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A small indication of my overwhelming happiness in not having to take a pic 'o the day tomorrow!
And whoa, selfies are rough -- ten seconds to run to position and let loose the balloons and confetti. LOL
365/365!
Perhaps an indication of why the transfer of these two olympians back to Harrogate is quite unbelievable. B251NVN on the "united" working of the 36 into Leeds. Its now no less than Transdev Harrogate`s No 125 via a round about way but this was 18 years ago in April 1995. Remember before mobiles, facebook and foreign ownership of bus companies ? Olympians did drop onto this service but preferred choice for many years was the national, bristol VR and then Leyland Tiger in the final days. It maybe just me but i like wipers together in the middle...if i was driving this it would feel like i had an itch with them left like this.
Silverton:
The first indication of silver–lead mineralisation in the Barrier Rangers came in late 1875 with the discovery of galena by Julius Charles Nickel and Dan McLean while they were well sinking on Thackaringa Station, near the South Australian - New South Wales border.
In 1879 John Stokie established a store at Umberumberka, 19 km north of Thackaringa. He continued prospecting and discovered silver–lead veins nearby, which he pegged with Edward Pegler in November 1881. A 100 ton parcel of ore was shipped to England for a 40% profit. The following October the Umberumberka Silver Lead Mining Company Ltd was floated with nominal capital of £20 000. Umberumberka was the second area of silver–lead mineralisation discovered in the Barrier Ranges and the new company was the first to be publicly floated. The town of Silverton soon developed close to the mine and became the main settlement of the growing silver field.
Silverton was surveyed in 1883, by which time Australia had a population of 2, 250, 194. By September that year, the population of Silverton was 250, and by December 1883 it had doubled. That year the Day Dream Mine opened and attracted an additional population of 400 - 500 people. In 1884 1,222 mineral leases, 937 business permits and 114 miners' rights were issued. That same year 6,000 tonnes of ore were extracted and the town acquired its own newspaper, the Silver Age.
By 1885 - 1886 the town's population had reached 3,000. Silverton was proclaimed a township in 1885 and a municipality the following year. In 1885 a short-lived smelter was established at Day Dream Mine, operating for only a year. In 1892 the Umberumberka Mine closed, followed by the Day Dream Mine. The Pioneer Mine at Thackaringa closed in 1897. By 1901, after miners had moved to the richer fields at Broken Hill, the town went into decline and only 286 people remained. Today the town has a population of around 50 people, most of whom work in tourism.
The Silverton Tramway Company:
The Silverton Tramway Company, a rare private railway of 50klms in length, was incorporated in New South Wales October 14, 1886 and the line was completed and opened for traffic on January 12, 1888. One of only two privately owned railways in the state, the tramway was originally founded to transport ore from local mines in the Broken Hill and Silverton region into South Australia. The company soon branched out, not only carrying ore from the mines but freighted other goods and offered a passenger service which accounted for a third of their business.
The company serviced travellers on long trips heading interstate to Semaphore (Adelaide) to the Largs Bay Holiday Camp and excursions for local community groups often conveying passengers to Silverton and McCulloch Park (at Stephens Creek) for the day and returning to Broken Hill in the afternoon. When traveling to South Australia the train would travel from Broken Hill, through Silverton and then to Burns which is on the New South Wales side of the border of Cockburn (a town divided by the NSW/SA border).
In 1927 the New South Wales government completed the railway from Sydney to Broken Hill, thus joining the Silverton Tramway and completing the link from Sydney to Adelaide. It played a strategic role in the trans-Australia network until 1970, when it was surpassed by the New South Wales Government Railways (Indian-Pacific). From 1888-1970 it was critical to the economic functioning of Broken Hill, by providing the key transport of ore to the Port Pirie smelters. It played a significant role in the politics and recreation of Broken Hill, and a crucial role at times of water shortage in Broken Hill.
Today, Silverton resides in the Unincorporated Area of New South Wales (NSW) and so does not feature a City Council. It is run by the Silverton Village Committee, who to this day hold their quarterly meetings in the Silverton Municipal Chambers.
Source: Silverton NSW (www.aussietowns.com.au/town/silverton-nsw), New South Wales Heritage Register & Discover Broken Hill (discoverbrokenhill.com.au/silverton-nsw/historic-building...), "The pathway to Broken Hill: Early discoveries in the Barrier Ranges, New South Wales, Australia" by Kenneth George McQueen, and 'Aplin, Graeme; S.G. Foster; Michael McKernan, eds. (1987). Australians: Events and Places. Broadway, New South Wales, Australia: Fairfax, Syme & Weldon Associates. p. 97'
The Mechanics Institute Library, located at 57 Post Street in San Francisco, is the oldest library on the West Coast. It was started in 1854. Inside this spectacular library is a stunning spiral staircase definitely worth exploring.
As an indication of how life was all those years ago - we three photters were in the area and decided to try our luck at a visit toMerehead Quarry. The outside sidings part was okay but we fancied being actually in the quarry terminal. Bless FY they let us round under supervision and wearing hard hats. As can be seen here with Arnie Furniss. the further one from the camera. On the nearer shunter can be seen rather large tanks. Obviously the length of loaded wagons needed a bit of stopping power!
There is a colour version of this on flickr - not sure which shows it the better.
This former Monon Railroad semaphore signal now gives a clear indication in a museum in Salem, Indiana. It was located along the Monon in Salem.
By all indications, Italian decision-making is done with care and much deliberation. So thorough, they go to work twice a day. Lunch can be their biggest meal, but dinner - that's a three hour affair. Hey, they've gotten on doing it this way for a couple thousand years...
Who needs the rush anyway?
Outside Buca di Sant'Antonio - where, incidentally, we had a really wonderful meal. Lucca, Tuscany, Italy
The year indication of the foundation of this old clothmakers' guild factory in yellow brick on a base of contrasting red brick. The date is set in a semi-circular arch on a continuous brick molding. The factory building was executed in a conventional utility style architecture which one can find all over German-speaking mid Europe.
I discovered this factory building during a bicycle ride. This building houses now the Dampfmaschine Rosswein Museum (museum for stream machinery).
See also: dampfmaschine-rosswein.de/
About the history of the use of year stones in architecture:
English: en.wikipedia.org/wiki/Anchor_plate
Dutch: nl.wikipedia.org/wiki/Muuranker
And: nl.wikipedia.org/wiki/Jaartallen_op_gebouwen
Rosswein, South of Döbeln (former DDR), Stadtbadstrasse on river Freiberger Mulde, Aug. 10, 2014.
© 2014 Sander Toonen Amsterdam/Halfweg | All Rights Reserved
The astronomical clock of Besançon is housed in Besançon Cathedral. Besançon's present astronomical clock, made in 1860 by Auguste-Lucien Vérité fr:Auguste-Lucien Vérité of Beauvais to replace an earlier and unsatisfactory one made by Bernardin in the 1850s, differs from those in Strasbourg, Lyon and Beauvais. The clock is meant to express the theological concept that each second of the day the Resurrection of Christ transforms the existence of man and of the world.
The clock stands 5.8 meters high and 2.5 meters wide, and has 30,000 mechanical parts. It sits in its own room in the clocktower. Verite's coat of arms, those of Cardinal Mathieu, and of the cathedral appear on the front of the clock.
Seventy dials provide 122 indications. These include the seconds, hours, days and years. The clock is a perpetual one that can register up to 10,000 years, including adjustments for leap year cycles. The clock also indicates the times of sunrise and sunset.
Twenty-one automated figures either ring the quarter-hour and the hour, or perform the Resurrection of Christ at noon, and his burial at 3 pm.
The clock also has animated pictures of seven different French harbours and indicates the hours and height of the tides there on dials. One of the harbours is Saint-Pierre, Martinique; another is Cayenne, French Guiana. There is an eighth animated picture, this one of Saint Helena, where the former emperor Napoleon died in exile.
An orrery (planetarium) is part of the clock and it shows the motions and orbits of the planets. The planetary motions are congruent with those of the actual planets so that the planetarium reproduces eclipses as they occur.
The central part of the main body of the clock has 12 dials for parts of the civil calendar, and five for the liturgical calendars The dials showing the civil calendar show the month, date, day, the solar element that gave its name to the day of the week (e.g., the sun for Sunday), the season, the sign of the Zodiac, the length of the day, the length of the night, the seconds, and the times for sunrise and sunset. One dial gives the date of Easter, and this acts as the driver for dials that present the date for five key days of the Roman Catholic liturgical calendar.
Two columns have 10 dials each. The bottom eight dials show the time in different major cities around the world, including New York and San Francisco, though without adjustment for daylight savings time. The two top dials on the left column show the number of solar and lunar eclipses in the current year. The two dials on the right column show the leap years and leap centuries. The hand on the leap century dial moved for the first time in 2000; it will move for the second time in 2400.
A pyramidal arrangement of figures caps the clock. The 12 apostles form the base; two different apostles come out each hour to strike the hour. Also, every hour the three virtues, Faith, Hope, and Charity, move, with Faith showing the chalice to Charity and Hope, which stand to her right and left. Above them the statues of the archangels Michael and Gabriel strike the quarter-hours.
At the top of the clock, at midday, Christ arises from his tomb, and at the 3p.m. he returns to it. When he arises, Mary, his mother and Queen of the world, raises her sceptre; she lowers it when he returns to his tomb.
Through a system of universal joints extending some 100 meters, the clock drives four dials that sit on the four sides of the cathedral's tower, thus providing the time of day to the city. A fifth dial is inside the cathedral. The outside dials also show, respectively, the season, the day of the week, and the month of the year. Cables from the clock activate bells in the tower that sound the quarter hour and the hour.
Eleven different descending weights drive the clock. Three of the weights need to be reset each day.
Silverton:
The first indication of silver–lead mineralisation in the Barrier Rangers came in late 1875 with the discovery of galena by Julius Charles Nickel and Dan McLean while they were well sinking on Thackaringa Station, near the South Australian - New South Wales border.
In 1879 John Stokie established a store at Umberumberka, 19 km north of Thackaringa. He continued prospecting and discovered silver–lead veins nearby, which he pegged with Edward Pegler in November 1881. A 100 ton parcel of ore was shipped to England for a 40% profit. The following October the Umberumberka Silver Lead Mining Company Ltd was floated with nominal capital of £20 000. Umberumberka was the second area of silver–lead mineralisation discovered in the Barrier Ranges and the new company was the first to be publicly floated. The town of Silverton soon developed close to the mine and became the main settlement of the growing silver field.
Silverton was surveyed in 1883, by which time Australia had a population of 2, 250, 194. By September that year, the population of Silverton was 250, and by December 1883 it had doubled. That year the Day Dream Mine opened and attracted an additional population of 400 - 500 people. In 1884 1,222 mineral leases, 937 business permits and 114 miners' rights were issued. That same year 6,000 tonnes of ore were extracted and the town acquired its own newspaper, the Silver Age.
By 1885 - 1886 the town's population had reached 3,000. Silverton was proclaimed a township in 1885 and a municipality the following year. In 1885 a short-lived smelter was established at Day Dream Mine, operating for only a year. In 1892 the Umberumberka Mine closed, followed by the Day Dream Mine. The Pioneer Mine at Thackaringa closed in 1897. By 1901, after miners had moved to the richer fields at Broken Hill, the town went into decline and only 286 people remained. Today the town has a population of around 50 people, most of whom work in tourism.
The Silverton Tramway Company:
The Silverton Tramway Company, a rare private railway of 50klms in length, was incorporated in New South Wales October 14, 1886 and the line was completed and opened for traffic on January 12, 1888. One of only two privately owned railways in the state, the tramway was originally founded to transport ore from local mines in the Broken Hill and Silverton region into South Australia. The company soon branched out, not only carrying ore from the mines but freighted other goods and offered a passenger service which accounted for a third of their business.
The company serviced travellers on long trips heading interstate to Semaphore (Adelaide) to the Largs Bay Holiday Camp and excursions for local community groups often conveying passengers to Silverton and McCulloch Park (at Stephens Creek) for the day and returning to Broken Hill in the afternoon. When traveling to South Australia the train would travel from Broken Hill, through Silverton and then to Burns which is on the New South Wales side of the border of Cockburn (a town divided by the NSW/SA border).
In 1927 the New South Wales government completed the railway from Sydney to Broken Hill, thus joining the Silverton Tramway and completing the link from Sydney to Adelaide. It played a strategic role in the trans-Australia network until 1970, when it was surpassed by the New South Wales Government Railways (Indian-Pacific). From 1888-1970 it was critical to the economic functioning of Broken Hill, by providing the key transport of ore to the Port Pirie smelters. It played a significant role in the politics and recreation of Broken Hill, and a crucial role at times of water shortage in Broken Hill.
Today, Silverton resides in the Unincorporated Area of New South Wales (NSW) and so does not feature a City Council. It is run by the Silverton Village Committee, who to this day hold their quarterly meetings in the Silverton Municipal Chambers.
Source: Discover Broken Hill: Historic Buildings of Silverton, Silverton NSW (www.aussietowns.com.au/town/silverton-nsw), New South Wales Heritage Register & Discover Broken Hill (discoverbrokenhill.com.au/silverton-nsw/historic-building...), "The pathway to Broken Hill: Early discoveries in the Barrier Ranges, New South Wales, Australia" by Kenneth George McQueen, and 'Aplin, Graeme; S.G. Foster; Michael McKernan, eds. (1987). Australians: Events and Places. Broadway, New South Wales, Australia: Fairfax, Syme & Weldon Associates. p. 97'
Olympus E-510; 14-42mm F3.5-5.6;
1/160s; f10; ISO400 (raw to jpg)
May be...... I lose my way at the peak on that day, but finally found destination by following the light direction.
The conductor of a westbound CSX intermodal train stands to check the signal indication at the west end of the CP 194 interlocking in Berea, Ohio. The train is headed directly into the late day winter sun.
Note on reverse : Erinnerung an die Vogesen beim Stollenbau am hartmannsweilerkopf 1917.
No indication of regiment for these soldiers assigned to the construction of a shelter or a trench somewhere at the foot of the Hartmannswillerkopf, probably between the villages of Hartmannswiller and Berrwiller according to the seller's information.
Note au verso : Erinnerung an die Vogesen beim Stollenbau am hartmannsweilerkopf 1917.
Pas d'indication de régiment pour ces soldats affectés à la construction d'un abri ou d'une tranchée quelque part au pied du Hartmannswillerkopf, probablement entre le villages de Hartmannswiller et Berrwiller d'après les informations du vendeur.
Disclaimer:
The following Pingo images were taken in 2018.
Before my trip I was researching the Pingos and found no indication on the internet in regards to visitation rules. There also were no signs up anywhere locally or at the viewing platform once I visited.
I now see there are rules prohibiting the climbing of the Pingos from the base up, signed this March 2021 by the Parks Superintendent.
I have mixed feelings about that. On one hand I see excessive visitations by too many people [since it is marketed to mass tourism] may cause some wear or establish a trail. I was very conscience about not leaving any footprints or cause any damage and on one of the Pingos I found a large piece of plastic, the wind had likely carried up here, which I took back out.
Since it became a Canadian Landmark under Parks management, a viewing platform has been built in a location that gives a very panoramic view of the larger Pingos with no human structures visible. I’m not a friend of board walks and platforms in natural landscapes. They are in many ways eyesores to me as a photographer and aesthetically a small trail has much less impact. But in this location I found both rather well designed. To get to the boardwalk, one needs to organize a boat ride or have a watercraft to get to the Parks dock, which at that time was damaged and difficult to land on.
On the other hand I think it was [could be] an incredible experience to use these Pingos as lookout, just like generations of Inuk have done. The thing missing in these coastal regions are high points. So I can see why these Pingos had an importance for hunters to scan the ocean for game, ships, ice-conditions etc.
