In order to be irreplaceable

You must always be DIFFERENT

(Coco Chanel)

A slightly different Rhododendron Flower

[Text and image copyright Caren (©all rights reserved)]

please respect my copyright : Do not use any image without my previous written authorization, NOT even in social networks. If you want to use a photograph, please contact me!

Bitte mein Copyright (©Alle Rechte vorbehalten) beachten!

Meine Fotos und Texte dürfen ohne meine vorherige und schriftliche Zustimmung NICHT von Dritten verwendet werden, auch nicht in sozialen Netzwerken. Falls Interesse an einem Foto besteht, bitte ich um Kontaktaufnahme!]

La Biblioteca del Parlamento en Ottawa (Canadá) es un hito en su país, tanto así que adorna la parte posterior de un billete de dólar canadiense. El edificio se inspiró en la sala de lectura del Museo Británico. La sala de lectura principal tiene un techo abovedado que complementa las paredes y las columnas de pino blanco con tallas de gran detalle de flores, máscaras, texturas y criaturas míticas. La colección de la Biblioteca se compone de más de 600.000 artículos y está a cargo de 300 empleados.

El 3 de febrero de 1916, hacia las 21 horas, se inició un incendio de poca envergadura en la sala de lectura del edificio central. Creció rápidamente hasta convertirse en un fuego devastador que se cobró 7 vidas y no dejó en pie más que una estructura carbonizada, con excepción del ala noroeste y la biblioteca, que se salvaron del incendio. Si uno de los empleados no hubiera cerrado a tiempo las puertas de hierro de la biblioteca miles de obras irremplazables también se hubieran perdido.

La Bibliothèque du Parlement à Ottawa (Canada) est une étape importante dans votre pays, si bien que orne le dos d'un billet du dollar canadien. Le bâtiment a été inspiré par la salle de lecture du British Museum. La salle de lecture principale a un plafond voûté qui complète les murs et les colonnes de pin blanc, avec des sculptures magnifiquement détaillés de fleurs, des masques et des créatures mythiques textures. La collection de la bibliothèque se compose de plus de 600.000 articles et est en charge de 300 employés.

Le 3 Février, 1916, à 21 h, un feu a commencé à faible

l'échelle dans la salle de lecture du bâtiment principal. Il a rapidement grandi

devenir un incendie dévastateur qui a fait sept morts et laissé debout plus d'une

la structure carbonisée, à l'exception de l'aile

Nord-Ouest et de la bibliothèque, qui ont été sauvés

feu. Si l'un des employés avait pas fermé dans le temps les portes de fer

bibliothèque de milliers d'œuvres irremplaçables ont également été perdus.

The Library of Parliament in Ottawa (Canada) is a milestone in your country, so much so that adorns the back of a Canadian dollar bill. The building was inspired by the reading room of the British Museum. The main reading room has a vaulted ceiling that complements the walls and columns of white pine with beautifully detailed carvings of flowers, masks and mythical creatures textures. The library collection consists of over 600,000 items and is in charge of 300 employees.

On February 3, 1916, at 21 am, a fire started low

scale in the reading room of the main building. It quickly grew

become a devastating fire that claimed seven lives and left standing more than a

charred structure, except for the wing

Northwest and the library, which were saved

fire. If one of the employees had not closed in time the iron gates

library of thousands of irreplaceable works have also been lost.

Quick Summary (for those with little time):

Thanks to fast AF and excellent out-of-camera colour the V1 will allow you to take some nice vacation and family photos without needing to spend 2 hours reading user manual. LCD is great and EVF is nice enough (irreplaceable in bright light). Great battery time too. Keep the ISO low and you will get some very detailed photos that will give you some great prints. I would strongly suggest reading the review from Steve Huff to get better impression what these camera can deliver. In my opinion the V1 gives the user a very good balance of simplicity & performance & price (as of late 2013) as well as IQ & size & weight.

Versus larger formats:

One does not have to be a rocket scientist to realise that smaller sensor is not going to deliver the same technical image quality as a larger one - in particular in term of colour depth, noise and

Now onto the full review:

Nikon V1 is no news since a while. When it entered the market more than 2 years ago it was seen as an overpriced and under performing camera that nobody should buy. At least to those that have never used one. I myself found next to no interest in the system at the time either. Only once the already mentioned review from Steve Huff was published I started to take the V1 more seriously. And yes - the camera body for around 700€ was overpriced at the time.

