View allAll Photos Tagged forms
The Kaiser-Frazer Corporation was formed in July 1945 by two successful businessmen Henry J. Kaiser (1882-1967) and Joseph W. Frazer (1892-1971).
Immediately after the war their industrial activities changed to develop and produce cars.
In the first three years the Kaiser-Frazer Corp. was quite successful. The company offered cars simultaneously under two different brand names: Frazer and Kaiser. The sub-companies shared bodies and technics.
The first cars appeared in August 1946.
New for 1949 was the Traveller Utility Sedan. This was a combination of a kind of commercial hatchback with a station wagon. The car had a back door which opened in two parts. The backseat could easily folded down to create cargo space. Industrial designer Howard "Dutch" Darrin (USA, 1897-1982) had a main influence on the styling, but the designs were revised by Robert Cadwallader.
Alex Tremulis (USA, 1914-1991) joined the design team in 1950 (after the 1948 Tucker failure).
The Vagabond was the luxury version of the Traveller. About 4500 units in total were built.
3707 cc L6 petrol engine.
112 bhp.
1740 kg.
Production Kaiser Special/DeLuxe series 1st gen.: Aug. 1946-1951.
Production Kaiser DeLuxe Vagabond model 4925 this version: 1949-1950.
Kaiser-Frazer publicity photo found in:
Cars of the 40s, By the Editors of Consumer Guide, Skokie Ill., Publications International, 1979.
Original photographer, place and date unknown.
Book purchased in Nov. 2014.
Halfweg, Jan. 26, 2025.
© 2025 Sander Toonen Halfweg | All Rights Reserved
Lembrancinhas de batizado,anjos,azul bebé ,azul turqueza ,bolinhas, corações ,enfim todo ,azul ,também, é lindo,O Atelier ,Sarranheira For Baby ,Nasceu ,em 2007, quando, grávida, de minha, última, filha ,senti ,a necessidade ,de criar ,peças, únicas ,e exclusivas, especialmente ,para o quartinho.Desde, então ,é um atelier ,onde ,procuramos ,entender ,da melhor, forma, possível ,os sonhos, das mamãs,. Especializado, em decoração infantil, lembrancinhas, convites de batizado, bonecos de panos, ascessorios decorativos, e enxoval, informações irenesarranheira@hotmail.com
Tiny sea creatures inhabit every tiny compartment
Shapes and designs with perfect form and proportion
Ancient history embedded in every shape
Historic episodes etched into every fold
Every crevice
Every mark....
I need to learn your codes
I need to understand how
You all came about???
The former Silver Lake Inn building in Clementon has been demolished.
Here's a link to a 2011 photo of it while it was still standing...
black sagebrush, Artemisia nova, Nevada, White Mountains, Sugarloaf, Sugarloaf Canyon, Pinchot Creek - Columbus Salt Marsh watershed, elevation 2617 m (8585 ft).
This is the gray form of black sagebrush, looking and behaving very much like low sagebrush (Artemisia arbuscula) on the landscape, but with the typical elongate heads, glabrate inner phyllaries, entire bracts, and elevated orangeish inflorescences of black sagebrush. In this area, it grew in pure stands on convex slopes, alternating in mosaic with taller stands of mountain sagebrush (Artemisia tridentata subsp. vaseyana) on concave slopes. Farther north in the Great Basin, low sagebrush is instead the usual mosaic component on convex slopes. True low sagebrush has yet to be found as far south as the White Mountains, with past reports based mostly on specimens of alpine sagebrush (Artemisia rothrockii) or black sagebrush.
Black sagebrush is widespread in a variety of habitats across most of the intermountain west of the United States, from higher desert valleys nearly up to subalpine elevations. It occurs on more arid sites, on average, than the other species mentioned here. At least here in the White Mountains, this gray form tends to occur on better-developed, less alkaline soils, while the green form tends to be found on calcareous rock outcrops and other harsher and/or more alkaline soils. The name black sagebrush refers to the appearance of the plants (the bark in particular) when wet after rain or fresh snowmelt.
Image Available for purchase from www.ballaratheritage.com.au
Statement of Significance
What is significant?
The Cussen Memorial is a mausoleum located within the Roman Catholic section of the Boroondara General Cemetery, Kew (VHR0049). The sandstone memorial is built in the Gothic Revival style in the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge capping embellishing the exterior. The memorial occupies a landmark position within the Cemetery. The Cussen Memorial was constructed in 1912-13 by Leo Cussen in memory of his son Hubert. Leo Cussen (later Sir Leo) was appointed to the bench of the Supreme Court of Victoria in 1906, where he displayed the qualities which were to mark him, in the words of Sir Owen Dixon, as the 'greatest of all judges', combining legal expertise with great humanity and practicality. Sir Leo was considered by Sir Robert Menzies as 'one of the great judges of the English speaking world'. In addition to his duties as a judge, Leo Cussen accepted responsibility for the consolidations of the Victorian Acts of Parliament, which took place in 1915, and again in 1929. In 1922, after four years of labour over centuries of English legislation, he presented to the Victorian Parliament the Bill for the Imperial Acts Application Act, which was passed without amendment.
The architect for the Memorial was WP Conolly of the firm Kempson and Conolly. Conolly was one of the most prominent architects designing Catholic churches in Melbourne in the late nineteenth and early twentieth centuries. Cussen's choice of architect for the memorial reflects his Catholic connections in Melbourne. In 1930, Conolly was asked by Lady Cussen to make alterations to the Cussen Memorial to allow for additional tombs. In spite of being built initially for Hubert Cussen, the Memorial has been strongly associated with Sir Leo Cussen since his burial there in 1933 and is often referred to as the Leo Cussen Memorial.
How is it significant?
The Cussen Memorial is of architectural and historical significance to the State of Victoria
Why is it significant?
The Cussen Memorial is of architectural significance as a fine example of an early twentieth century mausoleum in the Gothic style, designed by WP Conolly, one of the most prominent architects designing Catholic churches in Melbourne in the late nineteenth and early twentieth centuries.
The Cussen Memorial is of historical significance for its association with Sir Leo Cussen, justice of the Supreme Court of Victoria from 1906 to 1933, a highly popular and respected judge, legal educator and scholar, who was responsible for the consolidation of Victoria's statutes in 1915 and 1929 and the consolidation of over 7000 English Acts applicable in Victoria in the Imperial Acts Application Act of 1922.
VHR Statement of Significance
What is significant?
Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery
Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society.
Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Strett was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum.
The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known.
The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end.
The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior.
By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia.
The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect.
The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum.
Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii')
Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria.
The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery.
How is it significant?
Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria.
Why is it significant?
The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery.
The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment.
The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907.
The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement.
The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (chamaecyparis funebris 'aurea') is the only known example in Victoria.
The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.
Nikon D800E photos Bianca Buitendag & Bethany Hamilton Supergilr Pro Oceanside Beach Pier in San Diego! Shot form high up above on the Oceanside Pier!
Nikon D800E photos of Bianca Buitendag, Bethany Hamilton, and other pro surf girls at the Oceanside Huntington Beach Pier! Gorgeous pro surf girl goddesses all who are also professional swimsuit bikini / athletic sports clothing models! Shot with the awesome Nikon D800E & the Sigma 150-500mm f/5-6.3 AF APO DG OS HSM Telephoto Zoom Lens for Nikon Digital SLR Cameras. They're all professional models too (Alana Blanchard was a Sports Illustrated Swimsuit Model and Rip Curl Bikini Model!)!
And here're some epic video of pretty goddesses Bianca Buitendag and Alanna Blanchard I shot at the same time with the Panasonic X900MK 3MOS 3D Full HD SD Camcorder with 32GB Internal Memory mounted on my Nikon D800E via the 45surfer configuration.
www.youtube.com/watch?v=IxYPyOtzAQU (Bianca Buitendag paddling out and surfing!)
www.youtube.com/watch?v=9bX4gXnfLtc (alana running on beach, paddling out, surfing)
www.youtube.com/watch?v=-5LLePW95N0
www.youtube.com/watch?v=ANM70cBDNVo
www.youtube.com/watch?v=HIqA-0TOkjk
www.youtube.com/watch?v=GVEcj3bTdeQ
Last year I was shooting with a Nikon D4 with a 600mm F4 Prime monster Nikkor lens mounted on the tripod:
www.flickr.com/photos/herosjourneymythology45surf/8555104...
This year I wanted to be more nimble and work the whole area (shoot surfers warming up down the beach, coming and goring, running, hanging out/watching/etc.), so I opted to shoot with a Nikon D800E with the Sigma 150-500m lens mounted on a monopod. It can be tough to move tripod around with a 600mm F4 Prime monster Nikkor lens on a crowded beach, and it would be easy to upset folks each time you tried to set it up! There's a good chance they would say "enough" and throw you and all your equipment in the water! There's a common etiquette that one ought arrive early to claim a good spot, set up there, and keep it for the day. Latecomers are not welcome to set up on the main beach once it has filled up. But it's OK to walk around with a smaller setup as long as you stay out of everyone's way. Generally you can hug the water/shoreline with your feet and monopod in the water, as you're down low enough so that you don't block anyone's view from higher up on the beach, where all the tripods are mounted. The Sigma 150-500mm lens also allowed me to zoom out when surfers ran down the beach or got in and out of the water, and I also had a Nikon D800E with the 28-300 mm lens strapped around my neck. And both cameras had video cameras mounted to them in my famous 45surfer configuration! Needless to say, it can be a bit scary standing knee-deep in water with all that equipment, with large waves breaking. You wouldn't want to fall in!
Well, hope you enjoy the surf goddess photography!
All the best on your epic hero's journey from Johnny Ranger McCoy! :)
P.S. There's nothing like shooting the nikon D4 with the 600mm prime for quality, but I felt it was cool to give up a bit of quality for far more variety this year! Plus I do not want to become a pixel-peeper! :)
A poor quality photo taken in equally poor conditions at Hadfield shows class 506 Hadfield set N° 6 formed of vehicles from sets N°s 6 and 8 along with complete set N° 4 are seen at Hadfield on the 17th January 1984.
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Victorian Kitchens
Private stairs (I used flash here).
sign
The Grand Canal (Italian: Canal Grande, Venetian: CanaÅasso) is a canal in Venice, Italy. It forms one of the major water-traffic corridors in the city. Public transport is provided by water buses (Italian: vaporetti) and private water taxis, and many tourists explore the canal by gondola.
At one end, the canal leads into the lagoon near the Santa Lucia railway station and the other end leads into Saint Mark Basin; in between, it makes a large reverse-S shape through the central districts (sestieri) of Venice. It is 3,800 m long, 30â90 m wide, with an average depth of five meters (16.5 ft).
Description
The Grand Canal in Venice, Italy, shot at night from Rialto Bridge
The banks of the Grand Canal are lined with more than 170 buildings, most of which date from the 13th to the 18th century, and demonstrate the welfare and art created by the Republic of Venice. The noble Venetian families faced huge expenses to show off their richness in suitable palazzos; this contest reveals the citizensâ pride and the deep bond with the lagoon. Amongst the many are the Palazzi Barbaro, Ca' Rezzonico, Ca' d'Oro, Palazzo Dario, Ca' Foscari, Palazzo Barbarigo and to Palazzo Venier dei Leoni, housing the Peggy Guggenheim Collection. The churches along the canal include the basilica of Santa Maria della Salute. Centuries-old traditions, such as the Historical Regatta, are perpetuated every year along the Canal.
Because most of the city's traffic goes along the Canal rather than across it, only one bridge crossed the canal until the 19th century, the Rialto Bridge. There are currently three more bridges, the Ponte degli Scalzi, the Ponte dell'Accademia, and the recent, controversial Ponte della Costituzione, designed by Santiago Calatrava, connecting the train station to Piazzale Roma, one of the few places in Venice where buses and cars can enter. As was usual in the past, people can still take a ferry ride across the canal at several points by standing up on the deck of a simple gondola called a traghetto, although this service is less common than even a decade ago.
Most of the palaces emerge from water without pavement. Consequently, one can only tour past the fronts of the buildings on the grand canal by boat.
History
The first settlements
The Grand Canal probably follows the course of an ancient river(possibly a branch of the Brenta) flowing into the lagoon. Adriatic Veneti groups already lived beside the formerly-named "Rio Businiacus" before the Roman age. They lived in stilt houses and on fishing and commerce (mainly salt). Under the rule of the Roman empire and later of the Byzantine empire the lagoon became populated and important, and in the early 9th century the doge moved his seat from Malamocco to the safer "Rivoaltus".
Increasing trade followed the doge and found in the deep Grand Canal a safe and ship accessible canal-port. Drainage reveals that the city became more compact over time: at that time the Canal was wider and flowed between small, tide-subjected islands connected by wooden bridges.
"Fondaco" houses
Along the Canal, the number of "fondaco" houses increased, buildings combining the warehouse and the merchant's residence.
A portico (the curia) covers the bank and facilitates the ships' unloading. From the portico a corridor flanked by storerooms reaches a posterior courtyard. Similarly, on the first floor a loggia as large as the portico illuminates the hall into which open the merchant's rooms. The façade is thereby divided into an airy central part and two more solid sides. A low mezzanine with offices divides the two floors.
The fondaco house often had two lateral defensive towers (torreselle), as in the Fondaco dei Turchi (13th century, heavily restored in the 19th). With the German warehouse, the Fondaco dei Tedeschi (which is also situated on the Grand Canal), it reflects the high number of foreign merchants working in Venice, where the republic supplied them with storerooms and lodging and simultaneously controlled their trading activity.
More public buildings were built along the Canal at Rialto: palaces for commercial and financial Benches (Palazzo dei Camerlenghi and Palazzo dei Dieci Savi, rebuilt after 1514 fire) and a mint. In 1181 Nicolò Barattieri constructed a pontoon bridge connecting Rialto to Mercerie area, which was later replaced by a wooden bridge with shops on it. Warehouses for flour and salt were more peripheral.
The Venetian-Byzantine style
From the Byzantine empire, goods arrived together with sculptures, friezes, columns and capitals to decorate the fondaco houses of patrician families. The Byzantine art merged with previous elements resulting in a Venetian-Byzantine style; in architecture it was characterized by large loggias with round or elongated arches and by polychrome marbles abundance.
Along the Grand Canal, these elements are well preserved in Ca' Farsetti, Ca' Loredan (both municipal seats) and Ca' da Mosto, all dating back to the 12th or 13th century. During this period Rialto had an intense building development, determining the conformation of the Canal and surrounding areas. As a matter of fact, in Venice building materials are precious and foundations are usually kept: in the subsequent restorations, existing elements will be used again, mixing the Venetian-Byzantine and the new styles (Ca' Sagredo, Palazzo Bembo). Polychromy, three-partitioned façades, loggias, diffuse openings and rooms disposition formed a particular architectural taste that continued in the future.
The Fourth Crusade, with the loot obtained from the sack of Constantinople (1204), and other historical situations, gave Venice an Eastern influence until the late 14th century.
Venetian Gothic
Venetian Gothic architecture found favor quite late, as a splendid flamboyant Gothic ("gotico fiorito") beginning with the southern façade of the Doge's Palace. The verticality and the illumination characterizing the Gothic style are found in the porticos and loggias of fondaco houses: columns get thinner, elongated arches are replaced by pointed or ogee or lobed ones. Porticos rise gently intertwining and drawing open marbles in quatrefoils or similar figures. Façades were plastered in brilliant colors.