The lack of any high-points in Tuktoyaktuk itself, along the coast or the highway leaves something to be desired. Short of flight-seeing the coast from Inuvik, one does not get a picture of the beautiful Arctic coast.
The top of the Pingos are mostly sand with peat at some places and the sides covered by dense tundra shrubs, berry bushes, Labrador tea and some grasses on the top. I noticed some faint footprints in the sand on top, which obviously disappear with the wind/rain and annual thawing/freezing cycles these hills are constantly exposed to. The science behind these ice-cored hills is described in detail in a study paper by J. Ross Mackay:
Pingos of the Tuktoyaktuk Peninsula Area
t.ly/Xs9U
and this video by Stephen Wolfe:
Pingo Distribution, Tuktoyaktuk Peninsula Region, Western Canadian Arctic
So these photos are very special to me, as I or others may not be able to document/experience these magnificent ‘ice-hills’ again without breaking the law. Drone flying is also banned within the Landmark.
2018 Road Trip to Tuktoyaktuk, NWT via Dempster Highway and the Inuvik-Tuktoyaktuk Highway or ITH (Tuk Highway).
We're at XN Tower on the Toledo Subdivision. The dispatcher has an I&O train lined back to their main off the CSX main track. The lunar white "Restricting" signal governs the switch to the I&O (former DT&I) track.
The 'M' indication on the signal between the two trains indicates the Hoover has the main via Warwick to Birmingham on the 09.50 Paddington - Liverpool Lime Street. This was before almost all cross-country trains were diverted via the single line to Coventry via Kenilworth and also when at least four different class 50s could be seen passing through Leamington each day.
The loaded mgr for Didcot PS is working hard up the 1 in 109 grade out of the dip before the station and will climb all the way past Fenny Compton.
This shot of the Temple of the Emerald Buddha gives some indication of just how hectic it was at the Grand Palace when we visited back in July. This made photography difficult in some ways but it also presented a lot of opportunites to shoot some candid shots of tourists.
In addition to the usual bus loads of tourists the Palace was also swamped with Thais who were visiting to pay their last respsects to the king who was lying in state in a seperate part of the Palace.
Click here to see photos from this and a previous trip to Thailand : www.flickr.com/photos/darrellg/albums/72157600177340620
From Wikipedia : "Wat Phra Kaew, commonly known in English as the Temple of the Emerald Buddha and officially as Wat Phra Si Rattana Satsadaram, is regarded as the most sacred Buddhist temple (wat) in Thailand. The Emerald Buddha housed in the temple is a potent religio-political symbol and the palladium (protective image) of Thai society. It is located in Phra Nakhon District, the historic centre of Bangkok, within the precincts of the Grand Palace.
The main building is the central phra ubosot, which houses the statue of the Emerald Buddha. According to legend, this Buddha image originated in India where the sage Nagasena prophesized that the Emerald Buddha would bring "prosperity and pre-eminence to each country in which it resides", the Emerald Buddha deified in the Wat Phra Kaew is therefore deeply revered and venerated in Thailand as the protector of the country. Historical records however dates its finding to Chiang Rai in the 15th century where, after it was relocated a number of times, it was finally taken to Thailand in the 18th century. It was enshrined in Bangkok at the Wat Phra Kaew temple in 1782 during the reign of Phutthayotfa Chulalok, King Rama I (1782–1809). This marked the beginning of the Chakri Dynasty of Thailand, whose current sovereign is Vajiralongkorn, King Rama X.
The Emerald Buddha, a dark green statue, is in a standing form, about 66 centimetres (26 in) tall, carved from a single jade stone ("emerald" in Thai means deep green colour and not the specific stone). It is carved in the meditating posture in the style of the Lanna school of the northern Thailand. Except for the Thai King and, in his stead, the Crown Prince, no other persons are allowed to touch the statue. The King changes the cloak around the statue three times a year, corresponding to the summer, winter, and rainy seasons, an important ritual performed to usher good fortune to the country during each season."
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Voronezh is a city and the administrative centre of Voronezh Oblast in southwestern Russia straddling the Voronezh River, located 12 kilometers (7.5 mi) from where it flows into the Don River. The city sits on the Southeastern Railway, which connects western Russia with the Urals and Siberia, the Caucasus and Ukraine, and the M4 highway (Moscow–Voronezh–Rostov-on-Don–Novorossiysk). In recent years the city has experienced rapid population growth, rising in 2021 to 1,057,681, up from 889,680 recorded in the 2010 Census, making it the 14th-most populous city in the country.
History
The first chronicle references to the word "Voronezh" are dated 1177, when the Ryazan prince Yaropolk, having lost the battle, fled "to Voronozh" and there was moving "from town to town". Modern data of archeology and history interpret Voronezh as a geographical region, which included the Voronezh river (tributary of the Don) and a number of settlements. In the lower reaches of the river, a unique Slavic town-planning complex of the 8th – early 11th century was discovered, which covered the territory of the present city of Voronezh and its environs (about 42 km long, about 13 forts and many unfortified villages). By the 12th – 13th centuries, most of the old towns were desolate, but new settlements appeared upstream, closer to Ryazan.
For many years, the hypothesis of the Soviet historian Vladimir Zagorovsky dominated: he produced the toponym "Voronezh" from the hypothetical Slavic personal name Voroneg. This man allegedly gave the name of a small town in the Chernigov Principality (now the village of Voronezh in Ukraine). Later, in the 11th or 12th century, the settlers were able to "transfer" this name to the Don region, where they named the second city Voronezh, and the river got its name from the city. However, now many researchers criticize the hypothesis, since in reality neither the name of Voroneg nor the second city was revealed, and usually the names of Russian cities repeated the names of the rivers, but not vice versa.
The linguistic comparative analysis of the name "Voronezh" was carried out by the Khovansky Foundation in 2009. There is an indication of the place names of many countries in Eurasia, which may partly be not only similar in sound, but also united by common Indo-European languages: Varanasi, Varna, Verona, Brno, etc.
A comprehensive scientific analysis was conducted in 2015–2016 by the historian Pavel Popov. His conclusion: "Voronezh" is a probable Slavic macrotoponym associated with outstanding signs of nature, has a root voron- (from the proto-Slavic vorn) in the meaning of "black, dark" and the suffix -ezh (-azh, -ozh). It was not “transferred” and in the 8th - 9th centuries it marked a vast territory covered with black forests (oak forests) - from the mouth of the Voronezh river to the Voronozhsky annalistic forests in the middle and upper reaches of the river, and in the west to the Don (many forests were cut down). The historian believes that the main "city" of the early town-planning complex could repeat the name of the region – Voronezh. Now the hillfort is located in the administrative part of the modern city, in the Voronezh upland oak forest. This is one of Europe's largest ancient Slavic hillforts, the area of which – more than 9 hectares – 13 times the area of the main settlement in Kyiv before the baptism of Rus.
In it is assumed that the word "Voronezh" means bluing - a technique to increase the corrosion resistance of iron products. This explanation fits well with the proximity to the ancient city of Voronezh of a large iron deposit and the city of Stary Oskol.
Folk etymology claims the name comes from combining the Russian words for raven (ворон) and hedgehog (еж) into Воронеж. According to this explanation two Slavic tribes named after the animals used this combination to name the river which later in turn provided the name for a settlement. There is not believed to be any scientific support for this explanation.
In the 16th century, the Middle Don basin, including the Voronezh river, was gradually conquered by Muscovy from the Nogai Horde (a successor state of the Golden Horde), and the current city of Voronezh was established in 1585 by Feodor I as a fort protecting the Muravsky Trail trade route against the slave raids of the Nogai and Crimean Tatars. The city was named after the river.
17th to 19th centuries
In the 17th century, Voronezh gradually evolved into a sizable town. Weronecz is shown on the Worona river in Resania in Joan Blaeu's map of 1645. Peter the Great built a dockyard in Voronezh where the Azov Flotilla was constructed for the Azov campaigns in 1695 and 1696. This fleet, the first ever built in Russia, included the first Russian ship of the line, Goto Predestinatsia. The Orthodox diocese of Voronezh was instituted in 1682 and its first bishop, Mitrofan of Voronezh, was later proclaimed the town's patron saint.
Owing to the Voronezh Admiralty Wharf, for a short time, Voronezh became the largest city of South Russia and the economic center of a large and fertile region. In 1711, it was made the seat of the Azov Governorate, which eventually morphed into the Voronezh Governorate.
In the 19th century, Voronezh was a center of the Central Black Earth Region. Manufacturing industry (mills, tallow-melting, butter-making, soap, leather, and other works) as well as bread, cattle, suet, and the hair trade developed in the town. A railway connected Voronezh with Moscow in 1868 and Rostov-on-Don in 1871.
20th century
World War II
During World War II, Voronezh was the scene of fierce fighting between Soviet and combined Axis troops. The Germans used it as a staging area for their attack on Stalingrad, and made it a key crossing point on the Don River. In June 1941, two BM-13 (Fighting machine #13 Katyusha) artillery installations were built at the Voronezh excavator factory. In July, the construction of Katyushas was rationalized so that their manufacture became easier and the time of volley repetition was shortened from five minutes to fifteen seconds. More than 300 BM-13 units manufactured in Voronezh were used in a counterattack near Moscow in December 1941. In October 22, 1941, the advance of the German troops prompted the establishment of a defense committee in the city. On November 7, 1941, there was a troop parade, devoted to the anniversary of the October Revolution. Only three such parades were organized that year: in Moscow, Kuybyshev, and Voronezh. In late June 1942, the city was attacked by German and Hungarian forces. In response, Soviet forces formed the Voronezh Front. By July 6, the German army occupied the western river-bank suburbs before being subjected to a fierce Soviet counter-attack. By July 24 the frontline had stabilised along the Voronezh River as the German forces continued southeast into the Great Bend of the Don. The attack on Voronezh represented the first phase of the German Army's 1942 campaign in the Soviet Union, codenamed Case Blue.
Until January 25, 1943, parts of the Second German Army and the Second Hungarian Army occupied the western part of Voronezh. During Operation Little Saturn, the Ostrogozhsk–Rossosh Offensive, and the Voronezhsko-Kastornenskoy Offensive, the Voronezh Front exacted heavy casualties on Axis forces. On January 25, 1943, Voronezh was liberated after ten days of combat. During the war the city was almost completely ruined, with 92% of all buildings destroyed.
Post-war
By 1950, Voronezh had been rebuilt. Most buildings and historical monuments were repaired. It was also the location of a prestigious Suvorov Military School, a boarding school for young boys who were considered to be prospective military officers, many of whom had been orphaned by war.
In 1950–1960, new factories were established: a tire factory, a machine-tool factory, a factory of heavy mechanical pressing, and others. In 1968, Serial production of the Tupolev Tu-144 supersonic plane was established at the Voronezh Aviation factory. In October 1977, the first Soviet domestic wide-body plane, Ilyushin Il-86, was built there.
In 1989, TASS published details of an alleged UFO landing in the city's park and purported encounters with extraterrestrial beings reported by a number of children. A Russian scientist that was cited in initial TASS reports later told the Associated Press that he was misquoted, cautioning, "Don't believe all you hear from TASS," and "We never gave them part of what they published", and a TASS correspondent admitted the possibility that some "make-believe" had been added to the TASS story, saying, "I think there is a certain portion of truth, but it is not excluded that there is also fantasizing".
21st century
From 10 to 17 September 2011, Voronezh celebrated its 425th anniversary. The anniversary of the city was given the status of a federal scale celebration that helped attract large investments from the federal and regional budgets for development.
On December 17, 2012, Voronezh became the fifteenth city in Russia with a population of over one million people.
Today Voronezh is the economic, industrial, cultural, and scientific center of the Central Black Earth Region. As part of the annual tradition in the Russian city of Voronezh, every winter the main city square is thematically drawn around a classic literature. In 2020, the city was decorated using the motifs from Pyotr Ilyich Tchaikovsky's The Nutcracker. In the year of 2021, the architects drew inspiration from Hans Christian Andersen's fairy tale The Snow Queen as well as the animation classic The Snow Queen from the Soviet Union. The fairy tale replica city will feature the houses of Kai and Gerda, the palace of the snow queen, an ice rink, and illumination.
In June 2023, during the Wagner Group rebellion, forces of the Wagner Group claimed to have taken control of military facilities in the city. Later they were confirmed to have taken the city itself.
Administrative and municipal status
Voronezh is the administrative center of the oblast.[1] Within the framework of administrative divisions, it is incorporated as Voronezh Urban Okrug—an administrative unit with the status equal to that of the districts.[1] As a municipal division, this administrative unit also has urban okrug status.
City divisions
The city is divided into six administrative districts:
Zheleznodorozhny (183,17 km²)
Tsentralny (63,96 km²)
Kominternovsky (47,41 km²)
Leninsky (18,53 km²)
Sovetsky (156,6 km²)
Levoberezhny (123,89 km²)
Economy
The leading sectors of the urban economy in the 20th century were mechanical engineering, metalworking, the electronics industry and the food industry.
In the city are such companies as:
Tupolev Tu-144
Voronezhselmash (agricultural engineering)
Sozvezdie[36] (headquarter, JSC Concern “Sozvezdie”, in 1958 the world's first created mobile telephony and wireless telephone Altai
Verofarm (pharmaceutics, owner Abbott Laboratories),
Voronezh Mechanical Plant[37] (production of missile and aircraft engines, oil and gas equipment)
Mining Machinery Holding - RUDGORMASH[38] (production of drilling, mineral processing and mining equipment)
VNiiPM Research Institute of Semiconductor Engineering (equipment for plasma-chemical processes, technical-chemical equipment for liquid operations, water treatment equipment)
KBKhA Chemical Automatics Design Bureau with notable products:.
Pirelli Voronezh.
On the territory of the city district government Maslovka Voronezh region with the support of the Investment Fund of Russia, is implementing a project to create an industrial park, "Maslowski", to accommodate more than 100 new businesses, including the transformer factory of Siemens. On September 7, 2011 in Voronezh there opened a Global network operation center of Nokia Siemens Networks, which was the fifth in the world and the first in Russia.
Construction
In 2014, 926,000 square meters of housing was delivered.
Clusters of Voronezh
In clusters of tax incentives and different preferences, the full support of the authorities. A cluster of Oil and Gas Equipment, Radio-electronic cluster, Furniture cluster, IT cluster, Cluster aircraft, Cluster Electromechanics, Transport and logistics cluster, Cluster building materials and technologies.
Geography
Urban layout
Information about the original urban layout of Voronezh is contained in the "Patrol Book" of 1615. At that time, the city fortress was logged and located on the banks of the Voronezh River. In plan, it was an irregular quadrangle with a perimeter of about 238 meter. inside it, due to lack of space, there was no housing or siege yards, and even the cathedral church was supposed to be taken out. However, at this small fortress there was a large garrison - 666 households of service people. These courtyards were reliably protected by the second line of fortifications by a standing prison on taras with 25 towers covered with earth; behind the prison was a moat, and beyond the moat there were stakes. Voronezh was a typical military settlement (ostrog). In the city prison there were only settlements of military men: Streletskaya, Kazachya, Belomestnaya atamanskaya, Zatinnaya and Pushkarskaya. The posad population received the territory between the ostrog and the river, where the Monastyrskaya settlements (at the Assumption Monastery) was formed. Subsequently, the Yamnaya Sloboda was added to them, and on the other side of the fort, on the Chizhovka Mountain, the Chizhovskaya Sloboda of archers and Cossacks appeared. As a result, the Voronezh settlements surrounded the fortress in a ring. The location of the parish churches emphasized this ring-like and even distribution of settlements: the Ilyinsky Church of the Streletskaya Sloboda, the Pyatnitskaya Cossack and Pokrovskaya Belomestnaya were brought out to the passage towers of the prison. The Nikolskaya Church of the Streletskaya Sloboda was located near the marketplace (and, accordingly, the front facade of the fortress), and the paired ensemble of the Rozhdestvenskaya and Georgievskaya churches of the Cossack Sloboda marked the main street of the city, going from the Cossack Gate to the fortress tower.