With time (and once V2 was introduced) the price of the V1 sank considerably and also positive reports started started to pop. I myself needed some small, fast and easy to use digital camera and after looking into options I made a sensible choice and went with the V1. I have actually surprised myself too as the camera I was considering was Olympus OMD E-M1 - at the time announced, but not on the market. There is no questions that E-M1 is in many (most?) ways a better camera, but it should be for about 4x the price.

I have used the camera since few months now with the 10 and 18.5 lenses - and recently also with the 30-110 and the SB-N7 flash and those are the items that I would like to mention briefly here.

So - what is the V1 and what it is not. First of all - the sensor. 1" sensor is already known from Sony in their great RX100 (though with 20 Mpix). Performance wise (dynamic range, noise) is is below current m43 like OM-D or E-P5, but that should be no surprise. It still delivers solid performance, and, what I consider very important, V1 allows you to turn off the noise reduction and so your ISO 1600 photos will be still very detailed (albeit a bit grainy).

On the megapixel count. It is 'only' 10 and that is GOOD. Cramping more on sensor this small would be of little advantage. Thanks to very sharp lenses these 10 Mpix have great detail and should give great A3 prints at low ISO (I am yet to print some photos from my V1)

The camera itself - I would describe it as professional point&shot. The main reason is the lack of controls and also the relatively low level of customisation (menus). The only control wheel (on top of the 4-way standard one) there is the scene selector which is unfortunately very easy to turn, so one quickly learns to check its position before bringing the camera to you eye. Another reason to call the V1 a pro P&S is, that it works best in the 'P' mode. But more on that later.

Last but not least - the EVF. The EVF is not WYSIWYG - it adjusts automatically and the output (image you take) may look differently than what you saw in the EVF when you pushed the button. This is however a big issue if you plan on using 3rd party lenses via adapter. I have briefly had one to mount Minolta AF lenses. The camera offers only manual mode and because of the way the EVF behaves - you have no idea whether you will overexpose or underexpose - photo looks always the same in the EVF - irrespective of the aperture and shutter setting. I assume it is different with the Nikon F lenses as the adapter is more clever.

Resolution wise and contrast wise the EVF is behind current offerings, but it is perfectly usable and takes very little space on the camera. I find myself using it about 50% of the time. Contrary to the EVF the LCD is sharp, detailed and very fluid. There is nearly no lag.

When it comes to construction the camera is very robust (and feels 'dense' in your hand). The surface finish is very nice, but still given the shape of the camera it is not particularly nice to hold. I got the stick-on grip from Richard Franiec and it improves the handling considerably. Only downside is that it could have been less slippery.

In P mode the camera will not hesitate to select the widest aperture to keep the shutter speed reasonable (close to 1/f) and to keep the ISO as low as possible. However for some reason - once you enter the 'A' mode (aperture priority) the camera will push the ISO even mode down what often results in shutter speeds too low to handhold. This was a known 'feature' (bug, actually) already when I was buying the camera, but it affects me very little, since the camera does so well in P (and I use it as pro P&S anyway).

JPG versus NEF:

There is no bad news here. Jpegs are nicely detailed - in particular if you turn off noise reductio. Since the automatic white balance is really robust, you just point and shoot - I find that rarely I need to use the exposure compensation. When wring with the NEF files I can only say that I am not very impressed with what included Nikon software - View NX has to offer. Since I have recently got Lightroom 5 I gave it a try. You get even a bit more detail and if needed you can recover some highlights - I think that there is about a stop or so (no scientific assessment) which sometimes held. Indeed - large sensor camera would offer you more headroom, but there is still something you can do. But the message here is - the JPGs are so good that you will rarely need to mess around with NEF files what takes time and some decent software.

Since the above paragraphs do not sound all too great - what are actually the strong points of the V1? That is easy:

The strong points:

- Fast AF

- Very good video quality (get stabilised lenses for that)

- Excellent color - and I mean EXCELLENT - also with fill-in flash

- Size. If you really need not only compact camera, but also the lenses - the V1 will get you there. The camera with 10 and 18.5 lenses will fit any day bag you have. The 30-110 is really small too if you need a longer lens. The flash is tiny.

- Very good price-to-performance. The V1 with 10 and 18.5 lenses costs around 500€ in Germany - that is a great deal in my opinion.

And now for the weak points:

- Lack of manual controls - very little can be done without entering the menu.

- Lack of distortion correction (for JPEGs) - this should really be there. Both 10 and 18.5 have visible barrel distortion and it just costs too much time to remove it with 3rd party software - even if not necessary for every shot.

