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Thaipusam (The Murugan Festival)
Thaipusam is an important festival observed by the Hindus of southern India during the Tamil month of Thai (January - February). Outside of India, it is celebrated mainly by the Tamil speaking community settled in Malaysia, Singapore, South Africa, Sri Lanka and elsewhere around the world.
Dedicated to Lord Murugan or Kartikeya
Thaipusam is dedicated to the Hindu god Murugan, the son of Shiva and Parvati. Murugan is also known as Kartikeya, Subramaniam, Sanmukha, Shadanana, Skanda and Guha. It is believed that on this day, Goddess Parvati presented a lance to Lord Murgan to vanquish the demon army of Tarakasura and combat their evil deeds. Therefore, Thaipusam is a celebration of the victory of good over evil.
How to Celebrate Thaipusam
On the Thaipusam day, most devotees of Lord Murugan offer him fruits and flowers of yellow or orange color - his favorite colors and also adorn dresses of the same color. Many devotees bear milk, water, fruits and floral tributes on pails hung from a yoke and carry them on their shoulders to various Murugan temples, far and near. This wooden or bamboo structure called 'Kavadi' is covered with cloth and decorated with feathers of peacock - the vehicle of Lord Murugan.
Thaipusam in Southeast Asia
Thaipusam celebrations in Malaysia and Singapore are known for their festive fervor. The most famous Kavadi pilgrimage on the Thaipusam day takes place at the Batu Caves in Malaysia, where a large number of devotees head towards the Murugan temple in procession carrying the 'Kavadi'. This festival attracts over a million people each year at the Batu Caves, near Kuala Lampur, which houses several Hindu shrines and the 42.7 meter high statue of Lord Murugan that was unveiled in January 2006. Pilgrims need to climb 272 steps to access the temple on the hilltop. Many foreigners also take part in this Kavadi pilgrimage. Notable among them are Australian Carl Vedivella Belle, who has been taking part in the pilgrimage for more than a decade, and German Rainer Krieg, who went on his first Kavadi in the 1970s.
Body Piercing on Thaipusam
Many fanatical devotees go to such extent as to torture their bodies to appease the Lord. So, a major feature of Thaipusam celebrations is body piercing with hooks, skewers and small lances called 'vel'. Many of these devotees even pull chariots and heavy objects with hooks attached to their bodies. Many others pierce their tongue and cheek to impede speech and thereby attain full concentration on the Lord. Most devotees enter into a trance during such piercing due to the incessant drumming and chanting of "vel vel shakti vel."
Excerpt from hinduism.about.com
Thaipusam (The Murugan Festival)
Thaipusam is an important festival observed by the Hindus of southern India during the Tamil month of Thai (January - February). Outside of India, it is celebrated mainly by the Tamil speaking community settled in Malaysia, Singapore, South Africa, Sri Lanka and elsewhere around the world.
Dedicated to Lord Murugan or Kartikeya
Thaipusam is dedicated to the Hindu god Murugan, the son of Shiva and Parvati. Murugan is also known as Kartikeya, Subramaniam, Sanmukha, Shadanana, Skanda and Guha. It is believed that on this day, Goddess Parvati presented a lance to Lord Murgan to vanquish the demon army of Tarakasura and combat their evil deeds. Therefore, Thaipusam is a celebration of the victory of good over evil.
How to Celebrate Thaipusam
On the Thaipusam day, most devotees of Lord Murugan offer him fruits and flowers of yellow or orange color - his favorite colors and also adorn dresses of the same color. Many devotees bear milk, water, fruits and floral tributes on pails hung from a yoke and carry them on their shoulders to various Murugan temples, far and near. This wooden or bamboo structure called 'Kavadi' is covered with cloth and decorated with feathers of peacock - the vehicle of Lord Murugan.
Thaipusam in Southeast Asia
Thaipusam celebrations in Malaysia and Singapore are known for their festive fervor. The most famous Kavadi pilgrimage on the Thaipusam day takes place at the Batu Caves in Malaysia, where a large number of devotees head towards the Murugan temple in procession carrying the 'Kavadi'. This festival attracts over a million people each year at the Batu Caves, near Kuala Lampur, which houses several Hindu shrines and the 42.7 meter high statue of Lord Murugan that was unveiled in January 2006. Pilgrims need to climb 272 steps to access the temple on the hilltop. Many foreigners also take part in this Kavadi pilgrimage. Notable among them are Australian Carl Vedivella Belle, who has been taking part in the pilgrimage for more than a decade, and German Rainer Krieg, who went on his first Kavadi in the 1970s.
Body Piercing on Thaipusam
Many fanatical devotees go to such extent as to torture their bodies to appease the Lord. So, a major feature of Thaipusam celebrations is body piercing with hooks, skewers and small lances called 'vel'. Many of these devotees even pull chariots and heavy objects with hooks attached to their bodies. Many others pierce their tongue and cheek to impede speech and thereby attain full concentration on the Lord. Most devotees enter into a trance during such piercing due to the incessant drumming and chanting of "vel vel shakti vel."
Excerpt from hinduism.about.com
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting or removing water marks are liaIble to prosecution.
Sbusi Zulu Umemulo Coming of Age Ceremony Reception Umlazi Durban KwaZulu-Natal South Africa November 2019
Umemulo also known as the Coming of Age is an important Zulu ritual that celebrates a young girl's journey into womanhood. The ceremony indicates that the young girl has transitioned from a child and into an adult woman who can now get married
Roma è un ente speciale italiano di 2.748.809 abitanti, capoluogo della provincia di Roma, della regione Lazio e capitale della Repubblica Italiana.
È il comune più popoloso e più esteso d'Italia ed è il primo comune europeo per grandezza del territorio; per antonomasia, è definita l'Urbe e la Città eterna.
Nel corso della sua trimillenaria storia, è stata la prima grande metropoli dell'umanità[10], cuore di una delle più importanti civiltà antiche, che influenzò la società, la cultura, la lingua, la letteratura, l'arte, l'architettura, la filosofia, la religione, il diritto, i costumi dei secoli successivi; fu capitale dell'Impero romano, che estendeva il suo dominio su tutto il bacino del Mediterraneo e gran parte dell'Europa, e dello Stato Pontificio, sottoposto al potere temporale dei Papi.
È la città con la più alta concentrazione di beni storici e architettonici al mondo; il suo centro storico delimitato dal perimetro delle mura aureliane, sovrapposizione di testimonianze di quasi tre millenni, è espressione del patrimonio storico, artistico e culturale del mondo occidentale europeo e, nel 1980, insieme alle proprietà extraterritoriali della Santa Sede nella città e la basilica di San Paolo fuori le mura, è stato inserito nella lista dei Patrimoni dell'umanità dell'UNESCO.
Roma, cuore della cristianità cattolica, è l'unica città al mondo ad ospitare al proprio interno uno stato straniero, l'enclave della Città del Vaticano: per tale motivo è spesso definita capitale di due Stati.
Roma é a capital da Itália e sede da comuna e da província com o mesmo nome, na região do Lácio. Conhecida internacionalmente como A Cidade Eterna pela sua história milenar, Roma espalha-se pelas margens rio Tibre, compreendendo o seu centro histórico com as suas sete colinas: Palatino, Aventino, Campidoglio, Quirinale, Viminale, Esquilino, e Celio. Segundo o mito romano, a cidade foi fundada a cerca de 753 a.C.. (data convencionada) por Rómulo e Remo, dois irmãos criados por uma loba, que são actualmente símbolos da cidade. Desde então tornou-se no centro da Roma Antiga (Reino de Roma, República Romana, Império Romano) e, mais tarde, dos Estados Pontifícios, Reino de Itália e, por fim, da República Italiana.
No interior da cidade encontra-se o estado do Vaticano, residência do Papa. É uma das cidades com maior importância na História mundial, sendo um dos símbolos da civilização europeia.[3] Conserva inúmeras ruínas e monumentos na parte antiga da cidade, especialmente da época do Império Romano, e do Renascimento, o movimento cultural que nasceu na Itália.
A área metropolitana tem cerca de 2 546 804 habitantes (2001), e estende-se por uma área de 1285 km², tendo uma densidade populacional de 1981 hab/km², o que a torna na maior cidade da Itália e também na capital européia de maiores dimensões. O presidente da câmara (Sindaco) em 2008 é Gianni Alemanno.
Rome (English Italian: Roma, is the capital of Italy and the country's largest and most populated city and comune, with over 2.7 million residents in 1,285.3 km2 (496.3 sq mi). The population of the urban area was estimated by Eurostat to be 3.46 million in 2004, The metropolitan area was estimated by OECD to have a population of 3.7 million in 2006.
The city of Rome is located in the central-western portion of the Italian Peninsula, on the Tiber river within the Lazio region of Italy. Rome's history spans over two and a half thousand years. It was the capital city of the Roman Kingdom, the Roman Republic and the Roman Empire, which was the dominant Power in Western Europe and the lands bordering the Mediterranean Sea for over seven hundred years from the 1st Century BC until the 7th Century AD. Since the 2nd Century AD Rome has been the seat of the Papacy and, after the end of Byzantine domination, in the 8th century it became the capital of the Papal States, which lasted until 1870. In 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Since 1929 it is also the site of the Vatican City, an independent city-state presided over by the Pope.
After the Middle-Ages, Rome was ruled by popes such as Alexander VI and Leo X, who transformed the city into one of the major centers of the Italian Renaissance, along with Florence. The current-day version of St Peter's Basilica was built and the Sistine Chapel was painted by Michelangelo. Famous artists and architects, such as Bramante, Bernini and Raphael resided for some time in Rome, contributing to its Renaissance and Baroque architecture.
Rome's influence on western Civilisation can hardly be overestimated, and the city is still recognised as a centre of the arts and education. Due to this centrality on many levels, and much of the city's past and present power and influence, Rome has been nicknamed "Caput Mundi" (Latin for "Capital of the World") and "The Eternal City". The city is, in addition, an important centre of pilgrimage in the Christian, notably the Roman Catholic Church,[12] and St Peter's Basilica, found in the Holy See, is often called "the greatest of all churches of Christendom". Rome's architectural and archaeological sites, and its rich artistic and historical heritage, contribute to its historical centre being inscribed as a UNESCO World Heritage Site. Its global influence in politics, literature, high culture, the arts, music, religion, education, fashion, cinema and cuisine lead it to being considered an Alpha- world city, according to Loughborough University and GaWC in 2008. Rome is also a hub of the cinematic and filming industry; for example, the Cinecittà Studios, Europe's biggest which saw the filming of several internationally acclaimed movies as well as television programmes, are located in the city.
Since the 1957 Treaty of Rome establishing the European Economic Community, the metropolis has served as a centre for international co-operative activities, with worldwide organizations such as World Food Programme (WFP), Food and Agriculture Organization (FAO), International Fund for Agricultural Development (IFAD) and the NATO Defence College being headquartered in the city. Rome is regarded as being one of the nation's principle centres of business, media and finance, along with Milan. The Rome metropolitan area has a GDP of €109.4 billion (US$ 149.14), and according to a 2008 study, the city is the world's 35th richest city by purchasing power, with a GDP of €94.376 billion (US$ 121.5 billion). Rome is also the world's 26th most expensive city (in 2010), and is the richest in Italy in terms of total earnings and 30th globally. The city has been recognized, by different studies, to be a leading European business and economic centre.
