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Stazione di Saline di Reggio Calabria 1984 by Fondazione FS Italiane

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Temple of Artemis now-tourist photo.

Kufstein, Tyrol, state of Austria (Pfarrkirche St. Veit - la chiesa parrocchiale di San Vito, la iglesia parroquial de San Vito (mártir), l'église paroissiale du Saint Guy ou saint Vit, the parish church of Saint Vitus, Święty Wit.), Pfarrplatz by Alfred Lex

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Furniture

Central nave and altar

The oldest piece of furniture that can be found in the church today is the Classicist high altar by the Tyrolean sculptor Josef Stumpf. The altar structure consists essentially of two pillars standing on pedestals with Ionic capitals bearing a triangular pediment. Directly below the gable is an ornamental decorative frieze with floral motifs and angel heads. The gable itself carries in its center the Baroque symbol of God: a triangle with an eye in the middle, surrounded by a halo. The altar is flanked by two statues of apostles, probably by the Kufstein sculptor Kaspar Bichler (19th century). From the altar on the right, there is Peter, recognizable by the keys in his hand, and on the left, Paul, identified with the sword and gospel in his hands.

The altarpiece stems from the Tyrolean artist Josef Arnold the Elder (1788-1879) and shows the patron saint of the church (St. Vitus) as a martyr before Mary and Christ. As a martyr, besides the laurel wreath above his head, he also displays one of his attributes - the kettle of boiling hot oil. Arnold's style is a mixture of Classical and Romantic elements: the clothes, posture, facial expressions and gestures of the figures are reminiscent of Heinrich Friedrich Füger, while the coloring is reminiscent of the Nazarenes. In addition to the altarpiece, St. Vitus also houses two other paintings by Josef Arnold the Elder. On the one hand a representation of the Madonna with St. Barbara and St. Catherine of Alexandria on the left side altar, on the other a painting of St. Sebastian, whose wounds are being cared for by the widow of the martyr Kastulus, on the right side altar. All three paintings are from around 1840.

From the wall paintings of the artist Rudolf Stolz from the year 1929 in the vault were those from the first to the third yoke in the nave, two in the gallery and one below the gallery in the entrance area. The first yoke of the nave shows four Old Testament prophets: Daniel, David, Jeremiah, and Isaiah. Each of the prophets holds a banner in his hand, on it quotes from the Bible.

Daniel: "Seventy annual weeks are fixed"

David: "Let us rejoice the Lord our Savior"

Jeremiah: "O ye all ye that pass by, see if a sorrow is equal to my sorrow"

Isaiah: "Behold the maiden shall conceive and give birth to a son, his name shall be Emanuel"

The second yoke shows the four evangelists on the basis of their assigned symbols and inscriptions. In addition, there are various representations about it. In the center of this yoke, embedded in a hole, there is a Holy Spirit dove, surrounded by a golden radiant wreath. Saint John the Baptist is found above the evangelist Mark (Leo), opposite him - above the evangelist Luke (Taurus) - his father, Zacharias. About the evangelist Matthew (winged man) one recognizes Mary at the cradle of Christ, backed by the Bethlehemite star and last, opposite her, above the evangelist John (eagle) Christ with an open book in his hand, on which the Greek letters Alpha and Omega are read. The Greek letters refer to a biblical verse after Revelation 22:13: "I am the Alpha and the Omega, the first and the last, the beginning and the end".

Finally, in the vault of the third yoke of the nave, there is a ciphered representation of the Four Last Things. An emaciated figure, wrapped in a death-line, who seems to float away from a grave, stands for death. A trumpet-blowing angel refers to the Last Judgment (see Rev 8: 6-11,19). The risen Christ with the flag of victory in his hand represents heaven. The Archangel Michael, who is just overcoming the dragon, the symbol of Lucifer and all evil, refers to hell. On the shield of the archangel are written the words, "Who is like God" - the meaning of his original Hebrew name.

The vault of the organ loft also contains the depiction of a harp-playing angel playing a violin. Below the violin playing angel is in a banner "Praise the Lord you angels of the Lord" (Dan 3,59 EU) and below the harp playing angel "Glory to God in the high" (Lk, 14 EU, see also Vulgate, Luke 2:14: "Gloria in excelsis Deo"). The last mural of Rudolf Stolz can be found in the area of the main entrance of the church, below the gallery. It shows Christ surrounded by two mothers and seven children.

Otherwise, there are two medieval grave slabs within the church of St. Vitus with relief depictions of the deceased and their coats of arms on it.

Ausstattung

Mittelschiff und Altar

Das älteste Mobiliarstück, welches heute in der Kirche zu finden ist, stellt der klassizistische Hochaltar des Tiroler Bildhauers Josef Stumpf dar. Dar Altaraufbau besteht im Wesentlichen aus zwei auf Postamenten stehenden Säulen mit ionischen Kapitellen, welchen einen Dreiecksgiebel tragen. Direkt unterhalb des Giebels findet sich ein ornamentaler Zierfries mit floralen Motiven und Engelsköpfen. Der Giebel selbst trägt in seinem Zentrum das aus dem Barock stammende Symbol für Gott: ein Dreieck mit einem Auge in der Mitte, umgeben von einem Strahlenkranz. Flankiert wird der Altar von zwei Apostelstatuen, welche vermutlich vom Kufsteiner Bildhauer Kaspar Bichler (19. Jahrhundert) stammen. Vom Altar aus gesehen rechts findet sich Petrus, erkennbar an den Schlüsseln in seiner Hand, und links Paulus, zu identifizieren anhand des Schwertes und des Evangeliums in seinen Händen.

Das Altargemälde stammt vom Tiroler Künstler Josef Arnold dem Älteren (1788–1879) und zeigt den Titelheiligen der Kirche (Hl. Vitus) als Märtyrer vor Maria und Christus. Als Märtyrer weist ihn neben dem Lorbeerkranz über seinem Haupt auch eines seiner Attribute aus – der Kessel mit siedend heißem Öl. Arnolds Stil ist eine Mischung aus klassizistischen und romantischen Elementen: Kleidung, Haltung, Mimik und Gestik der Figuren erinnern an Heinrich Friedrich Füger, das Kolorit hingegen an die Nazarener. St. Vitus beherbergt neben dem Altarbild noch zwei weitere Gemälde Josef Arnolds d. Ä. Zum einen eine Darstellung der Madonna mit der Heiligen Barbara und der Heiligen Katharina von Alexandrien am linken Seitenaltar, zum anderen ein Gemälde des Heiligen Sebastian, dessen Wunden gerade von der Witwe des Märtyrers Kastulus gepflegt werden, am rechten Seitenaltar. Alle drei Gemälde stammen aus der Zeit um 1840.

Von den Wandmalereien des Künstlers Rudolf Stolz aus dem Jahr 1929 im Gewölbe erhielten sich jene vom ersten bis zum dritten Joch im Mittelschiff, zwei in der Empore und eine unterhalb der Empore im Eingangsbereich. Das erste Joch des Mittelschiffes zeigt vier alttestamentliche Propheten: Daniel, David, Jeremia und Jesaja. Jeder der Propheten hält ein Spruchband in Händen, darauf Zitate aus der Bibel.