The open marble fascias, often referred as "laces", quickly diffused along the Grand Canal. Among the 15th-century palaces still showing the original appearance are Ca' d'Oro, Palazzo Bernardo, Ca' Foscari (now housing the University of Venice), Palazzo Pisani Moretta, Palazzi Barbaro, Palazzo Cavalli-Franchetti.
Renaissance
By the start of the 15th century, Renaissance architecture motifs appear in such buildings as the Palazzo Dario and the Palazzo Corner Spinelli; the latter was designed by Mauro Codussi, pioneer of this style in Venice. Ca' Vendramin Calergi, another of his projects (now hosting the Casino), reveals a completed transition: the numerous and large windows with open marbles are round-arched and have columns in the three classical orders.
Classical architecture is more evident in Jacopo Sansovino's projects, who arrived from Rome in 1527. Along the Canal he designed Palazzo Corner and Palazzo Dolfin Manin, known for grandiosity, for the horizontal layout of the white façades and for the development around a central courtyard. Other Renaissance buildings are Palazzo Papadopoli and Palazzo Grimani di San Luca. Several palaces of this period had façades with frescoes by painters such as Il Pordenone, Tintoretto, Paolo Veronese, all of them unfortunately lost. Particularly noteworthy were the frescoes by Veronese and Zelotti on Ca Cappello, overlooking the Grand Canal at the intersection with the Rio de S. Polo.
Venetian Baroque
In 1582, Alessandro Vittoria began the construction of Palazzo Balbi (now housing the Government of Veneto), in which Baroque elements can be recognized: fashioned cornices, broken pediments, ornamental motifs.
The major Baroque architect in Venice was Baldassarre Longhena. In 1631 he began to build the magnificent Santa Maria della Salute basilica, one of the most beautiful churches in Venice and a symbol of Grand Canal. The classical layout of the façade features decorations and by many statues, the latter crowning also the refined volutes surrounding the major dome.
Longhena later designed two majestic palaces like Ca' Pesaro and Ca' Rezzonico (with many carvings and chiaroscuro effects) and Santa Maria di Nazareth church (Chiesa degli Scalzi). For various reasons the great architect did not see any of these buildings finished, and the designs for all but Santa Maria della Salute were modified after his death.
Longhena's themes recur in the two older façades of Palazzo Labia, containing a famous fresco cycle by Giambattista Tiepolo. In the Longhenian school grew Domenico Rossi (San Stae's façade, Ca' Corner della Regina) and Giorgio Massari, who later completed Ca' Rezzonico.
The 16th and 17th centuries mark the beginning of the Republic's decline, but nevertheless they saw the highest building activity on the Grand Canal. This can be partially explained by the increasing number of families (like the Labia) becoming patrician by the payment of an enormous sum to the Republic, which was then facing financial difficulties. Once these families had achieved this new status, they built themselves with impressive residences on the Canal, often inducing other families to renew theirs.
Neoclassical architecture
Neoclassical architectures along the Canal date to 18th century: during the first half was built San Simeone Piccolo, with an impressive corinthian portico, central plan and a high copper-covered dome ending in a cupola shaped as a temple. Date to the second half Massari's Palazzo Grassi.
Modern era
Ocean liner passing San Giorgio Maggiore island
After the fall of the Republic 1797, construction of housing in Venice was suspended, as symbolized by the unfinished San Marcuola and Palazzo Venier dei Leoni (housing the Peggy Guggenheim Collection). Patrician families lost their desire of self-exaltation and many of them died out. Several historical palaces were pulled down, but most of them survived and good restorations have saved their 18th century appearance. The most important are publicly owned and host institutions and museums.
Religious buildings underwent the consequences of religious orders suppression decreed by Napoleon in the Kingdom of Italy period. Many churches and monasteries were deprived of furnishings and works of art, changed their function (like Santa Maria della Carità complex, now housing the Gallerie dell'Accademia) or were demolished. The Santa Croce complex, for which the Sestiere was named, was situated in Papadopoli Gardens area; Santa Lucia complex (partially designed by Palladio) was razed to the ground to build Santa Lucia Station.
The Kingdom of Italy accession restored serenity in the city and stimulated construction along the Grand Canal respecting its beauty, often reproduced in Gothic Revival architectures like the Pescaria at Rialto.
Must be Seen Large to Make Sense This little book fell into my hands last year at our local book store, A Book for All Seasons, and immediately put much of my photography into perspective. I see now that many flickr members are moved by these same shapes, and my intention is simply to make this book known to them, not to infringe on copyrights or to 'sell it". I hope illustrating a few of its pages makes this clear.
Aríbalo en forma de erizo. FAyenza silicea. Baja época. Din. XXVI
Wild or domesticated animals had a vital role in ancient Egypt. The exhibition "Animals and Pharaohs" shows the role and importance of animals in Pharaonic civilization.
Consisting of more than four hundred pieces the exhibit reconstructs the relationship between animals and men religious beliefs , nature and culture, from admiration and fear in everyday life, war or in agriculture.
Los animales salvajes o domesticados tienen un papel fundamental en el antiguo Egipto. La exposición Animales y faraones muestra la función y la importancia de la figura animal en la civilización faraónica.
Formada por más de cuatrocientas piezas, reconstruye la relación que se estableció entre los hombres y los animales, la naturaleza y la cultura, desde la admiración y el temor en la vida cotidiana, en la agricultura, la guerra y las creencias religiosas.
St. Lawrence (Nuremberg)
Towers of St. Lorenz Church, view from the west
St. Lawrence is a Gothic church in Nuremberg. The Lorenz church was the parish church of the medieval settlement located south of Pegnitz core of the former free imperial city of Nuremberg and forms the urban counterpart to the older Church of St. Sebald in the northern area . Construction of the three-aisled basilica was in 1250, the late Gothic choir was completed in 1477. Patron of the church is the Holy Lorenz. The heavily damaged in World War II construction was built according to the old model again. Since the Reformation, the Lorenz church is next to the Church of St. Sebald one of the two major Protestant Churches of Nuremberg, both of which belong to the deanery of the Evangelical Lutheran Church in Bavaria. The Lorenz Church Nuremberg city is the seat of the Dean and finds it in the traditionally held launch of the country's newly elected bishop.
Architectural History
Iron scale from the 15th Century on the west facade. The unit is six Nuremberg Shoe (equivalent to 6 × 27.84 cm = 167.04 cm)
The first mention of Lawrence 's Chapel in Nuremberg from the years 1235 and 1258, during an excavation in 1929 found that it was a small three-aisled basilica with the previous Romanesque. Parts of this building from the early 13th Century have been reused in the rising masonry.
The architectural history of the Lorenz church was always inspired by the model and the competition of the more important in the Middle Ages St. Sebald church. Construction of the three-aisled basilica is dated to about 1250 (St. Sebald ca. 1230/40). However, the exact series episode has yet to be determined. The dating of the sculpture of the west facade plays a supporting role, the workshop will also be seen in Nuremberg at the Tomb of Konrad Gross. The three-aisled basilica was completed around 1390th.
As early as 1400 but was extended (again, following the example of St. Sebald) the aisles by as much moved to their outside walls that is now located in the interior of the church buttresses forming small private chapels for the Council sexes. The last major phase of construction of the hall choir to the altar Deocarus fell in the years 1439-77 (The project is backed by inscriptions; hall choir of St. Sebald 1361-79).
The church was heavily damaged by the air raids in World War II and in the final battle for Nuremberg in April 1945 and has been rebuilt from 1949. Mainly the roof and the vault were destroyed. The roof has been completely redesigned, and the roof was built over the nave due to material shortages of steel. It had to be installed along 1.5 km pursuit and new vault keystones.
History
Lorenz Church, view from south
At least the predecessor of St. Lorenz church, mentioned in the first half of the 13th Century, the bambergischen upper parish in Fuerth was assumed, while St. Sebald originally belonged to Poppenreuth. St. Lawrence could never reach the significance of the sister church, the highlight of this development was in 1425 with the canonization of the public for the past two centuries revered local saint Sebald achieved by the Curia of the entire Middle Ages. St. Lawrence, patron of St. Lorenz church, did not offer the same ID space, especially since you did not have his body . This explains also the 15th Century growing devotion to the Holy Deocarus, confessor of Charles the Great, whose relics were kept in the Lorenz Church since 1316. On his 1436/37 donated altar was allowed, proven from the funds of Nuremberg citizens, establish the late-Gothic hall choir to the east of the church.
Not only for the construction of Hall Choir (1439-1477), but for the entire construction financed by wealthy citizens and the City Council is likely. The same is true for some very valuable assets, in some cases it is here a concrete founder of the patricians can be found ( as in the tabernacle, and the English greeting). This was probably also the reason that the art treasures of St. Lawrence were spared during the Reformation period of iconoclasm. St. Lawrence was one of the first churches in Germany, which were Lutheran (1525), but apparently they wanted to Nuremberg in the memory of the ancestors own honor and had therefore made by them donated sculptures.
In the subsequent history of the church, there are well-known personalities: That there was a preacher among others Andreas Osiander who in St. Lawrence worked - his picture hangs in the sacristy Lorenz .
Building design
The west facade is extremely rich articulated for a parish church, which reflects the high standards of the Nuremberg citizenship, which funded the building substantially. The facade is dominated by the two towers, the model can again to be found in St. Sebald and thus indirectly in the Bamberg Cathedral, the towering sharp Gewändeportal (embrasure portal), well-indented rose window with nine feet in diameter, and the finely perforated Maßwerkgiebel (tracery gable), elements in the form are borrowed and claim all the Gothic cathedrals.
The main building has the shape of a three-nave pillar basilica of eight yokes. In the nave pointed arches on clustered piers carry the nave wall, per yoke breaks through a pointed arch window, the clerestory wall. Presented service bundles to wear a ribbed vault, the ribs are pulled down to the level of the clerestory window sills. The peculiarity of the side aisles is much lower in small family bands, caused by the displacement of the outer walls to the outer edge of the buttress.
The late Gothic hall choir, mirror of the architectural fashion of his time, is seamlessly connected to the main ship. It is distinguished above all by its playful vaulting and the magnificent two-story window tracery in handling. On the south side of a two-storey is inserted the sacristy.
Dimensions of the church nave aisle hall choir
Length: 91.20 m Height: 24.20 m Height: 11.50 m Height: 24.20 m
Width: 30,00 m Beam : 10,40 m Width : 5,90 m Width: 28,60 m
The towers are 80.8 m and 81 m high.
Artworks
Nuremberg, St. Lawrence, north side, angle of nave and transept house: entrance hall with Olives
Tabernacle by Adam Kraft
Annunciation (1517/18) by Veit Stoss
Not all the moving pieces on the rich furnishings are originally from St. Lawrence. Many of the cultural heritage came from secular or destroyed monasteries of Nuremberg and the surrounding area.
Particularly noteworthy are two masterpieces of late Gothic sculpture belonging to the original design of the church: The brainchild of Adam Kraft 1493-1496 tabernacle (donated by Hans Imhoff the Elder.), a 18.70 meter high sandstone tabernacle, consisting of a walk-handling stage and a consequent growing up, pointed, but towards the ceiling rolled spire, which is diverse finely broken. The structure is supported by the back of three crouching figures in three different ages whose mean, equipped with stone tool, probably represents the artist himself. Above the actual Sakramentsschränkchens (small sacrament cabinet) various scenes of Christ's Passion are presented. Despite its delicate shape and the severe damage to the Lorenz Church by bombing in the Second World War, the tabernacle was largely spared from destruction by a surrounding wall.
Another brilliant performance of late Gothic art is hung in the choir German greeting (also: Annunciation in the Rosary), which was 1517/18 given by the patrician Anton Tucher at the sculptor Veit Stoss in order. It shows on the big man, colorful framed and gilded largely linden wood figures of Mary and Gabriel at the Annunciation, surrounded by a wreath of gold roses 55 (372 × 320 cm). Perched above the scene of the blessing God the Father, for the minds of the protagonists buzz musical angels, at the bottom there is a snake with bitten into apple in its mouth. Seven medallions show the seven joys of Mary. Due to a crash on the 2nd April 1817 almost completely destroyed the English greeting had to be carefully restored. Belonging to the twelve angels candlesticks on the choir stalls and the central upstream Marie chandelier.
As one of the few dated altarpieces are the Deocarusaltar of 1436/1437 for the history of the Nuremberg painting and Bilderschnitzerei (sculpture) of great importance. From 1316 to the 19th Century housed the Lorenz Church in Deocarusaltar Deocarus relics of saints, the legendary founder and first abbot of the city Herrieden. Predellenflügel (predella wing) on the right shows how Ludwig the Bavarian city of Nuremberg is about the relics of the saint.
In the right aisle is the Rochus-Altar, a foundation of the Nuremberg trade Imhoff family. When the Altarbau (construction of the altar) started, can not be ascertained clearly, probably around 1485, when the plague was raging in Nuremberg and each solution was welcome. In Venice, the dealer Imhoff family knew very well from Peter Imhoff the Elder managed in Venice from 1465 to 1476 the benefice for the altar of St. Sebald in the church of San Bartolomeo at the Rialto Bridge, which was the altar of German merchants, and is the year he was appointed consul of the Germans in fondaco dei Tedeschi. 1499th Francis Imhoff was a member of the Fraternity of Saint Roch in Venice and knew the local customs very well. And also the success of this saint cult. So it made sense for the Imhoff to make Rochus also known at home in Nuremberg. In the plague year 1484 was celebrated on 16 August in the Lorenz Church in Nuremberg the feast of Saint Roch, a little later probably Imhoff began building the altar. The altar Rochus includes not only the image of Rochus but also of Sebastian, the other plague saint, and is one of the most distinctive sign of early dissemination of the cult of Roch from Venice north of the Alps, before the 1500s. In the lower part you can see the coat of arms of the Imhoff and the Holzschuher, another Nuremberg family.
Numerous altars with paintings and carvings, sculptures in wood and stone, stained glass, some wall paintings, bells, epitaphs, dead shields and a choir from the late 15th Century complete the picture. Also mounted on the exterior are numerous sculptures, some are copies.
Bell
Tagmessglocke (a bell to call the churchgoers or monks)
Laurentia (prayer bell)
The bells of St. Lorenz church consists of 16 bells läutbaren (ringable) and thus representIing the second largest peal of a Protestant church in Germany. It consists of the main elfstimmigen (in eleven voices) bells (1-11 ) and the Cymbelgeläut (cymbeline ringing) ( 12-16). The fire bell is restored as a memorial to the two world wars on the west portal. The old silver bell hangs in the east choir and can be rung from there by cable, but it does not belong to the regular ringing bells ringing but only occasionally to Mittagslob (pray of noonday) on Krell altar. All the bells hang in a wooden belfries of wooden yokes. Due to static problems were in the course of a reorganization almost all the bells upper weights placed on the yoke to slow the Läuterhythmus (rhythm of ringing).