The city hosted the 1960 Olympic Games, and is also an official candidate for the 2020 edition of this event
In 2007 Rome was the 11th-most-visited city in the world, 3rd most visited in the EU, and the most popular tourist attraction in Italy. The city is one of Europe's and the world's most successful city brands, both in terms of reputation and assets. Its historic centre is listed by UNESCO as a World Heritage Site. Monuments and museums such as the Vatican Museums and the Colosseum are amongst the world's 50 most visited tourist destinations (the Vatican Museums receiving 4.2 million tourists and the Colosseum receiving 4 million tourists every year).
the important thing is that it doesn't push us into the abyss
la cosa importante é che non ci spinga nell'abisso
la chose importante c'est qu'il ne nous pousse pas dans l'abime
Zurich Stadelhofen is an important S-Bahn Station on the Zürich-Rapperswil, Zürich-Winterthur and Zürich-Uster lines of the Zurich S-Bahn. The Forchbahn leaves from outside the station, on Stadelhofenplatz.
In the 1990s the train station was rebuilt by the Spanish architect Santiago Calatrava. The station building from 1894 was preserved and the surroundings were completely redone, forming a striking combination of the new and the old.
Further information and pictures:
de.wikipedia.org/wiki/Bahnhof_Z%C3%BCrich_Stadelhofen
www.galinsky.com/buildings/stadelhofen/index.htm
www.flickr.com/photos/39028849@N06/sets/72157625756278680...
The Zürich Stadelhofen railway station in 1983:
www.flickr.com/photos/johannes-j-smit/4083528380/in/pool-...
In regards to the trades I am currently engaged in, nothing will change. But in the future I shall no longer ship first, unless you can promise to ship quickly. And if you don't I will not trade with you in the future. Right now I have a couple of "trades" that I've been waiting on for almost a month, I'm rather tired of the wait. So this is just heads up for future trades. Thank you for reading this.
The Ambubachi Mela is the most important mela celebrated in the Kamakhya Temple in Guwahati, Assam This yearly mela is celebrated during the monsoon season that happens to fall during the Assamese month Ahaar, around the middle of June,when the Brahmaputra river is in spate. It is the celebration of the yearly menstruation course of goddess Kamakhya.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Rio de Janeiro, RJ - Brasil - 20/03/2021 - São Januário - Wellington
Campeonato Carioca. Taça Guanabara. 4º Rodada. Jogo Fluminense x Bangu.
FOTO DE MAILSON SANTANA/FLUMINENSE FC
IMPORTANTE: Imagem destinada a uso institucional e divulgação, seu uso comercial está vetado incondicionalmente por seu autor e o Fluminense Football Club.
IMPORTANT: Image intended for institutional use and distribution. Commercial use is prohibited unconditionally by its author and Fluminense Football Club.
IMPORTANTE: Imágen para uso solamente institucional y distribuición. El uso comercial es prohibido por su autor y por el Fluminense Football Club.
Dresden - Hofkirche und Residenzschloss
seen from Theaterplatz
gesehen vom Theaterplatz
Dresden Cathedral, or the Cathedral of the Holy Trinity, Dresden, previously the Catholic Church of the Royal Court of Saxony, called in German Katholische Hofkirche and since 1980 also known as Kathedrale Sanctissimae Trinitatis, is the Catholic Cathedral of Dresden.
Always the most important Catholic church of the city, it was elevated to the status of cathedral of the Diocese of Dresden–Meissen in 1964. It is located near the Elbe river in the historic center of Dresden, Germany.
It is one of the burial sites of the House of Wettin, including Polish monarchs.
History
The Hofkirche stands as one of Dresden's foremost landmarks. It was designed by architect Gaetano Chiaveri from 1738 to 1751. The church was commissioned by Augustus III, Elector of Saxony and King of Poland while the Protestant city of Dresden built the Frauenkirche (Church of Our Lady) between 1726 and 1743. While the general population of the city was Protestant, its rulers were Catholic. The Catholic Elector built the cathedral for his own use and for the use of other high-ranking officials, connecting it to his home, Dresden Castle, with an ornate high level walkway.
Since 1743 the Deans (Hofprediger) of the Court Church were ex officio also Apostolic Vicars of the Saxon hereditary lands.
The church was badly damaged in February 1945 during the bombing of Dresden in the Second World War. The building was restored by the year 1962 by the East German government. It was further restored in the early 21st century following reunification, including the rebuilding of the bridge to the castle. Today it is the cathedral of the Diocese of Dresden-Meissen. Free entry is permitted during the daytime.
The cathedral features a carefully restored organ, the last work of the renowned organ builder Gottfried Silbermann. It also contains a Rococo pulpit by Balthasar Permoser.
Burials
In the crypts the heart of King Augustus the Strong is buried along with the last King of Saxony and the remains of 49 other members of the Wettin family, as well as the remains of people who married into the family, such as Princess Maria Carolina of Savoy, wife of Anthony of Saxony.
The oldest of four crypts, the Founders' Crypt, holds the tombs of King Augustus III of Poland, one of very few Polish Kings to be buried outside the Wawel Cathedral in Kraków, and last Queen of Poland Maria Josepha. It is also burial place of the heart of King Augustus the Strong, whose body was interred in the Wawel Cathedral, and of Polish ruler and first Saxon King Frederick Augustus I of Saxony. Polish princes and princesses are buried in the Founders' Crypt and the Great Crypt.
(Wikipedia)
Dresden Castle or Royal Palace (German: Dresdner Residenzschloss or Dresdner Schloss) is one of the oldest buildings in Dresden, Germany. For almost 400 years, it was the residence of the electors (1547–1806) and kings (1806–1918) of Saxony from the Albertine House of Wettin as well as Kings of Poland (1697–1763). It is known for the different architectural styles employed, from Baroque to Neo-renaissance.
Today, the residential castle is a museum complex that contains the Historic and New Green Vault, the Numismatic Cabinet, the Collection of Prints, Drawings and Photographs and the Dresden Armory with the Turkish Chamber. It also houses an art library and the management of the Dresden State Art Collections.
History
The original castle was a Romanesque keep, built around 1200. The Hausmannsturm was built at the beginning of the 15th century. From 1468 until 1480, the keep was extended by the master builder, Arnold von Westfalen, becoming an enclosed four-wing construction. In the middle of the 16th century, an addition was made in the Saxon Renaissance style.
After a major fire in 1701, Augustus II the Strong rebuilt much of the castle in the Baroque style. The collection rooms were created at this time in the western wing. The Silver Room, Heraldic Room and the Pretiosensaal were built from 1723–1726 and the Kaminzimmer, Juwelenzimmer (Jewel Room), Ivory Room and Bronze Room were built from 1727–1729.
The 800th anniversary of the House of Wettin, Saxony's ruling family, resulted in more rebuilding between 1889 and 1901.
A Neo-Renaissance renovation was undertaken, followed by various modernizations, such as in-floor heating and electric lights in 1914. On the outside of the Stallhof (Stall Courtyard), which links the castle complex with the adjacent Johanneum, the "Procession of Princes" was painted by the artist Wilhelm Walther. The 102-meter-long mural represents the history of the Wettins. Since it quickly faded, it was transferred to about 23,000 Meissen porcelain tiles between 1904 and 1907.
Most of the castle was reduced to a roofless shell during 13 February 1945 bombing of Dresden in World War II. Three rooms of the Green Vault were destroyed. However, the collections survived, having been moved to safety at Königstein Fortress in the early years of the war.
For the first 15 years after the end of the Second World War, no attempt was made to rebuild the castle, except to install a temporary roof in 1946. Restoration began in the 1960s with the installation of new windows and has occurred rapidly since then. The castle's restoration is ongoing, with part of the State Apartments reopening in September 2019.
Museums
Dresden castle houses five museum sections, the Historic Green Vault and the New Green Vault, the Numismatic Cabinet, the Collection of Prints, Drawings, and Photographs and the Dresden Armory with the Turkish Chamber and the Renaissance Wing.
Also accessible is an art library (Kunstbibliothek) with approximately 260,000 volumes of special literature on art history. The character of the holdings is closely related to the collecting focal points of the museums.
Historic and New Green Vault
The Green Vault (Grünes Gewölbe) is a museum that contains the largest collection of treasures in Europe. Founded by Augustus II the Strong in 1723, it features a unique and rich variety of exhibits from the period of baroque to classicism. The museum consists of the Historic Green Vault (Historisches Grünes Gewölbe) and the New Green Vault (Neues Grünes Gewölbe).
The Historic Green Vault is known for its treasure chambers and is itself a baroque work of art. The New Green Vault is more modern. The Historic Green Vault is located on the ground floor of the Dresden Castle and visits require an advance booking; admittance to the New Green Vault, which is on the second floor, is not limited.
Numismatic Cabinet (Coin Cabinet)
The Numismatic Cabinet (Münzkabinett), with its nearly 300,000 pieces, is one of Dresden’s oldest museums, dating back to the early 16th century. It contains one of the largest universal collections in Europe. Its broad-spectrum ranges from classical antiquity to present-day coins. Some 30,000 Saxon coins and medals represent different periods in Saxony's history. The collection also includes orders and insignia, banknotes and historic bonds, models, seals, minting dies for coins and medals, as well as minting machines and equipment.
The exhibition shows around 3,300 outstanding objects in four rooms, which represent a cross-section of the various parts of the collection. The Numismatic Cabinet is also a center of scholarly research and has a public library of some 30,000 volumes.
Collection of Prints, Drawings and Photographs
The Collection of Prints, Drawings and Photographs (Kupferstich-Kabinett) shows work by renowned artists from numerous countries. There are approximately 515,000 objects by more than 20,000 artists across eight centuries. It holds drawings and prints by old masters such as Albrecht Dürer, Rembrandt, Michelangelo and Caspar David Friedrich, as well as later artists, like Henri de Toulouse-Lautrec and Pablo Picasso. Engravings by Martin Schongauer and woodcuts by Lucas Cranach the Elder are shown along with photographic works. There is also a collection of drawings and graphic art by Käthe Kollwitz.
Dresden Armory with the Turkish Chamber and the Renaissance Wing
Originating from weapons owned by Saxon Dukes and Electors, the Dresden Armory (Rüstkammer) owns one of the most valuable collections of weapons and armory in the world. The exhibition includes around 10,000 objects, including helmets, shields, swords, rapiers, daggers, sabres and maces, pistols and rifles, riding equipment and ceremonial clothes.
The Turkish Chamber (Türckische Cammer) is a separate collection within the Dresden Armory that is focused on art from the Ottoman Empire. It displays more than 600 objects of art from the Ottoman Empire, making it one of the oldest and most significant Ottoman-era collections outside Turkey. Between the 16th and the 19th centuries, the electors of Saxony, motivated by their passion for collecting and their desire for princely prestige, amassed a wealth of "turquerie".
The Renaissance Wing (Renaissanceflügel) presents a multitude of ornate objects, costumes, and weapons, offering a unique glimpse into the world of the Electors of Saxony during the Renaissance.
State Apartments
A suite of four fully restored staterooms reopened in September 2019, marking the 300th anniversary since they were first constructed by Augustus the Strong. Additionally, the Small Ballroom in the Georgenbau has reopened, showcasing one of the 19th-century additions to the palace.