Daniel: „Siebzig Jahreswochen sind festgesetzt“

David: „Kommet lasset uns frohlocken dem Herrn unserem Heiland“

Jeremia: „O ihr alle die ihr vorübergehet, schauet, ob ein Schmerz gleich sei meinem Schmerze“

Jesaja: „Siehe die Jungfrau wird empfangen und einen Sohn gebären, sein Name wird sein Emanuel“

Das zweite Joch zeigt die vier Evangelisten anhand den ihnen zugeordneten Symbolen und namentlicher Inschriften. Zudem finden sich darüber verschiedene Darstellungen. Im Zentrum dieses Joches, eingelassen in ein Loch, findet sich eine Heiliggeist-Taube, umgeben von einem goldenen Strahlenkranz. Über dem Evangelisten Markus (Löwe) findet sich der Heilige Johannes der Täufer, ihm gegenüber – oberhalb des Evangelisten Lukas (Stier) – sein Vater, Zacharias. Über dem Evangelisten Matthäus (geflügelter Mensch) erkennt man Maria an der Wiege Christi, hinterfangen vom bethlehemitischen Stern und als Letztes, ihr gegenüber, oberhalb des Evangelisten Johannes (Adler) Christus mit einem offenen Buch in der Hand, auf welchem die griechischen Buchstaben Alpha und Omega zu lesen sind. Die griechischen Buchstaben beziehen sich auf einen biblischen Vers nach Off. 22,13: „Ich bin das Alpha und das Omega, der Erste und der Letzte, der Anfang und das Ende“.

Im Gewölbe des dritten Joches des Mittelschiffes schließlich findet sich eine chiffrierte Darstellung der Vier letzten Dinge. Eine ausgemergelte, in ein Totenlinnen gehüllte Gestalt, die einem Grab zu entschweben scheint, steht für den Tod. Ein Posaune blasender Engel verweist auf das Jüngste Gericht (s. Off. 8,6–11,19). Der auferstande Christus mit der Siegesflagge in der Hand repräsentiert den Himmel. Der Erzengel Michael, welcher gerade den Drachen, Sinnbild Luzifers und alles Bösen, überwindet, verweist auf die Hölle. Auf dem Schild des Erzengels stehen die Worte „Wer ist wie Gott“ geschrieben – die Bedeutung seines ursprünglich hebräischen Namens.

Im Gewölbe der Orgelempore finden sich weiters die Darstellung eines Harfe spielenden und eines Geige spielenden Engels. Unterhalb des Geige spielenden Engels steht in einem Spruchband „Preiset den Herrn ihr Engel des Herrn“ (Dan 3,59 EU) und unterhalb des Harfe spielenden Engels „Ehre sei Gott in der Höhe“ (Lk ,14 EU; s. auch Vulgata, Lk 2,14: „Gloria in excelsis Deo“). Das letzte Wandgemälde des Rudolf Stolz findet sich im Bereich des Haupteingangs der Kirche, unterhalb der Empore. Es zeigt Christus umgeben von zwei Müttern und sieben Kindern.

Ansonsten finden sich innerhalb der Kirche St. Vitus noch zwei mittelalterliche Grabplatten mit Reliefdarstellungen der Verstorbenen und ihrer Wappen darauf.

de.wikipedia.org/wiki/Pfarrkirche_Kufstein-St._Vitus

Louis A. and Laura Stirn House by Emilio Guerra

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Grymes Hill, Staten Island, New York City, New York, United States

Summary

This large neo-Renaissance mansion with Arts and Crafts detailing is an excellent example of early-twentieth- century country house design. The house was built for Louis A. and Laura Stirn in 1908 to the plans of Kafka & Lindenmeyr. One of the few houses of its size and type surviving on Staten Island, it is prominently sited on Grymes Hill where it commands a spectacular view of New York Harbor. Grymes Hill was developed with large estates in the 1830s and 1840s and by the early 1900s, had become a fashionable residential neighborhood favored by wealthy German businessmen. Stirn, a German emigre, was a prominent silk commission merchant and owner of textile mills. His wife, the granddaughter of bridge builder John Roebling, was an expert on botany and horticulture. Modeled after an Italian Renaissance villa, the Stirn house is a two-and-one-half-story structure composed of a symmetrical center block and flanking dependencies. Clad with stucco and capped by red tile hipped roof with dormers and deep bracketed eaves, it has Ionic porticos on the front and rear facades and a gabled porch at the entrance to the kitchen wing. Arts and Crafts details include the polychrome terra-cotta frieze, iron balconies, and stained glass rondels. The building incorporated a number of technologically advanced features including glazed polychrome terra cotta, cast concrete, and Portland cement stucco facings.

DESCRIPTION AND ANALYSIS

Grymes Hill'

Located in northeastern Staten Island, where it commands a magnificent view of New York Harbor and the Verrazano Narrows, Grymes Hill is bounded on the northwest by Victory Boulevard, on the east by Richmond Road and Van Duzer Street, on the south by the Staten Island Expressway, and on the west by Clove Road. This land was part of the 5,100-acre manor which was granted to Governor Thomas Dongan (1634-1715) in 1687 and subsequently passed to his nephews and their heirs. In the 1830s, the hill began to be developed with estates. The neighborhood took its name from Madame Suzette Grymes, wife of the noted New Orleans lawyer John "Randolph Grymes. who began buying property near the present-day intersection of Howard Avenue and Grymes Hill Road in 1836, creating an estate known as Capo di Monte.

Other notable landowners included Orondates Mauran, who built a summer house in 1831 on property extending along the west side of Howard Avenue between Eddy Street and Ada Place, and Major George Howard, who purchased forty-two acres on Grymes Hill between 1830 and 1833, including all the land on Howard Avenue between Louis and Eddy Streets. Howard, a former soldier who served as boarding officer for the port of New York and later as keeper of the public stores on Staten Island, built a house for himself on the southwest corner of his land. The northern half of his property was divided into fifty-foot-wide lots which were sold at auction in August 1836. The property now occupied by the Stirn house was part of a larger group of lots purchased by real estate investor Caleb Tompkins Ward. In 1841 Ward sold his Grymes Hill lots to Harvey North, an importer, from New Orleans. In 1853, North moved to France, selling his property to Thomas Eakin of Nashville who built a house known as "East Over" to the designs of James Renwick. In 1879. Eakin's heirs sold a tract of land to the actor- journalist Henry Sedley, owner of the adjoining property at 37 Howard Avenue. In 1895, Henry Sedley sold his house on Grymes Hill to Eleanor Phelps Sedley. In June 1907 she sold the land acquired from on the Eakins family to Louis A. and Laura Stirn. The property had a frontage of about 275 feet on Howard Avenue and extended down the hillside about 600 feet to Sunset Terrace. (The lot now measures 274 feet by 200 feet.)

In 1907, when the Stirns bought their property, Grymes Hill was considered one of the most "attractive residential sections of Staten Island" featuring a mix of large estates, suburban houses, and institutions that complemented the residential character of the neighborhood. These included the Church of Our I^ady of Good Counsel (1899) at 44 Austin Place and Notre Dame Academy which was established in an old house (built c. 1850, enlarged 1903) at 21 Howard Avenue in 1904, and moved to its present quarters (built c. 1854- 57, enlarged 1920s, 1930s) at 76 Howard Avenue in 1906. Additions to the neighborhood also included two new enclaves of large developer-built suburban houses: Brighton Heights Park and Morningside (c. 1906). In addition to Louis Stirn, several businessmen were erecting large mansions for their private use. These included silk merchant C. Allan Blyth who built a Craftsman-inspired residence, designed by the noted architect Henry Atterbury Smith, at 103 Howard Avenue (1907-08) and brewer William Horrmann who erected an eccentric mansion modeled after a Bavarian castle at 189 Howard Avenue (completed 1910, demolished). During this period a number of German families began settling on Grymes Hill. In addition to the Stims and Horrmanns, "prominent German families who called Grymes Hill home for generations [included | the Heinrichs, the Badenhausens, the Strohmeyers, [and] the Druckliebs.""

