View allAll Photos Tagged foreshadowing
said the Babylonians (539 BC)
They would removed the King at the start of an eclipse and replace him with someone else until it was over. Then kill that guy and reinstall the King. This to avoid bad fortune to the King who was seated during an eclipse.
Humans...imaginative if nothing else.
La catedral de la Intercesión de la Virgen junto al foso (en ruso Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrová Presvyatoy Bogoróditsy, chto na Rvu), más conocida como Catedral de San Basilio, es un templo ortodoxo localizado en la Plaza Roja de la ciudad de Moscú, Rusia. Es mundialmente famosa por sus cúpulas en forma de bulbo. A pesar de lo que se suele pensar popularmente, la Catedral de San Basilio no es ni la sede del Patriarca Ortodoxo de Moscú, ni la catedral principal de la capital rusa, pues en ambos casos es la Catedral de Cristo Salvador. Como parte de la Plaza Roja, la catedral de San Basilio fue incluida desde 1990, junto con el conjunto del Kremlin, en la lista de Patrimonio de la Humanidad de Unesco.
La construcción de la catedral fue ordenada por el zar Iván el Terrible para conmemorar la conquista del Kanato de Kazán, y se realizó entre 1555 y 1561. En 1588, el zar Teodoro I de Rusia mandó que se agregara una nueva capilla en el lado este de la construcción, sobre la tumba de San Basilio el Bendito, santo por el cual se empezó a llamar popularmente la catedral.
San Basilio se encuentra en el extremo sureste de la Plaza Roja, justo frente a la Torre Spásskaya (la Torre del Salvador) del Kremlin y la iglesia de San Juan Bautista en Dyákovo.
El concepto inicial era construir un grupo de capillas, dedicadas a cada uno de los santos en cuyo día el zar ganó una batalla, pero la construcción de una torre central unifica estos espacios en una sola catedral.
La leyenda dice que el zar Iván dejó ciego al arquitecto Póstnik Yákovlev para evitar que proyectara una construcción que pudiera superar a esta, aunque parece claro que no se trata más que de una fabulación, ya que Yákovlev participó, pasados unos años, en la construcción del Kremlin de Kazán.
La catedral de San Basilio no debe confundirse con el Kremlin de Moscú, que está situado a su lado en la Plaza Roja, y por tanto no forma parte de él. Aun así, muchos medios confunden ambas construcciones.
es.wikipedia.org/wiki/Catedral_de_San_Basilio
The Cathedral of Vasily the Blessed (Russian: Собор Василия Блаженного, Sobor Vasiliya Blazhennogo), commonly known as Saint Basil's Cathedral, is a church in Red Square in Moscow, Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat (Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrova Presvyatoy Bogoroditsy, chto na Rvu) or Pokrovsky Cathedral (Покровский собор). It was built from 1555–1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.
The building is shaped like the flame of a bonfire rising into the sky, a design that has no parallel in Russian architecture. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century. The Guardian compared building with "garish chunk of Disneyland architecture" and "a clown's nose on the face of the evil empire".
One of five wooden troll sculptures in the Coastal Maine Botanical Garden.
Roskva
Stands for the trunks
Roskva is the heaviest, hardest, and strongest of the trolls. Every day, Roskva climbs towards the sky, and every year she grows taller and wider. If a troll forgets something, they can always ask Roskva—she counts the seasons and remembers everything that happens around her.
Born in Odense, Denmark, Thomas Dambo lives and works in Copenhagen. Building and creating with wood since the age of five, Dambo has become one of the fastest-growing personalities in the Scandinavian art world. As a child, he would scavenge his neighborhood for discarded wood for his projects, carting it home on his bicycle. This childhood love of “treasure” hunting certainly foreshadowed his now global troll hunts. Dambo began this work in 2014 and has since created dozens of trolls now living in parks, green spaces, and woods around the world.
Thomas Dambo is considered the world’s leading recycled-materials artist, famous for his troll sculptures. Dambo’s pieces are staggering, and each sculpture simultaneously invites seekers into the depths of our woodlands while telling a story of conservation.
A self-labeled, “recycle art activist,” his trolls are on the list of the most significant attractions in Denmark and can be found worldwide, not only telling a story of sustainability, but one of global connection. Dambo is creating a global village, one troll at a time.[CMBG website]
Moscú - Moscow - Москва
La catedral de la Intercesión de la Virgen junto al foso (en ruso Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrová Presvyatoy Bogoróditsy, chto na Rvu), más conocida como Catedral de San Basilio, es un templo ortodoxo localizado en la Plaza Roja de la ciudad de Moscú, Rusia. Es mundialmente famosa por sus cúpulas en forma de bulbo. A pesar de lo que se suele pensar popularmente, la Catedral de San Basilio no es ni la sede del Patriarca Ortodoxo de Moscú, ni la catedral principal de la capital rusa, pues en ambos casos es la Catedral de Cristo Salvador. Como parte de la Plaza Roja, la catedral de San Basilio fue incluida desde 1990, junto con el conjunto del Kremlin, en la lista de Patrimonio de la Humanidad de Unesco.
La construcción de la catedral fue ordenada por el zar Iván el Terrible para conmemorar la conquista del Kanato de Kazán, y se realizó entre 1555 y 1561. En 1588, el zar Teodoro I de Rusia mandó que se agregara una nueva capilla en el lado este de la construcción, sobre la tumba de San Basilio el Bendito, santo por el cual se empezó a llamar popularmente la catedral.
San Basilio se encuentra en el extremo sureste de la Plaza Roja, justo frente a la Torre Spásskaya (la Torre del Salvador) del Kremlin y la iglesia de San Juan Bautista en Dyákovo.