Burglary
On 25 November 2019, masked burglars stole royal Polish-Saxon jewels and priceless objects from the museum. They disabled a junction box and were able to enter the premises through a diversion. The getaway car was later found in an underground car park. The press called the burglary one of the largest and most significant since World War II, with the loot's worth estimated at nearly $130 million.
(Wikipedia)
Die ehemalige Katholische Hofkirche (heute offiziell Kathedrale Ss. Trinitatis) in Dresden, mit dem Patrozinium der heiligsten Dreifaltigkeit (Sanctissimae Trinitatis), ist die Kathedrale des Bistums Dresden-Meißen und eine Stadtpfarrkirche Dresdens. Mit der Wettinergruft beherbergt sie außerdem die historische Grabstätte der Kurfürsten und Könige von Sachsen.
Die Hofkirche wurde unter Kurfürst Friedrich August II. von Sachsen von Gaetano Chiaveri von 1739 bis 1751 im Stil des Barock errichtet. Im Jahr 1964 zur Konkathedrale erhoben, wurde sie 1980 durch die Verlegung des Bischofssitzes von Bautzen nach Dresden zur Kathedrale des Bistums Dresden-Meißen. Als ehemalige sächsische Hofkirche ist sie durch einen Übergang über die Chiaverigasse mit dem Residenzschloss verbunden. Sie steht am Altstädter Elbufer zwischen Schloss- und Theaterplatz. Ihre Planung begann ein Jahrzehnt nach dem Baubeginn der evangelischen Frauenkirche, die 300 Meter entfernt den Neumarkt prägt. Eigentümer des Kirchgebäudes ist heute der Freistaat Sachsen. Von der Ausstattung sind das monumentale Altargemälde von Anton Raphael Mengs, die barocke Kanzel von Balthasar Permoser und die erhaltene Silbermann-Orgel hervorzuheben.
Geschichte
August der Starke war 1697 zwecks Erwerbs der polnischen Königskrone zum Katholizismus konvertiert. Dies hatte im evangelischen Sachsen für Beunruhigung gesorgt, die sich verstärkte, als 1712 auch sein Sohn, Kurprinz Friedrich August, konvertierte. Dessen Hochzeit mit der Kaisertochter Maria Josepha nährte die Hoffnung Augusts des Starken, eines Tages auch die Kaiserkrone des Heiligen Römischen Reiches für sein Haus zu gewinnen. Er beeilte sich aber, Garantien der Glaubensfreiheit für die Bevölkerung zu verkünden. Dennoch wagte er nicht, mit einem demonstrativen Kirchenbau Unmut zu erregen; er feierte die Heilige Messe diskret in der Schlosskapelle oder ab 1708 in dem zur Kirche umgebauten Opernhaus am Taschenberg. Großzügig förderte er den Bau der evangelischen Frauenkirche, die die Dresdner Bürgerschaft ab 1726 als ein die gesamte Stadt überragendes monumentales Glaubenszeugnis errichtete, und die sehr im Sinne des Königs die Stadtsilhouette bereicherte.
Erst sein Sohn, Friedrich August II., der ihm 1733 als sächsischer Kurfürst und 1734 durch Wahl auch als polnischer König (als August III.) nachfolgte, ließ nun als Gegenzeichen die Katholische Hofkirche planen und erbauen, anfangs noch unter strikter Geheimhaltung. So sprach man zunächst nur von einem „gewissen Bau“. Der Römer Gaetano Chiaveri, der auch in Warschau für den König arbeitete, wurde 1736 mit der Planung beauftragt, von 1739 bis 1755 wurde der Bau ausgeführt.
Infolge des Planes, die Katholische Hofkirche zwischen Elbbrücke und Schloss zu erbauen, mussten die Mondbastei, die Münze und das Komödienhaus abgebrochen und die Ufermauer vorgeschoben werden. Bereits in der ersten Hälfte des 16. Jahrhunderts waren die Bögen der mittelalterlichen Dresdner Elbbrücke bis zum 6. Pfeiler meistenteils zugeschüttet worden, um Platz für den Bau des Georgentores sowie zwei Jahrzehnte später der Dresdner Befestigungsanlagen zu schaffen. Für den Bau der Katholischen Hofkirche erfolgte 1737 die weitere Verfüllung und Aufschüttung bis zum 8. Brückenpfeiler. Im Frühjahr 1740 war der Grundbau, den Chiaveri mit besonderer Sorgfalt durchführen ließ, beendet. Ähnlich wie bei der Dreikönigskirche wich auch hier die Hauptachse infolge der städtebaulichen Disposition von der traditionellen Ostung ab, sodass sich der Chor im Südwesten befindet.
Die Katholische Hofkirche zählt zu den Hauptwerken des Dresdner Barock, obgleich sie der einzige königliche Großbau ist, der von einem Ausländer entworfen wurde und nicht von den Architekten des Dresdner Oberbauamts, die beratend an der Bauausführung mitwirkten. Als stilistische Vorbilder für Chiaveris Bauwerk werden die Kirchen von Francesco Borromini und die Schlosskapelle von Versailles genannt.[3] Den wesentlichen Maßstab setzte der benachbarte Zwinger, das Theatrum Heroicum Augusts des Starken, dem sein Sohn nun ein Theatrum Sacrum an die Seite stellte. Chiaveris Werk hält dem Vergleich mit Matthäus Daniel Pöppelmanns Hauptwerk stand.
Chiaveri verließ Dresden 1748, ohne dass der Bau beendet war; über die Ursachen gibt es einige Vermutungen, sie schließen Verärgerung über den zögernden Bauverlauf wie auch Differenzen mit einheimischen Architekten ein. Nach seinem Weggang gab es noch Veränderungen gegenüber seinem Entwurf, insbesondere an der Orgelempore und den Logen der Königsfamilie, die der Oberlandbaumeister Johann Christoph Knöffel in Rokokoformen gestaltete, welche der italienische Barockbaumeister kaum akzeptiert hätte; auf die von Chiaveri vorgesehene Ausmalung mit einem Deckengemälde wurde verzichtet. Am Turm brachten neben Knöffel auch sein Nachfolger Julius Heinrich Schwarze sowie dessen künftiger Nachfolger Friedrich August Krubsacius ihre Vorstellungen ein. Neben der Kuppel der Frauenkirche prägte er nun die Silhouette der Stadt. „Im damaligen Europa, in dem noch immer konfessionelle Auseinandersetzungen aufflammten, gab es keine andere Hauptstadt, in der zwei der repräsentativsten Kirchen der beiden großen Konfessionen auf engem altstädtischen Raum gemeinsam das Stadtbild bestimmten“ (Joachim Menzhausen).
Der Apostolische Nuntius in Polen, Erzbischof Alberico Archinto, weihte am 29. Juni 1751 die Hofkirche der Heiligsten Dreifaltigkeit (Sanctissimae Trinitatis). Zum Weihegottesdienst wurden dabei die Messe in d-Moll und das Te Deum in D-Dur von Johann Adolph Hasse aufgeführt. Nach Vollendung der Hofkirche wurde 1755 die Hofkapelle im Opernhaus am Taschenberg wieder zum Ballhaus umgebaut. 1765 weilte Chiaveri noch einmal für kurze Zeit in Dresden.
Der Turm der Katholischen Hofkirche wurde von 1867 bis 1868 unter Leitung des Dresdner Stadtbaumeisters Adolph Canzler umfänglich ausgebessert, da der pirnaische Sandstein durch Witterung so schadhaft geworden war, dass kleinere und größere Steinbrocken auf den belebten Schloßplatz fielen. Von 1901 bis 1903 wurde der Turm grundlegend instand gesetzt, da die Außenverkleidung erneut verwittert war. Teilweise hatten auch die vorigen Restaurierungsversuche, bei denen Zementmörtel und Klammern, Dübel und Anker aus Eisen verwendet wurden, neue Schäden angerichtet. Die neue Restaurierung wurde durchgehend mit Vierungen aus Postaer Sandstein und mit Klammern und Ankern aus massivem Kupfer ausgeführt.
Die Kirche wurde 1900 über einen unterirdischen Fernwärmekanal an das erste deutsche Fernheiz- und Elektrizitätswerk angeschlossen, das neben der Hofkirche noch weitere Gebäude am Theaterplatz und der Brühlschen Terrasse mit Wärme und Elektrizität versorgte.
Während der Luftangriffe auf Dresden vom 13. bis 15. Februar 1945 wurde die Kirche mehrfach von Sprengbomben getroffen. Das Dach und die Gewölbe im Innenraum stürzten ein. Die Außenwände wurden beschädigt, teilweise wurden sie vollständig zerstört. Der Wiederaufbau dauerte bis 1965. Die Spuren der Zerstörung sind noch heute an der unterschiedlichen Steinfärbung des Kirchenschiffes erkennbar. Drei der prächtig gestalteten Eckkapellen wurden fast originalgetreu restauriert. Die vierte erhielt eine neue Gestaltung. Der für das ebenfalls nie ausgeführte Deckengemälde von Tiepolo geplante Deckenspiegel wurde erst im Zuge der Sanierungen nach 1990 hinzugefügt.
Von März 2020 bis Februar 2021 war die Kathedrale wegen umfangreichen Sanierungsarbeiten geschlossen. Das Hauptschiff war zeitweise bis zur Decke eingerüstet, um Schäden und Verunreinigungen an Decke und Wand zu beheben. Die Sakristei wurde komplett neu gestaltet und die Kathedrale erhielt ein neues Beleuchtungs- und Lautsprechersystem. Die Gottesdienste wurden zwischenzeitlich – je nach Baustellensituation – vor dem Märtyrer- oder dem Marienaltar in den Seitenschiffen gefeiert. Als Übergangssakristei diente die Bennokapelle.
Architektur und Ausstattung
Äußere Gestalt
Die Kirche ist ein spätes Beispiel des europäischen Barock. Von außen (vor allem von der Seite) sind klar das freistehende hohe Mittelschiff und das es komplett umlaufende niedrigere Seitenschiff zu erkennen. Aus dieser Anordnung ergibt sich eine Besonderheit der Kirche: ein Hauptturm, der zwar mittig sitzt, aber nicht direkt an das Mittelschiff, sondern „nur“ an das Seitenschiff anschließt. Oben am Turm ist eine Inschrift in großen goldenen Buchstaben auf Stein zu erkennen. Diese beginnt mit „D.O.M.“, das für Deo Optimo Maximo steht (dt. „Dem besten und höchsten Gott“, eine Titulatur, die im Römischen Reich dem Höchsten Gott Jupiter vorbehalten war).
Maße der Kirche:
Bruttogrundfläche: 4800 m² (daran gemessen ist die Hofkirche der größte Kirchenbau Sachsens)
Gesamtlänge: 92 m
Gesamtbreite: 54 m
Turmhöhe: 86 m
Mittelschiff (Innenmaße): 52,36 m (Länge) × 17,56 m (Breite) × 32,20 m (Höhe)
Seitenschiffe (Innenmaße): 39,20 m (Länge) × 9,52 m (Breite) × 15,95 m (Höhe)
Figurenschmuck
An der Fassade und auf den Balustraden befinden sich 78 Heiligenstatuen, die der italienische Bildhauer Lorenzo Mattielli und die Dresdner Bildhauer Paul und Jakob Mayer gestalteten. Auf die Gestaltung übte auch der Jesuit und Hofbeichtvater Ignaz Guarini SJ Einfluss aus.
