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On some rude fragment of the rocky shore,
Muffling my solitary feet, I stop and listen to the deep and solemn roar.
This fragment shot of an old decayed mooring line ('hawser') was taken at the former Kaiser Shipyards in Richmond, California. Probably made of hemp this length of hawser was used in the backbreaking task of tying large ships to the pier. In the early days of sailing, the English used the words "moren rap" which meant "ship's rope" to refer to a mooring line. This mooring line is approximately 3" wide and, obviously, hasn't been used for quite some time.
Arm Fragment (100 BC - AD 100)
The original statue from which this arm came from was probably dressed in a Parthian tunic and trouser suit. Fragments of bronze statue similar to this were found in a shrine at Shami near Izeh/Malamir in Khuzestan in the 1930s. The shrine seems to have been in use from the period after Alexander's conquest and into Parthian times.
Vase Handle (100 BC - AD 100)
Elongated cat-like animals, real or imagined, are a distinctive feature of Parthian art. This solid-cast handle is in the form of a Persian lynx (caracal cat) with outstretched legs. The undersides of the feet are flat, indicating that this handle was probably fixed to the side of a large two-handled vase.
[V&A]
Epic Iran
(May - September 2021)
Epic Iran explores 5,000 years of Iranian art, design and culture, bringing together over 300 objects from ancient, Islamic and contemporary Iran.
Iran was home to one of the great historic civilisations, yet its monumental artistic achievements remain unknown to many. Epic Iran explores this civilisation and the country's journey into the 21st century, from the earliest known writing – signalling the beginning of history in Iran – through to the 1979 Revolution and beyond. Ranging from sculpture, ceramics and carpets, to textiles, photography and film, the works in this exhibition reflect the country's vibrant historic culture, architectural splendours, the abundance of myth, poetry and tradition that have been central to Iranian identity for millennia, and the evolving, self-renewing culture evident today.
[V&A]
Taken in the V&A
Fragment eines Palastfussbodens
Fragment of a palace floor
Neues Reich,18.Dyn ,um 1350 v. Chr.
Amarna,Südpalast,
Gipsstück
Neues Museum Berlin
This shed roof protected visitors from rain and the hot summer sun as they walked onto Paradise Garden. For Howard Finster, it appears, roof joists are but another canvas for his visionary art. Note the painted color polka dots.
La Franja Femenil tuvo su primer ensayo del 2011 ante su similar de UPAEP.
Manuel Alvarado Barrera | LAE Manuel Vela Flickr – Facebook
Puebla., Puebla a 08 de Enero 2011
El camino rumbo al Torneo Clausura 2011 de la Superliga IV Edición ha comenzado para la oncena ‘franjirrosa’ comandada por Angélica Nieto Ramírez. Las angelopolitanas sostuvieron su primer encuentro amistoso ante su similar de UPAEP, cotejo que tuvo verificativo sobre el empastado de la Casa de Estudios situado en Ciudad Judicial.
El duelo que se fragmentó en dos tiempos de 45 minutos, tuvo como principal protagonista a la artillera ‘rosa y negro’ Gabriela Mancilla. La dorsal ‘9’ tuvo en sus botines tres oportunidades de lacerar la red enemiga. Al 25’ emitió un obús que rozó el costado izquierdo de la cabaña local; tres minutos más tarde probó de media distancia sin tener suerte. Y finalmente al 41’, mediante la vía del tiro libre con un disparo que se durmió en los laureles de la valla colegial.
Los constantes embates poblanos tuvieron su recompensa en la segunda parte. Al 46’, la denominada ‘Oso’, ingresó al área y tras un par de gambetas fue derribada por la zaguera Gina Rossetti, el colegiado sin dudarlo marco la pena máxima. Como muestra de compañerismo, Mancilla otorgó la redonda a la capitana Itzel Pérez Nava, que desde los once pasos atizó el marco ‘rojo’ con un latigazo que se anidó en lado derecho.
Sin embargo, cuatro minutos más tarde, las de casa respondieron con un leñazo impecable de Marisela Solano que se incrustó en la meta foránea. El marcador no se movería más, el empate reinó en el luminoso, y la enseñanza primordial la transmitiría Nieto Ramírez tras el silbatazo final.