El concepto inicial era construir un grupo de capillas, dedicadas a cada uno de los santos en cuyo día el zar ganó una batalla, pero la construcción de una torre central unifica estos espacios en una sola catedral.
La leyenda dice que el zar Iván dejó ciego al arquitecto Póstnik Yákovlev para evitar que proyectara una construcción que pudiera superar a esta, aunque parece claro que no se trata más que de una fabulación, ya que Yákovlev participó, pasados unos años, en la construcción del Kremlin de Kazán.
La catedral de San Basilio no debe confundirse con el Kremlin de Moscú, que está situado a su lado en la Plaza Roja, y por tanto no forma parte de él. Aun así, muchos medios confunden ambas construcciones.
es.wikipedia.org/wiki/Catedral_de_San_Basilio
The Cathedral of Vasily the Blessed (Russian: Собор Василия Блаженного, Sobor Vasiliya Blazhennogo), commonly known as Saint Basil's Cathedral, is a church in Red Square in Moscow, Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat (Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrova Presvyatoy Bogoroditsy, chto na Rvu) or Pokrovsky Cathedral (Покровский собор). It was built from 1555–1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.
The building is shaped like the flame of a bonfire rising into the sky, a design that has no parallel in Russian architecture. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century. The Guardian compared building with "garish chunk of Disneyland architecture" and "a clown's nose on the face of the evil empire".
An eastbound has pulled east of CP CONPIT for their helper, and is starting to resume their journey, while a westbound on main one rockets towards their clear signal. Conrail is in its final months here in March of 1999. The black and white thoroughbreds of Norfolk Southern, such as the trailing unit on this westbound, have begun to appear on consists more frequently by this point, providing an ominous foreshadowing of what is to come on the Pittsburgh Line.
CR 6382. New Florence, PA.
March 27, 1999. James Olmstead photo.
Adam Klimchock collection.
1962 Chevrolet Corvette
The 1962 Corvette wasn’t a radical departure from the 1961, because major changes were on the horizon for the Corvette with the introduction of the all-new 1963 Sting Ray. The big news for 1962 was the debut of the 327 V-8 in the Corvette, replacing the 283. Otherwise, 1962 carried over the 1961’s body-color headlight rings as well as its tapered rear end with four taillamps that foreshadowed the rear styling of the completely redesigned ’63 Sting Ray. There were a couple significant cosmetic differences incorporated for 1962 as well. — the car’s signature side coves were available only in body color and they lacked chrome accent trim. Today these cars are still plentiful—in part because output jumped to 14,531 Corvettes in 1962 from 10,939 in 1961. Production for the 1962 model year also outstripped every other year of C1 production.
The 1962 was the final edition of the straight-axle, convertible only, Corvettes.
This picture was taken when my son was about 9 at False River in Louisiana. Although there was still a light rain, he couldn't wait for it to stop before getting back on the water. I didn't know at the time that this scene foreshadowed his lifelong passion for fishing. The photo was taken with a Minolta SRT 101 with, I think, a 135mm lens.
When traffic jams resulting from accidents screwed up my morning plans, I found myself at Polichno at noontime, where an unidentified Arriva GTW passed going in the wrong direction on a run from Újezdec u Luhačovic to Luhačovice. Some foreshadowing: at least it was in the sun! Polichno, 25-06-2025.
For more entertaining pics, visit the Main Gallery
Times Square, Manhattan, New York (NYC)
History of this place
Times Square is a major commercial intersection in central Manhattan at the junction of Broadway and Seventh Avenue. It acquired its name in 1904 when Albert Ochs, publisher of The New York Times, moved the newspaper's headquarters to a new skyscraper on what was then known as Longacre Square. The name stuck, even after The New York Times moved across Broadway in 1913.
Longacre Square started with a few brownstones built by a developer who saw potential for a new "uptown" neighborhood. Following the area's development, people moved to the square in droves, and with them came brothels, pickpockets, and streetwalkers. Soon, in a foreshadowing of its later fate, the area turned into a veritable red-light district. In 1895, Longacre Square had a new tenant, Oscar Hammerstein I, who developed a large entertainment complex in the hopes of rekindling an interest in opera. This complex, called the Olympia, occupied a full block on 42nd Street and featured three theaters.
During this time, many new theaters opened on the Great White Way, so named for Broadway's famous light show. The vaudeville circuit found success along with legitimate theater. In 1904, The New York Times held a New Year's Eve event to celebrate their relocation to Longacre Square. Their building was then the second tallest in Manhattan and became the symbol for a new, vibrant era of opportunity. Every year since this first celebration, millions of people have gathered for the well-known and much anticipated ball drop ceremony.
I simboli degli evangelisti
San Matteo: L’uomo
San Matteo è associato all’uomo, o angelo, perché si concentra sull’umanità di Cristo. Secondo San Girolamo, questo si rifletterebbe quando san Matteo include nel suo Vangelo la genealogia di Gesù.
San Marco: Il Leone
San Marco viene rappresentato come un leone alato perché il suo Vangelo enfatizza la maestà di Cristo e la sua regalità. Il leone è tradizionalmente considerato come il re delle bestie.
San Luca: il Bue
Il Vangelo secondo San Luca si concentra sulla storicità del carattere sacrificale della morte di Cristo. Per ciò viene associato ad un bue, animale sacrificale per eccellenza
San Giovanni: L’Aquila
Il Vangelo di San Giovanni ha un grande contenuto spirituale, e dalla sua capacità di vedere oltre il presente, di volare in alto, proprio come fa l’Aquila.
it.churchpop.com/ti-sei-mai-chiesto-cosa-significano-i-si...
