View allAll Photos Tagged fragment
Manuscript fragment printed in Latin in Germany in late 13th, early 14th century. Includes prayer for feast of John the Baptist. On parchment.
Location: John Work Garrett Library
Call No.: Gar 27 pt. 2
Page No.: [+I]r
A collaborative work between Katsura Isobe, a dance artist, and Jairo Zaldua and Nicola Green, experimental printmakers. Photo by Gigi Giannella. 2008
Font: Baskerville
Letter: "g" (regular)
Factor: Fragmenting + các kỹ thuật khác
Lưu ý, ví dụ trên chỉ thể hiện form của bài làm, không thể hiện cách làm ra sao. Các bạn có thể tự do cắt theo ý. Nhưng phải đảm bảo không phá vỡ cấu trúc của ký tự.
Làm 3 bài khác nhau với cùng 1 ký tự "g"
Then said Almitra, "Speak to us of Love."
And he raised his head and looked upon the people, and there fell a stillness upon them.
And with a great voice he said:
When love beckons to you follow him,
Though his ways are hard and steep.
And when his wings enfold you yield to him,
Though the sword hidden among his pinions may wound you.
And when he speaks to you believe in him,
Though his voice may shatter your dreams as the north wind lays waste the garden.
For even as love crowns you so shall he crucify you. Even as he is for your growth so is he for your pruning.
Even as he ascends to your height and caresses your tenderest branches that quiver in the sun,
So shall he descend to your roots and shake them in their clinging to the earth.
Like sheaves of corn he gathers you unto himself.
He threshes you to make you naked.
He sifts you to free you from your husks.
He grinds you to whiteness.
He kneads you until you are pliant;
And then he assigns you to his sacred fire, that you may become sacred bread for God's sacred feast.
All these things shall love do unto you that you may know the secrets of your heart, and in that knowledge become a fragment of Life's heart.
But if in your fear you would seek only love's peace and love's pleasure,
Then it is better for you that you cover your nakedness and pass out of love's threshing-floor,
Into the seasonless world where you shall laugh, but not all of your laughter, and weep, but not all of your tears.
Love gives naught but itself and takes naught but from itself.
Love possesses not nor would it be possessed;
For love is sufficient unto love.
When you love you should not say, "God is in my heart," but rather, I am in the heart of God."
And think not you can direct the course of love, if it finds you worthy, directs your course.
Love has no other desire but to fulfil itself.
But if you love and must needs have desires, let these be your desires:
To melt and be like a running brook that sings its melody to the night.
To know the pain of too much tenderness.
To be wounded by your own understanding of love;
And to bleed willingly and joyfully.
To wake at dawn with a winged heart and give thanks for another day of loving;
To rest at the noon hour and meditate love's ecstasy;
To return home at eventide with gratitude;
And then to sleep with a prayer for the beloved in your heart and a song of praise upon your lips. ~Khalil Gibran (The Prophet)
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”
“The Eye Moment photos by Nolan H. Rhodes”
nrhodesphotos@yahoo.com
Fragmentary elements of 14th century glass rearranged into a collage in the south window of the sanctuary.
St James's church at Longdon stands one the south eastern fringe of the village, hidden away from the road behind a lushly wooded churchyard and somewhat overshadowed on approach by tall trees. Behind them a handsome red sandstone edifice is revealed with a tall 15th century west tower, 14th century chancel and a late medieval south transept/chapel (built by John Stoneywell, Abbot of Pershore). On the other side of the church a much larger north transept grows like an over-sized limb from the north side and is an early 19th century addition. However despite all these later additions a substantial part of the 12th century Norman church still remains, which is much more apparent within.
The south doorway (itself Norman) brings the visitor into the nave where the focal point of the interior is the fine Romanesque chancel arch, a fine example of Norman carving with its distinctive chevron moldings. The church is surprisingly light and spacious, due in part to the eastern walls of the nave having been cut away for the south chapel and north transept (a handsome early 16th century arcade to the former, a slightly disconcerting yawning gap marking the latter!). The chancel beyond is dark and mysterious, largely due to the Victorian glass in its windows though some substantial fragments of original 14th century glass remain in the windows flanking the altar. At the west end is an intriguing font, with a Norman tub resting on a 13th century foliate capital (reputed to have come from Lichfield). There is further notable glass at the west end by Camm's and a striking more recent work in the transept.
Longdon church was happily open and welcoming when I called and is a joy to explore, an unusual church with much of interest to reward the visitor.
Am I whole? Am I?
