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Medusa was beheaded by the hero Perseus, who thereafter used her head, which retained its ability to turn onlookers to stone, as a weapon until he gave it to the goddess Athena to place on her shield. [Wikipedia]
Sony a7r + AF Nikkor 18-35mm/1:3,5-4,5 D using KIWI LMA-NK(G).EM Adapter (AP208)
there are times when I want to grab handfuls of music
and stuff it into my brain
so I can fill the cracks that are left over
from the past.
and because your fingerprints are all over my tears
I can do nothing at night
but watch tv
until the other world takes over
and I fight my way through it
with my hands blocking the light-
until I can move along through another day
like one
long
apology
Medieval fragments reset in the east window.
St Mary's at Parham stands proudly in a quiet spot a short distance off the main road through the village. The first sight of it on approaching is impressive, the sturdy west tower looks a little serious with its flat-top parapet but is enlivened by a large empty niche on its west face, an unusual embellishment (presumably once home to a Crucifixion or Coronation of the Virgin group, we will never know for sure). There are some nice touchses of flint flushwork on the tower buttresses but most significantly on the north porch, obviously once the grand entracne but no longer used as such, the west door being the preferred entry nowadays.
One walks stright in through the tower to be greeted by the full lenght of the interior, a light and cheerful space with focus very much on the chancel beyond, there being no side aisles to the nave to divert the eye sideways. The whitened walls and lack of coloured glass (beyond a few medieval fragments in the east window) make the interior pleasingly bright (even as conditions were taking a turn for the overcast outside). A few touches of colour are on hand to provide some warmth amidst the whiteness, the medieval rood screen survives (all pierced openings without painted panels) and has been enthusiastically recoloured, whilst beyond the more recent reredos bears a Last Supper.
The fittings here aside from the screen (and one bench carving that I missed) are all of the 19th century restoration as is the nave roof with its character corbels. The font with traceried panels is 15th century and an intriguing group of carved shields amassed in the north east corner also appears to late medieval (relics of a lost tomb?) and a few nice 15th century angels can be seen in the tracery of the east window.
I really liked Parham church, a handsome building with a pleasing atmosphere within, found open and welcoming in normal times.
For more on this fine church see its entry on the Suffolk Churches site below:-
FRAGMENTS
Rough for Theatre I, Rockaby, Act Without Words II, Neither, Come and go
With : Jos Houben, Kathryn Hunter, Marcello Magni
Directed by : Peter Brook
Texts by : Samuel Beckett
Assisted by : Lilo Baur and Marie Hélène Estienne
Lights : Philippe Vialatte
Piece of the picture : "Rough for Theatre"
Actors of the picture : Marcello Magni
Fragments of medieval glass collected into collage panels in the west window of the south aisle.
St Peter's church stands on the eastern fringe of the sprawling village of Thurston. It is a substantially sized building but upon closer inspection it is clear that this is a mainly Victorian building, rebuilt by John Henry Hakewill following the collapse of the medieval tower and much of the nave (the rest of which collapsed a mere ten days later) in 1860. The original 15th century chancel alone survives, and its Perpendicular style and vast windows contrasts with the Decorated style so favoured by Victorian architects and used for the rebuilt nave and aisles.
The loss of so much of the medieval church lowers one's expectations on entering the church and the interior thus revealed is very much a Victorian recreation, though surprisingly successful in blending the old and new parts of the building, more sympathetic than many such endeavours have been. The atmosphere of a medieval church isn't entirely lost either as ancient features and fittings remain, some striking fragments of medieval glass have been reinstated in the south aisle and further pieces can be found in the chancel traceries (where otherwise great expanses of late 19th / early 20th century glass by Ward & Hughes abounds). There are also a few intriguing late medieval carved benches and a fine 14th century font carved with foliate designs (and two Green Men) that somehow survived the collapse of the tower and nave.
St Peter's is kept open and welcoming to visitors, as a nice gentleman reassured me on my approach to the church. Do not be put off by this being a largely rebuilt church as there are good features to enjoy.
This old churchyard is known as St. John’s and it is located on Dublin Road. This was my first my second visit but the weather was still very bad and the light was poor.
The colour of the gravestones was different to what I normally see in Irish graveyards [orange/brown rather than grey/white ]
“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design
Here you can download russian subtitles for Triangle released by FRAGMENT and then attach them to your movie in VLC player and get captions in russian for Triangle. Get these subtitles from here - www.subtitlesking.in/subtitle/triangle-fragment-russian-s...
Fragment of one of the gypsy thombs.
Charaketrystyczne dla romskich nagrobków nawiązanie do bogactwa zmarłego. Na innym nagrobku, którego nie udało mi się sfotografować ze względu na odblaski zmarły w garniturze rozmawia przez komórkę oparty o otwarte drzwi swojego BMV na tle dolnośląskiego krajobrazu, gdzieś z boku przedstawiony jest jeszcze keyboard. Jakiś czas temu jechałem autobusem i ktoś mówił właśnie o tych nagrobkach, że to znak nowego czasu itd., itp., ale osobiście mam dokładnie odwrotne skojarzenie: że ludzie się jednak wcale nie zmieniają. Gdy popatrzymy na wmurowane w ściany kościoła płyty epitafijne z okresu renesansu lub baroku, to zawsze zobaczymy postawnego mężczyznę ubranego w zbroję i z pięknym mieczem lub też bogato ubraną kobietę, a napisy dokoła będą mówiły, co zmarły/zmarła osiągnął za życia. Tak sobie myślę, że te romskie płyty z samochodami i komórkami są w sumie tym samym, czyli wyznacznikiem statusu społecznego. Tak było 600 lat temu i tak jest obecnie, zmieniają się jedynie rzeczy świadczące o tym, czy w naszym kurniku siedzimy na najniższej, czy najwyższej grzędzie.