What are the Symbols of the Four Evangelists
St. Matthew is represented by a divine man because the Gospel highlights Jesus’ entry into this world, first by presenting His family lineage — “A family record of Jesus Christ, Son of David, son of Abraham” (Mt 1:1) — and His incarnation and birth: “Now this is how the birth of Jesus Christ came about” (Mt 1:18). “This then,” according to St. Irenaeus, “is the Gospel of His humanity; for which reason it is, too, that the character of a humble and meek man is kept up through the whole Gospel.”
St. Mark, represented by the winged lion, references the Prophet Isaiah when he begins his gospel: “Here begins the Gospel of Jesus Christ, the Son of God. In Isaiah the prophet it is written: ‘I send my messenger before you to prepare your way: a herald’s voice in the desert, crying, “Make ready the way of the Lord, clear Him a straight path.’” “The voice in the desert crying” reminds one of a lion’s roar, and the prophetical spirit descending to earth reminds one of a “winged message.” The lion also signified royalty, an appropriate symbol for the Son of God.
The winged ox represents St. Luke. Oxen were used in temple sacrifices. For instance, when the Ark of the Covenant was brought to Jerusalem, an ox and a fatling were sacrificed every six steps (2 Sm 6). St. Luke begins his Gospel with the announcement of the birth of St. John the Baptizer to his father, the priest Zechariah, who was offering sacrifice in the Temple (Lk 1). St. Luke also includes the parable of the Prodigal Son, in which the fatted calf is slaughtered, not only to celebrate the younger son’s return, but also to foreshadow the joy we must have in receiving reconciliation through our most merciful Savior who as Priest offered Himself in sacrifice to forgive our sins. Therefore, the winged ox reminds us of the priestly character of our Lord and His sacrifice for our redemption.
Lastly, St. John is represented by the rising eagle. The Gospel begins with the “lofty” prologue and “rises” to pierce most deeply the mysteries of God, the relationship between the Father and the Son, and the incarnation: “In the beginning was the Word, the Word was in God’s presence, and the Word was God. He was present to God in the beginning. Through Him all things came into being, and apart from Him nothing came to be” (Jn 1:1-3). And “The Word became flesh and made His dwelling among us, and we have seen His glory: The glory of an only Son coming from the Father filled with enduring love” (Jn 1:14). The Gospel of St. John, unlike the other Gospels, engages the reader with the most profound teachings of our Lord, such as the long discourses Jesus has with Nicodemus and the Samaritan woman, and the beautiful teachings on the Bread of Life and the Good Shepherd. Jesus, too, identified Himself as “the way, the truth, and the life,” and anyone who embraces Him as such will rise to everlasting life with Him.
catholicexchange.com/what-are-the-symbols-of-the-four-eva...
Created for the PANO-Vision Group's June Contest "PANO to the Metal", a contest focusing on members taking the medium as far afield as they can imagine. No holds barred.
www.flickr.com/groups/2892788@N23/discuss/72157667684597037/
Pano-Sabotage has always been, in PANO-Vision, about taking the "novelty" of the "glitch" of the medium and evolving that into Art. Straight shots or highly manipulated, full screens or extreme zoom-ins, slightly warped or extremely faceted, all of it is open for exploration.
"Double Foreshadow" is an oblique reference to the theory of Art and Science historian, Leonard Shlain's, that all art movements and styles presage changes in science and then in the culture in general. What might Pano-Sabotage be foreshadowing ?
The "Double" here hints at the method of shooting this image - another "Monitor Pano", where the photographer sets their phone on Pano, then pans across their computer monitor screen, using the right arrow key to toggle across images as they're being "sabotaged". A Sabotage of the Sabotages. Double.
As far as I know, Don of PANO-Vision was the first to do this, but it was later very highly developed by Bill Smith of the group. Paul Ewing and I followed suit.
Image was shot, treated with "Abstract Contours" and "Glowing Edges" to emphasize the linear aspects and to highlight the "Digi-Bites" or "Jaggies" ( Stepped Black Spaces ). Then it was layered twice over itself for framing and highlighting. Bevelled edges and Inner Glows of turquoise and red were added also as framing elements.
Image shot & created June 13, 2018.
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© Richard S Warner ( Visionheart ) - 2018. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
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I am VERY proud to announce that I was chosen to be the feature artist of the "Kreative People" Group's Spring Gallery - Running until the end of June. I really must thank both abstractartangel77 and Xandram for bestowing me with this great honour. The link to the gallery appears below:
Please visit my Kreative People Highlight Gallery HERE
Flyer duo Christoph Korn / A23H in 1994 at club Der Blinde König, Frankfurt/M.
In the 1990s, after nearly three decades of restless activity on international stages since the late 1960s, Alfred 23 Harth recalibrated his artistic pace and direction. While his early career had been driven by uncompromising global momentum, the new decade marked a strategic turning inward. He began to focus more intently on the cultural and musical ecosystems of Frankfurt am Main, often embedding himself in younger or more locally rooted scenes, while simultaneously continuing to maintain a few projects of truly international ambition.
A central moment in this transitional phase was his decision to form, out of friendship and respect, the duo Parcours Bleu À Deux with saxophonist Heinz Sauer in 1990. Shortly thereafter, in 1993, Harth founded the Forum Improvisierender Musiker (FIM), an initiative that functioned both as a structural nucleus for local improvising musicians and as a platform for his protean creativity. From the Forum emerged several ensembles—Stern4et, Imperial Hot, and Imperial Hoot—each embodying a swing between experimental immediacy and a collective sense of performance that situated them squarely in the improvisational network of the time.