Im Einzelnen sind das, in den Nischen neben dem Haupteingang, die vier Evangelisten: links Johannes und Matthäus sowie rechts Markus und Lukas. Oberhalb des Eingangs stehen die Apostel Petrus und Paulus in den Nischen, umgeben von den vier christlichen Tugenden Fides (Glaube), Spes (Hoffnung), Caritas (Nächstenliebe) und Iustitia (Gerechtigkeit). Oben am Turm stehen die Heiligen: Franz von Sales, Ida, Mauritius, Hubertus, Chrysostomus, Augustus, Norbert und Stanislaus von Krakau.
Auf dem Kirchenschiff stehen auf der unteren Balustrade im Uhrzeigersinn: Andreas, Thomas, Jacobus minor, Simon, Sebastian, Katharina, Joseph, Lucia, Franz von Paola, Johann Nepomuk, Laurentius, Venantius, Bernhard von Clairvaux, Agnes, Maria Magdalena, Florian, Wenzeslaus, Vinzenz von Paul, Anton von Padua, Rosalia, Rochus, Franz von Assisi, Basilius, Stephanus, Casimir, Barbara, Irene, Raymund, Johannes Franz Regis, Franz von Borgia, Franz Xaver, Ignaz von Loyola, Thomas von Aquin, Anna, Apollonia, Johannes der Täufer, Judas Thaddäus, Philippus, Jacobus maior und Bartholomäus.
Die obere Balustrade wird bestanden von: Magnus, Kaiser Heinrich, Aloysius, Dominicus, Theresia von Avila, Stanislaus Kostka, Petrus von Alcantara, Felix von Cantalice, Georg, Leopold, Karl Borromäus, Caecilia, Benno, Magdalena de Pazzi, Clara, Benedict von Nursia, Ludwig dem Heiligen und Prokop.
In den beiden Nischen an der Rückseite der Kirche befinden sich die Kirchenlehrer Augustinus und Ambrosius.
Wettiner-Gruft und Bischofsgruft
Die Katholische Hofkirche wurde mit Grabgewölben erbaut und zu Beginn die Stiftergruft angelegt. Vier Tage nach der Kirchweihe 1751 wurden die Särge von drei verstorbenen Kindern des Kurfürstenpaares in die Gruft der Katholischen Hofkirche überführt. In der Großen Gruft unter dem rechten Seitenschiff, der sogenannten Antonsgruft, fanden ab 1763 Bestattungen statt. Im Jahr 1823 erweiterte der Oberlandbaumeister Christian Friedrich Schuricht die Gruft der Kirche um die Königsgruft, sodass insgesamt drei Grufträume bestanden. Unter dem linken Seitenschiff wurde um 1900 als vierte die Neue Gruft angelegt. Diese vier Grufträume der Wettiner-Gruft sind untereinander mit Gängen verbunden.
Insgesamt fanden 49 Mitglieder der albertinischen Linie des Hauses Wettin sowie deren Ehepartner und Kinder in der Wettiner-Gruft der Hofkirche ihre letzte Ruhe. Die Könige, die in der Wettiner-Gruft beerdigt wurden, sind August III. (König von Polen), Friedrich August I., Anton von Sachsen, Friedrich August II., Johann von Sachsen, Albert von Sachsen, Georg von Sachsen und Friedrich August III. (allesamt Könige von Sachsen). Das Herz Augusts des Starken befindet sich in einer Kapsel in der Stiftergruft.
Von der Neuen Gruft ist als fünfter Gruftraum die bisher jüngste Gruft, die Bischofsgruft, zugänglich, die jedoch nicht zu den Wettiner-Grüften zählt. Da die Katholische Hofkirche 1980 zur Kathedrale erhoben wurde, dient sie seitdem auch als Grablege für die Bischöfe des Bistums Dresden-Meißen. Im Jahr 1988 wurde daher die Bischofsgruft angelegt, in der 1996 als erster Gerhard Schaffran in einem Wandgrab seine letzte Ruhestätte fand.
(Wikipedia)
Das Residenzschloss Dresden ist die ehemalige Hauptresidenz der Kurfürsten und Könige von Sachsen in der Altstadt von Dresden. Die Vierflügelanlage wurde 1548 durch Kurfürst Moritz von Caspar Vogt von Wierandt im Renaissancestil begonnen und 1901 durch König Albert von Gustav Dunger und Gustav Frölich im Neurenaissancestil vollendet. Nach der Zerstörung 1945 wird das Residenzschloss seit 1986 für die Staatlichen Kunstsammlungen Dresden wiederaufgebaut und ist inzwischen eines der meistbesuchten Museen der Stadt. Hervorzuheben sind das Grüne Gewölbe, das Kupferstich-Kabinett, das Münzkabinett, die Rüstkammer und die Paraderäume Augusts des Starken.
Geschichte
Gründung und Ausbau
Um 1220/30 errichtete der Burggraf von Dohna auf dem Gelände des heutigen großen Schlosshofes eine Burg. Im Bereich der Schloßstraße standen im 12. Jahrhundert erbaute einfache Wohnhäuser, die 1220 bei einem Großbrand zerstört wurden. Im Jahre 1289 erfolgte eine erstmalige urkundliche Erwähnung der Burganlage als Castrum; der Innenhof der damaligen Burg maß 38 mal 36 Meter.
Um 1400 begann der Ausbau der Burg unter Wilhelm dem Einäugigen zu einer fürstlichen Residenz. Damals wurden die unteren Teile des Hausmannsturms sowie der östlich damit verbundene zweigeschossige Palas von Grund auf errichtet. Vermutlich wurde das Erdgeschoss des Palas durch eine Hofstube und das Obergeschoss durch ein herrschaftliches Wohnappartement eingenommen. Hierdurch verlagerte sich der Schwerpunkt der Burganlage vom Süden mit der im 13. Jahrhundert errichteten Kemenate auf die Nordseite des annähernd quadratischen Burghofes.
Von 1468 bis 1480 wurde die Anlage zu einer geschlossenen Vierflügelanlage erweitert, die in einem um 1530 entstandenen und seit 1945 verschollenen Holzmodell dokumentiert war. Dabei wurde der zweigeschossige Palas von 1400 im Norden um ein Geschoss für die Räume des Frauenzimmers aufgestockt und in einer östlichen Erweiterung das Appartement des Kurfürsten untergebracht. Im Westen entstand damals der Flügel mit Schlosskapelle und Küchenbereich. Im Osten entstand ein neuer dreigeschossiger Flügel, vermutlich mit Hofstube und Küche im Erdgeschoss, Wohnbereichen im ersten Obergeschoss und einem großen Festsaal im zweiten Obergeschoss. Erschlossen wurde die Anlage durch ein aufwändiges Torhaus im Süden, dass um 1472 durch den Hofbaumeister Arnold von Westfalen errichtet wurde.
Der am Schlossplatz liegende Georgenbau mit dem Georgentor wurde unter Herzog Georg 1530–1535 erbaut. Der später weitgehend veränderte und nur noch in Fragmenten erhaltene Bau gehörte zu den bedeutendsten Bauten der Architektur der Renaissance in Deutschland. Von großer Bedeutung war auch sein figürlicher Bauschmuck, der in der Werkstatt des Bildhauers Christoph Walther I angefertigt wurde. Herzog Georg ließ das alte stark befestigte Elbtor am linkselbischen Aufgang zur Brücke durch einen fast 30 Meter hohen Wohnbau ersetzen. Dabei wurden Teile des mittelalterlichen Elbtores, des damaligen Stadtausgangs zur Elbbrücke, integriert. Unter dem Georgentor hat sich ein Bogen der alten Elbbrücke erhalten.
Die heutige äußere Gestalt des Georgenbaus geht auf einen Umbau im Jahr 1899 zurück. Die Neorenaissance-Fassade mit hohem Schaugiebel verbindet die Nordostecke des Schlosses mit dem auf der anderen Seite der Schloßstraße gelegenen, 1565–1567 errichteten Kanzleihaus. Diese Fassade und die integrierte Triumphpforte empfingen den Besucher bei seinem elbseitigen Eintritt in die Stadt Dresden.
Kurfürstliches Schloss
In den Jahren 1548–1556 wurde der Schlosshof nach Westen auf die doppelte Größe gebracht. Unter Verwendung der älteren Bauteile im Osten entstand mit dem neuen Flügel auf der Westseite, den drei Treppentürmen in den Hofecken und dem Altan mit Säulenarkaden vor dem Hausmannsturm ein prachtvolles Schloss der Renaissance, das auf die Erwerbung der Kurwürde durch Moritz von Sachsen reagierte. Ihn nennt im Großen Schlosshof das umlaufende Fassaden-Schriftband mit der Inschrift MAURITIUS / DEI GRATIA DUX SAXONIÆ SACRI ROMANI IMPERII / ARCHI=MARSCHALCUS ET ELECTOR LANDGRAVIUS / THURINGÆ MARCHIO MISNIÆ BURGGRAVIUS / MAGDEBURGENSIS – Moritz, durch Gottes Gnade Herzog von Sachsen, des Heiligen Römischen Reiches Erzmarschall und Kurfürst, Landgraf von Thüringen, Markgraf von Meißen, Burggraf von Magdeburg. Für den Umbau wurden auch renommierte Künstler von außerhalb an den Hof geholt, so die Gebrüder Gabriel und Benedetto Tola, die die Fassaden mit Szenen aus Bibel und römischer Geschichte mittels Sgraffitotechnik verzierten und in der Loggia die farbigen Fresken mit den Szenen der Königin von Saba bei König Salomon und der Drei Weisen aus dem Morgenland schufen (heute rekonstruiert). Moritz’ Bruder und Nachfolger Kurfürst August, der von 1553 bis 1586 regierte, vollendete den Bau, der zu einem Hauptwerk der Sächsischen Renaissance wurde.
Einige Jahrzehnte später, 1586–1591, wurde als Erweiterung des Schlosskomplexes nach Osten das Stallgebäude errichtet und der Stallhof unter Kurfürst Christian I. angelegt. Beinahe zeitgleich dazu entstand 1589–1594 der kleine Schlosshof auf der Südseite mit einem zweigeschossigen Torhaus nach Osten zur Schloßstraße hin nach Plänen des Architekten Paul Buchner.
Der Hausmannsturm wurde ursprünglich um 1400 als neuer Hauptturm der Burg errichtet. In den Jahren 1674–1676 wurde er von dem Architekten Wolf Caspar von Klengel mit einer komplizierten Dachlandschaft aufgestockt und in seiner heutigen Form vollendet. Er war mit seinen 100,27 Metern Höhe bis 1945 der höchste Turm Dresdens. Dieser nordwestliche Eckturm des Schlosses, der 1991 seine im Zweiten Weltkrieg verlorene Spitze zurückbekommen hat, ist eines der markantesten Bauwerke Dresdens. Von der Aussichtsplattform in 38,62 Meter Höhe ist ein weiter Blick über Dresden möglich.