Louis A. and Laura Stirn

Louis A. Stirn, the son of a prominent Lutheran clergyman Rev. Samuel Stirn and his wife, Emma Kauffman Stim, was born in 1853 in the village of Eschersheim, a suburb of Frankfurt, Germany. In 1877, at the age of fourteen, Louis Stirn left Germany to move to New York City where he found employment in the silk business. In 1884 he became a partner in the firm of Oscar Schoenherr, who was a commission merchant representing several German manufacturers of velvets and woolens. Stirn established his own firm in 1894. Three years later, his brother Edmund became a partner in the firm, which was known as L. & E. Stirn. Initially, the firm was an import house dealing in ribbons, silks, velvets, and chiffons which it distributed to such leading firms as Marshall Field & Co. By the 1910s, it had become an export house and commission agent specializing in the sale and distribution of domestic cloth. Louis and Edmund Stim also controlled the Concordia Silk Mills which had operations employing several thousand workers in Philadelphia, Pennsylvania, Watertown, New York, and Johnstown, Tennessee.

Louis A. Stirn moved to Staten Island in 1882. Six years later, he married Laura Natalie Methfessel, daughter of Professor Anton Gottlieb Methfessel and

Laura A. Roebling Methfessel. Professor Methfessel (1829-93) was one of the most prominent educators on Staten Island, who in 1862 founded the Methfessel School, a boys' boarding and day .school that became the Staten Island Academy and Latin School, the island's most prestigious private primary and secondary school. His wife, Laura A. Roebling Methfessel, was the daughter of John Augustus Roebling, the famed bridge builder and manufacturer of wire cable, who planned and oversaw the early construction of the Brooklyn Bridge (1867-83, a designated New York City Landmark), completed under the direction of his son Washington and daughter-in-law Emily.

The Stims took an active part in the community life of Staten Island. Louis Stirn was a member of the Staten Island Chamber of Commerce, the Staten Island Civic League, and the Richmond County Country Club. He was also active in several national trade organizations and was a member of the Manhattan Club. Laura Stirn was a founder of the St. Cecilia Society of Staten Island (a women's singing society) and was a member of the Staten Island Institute of Arts & Sciences, the Staten Island Bird Club, and the Garden Club of Staten Island, where she was known for her collection of rare plants. She was also active in several charitable organizations, including the Stapleton Day Nursery and the Staten Island Hospital, where she served as a member of the board of trustees.

Kafka & Lindenmeyr

Organized around 1906. Kafka & Lindenmeyr was the successor firm to Hugo Kafka & Co. Hugo Kafka, Sr. (1843-1915), the firm's founder, was bom in Prague and was educated at the Polytechnikum in Zurich, where he studied under Gottfried Semper. In 1874. he immigrated to Philadelphia to work with Herman Schwarzmann on the Centennial Exposition of 1876. In 1878, Kafka moved his architectural practice to New York. He had numerous commissions for apartment buildings and houses. He also designed Saint Peter's German Evangelical Reformed Church, now the Free Magyar Reformed Church, in Kreischerville, Staten Island (1883).

During his career Hugo Kafka [Sr.J formed several partnerships. At the turn of century Kafka established the firm of Hugo Kafka & Sons with Hugh (aka Hugo, Jr., b. 1875) and Frederick P. Kafka (b. 1876), a civil engineer. In 1903, Hugo Kafka. Sr.. began to curtail his involvement with the firm due to rheumatoid arthritis. He retired entirely in December 1905. By May 1906, Frederick P. Kafka also left the business to pursue a career in the manufacture and installation of fireproof building materials. In June 1906, Ludwig

Lindenmeyr, a twenty-six year old New Jersey-bom architect, became a partner in the firm of Kafka & Lindenmeyr. Hugh Kafka and Ludwig Lindenmeyr worked together until around 1912, when Hugh Kafka left the firm to become the manager of the New York office of the Bay State Pink Granite Company. Ludwig Lindenmeyr continued to practice under his own name until around 1918. He died prior to 1920, when his wife was listed in the Manhattan directory as a widow. During the mid- 1920s, Frederick and Hugh Kafka were partners with Pierce Taylor in the Kafka-Taylor Building Construction Company in New Rochelle, where the Kafkas had resided since the early 1900s.

The Earlv Twentieth-Century American Country' House and the Design of the Louis and Laura Stirn House

In the 1890s, the increasing density of America's cities created "a nostalgia for the healthier and more tranquil world of the countryside." A new interest arose in nature, gardening, outdoor recreation, and country living, fostered by such publications as House and Garden, Country Life in America, American Homes and Gardens, House Beautiful, and Town and Country. Within a few years, a boom developed in country and suburban house building which lasted through the 1920s. This movement was fueled by a rapidly expanding economy which greatly enlarged the ranks of the wealthy. It was also aided by improvements in public transportation and the advent of the automobile which made commuting to the suburbs and country much easier, and by large-scale immigration which provided the numerous workers needed to build and staff large country houses and maintain estate grounds. In contrast to the country houses of the Victorian period, which were often erected as vacation homes in resort areas, the country houses of this period were usually permanent residences that were located in the environs of a major city and were occupied year round.

An excellent example of early-twentieth-century country house design, the Stirn house presents an interesting blend of formal classicism with an Arts and Crafts aesthetic. This melding of design traditions was a fairly recent innovation in the field and is usually associated with such leading designers of the period as Charles Piatt and Robert W. Gardner. In keeping with current theories which stressed the integration of country houses with their surrounding gardens and landscape, the Stirn House is set well back from the road behind a broad expanse of lawn and a semi- circulardri veway. The house is located just at the edge of the hillside with its rear porch extending onto a slight jut of land that formerly commanded a spectacular view of Stapleton (now obscured by trees) and the harbor. The choice of the Italian Renaissance style for the house may have been suggested by this siting, since Italian villas are often built on hillside sites and usually have terraced gardens. In addition, Italian Renaissance villas and their gardens were becoming an increasingly fashionable source of inspiration for designers and writers on design during this period, notably for the influential architect and landscape designer Charles Piatt, whose Italian Gardens of 1894 was the first illustrated book in English on the Italian Renaissance garden, and Edith Wharton, who published the popular Italian Villas and Their Gardens with illustrations by Maxfield Parrish in 1905.

While far from a direct copy of a Italian Renaissance villa, the Stifn house exhibits such characteristic features as the block-like form of the main portion of the house, the symmetrical treatment of the principal facades, the stucco cladding, the low- pitched hipped-roof covered with terra-cotta tiles, the deep overhanging eaves supported by brackets, the columned porticos, and the arched first-story windows surmounted by smaller rectangular windows. Other elements of the design, such as the stylized Ionic capitals of the porch columns and bracketed keystones of the window surrounds and the decoration of the wrought-iron balustrades, the polychrome terra-cotta frieze and elaborate bracing beneath the roof eaves reflect the influence of the Arts and Crafts movement. The simplicity of the moldings and the emphasis on the textured surfaces of the stuccoed walls and tiled roofs are also typical of Arts and Crafts design.

Though designed in a historic style, the Stim House incorporated the latest in mechanical equipment and construction materials, including concrete window surrounds, cast "composition" column capitals, fireproof terra-cotta roof tiles, and Portland cement stucco facing materials which were deemed to be permanent in color and texture and therefore maintenance free. The polychrome terra-cotta used for the frieze was also a recent innovation and was very unusual for a suburban house of the period.

Construction and Later History of the Stirn House

Kafka & Lindenmeyr filed plans for the Stirn house with Staten Island Department of Buildings in March 1908. Construction began almost immediately and was completed in December 1908. The cost of construction was $32,000. excluding the land which had cost 514,000.

The large house provided accommodations for Louis and Laura Stirn. their five children, Laura Stim's widowed sister, Emily Wicchers, her son Manolo, two maids, and a cook. According to Laura Patrick, the Stirns' granddaughter, there was a great hall, living room, music room, conservatory, dining room, kitchen, pantry, and powder room on the first floor; six bedrooms, a sitting room, and two bathrooms on the second floor; and two large bedrooms, and three maid's rooms, on the third floor.