Alongside these local constellations, Harth also continued to forge projects of a wider scope. His QuasarQuartet, assembled in the immediate wake of the political changes in Eastern Europe (1992/93), signaled a willingness to draw from the shifting cultural energies of the "Opening of the East." A still more decisive forward-looking gesture came in 1995 at the Jazzfestival Frankfurt, where Harth convened a remarkable lineup with David Murray, Fred Hopkins, and Dougie Bowne. Here, for the first time, he openly engaged a Korean theme, anticipating the long trajectory of his later artistic life that would become deeply entwined with South Korea. Toward the end of the decade, in 1998/99, he entered into a duo collaboration with Peter Kowald, linking two generations of German improvisers in one of Harth’s last Frankfurt-based partnerships of that decade.
The mid-1990s also saw significant encounters that extended into large ensemble formations. When saxophonist Harry Petersen of the Hessian Radio Big Band approached him at the 1995 festival, their shared sympathy grew into Hale Peat, a band co-created in 1997 with guitarist Martin Lejeune and drummer Bülent Ates. This, in turn, gave rise to the expansive Cassini Orchestra (1998), a hybrid ensemble drawing in members from Hale Peat, Imperial Hoot, and Harth’s earlier West Side Story Heartliners 23. Around the same time, pianist Uwe Oberg invited Harth to form a duo that revived early avant-garde cinema through live performances, again pointing to the eclectic, transdisciplinary scope of Harth’s musical imagination.
By the turn of the millennium, the first cycle of the FIM began to slow and eventually fell dormant in 2000, not to be revived until 2014. Harth closed his Frankfurt chapter with one last collective: tatt00 (2000–2001), a project named in resonance with the artist group of the same title, conceived both as an inscription of closure and as a marker of transition. Alongside music, this period re-confirmed his wider artistic networks: besides being a member of the short-lived tatt00, Harth also participated in the Gdańsk-based art collective Delikatesy Avantgarde, mounting exhibitions in Poland that underscored his visual and conceptual artistic reach. Earlier, between 1993 and 1995, he had formed his own art microsystem, the Gedankenhotel, a framework that allowed him to unfold visual, textual, and performative strands in parallel to his ongoing exhibitions. These activities reveal Harth’s multifaceted self-positioning at the intersection of sound and visual culture, never confining his practice to music alone.
This broad spectrum also encompassed theatre. In 1992, Harth composed the score for Antigone at the Schauspielhaus Düsseldorf. Later, in 1997/98, his role expanded into West Side Story at the Schauspiel Frankfurt, where Harth connected musical direction with theatrical experiment. He further participated in a staged adaptation of Winterreise, performing in New York for a fortnight at La MaMa alongside actor Michael Altmann, with whom he had already collaborated in Nach Aschenfeld (Residenz Theater, Munich, 1984) and Der Architekt und der Kaiser von Assyrien (Schillertheater, Berlin, 1988).
Thus the 1990s appear as a period of recalibration: a decade of local immersion and network-building in Frankfurt, counterpoised with selective but highly significant international gestures that foreshadowed his decisive relocations after 2000. It was in these years that Harth both consolidated his roots and prepared the conceptual as well as artistic ground for the next phase of his transcontinental journey.
Day #13, Dew Drop. The attraction of dew drops , their reflections, their gentle formation, then their fragile clinging, holding on until they let go and disappear. Their journey offers a foreshadowing of our individual transient existence. May we pass through our journey with similar grace.
The Florida East Coast Railway 5AM Yard job finishes its Medley run around on an abbreviated shift while the 11AM Yard Job (412) is getting ready to take the Allied Chemical empties from them in the background. Not sure what capacity 414 was used in but its headlight came on later. Of course, all three engines had their lights on when a cloud blocked the sun over either 1, 2, or all of them. The spur coming off goes to Omni Transloading. Yes, that's both of the units with the new Grupo logo looming. Foreshadowing for the 426? Who knows.
CBRL 1909 leads a westbound Noti to Coos Bay train through a clear cut between Walton and Penn. the clear cut gives the viewer a cross section of the tree farm beyond the tracks trafficked by trains of lumber and export logs, foreshadowing of the inevitable reality these trees face. Originally built in February 1963 as ATSF 1248, serving the Santa Fe dutifully with several uniforms from pinstripe to bluebonnet until the railroads end in 1999. Relettered to BNSF 2448, the unit served for some years after the BNSF merger. BNSF 2448 was sold to LTEX which is where Coos Bay plucked the unit from an uncertain fate in 2020. Six years later, the old soldier is still writing his story. with its faded blue paint, and a P5 that shatters the peace and quiet of coastal oregon mornings. From the howling through deserts on trailer trains to slow walks past the quiet tree farms in western Oregon, this unit has had an interesting and improbable life, and I was so happy to be able to capture it.
HomilytheFifthSundayofLent032623
This is the fifth week of Lent. Our Gospel reading is a the story of Jesus raising Lazarus from the dead. It is a drama happening in the context of a global drama-the passion, death and resurrection of Jesus Christ. These two events are intimately linked to each other. Both dramas show us how God moves within Salvation history that is on behalf of all humanity and then how Jesus works within the drama and detail of each and every life. Love for us, is God’s purpose and is reflected in both events.
We have the benefit of witnessing the unfolding of these two events and there importance to us collectively and individually-especially during Lent. We must not forget how fortunate we are to be on this side of the resurrection, because we have the complete picture, there are no surprises accept the ones we experience in the details of our own lives.