Ein Schlossbrand 1701 zerstörte unter anderem den Georgenbau, den Ostflügel mit Riesensaal und den Schössereiturm, die man 1717–1719 wieder aufbaute. Die Innenräume im zweiten Obergeschoss wurden dabei barock gestaltet, unter anderem das Audienzgemach, das Schlafzimmer Augusts des Starken, das Turmzimmer und das Porzellanzimmer. Ein Zwischenflügel beherbergte die Gemäldegalerie Alte Meister. Die Bauleitung hatte der Ingenieuroffizier Johann Georg Maximilian von Fürstenhoff, ein illegitimer Halbbruder des Königs. Louis de Silvestre gestaltete im Jahre 1715 das Deckengemälde im Schlafzimmer König Augusts des Starken und 1719 dasjenige im Thronsaal.
Zwischen 1723 und 1729 wurde im Erdgeschoss des Westflügels ein aus neun Räumen bestehender prunkvoller Sammlungsbereich eingerichtet, der den Namen Grünes Gewölbe erhielt. Bis 1725 wurden der Pretiosensaal im Norden und das anschließende Eck-Kabinett in ihren heutigen Formen unter Einbeziehung der Gewölbearchitektur und des Stucks der Renaissancezeit geschaffen. 1727 veranlasste August eine Erweiterung des ursprünglichen Grünen Gewölbes mit Wanddurchbrüchen nach Süden um weitere Räume. Die Architektur der Schatzkammern gestaltete Matthäus Daniel Pöppelmann in Verbindung mit Raymond Leplat.
1737 kam es zur Auflösung der lutherischen Schlosskapelle, die erst in den letzten Jahren teilweise rekonstruiert wurde. Auf dem Schlossturm wurde 1775 der erste Blitzableiter Dresdens angebracht.
Das Turmgeläut besteht aus drei Bronzeglocken, welche als Schlagglocken fungieren.
Königliches Schloss
In den Jahren 1889–1901 nahm man anlässlich der 800-Jahr-Feier des Hauses Wettin einen großen Schlossumbau durch Gustav Frölich und Gustav Dunger mit Errichtung eines neuen südlichen Schlossflügels und einheitlicher Fassadengestaltung im Neorenaissancestil vor. 1899 wurde ein hölzerner Übergang zwischen Schloss und Katholischer Hofkirche fertiggestellt, im Volksmund „Seufzerbrücke“ genannt (nach dem Ponte dei Sospiri, der den Dogenplast in Venedig mit dem auf der anderen Kanalseite gelegenen Gefängnis verbindet), weil sie das Bild der zwei Bauwerke nicht gerade positiv beeinflusste. Die Straße darunter trug lange Zeit keinen Namen und wurde erst im März 2007 nach dem Architekten der Hofkirche als Chiaverigasse benannt. Im Rahmen der Umbauarbeiten wurde auch ein Fernheiz- und Elektrizitätswerk in direkter Nachbarschaft der Semperoper errichtet, das sowohl das Schloss als auch die Oper und das neu errichtete Polizeipräsidium beheizte. Mit Rücksicht auf die umgebende Bausubstanz gestaltete man den Industriebau neobarock.
Das Schloss ist baugeschichtlich bedeutsam, da alle Stilrichtungen von der Romanik bis zum Historismus ihre Spuren an dem Bauwerk hinterlassen haben. Zwischen 1904 und 1907 übertrug man den auf der Außenseite des Stallhofes befindlichen Fürstenzug auf etwa 23.000 Meißner Porzellanfliesen. Das Residenzschloss war der Hauptsitz der sächsischen Kurfürsten (1547–1806) und Könige (1806–1918). Als Stammsitz der albertinischen Linie des Hauses Wettin war es ab dem 16. Jahrhundert prägend für die politische und kulturelle Entwicklung Dresdens und Sachsens. Es ist eines der ältesten Bauwerke der Stadt. Nach der Auflösung des Königreichs und der Gründung des Freistaats Sachsen wurde im Jahr 1922 im zweiten Obergeschoss des Residenzschlosses ein Schlossmuseum eröffnet.
Zerstörung und Wiederaufbau
Infolge der Luftangriffe auf Dresden gegen Ende des Zweiten Weltkriegs brannte am 13. Februar 1945 das Schloss bis auf seine Grundmauern nieder, wobei auch das Grüne Gewölbe beschädigt wurde. Das Zinn der Dächer schmolz durch die hohen Temperaturen. Der Hausmannsturm verlor seine Spitze; der Turmstumpf wurde 1946 notdürftig abgedeckt. Nach dem Krieg wurde in einem Teil der Kellergewölbe einige Jahre lang eine Pilzzucht betrieben. Am 13. Februar 1985, dem Wiedereröffnungstag der Semperoper, stellte der damalige Staatschef Erich Honecker in Aussicht, dass der Außenbau des Schlosses 1990 wiederhergestellt sein würde. Allerdings war 1989 noch nicht einmal der Westflügel fertig.
Nach der Deutschen Wiedervereinigung erhielt der Hausmannsturm 1991 im Zuge des Wiederaufbaus des Schlosses seine Spitze zurück. 2004 folgte die Einrichtung der Kunstbibliothek, der Einzug des Kupferstichkabinetts, eines Studiensaales und des Neuen Grünen Gewölbes in den Westflügel und den Bärengartenflügel. Im März 2006 fand die Wiedereröffnung der im Erdgeschoss befindlichen Schatzkammer „Historisches Grünes Gewölbe“ statt. Die Fürstengalerie wurde im August 2009 übergeben. Die Wiederherstellung der Englischen Treppe und der Türckischen Cammer erfolgte im März 2010.
Einer der bedeutendsten Räume des Schlosses, der Riesensaal im zweiten Obergeschoss des Ostflügels, wurde 2006/2007 im Rohbau fertiggestellt. 1480 als zentraler Saal der Residenz angelegt, ist der im 16. Jahrhundert in seiner heutigen Dimension errichtete Riesensaal mit einer Länge von fast 60 Metern und einer Breite von 13 Metern der größte Raum des Schlosses. Seit Februar 2013 befindet sich hier ein Teil der neuen Dauerausstellung der Rüstkammer.
Die Schlosskapelle, in welcher Heinrich Schütz wirkte, wurde in den Jahren 1988/1989 (Kubatur) und 2010–2013 (Schlingrippengewölbe) rekonstruiert.[ Als Eingang zur Schlosskapelle ist eine Kopie des Renaissance-Portals von 1555 im großen Schlosshof eingebaut worden. Die Wiedererrichtung der Fritzsche-Orgel wird erwogen.
Am 25. Januar 2019 wurde der rekonstruierte Kleine Ballsaal im Georgenbau wiedereröffnet. Dieser ist einer der wenigen Räume des Dresdner Schlosses, die in ihrer ursprünglichen Fassung wiederaufgebaut wurden. Geplant ist eine Nutzung als Sonderausstellungsbereich. Die Gesamtbaukosten zur Restaurierung des Saals betrugen 6,1 Millionen Euro.
Der große Schlosshof, bei dem für alle Fassaden die alte Putztechnik Sgraffito eingesetzt ist, soll zukünftig für Freiluftveranstaltungen genutzt werden. Der kleine Schlosshof wurde mit einem transparenten Rauten-Membrandach des Architekten Peter Kulka überspannt und dient als Besucherfoyer. Die Paraderäume im Westflügel wurden bis 2019 rekonstruiert und am 28. September 2019 eröffnet.[15] Die Gewehrsammlung der sächsischen Kurfürsten, die wieder im Langen Gang zwischen Georgenbau und Johanneum präsentiert wird, wurde 2021 in die Ausstellung einbezogen. Die Kosten für die Wiederherstellung des Schlosses werden auf etwa 380 Millionen Euro beziffert. Der Abschluss der Rekonstruktion des Residenzschlosses ist für 2023 geplant (mit Ausnahme der Schlosskapelle).
Museen und Ausstellungen
Der Museumskomplex im Schloss umfasst das Historische und das Neue Grüne Gewölbe, das Münzkabinett, das Kupferstich-Kabinett und die Rüstkammer mit der Türckischen Cammer, die alle zu den Staatlichen Kunstsammlungen Dresden gehören. Ebenfalls im Schloss befindet sich die Kunstbibliothek für kunsthistorische Spezialliteratur. Ihr 260.000 Bände umfassender Bestand orientiert sich am Sammlungsprofil der im Schloss untergebrachten Museen.
Grünes Gewölbe
Seit 2004 ist das Neue Grüne Gewölbe in der ersten Etage und seit 2006 das Historische Grüne Gewölbe im Erdgeschoss wieder zu besichtigen. Während im Neuen Grünen Gewölbe die Kunstobjekte im Vordergrund stehen, besticht das historische Gewölbe zusätzlich durch die prachtvolle Ausstattung der Räume. Im Gegensatz zum Neuen Grünen Gewölbe, das jederzeit in den Öffnungszeiten zu besuchen ist, ist der Zugang zum historischen Gewölbe nur mit einem vorab erworbenen Zeitticket möglich.
Das Historische Grüne Gewölbe befindet sich in den Gewölberäumen des Schlosses. Das spätbarocke Kunstwerk liegt in den ursprünglichen Räumen. Inmitten rekonstruierter Renaissance- und Barocksäle werden die ungefähr 3000 Exponate wie einst frei auf den Konsolen der Schauwände und Prunktische präsentiert. Am 25. November 2019 wurde in diesen Teil der Sammlung eingebrochen und beim Dresdner Juwelendiebstahl Schätze im nicht-nennbaren Wert entwendet.
Das Neue Grüne Gewölbe zeigt in 200 Vitrinen als modernes Schatzkammer-Museum fast 1100 Kunstschätze aus drei Jahrhunderten. Es werden Arbeiten des Hofgoldschmieds Johann Melchior Dinglinger und anderer ausgestellt. Bedeutsam sind der berühmte Tischaufsatz Hofstaat zu Delhi, die Zierschale Bad der Diana, der Kirschkern mit 185 Angesichtern. Herausgehoben der Dresdner Grüne Diamant, der größte geschliffene, von Natur aus grüne Diamant.
Kupferstich-Kabinett
Das Kupferstich-Kabinett ist Kunstmuseum für Zeichnungen, druckgraphische Werke und Fotografien. Hier sind Zeichnungen und graphische Blätter von Albrecht Dürer, Rembrandt, Michelangelo und Caspar David Friedrich bis hin zu Picasso ausgestellt. Kupferstiche und Holzschnitte finden sich neben seltenen Beispielen aus der Geschichte der künstlerischen Fotografie. In dreimonatigen Wechselausstellungen werden zu bestimmten Themen oder Künstlern jeweils etwa 100 bis 130 Objekte gezeigt.
Münzkabinett
Das Münzkabinett verwahrt ungefähr 300.000 Objekte von der Antike bis zur Gegenwart. Neben Münzen und Medaillen umfasst die Sammlung auch Orden und Ehrenzeichen, historische Wertpapiere, Banknoten, Münz- und Medaillenstempel sowie münztechnische Geräte. Ungefähr 3300 Exponate werden seit 2015 in den ehemals fürstlichen Wohnräumen im Georgenbau des Schlosses gezeigt.