The Stirns continued to occupy their "charming residence... known for its splendidly appointed gardens and beautiful view of the surrounding country and adjacent waters" until their deaths- Laura Stim died in 1943, Louis Stim in 1962. During the 1920s Stim built houses on Howard Avenue for his son Albert Stim (No. 55) and son-in-law Arthur Benbow Elliman (No. 56) and their families. Following Louis Stim's death the house was sold to Reuben Gross, a prominent attorney and leader in the Jewish community, and his wife Blanche Gross. The house is now owned by the Estate of Blanche Gross.

The house remains remarkably intact. Changes to the exterior have included a sympathetic modification of dormer windows on the south gable in the 1910s, replacement of the original trellised siding on the conservatory with modem materials in the 1970s- 1980s, and replacement of most of the attic dormer windows in the 1990s. It is, together with Ernest Flagg's Stone Court (1898 to c. 1917, a designated New York City Landmark), one of the rare surviving examples of the early-twentieth-century country house design on Staten Island and is one of the few houses of its size and type within the city limits.

Description

The Louis and Laura Stirn House is located at the center of a trapezoidal mid-block lot which has a frontage of 274 feet along Howard Avenue and is approximately 200 feet deep. The house is approached by a semi-circular driveway. An Italian Renaissance- inspired villa with Arts and Crafts detailing, the house is constructed of stucco-clad masonry and is capped by a clay-tiled hipped-roof with overhanging bracketed eaves. Approximately sixty-six feet wide and forty- seven feet deep, the building has a symmetrically arranged two-and-one-half story main block which is flanked on the north by a two-and-one-half story service wing and on the south by an enclosed porch (originally a conservatory). Aside from changes to the south porch, the house retains most of its original detailing. The first and second stories have original wood multipane sash and casement windows including several windows with stained glass rondels. The

original attic windows have been replaced with non- historic six-over-one vinyl sash windows. Western Facade:

Main Block The primary facade facing Howard Avenue features a columned portico which extends across the three recessed center bays of the main block. The porch is articulated with paired Ionic columns and Doric comer piers which support a full entablature and a paneled parapet. The concrete columns, entablature, and parapet are painted. The floor of the porch is covered with terrazzo tiles bordered with concrete. The recessed entry wall at the rear of the porch has three openings. At the center of the facade, a rectangular window is divided by mullions and transom bars into a large central opening (with paired casement windows), sidelights, and transoms. The windows retain their original leaded glass; the center casements and transom are decorated with stained-glass rondels. The south entrance bay retains its original Arts and Crafts wood door with an arched window protected by a wrought- iron grille. The north window is a sash window which has its original multipane leaded-glass lights. The comer pavilions have floor-length windows at both the first and second story. The arched first-story windows have recessed surrounds set off by bracketed keystones. The openings retain their original paired multilight French doors, curved transom bars, and transoms with radiating lights framing central lunettes. Decorative wrought-iron railings extend across the base of the window openings. Matching railings are used for the balconies beneath the second story windows. The rectangular second-story window openings have their original paired single-light French doors topped by multi-light transoms. Partially screened from view by the parapet surmounting the porch, the three rectangular windows in the recessed center section of the facade have original six-over-one wood sashes. The north and south windows also retain their original lou vered wood shutters. The second story is surmounted by a paneled terra-cotta frieze. Extending from the frieze are heavy shaped brackets that support the bracing for the shaped rafters beneath the overhanging eaves of roof. Wire mesh has been installed in the spaces between the brackets and eaves to prevent birds from nesting. The building's low-pitched hipped roof has hipped cross gables capping the projecting comer pavilions. At the center of the facade are three hipped-roofed dormers with stucco walls and simple wood surrounds which set off non-historic six-over-one vinyl sash windows. An old pipe vent projects from the roof between the north dormer and the hipped roof of the north pavilion. Ser\'ice Wing The service wing, which projects from the main block on the north side of the building, consists of a hipped-roofed two-and-one-half story block and a shed-roofed one-story extension. The wing is lower in height than the main block and is capped by a simple cornice. An entrance on the west wall of the extension is set off by a wood porch resting on a masonry base. The porch is approached by four stone steps which are flanked by masonry plinths with stuccoed walls and cast concrete capstones. The porch is sheltered by a gabled roof which is supported by paired square columns with bracketed capitals. The gable pediment is articulated by molded raking cornices and horizontal comer cornices which frame the shallow arch of the vaulted porch ceiling. Non-historic metal numerals reading "79" are affixed to the pediment. On the sides of the porch the space between the columns and the west wall of the service wing is filled by original wood lattices decorated with an arch motif. The segmental arched entrance on the west wall of the service wing retains its original paneled wood-and- glass door. The entry is lit by a non-historic light fixture. To the south of the entrance the western facade of the two-and-one-half story portion of the service wing is pierced by a large segmental-arched opening at the first story and a rectangular window opening at the second story. The segmental opening retains it original molded wood surround which is divided into a pair of four-over-one sash windows, two-over-one sidelights, and multilight transoms. The second story also retains its original wood-framed window which consists of a pair of multilight leaded casements topped by a multilight transom with a central stained glass rondel. The basement windows, which are almost completely below ground level, also retain their original multilight wood sash. North Facade:

The north facade is divided into three parts: the west comer bay which is articulated to match the primary facade facing Howard Avenue, the east comer bay which is articulated to match the building's eastern (hillside) facade, and the northern facade of the service wing.

West bay At present the first story of the west comer bay is concealed by shrubbery. Historic photographs show that it is lit by a pair of narrow rectangular window openings which originally contained two-over- one wood window sash. The rectangular second story has its original four-over-one wood sash but has lost its louvered shutters. The attic dormer located near the service wing has a non-historic vinyl sash window in place of its original paired triple-light casements. Ser\'ice wing The shed roof of the projecting first- story extension of the service wing is set off by heavy brackets. The first-story facade features a central wood and stucco oriel flanked by oculus windows with keyed enframements. The oriel retains its original paired casements which are divided by wood glazing bars into a four-over-one arrangement. The casements are surmounted by a transom which retains its original multipane leaded glass and central decorative rondel. The angled sides of the oriel are pierced by narrow lights which have their original two-over-one wood casements. The oculi also retain their original multipane wood sash. The second story of the service wing is lit by a single window at the center of the facade. It retains its original six-over-one wood-sash window. At the center of the attic is an tripartite dormer consisting of a tall gabled center bay with an arched window flanked by lower shed-roofed bays with square-headed openings. Th£ wood casement windows in these sidelights and the wood fanlight in the arched transom in the center bay are original, but the lower portion of the center bay contains a non-historic six- over-one vinyl sash window.

East Bay A massive stuccoed chimney is set into the comer where the east bay meets the service wing. This bay contains the building's basement entrance which is approached by concrete stair and paved areaway which are protected by a non-historic iron pipe rail. The basement entrance has a historic six-light wood door which is surmounted by a triple-light transom. At the first story, the rectangular window opening has its original wood casement windows which are topped by a transom. At the second story the window retains its original six-over-one wood sash window. Eastern facade:

Main block The articulation of the eastern facade is similar to that of the Howard Avenue facade except that it has an elliptical portico and the windows are larger. Because the site slopes to the east, the facade has a high basement which is screened from view by a terrace that extends across the entire length of the main block. The terrace is approached by a graceful curving masonry staircase which leads to the portico at the center of the facade. The original balustrade with turned posts which extended the perimeter of the terrace has been replaced with a non-historic concrete block balustrade; however the terrace retains its historic brick floor laid in a herringbone pattern. The porch has its original wood ceiling. It has a non-historic light fixture at its center. Chains have been suspended from the ceiling to support a non-historic wicker swing seat.