Our church provides us a way of entering into these events through her liturgies, liturgical seasons and sacramental rites. In this way, Jesus Christ is present to us in a multiple of ways. However, we can also let the glittery world distract us, and pull our attention from the “one thing that matters” our relationship with Christ. For it is in the intimacy of this relationship that we can experience Him in the details of our own lives, as he was present for Lazarus, Mary and Martha in our Gospel story.
How was Jesus present to them? Let us begin with “and Jesus wept.” For whom is Jesus shedding tears? The simple answer is for his friends. In these few words, we can be sure, that just as Jesus is moved by Martha and Mary in their grief and sorrow at the loss of their brother, so our Jesus is present to us. In the mundane, the joyful and the sorrowful details of our life…the presence of Christ can be felt if we have a place for Him.
How was Jesus there for Lazarus? From our Gospel reading, it was apparent that Jesus knew that Lazarus was sick, and it appears that he was slow to respond. For a greater purpose that only Jesus knew, he was going to raise him from the dead, as a foreshadowing of his own death.
When Jesus appeared before Lazarus, he asked that the stone be rolled away and then said
“Lazarus, come out!” What did Lazarus hear in this command? Artist and theologian Makoto Fujimura in his book Art and Faith say’s it quite beautifully:
“What Lazarus heard was not the voice of a mere mortal trying to speak of love and hope. What called Lazarus was the voice of a Son of God himself who spoke from beyond the veil into eternity, into the Father’s presence. What Lazarus heard was the voice of true hope and true love. What Lazarus heard was nothing short of the voice of Creation.” (end quote)
Once again, Lazarus, Martha and Mary are together again and Jesus is in the center. Their individual drama is completed and Jesus passion is just beginning. Soon after raising Lazarus,
The Sanhedrin met, and decided that they were going to kill Jesus.
So, we see, the unfolding of the Lazarus event, within the larger event we call the passion. As it was for Lazarus, Martha and Mary, Jesus works within the details of our lives and collectively we are the body of Christ moving forward in time. What harm can the world do to us, nothing…because we are a resurrection people.
In the detail of our lives, Jesus is present to us, even when we do not realize it. Blessed are we, if we are aware of his presence. Knowing that HE is with us in our ups and downs, giving us the peace and comfort that the world can never provide. What is even more profound is when we see HIM in others that crowd around us in our times of loss, despair, joy and celebration. In a mysterious way, our journey through this valley of life uniquely contributes to the bigger picture of our salvation history and building up the Kingdom of God on earth. The season of Lent, amplifies this walk with Jesus. We are given the opportunity to walk with Him…to be with him…to comfort HIM…to weep with HIM and to be his friend.
-rc
Nabis sp. damsel bug (family Nabidae). They're not uncommon, but easy to overlook because they're small (7-8 mm.) and cryptically colored. As always with "plain" looking insects, it's worth getting closer. Check out the front-leg tiger stripes - a bit of forelimb foreshadowing that these bugs are ferocious (if diminutive) predators.
Moscú - Moscow - Москва
La catedral de la Intercesión de la Virgen junto al foso (en ruso Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrová Presvyatoy Bogoróditsy, chto na Rvu), más conocida como Catedral de San Basilio, es un templo ortodoxo localizado en la Plaza Roja de la ciudad de Moscú, Rusia. Es mundialmente famosa por sus cúpulas en forma de bulbo. A pesar de lo que se suele pensar popularmente, la Catedral de San Basilio no es ni la sede del Patriarca Ortodoxo de Moscú, ni la catedral principal de la capital rusa, pues en ambos casos es la Catedral de Cristo Salvador. Como parte de la Plaza Roja, la catedral de San Basilio fue incluida desde 1990, junto con el conjunto del Kremlin, en la lista de Patrimonio de la Humanidad de Unesco.
La construcción de la catedral fue ordenada por el zar Iván el Terrible para conmemorar la conquista del Kanato de Kazán, y se realizó entre 1555 y 1561. En 1588, el zar Teodoro I de Rusia mandó que se agregara una nueva capilla en el lado este de la construcción, sobre la tumba de San Basilio el Bendito, santo por el cual se empezó a llamar popularmente la catedral.
San Basilio se encuentra en el extremo sureste de la Plaza Roja, justo frente a la Torre Spásskaya (la Torre del Salvador) del Kremlin y la iglesia de San Juan Bautista en Dyákovo.
El concepto inicial era construir un grupo de capillas, dedicadas a cada uno de los santos en cuyo día el zar ganó una batalla, pero la construcción de una torre central unifica estos espacios en una sola catedral.
La leyenda dice que el zar Iván dejó ciego al arquitecto Póstnik Yákovlev para evitar que proyectara una construcción que pudiera superar a esta, aunque parece claro que no se trata más que de una fabulación, ya que Yákovlev participó, pasados unos años, en la construcción del Kremlin de Kazán.
La catedral de San Basilio no debe confundirse con el Kremlin de Moscú, que está situado a su lado en la Plaza Roja, y por tanto no forma parte de él. Aun así, muchos medios confunden ambas construcciones.
es.wikipedia.org/wiki/Catedral_de_San_Basilio
The Cathedral of Vasily the Blessed (Russian: Собор Василия Блаженного, Sobor Vasiliya Blazhennogo), commonly known as Saint Basil's Cathedral, is a church in Red Square in Moscow, Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat (Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrova Presvyatoy Bogoroditsy, chto na Rvu) or Pokrovsky Cathedral (Покровский собор). It was built from 1555–1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.
The building is shaped like the flame of a bonfire rising into the sky, a design that has no parallel in Russian architecture. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century. The Guardian compared building with "garish chunk of Disneyland architecture" and "a clown's nose on the face of the evil empire".