1 bell Christ Friedrich Wilhelm Schilling 1953 1815 4407 -4 h0 North Tower
2 Tagmessglocke 1552 Hans (III ) Glockengieser 1490 2006 d1 -1 North Tower
3 Laurentia ( prayer bell ) 1409 1608 2600 Hainrich Grunwalt e1 -1 south tower
4 dead memorial bell Friedrich Wilhelm Schilling 1953 1180 1153 fis1 ± 0 South Tower
5 Garausglocke ~ 1400 ( Hermann Kessler ) 1040 ~ 700 g # 1 +2 South Tower
6 Paul Bell 1953 988 668 Friedrich Wilhelm Schilling a1 -1 south tower
7 Luther Bell in 1953 Friedrich Wilhelm Schilling h1 +1 885 480 South Tower - octagon
8 Osianderglocke 1953 Friedrich Wilhelm Schilling 802 377 d2 ± 0 - south tower octagon
9 Lazarus Spengler bell Friedrich Wilhelm Schilling 1953 705 253 -1 South Tower e2 - octagon
10 Youth With Bell 1953 Friedrich Wilhelm Schilling fis2 630 185 -1 South Tower - octagon
11 Silver Bell 1960 Friedrich Wilhelm Schilling 39 389 d3 +6 silver turrets ( Westgebiel )
I Laudate 1954 Friedrich Wilhelm Schilling 505 90 a2 +4 North Tower octagon
Magnificat II 1954 Friedrich Wilhelm Schilling 454 h2 64 +5 North Tower octagon
Bendedictus 1954 Frederick William III Shilling sharp3 +5 410 39 North Tower octagon
Nunc Dimittis in 1954 Frederick William IV Shilling 355 35 e3 +5 North Tower octagon
V Adorate 1954 Friedrich Wilhelm Schilling 325 28 +4 fis3 North Tower octagon
- Old silver bell 2 H. 14 Century ( Hermann Kessler ) 375 d3 +6 ~ 30 east chancel
- Fire bell 1 H. 14 Century ( Hermann Kessler ) 1504 2637 e1 +0.5 parked at the west portal
Läuteordnung
Like other churches, too, St. Lorenz Church has a fixed Läuteordnung (regime of ringing) that lets the bells ring out both on a regular basis as well as on special occasions. At 8 am and in the evening by 21 clock rings the Tagmessglocke, the beep for lunch ringing by 12 clock to Laurentia, which was in 2009 600 years, the Garausläuten (burn out ringing) done with the Garausglocke depending on the sunset 16 to 20 clock. Fridays by 15 clock reminds the great bell at the crucifixion of Jesus Christ on Good Friday. Our Father in all worship the Paul Bell is rung. Saturday is by 14 clock of Sunday, heralded by the ringing of the bells 8, 7 , 6, 4 and 2 ( d2 h1 -a1 -d1 - f k1 ), which does not change over the church year. Depending on the form of worship, church festival degrees and years vary the number and/or the musical compositions (motives ) of the bells.
de.wikipedia.org/wiki/St._Lorenz_(N%C3%BCrnberg)
The Grand Canal (Italian: Canal Grande, Venetian: CanaÅasso) is a canal in Venice, Italy. It forms one of the major water-traffic corridors in the city. Public transport is provided by water buses (Italian: vaporetti) and private water taxis, and many tourists explore the canal by gondola.
At one end, the canal leads into the lagoon near the Santa Lucia railway station and the other end leads into Saint Mark Basin; in between, it makes a large reverse-S shape through the central districts (sestieri) of Venice. It is 3,800 m long, 30â90 m wide, with an average depth of five meters (16.5 ft).
Description
The Grand Canal in Venice, Italy, shot at night from Rialto Bridge
The banks of the Grand Canal are lined with more than 170 buildings, most of which date from the 13th to the 18th century, and demonstrate the welfare and art created by the Republic of Venice. The noble Venetian families faced huge expenses to show off their richness in suitable palazzos; this contest reveals the citizensâ pride and the deep bond with the lagoon. Amongst the many are the Palazzi Barbaro, Ca' Rezzonico, Ca' d'Oro, Palazzo Dario, Ca' Foscari, Palazzo Barbarigo and to Palazzo Venier dei Leoni, housing the Peggy Guggenheim Collection. The churches along the canal include the basilica of Santa Maria della Salute. Centuries-old traditions, such as the Historical Regatta, are perpetuated every year along the Canal.
Because most of the city's traffic goes along the Canal rather than across it, only one bridge crossed the canal until the 19th century, the Rialto Bridge. There are currently three more bridges, the Ponte degli Scalzi, the Ponte dell'Accademia, and the recent, controversial Ponte della Costituzione, designed by Santiago Calatrava, connecting the train station to Piazzale Roma, one of the few places in Venice where buses and cars can enter. As was usual in the past, people can still take a ferry ride across the canal at several points by standing up on the deck of a simple gondola called a traghetto, although this service is less common than even a decade ago.
Most of the palaces emerge from water without pavement. Consequently, one can only tour past the fronts of the buildings on the grand canal by boat.
History
The first settlements
The Grand Canal probably follows the course of an ancient river(possibly a branch of the Brenta) flowing into the lagoon. Adriatic Veneti groups already lived beside the formerly-named "Rio Businiacus" before the Roman age. They lived in stilt houses and on fishing and commerce (mainly salt). Under the rule of the Roman empire and later of the Byzantine empire the lagoon became populated and important, and in the early 9th century the doge moved his seat from Malamocco to the safer "Rivoaltus".
Increasing trade followed the doge and found in the deep Grand Canal a safe and ship accessible canal-port. Drainage reveals that the city became more compact over time: at that time the Canal was wider and flowed between small, tide-subjected islands connected by wooden bridges.
"Fondaco" houses
Along the Canal, the number of "fondaco" houses increased, buildings combining the warehouse and the merchant's residence.
A portico (the curia) covers the bank and facilitates the ships' unloading. From the portico a corridor flanked by storerooms reaches a posterior courtyard. Similarly, on the first floor a loggia as large as the portico illuminates the hall into which open the merchant's rooms. The façade is thereby divided into an airy central part and two more solid sides. A low mezzanine with offices divides the two floors.
The fondaco house often had two lateral defensive towers (torreselle), as in the Fondaco dei Turchi (13th century, heavily restored in the 19th). With the German warehouse, the Fondaco dei Tedeschi (which is also situated on the Grand Canal), it reflects the high number of foreign merchants working in Venice, where the republic supplied them with storerooms and lodging and simultaneously controlled their trading activity.
More public buildings were built along the Canal at Rialto: palaces for commercial and financial Benches (Palazzo dei Camerlenghi and Palazzo dei Dieci Savi, rebuilt after 1514 fire) and a mint. In 1181 Nicolò Barattieri constructed a pontoon bridge connecting Rialto to Mercerie area, which was later replaced by a wooden bridge with shops on it. Warehouses for flour and salt were more peripheral.
The Venetian-Byzantine style
From the Byzantine empire, goods arrived together with sculptures, friezes, columns and capitals to decorate the fondaco houses of patrician families. The Byzantine art merged with previous elements resulting in a Venetian-Byzantine style; in architecture it was characterized by large loggias with round or elongated arches and by polychrome marbles abundance.
Along the Grand Canal, these elements are well preserved in Ca' Farsetti, Ca' Loredan (both municipal seats) and Ca' da Mosto, all dating back to the 12th or 13th century. During this period Rialto had an intense building development, determining the conformation of the Canal and surrounding areas. As a matter of fact, in Venice building materials are precious and foundations are usually kept: in the subsequent restorations, existing elements will be used again, mixing the Venetian-Byzantine and the new styles (Ca' Sagredo, Palazzo Bembo). Polychromy, three-partitioned façades, loggias, diffuse openings and rooms disposition formed a particular architectural taste that continued in the future.
The Fourth Crusade, with the loot obtained from the sack of Constantinople (1204), and other historical situations, gave Venice an Eastern influence until the late 14th century.
Venetian Gothic
Venetian Gothic architecture found favor quite late, as a splendid flamboyant Gothic ("gotico fiorito") beginning with the southern façade of the Doge's Palace. The verticality and the illumination characterizing the Gothic style are found in the porticos and loggias of fondaco houses: columns get thinner, elongated arches are replaced by pointed or ogee or lobed ones. Porticos rise gently intertwining and drawing open marbles in quatrefoils or similar figures. Façades were plastered in brilliant colors.
The open marble fascias, often referred as "laces", quickly diffused along the Grand Canal. Among the 15th-century palaces still showing the original appearance are Ca' d'Oro, Palazzo Bernardo, Ca' Foscari (now housing the University of Venice), Palazzo Pisani Moretta, Palazzi Barbaro, Palazzo Cavalli-Franchetti.
Renaissance
By the start of the 15th century, Renaissance architecture motifs appear in such buildings as the Palazzo Dario and the Palazzo Corner Spinelli; the latter was designed by Mauro Codussi, pioneer of this style in Venice. Ca' Vendramin Calergi, another of his projects (now hosting the Casino), reveals a completed transition: the numerous and large windows with open marbles are round-arched and have columns in the three classical orders.
Classical architecture is more evident in Jacopo Sansovino's projects, who arrived from Rome in 1527. Along the Canal he designed Palazzo Corner and Palazzo Dolfin Manin, known for grandiosity, for the horizontal layout of the white façades and for the development around a central courtyard. Other Renaissance buildings are Palazzo Papadopoli and Palazzo Grimani di San Luca. Several palaces of this period had façades with frescoes by painters such as Il Pordenone, Tintoretto, Paolo Veronese, all of them unfortunately lost. Particularly noteworthy were the frescoes by Veronese and Zelotti on Ca Cappello, overlooking the Grand Canal at the intersection with the Rio de S. Polo.
Venetian Baroque
In 1582, Alessandro Vittoria began the construction of Palazzo Balbi (now housing the Government of Veneto), in which Baroque elements can be recognized: fashioned cornices, broken pediments, ornamental motifs.
The major Baroque architect in Venice was Baldassarre Longhena. In 1631 he began to build the magnificent Santa Maria della Salute basilica, one of the most beautiful churches in Venice and a symbol of Grand Canal. The classical layout of the façade features decorations and by many statues, the latter crowning also the refined volutes surrounding the major dome.
Longhena later designed two majestic palaces like Ca' Pesaro and Ca' Rezzonico (with many carvings and chiaroscuro effects) and Santa Maria di Nazareth church (Chiesa degli Scalzi). For various reasons the great architect did not see any of these buildings finished, and the designs for all but Santa Maria della Salute were modified after his death.
Longhena's themes recur in the two older façades of Palazzo Labia, containing a famous fresco cycle by Giambattista Tiepolo. In the Longhenian school grew Domenico Rossi (San Stae's façade, Ca' Corner della Regina) and Giorgio Massari, who later completed Ca' Rezzonico.
The 16th and 17th centuries mark the beginning of the Republic's decline, but nevertheless they saw the highest building activity on the Grand Canal. This can be partially explained by the increasing number of families (like the Labia) becoming patrician by the payment of an enormous sum to the Republic, which was then facing financial difficulties. Once these families had achieved this new status, they built themselves with impressive residences on the Canal, often inducing other families to renew theirs.
Neoclassical architecture
Neoclassical architectures along the Canal date to 18th century: during the first half was built San Simeone Piccolo, with an impressive corinthian portico, central plan and a high copper-covered dome ending in a cupola shaped as a temple. Date to the second half Massari's Palazzo Grassi.
Modern era
Ocean liner passing San Giorgio Maggiore island
After the fall of the Republic 1797, construction of housing in Venice was suspended, as symbolized by the unfinished San Marcuola and Palazzo Venier dei Leoni (housing the Peggy Guggenheim Collection). Patrician families lost their desire of self-exaltation and many of them died out. Several historical palaces were pulled down, but most of them survived and good restorations have saved their 18th century appearance. The most important are publicly owned and host institutions and museums.
Religious buildings underwent the consequences of religious orders suppression decreed by Napoleon in the Kingdom of Italy period. Many churches and monasteries were deprived of furnishings and works of art, changed their function (like Santa Maria della Carità complex, now housing the Gallerie dell'Accademia) or were demolished. The Santa Croce complex, for which the Sestiere was named, was situated in Papadopoli Gardens area; Santa Lucia complex (partially designed by Palladio) was razed to the ground to build Santa Lucia Station.
The Kingdom of Italy accession restored serenity in the city and stimulated construction along the Grand Canal respecting its beauty, often reproduced in Gothic Revival architectures like the Pescaria at Rialto.
Lugar: Finca La Pomarrosa, Barlovento, centro norte de Venezuela.
Place: La Pomarrosa Farm, Barlovento, north centre Venezuela.
________________________________________________
Sobre este árbol he escrito lo que sigue.
________________________________________________
Decía ese suizo precursor del conocimiento científico de nuestra flora venezolana llamado Henri Pittier que «de una manera general, se aplican los nombres de higuerón e higuerote a las numerosas especies de Ficus, en su mayor parte aún sin describir sistemáticamente, que forman un elemento importante de la flora venezolana y tienen gran aceptación como adorno de los parques y avenidas» (Pittier, 1970 [1926 y 1939], p. 277). En la selva y en la costa barloventeñas se dan muchos de estos árboles, encontrándose entre ellos algunas especies de gran tamaño, de las cuales Pittier mencionaba tres. A dos especies les daba indistintamente el nombre vulgar de higuerote, identificados uno como Ficus gigantea, del cual decía que era un «árbol hasta de 30m.» y también que era una «especie imperfectamente conocida», y el otro como Ficus radula, descrito como «árbol a menudo gigante» (Pittier, 1970 [1926 y 1939], p. 277-278). El tercero era el matapalo (Ficus dendrocida), «árbol elevado... que se cría entre otros árboles y poco a poco los envuelve con sus raíces y tronco, literalmente estrangulándolos, y después de muertos ellos, sigue en su desarrollo hasta alcanzar dimensiones enormes, teniendo a veces una altura de más de 30 metros» (Pittier, 1970 [1926 y 1939], p. 316).
Ludwig Scheene, por su parte, en un libro que aspiraba fuese «una complementación al de Henri Pittier» (Schnee, 1984 [1961], p. 8), señalaba que «Higuerote» era un «nombre colectivo para especies de Ficus», dándole tal denominación a tres de ellas, cuales eran el Ficus urbaniana, de 10 a 30 metros de alto, el Ficus velutina, de 5 a 15 metros, y el Ficus glabatra o Chaure blanco, encontrándose todos ellos en la Cordillera de la Costa (Schnee, 1984 [1961], p. 276 y 381). Jesús Hoyos, por último, daba ese nombre también a tres especies, todos de la familia Moraceae, siendo ellos el Coussapoa villosa o pittieri, de unos 10 a 25 metros de alto, el Ficus caballina o longifolia, un arbolito de unos 3 a 6 metros «oriundo de la Guayana venezolana», y el Ficus obtusifolia o Matapalo Higuerote, de 10 a 30 metros de altura (Hoyos, 1987 [1983], p. 232, 236 y 244).