At the rear of the porch, the door and window openings align with the openings on the Howard Avenue facade. The entry has a historic multi-pane glass-and-wood door, the large window has a tripartite transom with a center stained glass rondel surmounting a single clear pane in a historic wood surround. The porch is also accessed by a doorway on the south wall of the north pavilion which retains its original paneled wood door with multi-pane windows and multi-pane transom.

The comer pavilions flanking the entrance porch have original projecting wood bay windows at the first story and large segmental arched openings at the second story. The wood bases beneath the bays have been modified but the windows remain intact. They are divided into a large central light and sidelights which are surmounted by transoms with multipane leaded glass and a central stained-glass rondel. At the second story the arched openings contain a pair of French doors with four-light-over-single-light windows flanked by narrower sidelights with two lights over a single light. The windows open on to small balconies screened by curved wrought- iron railings above the first story bays. Like the Howard Avenue facade, the eastern facade is lit by three dormer windows which have non-historic vinyl sash.

Service wing The basement of the east wall of the service wing is partially excavated to accommodate the staircase down to the areaway and basement entrance. There are three large square-headed basement windows which retain historic multipane wood window sash and are protected by historic iron grilles. A smaller rectangular window with a historic iron grille is located at the base of the shed-roofed extension. The first story has a large segmental arch window opening which retains its original window sash featuring a pair of four- light-over-one-light casements and two-light-over-one light sidelights and is topped by a tripartite transom with leaded stained glass. The square-headed second- story window has an original four-over-one wood sash window. South Facade

The south facade is divided into three sections by a pair of massive chimneys. The narrow outer bays have arched window openings at the first story and square headed window openings at the second story. The first story windows are original and match the comer pavilion windows of the Howard Avenue facade. The second story windows retain their original four- over-one sash windows. The center section is distinguished by its elliptical one-story enclosed wood porch which originally served as a conservatory. The porch retains its elegant bowed cornice, pilasters, and bracketed keystones, but the window openings have been partially enclosed with non-historic wood in-fill; the window glass has been replaced, and decorative wood trim which created a latticework pattern on the pilasters has been removed. The porch retains its original entrance at the center of the facade, but the door and transom are non-historic replacements. The center bays at the second story have the same articulation as the outer bays and retain their original large hipped roofed dormer which has four windows with non-historic vinyl sash.

- From the 2001 NYCLPC Landmark Designation Report

Ionic sea by tanya.mesch

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IONIC KIBOU outbound Rotterdam 26.04.2019, IMO 9582556, 228.99 x 32.26 m, built 2015 by Sir.Tom

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Stazione di Brancaleone 1940 by Fondazione FS Italiane

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Cry God for Harry, England and San Giorgio by Darkroom Daze

Twelfth Century Ionic columns of the portico of the church of San Giorgio in Velabro, Rome (Italy)

Rome never ceases to surprise, not only in the astonishing and often hidden diversity of its historic monuments and ancient remains, but in its connections and history. If we are to believe the history of the founding of this church, somewhere behind this portico is the cranium of the Greek warrior saint, St.George (San Giorgio) - that is, the St.George who slayed the dragon and was adopted as England's patron saint during the Crusades, and he of England's national flag of a red cross on a white ground, and he who is invoked by Henry V in his famous speech in Shakespeare's play of the same name (Act III Scene 1) which includes the line, 'Cry God for Harry, England and Saint George'. (St.George is also patron saint of many other places too.)

'In Velabro' refers to the swampy ground where this church was first constructed in the 7th Century, when it was dedicated to St. Sebastian. It was re-dedicated in the 8th Century to the Greek saint, St.George. This part of Rome was a Greek quarter at the time. The church has been reconstructed and added to many times, including extensive repairs following a street bomb in 1993.

----- en.wikipedia.org/wiki/San_Giorgio_in_Velabro

----- www.revealedrome.com/2010/11/st-george-in-velabro-medieva...

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LONDON - PARIS - CATANIA - ROME - LONDON ----- DAY 8

Photo from the eighth day of our crazy long distance rail trip from home (London) to Sicily. We had had an unscheduled but happy first night stopover in Paris because our Eurostar train out of London was badly delayed due to 'a fatality [unexplained - perhaps fortunately] on the train'. We therefore missed our onward sleeper train connection to Rome, so spent our second day in Paris. We left Paris that evening, on the equivalent sleeper train service a day later. We reached Rome during the third day, where we changed to a daytime train for Catania, Sicily, arriving there the same evening. Our fourth day was our first full day in Sicily, and we spent this in the centre of Catania itself. We spent our fifth day on an excursion to Mount Etna run by GeoEtnaExplorer. We chose this tour company because the guides are geologists. Our particular tour went high up on the flanks on the summit, but not to the summit proper. For this sixth day, our final full day in Sicily, we took the bus from Catania (our base) to Siracusa, in search of Ancient Greek remains, while also getting distracted by other interesting sights, and some excellent ice cream, at various points in the day. But perhaps the most spectacular thing was the huge thunderstorm which hit us in the early part of the afternoon. The seventh day was the start of our homeward journey, for which we took our sixth train of the trip, from Catania and ending with an overnight stop in Rome. We spent the eighth day on a long walk through the heart of Rome, where we hadn't been back since I worked there briefly many years ago, before continuing our way home to London by catching a sleeper train that evening to Paris.

By the end of the whole holiday trip we had seen things and sites from ancient Greek time to modern, so the trip felt like a mini Grand Tour. Or given the rich mythology of Sicily, Etna and the Straits of Messina (Odysseus, the Cyclops, Scylla & Charybdis, etc.) perhaps our trip was like a modern mini Odyssey of our times. Odysseus took ten years to get home. It took us ten trains - but no monsters.

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Photo

Darkroom Daze

If you would like to use or refer to this image, please attribute.

ID: DSC_6833_v2ps

Da Phones! by Anna Raju

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Headphones- Golden Fur Headphones- MiWardrobe @ Limited Bazaar

Hair- Forever and Ever- Clawtooth

Skin- Hiccup Tan Skin, Vamp- old Tres Blah skin

Eyes- Jejune Meadow Eyes- Tres Blah

Makeup- Cosmetics (Juicy)- Fashionably Dead

Necklace- Unicorn Horn Set- PIDIDDLE

Top- Leather Asymmetrical Jacket- Ison from previous Collabor88

Ionic columns by Donnchadh H

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Either end of Devonshire House, Mayfair Place, off Piccadilly, with the coat of arms of the Cavendish family (Dukes of Devonshire). This is an office building built on the site of the demolished original.

NJ - Jersey City: Christopher Columbus Drive Mural by Wally Gobetz

The Christopher Columbus Mural, located at 110-138 Christopher Columbus Drive, just west of the Grove Street PATH Station, is the second largest mural in the United States. Created by Pro Arts, a private, nonprofit organization, it spans ten buildings and 350-feet, soars to a height of 60-feet at its tallest point, and covers 15,000 square-feet with 250-gallons of oil base Bulletin Colors paint donated by T.J. Ronan Paint Corporation.

The images in the mural were chosen by the people of Jersey City from 5 design proposals by 5 artists--Greg Baugart, Caroline Burton, Franc Palaia, Rupert Ravens, and Barbara Stork. Ravens then composed the final design from the most popular images. The work was done by 12 professional artists--Baumgart, Robert Casey, Spelman Downer, Daniel Gluibizzi, Kevin Mulkern, Stan Mullins, Franc Palaia, Rupert Ravens, J.R. Ravens, John Robbolini, Jr. and Viki Stewart--and 8 student interns.