Rüstkammer
Die Rüstkammer umfasst historische Waffen, Kleider, Rüstungen und Bildnisse des 15. bis 18. Jahrhunderts. In der gesamten Sammlung befinden sich etwa 10.000 Kunstgegenstände, angefertigt von Gold- und Waffenschmieden, Kunsthandwerkern, Malern und höfischen Kostümschneidern aus ganz Europa. Schwerpunkte der Sammlung bilden die Hieb- und Stichwaffen mit etwa 2200 Schwertern, Degen und Dolchen sowie die historischen Feuerwaffen, bestehend aus rund 1400 Pistolen und 1600 Gewehren. Am 20. August 2021 wurde im Langen Gang die Gewehrgalerie eröffnet.
Ein besonderer Teil der Rüstkammer ist die sogenannte Türckische Cammer. Sie umfasst die osmanische Sammlung der Rüstkammer. Sie zählt mit ihren mehr als 600 Objekten auf 750 Quadratmetern zu den ältesten und weltweit bedeutendsten Sammlungen osmanischer Kunst außerhalb der Türkei. Bekannt ist das Dreimastzelt aus dem Zeithainer Lager. Aufgrund ihrer Sammelleidenschaft und ihres Strebens nach fürstlicher Machtdarstellung trugen die sächsischen Kurfürsten vom 16. bis zum 19. Jahrhundert Schätze der Türkenmode zusammen.
Paraderäume
Am 28. September 2019 wurden die Königlichen Paraderäume Augusts des Starken wiedereröffnet. Sie waren wie das gesamte Schloss im Februar 1945 zerstört worden. Die Räume wurden nach Vorlagen und Farbfotos rekonstruiert und mit den damals ausgelagerten Stücken möbliert, der Audienzstuhl, Kaminschirm und Leuchter. Zu den Paraderäumen gehören folgende Räume:
Eckparadesaal (Entree zum Paradeappartment)
1. und 2. Vorzimmer (Defilade)
Audienzgemach mit dem Deckengemälde „Allegorie auf die weise Regierung des Hauses Wettin“ (urspr. von Louis de Silvestre, 1719).
Paradeschlafzimmer mit dem Deckengemälde „Aurora, die Welt erweckend“ (urspr. von Louis de Silvestre, 1715[10])
1. und 2. Retirade mit königlicher Garderobe
Kleines und großes Bilderkabinett mit dem Krönungsornat von August dem Starken (hinter dem Audienzgemach)
Das Turmzimmer mit dem Porzellankabinett befindet sich vor den eigentlichen Paraderäumen im 2. Obergeschoss des Hausmannsturms.
Ein Wandteppich „Die Ohnmacht der Esther“ nach einem Gemälde des französischen Hofmalers Antoine Coypel (1661–1722), der ursprünglich im Speisesaal des Dresdner Residenzschlosses hing und seit 1945 als Kriegsverlust galt, konnte zurückerworben werden. Er wurde 2023 im Rahmen der Ausstellung Napoleon und „Die Ohnmacht der Esther“ ausgestellt.
Mit der Hängung der beiden letzten Wandteppiche im März 2024 ist die Innenausstattung der königlichen Paraderäume im Dresdner Residenzschloss komplett. Die „fadengenaue“ Herstellung von 34 Tapisserien erfolgte seit 2011 in der Königlichen Tapisseriemanufaktur Madrid nach einem erhalten gebliebenen Original.
Ausstellungen
Im 1. Obergeschoss der Rüstkammer sind drei Dauerausstellungen zu besichtigen. Ihnen sollen im Zuge des weiteren Wiederaufbaus des Residenzschlosses weitere Dauerausstellungen folgen.
Die Dauerausstellung „Weltsicht und Wissen um 1600“ zeigt Kunstwerke der Spätrenaissance und Sammlungsstücke aus der Dresdner Kunstkammer, die im Jahre 1560 vom sächsischen Kurfürsten August im Dresdner Schloss eingerichtet wurde. Die Ausstellung befindet sich in den einstigen privaten Wohnräumen des Kurfürsten mit Blick auf die Elbbrücke. In sieben Räumen werden auf etwa 600 Quadratmetern Kabinettschränke, Musikinstrumente, Brettspiele, Gemälde, Kombinationswaffen, Werke der Goldschmiedekunst, Werkzeuge und Gartengeräte sowie Exotica aus aller Welt gezeigt. Der beschädigte Taufstein, kostbare Silbergefäße und weitere originale Bauteile aus der Dresdner Schlosskapelle verweisen auf das Bekenntnis der sächsischen Kurfürsten zur lutherischen Reformation. Weitere Räume sind der Silberwaffensaal und der Kleine Ballsaal.
Die Dauerausstellung „Auf dem Weg zur Kurfürstenmacht“ im Ostflügel folgt dem Weg der Wettiner von der Erlangung der Kurwürde 1423 durch Friedrich den Streitbaren bis zur Übernahme der Kurfürstenmacht durch die Albertiner Moritz von Sachsen 1547 und August von Sachsen 1553. Dabei werden auch die Verbindungen zwischen Kurfürstenmacht und Reformation verdeutlicht. Im Mittelpunkt steht das Original des „Moritzmonuments“ von Hans Walther II (1553–1555), dessen Kopie an der Brühlschen Terrasse zu sehen ist. Es stellt die Übergabe des Kurschwertes und damit der Macht von Kurfürst Moritz an seinen Bruder August dar.
Die Dauerausstellung „Kurfürstliche Garderobe“ im Nordflügel präsentiert insgesamt 13 kostbare Gewänder der Kurfürsten Moritz, August, Christian I., Christian II. und Johann Georg I. aus der Renaissance und dem Frühbarock in der Zeit von 1550 bis 1650, darunter sechs vollständige Herrscherkostüme (das „Landschaftskleid“ von 1611 des Kurfürsten Johann Georg I., welches das Elbtal zwischen Dresden und Meißen darstellt und ein Weihnachtsgeschenk seiner Mutter im Jahr seines Regierungsantritts ist) und vier Damenkleider.
(Wikipedia)
Important Border Abbey featured in THE HUNTER and THE RAIDER. In the Raider, it's where Robbie meets Robert Clifford to discuss the terms for releasing Rosalin (Chapter 17).
The Temple Mount, known in Arabic as the Haram al-Sharif, is one of the most important religious sites in the Old City of Jerusalem. It has been used as a religious site for thousands of years. At least four religious traditions are known to have made use of the Temple Mount: Judaism, Christianity, Roman religion, and Islam. The present site is dominated by three monumental structures from the early Umayyad period: the al-Aqsa Mosque, the Dome of the Rock and the Dome of the Chain. Herodian walls with additions dating back to the late Byzantine and early Islamic periods cut through the flanks of the Mount. It can be ascended via four gates, with guard posts of Israeli police in the vicinity of each.
Judaism regards the Temple Mount as the place where God chose the divine presence to rest; according to the rabbinic sages whose debates produced the Talmud, it was from here the world expanded into its present form and where God gathered the dust used to create the first human, Adam. The site is the location of Abraham's binding of Isaac. According to the Bible, two Jewish Temples stood at the Temple Mount, though there is no proof for the first temple.
However, the existence of Solomon's Temple on the Temple Mount is widely accepted. According to the Bible the site should function as the centre of all national life—a governmental, judicial and, of course, religious centre. During the Second Temple period it functioned also as an economic centre. From that location the word of God will come out to all nations, and that is the site where all prayers are focused. According to Jewish tradition and scripture (2 Chronicles 3:1-2), the first temple was built by King Solomon the son of King David in 957 BC and destroyed by the Babylonians in 586 BC. The second was constructed under the auspices of Zerubbabel in 516 BC and destroyed by the Roman Empire in 70 AD. Afterwards the site remained undeveloped for six centuries, until the Arab conquest.
Jewish tradition maintains it is here the Third and final Temple will also be built. The location is the holiest site in Judaism and is the place Jews turn towards during prayer. Due to its extreme sanctity, many Jews will not walk on the Mount itself, to avoid unintentionally entering the area where the Holy of Holies stood, since according to Rabbinical law, some aspect of the divine presence is still present at the site. It was from the Holy of Holies that the High Priest communicated directly with God.
Among Sunni Muslims, the Mount is widely considered the third holiest site in Islam. Revered as the Noble Sanctuary, and the location of Muhammad's journey to Jerusalem and ascent to heaven, the site is also associated with Jewish biblical prophets who are also venerated in Islam (Quran 2:4, 34:13-4). After the Muslim conquest of Jerusalem in 637 AD, Umayyad Caliphs commissioned the construction of the al-Aqsa Mosque and Dome of the Rock on the site. The Dome was completed in 692 AD, making it one of the oldest extant Islamic structures in the world, after the Kaabah. The Al Aqsa Mosque rests on the far southern side of the Mount, facing Mecca. The Dome of the Rock currently sits in the middle, occupying or close to the area where the Bible mandates the Holy Temple be rebuilt.
In light of the dual claims of both Judaism and Islam, it is one of the most contested religious sites in the world. Since the Crusades, the Muslim community of Jerusalem has managed the site as a Waqf, without interruption. As the site is part of the Old City, controlled by Israel since 1967, both Israel and the Palestinian Authority claim sovereignty over it, and it remains a major focal point of the Arab–Israeli conflict. In an attempt to keep the status quo, the Israeli government enforces a controversial ban on prayer by non-Muslim visitors.
Rio de Janeiro - 09/05/2016 - URCA
Treino do Fluminense nesta manhã na EsEFEx, Urca.
FOTO NELSON PEREZ/FLUMINENSE F.C.
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Thomas Hirschhorn worked together with local inhabitants of the Bijlmermeer area of Amsterdam to construct a home for his Spinoza Festival project. The home was inaugurated at may 3. This summer they will conduct a series of activities in and around the spinoza centre. www.thebijlmerspinozafestival.nl/
Hiya, girls! I really do love blogging, but the stress of doing so many posts, and not enough time has finally come to a head. I am trying to get a store up in SL, plus I have my online crochet store too IRL. I am cutting back on sponsors and blogging. I have already left the groups, I choose to leave. I wish you all the best and I hope there are no hard feelings. I will still be blogging, but just not as frequently as much. See you all soon! <33
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Rio de Janeiro - 21/08/2017 - Maracanã.
Fluminense enfrenta o Atlético-MG esta noite no Maracanã pela 21ª rodada do Campeonato Brasileiro 2017.
FOTO LUCAS MERÇON / FLUMINENSE F.C.
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Tashiding Monastery.
This important monastery belonging to the Nyingmapa order was built on top of a hill that looms up between the Rathong river and the Rangit river, where a rainbow emanating from Mount Khangchendzonga came to an end. At first only a small Lhakhang was built by Ngadak Sempa Chempo inthe 17th Century. The main monastery was built by Pedi Wangmo during the reign of Chakdor Namgyal and some of the statues built then still exist. Carved skillfully on flagstones surrounding the monastery are holy Buddhist mantras like "Om Mane Padme Hum" .
Konark Sun Temple ([koɳarəkə]; also Konârak) is a 13th-century Sun Temple at Konark in Odisha, India. It is believed that the temple was built by king Narasimhadeva I of Eastern Ganga Dynasty around 1250 CE. The temple is in the shape of a gigantic chariot elaborately carved stone wheels, pillars and walls. A major part of the structure is now in ruins. The temple is a UNESCO World Heritage Site and has also featured on various list of Seven Wonders of India.
ETYMOLOGY
The name Konark derives from the combination of the Sanskrit words, Kona (corner) and Arka (sun), in reference to the temple which was dedicated to the Sun god Surya.