Higuerote es también el nombre de un pueblo de la costa de Barlovento que se ha convertido en un centro turístico de cierta importancia. Sobre el origen del topónimo ha habido controversias, ya que algunos lo identificaban con Higoroto, nombre de un indio principal muy hospitalario con los españoles que terminó convertido por éstos en esclavo, hecho acaecido probablemente hacia 1517, durante el auge de los ostrales de Cubagua, para cuya explotación se usó primero a indígenas esclavizados y luego a negros esclavos. El episodio fue relatado por Bartolomé de las Casas en el siguiente texto:
«Entre otros saltos que los nuestros hicieron en aquella costa de Tierra Firme, debajo de Cumaná obra de 45 leguas, quiero contar uno, aunque de otra especie, porque fue sin embarazo de requerimientos. Está, donde digo, una provincia, o era un gran pueblo en ella, a la ribera de la mar, en un cabo que entra en la mar y hacen algún puerto, que llamaban el cabo de la Codera. El señor della o del pueblo se llamaba Higoroto, nombre propio de la persona o común de los señores dél. Este señor, aunque infiel, era muy virtuoso y su gente buena y que imitaba, en amar la paz y ser huespedativo, a su señor. El señor y toda su gente tuvo grande amor a los españoles y los recibían y abrigaban en su pueblo y casas como si fueran padres e hijos... era tal Higoroto y su gente, y a los españoles obligaba con tan continuos beneficios, que todos los españoles llamaban aquel pueblo de Higoroto mesón y casa refugio y consuelo de todos los españoles que por allí iban y venían. Acordó un malaventurado hombre de con una insigne obra mostrar el agradecimiento de tanto beneficio; llegó pues aquél allí con un navío y en él su compañía, que debían de no haber hallado aparejo para hacer salto en toda la costa, y por no tornar de vacío saltaron en tierra, y los indios con su señor recibiéronlos y regocijáronlos como a los otros solían. Tornáronse al navío y convidaron mucha gente, hombres y mujeres, grandes y chicos; entran en él seguros como en otros otras veces hacían. Desque los tuvieron dentro, alzaron las velas y viniéronse a la isla de San Juan y vendiólos por esclavos; y a la sazón yo llegué a aquella isla y lo vi, y supe la obra que habían hecho, y cómo mostró al señor Higoroto y a su gente ser los españoles de cuantos beneficios dél recibieron agradecidos. Desta manera dejó destruido aquel pueblo, porque los que no pudo robar se desaparecieron por los montes y valles, huyendo de aquellos peligros, y después al cabo todos perecieron, con las maldades tiránicas de los españoles que fueron a poblar o despoblar a Venezuela... A todos los salteadores y malos cristianos que en aquellos pasos andaban pesó entrañablemente de aquella maldad que aquel pecador con el pueblo de Higoroto hizo, y es de creer que no por la fealdad de la obra tanto, según éstas y otras semejantes a cada paso se hacían, cuanto por haber perdido todos aquel cierto y buen hospedaje que Higoroto y su gente a todos sin diferencia hacían» (Casas, 1986 [1552], Tomo III, pág. 614-615).
Otros pensaban que el nombre de Higuerote provenía del árbol en cuestión. La última posición fue asumida por José de Arana, en tanto que la primera la adoptaron, entre otros, Arístides Rojas, Lisandro Alvarado, Luis Alberto Paúl, Miguel Angel Mudarra y Freddy Best González (González, 1969, p. 18 a 21). Sobre el particular, tal vez ambos tuvieran razón, pues si los ficus eran abundantes en la zona, no sería de extrañar que los propios españoles, dado el parecido de estos árboles con las higueras europeas, hubieran bautizado la aldea indígena como el sitio de los higueros y, con el uso, lo hubieran extendido al indio principal. Esta interpretación podría incluso surgir del propio texto de las Casas citado, donde el fraile historiador traslucía cierta duda sobre la cualidad del nombre al decir «Higoroto, nombre propio de la persona o común de los señores dél» (Casas, 1986 [1552], Tomo III, p. 612). También apunta hacia este origen del nombre el hecho de que en Venezuela hay otros poblados que llevan el topónimo de Higuerote ubicados en sitios tan distantes entre sí como el municipio Montes del estado Sucre y el Nirgua del estado Yaracuy, caso este último en que la parroquia se llama también Higuerote, o el municipio Bruzual de Anzoátegui y el municipio Tinaco de Cojedes (Casale, 1997, p. 236-237), sitios que tienen en común, entre otras cosas, la de contar entre su vegetación local con ficus que también portan ese nombre.
Cualquiera que fuera el caso, de lo que habría poca o ninguna duda es sobre la presencia de distintas variedades de ficus autóctonos en la costa barloventeña, ya que «estos árboles no son muy exigentes a la clase de suelos una vez desarrollados. Muchas especies crecen en regiones agrestes, rocosas y soleadas» (Hoyos, 1974, p. 140).
Sobre estos árboles, a lo ya dicho sobre su nombre común de matapalos se puede agregar «que la semilla de la mayoría... se desarrolla en las ramas o troncos de otros árboles o palmeras, donde crece como semi-parásito» (Hoyos, 1974, p. 140), pudiendo eventualmente llegar a ahogar a la planta huésped, como ya sabemos. El otro nombre común de higuerote se debería, según este autor, a que su fruto «es parecido al higo comestible, pero generalmente no son aprovechables sino por las aves y mamíferos arborícolas» (Hoyos, 1974, p. 140), de modo que donde se encuentran normalmente hay vida animal diversa, como sucede en el caso del árbol de la foto que es visitado con mucha frecuencia por una variedad de aves. Este ejemplar no sé con certeza a cuál especie pertenece, si bien se parece mucho al Coussapoa villosa o pittieri cuya fotografía presenta el ya citado Hoyos (Hoyos, 1987 [1983], p. 232), pero de seguro convendrán conmigo que es muy hermoso, cualquiera que sea el nombre común o científico que se le dé.
________________________________________________
Bibliografía citada
Best González, Freddy. 1969. «Higuerote». Asamblea Legislativa del Estado Miranda. Los Teques.
Casale, Irma. 1997. «La fitotoponimia de los pueblos de Venezuela». Ediciones de la Biblioteca de la Universidad Central de Venezuela. Caracas.
Casas, Bartolomé de las. 1986 [1552]. «Historia de las Indias». Tomos I, II y III. Biblioteca Ayacucho. Caracas.
Hoyos, Jesús. 1974. «Arboles cultivados de Venezuela». Sociedad de Ciencias Naturales La Salle. Caracas.
Hoyos, Jesús. 1987 [1983]. «Guía de árboles de Venezuela». Sociedad de Ciencias Naturales La Salle. Caracas.
Pittier, Henri. 1970 [1926 y 1939]. «Manual de las plantas usuales de Venezuela y su suplemento». Fundación Eugenio Mendoza. Caracas.
Schnee, Ludwig. 1984 [1961], «Plantas comunes de Venezuela». Ediciones de la Biblioteca de la Universidad Central de Venezuela. Caracas.
________________________________________________
All Images are Copyrighted Angad Achappa and may not be used in any form,website or print media without written permission of the Photographer. For any inquiry for the photographs please contact: angadachappaphotography@hotmail.com
The Prairie District station at 300 E. 29th St. dates from 1952. It served an oddly shaped precinct, extending north of Cermak Road and west to the Penn Central railroad tracks to include Chinatown and parts of Bronzeville, then proceeding south down the lakefront east of Cottage Grove Avenue. At its southern edge, the district borders included the entire Hyde Park neighborhood except for Jackson Park, and extended south to 61st Street between Cottage Grove and Dorchester avenues. It was merged with the Wentworth District to the west in 2012 after the demolition of the Robert Taylor Homes and Stateway Gardens.
NK 1505 A4 1964
In the first part of the book, Mr. Alexander discusses the process by which a form is adapted to the context of human needs and demands that has called it into being. He shows that such an adaptive process will be successful only if it proceeds piecemeal instead of all at once. In the second part, Mr. Alexander presents a method by which the designer may bring his full creative imagination into play, and yet avoid the traps of irrelevant preconception. He shows that, whenever a problem is stated, it is possible to ignore existing concepts and to create new concepts, out of the structure of the problem itself, which do correspond correctly to what he calls the subsystems of the adaptive process. By treating each of these subsystems as a separate subproblem, the designer can translate the new concepts into form. The form, because of the process, will be well-adapted to its context, non-arbitrary, and correct.
I seek refuge in Allah from Satan, the outcast.
In the name of Allah, the Beneficent, the Merciful.
Allah’s peace be upon Prophet Muhammad (S.A.W), the glorious Prophet of Islam, and on his Companions and his followers.
TASAWWUF
"There is no doubt that Tasawwuf is an important branch of Islam. The word itself may have been derived form the Arabic word "Soof" (Wool) or from "Safa" (cleanliness), but its foundation lies in one’s personal sincerity in seeking Allah’s nearness and trying to live a life pleasing to Him. Study of the Quran, the Hadith, and the practical life of the holy Prophet Muhammad (S.A.W) and his faithful Companions provide unmistakable support to this reality." (Hazrat Moulana Allah Yar Khan (R.A)
SUFISM, AN ESSENTIAL PART OF ISLAM
Doubts exist not only in the minds of the Muslim faithful but also among the Ulema, notably the exoteric about Tasawwuf and its votaries. Often they lead to misunderstanding, as if Shariah and Tariqah were two separate entries, or that Tasawwuf was some obscure discipline foreign to Islam, or that it was altogether above the established laws and injunctions of our Religion. To help remove these misgivings and to reassure seekers, as well as scholars, our Sheikh Hazrat Moulana Allah Yar Khan (R.A), Sheikh Silsila Naqshbandia Awaisia, wrote Al-Jamal Wal Kamal, Aqaid-O-Kamalaat Ulmai-e-Deoband, Binat-e-Rasool (S.A.W), Daamad-e-Ali (R.A), Dalael-us-Salook, Ejaad-e-Mazhab Shia, Hayat-un-Nabi (S.A.W), Hayat Barzakhia, Ilm-o-Irfan, Niffaz-e-Shariat Aur Fiqah-e-Jaferia, Saif-e-Owaisi, Shikast-e-Ahdai Hussain and Tahkeek Halal Haram books.
BIOGRAPHY
Sheikh Allah Yar Khan was born in Chakrala, a remote village of Mianwali District of Pakistan, in 1904. He completed his religious education in 1934. The very year, he met Shaykh Abdul Rahim, who took him to the shrine of Shaykh Allah Deen Madni. By Divine Will his spiritual connection was right away established with the saint of the 10th century Hijra (sixteenth century) and he started receiving spiritual beneficence. His sublime education in Sufism, signifying progressive spiritual growth and advancement, continued for about twenty-five years. In 1962 he was directed to carry out the propagation of Prophetic blessings - a noble mission that he accomplished with singular enthusiasm and devotion for a period spanning half a century. Anybody who visited him was duly rewarded with a share of spiritual bliss as per his/her sincerity and capacity. Shaykh Allah Yar Khan's mission produced men and women of deep spiritual vision and distinction.
Although Hazrat Moulana Allah Yar Khan (R.A) have lived a major portion of his life as a scholar, with the avowed mission of illuminating the truth of Islam and the negation of fallacious sects, and this would appear quite removed from Tasawwuf, yet the only practical difference between the two, namely the use of the former as a media to expound the truth, and the latter to imbue people with positive faith. Nevertheless, people are amazed that a man, who until the other day, was known as a dialectician and a preacher of Islam, is not only talking of Mystic Path, but is also claiming spiritual bonds with the veteran Sufi Masters of the Past. This amazement is obviously out of place in the view of Quranic injunction: This is the bounty of Allah which He gives to whom He wills. (62:4)
THE PURIFICATION OF THE SOUL
The purification of the soul always formed part of the main mission of the Prophets; that is, the dissemination and propagation of the Devine Message. This responsibility later fell directly on the shoulders of the true Ulema in the Ummah of the last Prophet Muhammad (S.A.W), who, as his genuine successors, have continued to shed brave light in every Dark Age of materialism and sacrilege. In the present age of ruinous confusion, the importance of this responsibility has increased manifold; of the utter neglect of Islam by Muslims has not only driven them to misery, but also grievously weakened their bonds of faith in Allah and His Prophet Muhammad (S.A.W). The decay in their belief and consequent perversion in their conduct has reached a stage that any attempt to pull them out of the depth of ignominy and the heedless chaos of faithlessness, attracts grave uncertainties and apprehensions rather than a encouraging will to follow the Shariah, to purify the soul and to reform within. The Quranic Verse: Layers upon layers of darkness… (24:40) provides the nearest expression of their present state.
SHARIAH & SUFISM
Any action against the Sunnah (Prophet’s way of life) cannot be called Sufism. Singing and dancing, and the prostration on tombs are not part of Sufism. Nor is predicting the future and predicting the outcome of cases in the courts of law, a part of Sufism. Sufis are not required to abandon their worldly possessions or live in the wilderness far from the practical world. In fact these absurdities are just its opposites. It is an established fact that Tazkiyah (soul purification) stands for that inner purity which inspires a person’s spirit to obey the holy Prophet Muhammad (S.A.W). If a false claimant of Sufism teaches tricks and jugglery, ignoring religious obligations, he is an impostor. A true Sheikh will lead a believer to the august spiritual audience of the holy Prophet Muhammad (S.A.W). If you are fortunate enough to be blessed with the company of an accomplished spiritual guide and Sheikh of Sufism, and if you follow his instructions, you will observe a positive change in yourself, transferring you from vice to virtue.
ISLAM, AS A COMPLETE CODE OF LIFE
Islam, as a complete code of life or Deen, was perfected during the life of the Holy Prophet Muhammad (S.A.W). He was the sole teacher and his mosque was the core institution for the community. Although Islam in its entirety was practiced during that blessed era, the classification and compilation of its knowledge into distinct branches like ‘Tafsir’ (interpretation of the Quran), Hadith (traditions or sayings of the holy Prophet- SAWS), Fiqh (Islamic law), and Sufism (the soul purification) were undertaken subsequently. This Deen of Allah passed from the holy Prophet Muhammad (S.A.W) to his illustrious Companions in two ways: the outward and the inward. The former comprised the knowledge defined by speech and conduct, i.e., the Quran and Sunnah. The latter comprised the invisible blessings or the Prophetic lights transmitted by his blessed self. These blessings purified the hearts and instilled in them a passionate desire to follow Islam with utmost love, honesty and loyalty.
WHAT’S SUFISM
Sufism is the attempt to attain these Barakah (Blessings). The Companions handed down Prophet Muhammad (S.A.W) teachings as well as blessings to the Taba’een. Their strong hearts were capable of infusing these blessings into the hearts of their followers. Both aspects of Islam were similarly passed on by the Taba’een to the Taba Taba’een. The compilation of knowledge and its interpretation led to the establishment of many schools of religious thought; famous four being the Hanafi, the Hanbali, the Maliki, and the Shafa'i, all named after their founders. Similarly, in order to acquire, safeguard and distribute his blessings, an organized effort was initiated by four schools of Sufism: The Naqshbandia, the Qadria, the Chishtia, and the Suharwardia. These schools were also named after their organizers and came to be known as Sufi Orders. All these Orders intend to purify the hearts of sincere Muslims with Prophetic lights. These Sufi Orders also grew into many branches with the passage of time and are known by other names as well. The holy Quran has linked success in this life and the Hereafter with Tazkiyah (soul purification). He, who purified, is successful. (87: 14) Sufi Orders of Islam are the institutions where the basics of Tazkiyah (soul purification) and its practical application are taught. They have graded programs in which every new seeker is instructed in Zikr-e Lisani (oral Zikr) and is finally taught the Zikr-e Qalbi (Remembrance in heart).
ZIKR-E QALBI
However, in the Naqshbandia Order, Zikr-e Qalbi is practiced from the very beginning. Adherence to the Sunnah (Prophet’s way of life) is greatly emphasized in this Order, because the seeker achieves greater and quicker progress through its blessings. The essence of Zikr is that the Qalb should sincerely accept Islamic beliefs and gain the strength to follow the Sunnah with even greater devotion. ‘If the heart is acquainted with Allah and is engaged in His Zikr; then it is filled with Barakaat-e Nabuwwat (Prophetic blessings) which infuse their purity in the mind and body. This not only helps in controlling sensual drives but also removes traces of abhorrence, voracity, envy and insecurity from human soul. The person therefore becomes an embodiment of love, both for the Divine and the corporeal. This is the meaning of a Hadith, “There is a lump of flesh in the human body; if it goes astray the entire body is misguided, and if it is reformed the entire body is reformed. Know that this lump is the Qalb”.’