The decoration what is left on the wall and ceiling all to the niche at the central corridor. This gives a picture, that there really is not much left. Only few fragments.
Tomb of Senenmut, TT71
Fragment de propulseur en bois de renne, trouvé à la Madeleine (magdalénien moyen ; environ 13000 ans)
Photo prise au Musée National de la préhistoire (Les-Eyzies-de-Tayac) Dordogne / France
Voir les photos suivantes :
A fragment from one end of the Elgin Marbles. Between the explosion in 1687, the various instances of looting which led to many of the heads to be broken off and taken home (primarily to Europe), and the damage sustained in removing what was left from the Parthenon, much of this stuff is frankly in pretty poor shape. All of which is deeply sad, as this was a world treasure in every sense of the word.
Of all the churches I planned to see on this excursion this was the one that I was the most excited about, not only is Blythburgh one of Suffolk's finest but among the best and grandest parish churches in the country, all the more surprising in this rural location. I'd known about it for decades, so it was most satisfying to finally get to see it for myself.
Holy Trinity at Blythburgh dates mostly from the 15th century, a grand essay in the Perpendicular Gothic style. The first impression is of flint walls punctuated by a mass of windows, especially in the clerestorey above, along with the building's great size and length. The is much ornamental carving around the windows and parapet, most strikingly the carved figures that stand in place of pinnacles. The tower by contrast appears rather plain, a stern sentinel watching over the building; this is in part due to storm damage in 1577 which brought down the steeple and is likely when the belfry windows lost their tracery and received their current boarded-over appearance. The south porch below makes a grand statement and beckons us to enter, noting the unusual survival of a water-stoup.
Inside a vast space is revealed, well lit by mostly clear-glazed windows and and filled with ancient woodwork. Not only is this church beautiful it is also delightfully authentic, having undergone little restoration over the centuries (it must have been a heavy burden for such a small community) and thus is a place of real ageless atmosphere, most of the furnishings are pre-Victorian and the only coloured glass is the collection of medieval fragments in the traceries of a few windows.
The most impressive feature is the roof, retaining much of its original painted decoration and angel figures down the centre, also retaining much colour. This feature was familiar to me from so many photos in books, but in finally seeing it with my own eyes it lost none of its impact. It extends almost the full length of the building as there is little structural division between nave and chancel.
After absorbing the beauties above attention should go to the riot of medieval carving at ground level, where all the nave pews retain their 15th century bench-ends with figurative carvings, some with subjects from the Acts of Mercy and Seven Deadly Sins, not all in great condition but a remarkable survival nonetheless. In the chancel the stall fronts bear surprisingly well preserved rows of carved canopied apostles, not necessarily in situ as much of the woodwork looks reconstructed but the figures themselves appear to be rare medieval survivals.
This is a church to spend some time in and soak up its special atmosphere. Being on a bit of a mission that day I didn't have time to sit peacefully as one should, but it was the longest stop on my itinerary, and one of the most rewarding, I'd happily return.
This is one of the 'must see' churches of Suffolk and is always open and welcoming by day accordingly. For the third time that day I met a couple doing a similar excursion to me and we briefly chatted about what a joy it is to visit, I urge others to do likewise.
Fragment of a base with the Indian Triumph of Dionysos at The Getty Center in Los Angeles, California.
Please credit Isaiah Tanenbaum Theatrical Photography. On FB, please tag the FB page (www.facebook.com/theatricalphotography); otherwise please link to isaiahtpd.info .
From The Desire | Divinity Project by Marisa Michelson & Constellation Chor, February 2018 at Judson Memorial Church.
Want Isaiah to take pictures of YOUR show or event? Email him now at isaiaht@gmail.com .
Photography and Computer Art
Each individual image is mounted for gallery display and measures 7.5 in square.
Also see: Fragments #1
fragmentação
fragmentado
fragmentador
fragmentante
fragmentar
fragmentário
fragmentarismo
fragmentarista
fragmentarístico
fragmentável
fragmentista
FRAGMENTO
...
...
infragmentado, infragmentável
Fonte: Dicionário Houaiss da Língua Portuguesa. Ed. Objetiva, Rio de Janeiro, 2001.
The ancient stained glass in the side windows of the Beauchamp Chapel survives only in the traceries and heads of the main lights, following Civil War damage. The two westernmost windows are more damaged still, consisting purely of patchworks of fragmentary medieval glass in these areas. Rather than iconoclasm, this seems more likely to be the result of the great Fire of Warwick in 1694 which was halted at the west end of the chapel, miraculously saving it but consuming the nave and transepts, and likely damaging the glass closest to the flames beyond repair.
Images from a visit to the scaffoldng surrounding the Beauchamp Chapel at St Mary's, Warwick in June 2014, prior to the start of major restoration work on the exterior of this gem of a building.