Climate
Voronezh experiences a humid continental climate (Köppen: Dfb) with long, cold winters and short, warm summers.
Transportation
Air
The city is served by the Voronezh International Airport, which is located north of the city and is home to Polet Airlines. Voronezh is also home to the Pridacha Airport, a part of a major aircraft manufacturing facility VASO (Voronezhskoye Aktsionernoye Samoletostroitelnoye Obshchestvo, Voronezh aircraft production association) where the Tupolev Tu-144 (known in the West as the "Concordski"), was built and the only operational unit is still stored. Voronezh also hosts the Voronezh Malshevo air force base in the southwest of the city, which, according to a Natural Resources Defense Council report, houses nuclear bombers.[citation needed]
Rail
Since 1868, there is a railway connection between Voronezh and Moscow. Rail services form a part of the South Eastern Railway of the Russian Railways. Destinations served direct from Voronezh include Moscow, Kyiv, Kursk, Novorossiysk, Sochi, and Tambov. The main train station is called Voronezh-1 railway station and is located in the center of the city.
Bus
There are three bus stations in Voronezh that connect the city with destinations including Moscow, Belgorod, Lipetsk, Volgograd, Rostov-on-Don, and Astrakhan.
Education and culture
Aviastroiteley Park
The city has seven theaters, twelve museums, a number of movie theaters, a philharmonic hall, and a circus. It is also a major center of higher education in central Russia. The main educational facilities include:
Voronezh State University
Voronezh State Technical University
Voronezh State University of Architecture and Construction
Voronezh State Pedagogical University
Voronezh State Agricultural University
Voronezh State University of Engineering Technologies
Voronezh State Medical University named after N. N. Burdenko
Voronezh State Academy of Arts
Voronezh State University of Forestry and Technologies named after G.F. Morozov
Voronezh State Institute of Physical Training
Voronezh Institute of Russia's Home Affairs Ministry
Voronezh Institute of High Technologies
Military Educational and Scientific Center of the Air Force «N.E. Zhukovsky and Y.A. Gagarin Air Force Academy» (Voronezh)
Plekhanov Russian University of Economics (Voronezh branch)
Russian State University of Justice
Admiral Makarov State University of Sea and River Fleet (Voronezh branch)
International Institute of Computer Technologies
Voronezh Institute of Economics and Law
and a number of other affiliate and private-funded institutes and universities. There are 2000 schools within the city.
Theaters
Voronezh Chamber Theatre
Koltsov Academic Drama Theater
Voronezh State Opera and Ballet Theatre
Shut Puppet Theater
Festivals
Platonov International Arts Festival
Sports
ClubSportFoundedCurrent LeagueLeague
RankStadium
Fakel VoronezhFootball1947Russian Premier League1stTsentralnyi Profsoyuz Stadion
Energy VoronezhFootball1989Women's Premier League1stRudgormash Stadium
Buran VoronezhIce Hockey1977Higher Hockey League2ndYubileyny Sports Palace
VC VoronezhVolleyball2006Women's Higher Volleyball League A2ndKristall Sports Complex
Religion
Annunciation Orthodox Cathedral in Voronezh
Orthodox Christianity is the predominant religion in Voronezh.[citation needed] There is an Orthodox Jewish community in Voronezh, with a synagogue located on Stankevicha Street.
In 1682, the Voronezh diocese was formed to fight the schismatics. Its first head was Bishop Mitrofan (1623-1703) at the age of 58. Under him, the construction began on the new Annunciation Cathedral to replace the old one. In 1832, Mitrofan was canonized by the Russian Orthodox Church.
In the 1990s, many Orthodox churches were returned to the diocese. Their restoration was continued. In 2009, instead of the lost one, a new Annunciation Cathedral was built with a monument to St. Mitrofan erected next to it.
Cemeteries
There are ten cemeteries in Voronezh:
Levoberezhnoye Cemetery
Lesnoye Cemetery
Jewish Cemetery
Nikolskoye Cemetery
Pravoberezhnoye Cemetery
Budyonnovskoe Cemetery
Yugo-Zapadnoye Cemetery
Podgorenskоye Cemetery
Kominternovskoe Cemetery
Ternovoye Cemetery is а historical site closed to the public.
Born in Voronezh
18th century
Yevgeny Bolkhovitinov (1767–1837), Orthodox Metropolitan of Kiev and Galicia
Mikhail Pavlov (1792–1840), Russian academic and professor at Moscow University
19th century
1801–1850
Aleksey Koltsov (1809–1842), Russian poet
Ivan Nikitin (1824–1861), Russian poet
Nikolai Ge (1831–1894), Russian realist painter famous for his works on historical and religious motifs
Vasily Sleptsov (1836–1878), Russian writer and social reformer
Nikolay Kashkin (1839–1920), Russian music critic
1851–1900
Valentin Zhukovski (1858–1918), Russian orientalist
Vasily Goncharov (1861–1915), Russian film director and screenwriter, one of the pioneers of the film industry in the Russian Empire
Anastasiya Verbitskaya (1861–1928), Russian novelist, playwright, screenplay writer, publisher and feminist
Mikhail Olminsky (1863–1933), Russian Communist
Serge Voronoff (1866–1951), French surgeon of Russian extraction
Andrei Shingarev (1869–1918), Russian doctor, publicist and politician
Ivan Bunin (1870–1953), the first Russian writer to win the Nobel Prize for Literature
Alexander Ostuzhev (1874–1953), Russian and Soviet drama actor
Valerian Albanov (1881–1919), Russian navigator and polar explorer
Jan Hambourg (1882–1947), Russian violinist, a member of a famous musical family
Volin (1882–1945), anarchist
Boris Hambourg (1885–1954), Russian cellist who made his career in the USA, Canada, England and Europe
Boris Eikhenbaum (1886–1959), Russian and Soviet literary scholar, and historian of Russian literature
Anatoly Durov (1887–1928), Russian animal trainer
Samuil Marshak (1887–1964), Russian and Soviet writer, translator and children's poet
Eduard Shpolsky (1892–1975), Russian and Soviet physicist and educator
George of Syracuse (1893–1981), Eastern Orthodox archbishop of the Ecumenical Patriarchate
Yevgeny Gabrilovich (1899–1993), Soviet screenwriter
Semyon Krivoshein (1899–1978), Soviet tank commander; Lieutenant General
Andrei Platonov (1899–1951), Soviet Russian writer, playwright and poet
Ivan Pravov (1899–1971), Russian and Soviet film director and screenwriter
William Dameshek (1900–1969), American hematologist
20th century
1901–1930
Ivan Nikolaev (1901–1979), Soviet architect and educator
Galina Shubina (1902–1980), Russian poster and graphics artist
Pavel Cherenkov (1904–1990), Soviet physicist who shared the Nobel Prize in physics in 1958 with Ilya Frank and Igor Tamm for the discovery of Cherenkov radiation, made in 1934
Yakov Kreizer (1905–1969), Soviet field commander, General of the army and Hero of the Soviet Union
Iosif Rudakovsky (1914–1947), Soviet chess master
Pawel Kassatkin (1915–1987), Russian writer
Alexander Shelepin (1918–1994), Soviet state security officer and party statesman
Grigory Baklanov (1923–2009), Russian writer
Gleb Strizhenov (1923–1985), Soviet actor
Vladimir Zagorovsky (1925–1994), Russian chess grandmaster of correspondence chess and the fourth ICCF World Champion between 1962 and 1965
Konstantin Feoktistov (1926–2009), cosmonaut and engineer
Vitaly Vorotnikov (1926–2012), Soviet statesman
Arkady Davidowitz (1930), writer and aphorist
1931–1950
Grigory Sanakoev (1935), Russian International Correspondence Chess Grandmaster, most famous for being the twelfth ICCF World Champion (1984–1991)
Yuri Zhuravlyov (1935), Russian mathematician
Mykola Koltsov (1936–2011), Soviet footballer and Ukrainian football children and youth trainer
Vyacheslav Ovchinnikov (1936), Russian composer
Iya Savvina (1936–2011), Soviet film actress
Tamara Zamotaylova (1939), Soviet gymnast, who won four Olympic medals at the 1960 and 1964 Summer Olympics
Yury Smolyakov (1941), Soviet Olympic fencer
Yevgeny Lapinsky (1942–1999), Soviet Olympic volleyball player
Galina Bukharina (1945), Soviet athlete
Vladimir Patkin (1945), Soviet Olympic volleyball player
Vladimir Proskurin (1945), Soviet Russian football player and coach
Aleksandr Maleyev (1947), Soviet artistic gymnast
Valeri Nenenko (1950), Russian professional football coach and player
1951–1970
Vladimir Rokhlin, Jr. (1952), Russian-American mathematician and professor of computer science and mathematics at the Yale University
Lyubov Burda (1953), Russian artistic gymnast
Mikhail Khryukin (1955), Russian swimmer
Aleksandr Tkachyov (1957), Russian gymnast and two times Olympic Champion
Nikolai Vasilyev (1957), Russian professional football coach and player
Aleksandr Babanov (1958), Russian professional football coach and player
Sergey Koliukh (1960), Russian political figure; 4th Mayor of Voronezh
Yelena Davydova (1961), Soviet gymnast
Aleksandr Borodyuk (1962), Russian football manager and former international player for USSR and Russia
Aleksandr Chayev (1962), Russian swimmer
Elena Fanailova (1962), Russian poet
Alexander Litvinenko (1962–2006), officer of the Russian FSB and political dissident
Yuri Shishkin (1963), Russian professional football coach and player
Yuri Klinskikh (1964–2000), Russian musician, singer, songwriter, arranger, founder rock band Sektor Gaza
Yelena Ruzina (1964), athlete
Igor Bragin (1965), footballer
Gennadi Remezov (1965), Russian professional footballer
Valeri Shmarov (1965), Russian football player and coach
Konstantin Chernyshov (1967), Russian chess grandmaster
Igor Pyvin (1967), Russian professional football coach and player
Vladimir Bobrezhov (1968), Soviet sprint canoer
1971–1980
Oleg Gorobiy (1971), Russian sprint canoer
Anatoli Kanishchev (1971), Russian professional association footballer
Ruslan Mashchenko (1971), Russian hurdler
Aleksandr Ovsyannikov (1974), Russian professional footballer
Dmitri Sautin (1974), Russian diver who has won more medals than any other Olympic diver
Sergey Verlin (1974), Russian sprint canoer
Maxim Narozhnyy (1975–2011), Paralympian athlete
Aleksandr Cherkes (1976), Russian football coach and player
Andrei Durov (1977), Russian professional footballer
Nikolai Kryukov (1978), Russian artistic gymnast
Kirill Gerstein (1979), Jewish American and Russian pianist
Evgeny Ignatov (1979), Russian sprint canoeist
Aleksey Nikolaev (1979), Russian-Uzbekistan footballer
Aleksandr Palchikov (1979), former Russian professional football player
Konstantin Skrylnikov (1979), Russian professional footballer
Aleksandr Varlamov (1979), Russian diver
Angelina Yushkova (1979), Russian gymnast
Maksim Potapov (1980), professional ice hockey player
1981–1990
Alexander Krysanov (1981), Russian professional ice hockey forward
Yulia Nachalova (1981–2019), Soviet and Russian singer, actress and television presenter
Andrei Ryabykh (1982), Russian football player
Maxim Shchyogolev (1982), Russian theatre and film actor
Eduard Vorganov (1982), Russian professional road bicycle racer
Anton Buslov (1983–2014), Russian astrophysicist, blogger, columnist at The New Times magazine and expert on transportation systems
Dmitri Grachyov (1983), Russian footballer
Aleksandr Kokorev (1984), Russian professional football player
Dmitry Kozonchuk (1984), Russian professional road bicycle racer for Team Katusha
Alexander Khatuntsev (1985), Russian professional road bicycle racer
Egor Vyaltsev (1985), Russian professional basketball player
Samvel Aslanyan (1986), Russian handball player
Maksim Chistyakov (1986), Russian football player
Yevgeniy Dorokhin (1986), Russian sprint canoer
Daniil Gridnev (1986), Russian professional footballer
Vladimir Moskalyov (1986), Russian football referee
Elena Danilova (1987), Russian football forward
Sektor Gaza (1987–2000), punk band
Regina Moroz (1987), Russian female volleyball player
Roman Shishkin (1987), Russian footballer
Viktor Stroyev (1987), Russian footballer
Elena Terekhova (1987), Russian international footballer
Natalia Goncharova (1988), Russian diver
Yelena Yudina (1988), Russian skeleton racer
Dmitry Abakumov (1989), Russian professional association football player
Igor Boev (1989), Russian professional racing cyclist
Ivan Dobronravov (1989), Russian actor
Anna Bogomazova (1990), Russian kickboxer, martial artist, professional wrestler and valet
Yuriy Kunakov (1990), Russian diver
Vitaly Melnikov (1990), Russian backstroke swimmer
Kristina Pravdina (1990), Russian female artistic gymnast
Vladislav Ryzhkov (1990), Russian footballer
1991–2000
Danila Poperechny (1994), Russian stand-up comedian, actor, youtuber, podcaster
Darya Stukalova (1994), Russian Paralympic swimmer
Viktoria Komova (1995), Russian Olympic gymnast
Vitali Lystsov (1995), Russian professional footballer
Marina Nekrasova (1995), Russian-born Azerbaijani artistic gymnast
Vladislav Parshikov (1996), Russian football player
Dmitri Skopintsev (1997), Russian footballer
Alexander Eickholtz (1998) American sportsman
Angelina Melnikova (2000), Russian Olympic gymnast
Lived in Voronezh
Aleksey Khovansky (1814–1899), editor
Ivan Kramskoi (1837–1887), Russian painter and art critic
Mitrofan Pyatnitsky (1864–1927), Russian musician
Mikhail Tsvet (1872–1919), Russian botanist
Alexander Kuprin (1880–1960), Russian painter, a member of the Jack of Diamonds group
Yevgeny Zamyatin (1884-1937), Russian writer, went to school in Voronezh
Osip Mandelstam (1891–1938), Russian poet
Nadezhda Mandelstam (1899-1980), Russian writer
Gavriil Troyepolsky (1905–1995), Soviet writer
Nikolay Basov (1922–2001), Soviet physicist and educator
Vasily Peskov (1930–2013), Russian writer, journalist, photographer, traveller and ecologist
Valentina Popova (1972), Russian weightlifter
Igor Samsonov, painter
Tatyana Zrazhevskaya, Russian boxer
... of Spring !!! - Large On Black
Crocus / Krokus
in our garden - Frankfurt-Nordend
Explored: 01.03.2009
If the rocker panel and wheel wells are any indication, this old car was going to be someone's pride and joy. Primered after metal or bondo work to remedy the rust prone areas, and wearing "recent" license plates, it must have been a drive-and-restore effort.
Now, however, this 1959 Edsel corsair just sits in a quiet Eastern Washington town. The work-in-progress status is in limbo, abandoned for some other effort, or maybe even lack thereof.
Even if that last owner has moved on, I applaud them for recognizing this as an usual car worth saving. Though Edsels still bear a stigma as Ford's folly, they are now enjoying a resurgence. Likewise, four-door sedans are often overlooked, but in the 1959 Edsel Corsair lineup, even they are rare. While almost 45,000 Edsels were sold that year, only 9,318 of them were Corsairs, made in four body styles. Four-door sedans are, as usual the most common, but even then only 3,694 were made. While not a tiny number, it can be used to illustrate the variety in classic car collectibility. At one of only 3,700, this is just another old car left to sit, while at the same time, one of 77,000 1965 Mustang fastbacks are snatched up like hotcakes. It's all relative.