- The aforementioned behaviour of the A mode.

- Nikon View NX software is nothing to write home about. I am about to start using Lightroom 5 and will try to compare the RAW conversion of both softwares.

Now a few words about some of the lenses and accessories.

10/2.8

- sharp from wide open

- very compact - fits the body very well

- mild barrel distortion

18.5/1.8

- very sharp from wide open

- not as compact as the 10mm, but still small and very lightweight

- surprising amount of barrel distortion. I guess Nikon was trying to save on more complicated design.

- very little CA (this is good :) )

30-110/3.5-5.6 - yes - it is a slow lens, but ..

- it is excellent from wide open

- it is very small

- the stabilisation works very well - I had no problem to get a perfectly sharp photo at 1/60 seconds at the full extension (equivalent of 300 mm on full frame).

- comes with lens hood that can be attached in reversed position to save space and the lens cap does not need to be removed when the hood is being mounted or unmounted. This is a little details that counts.

SB-N7 flash

This is a little great guy. A bit smaller than a pack of cigarets, operates with 2xAAA. The head swivels from 0deg (pointing towards the subject) to 120deg what allows to bounce the flash off the ceiling even if you point the camera down (photographing a child or a pet on a floor). It allows you to make some really nice portraits or interior low-light shots. There are several different flash setting on the V1 - even a second curtain synchronisation for some creative effects. The flash locks into the hot shoe so you do not need to worry about loosing it.

There are of course other lenses available - in particular the wide angle zoom 6.7-13 and the portrait tele 32/1.2 seem to be great lenses. But there are still white spaces in the lens lineup - in particular a dedicated macro lens - something like 42/2.8 is missing (and I think that V1 would make a great macro camera).

Hope this short write-up will help some of you.

If you have any questions about the V1 just ask :)

Regards, Matus

The capitol of Idaho is Boise. The dome and central part were built in 1905-1912. The wings on either side were built in 1919-20. It's build of sandstone taken from Table Rock (near Boise). Convicts from the Idaho Penitentiary were responsible for transporting the 10-ton sandstone blocks from the quarry. Four types of marble were used for the Capitol's interior:

red from Georgia

gray from Alaska

green from Vermont

black from Italy

The original cost to construct the Capitol was $2.1 million.

Replacement costs today would be over $100 million with many materials considered irreplaceable. Idaho's Capitol Building is the only one in the United States heated by geothermal water. The hot water is tapped and pumped from a source 3,000 feet underground. The eagle atop the dome stands 5 feet 7 inches and is made of copper.

www.recyclart.org/2016/07/annas-humming-bird-freeze-frame/

My art practice explores the effects of a throw-away society on the environment - the disposable versus the irreplaceable. My sculptural interpretation of this subject reflects the concerns of the moment. I recreate fauna & flora from household waste. Creatures are placed in environments made from discarded junk; selected, sifted and colour-matched. The final pieces show the juxtaposition of discarded plastics and beauty of the natural world.

Joy swimming in the streams of these Featured Artists:

www.flickr.com/photos/12641375@N06/

www.flickr.com/photos/agueda1959/

www.flickr.com/photos/paterjpm/

www.flickr.com/photos/7493048@N08/

__________________________

Olympic's Thrills moved many: you too couch potatoe?

____________________

Below I found at

www.brainyquote.com/quotes/authors/p/paul_cezanne.html

Paul Cezanne, French Artist Quotes

Birth day: Jan. 19, 1839; Death day: Oct. 22, 1906

I'll always be grateful to the public of intelligent amateurs.

It is impossible for emotion not to come on us in thinking of that time now flowed away.

It's so fine and yet so terrible to stand in front of a blank canvas.

Keep good company - that is, go to the Louvre.

My age and health will never allow me to realize the dream of art I've been pursuing all my life.

My nervous system is enfeebled, only work in oils can sustain me.

___________________________

below I read at zenitenglish@zenit.org

Pope Gives Key to Being Highly Effective Priests

Says It's Essential to Define Priorities, Give Time to Prayer

BRESSANONE, Italy, AUG. 21, 2008 (Zenit.org).- Benedict XVI says the key for priests facing an ever increasing number of responsibilities is defining their priorities and sticking to them -- and making sure prayer is at the top of the list.

The Pope affirmed this Aug. 6 when he met with priests, deacons and seminarians of the Diocese of Bolzano-Bressanone and answered in German six questions they asked him. The Holy Father was on vacation in the Dolomites, where he stayed at the major seminary of Bressanone.