The monument was also called the Black Pagoda by European sailors. In contrast, the Jagannath Temple in Puri was called the White Pagoda. Both temples served as important landmarks for the sailors.
ARCHITECTURE
The temple was originally built at the mouth of the river Chandrabhaga, but the waterline has receded since then. The temple has been built in the form of a giant ornamented chariot of the Sun god, Surya. It has twelve pairs of elaborately carved stone wheels which are 3 meters wide and is pulled by a set of seven horses (4 on the right and 3 on the left). The temple follows the traditional style of Kalinga architecture. It is carefully oriented towards the east so that the first rays of sunrise strikes the principal entrance. The temple is built from Khondalite rocks.
The original temple had a main sanctum sanctorum (vimana), which was supposedly 70 m tall. Due to the weight of the super structure and weak soil of the area the main vimana fell in 1837. The audience hall (Jagamohana), which is about 30 m tall, still stands and is the principal structure in the surviving ruins. Among the structures, which have survived to the current day, are the dance hall (Nata mandira) and dining hall (Bhoga mandapa).
The Konark temple is also known for its erotic sculptures of maithunas.
Two smaller ruined temples have been discovered nearby. One of them is called the Mayadevi Temple and is located southwest from the entrance of the main temple. It is presumed to have been dedicated to Mayadevi, one of the Sun god's wives. It has been dated to the late 11th century, earlier than the main temple. The other one belongs to some unknown Vaishnava deity. Sculptures of Balarama, Varaha and Trivikrama have been found at the site, indicating it to be a Vaishnavite temple. Both temples have their primary idols missing.
A collection of fallen sculptures can be viewed at the Konark Archaeological Museum which is maintained by the Archaeological Survey of India.
HISTORY
ANCIENT TEXTS
According to Bhavishya Purana and Samba Purana, there may have been a sun temple in the region earlier than current one, dating to the 9th century or earlier. The books mention three sun temples at Mundira (possibly Konark), Kalapriya (Mathura), and Multan.
According to the scriptures, Samba, the son of Krishna, was cursed with leprosy. He was advised by the sage, Kataka, to worship the sun god to cure his aliment. Samba underwent penance for 12 years in Mitravana near the shores of Chandrabhaga. Both the original Konark temple and the Multan temple have been attributed to Samba.
The Periplus of the Erythraean Sea (1st Century CE) mentions a port called Kainapara, which has been identified as current day Konark.
SUN DIAL AND TIME
The wheels of the temple are sundials which can be used to calculate time accurately to a minute including day and night.
SECOND TEMPLE
According to the Madala Panji, there was another temple in the region. It was built by one Pundara Kesari. He may have been Puranjaya, the 7th century ruler, of the Somavasmi Dynasty.
NARASIMHADEVA I
The current temple is attributed to Narasimhadeva I of the Eastern Ganga Dynasty. His reign spanned from 1238 to 1264 CE. The temple may have been a monument to his victory against Tughral Tughan Khan.
DHARMAPADA´S TALE
According to local folklore, Narasimhadeva I had hired a chief architect called Bisu Maharana to build the temple. After a period of twelve years, a workforce of twelve thousand almost finished the construction. But, they failed to mount the crown stone. The impatient king ordered the temple to be finished in three days or the artisans be put to death. At the time, Bisu Maharana's twelve-year-old son, Dharmapada arrived at the site. Bisu Maharana had never seen his son, as he had left his village when his wife was still pregnant. Dharmapada successfully proposed a solution to mount the crown stone. But, the artisans were still apprehensive that the king will be displeased to learn that a boy succeeded where his best artisans failed. Dharmapada climbed onto the temple and leapt into the water to save his father and his co-workers.
COLLAPSE
There have been several proposed theories for the collapse of the main sanctum. The date of the collapse is also not certain.
The Kenduli copper plates of Narasimha IV (Saka 1305 or 1384 CE) states the temple to be in a perfect state.
In the 16th century Ain-i-Akbari, Abul Fazl also mentions Konark being in a proper state. The account also mentions the cost of construction being 12 years of revenue.
The cause of collapse is also placed on Kalapahad who invaded Odisha in 1568.
In 1627, the then Raja of Khurda had removed the sun idol from Konark and moved it to the Jagannath temple in Puri.
James Fergusson (1808–1886) had the opinion that marshy foundation had caused the collapse. But, the structure has shown no sign of sinking into its foundation. Fergusson, who visited the temple in 1837, recorded a corner of the main sanctum still standing. It also fell down in 1848 due to a strong gale.
According to Percy Brown (1872–1955), the temple was not properly completed and so it collapsed. This contradicts earlier recorded accounts of the temple being in a proper state.
In 1929, an analysis of a moss covered rock estimated the date of abandonment at around 1573.
Other proposed causes include lightning and earthquake.
ARUNA STAMBHA
In the last quarter of the 18th century, when worship had ceased in the temple, the Aruna stambha (Aruna pillar) was removed from the entrance of Konark temple and placed at the Singha-dwara (Lion's Gate) of the Jagannath temple in Puri by a Maratha Brahmachari called Goswain (or Goswami). The pillar is made of monolithic chlorite and is 10.26 m tall . It is dedicated to Aruna, the charioteer of the Sun god.
PRESERVATION EFFORTS
In 1803, requests were made for conservations by the East India Marine Board, but only removal of stones from the site was prohibited by the Governor General. As a result, a part of the main tower, which was still standing, collapsed in 1848.
The then Raja of Khurda removed some stones and sculptures to use in a temple he was building in Puri. A few gateways and some sculptures were destroyed in the process. In 1838, after the depredation of the Raja of Khurda, Asiatic Society of Bengal requested conservation, but the requests were denied and only preventative of human-caused damages were guaranteed. The Raja was forbidden to remove any more stones.
In 1859, Asiatic Society of Bengal proposed moving an architrave depicting the navagraha to the Indian Museum in Calcutta. The first attempt in 1867 was abandoned as the funds ran out.
In 1894, thirteen sculptures were moved to the Indian Museum.
In 1903 when a major excavation was attempted nearby, the then Lieutenant governor of Bengal, J. A. Baurdilon, ordered the temple to be sealed and filled with sand to prevent the collapse of the Jagamohana.
In 1906, casuarina and punnang trees were planted facing the sea to buffer the site against sand-laden winds.
In 1909, the Mayadevi temple was discovered while removing sand and debris.
The temple was granted World Heritage Site status by the UNESCO in 1984.
WIKIPEDIA
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The seemingly insignificant town of Kerma may have been largely left behind by the rest of the world today, but that wasn’t always the case. This is one of the oldest inhabited towns in Africa and a place of immense historical importance. The area around Kerma has been occupied for at least 8000-10,000 years, but the town reached its peak around 1800 BC - 1600 BC when it was capital of the Kingdom of Kush and an important trade centre during Egypt’s Middle Kingdom. It was
at this time that Kerma’s kings built two giant mud-brick temples, known as deffufas; the oldest, and arguably
largest, mud brick buildings on the continent. The western deffufa (pictured) stood about 19m high and stretched 50m long. Nobody is really certain what it was used for but most agree it served a religious purpose. . About 3km away is the smaller, eastern deffufa. This is
thought to have been a royal cemetery. Around the kings tombs archeologists have discovered some 30,000 other graves. Many of the people buried in these graves appear to have been ritually sacrificed in order to accompany their king to the underworld. Encircling the human graves, archeologists have also unearthed around 5000 cattle skulls, which indicates just how important cattle was to the people who once lived here. In addition to the two deffufas there are a number of other historic sites around the town including Duki Gail; a little understood site containing the remains of a huge temple with two metre thick walls.
LORD, TO WHOM SHALL WE GO?
The Rosary: an Effective Means of Evangelization
Cardinal Timothy M. Dolan
Where we begin in the whole sacred process of evangelization is very important!
Pope Francis has radiantly reminded us of this, hasn’t he? It’s not helpful to start with what the Church is against; it’s not productive to begin with what’s right or wrong. We’ll get to that eventually. No, we start with the Person, the invitation, the message of Jesus! Then, everything else flows from this saving proclamation!
My friend, Father Bob Barron, one of the nation’s premier evangelists today, puts it like this: if a foreign visitor asks you to explain the complicated game of baseball, you would hardly start with the “infield-fly rule”! No! You would first introduce him to the beauty, rhythm, and flow of the game! Father Barron suggests he would take him instead to Wrigley Field, gradually introduce him to the majesty of our national pastime, and then patiently explain the details of the game.
The same is true of the mystery of the faith. We begin with Jesus, with the story of salvation, with prayer, liturgy, community, and the beauty of the Church. Gradually we then get to faith, doctrine, morals, practice.
All of this leads me to the rosary. October, in our Catholic calendar, is dedicated to this simple prayer. Not only is the rosary a wonderful prayer, but an effective means of evangelization.
Think about it: if we know and pray the rosary, we are familiar with the story of the life of Jesus and Mary, the enchanting mysteries that are part of “the greatest story ever told.”
And, we then know the most basic prayers of our tradition: the sign of the cross, the Apostles Creed, the Lord’s Prayer, the Hail Mary, and the Glory be.
No wonder Pope Paul VI called the rosary “the school of the gospels”!
My two grandmothers loved the rosary. Lucille, my mom’s mom, was a convert to the faith. She had a tough life, working hard to raise my mom and Aunt Lois after her husband left her for the drink. Her simple faith sustained her. Yet, she always felt—wrongly—she was unlettered in her adopted Catholic faith. She would describe herself inaccurately as a “dumb Catholic.”
“Tim,” she’d tell me, “I sure don’t know much about the Church. I don’t even know how to pray. But,” she’d remark, grabbing the rosary from her bed stand (one of those “shine-in-the-dark” ones, the very one I still have and cherish), “I at least have the rosary. And, when I pray it before I go to sleep, I feel close to Our Lord, I think of all He did for me, and I almost feel I’m holding on to Mary’s hand and she’s praying with me.”
Not bad at all. That’s what I mean about the basics of our faith. Nonnie, as I lovingly called her, probably couldn’t talk that much about the Trinity or the more complex moral issues of her faith, but she sure loved Jesus, knew His life, death, and resurrection, and held fast to His Mother and His bride, the Church, as she struggled through each day.
What if all of our children knew and trusted the rosary? They’d at least comprehend the “mysteries” of the life and teaching of Jesus, and would recite by heart the great prayer of our tradition. I’d settle for that!
Last week, I had the honor of a private meeting with Pope Francis. There, on his desk, was his rosary, not as a paperweight, but, near at hand for prayer. As I left, he gave me one of his. When I asked his prayers specifically for Fred, my brother-in-law fighting cancer, and Father Fabian Lopez, one of our splendid young priests on a tough round three of cancer treatment, he gave me one for each of them.
This Holy Father realizes—no surprise!—that we’ve got a real winner in the rosary: a great prayer, an effective evangelizer.
I spent about a half hour with these little girls along the Nam Khan river as they collected these blackened pods from the trees (shaking the tree until they fell to the ground) and played in the late afternoon sun.
On December 30, we spent the day exploring the wats of Luang Prabang, Laos - a beautiful, UNESCO World Heritage Site set high in the Laotion mountains along the Mekong river. A truly enchanting and magical place.
During my Christmas vacation with Kat in Thailand, Laos, and Cambodia.