PAS ANFAS
Recent History Khawajah Naqshband (d. 1389 CE) organized the Naqshbandia Order at Bukhara (Central Asia). This Order has two main branches – the Mujaddidia and the Owaisiah. The former is identified with Sheikh Ahmed Sirhindi, known as Mujaddid Alif Sani (literally: reviver of the second Muslim millennium), a successor to Khawajah Baqi Billah, who introduced the Order to the Indo- Pakistan sub-continent. The Owaisiah Order employs a similar method of Zikr but acquires the Prophetic blessings in the manner of Khawajah Owais Qarni, who received this beneficence from the Holy Prophet Muhammad (S.A.W) without a formal physical meeting. The Zikr employed by the Naqshbandia is ‘Zikr-e Khafi Qalbi’ (remembrance of Allah’s Name within the heart) and the method is termed ‘Pas Anfas’, which (in Persian) means guarding every breath. The Chain of Transmission of these Barakah, of course, emanates from the holy Prophet- SAWS.
SPIRITUAL BAI’AT (OATH OF ALLEGIANCE
It is necessary in all Sufi Orders that the Sheikh and the seekers must be contemporaries and must physically meet each other for the transfer of these blessings. However, the Naqshbandia Owaisiah Order goes beyond this requirement and Sufis of this Order receive these Barakah regardless of physical meeting with their Sheikh or even when the Sheikh is not their contemporary. Yet, it must be underscored that physical meeting with the Sheikh of this Order still holds great importance in dissemination of these Barakah. Sheikh Sirhindi writes about the Owaisiah Order in his book ‘Tazkirah’: ‘It is the most sublime, the most exalted, and the most effective…and the highest station of all others is only its stepping stone.’ By far the greatest singular distinction of the Naqshbandia Owaisiah Order is the honor of Spiritual Bai’at (Oath of Allegiance) directly at the blessed hands of the holy Prophet Muhammad (S.A.W).
SHEIKH HAZRAT MOULANA ALLAH YAR KHAN (R.A)
The Reviver Sheikh Allah Yar Khan was born in Chikrala, a remote village of Mianwali District of Pakistan, in 1904. He completed his religious education in 1934. The same year, he met Sheikh ‘Abdul Rahim, who took him to the shrine of Sheikh Allah Deen Madni. By Divine Will his spiritual connection was immediately established with the saint of the 10th century Hijra (sixteenth century CE) and he started receiving spiritual beneficence. His sublime education in Sufism, signifying progressive spiritual growth and advancement, continued for about twenty-five years, after which he was directed to undertake the propagation of Prophetic blessings - a noble mission that he accomplished with singular zeal and dedication for a period spanning half a century. Anybody who visited him was duly rewarded with a share of spiritual bliss commensurate with his/her sincerity and capacity. Sheikh Allah Yar Khan’s mission produced men and women of deep spiritual vision and eminence. He authored eighteen books, the most distinguished being Dalael us-Sulook (Sufism - An Objective Appraisal), Hayat-e Barzakhiah (Life Beyond Life) and Israr ul- Haramain (Secrets of the two holy Mosques). He was undoubtedly one of the most distinguished Sufi saints of the Muslim Ummah and a reviver of the Naqshbandia Owaisiah Order. He passed away on 18 February 1984 in Islamabad at the age of eighty.
THE CHAIN OF TRANSMISSION OF NAQSHBANDIA OWAISIAH
1. Hazrat Muhammad ur-Rasool Allah (Sall Allah-o Alaihi wa Sallam), 2. Hazrat Abu Bakr Siddiq (Radhi Allah-o Unho), 3. Hazrat Imam Hassan Basri (Rahmat Ullah Alaihi), 4. Hazrat Daud Tai (Rahmat Ullah Alaihi), 5. Hazrat Junaid Baghdadi (Rahmat Ullah Alaihi), 6. Hazrat Ubaid Ullah Ahrar (Rahmat Ullah Alaihi), 7. Hazrat Abdur Rahman Jami (Rahmat Ullah Alaihi), 8. Hazrat Abu Ayub Muhammad Salih (Rahmat Ullah Alaihi), 9. Hazrat Allah Deen Madni (Rahmat Ullah Alaihi), 10. Hazrat Moulana Allah Yar Khan (Rahmat Ullah Alaihi).
THE SPIRIT OR RUH
The spirit or Ruh of every person is a created reflection of the Divine Attributes and it originates in Alam-e Amar (Realm of Command). Its food is the Light of Allah or the Divine Refulgence, which it acquires from the Realm of Command through the holy Prophet Muhammad (may Allah’s choicest favors and peace be upon him), whose status in the spiritual world is like that of the sun in the solar system. The Quran refers to him as the ‘bright lamp’. Indeed, he is the divinely selected channel of all Barakah. All Exalted Messengers themselves receive these Barakah from him.
LATAIF
The human Ruh also possesses vital organs like the physical body; through which it acquires its knowledge, food and energy. These are called Lataif (singular Latifah: subtlety). Scholars of various Sufi Orders have associated them with specific areas of the human body. The Naqshbandia Owaisiah Order identifies these Lataif as follows. First - Qalb: This spiritual faculty is located within the physical heart. Its function is Zikr. Its strength increases one’s capacity for Allah’s Zikr. Second – Ruh: The site of this Latifah, which is a distinct faculty of the human Ruh, is on the right side of the chest at the level of Qalb. Its primary function is concentration towards Allah. Third – Sirri: This is located above the Qalb and functions to make possible Kashf. Forth – Khaffi: This is located above the Ruh and functions to perceive the omnipresence of Allah. Fifth – Akhfa: This is located in the middle of chest, at the centre of the first four Lataif and makes it possible for the Ruh to perceive the closeness of Allah, Who is closer to us than our own selves. Sixth – Nafs: This Latifah is located at the forehead and functions to purify the human soul. Seventh – Sultan al-Azkar: This Latifah is located at the top centre of the head and serves to absorb the Barakah of Allah into the entire body, so that every cell resonates with Zikr.
FIVE EXALTED MESSENGERS OF GOD
There are Five Exalted Messengers among the many known and unknown Messengers of Allah. They are Hazrat Muhammad, Hazrat Nuh (Noah), Hazrat Ibrahim (Abraham), Hazrat Musa (Moses), and Hazrat Esa (Jesus), peace be upon them all. Hazrat Adam is the first Prophet of Allah and the father of mankind. Each Latifah is associated with a particular Prophet. The Barakah and lights from Hazrat Adam (peace be upon him), descend on the first Latifah Qalb; its lights are reflected from the first heaven and are yellowish. The second Latifah is associated with Hazrat Nuh and Hazrat Ibrahim (peace be upon them). Its lights descend from the second heaven and appear as golden red. The lights descending upon the third Latifah are from Hazrat Musa (peace be upon him) and are white. One the fourth Latifah, the lights of Hazrat Esa (peace be upon him) descend from the fourth heaven and are deep blue. The fifth Latifah receives its Barakah directly from the holy Prophet Muhammad (may Allah’s choicest favors and peace be upon him). The lights associated with this Latifah are green, descend from the fifth heaven, and overwhelm all the first four Lataif. The Lights descending upon the sixth and seventh Lataif are the Divine Lights, whose color and condition cannot be determined. These are like flashes of lightening that defy comprehension. If Allah blesses a seeker with Kashf, he can observe all of this. The vision is slightly diffused in the beginning, but gradually the clarity improves.
SULOOK
Stages of the Path After all seven Lataif of a seeker have been illuminated with Divine Lights through Tawajjuh of the Sheikh and his Ruh has acquired the ability to fly, the Sheikh initiates its journey on the sublime Path of Divine nearness. The Path is known as Sulook, and its stages are not hypothetical imaginations but real and actually existing stations on the spiritual Path. These are also referred to as Meditations, because a seeker mentally meditates about a station while his/her Ruh actually ascends towards it. The first three stations that form the base of whole Sulook are described as; Ahadiyyat, a station of Absolute Unity of Divinity. It is above and beyond the seven heavens. It is so vast a station that the seven heavens and all that they encompass are lost within Ahadiyyat as a ring is lost in a vast desert. Its lights are white in color. Maiyyat station denotes Divine Company, ‘He is with you, wherever you might be.’ This station is so vast that Ahadiyyat along with the seven heavens beneath are lost within it as a ring is lost in a desert. Its lights are green in color. Aqrabiyyat station denotes Divine Nearness, ‘He is nearer to you than your life- vein.’ Again, Aqrabiyyat is vast as compared to Maiyyat in the same proportion. Its lights are golden red and are reflected from the Divine Throne. It is indeed the greatest favor of Almighty Allah that He blesses a seeker with an accomplished Sheikh, who takes him to these sublime stations. The final station that a seeker attains to during his/her lifetime becomes his/her Iliyyeen (blessed abode) in Barzakh and his/her Ruh stays at this station after death.
ZIKR
Why is Zikr Necessary for Everyone? Allah ordains every soul in the Quran to Perform Zikr. This not only means reciting the Quran and Tasbeeh but also Zikr-e Qalb. It is only through Zikr-e Qalbi that Prophetic Lights reach the depths of human soul and purify it from all vice and evil. Zikr infuses a realization of constant Divine Presence and a seeker feels great improvement in the level of sincerity and love towards Allah and the holy Prophet- SAWS. Such levels of sincerity, love and feelings of Divine Presence can never be obtained without Zikr. It would be a mistake to believe that Zikr may be a requirement only for the very pious and virtuous people. Zikr provides the Prophetic blessings which are in effect the life line of every human soul. It transforms even the most corrupted humans into virtuous souls by bringing out the best in them. The fact is that Zikr is the only way to achieve true contentment and satisfaction in life. The holy Quran has pointed to this eternal fact that it is only through Zikr Allah that hearts can find satisfaction. Such satisfaction and peace are the ultimate requirements of every person, regardless of religion, race and ethnicity. Practicing Zikr regularly removes all traces of anxiety and restlessness, and guides the human soul to eternal bliss and peace.
KHALIFA MAJAZEEN
Hazrat Moulana Allah Yar Khan (R.A), during his life time in 1974, presented a nomination list to Prophet Muhammad (S.A.W), during Maraqba, of expected Khalifa Majazeen for Silsila Naqshbandia Awaisia. Prophet Muhammad (S.A.W) approved some names, deleted some of the names, and added down the name of Major Ghulam Muhammad as also Khalifa Majaaz of Silsila Naqshbandia Awaisia (which was not previously included in the list)
The approved names at that time included:
1. Mr. Muhammad Akram Awan Sahib,
2. Mr. Sayed Bunyad Hussain Shah Sahib,
3. Mr. Major Ahsan Baig Sahib,
4. Mr. Col. Matloob Hussain Sahib,
5. Mr. Major Ghulam Muhammad Sahib of Wan Bhachran Mianwali,
6. Mr. Molvi Abdul Haq Sahib,
7. Mr. Hafiz Abdul Razzaq Sahib,
8. Mr. Hafiz Ghulam Qadri Sahib,
9. Mr. Khan Muhammad Irani Sahib,
10. Mr. Maolana Abdul Ghafoor Sahib,
11. Mr. Syed Muhammad Hassan Sahib of Zohb.
These Majazeen were authorized to; held Majalis of Zikar (Pas Anfas) in their respective areas, arrange Majalis of Zikar in neighboring areas, train them on the way of Sulook, prepare them for Spiritual Bai’at (Oath of Allegiance), and present them to Sheikh Hazrat Moulana Allah Yar Khan for Spiritual Bai’at at the Hand of Prophet Muhammad (S.A.W), in the life of Hazrat Moulana Allah Yar Khan (R.A), and were all equal in status as Khalifa Majaaz of Hazrat Moulana Allah Yar Khan (R.A).
Presently we are following Hazrat Major ® Ghulam Muhammad Sahib, Khalifa Majaaz of Hazrat Moulana Allah Yar Khan (R.A).
Ljubljana (also known by other historical names) is the capital and largest city of Slovenia, located along a trade route between the northern Adriatic Sea and the Danube region, north of the country's largest marsh, it has been inhabited since prehistoric times. It is the country's cultural, educational, economic, political and administrative center and the seat of the Urban Municipality of Ljubljana.
During antiquity, a Roman city called Emona stood in the area. The city was first mentioned in the first half of the 12th century. It was the historical capital of Carniola, one of the Slovene-inhabited parts of the Habsburg monarchy. It was under Habsburg rule from the Middle Ages until the dissolution of the Austro-Hungarian Empire in 1918. After World War II, Ljubljana became the capital of the Socialist Republic of Slovenia, part of the Socialist Federal Republic of Yugoslavia. The city retained this status until Slovenia became independent in 1991 and Ljubljana became the capital of the newly formed state.
Name
Depiction of the city's coat of arms featuring the dragon on top of the castle, from Valvasor's The Glory of the Duchy of Carniola, 1689
The exact origin of the name Ljubljana is unclear. In medieval times, both the river and the town were also called Laibach (pronounced [ˈlaɪbax] in German. This name was used within the region until 1918 and continues to be used in German. In Italian, the city is referred to as Lubiana, and in Latin, it is known as Labacum. An archaic English form of the city's name is Lublyana, used primarily by Slovene Americans.
The German name was first documented in 1144, and the Slovenian form appeared in records as early as 1146. The 10th-century work Life of Gregentios provides the Greek variant Λυπλιανές (Lyplianés) and situates it among the Avars in the 6th century. This account is influenced by an earlier northern Italian source written shortly after the conquest of 774.
The connection between the Slovene and German names has posed a puzzle for scholars. In 2007, linguist Tijmen Pronk, an authority in comparative Indo-European linguistics and Slovene dialectology from the University of Leiden, provided strong support for the theory that the Slavic ljub- 'to love, like' was the most likely origin. He argued that the river's name likely stemmed from the settlement's name. Silvo Torkar, a linguist with expertise in Slovene names, put forth the idea that Ljubljana's name has its roots in Ljubija, the original name of the Ljubljanica River. This can be traced back to the Old Slavic male name Ljubovid, which translates to 'the one with a lovely appearance'. Torkar also asserted that the name Laibach is a combination of German and Slovene, sharing its origins with the same personal name.
Dragon symbol
The city's symbol is the Ljubljana Dragon. It is depicted on the top of the tower of Ljubljana Castle in the Ljubljana coat of arms and on the Ljubljanica-crossing Dragon Bridge (Zmajski most). It represents power, courage, and greatness.
Several explanations describe the origin of the Ljubljana Dragon. According to a Slavic myth, the slaying of a dragon releases the waters and ensures the fertility of the earth, and it is thought that the myth is tied to the Ljubljana Marsh, the expansive marshy area that periodically threatens Ljubljana with flooding. According to Greek legend, the Argonauts on their return home after having taken the Golden Fleece found a large lake surrounded by a marsh between the present-day towns of Vrhnika and Ljubljana. There Jason struck down a monster. This monster evolved into the dragon that today is present in the city coat of arms and flag.
It is historically more believable that the dragon was adopted from Saint George, the patron of the Ljubljana Castle chapel built in the 15th century.[citation needed] In the legend of Saint George, the dragon represents the old ancestral paganism overcome by Christianity. According to another explanation, related to the second, the dragon was at first only a decoration above the city coat of arms. In the Baroque, it became part of the coat of arms and, in the 19th and especially the 20th century, it outstripped the tower and other elements in importance.
History
Prehistory
Around 2000 BC, the Ljubljana Marsh was settled by people living in pile dwellings. Prehistoric pile dwellings and the oldest wooden wheel in the world are among the most notable archeological findings from the marshland. These lake-dwelling people survived through hunting, fishing and primitive agriculture. To get around the marshes, they used dugout canoes made by cutting out the inside of tree trunks. Their archaeological remains, nowadays in the Municipality of Ig, have been designated a UNESCO World Heritage Site since June 2011, in the common nomination of six Alpine states.