My very first experiments with self-portraits (Sept. 2004). Totally raw. Reflected on a mirror-bamboo-blind artwork that I made (yes, I also broke a mirror to get the pieces!)
4 pix in this series, see them all.
Picture by Gigi Giannella. Free Space Gallery, Kentish Town Health Centre, London. 21st July 2012.
Performance: Katsura Isobe
Printmaking: Jairo Zaldua & Nicola Green
West window of the south aisle at St Augustine's, Edgbaston. All three of the Victorian windows in the west wall of the church were damaged by bombing, this one retains some heads from the bomb damaged glass by Heaton, Butler & Bayne.
St Augustine's church in Edgbaston was built in 1868 by local architect J.A.Chatwin (the French inspired tower and spire were added in 1876, Pevsner calls it's proportions 'really horrid', which may be a little harsh!).
Inside most of the fittings are the original Victorian ones with much stained glass by Hardman's and Heaton, Butler & Bayne (some windows replaced after war damage). The chancel also has an attractive painted ceiling.
The church is set back from the busy main arteries of the city in a residential area, and is generally kept open for visitors and private prayer.
All Saints at Thurcaston is a mainly 14th century building with alterations made in the 15th century, from which period dates most of the fine collection of fragments of medieval glass deposited in the central light of the east window. Some of these ancient elements of glass are more complete, including heads, angels, roundels and a donor figure.
The church consists of a nave, chancel and west tower, along with a north aisle running almost the full length of the building. The interior preserves a more unspoilt, ancient atmosphere as it has not been too heavily affected by later restoration. There is an ancient wooden screen in the north aisle, originally the rood screen and one of the earliest surviving in the country (alas I failed to realise this at the time so do not have detailed shots of it). The nave roof is supported on some amusing medieval carved head corbels.
www.thurcastoncropstonhistory.org.uk/all-saints-church/
The church is well worth a visit but sadly kept locked outside of services so a phonecall may be necessary to see inside.
St John the Baptist's at Aston Cantlow preserves many antique features despite a restoration by Butterfield in 1850 (which is most evident in the south wall of the nave).
The north aisle and chancel have good Decorated tracery and the south wall of the latter leans dramatically inside. There is an attractive 15th century font, some old woodwork, fragments of 14th century glass and Victorian windows by Michael O'Connor and Charles Eamer Kempe.
These photos are from two seperate visits in 2006 and 2009 respectively; The chancel is currently (March 2010) closed whilst major restoration is undertaken, including the removal of the glazing for releading at Norgrove Studios.
St Lawrence's in Ludlow could easily claim to be the grandest parish church in Shropshire but also one of the very finest and most rewarding medieval churches in the country. It is a very large cruciform building dating mostly to the 14th & 15th centuries crowned by a soaring central tower that is a major landmark of the town. The red sandstone exterior however is otherwise somewhat elusive, being hemmed in by buildings in close proximity and thus difficult to get an overall shot of as a complete building.
The church is entered via an unusual hexagonal porch on the south side which admits access to the spacious nave and aisles. The crossing beyond is tall and narrow and adds a cathedral-like dimension to the interior, with views into the lower lantern-stage of the tower above. The chancel beyond is similarly impressive in scale and adornment with a fine 15th century wooden roof and much more.
St Lawrence's is especially famous for its interior fittings, most of all the superb medieval choir stalls with one of the best collections of misericord carvings anywhere. Less well known but equally important is the extensive collection of medieval stained glass in the eastern half of the church. Most of the glass in the chancel has either been very heavily restored or replaced entirely in replica by early 19th century restorers, but the glass in the north chapel is much more complete and despite some restoration largely retains its original appearance.
There are several notable tombs and monuments here also, including the heart burial of Henry VIII's older brother Prince Arthur (whose untimely death in Ludlow dramatically changed our history forever).
St Lawrence's is normally open to visitors on a daily basis and shouldn't be missed. The tower may also be ascended for some fine views over the town of Ludlow and beyond.
Installation fragment featuring work by Amit Elan and Steven Thelen/Samuel Haas at the La Crèche pavilion by Playground and KRS at the seventh Berliner Kunstsalon, 5-10 October 2010.
Part of East London Printmakers Exhibition at Triangle Gallery, SPACE, Hackney. 15-19 July 2010. Collaboration with printmakers Jairo Zaldua and Nicola Green. Dance: Katsura Isobe. Photo by Fabio.
Fragments of the mural that were hidden below a baseboard show the original paint and parts of Hebrew letters.