From west to east, the mural depicts: The New Jersey view of the Statue of Liberty, which stands larger than life at 35-feet tall; the Pulaski Skyway; Ellis Island; The Barrow Mansion, also called the Ionic House; Violets, New Jersey's state flower; a 53-foot tall Dixon Ticonderoga pencil, which was manufactured at the original Dixon Mills 2 blocks away; a classic New Jersey Central F3 diesel train in tangerine and blue colors, which served Jersey City in the 1940s and 50s; a 27-foot high American flag; the restored ferry slip at the CRRNJ terminal in Liberty State Park; a ferry named Jersey City, which was owned by the Pennsylavania Railroad and operated between Exchange Place and Lower Manhattan from 1865 unitl 1917; the Colgate Clock, the world's largest single faced clock; and a 24-foot rendering of the 35-foot torch of the Statue of Liberty.

Sleeping Fox by Anna Raju

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Hair- YNO421 plus base- *booN

Mask- Sleeping Fox Sleeping Mask- Tee*fy from previous The Arcade Gatcha

Skin- Maya2 Honey (RARE)- [the Skinnery] from Previous The Arcade Gatcha

Eyebrows- Maya 15 Brows (RARE)- [the Skinnery] from previous The Arcade Gatcha

Eyes- Lunar eyes Red Brown- [UMEBOSHI]

Freckles- Full Body Freckles- [the Skinnery]

Necklace- Mariel simple necklace White Tintable (RARE)- LaGyo from previous The Arcade Gatcha

Shirt- Loose Tee Earthy- {SMS} aka So Many Styles

Skirt- Liane Leather Pencil Skirt Khaki- .: ryvolter :.

Boots- Engineer Boots Dark Brown- {Sleepy Eddy} from previous The Arcade Gatcha

Fox- ~silentsparrow~ Foxy (Ember) Fire Elemen-tails!

Suitcases- ~silentsparrow~ Foxy (Ember) Fire Elemen-tails!

festa antica by giovanna

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Early Classical. The Charioteer of Delphi. c.470s BCE, wearing an Ionic chiton by arthistory390

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The Ionic chiton could also be made from linen or wool and was draped without the fold and held in place from neck to wrist by several small pins. A large belt called a zoster could be worn over the chiton, usually under the breast ("high-girdled") or around the waist ("low-girdled") or a narrower "zone" or girdle could be used. The Ionic chiton's length was greater than the height of the wearer, so excessive fabric was pulled above the belt, like a blouse.

Ancient Agora_Athen_Greece by Koorosh Nozad Tehrani

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The Temple of Hephaestus.

In front left: The Temple of Apollo Patroos (meaning "from the fathers") is a small ruined temple of Ionic order built in 340-320 BCE. It is 10 m wide and 16.5 m long and located north-west of the Ancient Agora of Athens near the Stoa of Zeus. Considered to be the founder of the Ionian race and protector of families, the temple's interior had a cult statue dedicated to the god and made by the famous Greek sculptor Euphranor.

In front right: The small Temple of Zeus Phratrios and Athena Phratria was erected in the second quarter of the 4th cent. BC. This is a small and obscure building, which, however, survives until the Roman period.

Ionic Lodge No. 229 Brampton Ontario - Presentation of a 50 Year Masonic pin to V.W.Bro. Horace Tomlinson (8) by antefixus21

50 Year Masonic Pin presentation by M.W.Bro. Raymond S. J. Daniels, Grand Master of the Grand Lodge of Canada in the Province of Ontario.

Ray Daniels Obit:

Lifetimes: Beloved music teacher’s legacy went far beyond classroom.

Ray Daniels of Waterloo. Born: Sept. 2, 1937, in Orillia; Died: Jan. 24, 2016, of age-related illness.

Waterloo Region Record

By Valerie Hill

Ray Daniels was a conundrum, a man who sculpted himself a career that shot him into the limelight, but who also refused public accolades and often downplayed his abilities. Outgoing or introverted? Ray was both, and that is what made him so interesting and a bit mysterious.

Ray taught vocal music at Eastwood Collegiate for 23 years, started numerous choirs and co-founded the Waterloo Regional Gilbert & Sullivan Society, launching it at the school. Because

of Ray, students not only found their voices but several went on to professional careers including Alex Mustakas, artistic director of Drayton Entertainment.

Alex recalled, "I learned more about music and the works of Gilbert and Sullivan from him than anyone else I have ever met. He set the musical bar for me, no pun intended. An amazing human being."

Opera singer Thomas Goerz wrote a lengthy tribute to his old teacher, speaking of Ray's ability to inspire students. Ray was always at school an hour early and he led at least three choirs while encouraging even the most reluctant singer to open his mouth and just try.

"Raymond Daniels was known to many an Eastwood music student as Uncle Ray, Mister D, but usually just good ol' Ray," recalled Thomas. "Though I came from a musical family, it was Ray Daniels who was the true difference maker. He gave me the confidence to take the plunge into the unknown: a career in the performing arts."

Ray's father was an orchestral musician so the love of music might have been genetic. As a child, Ray studied piano then graduated to the organ at 13. At 17, he was hired as church organist in Barrie and later studied for a decade with a Toronto organist and at Syracuse University in New York. Ray also held diplomas from Trinity College of Music in London, England, and an undergraduate degree from Wilfrid Laurier University in music and history.

Ray was hired by a church in Simcoe where he was also music supervisor for the school board.

It was in Simcoe that he met Brenda, a music teacher. Brenda declined to be interviewed for this feature. The couple, married for 52 years, didn't have children.

In 1967 Ray accepted the vacated organist's position at Trinity United Church in Kitchener. He was aware of the church's reputation and told a Record reporter at the time "one of the reasons for my wanting to come to Trinity was its tradition of music. Because of the background and the service already done here the church staff was anxious that they be continued. I am also."

Ray and Brenda were musical powerhouses in the region. Brenda sang in the Grand Philharmonic Choir, then known as the K-W Philharmonic Choir, and Ray served as accompanist.

Retired conductor Howard Dyck said Ray was an exceptional accompanist, an intuitive musician who anticipated the choir's needs, sometimes before Howard did.

"An accompanist has to be a pretty good pianist," said Howard. "He needs to be looking at the choir, watching what the choir is doing."

Ray had to play with emphasis if a particular section was faltering, trying to get them back on track and he usually knew exactly which bar to start at after the conductor stopped the singing to fix a problem.

"Ray was able to do this magnificently," said Howard. "He was a very fine musician."

Howard also spoke of how much his friend loved Great Britain, particularly the musical history, and he had taken The Renaissance Singers, a choral group he founded in 1972, to perform at festivals in England.

"He was an Anglophile, he loved all things English," said Howard. "He was a walking encyclopedia of music, very knowledgeable."

Ray often suggested beautiful but neglected pieces of music, works that even Howard didn't know.

On a personal level, Howard said his friend was "a quirky guy who didn't suffer fools gladly. He would say really irreverent things about people he thought were uninformed. He was very funny."

As Ray began winding down his musical career, he poured his energies into Freemasonry. Ray had joined his father's Orillia lodge in 1959 and he was an active Mason during his teaching

career. By the early 1990s, he started moving up until he reached the highest rank in the province, that of Grand Master. Ray shared his fraternity's basic tenet of gentlemanly behaviour

and compassion for others.

Fellow Mason David Cameron said that Ray worked hard to open lines of communication between the general public and the Masons, an organization that has long suffered from

distorted public opinion about what goes on behind closed doors.

"He wanted to be open with them, get the facts out there as opposed to all those conspiracy theories," said David. "He rose to the top quickly because of his enthusiasm and his teaching

ability."