Later, the area remained a transit point, for groups including the Illyrians, followed by a mixed nation of the Celts and the Illyrians called the Iapodes, and then in the 3rd century BC a Celtic tribe, the Taurisci.
Antiquity
Around 50 BC, the Romans built a military encampment that later became a permanent settlement called Iulia Aemona. This entrenched fort was occupied by the Legio XV Apollinaris. In 452, it was destroyed by the Huns under Attila's orders, and later by the Ostrogoths and the Lombards. Emona housed 5,000 to 6,000 inhabitants and played an important role during battles. Its plastered brick houses, painted in different colours, were connected to a drainage system.
In the 6th century, the ancestors of the Slovenes moved in. In the 9th century, they fell under Frankish domination, while experiencing frequent Magyar raids. Not much is known about the area during the settlement of Slavs in the period between the downfall of Emona and the Early Middle Ages.
Middle Ages
The parchment sheet Nomina defunctorum ("Names of the Dead"), most probably written in the second half of 1161, mentions the nobleman Rudolf of Tarcento, a lawyer of the Patriarchate of Aquileia, who had bestowed a canon with 20 farmsteads beside the castle of Ljubljana (castrum Leibach) to the Patriarchate. According to the historian Peter Štih's deduction, this happened between 1112 and 1125, the earliest mention of Ljubljana.
The property changed hands repeatedly until the first half of the 12th century. The territory south of the Sava where Ljubljana developed, gradually became property of the Carinthian Dukes of the House of Sponheim. Urban settlement started in the second half of the 12th century. At around 1200, market rights were granted to Old Square (Stari trg), which at the time was one of Ljubljana's three original districts. The other two districts were an area called "Town" (Mesto), built around the predecessor of the present-day Ljubljana Cathedral at one side of the Ljubljanica River, and New Square (Novi trg) at the other side. The Franciscan Bridge, a predecessor of the present-day Triple Bridge, and the Butchers' Bridge connected the walled areas with wooden buildings. Ljubljana acquired the town privileges at some time between 1220 and 1243. Seven fires erupted during the Middle Ages.[43] Artisans organised themselves into guilds. The Teutonic Knights, the Conventual Franciscans, and the Franciscans settled there. In 1256, when the Carinthian duke Ulrich III of Spanheim became lord of Carniola, the provincial capital was moved from Kamnik to Ljubljana.
In the late 1270s, Ljubljana was conquered by King Ottokar II of Bohemia. In 1278, after Ottokar's defeat, it became—together with the rest of Carniola—property of Rudolph of Habsburg. It was administered by the Counts of Gorizia from 1279 until 1335, when it became the capital town of Carniola. Renamed Laibach, it was owned by the House of Habsburg until 1797. In 1327, the Ljubljana's "Jewish Quarter"—now only "Jewish Street" (Židovska ulica) remains—was established with a synagogue, and lasted until Emperor Maximilian I in 1515 and expelled the Jews from Ljubljana at the request of its citizens, for which he demanded a certain payment from the town. In 1382, in front of St. Bartholomew's Church in Šiška, at the time a nearby village, now part of Ljubljana, a peace treaty was signed between the Republic of Venice and Leopold III of Habsburg.
Early modern
In the 15th century, Ljubljana became recognised for its art, particularly painting and sculpture. The Latin Catholic Archdiocese of Ljubljana was established in 1461 and the Church of St. Nicholas became the diocesan cathedral. After the 1511 Idrija earthquake, the city was rebuilt in the Renaissance style and a new wall was built around it. Wooden buildings were forbidden after a large fire at New Square in 1524.
In the 16th century, the population of Ljubljana numbered 5,000, 70% of whom spoke Slovene as their first language, with most of the rest using German. The first secondary school, public library and printing house opened in Ljubljana. Ljubljana became an important educational centre.
From 1529, Ljubljana had an active Slovene Protestant community. They were expelled in 1598, marking the beginning of the Counter-Reformation. Catholic Bishop Thomas Chrön ordered the public burning of eight cartloads of Protestant books.
In 1597, the Jesuits arrived, followed in 1606 by the Capuchins, seeking to eradicate Protestantism. Only 5% of all the residents of Ljubljana at the time were Catholic, but eventually they re-Catholicized the town. The Jesuits staged the first theatre productions, fostered the development of Baroque music, and established Catholic schools. In the middle and the second half of the 17th century, foreign architects built and renovated monasteries, churches, and palaces and introduced Baroque architecture. In 1702, the Ursulines settled in the town, and the following year they opened the first public school for girls in the Slovene Lands. Some years later, the construction of the Ursuline Church of the Holy Trinity started. In 1779, St. Christopher's Cemetery replaced the cemetery at St. Peter's Church as Ljubljana's main cemetery.
Late modern
From 1809 to 1813, during the "Napoleonic interlude", Ljubljana (as Laybach) was the capital of the Illyrian Provinces. In 1813, the city returned to Austria and from 1815 to 1849 was the administrative centre of the Kingdom of Illyria in the Austrian Empire. In 1821, it hosted the Congress of Laibach, which fixed European political borders for that period. The first train arrived in 1849 from Vienna and in 1857 the line extended to Trieste.
In 1895, Ljubljana, then a city of 31,000, suffered a severe earthquake with a moment magnitude of 6.1 and a maximum EMS intensity of VIII–IX ("heavily damaging – destructive"). 21 people died due to the earthquake and some 10% of the city's 1,400 buildings were destroyed. During the subsequent reconstruction, some districts were rebuilt in the Vienna Secession style. Public electric lighting arrived in 1898. The rebuilding period between 1896 and 1910 is referred to as the "revival of Ljubljana" because of architectural changes that defined the city and for reform of urban administration, health, education and tourism. The rebuilding and quick modernisation of the city were led by the mayor Ivan Hribar.
In 1918, following the dissolution of Austria-Hungary, the region joined the Kingdom of Serbs, Croats and Slovenes. In 1929, Ljubljana became the capital of the Drava Banovina, a Yugoslav province.
In 1941, during World War II, Fascist Italy occupied the city, and then on 3 May 1941 made Lubiana the capital of Italy's Province of Ljubljana with former Yugoslav general Leon Rupnik as mayor. After the Italian capitulation, Nazi Germany with SS-general Erwin Rösener and Friedrich Rainer took control in 1943, but formally the city remained the capital of an Italian province until 9 May 1945. In Ljubljana, the Axis forces established strongholds and command centres of Quisling organisations, the Anti-Communist Volunteer Militia under Italy and the Home Guard under German control. Starting in February 1942, the city was surrounded by barbed wire, later fortified by bunkers, to prevent co-operation between the resistance movements that operated inside and outside the fence. Since 1985, the commemorative trail has ringed the city where this iron fence once stood. Postwar reprisals filled mass graves.
After World War II, Ljubljana became the capital of the Socialist Republic of Slovenia, part of the Socialist Federal Republic of Yugoslavia. It retained this status until Slovene independence in 1991.
Contemporary situation
Ljubljana is the capital of independent Slovenia, which joined the European Union in 2004.
Geography
The city covers 163.8 km2 (63.2 sq mi).[1] It is situated in the Ljubljana Basin in Central Slovenia, between the Alps and the Karst. Ljubljana is located some 320 km (200 mi) south of Munich, 477 km (296 mi) east of Zürich, 250 km (160 mi) east of Venice, 350 km (220 mi) southwest of Vienna, 124 km (77 mi) west of Zagreb and 400 km (250 mi) southwest of Budapest. Ljubljana has grown considerably since the 1970s, mainly by merging with nearby settlements.
Geology
The city stretches out on an alluvial plain dating to the Quaternary era. The mountainous regions nearby are older, dating from the Mesozoic (Triassic) or Paleozoic. Earthquakes have repeatedly devastated Ljubljana, notably in 1511 and 1895.
Topography
Ljubljana has an elevation of 295 m (968 ft). The city centre, located along the river, sits at 298 m (978 ft). Ljubljana Castle, which sits atop Castle Hill (Grajski grič) south of the city centre, has an elevation of 366 m (1,201 ft). The highest point of the city, called Grmada, reaches 676 m (2,218 ft), 3 m (9.8 ft) more than the nearby Mount Saint Mary (Šmarna gora) peak, a popular hiking destination. These are located in the northern part of the city.
(Wikipedia)
Ljubljana (Ljubljana slowenisch [ljuˈbljàːna], umgangssprachlich [luˈblàːna], deutsch Laibach, italienisch Lubiana) ist die Hauptstadt Sloweniens und mit 288.382 Einwohnern (2024) zugleich bevölkerungsreichste Gemeinde des Landes.
Die Stadt ist das politische, wirtschaftliche und kulturelle Zentrum Sloweniens. Ljubljana ist Sitz des gleichnamigen römisch-katholischen Erzbistums und seit 1919 Universitätsstadt.
Die Stadt Ljubljana bildet gemeinsam mit einigen kleineren umliegenden Siedlungen die Stadtgemeinde Ljubljana (slowenisch Mestna občina Ljubljana, abgekürzt MOL).
Name der Stadt
Für die Herkunft des slowenischen Namens der Stadt gibt es mehrere Erklärungen: nach der einen, wohl volksetymologischen Erklärung kommt er vom slowenischen ljubljena („geliebte Stadt“), nach der anderen von dem lateinischen Flussnamen Aluviana. Der Stadtname wurde in dieser Form zum ersten Mal 1146 als Luwigana erwähnt.
Im deutschsprachigen Raum hat sich neben dem Namen Ljubljana auch der historische deutsche, ursprünglich wohl wie der gleichlautende Flussname aus dem Slawischen abgeleitete Name Laibach gehalten, der heute vor allem in Österreich gebräuchlich ist. In der österreichischen Diplomatie wird die Stadt amtlich Laibach bezeichnet. Der deutsche Name der Stadt wurde zum ersten Mal 1112–1125 als Leibach erwähnt. Diese Form ist auch gleichzeitig die älteste bekannte Erwähnung der Stadt.
Geschichte
Vorgeschichte
Von 3600 bis 3100 v. Chr. finden sich die frühesten Seebehausungen (Pfahlbauten) im Laibacher Moor.
Zwischen 1000 und 700 v. Chr. existierten erste illyrische und venetische Siedlungen und um 400 v. Chr. folgte die Periode der Kelten.
Als erster mythischer Bewohner gilt Iason (siehe den Abschnitt Wappen).
Römisches Reich
Im 1. Jahrhundert v. Chr. wurde von den Römern eine militärische Festung an der Stelle des heutigen Ljubljana errichtet und im Jahr 14 die römische Siedlung Emona oder Aemona (Colonia Aemona Iulia tribu Claudia) angelegt. Administrativ gehörte diese Stadt während der Antike zu Italien. Sie befand sich zwar an der Stelle des heutigen Ljubljana, ging jedoch in der Völkerwanderung unter und ist daher nur eine Vorgängersiedlung der heutigen Stadt, deren Straße Emonska cesta den Namen bewahrt.
Völkerwanderung und Fränkisches Reich
Um 600 wanderten slawische Stämme in das Gebiet, gefolgt von einem Niedergang Emonas. Um 800 fiel das Gebiet von Laibach unter die Herrschaft der Franken.
Heiliges Römisches Reich
Die Stadt vor dem 13. Jahrhundert
Im Ostfränkischen und später Heiligen Römischen Reich gehörte das Gebiet um Ljubljana zur Mark Krain. Der Zeitraum zwischen 1112 und 1125 ist die Entstehungszeit der ersten schriftlichen Aufzeichnungen von Laibach. Die erste urkundliche Erwähnung der Stadt stammt aus dem Jahr 1144.[8] Die von den Spanheimern gegründete Siedlung wurde um 1220 erstmals Stadt genannt, 1243 sind ihr Marktrecht und ihre Stadtmauer aktenkundig, 1280 wurden die Einwohner cives (Bürger) genannt.
1270 wurde Laibach von dem böhmischen König Přemysl Ottokar II. erobert, der sich zuvor nach dem Aussterben der Babenberger im Mannesstamm, 1246, deren österreichisches Herrschaftsgebiet untertan gemacht hatte.
Habsburgische Herrschaft, Reformation und Gegenreformation
1278 ging Laibach nach der Niederlage des Königs Ottokar II. gegen Rudolf von Habsburg in den Besitz der Habsburger über.
1335 wurde Laibach unter den Habsburgern Hauptstadt des zum Heiligen Römischen Reich zählenden Herzogtums Krain. Im Jahr 1415 widerstand Laibach einer türkischen Invasion.
Im Jahr 1461 wurde die Diözese Laibach gegründet (siehe auch: Liste der Bischöfe von Ljubljana) und die Kirche St. Nikolaus wurde zur Kathedrale. 1504 fand die Wahl des ersten Bürgermeisters statt. 1511 erlebte Laibach sein erstes großes Erdbeben.
Die erste reformatorische Predigt wurde spätestens 1523 gehalten. Gefördert durch die Krainer Landstände errichteten Protestanten im Jahr 1536 eine professionelle Lateinschule im Range eines Gymnasiums. Prägend für die reformatorische Entwicklung war neben dem Humanismus vor allem der slowenische Reformator Primož Trubar (Primus Truber, 1508–1586) durch seine in slowenischer Sprache gehaltenen reformatorischen Predigten. Mit seinem umfangreichen, slowenisch abgefassten Schriftwerk gilt er als Begründer der slowenischen Schriftsprache. 2016 wurde Ljubljana durch die Gemeinschaft Evangelischer Kirchen in Europa der Ehrentitel „Reformationsstadt Europas“ verliehen.
Nachdem 1597 die Jesuiten in Laibach eintrafen, die zwei Jahre später ihr eigenes Gymnasium errichteten, kam die Reformation Trubars in Slowenien im ersten Drittel des 17. Jahrhunderts an ihr Ende. Mit der Gegenreformation wurde das Kirchen- und Schulministerium in Laibach geschlossen, evangelische Prediger wurden ausgewiesen, eine Religions-Reformationskommission wurde eingerichtet und der konversionsunwillige Adel des Landes verwiesen. Zu evangelischen Gemeindeneugründungen kam es – ermöglicht durch das Toleranzpatent Josephs II. von 1781 – in Laibach in der Mitte des 19. Jahrhunderts. Seit 1945 existiert die Slowenische Kirche A.B. (Augsburger Bekenntnisses).
1693 erfolgte die Gründung der Academia Operosum, einer Vereinigung der angesehensten Gelehrten, und 1701 die Gründung der Academia Philharmonicorum.
1754 lag die Bevölkerungszahl der Stadt bei 9.300 Einwohnern. 1773 bis 1781 wurden der Gruberkanal (Gruberjev kanal) und der Gruber-Palast (Gruberjeva palača) erbaut. 1797 wurde die erste Tageszeitung von Slowenien herausgegeben.
Kaisertum Österreich
1804 wurde Laibach Teil des neu proklamierten Kaisertums Österreich. Nach dem Frieden von Schönbrunn musste die Stadt mit dem Umland an das napoleonische Frankreich abgetreten werden, und die Stadt wurde unter dem Namen Laybach 1809 bis 1813 Hauptstadt der Illyrischen Provinzen Frankreichs. 1814/15 kehrte sie mit dem Wiener Kongress wieder zu Österreich zurück.