Silverton:
The first indication of silver–lead mineralisation in the Barrier Rangers came in late 1875 with the discovery of galena by Julius Charles Nickel and Dan McLean while they were well sinking on Thackaringa Station, near the South Australian - New South Wales border.
In 1879 John Stokie established a store at Umberumberka, 19 km north of Thackaringa. He continued prospecting and discovered silver–lead veins nearby, which he pegged with Edward Pegler in November 1881. A 100 ton parcel of ore was shipped to England for a 40% profit. The following October the Umberumberka Silver Lead Mining Company Ltd was floated with nominal capital of £20 000. Umberumberka was the second area of silver–lead mineralisation discovered in the Barrier Ranges and the new company was the first to be publicly floated. The town of Silverton soon developed close to the mine and became the main settlement of the growing silver field.
Silverton was surveyed in 1883, by which time Australia had a population of 2, 250, 194. By September that year, the population of Silverton was 250, and by December 1883 it had doubled. That year the Day Dream Mine opened and attracted an additional population of 400 - 500 people. In 1884 1,222 mineral leases, 937 business permits and 114 miners' rights were issued. That same year 6,000 tonnes of ore were extracted and the town acquired its own newspaper, the Silver Age.
By 1885 - 1886 the town's population had reached 3,000. Silverton was proclaimed a township in 1885 and a municipality the following year. In 1885 a short-lived smelter was established at Day Dream Mine, operating for only a year. In 1892 the Umberumberka Mine closed, followed by the Day Dream Mine. The Pioneer Mine at Thackaringa closed in 1897. By 1901, after miners had moved to the richer fields at Broken Hill, the town went into decline and only 286 people remained. Today the town has a population of around 50 people, most of whom work in tourism.
The Silverton Tramway Company:
The Silverton Tramway Company, a rare private railway of 50klms in length, was incorporated in New South Wales October 14, 1886 and the line was completed and opened for traffic on January 12, 1888. One of only two privately owned railways in the state, the tramway was originally founded to transport ore from local mines in the Broken Hill and Silverton region into South Australia. The company soon branched out, not only carrying ore from the mines but freighted other goods and offered a passenger service which accounted for a third of their business.
The company serviced travellers on long trips heading interstate to Semaphore (Adelaide) to the Largs Bay Holiday Camp and excursions for local community groups often conveying passengers to Silverton and McCulloch Park (at Stephens Creek) for the day and returning to Broken Hill in the afternoon. When traveling to South Australia the train would travel from Broken Hill, through Silverton and then to Burns which is on the New South Wales side of the border of Cockburn (a town divided by the NSW/SA border).
In 1927 the New South Wales government completed the railway from Sydney to Broken Hill, thus joining the Silverton Tramway and completing the link from Sydney to Adelaide. It played a strategic role in the trans-Australia network until 1970, when it was surpassed by the New South Wales Government Railways (Indian-Pacific). From 1888-1970 it was critical to the economic functioning of Broken Hill, by providing the key transport of ore to the Port Pirie smelters. It played a significant role in the politics and recreation of Broken Hill, and a crucial role at times of water shortage in Broken Hill.
Today, Silverton resides in the Unincorporated Area of New South Wales (NSW) and so does not feature a City Council. It is run by the Silverton Village Committee, who to this day hold their quarterly meetings in the Silverton Municipal Chambers.
Source: Silverton NSW (www.aussietowns.com.au/town/silverton-nsw), New South Wales Heritage Register & Discover Broken Hill (discoverbrokenhill.com.au/silverton-nsw/historic-building...), "The pathway to Broken Hill: Early discoveries in the Barrier Ranges, New South Wales, Australia" by Kenneth George McQueen, and 'Aplin, Graeme; S.G. Foster; Michael McKernan, eds. (1987). Australians: Events and Places. Broadway, New South Wales, Australia: Fairfax, Syme & Weldon Associates. p. 97'
Cardstock: Bazzill
Printed Paper: Unknown (seriously, fresh sheet, no indication of who made it!)
Brads: American Crafts
Stickers: American Crafts, Making Memories
Font: AlexandriaFLF
The journaling reads: Who knew when Chloé and Caden went in to the Eastview office in September 2009 that this would be the last Friday-before-Labour-Day they would go to the school office to pick up their much anticipated class assignment envelope. In it they would find the identity of their new teacher, a welcome letter and their supply lists. This year the tradition was replaced with a button on the computer that identified the new teacher. No letter. No lists. Just a button in which they plugged in their student number and out spit the teacher assigned to their next nine months. I think we’re going to miss this particular tradition. It was so much more personal and welcoming than the efficient automated alternative.
Silverton:
The first indication of silver–lead mineralisation in the Barrier Rangers came in late 1875 with the discovery of galena by Julius Charles Nickel and Dan McLean while they were well sinking on Thackaringa Station, near the South Australian - New South Wales border.
In 1879 John Stokie established a store at Umberumberka, 19 km north of Thackaringa. He continued prospecting and discovered silver–lead veins nearby, which he pegged with Edward Pegler in November 1881. A 100 ton parcel of ore was shipped to England for a 40% profit. The following October the Umberumberka Silver Lead Mining Company Ltd was floated with nominal capital of £20 000. Umberumberka was the second area of silver–lead mineralisation discovered in the Barrier Ranges and the new company was the first to be publicly floated. The town of Silverton soon developed close to the mine and became the main settlement of the growing silver field.
Silverton was surveyed in 1883, by which time Australia had a population of 2, 250, 194. By September that year, the population of Silverton was 250, and by December 1883 it had doubled. That year the Day Dream Mine opened and attracted an additional population of 400 - 500 people. In 1884 1,222 mineral leases, 937 business permits and 114 miners' rights were issued. That same year 6,000 tonnes of ore were extracted and the town acquired its own newspaper, the Silver Age.
By 1885 - 1886 the town's population had reached 3,000. Silverton was proclaimed a township in 1885 and a municipality the following year. In 1885 a short-lived smelter was established at Day Dream Mine, operating for only a year. In 1892 the Umberumberka Mine closed, followed by the Day Dream Mine. The Pioneer Mine at Thackaringa closed in 1897. By 1901, after miners had moved to the richer fields at Broken Hill, the town went into decline and only 286 people remained. Today the town has a population of around 50 people, most of whom work in tourism.
The Silverton Tramway Company:
The Silverton Tramway Company, a rare private railway of 50klms in length, was incorporated in New South Wales October 14, 1886 and the line was completed and opened for traffic on January 12, 1888. One of only two privately owned railways in the state, the tramway was originally founded to transport ore from local mines in the Broken Hill and Silverton region into South Australia. The company soon branched out, not only carrying ore from the mines but freighted other goods and offered a passenger service which accounted for a third of their business.
The company serviced travellers on long trips heading interstate to Semaphore (Adelaide) to the Largs Bay Holiday Camp and excursions for local community groups often conveying passengers to Silverton and McCulloch Park (at Stephens Creek) for the day and returning to Broken Hill in the afternoon. When traveling to South Australia the train would travel from Broken Hill, through Silverton and then to Burns which is on the New South Wales side of the border of Cockburn (a town divided by the NSW/SA border).
In 1927 the New South Wales government completed the railway from Sydney to Broken Hill, thus joining the Silverton Tramway and completing the link from Sydney to Adelaide. It played a strategic role in the trans-Australia network until 1970, when it was surpassed by the New South Wales Government Railways (Indian-Pacific). From 1888-1970 it was critical to the economic functioning of Broken Hill, by providing the key transport of ore to the Port Pirie smelters. It played a significant role in the politics and recreation of Broken Hill, and a crucial role at times of water shortage in Broken Hill.
Today, Silverton resides in the Unincorporated Area of New South Wales (NSW) and so does not feature a City Council. It is run by the Silverton Village Committee, who to this day hold their quarterly meetings in the Silverton Municipal Chambers.
Source: Silverton NSW (www.aussietowns.com.au/town/silverton-nsw), New South Wales Heritage Register & Discover Broken Hill (discoverbrokenhill.com.au/silverton-nsw/historic-building...), "The pathway to Broken Hill: Early discoveries in the Barrier Ranges, New South Wales, Australia" by Kenneth George McQueen, and 'Aplin, Graeme; S.G. Foster; Michael McKernan, eds. (1987). Australians: Events and Places. Broadway, New South Wales, Australia: Fairfax, Syme & Weldon Associates. p. 97'
Florenz - Baptisterium
The Florence Baptistery, also known as the Baptistery of Saint John (Italian: Battistero di San Giovanni), is a religious building in Florence, Italy, and has the status of a minor basilica. The octagonal baptistery stands in both the Piazza del Duomo and the Piazza San Giovanni, across from Florence Cathedral and the Campanile di Giotto.
The Baptistery is one of the oldest buildings in the city, constructed between 1059 and 1128 in the Florentine Romanesque style. Although the Florentine style did not spread across Italy as widely as the Pisan Romanesque or Lombard styles, its influence was decisive for the subsequent development of architecture, as it formed the basis from which Francesco Talenti, Leon Battista Alberti, Filippo Brunelleschi, and other master architects of their time created Renaissance architecture. In the case of the Florentine Romanesque, one can speak of "proto-renaissance", but at the same time an extreme survival of the late antique architectural tradition in Italy, as in the cases of the Basilica of San Salvatore, Spoleto, the Temple of Clitumnus, and the church of Sant'Alessandro in Lucca.
The Baptistery is renowned for its three sets of artistically important bronze doors with relief sculptures. The south doors were created by Andrea Pisano and the north and east doors by Lorenzo Ghiberti. Michelangelo dubbed the east doors the Gates of Paradise.
Up to 1935, the Baptistery was the only place where Florentines were baptized. As a consequence, poet Dante Alighieri, famous Renaissance artists, Amerigo Vespucci, members of the Medici family, etc were baptized in this baptistery.
The building contains the monumental tomb of Antipope John XXIII, by Donatello.
History
Early history
It was once believed that the Baptistery was originally a Roman temple dedicated to Mars, the tutelary god of the old Florence. The chronicler Giovanni Villani reported this medieval Florentine legend in his 14th-century Nuova Cronica on the history of Florence. Excavations in the 20th century have shown that there was a 1st-century Roman wall running through the piazza with the Baptistery, which may have been built on the remains of a Roman guard tower on the corner of this wall, or possibly another Roman building including a second-century house which was restored in the late 4th or early 5th century. It is certain that an initial octagonal baptistery was erected here in the late 4th or early 5th century. It was replaced or altered by another early Christian baptistery in the 6th century. Its construction is attributed to Theodolinda, queen of the Lombards (570–628), to seal the conversion of her husband, King Authari.
Octagonal design
The octagon had been a common shape for baptisteries for many centuries since early Christian times. Other early examples are the Lateran Baptistery (440) that provided a model for others throughout Italy, the Church of the Saints Sergius and Bacchus (527–536) in Constantinople and the Basilica of San Vitale in Ravenna (548).
The earlier baptistery was the city's second basilica after San Lorenzo, outside the northern city wall, and predates the church Santa Reparata. It was first recorded as such on 4 March 897, when the Count Palatine and envoy of the Holy Roman Emperor sat there to administer justice. The granite pilasters were probably taken from the Roman forum sited at the location of the present Piazza della Repubblica. At that time, the baptistery was surrounded by a cemetery with Roman sarcophagi, used by important Florentine families as tombs (now in the Museo dell'Opera del Duomo).
Construction
The present much bigger Baptistery was built in Romanesque style around 1059, evidence of the growing economic and political importance of Florence. It was reconsecrated on 6 November 1059 by Pope Nicholas II, a Florentine. According to legend, the marbles were brought from Fiesole, conquered by Florence in 1078. Other marble came from ancient structures. The construction was finished in 1128.
An octagonal lantern was added to the pavilion roof around 1150. It was enlarged with a rectangular entrance porch in 1202, leading into the original western entrance of the building, that in the 15th century became an apse, after the opening of the eastern door facing the western door of the cathedral by Lorenzo Ghiberti. On the corners, under the roof, are monstrous lion heads with a human head under their claws. They are early representations of Marzocco, the heraldic Florentine lion (the symbol of Mars, the god of war, the original male protector of Florentia, protecting a lily or iris, the symbol of the original female patron of the town, Flora, the fertile agricultural earth goddess).
Between the fourteenth and sixteenth centuries, three bronze double doors were added, with bronze and marble statues above them. This gives an indication that the Baptistery, at that time, was at least equal to the neighbouring cathedral in importance.
Exterior
Design
The Baptistery has eight equal sides with a scarsella, an apse expanding out of the west side. The sides, originally constructed in sandstone, are clad in geometrically patterned, colored marble, white Carrara with green Prato marble inlay, reworked in Romanesque style between 1059 and 1128. The style of this church would serve as a prototype, influencing many architects, such as Leone Battista Alberti, in their design of Renaissance churches in Tuscany.
The exterior is also ornamented with a number of artistically significant statues by Andrea Sansovino (above the Gates of Paradise), Giovan Francesco Rustici, Vincenzo Danti (above the south doors) and others.
The design work on the sides is arranged in groupings of three, starting with three distinct horizontal sections. The middle section features three blind arches on each side, each arch containing a window. These have alternate, pointed and semicircular tympani. Below each window is a stylized arch design. In the upper fascia, there are also three small windows, each one in the center block of a three-panel design.
The apse was originally semicircular, but rebuilt in a rectangular shape in 1202.
Baptistery doors
Andrea Pisano
As recommended by Giotto to the Arte di Calimala (Cloth Merchants Guild), the guild who had the patronage of the Baptistry, Andrea Pisano was awarded the commission to design the first set of doors in 1329. An antetype for the doors was probably the San Ranieri Gate of the Pisa Cathedral, done by Bonanno Pisano around 1180. The wax model and the gilding at the end was the work of Andrea Pisano, whereas the bronze-casting was executed by Venetian masters, for whom these monumental doors nevertheless were a difficult challenge; it took six years to complete the doors. The gate wings consist of 28 quatrefoil panels altogether, with twenty top panels depicting scenes from the life of St. John the Baptist. The eight lower panels represent the eight virtues of hope, faith, charity (the three theological virtues), humility, fortitude, temperance, justice and prudence (the four cardinal virtues). The south doors were originally installed in 1336 on the east side, facing the Duomo, and were transferred to their present location in 1452. Lorenzo Ghiberti moulded reliefs for the adjusted doorcase. There is a Latin inscription on top of the door: Andreas Ugolini Nini de Pisis me fecit A.D. MCCCXXX ("Andrea Pisano made me in 1330").
The group of bronze statues above the gate depict The Beheading of St John the Baptist. It is the masterwork of Vincenzo Danti from 1571.
Lorenzo Ghiberti
North doors
In 1401, a competition was announced by the Arte di Calimala to design the doors of the east side of the baptistery facing the cathedral, which lasted there for 25 years, before they would eventually be moved to the north side and to be replaced by Ghiberti's second commission, known as the Gates of Paradise.
These north doors would serve as a votive offering to celebrate the sparing of Florence from relatively recent scourges such as the Black Death in 1348. Many artists competed for this commission and a jury selected seven semi-finalists. These finalists include Lorenzo Ghiberti, Filippo Brunelleschi and Jacopo della Quercia, with 21-year-old Ghiberti winning the commission. At the time of judging, only Ghiberti and Brunelleschi were finalists, and when the judges could not decide, they were assigned to work together on them. Brunelleschi's pride got in the way, and he went to Rome to study architecture leaving Ghiberti to work on the doors himself. Ghiberti's autobiography, however, claimed that he had won, "without a single dissenting voice." The original designs of The Sacrifice of Isaac by Ghiberti and Brunelleschi are on display in the museum of the Bargello.