Something of an apocalyptic feel here. Perhaps foreshadowing Brexit? On the South Coast we had just the one night of snow and I was lucky enough that my best mate Michael fancied going out.
He and I both overestimated his car though (I've got a Smart car, so it's completely useless in snowy conditions) as we assumed it would have no trouble getting up the slight hill up to this bridge. We were wrong. And so, I got to enjoy my first experience of pushing a car uphill in snow. Let's just say there was a lot of grumbling and slipping. Eventually, we reached our destination.
Of course, with long exposure photography you get no idea at all here of the hateful conditions we were standing in. Facing the other way, photography was impossible- high winds and snow coming right at the lens. My poor equipment soaking in the freezing air... I was tempted to cuddle the camera when I got back home.
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With nearly 200 cars on the drawbars, a quartet of EMDs for the Alabama & Tennessee River Railway are at a real slow crawl as they howl to get the tonnage up the grade near Trussville. The shadow being formed by a cloud in this photo was quite the foreshadow (pun intended) of events as moments after this photo, the 9401 began to buck real hard after losing its grip. This caused the train to stall & force them to end up doubling their train into Birmingham. In other words, a typical day on the ATN as management loves to often overburden the Gadsden-Birmingham road train like this despite incidents like this happening all the time, at least whenever I’ve tried to shoot the road train. You’d think they’d learn their lesson, but that’s sadly a trend that’s way too common at too many places. 11-11-24
It's still more summer than fall at Coleraine Junction, Minn., on Sept. 6, 2006, but the maples foreshadow what's to come. The CN-Missabe acquisition has passed the two-year mark, but it's like nothing has changed, with taconite empties northbound behind the old cars and maroon diesels. Here too, big changes are just around the corner.
We stopped off for "lunch" (actually at 4pm) at the airport. I hadn't been expecting much (lunch at the airport - WHOO-HOO!) but actually it was nice to a) get out of the Unimog after 2 hours of driving and b) drink a glass of wine on the airport terrace.
Unexpectedly, the airport sold a very nice wine indeed - "Rusack", made in Santa Ynez - we were a bit surprised by this until we found out that the Wrigley family owed the vineyard.
Jacopo Tintoretto, pseudonimo di Jacopo Robusti, è stato un pittore italiano del Rinascimento, noto per la sua energia fenomenale nella pittura. Considerato uno dei massimi esponenti della pittura veneta, Tintoretto ha influenzato artisti successivi, compresi gli Impressionisti.
Il Battesimo di Cristo è un dipinto realizzato circa nel 1580 da Tintoretto. Quest'opera, conservata nella chiesa di San Pietro Martire a Murano, rappresenta l'episodio evangelico del battesimo di Gesù. Nella scena, tre angioletti con la colomba (simbolo dello Spirito Santo) splendono su Gesù Cristo, mentre Giovanni Battista versa l'acqua sulla sua testa. L'uso drammatico della prospettiva e della luce fa di Tintoretto un precursore dell'arte barocca.
Jacopo Tintoretto, also known as Jacopo Robusti, was an Italian Renaissance painter associated with the Venetian school. His energetic approach to painting earned him the nickname "Il furioso" (The Furious). Tintoretto's influence extended beyond his time, even inspiring Impressionist artists.
The Baptism of Christ, painted around 1580, is one of Tintoretto's notable works. Housed in the Church of San Pietro Martire in Murano, it depicts the biblical scene of Jesus' baptism. The composition features three angels and the dove representing the Holy Spirit, illuminating Jesus as John the Baptist pours water over his head. Tintoretto's dramatic use of perspective and light foreshadows the Baroque style.
But you never know, it could happen!
Isabella and Taalib @ Mercy Post Apoc RP (Simply Skye)
Opening October 1st
La catedral de la Intercesión de la Virgen junto al foso (en ruso Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrová Presvyatoy Bogoróditsy, chto na Rvu), más conocida como Catedral de San Basilio, es un templo ortodoxo localizado en la Plaza Roja de la ciudad de Moscú, Rusia. Es mundialmente famosa por sus cúpulas en forma de bulbo. A pesar de lo que se suele pensar popularmente, la Catedral de San Basilio no es ni la sede del Patriarca Ortodoxo de Moscú, ni la catedral principal de la capital rusa, pues en ambos casos es la Catedral de Cristo Salvador. Como parte de la Plaza Roja, la catedral de San Basilio fue incluida desde 1990, junto con el conjunto del Kremlin, en la lista de Patrimonio de la Humanidad de Unesco.
La construcción de la catedral fue ordenada por el zar Iván el Terrible para conmemorar la conquista del Kanato de Kazán, y se realizó entre 1555 y 1561. En 1588, el zar Teodoro I de Rusia mandó que se agregara una nueva capilla en el lado este de la construcción, sobre la tumba de San Basilio el Bendito, santo por el cual se empezó a llamar popularmente la catedral.
San Basilio se encuentra en el extremo sureste de la Plaza Roja, justo frente a la Torre Spásskaya (la Torre del Salvador) del Kremlin y la iglesia de San Juan Bautista en Dyákovo.
El concepto inicial era construir un grupo de capillas, dedicadas a cada uno de los santos en cuyo día el zar ganó una batalla, pero la construcción de una torre central unifica estos espacios en una sola catedral.
La leyenda dice que el zar Iván dejó ciego al arquitecto Póstnik Yákovlev para evitar que proyectara una construcción que pudiera superar a esta, aunque parece claro que no se trata más que de una fabulación, ya que Yákovlev participó, pasados unos años, en la construcción del Kremlin de Kazán.