1810 erfolgte die Gründung des Botanischen Gartens. 1821 fand auf Einladung von Kaiser Franz I. der Laibacher Kongress der Heiligen Allianz statt. Am 4. Oktober 1831 konnte der Präsident der Landwirtschaftlichen Gesellschaft für Krain, Franz von Hohenwart, in Laibach im Beisein des Landesgouverneurs Joseph Camillo von Schmidburg das Landesmuseum eröffnen.
Im Jahr 1849 wurde die Eisenbahnverbindung Laibach–Wien, die österreichische Südbahn, erbaut und 1857 als Verlängerung die Verbindung Laibach–Triest.
Im Jahr 1861 erfolgte die Einführung der öffentlichen Gasbeleuchtung und 1890 der Bau der öffentlichen Wasserversorgung. Nach einem verheerenden Erdbeben verpflichtete sich Laibach 1895 zu einem modernen Aussehen. 1898 wurde die öffentliche elektrische Beleuchtung eingeführt. Drei Jahre später, 1901, folgte die Einführung der elektrischen Straßenbahn in Laibach.
Im Jahr 1900 hatte Laibach inklusive Garnison 36.547 Einwohner. Davon waren 29.733 slowenisch- (81 %) und 5.423 deutschsprachig (15 %).
Vor dem Ersten Weltkrieg war Laibach österreichisch-ungarische Garnisonstadt. Im Jahre 1914 waren hier ganz oder in Teilen stationiert: der Stab der k. u. k. 28. Infanterie Truppen Division, das k.u.k. Krainische Infanterie-Regiment Nr. 17, das k.u.k. Steirische Infanterie-Regiment Nr. 27, das k.k. Landwehr Infanterie-Regiment Nr. 27 und das k.u.k. Feldkanonen Regiment Nr. 7. Die strategischen Entscheidungen für die Italienfront, insbesondere für die Isonzofront, wurden vom Armeekommando in Laibach getroffen, wo unter anderen Feldmarschall Boroević und der spätere österreichische Bundespräsident Körner tätig waren.
Königreich der Serben, Kroaten und Slowenen und Königreich Jugoslawien
Ende Oktober 1918 wurde Ljubljana Teil des neu gegründeten Königreichs der Serben, Kroaten und Slowenen. 1919 erfolgte die Gründung der Universität von Ljubljana. 1929 wurde Ljubljana Hauptstadt der Banschaft Drau (Dravska banovina) im Königreich Jugoslawien.
Italienische Annexion und deutsche Besetzung
Nach dem Überfall auf Jugoslawien im Zweiten Weltkrieg wurde am 3. Mai 1941 Ljubljana mit dem ehemaligen jugoslawischen General Leon Rupnik als Bürgermeister unter der Bezeichnung Lubiana Hauptstadt der annektierten italienischen Provincia di Lubiana. Der Großteil der Laibacher Deutschen, das waren rund 2.400 Personen, wurde im Winter 1941/42 auf Grund eines Abkommens zwischen Adolf Hitler und Benito Mussolini ins Großdeutsche Reich umgesiedelt, mehrheitlich in die Oberkrain und die Untersteiermark.
Im Jahr 1942 riegelten italienische Truppen die Stadt mit Stacheldrahtzaun und Wachtürmen ab und durchkämmten sie danach mehrfach im Rahmen der italienischen Repression gegen den slowenischen Widerstand. Bis zur Kapitulation Italiens beim Waffenstillstand von Cassibile im September 1943 wurden etwa achtzehn Prozent der Bevölkerung von Lubiana in italienische Konzentrationslager deportiert.
Nach der Kapitulation Italiens ging sie in deutsche Kontrolle über (SS-General Erwin Rösener und Friedrich Rainer als Chef der Zivilverwaltung) bis zur vollständigen Kapitulation der Wehrmacht am 8. Mai 1945.
Massengräber in Ljubljana
Während und direkt nach dem Zweiten Weltkrieg fanden auf dem Gebiet des heutigen Slowenien Massentötungen statt. Die Opfer waren deutsche Kriegsgefangene, zwangsrepatriierte Soldaten der slowenischen Heimwehr und weitere, den jeweiligen Machthabern unliebsame Menschen. Die Getöteten wurden in Massengräbern abgelegt.
Meistens wurde ihre Existenz zwischen 1945 und 1990 geheim gehalten. Heute sind sie in Slowenien auch unter den Bezeichnungen „verborgene Gräberfelder“ (slowenisch: prikrita grobišča) oder „stille Gräberfelder“ (zamolčana grobišča) bekannt. Einige der Stätten gehören zu den größten Massengräbern Europas. Fast 600 solcher Stätten wurden von der Kommission für verborgene Massengräber in Slowenien (Komisija Vlade Republike Slovenije za reševanje vprašanj prikritih grobišč) registriert. Historiker schätzen, dass es insgesamt bis zu 750 Massengräber mit Hinrichtungsopfern gibt.[20] Diese enthalten die Überreste von bis zu 100.000 Opfern.
Auf dem Gebiet der Stadtgemeinde Ljubljana wurden zwanzig Massengräber aus der Zeit des Zweiten Weltkriegs gefunden, und zwar fünf in der Stadt Ljubljana selbst, sowie vier bzw. 11 in den zur Stadtgemeinde gehörenden Ortschaften Pance und Selo pri Pancah.
Sozialistische Föderative Republik Jugoslawien
Am 9. Mai 1945 erfolgte die formale Auflösung der Provincia di Lubiana. 1945 mussten die verbliebenen Laibacher Deutschen ebenso wie die übrigen Sloweniendeutschen auf Grund der AVNOJ-Beschlüsse das Land verlassen. Zahlreiche Menschen wurden ermordet.
Im Jahr 1945 wurde Ljubljana Hauptstadt der Volksrepublik Slowenien in der Föderativen Volksrepublik Jugoslawien.
1958 startete der erste slowenische Fernsehsender mit regelmäßigen Übertragungen und in diesem Jahr wurde die Straßenbahn stillgelegt; der Büroturm S2 wurde 1978 fertiggestellt. 1980 starb der jugoslawische Staatspräsident Josip Broz Tito in Ljubljana.
Republik Slowenien
Im Jahr 1991 feierte die Stadt Sloweniens Unabhängigkeit. Die österreichischen Journalisten Norbert Werner und Nikolas Vogel starben in Ljubljana am 28. Juni 1991 während des 10-Tage-Krieges am Flughafen Ljubljana als Opfer eines Raketenangriffes der jugoslawischen Volksarmee auf ihr Auto. Im Rahmen der Feier anlässlich des endgültigen Beitritts Sloweniens zum Schengen-Raum im Jahr 2008 gedachte Premierminister Janez Janša auf dem Flugfeld von Ljubljana der beiden Toten.
2002 fand das Gipfeltreffen Bush/Putin in Ljubljana statt.
Nur wenige Wochen nach Entdeckung eines neuen Massengrabes mit über 4000 von Tito-Partisanen Ermordeten in einem slowenischen Bergwerk beschloss der Stadtrat von Ljubljana mit der Mehrheit der Linksparteien im April 2009, wieder eine Straße nach Josip Broz Tito zu benennen, nachdem bereits von 1952 bis 1954 die heutige Slovenska cesta (Slowenische Straße) nach ihm benannt war.
Bevölkerung
Die Bevölkerung der Stadt bestand seit dem Hochmittelalter vor allem aus Deutschsprachigen. Nach 1848 fungierte die Stadt als kultureller Mittelpunkt der Slowenen. Zur Volkszählung im Jahr 1880 waren die 5.658 Deutschsprachigen (23 % der Bevölkerung) bereits eine Minderheit.
Bei der Volkszählung 2002 waren 84,1 % der Einwohner von Ljubljana slowenische Staatsbürger, 7,5 % Bosnier, 3,5 % Kroaten, 3,2 % Serben, 0,7 % EU-Bürger (damals EU-15), 0,6 % Nordmazedonier und 0,5 % andere.
Slowenisch ist alleinige Amtssprache der Stadtgemeinde Ljubljana und wurde bei dieser Volkszählung von 78,9 % der Bevölkerung als Muttersprache angegeben. Ferner sprachen nach eigenen Angaben 4,1 % Serbisch, 3,9 % Kroatisch, 3,9 % Serbokroatisch, 3,4 % Bosnisch und 1,9 % sonstige Sprachen.
Geografie
Lagebeschreibung
Ljubljana liegt auf 298 m. i. J. am Rande des Laibacher Beckens an der Ljubljanica (Laibach), die noch im Stadtgebiet in die Save mündet. Südlich tut sich der Karst auf, nach Norden erlaubt das Becken freien Blick in die Karawanken und die Steiner Alpen.
Südwestlich erstreckt sich die Ebene des teilweise trockengelegten Laibacher Moores (Ljubljansko barje).
Die Altstadt liegt an einer Schlinge der Ljubljanica um den Schlossberg. Zur Erleichterung der damaligen Schifffahrt wurde diese Schlinge im Jahr 1750 durch den Gruberkanal (Gruberjev Prekop) abgeschnitten.
(Wikipedia)
ossia...forme che si ripetono e capovolgono danzando in una marea di colori...
[Soundtrack: Canzone di notte n°2 - Francesco Guccini]
E un' altra volta è notte e suono,
non so nemmeno io per che motivo, forse perchè son vivo
e voglio in questo modo dire "sono"
o forse perchè è un modo pure questo per non andare a letto
o forse perchè ancora c'è da bere
e mi riempio il bicchiere..
E l' eco si è smorzato appena
delle risate fatte con gli amici, dei brindisi felici
in cui ciascuno chiude la sua pena,
in cui ciascuno non è come adesso da solo con sé stesso
a dir "Dove ho mancato, dov'è stato?",
a dir "Dove ho sbagliato?"
Eppure fa piacere a sera
andarsene per strade ed osterie, vino e malinconie,
e due canzoni fatte alla leggera
in cui gridando celi il desiderio che sian presi sul serio
il fatto che sei triste o che t'annoi
e tutti i dubbi tuoi...
Ma i moralisti han chiuso i bar
e le morali han chiuso i vostri cuori e spento i vostri ardori:
è bello ritornar "normalità",
è facile tornare con le tante stanche pecore bianche!
Scusate, non mi lego a questa schiera:
morrò pecora nera!
Saranno cose già sentite
o scritte sopra un metro un po' stantìo, ma intanto questo è mio
e poi, voi queste cose non le dite,
poi certo per chi non è abituato pensare è sconsigliato,
poi è bene essere un poco diffidente
per chi è un po' differente...
Ma adesso avete voi il potere,
adesso avete voi supremazia, diritto e Polizia,
gli dei, i comandamenti ed il dovere,
purtroppo, non so come, siete in tanti e molti qui davanti
ignorano quel tarlo mai sincero
che chiamano "Pensiero"...
Però non siate preoccupati,
noi siamo gente che finisce male: galera od ospedale!
Gli anarchici li han sempre bastonati
e il libertario è sempre controllato dal clero, dallo Stato:
non scampa, fra chi veste da parata,
chi veste una risata...
O forse non è qui il problema
e ognuno vive dentro ai suoi egoismi vestiti di sofismi
e ognuno costruisce il suo sistema
di piccoli rancori irrazionali, di cosmi personali,
scordando che poi infine tutti avremo
due metri di terreno...
E un' altra volta è notte e suono,
non so nemmeno io per che motivo, forse perchè son vivo
o forse per sentirmi meno solo
o forse perchè a notte vivon strani fantasmi e sogni vani
che danno quell' ipocondria ben nota,
poi... la bottiglia è vuota...
The newly formed Senior Wrestling League dual was between Aspull Warriors Wrestling Club and Manchester Y- CLUB. It was held at the Aspull Warriors Wrestling Club on Saturday 26th November 2022
The Y- CLUB gained the win!
Aspull 20 Manchester Y- CLUB 26
This is part of the two pilot leagues which were launching in September 22.
This could be a huge step for the development of wrestling in this country. If successful with our pilot season this could lead to the launch of a nationwide league launching in every region of the UK by the end of 2023.
The clubs competing in the inaugural Northern Seniors Wrestling League:-
Manchester Y-Club Wrestling
@aspullwarriorswrestling
@bowcbears
@manchester_wrestling_club
@empower_wrestling
@bradfordwrestlingacademy
To form the roadway deck for the new SR 520 West Connection Bridge, one crew member guides the concrete pump while another operates a concrete vibrator to consolidate the concrete.
Over the weekend of May 9-12, westbound SR 520 was closed to allow crews to build the first section of roadway deck for the new SR 520 West Connection Bridge. Concrete is pumped from the existing bridge because, until it is completed, the new West Connection Bridge can only be accessed from the water.
The West Connection Bridge will connect the new floating bridge to the existing west approach. When the new West Approach Bridge North is completed, the West Connection Bridge will carry eastbound traffic.
Find out more about the new SR 520 on our website.
Early juveniles in August when all or most adults dead. Similar form to adults, but periostracum thinner and paler, and spire protrudes less.
Maximum dimension 4.1 mm and 3.3 mm, Portlethen, north-east Scotland, August 1970.
Full SPECIES DESCRIPTION BELOW
Revised PDF available at www.researchgate.net/publication/372768813_Lacuna_pallidu....
Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/
Lacuna pallidula (da Costa, 1778)
Synonyms: Cochlea pallidula da Costa, 1778; Lacuna neritoidea Gould, 1840; Lacuna patula Thorpe, 1844; Lacuna retusa Brown.
Current taxonomy: WoRMS www.marinespecies.org/aphia.php?p=taxdetails&id=140168
Vernacular: Pallid chink shell; Pale lacuna; Gwichiad agennog gwelw (Welsh); Lacuna pâle (French); Lavspiret grubesnegl (Danish); Bleke scheefhoren (Dutch); Blek lagunsnäcka (Swedish).
Shell description
The largest dimension of female shells is up to about 12 mm fig. 01 flic.kr/p/2kNQ7pc and males grow to 6 mm. The species has an annual life cycle; all or most adults are dead by June. Their small juvenile offspring occur in summer fig. 02 flic.kr/p/2kGH2G9 , growing to full size in winter. The body whorl forms the great majority of the shell, and the very small spire is sunk below the upper margin in most views. Juveniles are similar in form with a slightly lower spire. Sutures between the whorls are distinct. The smooth surface has no sculpture apart from numerous, growth lines.
One face of the hollow columella is missing, exposing a long wide columellar groove (lacuna, chink or canal), leading to a large funnel-like umbilicus fig. 03 flic.kr/p/2kNL1YB . On some specimens the columellar groove is indistinct and the umbilicus reduced fig. 04 flic.kr/p/2kNPCc9 and fig. 05 flic.kr/p/2oQ83ra .
The very large ‘D’ shape aperture is as high as the whole shell, and it occupies about 75% of the area in apertural-view images fig. 01 flic.kr/p/2kNQ7pc . The palatal lip is semi-circular, and it continues along the abapertural side of the columellar groove. The wide, white columellar lip forms the adapertural edge of the groove fig. 03 flic.kr/p/2kNL1YB .
The ‘D’ shape operculum is a rapidly expanding oligogyrous spiral with its off-centre nucleus close to the base of the columellar lip. It is transparent, tinted yellow fig. 04 flic.kr/p/2kNPCc9 & fig. 06 flic.kr/p/2kNL1Ut or nearly colourless fig. 05 flic.kr/p/2oQ83ra . The substantial periostracum is olive-brown with distinct growth lines on large specimens fig. 07 flic.kr/p/2kNQ773, and it usually extends beyond the lip of the aperture fig. 04 flic.kr/p/2kNPCc9 . Under the periostracum, the calcareous shell is white or yellowish white fig. 01 flic.kr/p/2kNQ7pc . Live adults with a thick opaque periostracum are olive-green/brown in water fig. 08 flic.kr/p/2kNPC3g becoming dull brown when dead and dried fig. 01 flic.kr/p/2kNQ7pc . There are no coloured bands or variegation at any stage.