It took Ghiberti 21 years to complete these doors. These gilded bronze doors consist of twenty-eight panels, with twenty panels depicting the life of Christ from the New Testament. The eight lower panels show the four evangelists and the Church Fathers Saint Ambrose, Saint Jerome, Saint Gregory and Saint Augustine. The panels are surrounded by a framework of foliage in the door case and gilded busts of prophets and sibyls at the intersections of the panels. Originally installed on the east side, in place of Pisano's doors, they were later moved to the north side. They are described by the art historian Antonio Paolucci as "the most important event in the history of Florentine art in the first quarter of the 15th century".
The bronze statues over the northern gate depict John the Baptist preaching to a Pharisee and Sadducee. They were sculpted by Francesco Rustici and are superior to any sculpture he did before. Leonardo da Vinci is said not only to have given him technical advice, Leonardo never left him during the whole process from the modelling to the casting; the pose of John the Baptist resembles that of Leonardo's depiction of the prophet.
East doors (Gates of Paradise)
Ghiberti was now widely recognized as a celebrity and the top artist in this field. He was showered with commissions, even from the pope. In 1424 he received a second commission, this time for the east doors of the baptistery, on which he and his workshop (including Michelozzo and Benozzo Gozzoli) toiled for 27 years, excelling themselves. These had ten panels depicting scenes from the Old Testament, and were in turn installed on the east side. The panels are large rectangles and are no longer embedded in the traditional Gothic quatrefoil, as in the previous doors.
Ghiberti employed the recently discovered principles of perspective to give depth to his compositions. Each panel depicts more than one episode. In "The Story of Joseph" is portrayed the narrative scheme of Joseph Cast by His Brethren into the Well, Joseph Sold to the Merchants, The Merchants Delivering Joseph to the Pharaoh, Joseph Interpreting the Pharaoh's dream, The Pharaoh Paying him Honour, Jacob Sends His Sons to Egypt and Joseph Recognizes His Brothers and Returns Home. According to Vasari's Lives, this panel was the most difficult and also the most beautiful. The figures are distributed in very low relief in a perspective space (a technique invented by Donatello and called rilievo schiacciato, which literally means "flattened relief"). Ghiberti uses different sculptural techniques, from incised lines to almost free-standing figure sculpture, within the panels, further accentuating the sense of space.
The panels are included in a richly decorated gilt framework of foliage and fruit, many statuettes of prophets and 24 busts. The two central busts are portraits of the artist and of his father, Bartolomeo Ghiberti.
Although the overall quality of the casting is exquisite, some mistakes have been made. For example, in panel 15 of the north doors (Flagellation) the casting of the second column in the front row has been mistakenly overlaid over an arm, so that one of the flagellators looks trapped in stone, with his hand sticking out of it.
Michelangelo referred to these doors as fit to be the Gates of Paradise (Porte del Paradiso), and they are still invariably referred to by this name. Giorgio Vasari described them a century later as "undeniably perfect in every way and must rank as the finest masterpiece ever created". Ghiberti himself said they were "the most singular work that I have ever made".
Preservation of original art
The Gates of Paradise situated in the Baptistery are a copy of the originals, substituted in 1990 to preserve the panels after over five hundred years of exposure and damage. To protect the original panels for the future, the panels are being restored and kept in a dry environment in the Museo dell'Opera del Duomo, the museum of the Duomo's art and sculpture. Some of the original panels are on view in the museum; the remaining original panels are being restored and cleaned using lasers in lieu of potentially damaging chemical baths. Three original panels made a US tour in 2007-2008, and then were reunited in a frame and hermetically sealed with the intention of making the panels appear in the context of the doors for public viewing.
Several copies of the doors are held throughout the world. One such copy is held at Vassar College in Poughkeepsie, New York. Another copy, made in the 1940s, is installed in Grace Cathedral, in San Francisco; copies of the doors are also crafted for the Kazan Cathedral in Saint Petersburg, Russia; the Harris Museum in Preston, United Kingdom; and in 2017 for the Nelson-Atkins Museum of Art in Kansas City, Missouri.
Other contributors
The two porphyry columns on each side of the Gates of Paradise were plundered by the Pisans in Majorca and given in gratitude to the Florentines in 1114 for protecting their city against Lucca while the Pisan fleet was conquering the island.
The Gates of Paradise are surmounted by a (copy of a) group of statues portraying the Baptism of Christ by Andrea Sansovino. The originals are in the Museo dell'Opera del Duomo. He then left for Rome to work on a new commission, leaving these statues unfinished. Work on these statues was continued much later in 1569 by Vincenzo Danti, a sculptor from the school of Michelangelo. At his death in 1576 the group was almost finished. The group was finally completed with the addition of an angel by Innocenzo Spinazzi in 1792. A Charity by Tino di Camaino now in the Museo Bardini is also thought to have originally been part of a group of the theological virtues placed above the door.
(Wikipedia)
Das Baptisterium San Giovanni ist die Taufkirche des Doms von Florenz und ist neben San Miniato al Monte das zentrale Werk florentinischer Romanik, die mit ihrem auf die Antike rückgreifenden Stil auch als Protorenaissance bezeichnet wird. Die Entstehungszeit ist umstritten, die Kirche wurde im 11. Jahrhundert geweiht. Vorbild dürfte das Baptisterium von San Giovanni in Laterano gewesen sein.
Das Baptisterium steht gegenüber dem Dom Santa Maria del Fiore. Sie trägt den päpstlichen Ehrentitel Basilica minor. Die drei künstlerisch bedeutsamen Bronzeportale der Kirche von Lorenzo Ghiberti und Andrea Pisano entstanden zwischen 1330 und 1452.
Lage
Das Baptisterium befindet sich auf dem Domplatz im Zentrum von Florenz. Das Baptisterium und der Dom Santa Maria del Fiore stehen sich gegenüber, verbunden durch ihre Hauptportale. In der Verlängerung der Domfassade steht rechts mit kleinem Abstand der Glockenturm Giottos. Ursprünglich stand anstelle des Doms die Bischofskirche Santa Reparata, erst später, nach Beendigung der Mosaikdecke im Baptisterium, entschloss man sich, die Kirche zum Dom zu erweitern.
Der Apsis des Baptisteriums gegenüber befindet sich der alte erzbischöfliche Palast, gegenüber dem Südportal die Loggia del Bigallo. Zwischen dem Baptisterium und der damaligen Bischofskirche befanden sich zwei Porphyrsäulen, die die Pisaner der Stadt 1117 aus Dankbarkeit für die Hilfe im Balearenkrieg geschenkt hatten. An der Nordseite stand eine Säule zu Ehren des Heiligen Zenobius an der Stelle, an der der Legende nach eine trockene Ulme zu sprießen begann, als man seinen Leichnam in die Kirche trug. Das Dommuseum, das Museo dell’ Opera del Duomo, in dem viele Objekte der Geschichte des Baptisteriums ausgestellt sind, befindet sich hinter dem Dom, auf der schmalen Ostseite des Platzes.
Geschichte
Entstehung, Baubeginn, Kontroverse
Die Frage nach den Ursprüngen des Baus ist weitgehend ungeklärt. Bis ins 18. und 19. Jahrhundert hinein glaubte man, das Baptisterium sei ein alter römischer Marstempel aus augusteischer Zeit. Ende des 19. Jahrhunderts und Anfang des 20. Jahrhunderts fand man bei Ausgrabungen unter dem Boden und um das Baptisterium herum Reste alter römischer Gebäude und Mosaikfußböden aus der Zeit zwischen dem 1. und dem 3. Jahrhundert. Dies belegt, dass die Kirche auf den Fundamenten eines römischen Bauwerks entstanden ist. Bis heute ist jedoch ungeklärt, ob das Baptisterium an der Stelle eines früheren Kirchengebäudes aus den ersten Jahrhunderten des Christentums in Florenz steht. Die erste sichere Quelle stammt von 897, als eine ecclesia (Kirche) erwähnt wird, die Johannes dem Täufer geweiht war und gegenüber dem Bischofspalast stand. Der heutige Bau entstammt frühestens dem 11. Jahrhundert. Ob zum Zeitpunkt der Weihe durch Papst Nikolaus II. (vormals Bischof von Florenz) am 6. November 1059 der heutige Bau bereits fertiggestellt war oder erst später vollendet wurde, ist unklar. Die klassische Form des Gebäudes ließe sich mit der mittelalterlichen Neuorientierung an der Baukunst der römischen Antike erklären.
Bauphasen
Im Jahre 1128 wurde das Taufbecken aus der Basilika Santa Reparata, deren Reste noch heute unter dem Dom Santa Maria del Fiore zu besichtigen sind, in das Baptisterium gebracht. In der Mitte des 12. Jahrhunderts wurde die Laterne in Auftrag gegeben, die der Überlieferung Giovanni Villanis nach die bis dahin nach oben offene Kuppel abschloss. Finanziert wurde die Laterne von der Arte di Calimala, der bedeutendsten Florentiner Zunft der Kaufleute und Tuchveredler, die im Gegenzug ihr Emblem, einen Adler mit einer Wollrolle in seinen Klauen, an mehreren Stellen außen an der Taufkirche anbrachten. Die Tuchveredler waren bis zum Jahre 1770, als Leopold II. (HRR) die Florentiner Zünfte abschaffte, mit der Verwaltung des Baptisteriums betraut (Seit 1777 trägt das Dombauamt Santa Maria del Fiore die Verantwortung für das Gebäude). Im Jahr 1202 wurde die halbrunde Apsis durch eine rechteckige ersetzt, so wie man sie heute sehen kann. Zu der prunkvollen Marmorausstattung im Innern der Apsis gehörte auch ein Altar, der nach dem Abbau in der Barockzeit teilweise verloren ging. Im Jahr 1225 begann man das Kuppelinnere mit Mosaiken zu verkleiden. Die Arbeit der vielen Maler und Mosaikkünstler war so überzeugend, dass man die Mosaikverkleidung auch auf die Galerie, dem Laufgang unterhalb des Kuppelrings, ausdehnte. Im Jahre 1288 beauftragte man den Architekten Arnolfo di Cambio einen neuen Fußboden auf dem Platz um das Baptisterium zu verlegen. Dabei kam es zu einer Anhebung des umliegenden Straßenniveaus, wodurch die Proportionen des Baptisteriums verändert wurden, nun wirkt der Bau leicht „versunken“. Leonardo da Vinci wollte dem durch eine Anhebung des gesamten Baus begegnen, der Plan wurde jedoch wieder fallengelassen. Dem Biografen und Hofmaler der Medici Giorgio Vasari zufolge verkleidete Arnolfo di Cambio auch die Eckpilaster aus Sandstein mit der auch heute noch zu sehenden Streifenmusterung aus Marmor. Ob es sich dabei um eine erstmalige Streifeninkrustination handelte oder eine alte lediglich durch eine neue ersetzt wurde, war schon zu Zeiten Vasaris umstritten. Im Jahre 1370 baute man einen marmornen Taufbrunnen, der mit Darstellungen des Sakraments der Taufe geschmückt war und an der südöstlichen Wandseite aufgestellt wurde, wo er noch heute steht.
Erste Skulpturen und die Portale
Von 1309 bis 1320 wurden von Tino di Camaino mit Unterstützung der Arte di Calimala Skulpturengruppen oberhalb der Portale geschaffen. 1322 wurde Andrea Pisano mit einem vergoldeten Bronzeportal beauftragt, das er 1336 mit 20 Szenen aus dem Leben Johannes des Täufers und acht Tugendenallegorien vollendete. Dieses ursprünglich als Hauptportal für die Ostseite geschaffene Tor wurde 1424 zunächst durch das von Ghiberti geschaffene Nordportal ersetzt und befindet sich heute an der Südseite. Als 1348 die Pest über die Stadt hereinbrach, wurden die Arbeiten am Baptisterium vorerst aufgegeben.
Wettbewerb und Konkurrenzreliefs des Nordportals
Nach Jahren der ökonomischen Krise, Hungersnöten und Missernten begann Florenz wieder zu prosperieren und man plante eine Verschönerung des Baptisteriums. 1401 wurde durch die Arte di Calimala ein Wettbewerb ausgeschrieben, möglicherweise der erste Wettbewerb in der Geschichte der neueren Kunst, dessen Gewinner die anderen beiden Portale gestalten sollte.
Lorenzo Ghiberti setzte sich schließlich gegen sechs weitere Mitbewerber durch, darunter Filippo Brunelleschi, Francesco di Valdambrino, Jacopo della Quercia und Niccolò di Piero Lamberti. Die Wettbewerbsbeiträge sollten im Vierpassrahmen wie Pisanos Portal ausgeführt werden und die Opferung Isaaks zum Thema haben. Die meisten Beiträge sind verloren gegangen, nur die Bronzegüsse Brunelleschis und Ghibertis sind erhalten und im Museo nazionale del Bargello zu sehen.
Brunelleschi betonte in seiner Version die Dramatik der Handlung, Ghiberti wirkte im Vergleich dazu verhaltener, die Tat wird eher angedeutet, dafür verwendet er mehr Sorgfalt auf die dekorative Seite, auf die Darstellung der Landschaft, der Faltenwürfe der Gewänder und die Schönheit der Körper, vor allem dem des Isaak auf dem Opfertisch. Bei Brunelleschi ist die mörderische Handlung in vollem Gang und dominiert alle anderen Themen, während bei Ghiberti eine Art gleichmäßige Massenverteilung der einzelnen Themen vorliegt, die gegenüber dem Hauptthema deutlich eigenes Gewicht haben. Aus dem Wettbewerb von 1401 ging mit knappem Vorsprung Ghiberti als Sieger hervor mit seinem noch mehr gotischen und ganz auf Lichteffekte und weichen, dekorativen Rhythmus aufgebauten Werk.
Vielleicht hat eine Rolle gespielt, dass das Modell Ghibertis nur 18,5 kg wog im Vergleich zu den 25,5 kg bei Brunelleschi, was für die Konstruktion der gesamten Tür einen erheblich geringeren Verbrauch an Bronze bedeutete.
Ghiberti war im Umgang raffinierter als der verschlossene Brunelleschi und holte sich ausgiebig Rat bei anderen Künstlern und Bildhauern, von denen viele zufällig zur Jury gehörten. Brunelleschi, Goldschmied und Bildhauer, hat diese Niederlage nie verwunden, derentwegen er die Bildhauerei aufgegeben und sich ganz der Architektur gewidmet haben soll. Ab 1418 sind beide für die Domkuppel verantwortlich.
Portale Ghibertis
Nach dem Wettbewerbssieg wurde Ghibertis Werkstatt mit der Herstellung eines Bronzeportals mit der Christuslegende in Anlehnung an Andrea Pisanos Portal beauftragt. Zeitweise waren über zwanzig Helfer an den Arbeiten beteiligt, die sie sich über Jahrzehnte hinzogen. Zum Osterfest 1424 wurde das Portal feierlich an der Ostseite angebracht.
Ein Jahr später erhielt Ghiberti den Auftrag für ein weiteres Portal. Ein Brief belegt, dass Leonardo Bruni, der Kanzler der Republik, sich ursprünglich für ein Portal zum Alten Testament einsetzte, nach dem Vorbild der anderen beiden mit 24 Tafeln. Ghiberti, der mittlerweile ein hohes Ansehen genoss, konnte seine eigenen künstlerischen Vorstellungen durchsetzen und entschied sich für 10 großformatige Tafeln. Im Jahre 1452 beendete er die zweite Tür. Giorgio Vasari zufolge soll Michelangelo beim Anblick der Tafeln gesagt haben: „Sie sind so schön, dass sie sich gut an den Pforten des Paradieses ausnähmen.“ Die Bezeichnung „Paradiespforte“ wurde zuvor schon auch für andere Portale verwendet, so dass nicht bewiesen ist, dass diese Bezeichnung für das Tor tatsächlich auf Michelangelos Ausspruch zurückgeht.