La catedral de San Basilio no debe confundirse con el Kremlin de Moscú, que está situado a su lado en la Plaza Roja, y por tanto no forma parte de él. Aun así, muchos medios confunden ambas construcciones.
es.wikipedia.org/wiki/Catedral_de_San_Basilio
The Cathedral of Vasily the Blessed (Russian: Собор Василия Блаженного, Sobor Vasiliya Blazhennogo), commonly known as Saint Basil's Cathedral, is a church in Red Square in Moscow, Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat (Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrova Presvyatoy Bogoroditsy, chto na Rvu) or Pokrovsky Cathedral (Покровский собор). It was built from 1555–1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.
The building is shaped like the flame of a bonfire rising into the sky, a design that has no parallel in Russian architecture. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century. The Guardian compared building with "garish chunk of Disneyland architecture" and "a clown's nose on the face of the evil empire".
Durham Cathedral, in the city of Durham, County Durham.
It was built between the late 11th and early 12th century to house the bodies of St Cuthbert and the Venerable Bede. It attests to the importance of the early Benedictine monastic community and is the largest and finest example of Norman architecture in England.
The innovative audacity of its vaulting foreshadowed Gothic architecture. The Cathedral lies within the precinct of Durham Castle, first constructed in the late eleventh century under the orders of William the Conqueror.
The Castle was the stronghold and residence of the Prince-Bishops of Durham, who were given virtual autonomy in return for protecting the northern boundaries of England, and thus held both religious and secular power.
The Cathedral and Castle are located on a peninsula formed by a bend in the River Wear with steep river banks constituting a natural line of defence. These were essential both for the community of St. Cuthbert, who came to Durham in the tenth century in search of a safe base, and for the Prince-Bishops of Durham, protectors of the turbulent English frontier.
Durham Cathedral's relics include: Saint Cuthbert's, transported to Durham by Lindisfarne monks in the 800s; Saint Oswald's head and the Venerable Bede's remains. The Durham Dean and Chapter Library contains: sets of early printed books, some of the most complete in England; the pre-Dissolution monastic accounts and three copies of Magna Carta.
Information Sources:
Amtrak P42 #164 was looking good in fresh paint and low sunlight as it hustled the eastbound Zephyr across the desert on the former eSPee. Trailing the road locomotives and foreshadowing the future of Amtrak's long distance service are a pair of freshly delivered Siemens ALC42s. One day these ugly machines will replace the aging P42 fleet but thankfully, thus far, the CZ has remained a strong hold for the P42s.
AMTK 164 ~ AMT6 ~ Rye Patch, Nevada
Union Pacific's Nevada Subdivision
05.12.2023
Im Herbst ist das Blätterdach der Buchen noch dicht, und der schwachen Nachmittagssonne gelingt es nur hier und da, bis auf den Boden durchzudringen.
Das gedämpfte Licht erzeugt eine melancholische Stimmung, und nicht nur die Buchen ahnen schon die kommende dunkle und kalte Jahreszeit.
Bald jedoch werden sie noch einmal für kurze Zeit den Sommer feiern, und den Wald in atemberaubenden Gelb- und Rottönen erstrahlen lassen.
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In autumn the canopy of leaves on the beech trees is still dense, and the weak afternoon sun only manages to advance to the ground here and there.
The dimmed light creates a melancholy mood, and it is not only the beech trees that are already foreshadowing the coming dark and cold season.
Soon, however, they will celebrate summer again for a short time and let the forest shine in breathtaking yellow and red tones.
We took a Sunday Afternoon drive and wanted to get away from television and news. I feel this sign could be foreshadowing our politicl futures, I do not know. Arkabutla Lake is a reservoir on the Coldwater River in the U.S. state of Mississippi. It was created following the construction of the Arkabutla Dam in 1940 on the Coldwater River. The dam is located on Arkabutla Dam Rd approximately 4 miles north of the small community of Arkabutla. There has been some significant erosion and the bluffs are collapsing. I wish I had an angle to capture the bluffs along with the sign.
These type of clouds are formed by strong updraft at lower altitudes, acting upon moist air above, causing the air to cool to its dew point. As such, they are usually indicators of severe weather, and a pileus found atop a cumulus cloud often foreshadows transformation into a cumulonimbus cloud, as it indicates a strong updraft within the cloud.
Also known as the very rare Cumulonimbus velum.
This severe thunderstorm was 20 miles to my northeast.
This image won 3rd Place in the 2023 Weatherwise Magazine Contest.
Supplemental info:
A velum is a relatively new supplementary cloud feature recognized by the World Meteorological Organization (WMO) in the 2017 International Cloud Atlas. It differs from pileus in several ways.
In your photograph:
The cloud forms a broad, horizontal veil extending well beyond the central updraft.
It appears to encircle the upper part of the cumulonimbus, rather than simply sitting like a cap on the highest turret.
It has a smooth, laminar structure with broad lateral extensions, giving it a "flying saucer" or "veil" appearance.
Those are classic characteristics of velum.
Pileus vs. Velum
1. Pileus2. Velum
1. Small cap over one growing turret
2. Broad veil surrounding the upper convective tower
1. Usually directly atop the highest updraft
2. Extends laterally around the cloud
1. Often short-lived and replaced by the growing tower may persist as the storm continues to develop looks like a "hat"
2. Looks like a "veil" or "collar"
The darkness eats me alive.
I really like this.
Maria fixed this for me. Thank you so much, girl.
I cannot decide if I like this or the square crop better. What do you think?
La 1000 V4 SR-RR prototype 2026 … elle menace, elle approche, elle ne tremble pas !!!