Ray came up with the idea of the Masons and Brock University partnering to establish the prestigious Dr. Charles A. Sankey Lecture Series on Masonic studies and they also established a

Masonic lodge in Afghanistan on a Canadian Forces base, to give young soldiers a sense of fraternity.

"He made it happen," said David.

What made Ray a good Grand Master? David thinks it was his friend's caring manner and how he would gravitate to new members ensuring they felt welcome.

"He always had a smile when he'd greet you," said David. "He was always approachable."

vhill@therecord.com

A second obit:

M.W. Bro. Raymond S.J. Daniels

Landmarks/Doric Lodge No.654

Passed January 24,2016

That incredibly rigorous intellectual mind and that gifted eloquence that were his trademarks will be no more; the friendship that was offered so graciously is now but a memory and we gather to bid a fond farewell to a friend and brother.

Raymond Sydney James Daniels, the 74th grand master of the Grand Lodge of Canada in the Province of Ontario first saw the light of Masonry in his father’s Lodge, Orillia Lodge No. 192 in Orillia in 1959. He was to hold membership in a number of lodges throughout this jurisdiction, was the Worshipful Master of New Hope Lodge – now Mystic Tie Lodge No. 279 – and New Light Daylight Lodge No. 744 when it was founded in 2001. He was elected Grand Junior Warden for the term 2000-2001 and served on the Board of General Purposes from 2001 until 2007 when he was elected Deputy Grand Master. He was installed as Grand Master on July 15, 2009.

As his theme for office Ray used the words of an ancient Hebrew scribe which best describe his approach to Masonic life – “get knowledge, get wisdom, but with all thy getting, get understanding”, for he believed that understanding the real and profound meaning of freemasonry should be the quest of every serious mason. Throughout his Masonic career Ray did just that – not only did he seek that profound understanding himself, but he tried to get people to understand that Freemasonry and Education are really synonymous terms. Right to the very end his Masonic Minutes were a source of enlightenment to those who studied them and I am grateful for those brethren of the Ancient Landmarks incorporating Doric Lodge of Hamilton who have taken the time to bring all of these Masonic Minutes together in one publication so that all Masons, present and future, may benefit from them.

In his efforts to ensure that all Masons had access to the benefits offered by our fraternity he spearheaded the initiative that led to the formation of Canada Lodge (UD) in Kandahar, Afghanistan. He also lent his full support to the campaign devised to provide free Tim Horton’s cards to personnel serving in the Afghan sphere of operations a simple “taste of home” that was appreciated by countless numbers of our warriors abroad.

His other initiative of note, the formation of the Sankey Lectures in coordination with Brock University and his attempt to develop a centre for the study of the impact that Freemasonry has had upon this country is still evolving. M.W. Bro. Daniels was a visionary in this regard and I sincerely hope we do not let this vision fade in years to come.

M.W. Bro. Daniels was never happier than when he was surrounded by young men with a willingness to listen and an eagerness to learn. His Socratic approach to teaching enabled others to become imbued with some of his own desire for knowledge and become enthused by the fire of his rhetoric.

Ray was also a trained and accomplished musician who truly appreciated the classics and in his lifetime he brought the joy of classical and sacred music to countless students and concert goers. Ray was not of course all seriousness - he had a highly developed, dry sense of humour that he often used to bring those with inflated egos back to earth and I am certain that at one time or another many in this theatre today have benefitted from his gentle but well aimed, barbs.

Given his frequent visits to the Ottawa Valley a group of brethren conferred “Honorary Valley Lad” status upon Ray and at some point during every visit to the area he reminded one and all that he really belonged as he was simply, a valley lad. At heart he truly was, for Ray enjoyed the people and the country which had borne them.

Raymond Sydney James Daniels, a man of simple tastes, a man who was renowned far and wide as a scholar, a teacher, a friend, a good man and a good Mason; a man who lived a good life and a man whose fortunes are not indeed, a matter of indifference to God. As is recorded in the gospel of Matthew 25:21 – “well done thou good and faithful servant”. He may be gone from us physically but his legacy will continue to be felt for years to come.

Honorary Life Member of Landmarks/Doric No. 654 It is with deepest regret and and profound sense of a great loss that we notify you of the death of our Past Grand Master. M.W. Bro. Raymond S.J. Daniels Sept 2, 1937 to Jan. 24, 2016 Grand Master July 2009 to July 2011.

A Masonic Memorial Service was held on Sunday January 31, 2:00pm at Dunfield Theatre Cambridge, 46 Grand Avenue South, Cambridge.

Ionic columns and classical entablature by tanetahi

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Part of the side elevation of City Hall on Adelaide Street, Brisbane. This is all made of Helidon sandstone, which is almost non-porous, so good at withstanding the weather and city pollution. I'm always impressed with the precision with which these large blocks were carved. I have no idea how it was done so they all match so perfectly.

British Museum by Matt Brown

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Black Fair 2013-Mon Chéri featuring it by Ariadna Dragon Writer

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Black Fair 2013 is open! – Mon Chéri featuring it..

Credits

queenofqueers.wordpress.com/2013/08/09/black-fair-2013-is...

Marítime museum / Museu da Marinha by Hugo Carriço

English

Maritime Museum

The Maritime Museum (Portuguese: Museu de Marinha) of Lisbon is dedicated to all aspects of the History of navigation in Portugal. The museum is administered by the Portuguese Navy and is located in the touristic district of Belém. It occupies a part of the neo-Manueline Western wing of the Jerónimos Monastery (together with the National Museum of Archaeology) as well as a modern annex built to the North of the monastery.

The history of the museum is deeply related to King Luís I (1838-1889), who was a lover of oceanographic studies and an accomplished navigator himself. He created in 1863 a collection of items related to the preservation of maritime history of Portugal, a collection that was enlarged in the following decades, culminating in the inauguration of the Maritime Museum in 1963 in its present location.

The exhibits include historical paintings, archaeological items and many scale models of ships used in Portugal since the 15th century. It is one of the most visited Portuguese museums.

Jerónimos Monastery

The Hieronymites Monastery, is located in the Belém district of Lisbon, Portugal. This magnificent monastery can be considered one of the most prominent monuments in Lisbon and is certainly one of the most successful achievements of the Manueline style (Portuguese late-Gothic). In 1983, it was classified by the UNESCO, with nearby Belém Tower, as a World Heritage Site.

History

The house for the Hieronymite monks was built on the same site of the Ermida do Restelo, a hermitage that was founded by Henry the Navigator at about 1450. It was at this hermitage, that was already in disrepair, that Vasco da Gama and his men spent the night in prayer before departing for India in 1497

The existing structure was started on the orders of Manuel I (1515–1521) to commemorate Vasco da Gama's successful return from India. It was originally meant as a church for the burial of the House of Aviz, but it also became a house of prayer for seamen leaving or entering port.

Construction of the monastery began in 1502 and took 50 years to complete. He used pedra lioz, a local gold-coloured limestone, for its construction. The building of the monastery was funded by a 5% tax on eastern spices, with the exceptions of pepper, cinnamon, and cloves, revenue from which went straight to the Crown. By this influx of riches, the architects had enough financial margin to think big. The enormous amount of funds needed for this monastery meant abandoning the construction of the Aviz pantheon in the Monastery of Batalha.

The monastery was designed in the Manueline style by Diogo de Boitaca (who was probably one of the originators of this style with the Monastery of Jesus of Setúbal in Setúbal). He built the church, the monastery, the sacristy, and the refectory. He was succeeded by the Spaniard João de Castilho, who took charge of construction in around 1517. Castilho gradually moved from the Manueline style to the Plateresco style, a style with lavish decorations that remind of silver ware (plata). There were several sculptors who made their mark on this building. Nicolau Chanterene added depth with his Renaissance themes. The construction came to a halt when the king Manuel I died in 1521.