[Manuel Vela | Mv Fotografía Profesional Photography Copyright©] This image is protected under International Copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without written permission./ Esta imagen se protege conforme a leyes de Derechos de Autor internacionales y no se puede transferir, reproducir, copiar, transmitir o manipular sin el permiso de escritura.
A patchwork of early 14th century grisaille fragments in a south chancel window.
St Laurence's at Rowington is an unusually shaped building with a central tower that appears to have been built partway into the nave, dividing it into two shorter segments either side of the 'crossing' and giving the it an odd 'three chambered' look. The interior is thus a little confusing, with nave aisles that are strangely short and narrow, whilst on the north side is a more generous aisle that extends from the tower to the east end of the chancel. Bodley did some renovation and redecoration here, but only a small patch of his stencilling remains in this aisle roof.
There is some old woodwork in the chancel screens but otherwise the glass is the main point of interest, with a window of 14th century fragments (mostly grisaille) and some good quality windows by Kempe, a late Arts & Crafts piece by Camm's , and a striking west window done for the Millennium.
The church is normally kept locked without keyholder information. For more see its entry on the Warwickshire Churches website below:-
warwickshirechurches.weebly.com/rowington---st-laurence.html
I am due to give a 40 minute guided walk around the church's windows on the morning of Saturday 21st June.
www.passionatespirituality.org.uk/wp-content/uploads/2014...
A fragment of a struck/ hammered silver 'Second Hand coinage' penny of Aethelred II, minted in London by either Beorhtlaf, Beorhtsige or Beornwulf between AD c. 985 - 991. This penny was found in Staffordshire.
This is recorded as WMID-B34EA1
Chapel of Christ the Servant
Once known as the Chapel of Industry, a name which reflected Coventry’s past reputation as the industrial capital of Britain, the Chapel of Christ the Servant gives thanks for the humble act of Jesus washing his disciples’ feet. This important incident at the Last Supper is celebrated in the Eucharist or Communion. By having clear glass, the Chapel enables those looking outwards to keep in touch with the world beyond. Inside, the altar and cross were made by students and apprentices from the nearby university and local industry.
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15th Century Stained Glass, Coventry Cathedral
The virtually free-standing Chapel of Christ the Servant (also known as the Chapel of Industry) is located at the liturgical south east corner of Coventry Cathedral. It takes the form of a clear-glazed cylinder and is thus bathed in light, with a central altar and hanging cross, supporting a crown of torns sculpture by Geoffrey Clarke (containing light fittings), as the main focus.
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In 1992 one of the city’s largest employers, the insurance giant, Axa Equity & Law, funded the conservation of three ‘mosaic’ panels and three more seraph figures. Once again the work was undertaken by Peter Gibson and the York Glaziers Trust. Initially the new panels were exhibited in display cabinets in the company’s own city centre offices but in 2002, following a change of ownership in the company, both the glass and the cabinets were transferred to the Chapel of Industry, directly above the Chapter House where they can now be seen by visitors to the Cathedral.
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.
All Saints, Horsford, Norfolk
A lovely little church in what you might think from a map is Norwich suburbia, but it is entirely rural in character. The church has a long tradition of always being open every day. The star of the show here is East Anglia's best example of a 19th Century window by the grandly named Royal Bavarian Institute for Stained Glass, made by the Zettler workshop of Munich. It remembers three sisters, Edith, Dorothea and Nona Day, who died of consumption in 1891, 1892 and 1893 in Davos and Cairo. One sister stands on the far shore of the Jordan, welcoming her sisters across to a curiously Bavarian paradise, their halos looking like nothing so much as jaunty hats.
October, 2010. Sulaimani, Iraqi Kurdistan. A hallway of the Red Museum was covered in fragments of mirror representing the 182,000 Kurds that were killed during the Anfal campaign of the late 80's. The 5000 christmas lights stand for the over 5000 villages destroyed.
This is a photo of a former student of mine, Safeen. His brother and father are both survivors of the torture prison. This was his first visit.