Diese ‚Paradies‘-Tür kam nicht an das ursprünglich vorgesehene Nordportal, sondern man entfernte von dem dem Dom gegenüberliegendem Ostportal, die ältere Tür Ghibertis und versetzte sie nach Norden und Ghibertis neues Portal kam an die Ostseite. Die Kunst Ghiberti hatte den Austausch seiner ersten Tür mit der Christuslegende gegen die Paradiestür mit alttestamentarischen Themen und damit die Aufhebung der traditionelle Vorstellungen bewirkt. „Denn erstmals gewann die Ästhetik als Kriterium für den Aufstellungsort eines Kunstwerkes Vorrang vor dessen Inhalt.“
Grabmal für Johannes XXIII.
Zur selben Zeit schuf Donatello mit Michelozzo ein monumentales Grabmal für Johannes XXIII., dem dank der Fürsprache der Medici die Ehre eines Grabmonuments im Baptisterium zuteilwurde. Außerdem schuf Donatello für das Baptisterium die beeindruckende Holzstatue der büßenden Magdalena, die seit der Überschwemmung des Arno im Jahre 1966 im nahe gelegenen Dommuseum zu besichtigen ist.
Neue Skulpturen, Zerstörungen und Restaurierungen
Durch Regenwasser, das trotz einer Restaurierung der Marmorbedachung Ende des 14. Jahrhunderts in das Innere der Kuppel eindrang, waren die Mosaike bedroht. Man beauftragte Alessio Belsovinetti, einer der letzten, der die aussterbende Kunst des Mosaiklegens beherrschte, mit der Überprüfung und Instandhaltung der wertvollen Mosaike. Andere künstlerische Werke des Mittelalters hielt man dagegen für veraltet und wenig erhaltenswürdig.
Die Skulpturengruppen über den Portalen aus dem 14. Jahrhundert ersetzte man durch neue Gruppen, die aus je drei Figuren bestanden. Den Haupteingang sollte Andrea Sansovino mit einer marmornen Taufe Christi krönen. Er hinterließ jedoch nur die Figur des hl. Johannes vollendet, als er um 1505 Florenz für andere Aufträge verließ. Vincenzo Danti arbeitete daraufhin den Christus nach Skizzen Sansovinos aus. Bis zu seinem Tod 1576 hatte Danti die dritte Figur des Engels nur als Stuck- oder Terrakottamodell entworfen. Erst 1792 vollendete Innocenzo Spinazzi den Engel in Marmor. Für die Nordseite entwarf Francesco Rustici, Vasari zufolge unter der Mithilfe Leonardo da Vincis, eine Predigt Johannes des Täufers, die 1511 aufgestellt wurde. In der Themenwahl orientierte man sich an den alten Figuren Tino di Caimanos, nur die Südseite bekam ein neues Thema: Die Enthauptung Johannes des Täufers, die von Vincenzo Danti ausgeführt wurde.
Im Jahre 1577 wurde das alte Taufbecken, wohl aus dem 13. Jahrhundert, durch den großherzoglichen Architekten Bernardo Buontalenti abgerissen, der jedoch eine Zeichnung davon hinterließ. Anlass war die Taufe Filippos, des erstgeborenen Sohns von Francesco de’ Medici und Johanna von Österreich. Man störte sich an der Zerstörung der antiken Weiträumigkeit des Baptisteriums durch das Taufbecken, das man damals noch für einen alten Marstempel hielt. Die Steinplatten des alten Taufbeckens wurden nahe der Stadtmauer entsorgt und teilweise als Baumaterial wiederverwertet. Hier wurden wohl Teile des von den Bürgern geliebten Beckens mit nach Hause genommen und möglicherweise als Reliquie verehrt. Im Jahre 1782 schuf der Bildhauer Girolamo Ticciate einen neuen mehrfarbigen Barockaltar, der den alten romanischen ersetzte. Seinerzeit hob Antonio Francesco Gori weitsichtig Marmorbruchstücke und grafische Dokumentationen des alten Marmoralters auf, so dass er Anfang des 19. Jahrhunderts, als man bei Restaurierungsarbeiten den romanischen Charakter der Kirche wiederherstellen wollte, durch Castellucci sehr ähnlich nachgebildet werden konnte.
Moderne Restaurierung und Erhaltung
Im Jahre 1894 beginnen intensive Restaurierungsarbeiten, bei denen man auch bei Grabungen Überreste römischer Gebäude und außerhalb des Gebäudes mittelalterliche Grabstätten fand. Um das Dauerproblem des in die Kuppel eindringenden Regenwassers zu lösen, beauftragt man den Architekten Luigi del Moro damit, das Dach abzudichten. Hierbei ersetzte man die vorspringenden Rippen am Dach durch einen flächigen Abschluss ohne Unterbrechungen. Das Opificio delle Pietre Dure wurde damit beauftragt, die Kuppel und die Apsis zu renovieren. Hierfür wurden die Mosaiksteine in einer neuen Technik herausgenommen und wieder eingesetzt. Hierbei stellte man die Mosaike auch dort wieder her, wo sie nach alten Zerstörungen nur durch eine Bemalung ersetzt wurden. Castellucci ersetzte hierbei, wie schon erwähnt, den Barockaltar. Den ursprünglichen Plan, auch das alte Taufbecken wiederherzustellen, ließ man jedoch fallen.
In der zweiten Hälfte des 20. Jahrhunderts versuchte man vor allem das Äußere zu erhalten, das durch aggressive Umwelteinflüsse bedroht war. Hierbei wurden auch die Statuen über dem Ostportal ins Dommuseum verlagert. Mit der Restaurierung der Paradiespforte begann man nach der Überschwemmung von Florenz 1966, bei der einige Reliefs aus dem Rahmen gerissen wurden. Durch unsachgemäße Säuberung und schädliche Umwelteinflüsse wurde ein Korrosionsprozess ausgelöst, der zu einer Korrosion zwischen der Bronze und der Goldschicht geführt hat.
Im Frühjahr 1990 konnte man schließlich das Paradiesportal mit einer Kopie ersetzen, die durch die Finanzierung der japanischen Firma Sun Motoyama ermöglicht wurde. Den Guss hatten toskanische Gießereien übernommen, während die Vergoldung in Paris durchgeführt wurde. Die Verantwortung für die Herstellung der Kopie und die Restaurierung des Originals lag wiederum in den Händen des Opificio delle Pietre Dure, die in den Folgejahren die Restaurierung zu Ende führten und die nun im Museo dell'Opera del Duomo ausgestellte Tür vervollständigten.[8] Die Oxide, die sich im Original gebildet hatten, hätten die Vergoldung langfristig zerstört, sodass man das gesamte Portal in einer mit Stickstoff gefüllten Vitrine im Dommuseum aufbewahrt. In einem weiteren Projekt werden momentan die Schadstoffeinflüsse gemessen, denen das Nordportal von Ghiberti und das Südportal von Pisano ausgesetzt sind.
Religiöse und soziale Bedeutung
Die Kirche war von zentraler Bedeutung für das religiöse Leben der Stadt, sie war lange Zeit Bischofskirche und bis ins 19. Jahrhundert wurden alle gebürtigen Florentiner hier getauft. Das Gebäude ist dem Heiligen Johannes (San Giovanni), dem Patron der Stadt gewidmet, dem eine große Volksverehrung zukam. Die oktogonale Form des Gebäudes ist ein Symbol für den achten Tag, dem Tag Christi, als Symbol für die Hoffnung auf die Auferstehung. Durch die Laterne fiel das Licht direkt auf das Taufbecken und sollte somit die „Erleuchtung“ durch die christliche Weihe greifbar machen. Der Ort ist nicht nur Ort der Taufe, sondern auch des Todes, umgab das Baptisterium doch zwischen dem 6. und dem 14. Jahrhundert ein Friedhof.Ref?
Neben der Taufe und dem Tod war San Giovanni auch ein Ort des öffentlichen Rituals: Zu Ehren des Schutzpatrons wurde seit dem Jahre 1084 jährlich ein Fest gefeiert. Die Stadt wurde geschmückt, der Klerus versammelte sich zur feierlichen Prozession auf dem Platz zwischen Baptisterium und Dom und dem Stadtheiligen San Giovanni wurden Wachskerzen als Gabe gebracht. Diese Feste, die bis ins 15. Jahrhundert immer weltlicher wurden und von Maskenwagen mit allegorischen Darstellungen, wie sie beim Karneval üblich waren, begleitet wurden, schaffte der Bußprediger Girolamo Savonarola vorübergehend ab. Zu Zeiten des Großherzogtums war das Fest dann vor allem eine Prunkveranstaltung der weltlichen Herrscher. Es wird heute immer noch gefeiert und hat wieder einen eher religiösen Charakter. Das Baptisterium wird immer noch für Gottesdienste genutzt, ist aber auch gegen Eintritt für Touristen zugänglich.
Die Marstempellegend
Ursprünge
Die Marstempellegende besagt, dass das Baptisterium aus einem dem römischen Kriegsgott Mars geweihten Tempel der römischen Kaiserzeit hervorgegangen sei. Diese Legende geht wohl auf den Chronisten und Magistralbeamten Giovanni Villani zurück, der sie im frühen 14. Jahrhundert formulierte. Seiner Ansicht nach hatten die Florentiner Siedler einige Jahre nach Gründung der Stadt unter Mithilfe römischer Bauleute einen Marstempel errichtet. Dieses Bauwerk charakterisierte Villani als achteckiges Gebäude, mit geöffnetem Dach ähnlich dem Pantheon, das um die Gestalt einer Reiterstatue des Mars gebaut wurde. Bis heute wird in Reiseführern, aber auch von Forschern (Jacob, Busigniani) der italienische Dichter Dante Alighieri als ursprünglicher Urheber oder erster Autor der Marstempelthese bezeichnet. Dabei verweist Dante lediglich, vermittelt über die Äußerungen eines Selbstmörders, den er in Begleitung von Vergil in der Hölle trifft (in der göttlichen Komödie) auf eine Reiterstatue an einer Arnobrücke in Florenz, die dem Kriegsgott Mars geweiht ist. Mars war tatsächlich einst der Schutzpatron der Stadt. Villani greift diese Legende der Marsstatue auf und entwickelt in Anspielung auf Dante, in dessen Werk der Begriff Marstempel jedoch kein einziges Mal erwähnt wird, die Marstempelthese. Das eigentliche Ziel Villanis war es, mit dieser Legende Florenz zum legitimen Erbe Roms zu erklären und seiner aufstrebenden Heimatstadt ein Denkmal zu setzen. Erst durch den Kommentar des Schriftstellers und Dichters Giovanni Boccaccio zu Dantes „göttlicher Komödie“ wird die ursprüngliche Erwähnung der Marstempelthese vollends fälschlicherweise Dante zugeschrieben. Die Marstempelthese wird zur florentiner Staatsdoktrin und auch vom Kanzler von Florenz Leonardo Bruni und dem medicitreuen Intellektuellen Angelo Poliziano vertreten. Erst im 17. Jahrhundert wird sie zunehmend hinterfragt.
Rekonstruktionen des Marstempels
Unter den Medici, die ihre eigene noble römische Herkunft belegen wollten, wird die Marstempellegende zum quasioffiziellen Gründungsmythos der Stadt. Die Herrscher der Stadt, die damals in Konkurrenz zu den anderen italienischen Fürstentümern, vor allem zu Rom standen, versuchen sich durch den Verweis auf den antiken Ursprung politisches Gewicht zu verschaffen. Cosimo I. beauftragt Giorgio Vasari mit der bildlichen Darstellung der „Marstempelthese“ im Palazzo Vecchio, Vincenzo Borghini sollte die These historisch belegen. In den 1584 publizierten Discorsi legt allerdings auch Borghini eine visuelle Rekonstruktion vor. Vasari malt im Rahmen des Bildes Fondazione di Florentia (1563), das die Decke der Sala dei 500 im Palazzo Vecchio schmückt, seine Vorstellung des ursprünglichen Marstempels. Sein Marstempel ist eine einstöckige, hoch aufragende, offene Säulenarchitektur, die auf einem Sockel mit einem zweistufigen Stylobat steht. Zwar bleibt die oktogonale Grundform erhalten, das Gebäude ist aber nicht dreigeschossig, wie das spätere Baptisterium, sondern eingeschossig. Neben der achteckigen Form übernahm Vasari vom Baptisterium einzig und allein die Streifeninkrustation der Kantenpfeiler, welche jedoch, Vasaris Viten (1550) zufolge, ein Merkmal mittelalterlicher Architektur Arnolfo di Cambios sind und demzufolge nicht zur Intention des Bildes passen die Marstempelthese zu bestärken. Erst 1568, in einer neu verfassten Vita des Arnolfo di Cambio, geht Vasari davon aus, dass die Streifeninkrustination schon vorher vorhanden war, und nur der Sandstein durch besseren Marmor ersetzt wurde. Es bleibt bis heute unklar, ob Vasari bei seiner Marstempelrekonstruktion tatsächlich von der verbreiteten Marstempelthese ausging, die besagte, dass das Baptisterium ein mit Umbauten erhaltener Marstempel aus römischer Zeit war. Die Widersprüche, in die sich Vasari bei der Rekonstruktion verstrickt, sind dem Kunstgeschichtler Gerhard Strähle zufolge entstanden, weil Vasari zwar mit der Rekonstruktion beauftragt wurde, aber „bei den gründlichen Antikenkenntnissen, die er besaß, das Florentiner Baptisterium niemals für ein antikes Bauwerk gehalten hat.“
Gestaltung
Die Größe des Bauwerkes ist erstaunlich, misst man sie an der geringen Bevölkerungszahl im Florenz des 11. Jahrhunderts. Die Höhe des Pantheons wird nur um 1/5 unterschritten; in der Raumweite werden immerhin 2/3 des römischen Vorbildes erreicht. Praktische Erfordernisse können die Dimensionen nicht erklären. Es handelt sich vielmehr um „Architektur als Bedeutungsträger“: um einen Repräsentationsbau, mit dem im Zeitalter des Investiturstreites (1077: Gang nach Canossa) die herausgehobene Stellung von Florenz als einem Vorposten der päpstlichen Richtung dokumentiert werden sollte. Das Baptisterium ist ein oktogonaler Zentralbau mit einer westlich angebauten rechteckigen Apsis (Scarsella). Das Zeltdach wird von einer Laterne abgeschlossen. Das Gebäude ist zweischalig verkleidet, von außen mit drei Geschossen, von denen jedoch nur die ersten beiden der Innenwand entsprechen. An das zweite, mit einer Galerie ausgestattete, Geschoss schließt innen die spitzbogig verlaufende Kuppel an. Die Fassade wie die Innenwand des Gebäudes wurde mit weißem Marmor aus der Lunigiana und grünem Marmor aus Prato geometrisch gestaltet. Dieser, für Florenz und die Toskana typische Inkrustationsstil knüpft unmittelbar an die Antike an. Die geometrischen Motive sind nach altrömischem Vorbild gestaltet. Die unteren Pilaster tragen ein Gebälk, die oberen polygonalen Säulen sind durch Rundbögen abgeschlossen. In ihnen befindet sich je ein kleines Fenster, das mittlere mit Rundbogen, die beiden äußeren mit einem Dreiecksgiebel bekrönt.