The architect Diogo de Torralva resumed the construction of the monastery in 1550, adding the main chapel, the choir, and completing the two stories of the monastery, using only Renaissance motifs. His work was continued in 1571 by Jérôme de Rouen (also called Jerónimo de Ruão) who added some Classical elements. The construction stopped in 1580 with the union of Spain and Portugal, because the building of the Escorial in Spain was now draining away all the funds.

The monastery withstood the Great Earthquake of 1755 without too much damage. But when the building became vacant in 1833 by the abolition of the religious orders in Portugal, it began to deteriorate to the point of almost collapsing. A cupola was later added to the southwestern tower.

On December 13, 2007, the Treaty of Lisbon was signed at the monastery, laying down the basis for the reform of the European Union.

South portal

The ornate main entrance to the monastery was designed by João de Castilho and is considered as one of the most magnificent of his time. This shrine-like portal is large, 32 m high and 12 m wide, extending up for two stories. It features, surrounded by an abundance of gables, pinnacles, many carved figures standing under a baldachin in exquisitely carved niches, around a statue of Henry the Navigator, standing on a pedestal between the two doors.

The tympanum, above the double door, displays in half-relief two scenes from the life of Saint Jerome. On the left, the removal of a thorn by St. Jerome from a lion's paw, after which the lion became his best friend. The right scene depicts the saint in the desert. The spandrel between these scenes shows the coat-of-arms of king Manuel I. The statue with the sword in the niche of the pier probably represents Henry the Navigator. Wherever one looks in the archivolt and tympanum, one sees all the elements of the Manueline style.

The Madonna of Belém stands on a pedestal on top of the archivolt, above it stands a statue of the Archangel Michael and on top of the portal stands the cross of the Order of Christ. The portal is harmoniously flanked on each side by a large window with richly decorated mouldings.

Western portal

This western portal is a good example of the transition from the Gothic style to Renaissance. It was built by Nicolau Chanterene in 1517. This was probably his first commission in Portugal. It is now spanned by a vestibule, added in the 19th century, that forms a transition between the church and the ambulatory.

The tympanum depicts the Annunciation, the Nativity, and the Epiphany. Two angels, holdings the arms of Portugal, close the archivolt. The splays on each side of the portal are filled with statues, among them king Manuel I and his second wife Maria of Aragón, kneeling in a niche under a lavishly decorated baldachin. They are flanked by their patron saints St. Jeronimos and John the Baptist.

The supporting corbels are decorated with little angels holding the coat-of-arms and, at the side of the king, an armillary sphere and, at the side of the queen, three blooming twigs

Interior

Diogo Boitac laid the foundations for this three-aisled church with five bays under a single vault, a clearly marked but only slightly projecting transept and a raised choir. The aisles and the nave are of about equal height in the manner of a hall church. Boitac built the walls of the church as far as the cornices and then started with the construction of the adjoining monastery.

João de Castilho, a Spanish architect and sculptor, continued the construction in 1517. He completed the retaining walls and the unique single-span ribbed vault, a combination of stellar vaulting and tracery vaults spanning the 19 m-wide church. Each set of ribs in the vaulting is secured by bosses. The bold design (1522) of the transversal vault of the transept lacks any piers or columns, while Boitac had originally planned three bays in the transept. The unsupported vault of the transept gives the viewer the impression as if it floats in the air.

He also ornamented the six 25m-high, slender, articulated, octagonal columns with refined grotesque or floral motives announcing the Renaissance style. The northern column closest to the transept shows a medallion that probably is a portrait of Boitac or João de Castilho.

The end result of the construction of this Late Gothic hall church is aesthetically and architecturally a masterwork. It augments the spatial effect of this vast building.

At the end of the side aisles and on both sides of the choir stand Manueline altars dating from the 16th and the 17th centuries. They are decorated with carved work in golden and green colours. One of them has a statue of St. Jerome in multi-coloured enamelled terracotta.

This chancel was ordered by Queen Catherine of Habsburg as the final resting place for the royal family. It is the work of Jerónimo de Ruão (Jean de Rouen) in Classical style. The royal tombs rest on marble elephants and are set between Ionic pillars, topped by Corinthian pillars. The tombs on the left side of the choir belong to king Manuel I and his wife Maria of Aragon, while the tombs on the right side belong to King João III and his wife Queen Catherine of Habsburg.

Within the church, close to the western portal, are the stone tombs of Vasco da Gama (1468-1523), and of the great poet and recorder of the discoveries, Luís de Camões (1527-1570). Both tombs were sculpted by the nineteenth century sculptor Costa Mota in a harmonious neo-Manueline style. The mortal remains of both were transferred to these tombs in 1880.

Monastery

Work on the vast square cloister (55 x 55 m) of the monastery was begun by Boitac. He built the groin vaults with wide arches and windows with tracery resting on delicate mullions. João de Castilho finished the construction by giving the lower storey a classical overlay and building a more recessed upper storey. The construction of such a two-storey cloister was a novelty at the time. Castilho changed the original round columns of Boitac into rectangular ones. He put Plateresque-style ornaments on it.

Each wing consists of six bays with tracery vaults. The four inner bays rest on massive buttresses, forming broad arcades. The corner bays are linked by a diagonal arched construction and show the richly decorated corner pillars.

The inside walls of the cloister have a wealth of Manueline motives with nautical ornaments, and European, Moorish ans eastern elements. The decorations on the outer walls of the inner courtyard were made in Plateresco style by Castilho. This ornamentation on the walls and the traceried arches of the arcades give the construction a filigree aspect.

The round arches and the horizontal structure are clearly in line with the Renaissance style, while at the same time there is also a relationship with Spanish architecture.

One of the arcades contains the sober tomb of the poet Fernando Pessoa. There are several tombs in the chapter house : poet and playwright Almeida Garrett (1799-1854), writer-historian Alexandre Herculano (1810-1877), president Teófilo Braga (1843-1924) and president Óscar Carmona (1869-1951). The refectory across the chapter house has several azulejos tiles from the 17th century.

The cloister had a religious function as well as a representative function by its decorative ornamentation and the dynastic symbolic motives, such as the armillarium, coat-of-arms, and the cross from the Order of Christ, showing the growing world power of Portugal.

In an extension, added to the monastery during the restoration 1850, is located the Museu Nacional de Arqueologia (National Archaeological Museum). The Museu da Marinha (Maritime Museum) is located in the west wing.

The church and the monastery, like the nearby Torre de Belém and Padrão dos Descobrimentos, symbolises the Portuguese Age of Discovery and is among the main tourist attractions of Lisbon.

Português

Museu da Marinha

pt.wikipedia.org/wiki/Museu_da_marinha

O Museu remonta a 1863, quando D. Luís decretou a constituição de uma colecção de testemunhos relacionados com a actividade marítima portuguesa.

Depois de passar por vários espaços, nomeadamente o palácio dos Condes de Farrobo nas Laranjeiras, em Lisboa, onde esteve de 1949 até 1962, ano em que se instalou nas alas Norte e Poente do Mosteiro dos Jerónimos. Considerado Organismo Cultural da Marinha de Guerra Portuguesa, a sua missão, mais do que relevar exclusivamente os assuntos militares navais, é salvaguardar e divulgar o passado marítimo português e tudo o que se relaciona com os mais diversos aspectos e actividades humanas no mar.

M-Tron Ionic Walker: “Scorpion” by legomess

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M-Tron Ionic Walker, dubbed “scorpion”, is a transport vehicle which was designed to carry substantial cargo over long distances and to move in a difficult terrain, inaccessible to other machines (track and wheeled vehicles).

Ionic Lodge No. 229 Brampton Ontario - Presentation of a 50 Year Masonic pin to V.W.Bro. Horace Tomlinson (9) by antefixus21