Sa grondeur anticipe sa fureur … une nouvelle sportive de gros calibre se prépare au combat !
Ca va faire mal !
www.flickr.com/groups/moto_passion_pdf/
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The 1000 V4 SR-RR Prototype 2026 … it’s menacing, it’s closing in, it doesn’t flinch !
Its growl foreshadows its fury… a new high-caliber sport machine is gearing up for battle !
This one’s going to hurt !
www.flickr.com/groups/moto_passion_pdf/
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Under a gloomy sky, foreshadowing more rain in the desert, UP's C&NW heritage locomotive splits the searchlights at MP 399 as it starts up the 1% grade to Sand Pass.
UP 1995 ~ MNPFR ~ Sand Pass, Nevada
Union Pacific's Winnemucca Subdivision
09.03.2023
Hope you guys like this scene! I am super excited to be working on another large display for BFVA with the SME guys, Ethan, and the rest of Flose Lug. This is part of my sections, thanks for viewing and have a good week!
Greg
The early Church believed that "the life of David foreshadowed the life of Christ; Bethlehem is the birthplace of both; the shepherd life of David points out Christ, the Good Shepherd; the five stones chosen to slay Goliath are typical of the five wounds; the betrayal by his trusted counsellor, Ahitophel, and the passage over the Cedron remind us of Christ's Sacred Passion. Many of the Davidic Psalms, as we learn from the New Testament, are clearly typical of the future Messiah." In the Middle Ages, "Charlemagne thought of himself, and was viewed by his court scholars, as a 'new David'. This was not in itself a new idea, but one whose content and significance were greatly enlarged by him".
Allard Motor Company Limited was a London-based low-volume car manufacturer founded in 1945 by Sydney Allard in small premises in Clapham, south-west London. Car manufacture almost ceased within a decade. It produced approximately 1900 cars before it became insolvent and ceased trading in 1958. Before the war, Allard supplied some replicas of a Bugatti-tailed special of his own design from Adlards Motors in Putney.
Allards featured large American V8 engines in a light British chassis and body, giving a high power-to-weight ratio and foreshadowing the Sunbeam Tiger and AC Cobra of the early 1960s. Cobra designer Carroll Shelby and Chevrolet Corvette chief engineer Zora Arkus-Duntov both drove Allards in the early 1950s.
Using its inventory of easy-to-service Ford mechanicals built up during World War II and bodywork of Allard's own design, three post-war models were introduced with a newly designed steel chassis and lightweight body shells: the J, a competition sports car; the K, a slightly larger car intended for road use, and the four seater L. All three were based on the Ford Pilot chassis and powered by a fairly stock 85 hp (63 kW; 86 PS) 3,622 cc (221.0 cu in) side valve V8 with a single carburetor and 6:1 compression, driving a three-speed transmission and low-geared rear-end, for superior acceleration.[4] Front suspension was Ballamy swing axle, rear Ford solid axle.[4] They were bodied in aluminum by Allard's friend Godfrey Imhof. Sales were fairly brisk for a low-volume car, and demand was high for cars in general, which led to the introduction of several larger models, the drophead coupe M and P.
Allard used "J" for the short-wheelbase two-seaters, "K" for two- or three-seat tourers or roadsters, "L" for four-seat tourers, "M" for drophead (convertible) coupes, and "P" for fixed-head cars. As models were replaced, subsequent models were numbered sequentially
Sydney Allard soon saw the potential of the economically more vibrant – but sports car starved – U.S. market and developed a special competition model to tap it, the J2. The new roadster, weighing just 18.5 cwt,[5] was a potent combination of a lightweight, hand-formed aluminium body fitted with new coil spring[4] front suspension, fitted with inclined telescopic dampers,[6][7] and de Dion-type rear axle,[3] inboard rear brakes, and 110 hp (82 kW), 267 cu in (4,375 cc) Mercury flathead V8, with the option of an Ardun hemi conversion.[4] The J2 had a disturbing tendency to catch fire when started.[5]
Importing American engines just to ship them back across the Atlantic proved problematic, so U.S.-bound Allards were soon shipped engineless and fitted out in the States variously with newer overhead valve engines by Cadillac, Chrysler, Buick, and Oldsmobile. In that form, the J2 proved a highly competitive international race car for 1950, most frequently powered by 331 cu in (5.4 L) Cadillac engines. Domestic versions for England came equipped with Ford or Mercury flatheads. Zora Duntov worked for Allard from 1950 to 1952 and raced for the factory Allard team at Le Mans in 1952 and 1953.
Available both in street trim and stripped down for racing, the J2 proved successful in competition on both sides of the Atlantic, including a third place overall at Le Mans in 1950 (co-driven by Tom Cole and Allard himself at an average 87.74 mph (141.20 km/h), powered by a Cadillac V8.
J2s returned to Le Mans in 1951, one co-driven again by Cole and Allard, the other by Reece and Hitchings; Reece jumped an embankment, while the Allard car broke. They had no more success in 1952, both cars failing to finish.
Of 313 documented starts in major races in the 9 years between 1949 and 1957, J2s compiled 40 first-place finishes; 32 seconds; 30 thirds; 25 fourths; and 10 fifth-place finishes.[10] Both Zora Duntov and Carroll Shelby raced J2s in the early 1950s. Ninety J2s were produced between 1950 and 1952.
The K2 (the car seen in the photos above) is a 2-seater sports car produced from 1950 to 1952. It was offered with Ford and Mercury V8s in the home market and with Chrysler and Cadillac V8s in the USA. 119 were built.
Source: Wiki