Kuppel
Die Kuppel wurde ab 1225 mit 26 m Durchmessern in acht Ringen von so berühmten Künstlern wie Giotto oder Cimabue mit einem der weltweit größten Mosaikzyklen ausgestaltet; nach 50 Jahren erst wurde dieses von einer gewaltigen Christusfigur beherrschte Mosaik fertig gestellt. Das Rundbild wurde zwischen 1260 und 1275 erarbeitet und hat einen Durchmesser von acht Metern. Christus wird als Richter dargestellt, der zu seiner Rechten die Erwählten hat, und mit seiner linken Hand die Verdammten unter den Toten, die unter ihm aus ihren Särgen steigen, ins Höllenreich weist. In der Hölle ist ein furchterregender Teufel zu sehen, dem Schlangen aus den Ohren kriechen und der Menschen frisst. Seine Gestaltung wird Coppo di Marcovaldo zugeschrieben. Rechts unten in der Hölle hängt Judas noch an seinem Galgen. Im inneren Bereich der Kuppel sind die himmlischen Heerscharen zu sehen, darum werden in vier Streifen gegen den Uhrzeigersinn biblische Geschichten erzählt: Innen, Szenen aus der Genesis. Dann Szenen aus dem Leben Josephs, des Hebräers. Szenen aus dem Leben Jesu werden in der zweitäußersten Reihe erzählt, ganz außen, die Geschichte Johannes des Täufers. Kunsthistoriker vermuten, dass viele Mosaikmeister aus Venedig, Pisa und Lucca kamen und die Gestaltung mit ihrem regionalen Stil beeinflussten, der auch byzantinische Elemente enthielt.
Skulpturen
Die drei Skulpturengruppen mit je drei Figuren befinden sich jeweils außen am Baptisterium über den Portalen zwischen den zwei mittleren Säulen und unter den Fenstern des zweiten Geschosses.
Die Taufe Christi (Ostseite)
Die Skulpturengruppe knüpft mit der Taufe Christi thematisch an die Skulpturengruppe an, die Tino di Caimaino für das Südportal geschaffen hatte, die für die neuen Skulpturen entfernt wurde. Sansovino wollte die Szene ursprünglich auf den Heiland und den Täufer konzentrieren, Danti ergänzte jedoch die Figuren um den Engel, der zur klassischen Ikonografischen Tradition gehört. Christus wendet sich leicht Johannes zu, dessen Körper nach vorne gedreht bleibt, während er seinen Kopf zu Christus gedreht hat. Der Engel steht dabei leicht zu Christus gebeugt.
Die Predigt Johannes des Täufers (Nordseite)
Die drei bronzenen Figuren über dem Nordportal sind von Francesco Rustici gestaltet. Sie zeigen Johannes, der zu dem Leviten und dem Pharisäer neben ihm spricht. Auf dem Sockel der Figuren ist auf hebräisch der Dialog zu lesen, den sie führen: Der bärtige Pharisäer links fragt, „Was wirst du mir sagen?“ der kahlköpfige Levit will wissen: „Wer bist du, Elias?“. Johannes der Täufer spricht: „Eine Stimme in der Wüste ruft: bereitet den Weg.“ Allerdings sprechen die Figuren auch ohne den Text für sich. Selbstsicher und fordernd unterbreitet Johannes den Figuren rechts und links von ihm seine Botschaft.
Die Enthauptung Johannes des Täufers (Südseite)
Die Skulpturengruppe über dem Südportal wurde von Vincenzo Danti in Bronze ausgeführt, der zur gleichen Zeit auch Andrea Sansovinos Werk fortführte. Die dramatische Darstellung zeigt den Johannes den Täufer kniend, der den Schwerthieb des Henkers rechts neben ihm erwartet. Salomé links neben ihm beugt sich ängstlich zurück und hebt abwehrend die Hand.
Bronzeportale
Berühmt sind außerdem die drei vergoldeten Bronzetüren. Sie entstanden innerhalb eines Zeitraumes von rund 120 Jahren. Die erste Türe (1330) wurde von Andrea Pisano gearbeitet und orientiert sich noch rein an der Gotik, während sich zwischen der zweiten und der dritten Türe, die beide von Ghiberti stammen, der Wechsel zur Frührenaissance vollzieht: 1. Tür 1403–1424, 2. Tür („Paradiespforte“) 1425–1452.
Die schon in der Antike benutzte Bronze hatte im Mittelalter keine Bedeutung. Marmor und andere Steinsorten wurden für Skulpturen verwandt. In der beginnenden Renaissance wurde die Bronze in Florenz wiederentdeckt und verbreitete sich in ganz Italien. Bald galt sie als das edle Material par excellence und wurde bei allen Werken verwendet, die den Ehrgeiz hatten, sich mit der Antike zu messen. Die Künstler selbst fertigten dabei nur die Wachsmodelle an, die die Basis der späteren Kunstwerke bildeten. Der Guss der Bronzetüren erfolgte durch darauf spezialisierte Werkstätten und Gießereien.
Das Südportal (Andrea Pisano)
In goldener Inschrift steht oben am Portal in Latein geschrieben, „ANDREAS:UGOLINI:NINNI:DE:PISIS:ME:FECIT:A:D:M:CCC:XXX“, das heißt: „Andrea di Ugolini di Nino aus Pisa schuf mich im Jahr 1330“. So signierte Pisano stolz im Wachsmodell für den Bronzeguss das Türgerüst. Die aufwendige Ausführung des Bronzegusses der Portalflügel führten Spezialisten aus Venedig durch. Das kleinteilige Bildprogramm wurde von Pisano und seiner Werkstatt selbst geleistet.
Auf den Türflügeln befinden sich je 14 Rechtecke (50 × 43 cm innerhalb der Rahmen). Jeder Rahmen umfasst einen Vierpass, in dem sich je ein teilvergoldetes Bronzerelief einfügt. Die die Reliefrahmen umlaufenden Leisten sind alternierend mit einfachen Rosetten und Diamantformen verziert, die Ecken werden durch 48 individuelle vergoldete Löwenköpfe besetzt.
Die zwanzig oberen Szenen erzählen aus dem Leben Johannes des Täufers. Sie sind inhaltlich zweigeteilt, die Reliefs des linken Flügels erzählen die Geschichte des Predigers, rechts sieht man Szenen seines Martyriums. Die Erzählung erfolgt zunächst auf dem linken Türflügel von links oben nach rechts unten, von der Verkündung (seiner Geburt) an seinen Vater Zacharias bis zur Taufe Christi; dann auf dem rechten in gleicher Leserichtung, von der Begegnung mit Herodes bis zu seiner Grablegung. In den unteren acht Feldern befinden sich allegorische Darstellungen der göttlichen Tugenden, neben den vier Kardinaltugenden (Stärke, Mäßigung, Gerechtigkeit, Klugheit) die drei theologischen Tugenden (Hoffnung, Glaube, Barmherzigkeit). Aus Gründen der Symmetrie musste ein achtes Feld gestaltet werden. So wurden noch die Demut hinzugefügt, die auch als Leitmotiv des Lebens Johannes des Täufers gesehen werden kann.
Neben dem Pisaner Giovanni Pisano zählt vor allem der italienische Maler Giotto di Bondone und die französische Bildhauerkunst zu Andrea Pisanos Einflüssen.
Das Nordportal (Lorenzo Ghiberti)
Vorgabe des von Ghiberti gewonnenen Wettbewerbs für die Auftragsvergabe war es, sich an die Struktur der Tür Andrea Pisanos zu halten. Die Türflügel und Rahmen wurden aus einem Stück in Bronze mit Patina gegossen, die Reliefs wurden mit Quecksilber vergoldet und später eingelassen. Das Portal enthält zwanzig Episoden aus dem neuen Testament, die unteren acht Vierpässe zeigen, analog zur Struktur von Pisanos Tor, Kirchenväter und Evangelisten. Ursprünglich waren für das Tor Szenen aus dem Alten Testament geplant, man entschied sich jedoch, inhaltlich an das Leben Johannes des Täufers, des „Vorläufers des Herrn“ anzuschließen und das Leben Jesu zu erzählen. Die Szenen haben eine andere Leserichtung als auf Pisanos Portal, und zwar ab der dritten Reihe von unten (also über den Kirchenvätern und Evangelisten) von links nach rechts über beide Türflügel und von unten nach oben. Anstelle der Löwenköpfe, hat Ghiberti Propheten, Prophetinnen und Sibyllen gesetzt, die die Hoffnung auf die Ankunft des Herrn darstellen. Ein Kopf sticht durch seine „moderne“ Bekleidung etwas hervor: Am linken Türflügel ist mittig, der dritte Kopf von unten, ein Mann mit Kopftuch zu sehen. Hier handelt es sich wohl um ein Selbstporträt Ghibertis, wie auch an der Paradiespforte. Auch Ghiberti hat sein Werk signiert mit der Inschrift „OPUS LAURENTII FLORENTINI“. Das Portal ist durch elegantes Blätterwerk umrahmt. Zwar waren „Figuren, Bäume und ähnliche Maßarbeiten“ Ghiberti persönlich vorbehalten, doch arbeiteten in der Werkstatt auch andere Künstler wie Donatello, Michelozzo, Masolini und Paolo Uccello, für die die Arbeit am Portal eine wichtige Lernzeit darstellte. Kunsthistoriker sehen schon im ersten Portal einen Reifungsprozess in den Arbeiten Ghibertis, bei dem er von gotisch geprägten Tafeln, wie der Verkündigung und der Geburt Christi zu perspektivisch anspruchsvolleren Tafeln wie die Gefangennahme Christi und die Geißelung übergeht, die schon der Frührenaissance zugerechnet werden können. Die Türflügel des Nordportals mit den neutestamentlichen Szenen befanden sich ursprünglich an der Ostseite des Baptisteriums. Erst danach wurde die Tür für die Nordseite in Auftrag gegeben und diesmal mit alttestamentlichen Szenen. Ghiberti verzichtete aber diesmal auf die Vierpassrahmen und beschränkte die Zahl der Reliefs auf zehn Quadrate. Die überwältigende Schönheit dieser Tür veranlasste die Calimala, die Osttür mit den neutestamentlichen Szenen ins nördliche Portal einzusetzen und die neue Tür mit den alttestamentlichen Reliefs wegen ihrer Schönheit im Ostportal aufzurichten.
Das Ostportal (Die Paradiespforte) (Lorenzo Ghiberti)
Die Wollhändlerzunft, die mit der Arbeit Ghibertis sehr zufrieden war, beauftragte ihn 1425 mit der Schaffung eines weiteren Portals. Der ursprüngliche Plan, das Tor mit der gleichen Struktur wie die beiden anderen zu konstruieren, wurde erst verworfen, als die Arbeiten schon begonnen hatten, davon zeugt die Rückseite, die noch in 28 Quadrate unterteilt ist. Es war wohl Ghiberti, der, dem Geschmack der Renaissance entsprechend, die zehn großflächigen Quadrate den kleinen gotischen Vierpassrahmen vorzog. Inhaltlich wählte man biblische Episoden aus dem Alten Testament, wie man sie schon einmal für Ghibertis erstes Portal geplant hatte.
Man gewährte Ghiberti, dem man die Aufgabe eines weiteren Portals ohne einen neuen Wettbewerb anvertraute, große künstlerische Freiheiten, ein Ausdruck des aufkommenden Humanismus, der dem Künstler eine zentrale Bedeutung zukommen ließ. In diesem Akt der Emanzipation des Handwerksmeisters gegenüber den Intentionen des Auftraggebers, der hier erstmals zur vollen Geltung gelangte, war eingetreten, was als »Wendepunkt in der Sozialgeschichte der europäischen Kunst« bezeichnet wird.
Die ersten drei Tafeln beschäftigen sich mit der Rolle Gottes als Erretter der Juden. Weiterhin führte Ghiberti auch die Opferung Isaaks aus, die er für den Wettbewerb schon einmal gestaltet hatte. Isaak überträgt in der nächsten Tafel das Erstgeburtsrecht von Esau auf Jakob. Des Weiteren werden Szenen aus dem Leben Joseph, Moses, Josua und David erzählt. Die zehnte Tafel gilt auch als politische Aussage zu einem zeitgenössischen Ereignis: Das Konzil von Florenz strebt im Jahre 1439 unter Eugen IV. die Vereinigung der römischen und der Ostkirche an, symbolisch herbeigesehnt in der Begegnung der Königin von Saba mit Salomon. Von den Sieneser Landschaftsmalern, beispielsweise Masaccio in der Brancacci-Kapelle, übernimmt er die Technik, mehrere Szenen in einem Bild darzustellen. Die Flachrelieftechnik ist ein visueller Trick, den er von Donatello übernimmt, um dem Bild Tiefe zu verleihen. Hierbei werden Figuren umso flacher, je weiter weg sie vom Betrachter stehen. Die Friesverkleidung für das Paradiestor mit seinen Girlanden, die mittig durch den Adler, das Symbol der Wollhändler gekrönt wird, wurden von Ghiberti und seinem Sohn Vittorio vollendet. Der greise Ghiberti bekam nach Vollendung des Paradiestores auch den Auftrag, das Tor Andrea Pisanos mit einem Fries zu verkleiden, um ein einheitliches Erscheinungsbild zu schaffen. Tatsächlich wurde das Fries von seinem Sohn bis 1466 ausgeführt.
Architektonische Einordnung
Das Baptisterium wird heute oft der sog. Protorenaissance zugerechnet. Gemeint ist hierbei eine Stilrichtung, bei der künstlerische Anleihen aus der Antike schon zwischen dem 11. und 13. Jahrhundert gemacht wurden, die der Renaissance quasi vorauseilen. Das Bauwerk hat klar einen klassisch-antiken Aufbau, modifiziert jedoch diese Elemente beispielsweise durch die Inkrustation der Fassade. Allerdings ist das Gesamtwerk nicht einer Epoche zuzurechnen, allein schon die Portale spiegeln eine künstlerische Entwicklung wider, die verschiedene Stilepochen umfasst. Neben der romanisch geprägten Fassade und dem gotischen Tor Pisanos, sind auch byzantinische Einflüsse erkennbar, sowie die Renaissancekunst in Ghibertis Paradiespforte. Selbst ein barocker Altar zierte das Bauwerk, der allerdings später wieder entfernt wurde. Insgesamt wirkt das Bauwerk stimmig, trotz der langen Entstehungszeit und obwohl sich alle Hauptströmungen der Florentiner Kunst und Generationen von Künstlern in ihm widerspiegeln.
(Wikipedia)
not that there is any indication that i will go into early labor, but these babies are viable now if (god forbid) they decided they wanted out any time soon. not that the worries are over by any means, but i have been looking forward to getting to the fabled 26 weeks since i peed on that stick.
had a scan and well, these babies are already taking after their sister, the gigantic newborn. they are in the 75th (he) and 65th (she) % for SINGLETONS. that means they are freaking enormous for twins. and they have about 11 more weeks to get even bigger.
yippeeeeee.
i grow me some big babies! anyone want to start the bets? date and weight?
Taken at glorious Kwandwe as we were searching for the elusive Leopard and the Monkey alarms were ringing across the treeline which was an indication that the predator was nearby.
The vervet monkey (Chlorocebus pygerythrus), or simply vervet, is an Old World monkey of the family Cercopithecidae native to Africa. The term "vervet" is also used to refer to all the members of the genus Chlorocebus. The five distinct subspecies can be found mostly throughout Southern Africa, as well as some of the eastern countries. These mostly herbivorous monkeys have black faces and grey body hair color, ranging in length from about 50 centimetres (20 in) for males to about 40 centimetres (16 in) for females.
