristics in both its ground plan and architecture compared to most of the other cathedrals. Because of topography of Moselle valley in Metz, the common west-east axis of the ground plan could not be applied and the church is oriented north-northeast. Moreover, unlike the French and German Gothic cathedrals having three portals surmounted by a rose window and two large towers, Saint-Stephen of Metz has a single porch at its western facade. One enters laterally in the edifice by another portal placed at the south-western side of the narthex, declining the usual alignment of the entrance with the choir.
The nave is supported by flying buttresses and culminates at 41.41 metres (135.9 ft) high, making one of the highest naves in the world. The height of the nave is contrasted by the relatively low height of the aisles with 14.3 metres (47 ft) high, reinforcing the sensation of tallness of the nave. This feature permitted the architects to create large, tall expanses of stained glass. Through its history, Saint-Stephen Cathedral was subjected to architectural and ornamental modifications with successive additions of Neoclassical and Neogothic elements.
Construction history
The edification of Saint-Stephen of Metz took place on an Ancient site from the 5th century consecrated to Saint Stephen protomartyr. According to Gregory of Tours, the shrine of Saint Stephen was the sole structure spared during the sack of 451 by Attila's Huns. The construction of the Gothic cathedral began in 1220 within the walls of an Ottonian basilica dating from the 10th century. The integration into the cathedral's ground plan of a Gothic chapel from the 12th century at the western end resulted in the absence of a main western portal; the south-western porch of the cathedral being the entrance of the former chapel. The work was completed around 1520 and the new cathedral was consecrated on 11 April 1552.
In 1755, French architect Jacques-François Blondel was awarded by the Royal Academy of Architecture to built a Neoclassical portal at the West end of the cathedral. He disengaged the cathedral's facade by razing an adjacent cloister and three attached churches and achieved the westwork in 1764.
In 1877, the Saint-Stephen of Metz was heavily damaged after a conflagration due to fireworks. After this incident, it was decided the refurbishment of the cathedral and its adornments within a Neogothic style. The western facade was completely rebuilt between 1898 and 1903; the Blondel's portal was demolished and a new Neogothic portal was added.
Metz, France - St Stephen's Cathedral
Saint-Étienne de Metz (French for "Saint-Stephen of Metz"), also known as Metz Cathedral, is a historic Roman Catholic cathedral in Metz, capital of Lorraine, France. Saint-Étienne de Metz is the cathedral of the Roman Catholic Diocese of Metz and the seat of the Bishop of Metz, currently Pierre Raffin.The cathedral treasury exhibits the millennium rich collection of the Bishopric of Metz, including paraments and items used for the Eucharist.
Saint-Stephen of Metz has one of the highest naves in the world. The cathedral is nicknamed the Good Lord's Lantern (French: la Lanterne du Bon Dieu), displaying the largest expanse of stained glass in the world with 6,496 m2 (69,920 sq ft). Those stained glass windows include works by Gothic and Renaissance master glass makers Hermann von Münster, Theobald of Lixheim, and Valentin Bousch and romantic Charles-Laurent Maréchal, tachist Roger Bissière, cubist Jacques Villon, and modernist Marc Chagall.
Built between 1220 and 1552, it is the product of the unification of two distinct churches. With its 42 metre high vaults, it is one of the highest Gothic edifices in Europe. With its 6,500 m² of stained glass windows, the nickname “God’s lantern” is well merited. There are windows from the 13th to the 20th centuries by Hermann de Münster, Thiebault de Lixheim, Valentin Bousch, Jacques Villon and Marc Chagall. These masterpieces of the art of fire and light form a veritable encyclopaedia of the art of stained glass.
Architecture
Saint-Stephen Cathedral is a Rayonnant Gothic edifice built with the local yellow Jaumont limestone. Like in French Gothic architecture, the building is compact, with slight projection of the transepts and subsidiary chapels. However, it displays singular, distinctive characteristics in both its ground plan and architecture compared to most of the other cathedrals. Because of topography of Moselle valley in Metz, the common west-east axis of the ground plan could not be applied and the church is oriented north-northeast. Moreover, unlike the French and German Gothic cathedrals having three portals surmounted by a rose window and two large towers, Saint-Stephen of Metz has a single porch at its western facade. One enters laterally in the edifice by another portal placed at the south-western side of the narthex, declining the usual alignment of the entrance with the choir.
The nave is supported by flying buttresses and culminates at 41.41 metres (135.9 ft) high, making one of the highest naves in the world. The height of the nave is contrasted by the relatively low height of the aisles with 14.3 metres (47 ft) high, reinforcing the sensation of tallness of the nave. This feature permitted the architects to create large, tall expanses of stained glass. Through its history, Saint-Stephen Cathedral was subjected to architectural and ornamental modifications with successive additions of Neoclassical and Neogothic elements.
Construction history
The edification of Saint-Stephen of Metz took place on an Ancient site from the 5th century consecrated to Saint Stephen protomartyr. According to Gregory of Tours, the shrine of Saint Stephen was the sole structure spared during the sack of 451 by Attila's Huns. The construction of the Gothic cathedral began in 1220 within the walls of an Ottonian basilica dating from the 10th century. The integration into the cathedral's ground plan of a Gothic chapel from the 12th century at the western end resulted in the absence of a main western portal; the south-western porch of the cathedral being the entrance of the former chapel. The work was completed around 1520 and the new cathedral was consecrated on 11 April 1552.
In 1755, French architect Jacques-François Blondel was awarded by the Royal Academy of Architecture to built a Neoclassical portal at the West end of the cathedral. He disengaged the cathedral's facade by razing an adjacent cloister and three attached churches and achieved the westwork in 1764.
In 1877, the Saint-Stephen of Metz was heavily damaged after a conflagration due to fireworks. After this incident, it was decided the refurbishment of the cathedral and its adornments within a Neogothic style. The western facade was completely rebuilt between 1898 and 1903; the Blondel's portal was demolished and a new Neogothic portal was added.
Forming the right wing of Palazzo(Musee) Fesch, this Chapel classified as a historical monument, was blessed on 09/09/1860. It owes its edification to Napoleon III who honoured the testamentary clauses of Cardinal Fesch whose vow was to gather in a single holy place for the burials of the Bonaparte family. It was erected under the second Empire between 1857 and 1859 in limestone of Saint-Florent, on the plans of Alexis Paccard, architect of the Crown. The crypt shelters the tombs of Cardinal Fesch, Charles and Laetitia Bonaparte, relatives of Napoleon, and those of other members of the Imperial family. These details and more can be found at www.ajaccio.fr/La-Chapelle-Imperiale_a353.html.
Photo taken on 27/07/2016. © Peter Steel 2016.
Beinecke Rare Book & Manuscript Library II - Interior view to Yale University modern architecture rare book library tower stacks.
Located in Yale University's Hewitt Quadrangle and completed in 1963.
The Beinecke is one of the largest buildings in the world housing rare books and manuscript. The central tower alone can hold up to 180,000 volumes. Here you will find books printed as early as 1751 or before.
Yale University is an American private Ivy League research university in New Haven, Connecticut. Founded in 1701, it is the third-oldest institution of higher education in the United States
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