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Rio de Janeiro, Brasil - 10/04/2025 - Estádio Maracanã.
Fluminense enfrenta o GV San José (BOL) esta noite pela 2ª rodada da fase de grupos da copa Sulamerica 2025.
FOTO: MARINA GARCIA / FLUMINENSE F.C.
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Important 15C. glass, south transept, east window.
The four upper lights of the east window of the south transept, illustrating eight legends of St. Nicholas. Each light contains two subjects, and under each subject is a descriptive Latin hexameter inscribed in black letter. The upper panel in the northernmost light and the corresponding panel in the next light illustrate the legend of the cups. In the first is represented a three-masted ship at sea, from which the boy is seen falling overboard with the golden cup in his hand. Upon the ship are two sailors lowering the sail, while the father looks on, leaning his elbows on the rail of the poop. The hull of the ship is of a yellow colour and the figures wear bright colours, but the faces are almost white. Underneath is inscribed 'Cadit puerulus quem mox sal(va)t Nicholaus.' In the second panel the father and mother are seen kneeling at the altar of St. Nicholas, whose seated figure, wearing episcopal vestments, is placed at the north end of the altar. Behind his parents stands the boy holding the gold-covered cup; below is the inscription 'Tunc offert cyphum grates (sic) pro mun (er)e reddens.' The third panel, continuing from north to south, illustrates the relief of the famine at Myra by St. Nicholas. The saint is shown in the foreground standing by the shore without nimbus or vestments to indicate that the event occurred in his lifetime. Near him are sailors pouring out corn into sacks, while in the background is a large three-masted ship with figures. Underneath is inscribed 'Multiplicat frugem presul quam nave recepit.' The next three panels illustrate the legend of St. Nicholas and the Jew of Calabria. In the foreground, helping themselves to the Jew's treasure, are seen the robbers, truculent ruffians, armed with sword and axe, and wearing brightcoloured clothes, the northern of the two nearer figures being clad in a crimson tunic with green hose, while the southern figure has a purple tunic with slashed sleeves. In the background is the Jew setting out on his journey, staff in hand, and threateningly warning the figure of St. Nicholas to keep guard over his wealth in his absence. He wears a crimson cloak trimmed with gold, and has a flowing white beard. Below the panel is inscribed 'Que tulerant (fures) bona cogit reddere presul.' The next panel shows St. Nicholas appearing to the robbers, and in the background the Jew attacking the saint's image with his staff, the subject being thus described: 'Auro furato baculo flagellat amicum.' In the remaining panel of the series is shown the restitution of the treasure to the Jew, who is drawn in the foreground, receiving back from the robbers a gold casket, which appears in the two former panels. In the background is a gate-house with trees and foliage. Below is inscribed 'Restituit rursus latro quod sustulit aurum.' The last two panels illustrate the restoration to life of the boy strangled by the devil disguised as a pilgrim. In the foreground of the first panel the devil is seen strangling the boy, whom he has forced to a half-kneeling position, while the food which had been brought out to him drops from the dish in the boy's hands. In the background is a house with a half-gable, and above its walls is seen the father, who clasps his hands in horror, with two guests beside him. The incident is described by the line: 'Strangulat hic (demon) puerum (pul) menta ferentem.' In the last panel the boy lies dead on the ground with his parents kneeling by him, and in the doorway of the house, from which the guests are looking out, appears St. Nicholas. Beneath is the inscription, 'Mortuus ad vitam rediit precibus Nicholai.'
From: 'Parishes : Hillesden', A History of the County of Buckingham.
A nationally important wetland and one of the finest in the Wellington region, these beautiful little coastal lakes are a stones throw from the borders of our capital city.
Cradled within the steep rolling hills of Pencarrow Head, the area abounds in natural and human history. Early Maori hunted and food gathered here and some of the ancient karaka trees, not natural in the Wellington region, were almost certainly planted by them as their fruit were an important food source. The lakes would have abounded in birdlife in pre-European times and eel, which are still there. Birdlife is still abundant here and with local volunteers now maintaining a network of traps for possum, stoat and rat (all introduced aniumals to New Zealand) the wildlife and plantlife is recovering. Black swan and mallard (introduced) and native little grebe and paradise duck can be found here and the raised lake banks that separate the lakes from the sea are important breeding grounds for banded dotteral and several rare species of cusion plants and native moths that breed and feed on them.
The hills above the lake were the sight of early New Zealand lighthosues, the two Pencarroew lights a popular destination for the many trampers and mountain bikers that visit here. Life was tough and the grave of a lighthouse keeper’s child sits below the upper lighthouse.
Today the hills are denuded from burning and pasturalisation but the small pockets of native forest in the valleys are recovering and spreading with protection. The introduced gorse, although a weed, helps with this. It provides shelter for the natives to grow through and is a nitrogen fixer so fertilised the soil.
Ancient karaka, tree fern and nikau palm, along with mahoe and manuka form the dominant trees in the recovering forest.
Wind is a constant here. Wellington is one of the world’s windiest cities and the Pencarrow Heads are infamous for sudden and violent windstorms. Yet the valleys can be tranquil even when gales are roaring over the tops. The photos in this series were all taken on a day when it was hard to stand upright and achieve pin-sharp photos, such was the force of the wind.
A nationally important wetland and one of the finest in the Wellington region, these beautiful little coastal lakes are a stones throw from the borders of our capital city.
Cradled within the steep rolling hills of Pencarrow Head, the area abounds in natural and human history. Early Maori hunted and food gathered here and some of the ancient karaka trees, not natural in the Wellington region, were almost certainly planted by them as their fruit were an important food source. The lakes would have abounded in birdlife in pre-European times and eel, which are still there. Birdlife is still abundant here and with local volunteers now maintaining a network of traps for possum, stoat and rat (all introduced aniumals to New Zealand) the wildlife and plantlife is recovering. Black swan and mallard (introduced) and native little grebe and paradise duck can be found here and the raised lake banks that separate the lakes from the sea are important breeding grounds for banded dotteral and several rare species of cusion plants and native moths that breed and feed on them.
The hills above the lake were the sight of early New Zealand lighthosues, the two Pencarroew lights a popular destination for the many trampers and mountain bikers that visit here. Life was tough and the grave of a lighthouse keeper’s child sits below the upper lighthouse.
Today the hills are denuded from burning and pasturalisation but the small pockets of native forest in the valleys are recovering and spreading with protection. The introduced gorse, although a weed, helps with this. It provides shelter for the natives to grow through and is a nitrogen fixer so fertilised the soil.
Ancient karaka, tree fern and nikau palm, along with mahoe and manuka form the dominant trees in the recovering forest.
Wind is a constant here. Wellington is one of the world’s windiest cities and the Pencarrow Heads are infamous for sudden and violent windstorms. Yet the valleys can be tranquil even when gales are roaring over the tops. The photos in this series were all taken on a day when it was hard to stand upright and achieve pin-sharp photos, such was the force of the wind.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
San Jose was an important road junction and railhead that defended the entrance to Balete pass. Balete pass was the only all weather highway through the mountains connecting Central Luzon with the Cagayan Valley in North Luzon. Japanese troops defending San Jose and the roads leading to it were bombed and strafed by the Americans. In the town over 60% of the homes and other buildings were destroyed by the bombing. The American Infantry took the town with little opposition, cutting off Japanese units at Munoz and Cabanatuan to the south preventing the Japanese from escaping to the Cagayan Valley. Close to the south of the city the Japanese built ammunition dumps to look like Filipino homes that the Americans destroyed by bombing and strafing.
This photograph is from the National Archives and Records Administration of the USA..
Monteriggioni is a town of Tuscany, Italy. Built in the year 1213 by the overlords of Siena, Monteriggioni was actively involved in the defense of Tuscany against Florentine attempts to gain more territory.
At the front of this conflict was the Auditore family, who later became the town's rulers and protectors. They constructed Monteriggioni's famous walls, and the largest structure within them, the Villa Auditore.
Monteriggioni was also the headquarters of the Italian branch of the Assassin Order from the early 14th century, when Domenico Auditore renovated the villa, to the year 1500, when the town was besieged by Cesare Borgia.
By the 21st century, the town remained largely unchanged from its Renaissance appearance, and had become a tourist attraction,
Monteriggioni represents one of the most important walled castles in the territory. It has incredibly preserved an intact structure as if time had never passed on the hill from which it elegantly dominates the surrounding landscape.
© Ioan C. Bacivarov
All the photos on this gallery are protected by the international laws of copyright and they are not for being used on any site, blog or forum, transmitted or manipulated without the explicit written permission of the author. Thank you in advance
Please view my most interesting photos on flickriver stream: www.flickriver.com/photos/ioan_bacivarov/
Many thanks for yours visits and comments.
This is a photograph from the second annual running of The Downs National School Valentines 5KM Road Race and Fun run which was held at The Downs GAA club, Mullingar, Co. Westmeath on Sunday February 9th 2013 at 12:00. The race was held as a fundraiser for the Downs National School. This is a very important fundraiser for the Downs National School new building project and the parents, teachers, and friends of the Downs National School and the neighbouring community are to be congratulated with the fabulous road race and social event that they organised. There was a great family atmosphere at the event and there was a very plentiful spread of refreshments afterwards in the Clubhouse. The event has grown strongly in it's second year. Community spirit was very evident. The Downs is part of the geographically very large parish of Kinnegad, Coralstown, and Clonard and there were many local participants from the parish. Well over 400 people took part in the event. The stormy wet weather of late cleared off. Whilst there was a strong headwind on the course for the final kilometer all in all the weather was very suitable for running.
The Downs is situated just off the M4 between Kinnegad and Mullingar and is accessed from Junction/Exit 14 on the M4 and following the R156.
The race starts on the Cloghan road (this is about 1KM from the GAA Clubhouse) and proceeds clock-wise around a circuit which takes in the main Killucan road. The race passes by the finish/race-hq on it's first loop. The road surface is a mixture of standard tarmacadam and gravel trail around by the forestry. Overall, the course is flat with just two very small hills for runners to content with. The course was very accurately measured and well marshalled.
The race is Athletics Association of Ireland approved. Timing was provided by Precision Timing who, as always, provided excellent timing and event management services on their day. Their website (with results from today's race) is available at: www.precisiontiming.net/result/racetimer
We captured a large set of photographs from the race today. The full set of photographs are available in the following Flickr set: www.flickr.com/photos/peterm7/sets/72157640695491875/
Garmin GPS Trace of the Downs 5KM Route: connect.garmin.com/activity/274552625
Photographs from the Downs National School Valentines Dash 2013: www.flickr.com/photos/peterm7/sets/72157632736527242/
Photographs from the Downs 5km in June 2012: www.flickr.com/photos/peterm7/sets/72157630060070829/
The Downs National School Parents Page: www.facebook.com/pages/The-Downs-National-School-Parents-...
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
BELO HORIZONTE/MG - 14.01.2019: Treinamento na Toca da Raposa II, em Belo Horizonte.
Foto: Vinnicius Silva/Cruzeiro
IMPORTANTE: Imagem destinada a uso institucional e divulgação, seu uso comercial está vetado incondicionalmente por seu autor e o Cruzeiro Esporte Clube.
IMPORTANT: image intended for institutional use and distribution. Commercial use is prohibited unconditionally by its author and Cruzeiro Esporte Clube.