In addition to behavioral research on natural populations, vervet monkeys serve as a nonhuman primate model for understanding genetic and social behaviors of humans. They have been noted for having human-like characteristics, such as hypertension, anxiety, and social and dependent alcohol use. Vervets live in social groups ranging from 10 to 70 individuals. The most significant studies done on vervet monkeys involve their communication and alarm calls, specifically in regard to kin and group recognition and particular predator sightings.
Vervet monkeys have four confirmed predators: leopards, eagles, pythons, and baboons. The sighting of each predator elicits an acoustically distinct alarm call. In experimentation with unreliable signalers, individuals became habituated to incorrect calls from a specific individual. Though the response was lessened for a specific predator, if an unreliable individual gives an alarm call for a different predator, group members respond as if the alarm caller is, in fact, reliable. This suggests vervet monkeys are able to recognize and to respond to not only the individual calling, but also to the semantics of what the individual is communicating. It is believed that vervet monkeys have up to 30 different alarm calls. In the wild vervet monkeys have been seen giving a different call when seeing a human being approaching, leading to researchers believing that vervet monkeys may have a way of distinguishing between different land and flight predators.
Mothers can recognize their offspring by a scream alone. A juvenile scream will elicit a reaction from all mothers, yet the juvenile's own mother had a shorter latency in looking in the direction of the scream, as well as an increased duration in her look. Further, mothers have been observed to help their offspring in conflict, yet rarely aided other juveniles. Other mothers evidently can determine to which mother the offspring belongs.
Items on display at an exhibition of India’s varied geographical indications, taking place at WIPO from October 6-14, 2015.
Co-organized by WIPO and the Government of India on the sidelines of the WIPO Assemblies of Member States, it was inaugurated with an event themed “Make in India” on October 6, 2015 featuring a recital of traditional Indian music and Indian artisans demonstrating their handiwork.
The event began with the screening of a WIPO-produced film on a capacity building project sponsored by WIPO’s Accessible Books Consortium in India and a keynote address by India’s Permanent Representative to the United Nations in Geneva, Ambassador Ajit Kumar, followed by a screening of a film on the “Make in India” initiative.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Near the peak of Sam Knob, indications of cold temps. Pisgah national Forest, Haywood county, North Caolina
Jetzt hat mich das Retro-Fieber xDDD
Ich sehe mir derzeit die alten Sailor Moon Folgen an (schlimmer Fehler xDDD ) - Tja... *ggg* - Hier mein erster Merch *____*
Mit Pluto's Stift bin ich grad am Basteln xD - weitere Bilder folgen :-)
If you are at your desk,look down at your surge protector (or power strip) on the floor.Those two things in the middle of the shot are the light switch and the indicator light (small red light) on it. The bokeh was added.
Many indication for a great king apart from the size carving precision, the “kartouch” (encapsulation of name inside a rounded corner square. He’s holding a dagger in one hand the other may have a stamp like tool. Also the artificial chin, crown & head scarf
CSXT J783 with CSXT 4008,runs light power enroute back to The Queensgate Yard, meeting NS 4243 is seen here sitting idle waiting for a signal indication to proceed on forward on the Cincinnati Terminal Subdivision at Winton Place in Cincinnati, OH 8-16-21
Silverton:
The first indication of silver–lead mineralisation in the Barrier Rangers came in late 1875 with the discovery of galena by Julius Charles Nickel and Dan McLean while they were well sinking on Thackaringa Station, near the South Australian - New South Wales border.
In 1879 John Stokie established a store at Umberumberka, 19 km north of Thackaringa. He continued prospecting and discovered silver–lead veins nearby, which he pegged with Edward Pegler in November 1881. A 100 ton parcel of ore was shipped to England for a 40% profit. The following October the Umberumberka Silver Lead Mining Company Ltd was floated with nominal capital of £20 000. Umberumberka was the second area of silver–lead mineralisation discovered in the Barrier Ranges and the new company was the first to be publicly floated. The town of Silverton soon developed close to the mine and became the main settlement of the growing silver field.
Silverton was surveyed in 1883, by which time Australia had a population of 2, 250, 194. By September that year, the population of Silverton was 250, and by December 1883 it had doubled. That year the Day Dream Mine opened and attracted an additional population of 400 - 500 people. In 1884 1,222 mineral leases, 937 business permits and 114 miners' rights were issued. That same year 6,000 tonnes of ore were extracted and the town acquired its own newspaper, the Silver Age.
By 1885 - 1886 the town's population had reached 3,000. Silverton was proclaimed a township in 1885 and a municipality the following year. In 1885 a short-lived smelter was established at Day Dream Mine, operating for only a year. In 1892 the Umberumberka Mine closed, followed by the Day Dream Mine. The Pioneer Mine at Thackaringa closed in 1897. By 1901, after miners had moved to the richer fields at Broken Hill, the town went into decline and only 286 people remained. Today the town has a population of around 50 people, most of whom work in tourism.
The Silverton Tramway Company:
The Silverton Tramway Company, a rare private railway of 50klms in length, was incorporated in New South Wales October 14, 1886 and the line was completed and opened for traffic on January 12, 1888. One of only two privately owned railways in the state, the tramway was originally founded to transport ore from local mines in the Broken Hill and Silverton region into South Australia. The company soon branched out, not only carrying ore from the mines but freighted other goods and offered a passenger service which accounted for a third of their business.
The company serviced travellers on long trips heading interstate to Semaphore (Adelaide) to the Largs Bay Holiday Camp and excursions for local community groups often conveying passengers to Silverton and McCulloch Park (at Stephens Creek) for the day and returning to Broken Hill in the afternoon. When traveling to South Australia the train would travel from Broken Hill, through Silverton and then to Burns which is on the New South Wales side of the border of Cockburn (a town divided by the NSW/SA border).
In 1927 the New South Wales government completed the railway from Sydney to Broken Hill, thus joining the Silverton Tramway and completing the link from Sydney to Adelaide. It played a strategic role in the trans-Australia network until 1970, when it was surpassed by the New South Wales Government Railways (Indian-Pacific). From 1888-1970 it was critical to the economic functioning of Broken Hill, by providing the key transport of ore to the Port Pirie smelters. It played a significant role in the politics and recreation of Broken Hill, and a crucial role at times of water shortage in Broken Hill.
Today, Silverton resides in the Unincorporated Area of New South Wales (NSW) and so does not feature a City Council. It is run by the Silverton Village Committee, who to this day hold their quarterly meetings in the Silverton Municipal Chambers.
Source: Silverton NSW (www.aussietowns.com.au/town/silverton-nsw), New South Wales Heritage Register & Discover Broken Hill (discoverbrokenhill.com.au/silverton-nsw/historic-building...), "The pathway to Broken Hill: Early discoveries in the Barrier Ranges, New South Wales, Australia" by Kenneth George McQueen, and 'Aplin, Graeme; S.G. Foster; Michael McKernan, eds. (1987). Australians: Events and Places. Broadway, New South Wales, Australia: Fairfax, Syme & Weldon Associates. p. 97'
This isn't any indication that I am going to do an ongoing series of Justice Stories, just a coll little cover I made when I was making the Deadshot one. I do want to start doing more of these as I find it really fun not only building and setting up the figures, but also the editing part as well. Tell what guys think, I would really love to hear your opinions.
Also a big thank you to the people making my last photo explored, it was really a shock and quite funny how a photo which took me two seconds to make gets more popularity than a photo which takes me over an hour, but I guess that'show things go ;)
Final note, I have just made a group where you can post your own Lego Comic Book Covers : www.flickr.com/groups/2759585@N23/?added=2
Hope you like it :D
The beauty of APB style signalling...J780 gets an indication out of the east end of the Butlerville, Indiana siding when the switch is lined for the main.
Why would my father hide something like this from us, his own family, for so long? While he had many secrets, I didn't ever consider him being part of something like this.. A secret society, made up of Star City's wealthiest. Adam Hunt, Cyrus Vanch, Martin Somers, Malcolm Morrison, and my father just to name a few members of Tempest. If these articles are any indication, my father's not the only one with something to hide. Like Ken Williams.. He got all of his money through pyramid schemes, stealing millions from home owners. Covered up, thanks to that newfound wealth of his. Once again, the little man is run over by the one who has money. They can get away with whatever they want, which isn't right. Ironic, coming from billionaire, Oliver Queen, I know. But as I've said before, I'm a different person now.. That island, Lian Yu, changed me..
I'm getting ready to go, when I notice the bottom drawer of a file cabinet open. Crouching down, I flick through the files, until one in particular catches my eye. Moira Queen. I start looking through the file after grabbing it from the drawer. Inside, are pictures of my mother, and Tommy's dad, Arthur King. The first couple of photos are innocent enough, with them talking. However, I wasn't ready for what came next. My mother, kissing Arthur King. My mom, was having an affair with my best friend's dad. Something straight out of a soap opera. Which begs the question, who took these photos? If it was my dad, he could've tried to use this as leverage against Arthur.. Which just may have lead to his death. I mean there isn't any evidence so far, connecting Arthur to the shooter who killed my dad, but he does have motive for wanting my dad dead. Of course, this theory all depends on Arthur knowing that my dad knew about the affair.
"Sorry to interrupt Oliver, but we have to go now. Someone's coming." I hear Diggle say, coming from the main room. Guess I'll have to come back some other time to investigate this further.. But I'm taking this list with me. Placing the file back where I found it, I grab the notebook, containing the list of names, and place it into the inside pocket of my jacket, before following Diggle out of the warehouse.
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Later, Star City National Trust
"We have to go now! There's only a few minutes left before police arrive. Making it to the exit alone takes 45 seconds." My boss says impatiently, adjusting his glasses, and looking at his watch, before looking at the rest of us. We gather what we can, before leaving the vault, with dufflebags full of money.
"But sir--" I'm about to protest more, when he speaks up.
"It's Clock King to you, Second Hand." He interrupts, glaring at me, which is enough to shut me up.
"That silly name again? You know no one takes you seriously with a name like that." One of the others, Dale, says, to which Clock King responds with a shot of his gun, a shot that just barely misses, impacting in the wall behind Dale. It's at this point that the gun is shot out of the King's hand, by an arrow of all things. This causes the rest of us Second Hands to drop our dufflebags.
" Shit shit shit! I thought that hood guy was a myth! " Alec screams, before aiming and firing at where the arrow came from. Unfortunately, it's just a waste of bullets, as the Hood's already down on the ground with us, quickly firing off an arrow to entrap Dale, before Alec charges at him. The Hood is able to block Alec's punches with his bow, before smacking Alec across the jaw with it. Just like that, Alec's pretty much down for the count.
"You shouldn't be here. How could I have miscalculated something like this? It-- it isn't possible.." The boss stammers, diving for his gun. Not that it matters though, as the gun is all but useless now. Damnit, we're clearly out of our league here.. He's picking us off one by one.
"I shouldn't be here?! That's rich, coming from the guy robbing this bank. Can't say they don't deserve it, but this'll effect innocent people. Good, hard working, people. Also, Clock King? A little on the cheesy side, don't ya think?" The Hood replies, the voice clearly modulated, diving behind the counter, as I'm shooting round after round, trying to hit the guy. Lucky for him, I'm not a very good shot. He quickly pops up from behind the counter to shoot yet another arrow, which takes the gun out of my hand with ease.
"Why does it matter? It's not like the wealthy are doing anything valuable with the money they put here. This is all their money.. It just sits here, wasting away, while everyone else suffers.. I need this money." the King answers, fuming with rage, as he grabs Dale's gun. He unloads the rest of the clip into the counter, now too frantic to think clearly.
"Here's a thought, get a job! One that's legal. That way, you don't find yourself in prison." This Hood is trying everything he, or she, can to not laugh, readjusting their position once me and my boss are reloading. It's hard to get a read on where exactly the Hood is when there's now so much smoke everywhere.
"Easy for you to say, when you haven't lived the life I have!" Is my leader's response, as he picks up the duffle bags, before running away.
"I wouldn't be so sure of that." Are the last words I hear, before I'm hit by what I'm assuming is the Hood's bow, my body hitting the floor rather hard.
POV Change
With three Second Hands down, all that remains is their oh so fearless leader, Clock King. He has a headstart, as I took the time to take down the final Second Hand. I will say, I'm surprised a guy naming himself Clock King doesn't have a clock logo anywhere in sight. Not even some fancy clock helmet either. He's slowing down however, as I catch up not even a minute later. I nock and fire multiple arrows on either side of him, which causes him to stop in his place. He even goes so far as to go down on his hands and knees.
"Please.. I need this money for my sister. You see, I don't have very long left.. I just wanted her to be set for life, before I passed.." The man pleads, even tearing up. I can see he's clearly exhausted.
"This isn't the right way-" I'm about to say more, but I feel a slight prick in my neck, which causes me to collapse on the sidewalk. Looking up, all I see, before blacking out completely, is a woman standing over me, with short blonde hair, and a black domino mask.
This eastbound auto rack train is on Track 1 so it is not getting a signal indication from the signal bridge on the west edge of Ashtabula on the CSX Erie West Subdivision. (Scanned from a slide)
Strathclyde Transport (BREL York built) class 318 EMU 318251 at Carlisle - c.08/1986.
The actual date the image was made is unknown; the indication given is based on the film processing date imprinted on the original slide.
The hazel nut trees - yet another indication of spring just around the corner.
I had in mind to make this B&W week, but this sunny afternoon was simply too much: It had to come out in color!
September 1991 - Hartmarx Corp. has sold its ailing specialty-store operation for $43 million, with the indication that two-thirds of the stores will be quickly closed, the firm said Friday.
Among the stores being sold is Hartmarx`s Baskin unit in Illinois.
Lincoln Square Mall opened in 1964 and was developed in partnership between the city of Urbana, Carson Pirie Scott & Co., and Victor Gruen in an attempt to revive the towns decaying urban core. Lincoln Square was the first mall in Illinois to be located outside of the Chicago Metropolitan Area and was solely anchored by the venerable Chicago-based Carson Pirie Scott & Co.
The mall was mildly successful through the mid-1980s until competition from Marketplace Shopping Center in nearby Champaign started to draw shoppers away from the older and smaller Lincoln Square. Carson Pirie Scott sold the mall in 1988 as they were preparing to be acquired by Peoria-based Bergner's and the store was rebranded as Bergner's soon after. Bergner's would close the store after declaring Chapter 11 Bankruptcy in August 1991 and the store would reopen as Minnesota-based Herberger's. Herberger's helped fund a minor mall renovation in 1994, but Herberger's was soon sold to Saks Inc. in 1997 and, closed their store in 2002.
Despite its interesting history and historical status, the mall was funnily enough never completed. Only one of the four planes phases was ever completed. Phase 2 would have closed Main Street, between Race and Vine Street and added a second anchor store, likely Montgomery Ward, and Phases 3 and 4 would have added a civic center, theater, and high rise office towers to the mall complex. I don’t think that these additions would have extended the malls life for long. Carson’s, Bergner’s, and Herberger’s went bankrupt as part of Bon-Ton stores bankruptcy in 2018, and Montgomery Ward shuttered the last of their stores in 2001. In addition, Marketplace Shopping Center, or a mall similar to it, would have been constructed off the freeway regardless as major department stores were looking to leave downtown Champaign.
There are no signs or mall rules stating "No Photography", but I'm banned for life with a polaroid in the mall offices haha.
Running on restricting indications in a jam on the Atlanta North District, NS 223 passes Seney Baptist Church in northern Polk County behind a pair of company EMDs.
It's one of the hardest cameras to chase down in Yashica's SLR lineup. It is one of the rarest Yashicas, no matter what the format.
Yashica Pentamatic II. It was only released for sale in Japan for about 6 months.
All indications are that this "one and only" lens for the P2 was made for Yashica by Zunow Optical.
For more, stop by www.yashicasailorboy.com