Body description
The flesh is translucent white with varying amounts of yellow or pink tinting fig. 07 flic.kr/p/2kNQ773 and fig. 05 flic.kr/p/2oQ83ra . The snout is ventrally slit fig.06 flic.kr/p/2kNL1Ut and usually rolled into a cylinder fig. 09 flic.kr/p/2oQ92WM . The extended cephalic tentacles are long, smooth, translucent whitish and taper to a blunt tip. When contracted they wrinkle and any yellow tint is intensified fig. 08 flic.kr/p/2kNPC3g . There is a black eye on a slight bulge at the base of each tentacle fig. 07 flic.kr/p/2kNQ773 . The roof of the mantle cavity is whitish translucent showing the colour of the shell except for the mantle edge which is thick and sometimes yellowish fig. 09 flic.kr/p/2oQ92WM . The foot is white with varying amounts of yellow or pink fig. 07 flic.kr/p/2kNQ773 , especially on the opercular disc which supports, and is visible under and through, the transparent operculum fig. 05 flic.kr/p/2oQ83ra and fig. 09 flic.kr/p/2oQ92WM . The two small, flat metapodial tentacles protrude beyond the posterior of the operculum fig. 09 flic.kr/p/2oQ92WM .
Key identification features
Lacuna pallidula
1) Columellar groove (lacuna or chink) leads to umbilicus fig. 01 flic.kr/p/2kNQ7pc but is sometimes sealed over fig. 04 flic.kr/p/2kNPCc9 .
2) Largest dimensions up to 12 mm (female) and 6 mm (male). Hardly any of the spire protrudes beyond the body whorl fig. 01 flic.kr/p/2kNQ7pc
3) Very large ‘D’ shape aperture equals shell height and occupies about 75% of area in apertural view fig. 01 flic.kr/p/2kNQ7pc.
4) Shell olive-brown with no spiral bands fig. 08 flic.kr/p/2kNPC3g .
5) Body white fig. 07 flic.kr/p/2kNQ773 , sometimes yellowish or pinkish; no grey stipple.
6) Found mainly on Fucus serratus and sometimes on Laminaria.
Similar species
Lacuna parva (da Costa, 1778) fig. 10 flic.kr/p/2kNL1A2 .
1) Columellar groove (“lacuna” or “chink) leads to umbilicus. 2) Usual maximum height 4 mm; sometimes 6 mm. Spire 30% to 40% of shell height.
3) Aperture occupies about 50% of area in apertural-view images.
4) Body whorl has three brown spiral bands; basal band 1 easily overlooked if base of shell not examined. Some shells are uniform white or brown with no bands.
5) Body translucent white, usually stippled grey.
6) Found mainly, especially when young, on small red weeds. Sometimes on fucoids.
Littorina fabalis (W. Turton, 1825) and
L. obtusata (Linnaeus, 1758) fig. 11 flic.kr/p/2kNPBJk .
1) No columellar groove or umbilicus.
2) Maximum dimension up to 17 mm. Very large body whorl and small spire.
3) Aperture occupies about 50% of area in apertural-view images.
4) Shell of L. obtusata is sometimes greenish olive.
5) Body varied shades of yellow, brown or black.
6) Found on Fucus serratus (L. fabalis) or Ascophyllum (L. obtusata) and on Fucus vesiculosus (both).
Lacuna vincta (Montagu, 1803) fig. 12 flic.kr/p/2kNQ6PK .
1) Columellar groove (“lacuna” or “chink”) leads to umbilicus. 2) Maximum height about 10 mm. Well developed spire about 50% of adult shell height, and about 30% on juveniles less than 3 mm high.
3) Aperture occupies about 30% of area in apertural-view images of full grown adults.
4) Body whorl has four brown spiral bands.
5) Body whitish with grey, yellow, orange and/or aquamarine parts.
6) Found on Laminaria and, especially juveniles, on small red weeds. Also on Zostera and sometimes on fucoids.
Lacuna crassior (Montagu, 1803) fig. 13 flic.kr/p/2kGH26u
1) Wide white columellar shelf. Usually no groove or umbilicus but sometimes small ones present.
2) Distinct spire about 50% of mature shell height, about 45% when younger.
3) Aperture occupies about 30% of area in apertural view.
4) Shell when live, has translucent, yellowish-brown spire and brownish-white body whorl. Thick periostracum has distinct, raised, transverse (costal) ridges. Dead dry shells are dull yellowish-brown if periostracum retained, yellowish white with faint spiral lines if periostracum worn off.
5) Body translucent whitish.
6) A rare species which often associates with the bryozoan Alcyonidium diaphanum.
Habits and ecology
L. pallidula feeds on the surface of Fucus serratus (Smith, 1973) and Laminaria (Lebour, 1937) near low water on rocky shores and to 70 metres depth. It is usually absent where turbidity or soft substrate prevents growth of F. serratus. It cannot survive desiccation. Some populations live in the Baltic in salinity down to 12‰.
It moves with a bipedal stepping motion, lifting alternately the right and left sides of the foot. It breeds in late winter and spring, sometimes extending into summer and autumn, with a maximum in February to May in Britain, but precise dates vary regionally. The spawn mass is a low gelatinous dome with an almost circular, oval base (not kidney-shape), diameter 3.9 mm to 5.3 mm (Lebour, 1937), laid on fronds of F. serratus or Laminaria. There are up to about 200 ova per spawn mass fig. 14 flic.kr/p/2kNQ71M . In the low salinity Øresund, Denmark, the masses are smaller with as few as 13 ova (Thorson, 1946 in Fretter & Graham, 1962).
Fretter and Graham (1962) reported confusion with the spawn of “Littorina littoralis” (the name mistakenly used formerly by British authors for an aggregate of Littorina obtusata and L. fabalis). The limited material examined for this account suggests the confusion is with L. fabalis which lives on F. serratus at the same shore level and lays similar, almost circular oval spawn masses, while L. obtusata lives higher up the shore, favouring Ascophyllum, and often lays kidney-shaped spawn masses up to 7 mm long. The difference between the spawn masses of L. fabalis and Lacuna pallidula may be that the latter has a distinctly bevelled peripheral rim while the surface of the former slopes to the substrate without a break in slope fig. 14 flic.kr/p/2kNQ71M . But more investigation is required to test these suggestions; the difference might be due to age of spawn mass. Lacuna parva also has similar spawn but it is found on red algae and is smaller, about 2.5 mm diameter with about 50 ova in Britain fig. 14 flic.kr/p/2kNQ71M ; 2.2 mm to 2.5 mm with 6 to16 ova in the brackish Øresund (Ockelmann & Nielsen, 1981 in Wigham & Graham, 2017).
The individual egg capsules of L. pallidula become angular as they swell and become crowded and compressed. There is no planktonic veliger stage; young emerge as tiny crawling snails. Through a microscope, just before hatching, two tentacular extensions of the opercular disc protruding beyond the operculum may be detected on the embryos within the clear capsules (Fretter & Graham, 1962). Males die after mating, and the females about a month later, so all or most adults breeding in the main period are dead by June or July, and few specimens over 5 mm high can be found in August fig. 02 flic.kr/p/2kGH2G9 . Both sexes grow rapidly until October. From October to February males grow slowly, but females at three times their rate so that by breeding time they are over twice as high as males (Thorson, 1946 in Fretter & Graham, 1962). When mating, the small male rides on the female’s shell near the aperture with his penis inserted into her mantle cavity 15Lp flic.kr/p/2rSk89j.
Distribution and status
L. pallidula occurs from northern Norway and Iceland to Atlantic Spain and New England (USA). GBIF map www.gbif.org/species/2301181
It is found all around Britain and Ireland, but is scarce or absent in the north-eastern Irish Sea and southern North Sea where lack of hard substrate and/or turbidity hinder the growth of Fucus serratus and Laminaria. UK distribution map NBN species.nbnatlas.org/species/NBNSYS0000175975#tab_mapView
Acknowledgements
For use of images, I thank Sarah Charles and Rob Durrant.
References and links
Forbes, E. & Hanley S. 1849-53. A history of the British mollusca and their shells. vol. 3 (1853), London, van Voorst. archive.org/details/historyofbritish03forbe/page/56/mode/2up
Also plate LXX11 at end of vol.4, fig. 1 & 2, also fig. 3 & 4 labelled “L. patula” archive.org/details/historyofbritish04forbe/page/n459/mod...
Fretter, V. and Graham, A. 1962. British prosobranch molluscs. London, Ray Society.
Graham, A. 1988. Molluscs: prosobranch and pyramidellid gastropods. Synopses of the British Fauna (New Series) no.2 (Second edition). Leiden, E.J.Brill/Dr. W. Backhuys. 662 pp.
Jeffreys, J.G. 1862-69. British conchology. vol. 3 (1865). London, van Voorst.
archive.org/details/britishconcholog03jeffr/page/350/mode...
Lebour, M.V. 1937. The eggs and larvae of the British prosobranchs with special reference to those living in the plankton. J. mar. biol. Ass. U.K., 22: 105 – 166. plymsea.ac.uk/953/
Ockelmann, K. W. and Nielsen, C. 1981. On the biology of the prosobranch Lacuna parva in the Øresund. Ophelia 20: 1-16.
Abstract at www.tandfonline.com/doi/abs/10.1080/00785236.1981.10426559
Smith, D. A. S. 1973. The population biology of Lacuna pallidula (da Costa) and Lacuna vincta (Montagu) in north-east England. J. mar. biol. Ass. U.K., 53: 493-520.
Thorson, G. 1946. Reproduction and larval development of the Danish marine bottom invertebrates. Meddelelser fra Kommissionen for Danmarks Fiskeri- og Havundersøgelser, Serie Plankton 4: 1-523.
Wigham, G.D. & Graham, A. 2017. Marine gastropods 2: Littorinimorpha and other, unassigned, Caenogastropoda. Synopses of the British Fauna (New Series) no.61. (344 pages). Field Studies Council, Telford, England.
Glossary
‰ = (salinity) parts salt per thousand parts water (brackish <30‰).
abapertural = away from the aperture.
abapical = away from the apex of the shell.
adapertural = towards the aperture
adapical = towards the apex of the shell.
aperture = mouth of gastropod shell; outlet for head and foot.
apical = at or near the apex.
chink = (see columellar groove).
columella = solid or hollow axis around which gastropod shell spirals; concealed except next to aperture where hollow ones may end in an umbilicus, slit or siphonal canal.
columellar = (adj.) of or near central axis of spiral gastropod,
columellar groove = Groove where one face of hollow columella missing, terminates in umbilicus. Also called “lacuna” or “chink.
columellar lip = lower (abapical) part of inner lip of aperture.
cephalic = (adj.) of the head.
costa = (pl. costae) rib crossing a whorl of a gastropod shell at about 90° to direction of coiling and any spiral ribs or lines.
costal = (adj.) of, or arranged like, costae.
ctenidium = comb-like molluscan gill; usually an axis with a row of filaments either side.
height = (of gastropod shells) distance from apex of spire to base of aperture.
lacuna = (see columellar groove).
mantle = sheet of tissue that secretes the shell and forms a cavity for the gill.
oligogyrous = (of a spiral) having few turns.
operculum = plate of horny conchiolin used to close shell aperture.
palatal lip = outer lip of gastropod aperture.
parietal lip = upper (adapical) part of inner lip of gastropod aperture that lies, often as a glaze, on surface of whorl.
periostracum = thin horny layer of conchiolin often coating shells.
plankton = animals and plants that drift in pelagic zone (main body of water).
protoconch = apical whorls produced during embryonic and larval stages of gastropod; often different in form from other whorls.
suture = groove or line where whorls adjoin.
umbilicus = cavity up axis of some gastropods, open as a hole or chink on base of shell, sometimes sealed over.
umbilical groove = narrow slit opening of umbilicus on some gastropods.
veliger = shelled larva of marine gastropod or bivalve mollusc which swims by beating cilia of a velum (bilobed flap).
Formed by the Glen Canyon Dam, Lake Powell is a spectacular mix of buttes, ridges and water. The photo is from Alstrom point via a challanging 4 wheel drive climb to this mountain view.
Bicycle racks line the entire path on the street outside an MTR station in Hong Kong.
# SML Data
+ Date: 2013-02-22
+ Dimensions: 4766 x 3177
+ Exposure: 1/320 sec at f/5.6
+ Focal Length: 215 mm
+ ISO: 1000
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 70-200mm f/4L USM + Canon EF 1.4x Extender III
+ GPS: 22°25'8" N 114°13'34" E
+ Location: 中國香港馬鞍山馬鐵恆安站對出西沙路單車徑 中国香港马鞍山马铁恒安站对出西沙路自行车道 Bicycle lane at Sai Sha Road near the Heng On MTR Station in Ma On Shan, Hong Kong, China
+ Serial: SML.20130222.7D.24245
+ Workflow: Lightroom 4
+ Series: 人流 Human Logistics, 形 Forms
“單車架 Bicycle Racks” / 人流設施之形 Human Logistics Infrastructure Forms / SML.20130222.7D.24245
/ #人流 #HumanLogistics #形 #Forms #SMLForms #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #馬鞍山 #MaOnShan #街 #Street #城市 #Urban #攝影 #摄影 #photography #單車 #自行车 #Bicycle
Fonte Official FB page
Formed in Stockholm in 1998 by bassist Ida Evileye and guitarist Klara Force, CRUCIFIED BARBARA is Sweden's hardest rocking quartet, playing a fiery brand of rock 'n' roll tinged with metal and lashings of punk, pop, thrash, and whatever else dares to cross their path.
No strangers to hard work or success, CRUCIFIED BARBARA’s debut single from their 2005 debut In Distortion We Trust climbed to #8 on the Swedish pop charts. They played Australia, toured across Europe opening for Motörhead, Sepultura, In Flames, and Doro, and earned a prestigious slot alongside Black Sabbath, Velvet Revolver, and System Of A Down at the U.K. Download Festival. With all that touring, it would be four years before the band got around to recording their second album, 2009’s ‘Til Death Do Us Party. Next thing you know, there they were on national television performing in Eurovision’s 2010 Song Contest and made it to the semi-finals. Go figure.
Entering the legendary Music-A-Matic Vintage Recording Studio in Gothenberg with sound engineer Henryk Lipp and producer Chips Kiesby to create CRUCIFIED BARBARA’s third studio release, The Midnight Chase features the beautifully evil “Rock Me Like The Devil,” the anthemic “Everything We Need,” and the commandeering “Into The Fire.” Ida Evileye dominates her trusty Sandberg bass, Klara Force rocks steady on her ’76 Gibson Explorer, Mia Coldheart belts out her unapologetic vocals while riffing all over her Gibson Gothic Flying V, and Nicki Wicked pounds on her glittered Yamaha Maple drum kit until you’re splayed across the floor with a bull’s-eye knock-out punch that’ll make you spit your teeth out. Now you know what happens when Motörhead mates with The Runaways.
So how did they get their name? The band members attended Denmark’s legendary Roskilde Festival and came across something very unexpected in a nearby forest: a blow-up doll (generically called “Barbara” throughout Sweden) attached to a crucifix. And no, they didn’t identify with the victim, they claimed the power of the aggressor right on the spot and have never looked back.
If ever you cross their path, bring some brass knuckles to better protect yourself.