Father Franz Pixner asked a question about "the increasing burden of pastoral care" and the problems that sometimes come with it, such as "the intense pressure of work, the lack of recognition, difficulties concerning the magisterium, loneliness, the dwindling number of priests, but also of communities of the faithful." He said that in such a context, questions arise about things such as the celibacy of priests and the involvement of women in pastoral care.

"The question is also asked how we priests, confronted by the new challenges, can help one another in a brotherly community, at the various levels of the diocese, diaconate and pastoral and parish unit," Father Pixner added.

"In my answer," Benedict XVI said, "I would like to examine two fundamental aspects: on the one hand, the irreplaceableness of the priest, the meaning and the manner of the priestly ministry today; and on the other -- and this is more obvious than it used to be -- the multiplicity of charisms and the fact that all together they are Church."

The Pope affirmed that there "will always be a need for the priest who is totally dedicated to the Lord and therefore totally dedicated to humanity. […] We are consigned to the Lord, separated from ordinary life, but on the other hand, we are consigned to him because in this way we can belong to him totally and totally belong to others."

He added: "Part of this, moreover, is truly making oneself available to the Lord in the fullness of one's being and consequently, finding oneself totally available to men and women. I think celibacy is a fundamental expression of this totality and already, for this reason, an important reference in this world because it only has meaning if we truly believe in eternal life and if we believe that God involves us and that we can be for him."

Time for God

Still, the Holy Father continued, "I know well how difficult it is today -- when a priest finds himself directing not only one easily managed parish but several parishes and pastoral units; when he must be available to give this or that counsel, and so forth -- how difficult it is to live such a life. I believe that in this situation it is important to have the courage to limit oneself and to be clear about deciding on priorities."

"A fundamental priority of priestly life is to be with the Lord and thus to have time for prayer," he affirmed. "I would therefore like to emphasize: Whatever the demands that arise, it is a real priority to find every day, I would say, an hour to be in silence for the Lord and with the Lord, as the Church suggests we do with the breviary, with daily prayers, so as to continually enrich ourselves inwardly, to return -- as I said in answering the first question -- to within the reach of the Holy Spirit's breath.

"And to order priorities on this basis: I must learn to see what is truly essential, where my presence as a priest is indispensable and where I cannot delegate anyone else. And at the same time, I must humbly accept when there are many things I should do and where my presence is requested that I cannot manage because I know my limits. I think people understand this humility."

Movements

Benedict XVI said that another important aspect is linked to the priest's use of time: "knowing how to delegate, to get people to collaborate."

"I am thinking of movements and of many other forms of collaboration in the parish" he explained. "[N]ew forms of collaboration should be created and interchanges encouraged.

"You rightly said that in this it is important to look beyond the parish to the diocesan community, indeed, to the community of the universal Church, which in her turn must direct her gaze to see what is happening in the parish and what the consequences are for the individual priest."

Fraternity

The Pope then turned his attention to another of Father Pixner's points: priestly community.

"Priests, even if they live far apart, are a true community of brothers who should support and help one another. In order not to drift into isolation, into loneliness with its sorrows, it is important for us to meet one another regularly," he said.

The Holy Father added that it is the task of dioceses to establish how to best organize priestly meetings.

"Today we have cars which make traveling easier," the Pontiff quipped, "so that we can experience being together ever anew, learn from one another, mutually correct and help one another, cheer one another and comfort one another, so that in this communion of the presbyterate, together with the bishop we can carry out our service to the local Church. Precisely, no priest is a priest on his own; we are a presbyterate, and it is only in this communion with the bishop that each one can carry out his service."

This beautiful spot has been under the eye of developers for years. Local conservation organisation AROCHA, have succeeded in exposing and appealing against developer activity. This is a unique and irreplaceable collection of habitats which AROCHA staff and volunteers are studying. There are enough hotels and golf clubs in the area. May I encourage birders and naturalists to look up AROCHA Portugal, and support the hard work they do on a daily basis. They have started to run birding trips to help fund the work and raise the profile of nature in this area of the Algarve. Having been on one of their residentials, I can heartily recommend them and the vital work they do. So friendly and skilled. In fact Portugal is such a friendly country.

Este belo local foi sob o olhar de desenvolvedores por anos. Organização de conservação local AROCHA , conseguiram expor e apelando contra a atividade desenvolvedor. Esta é uma coleção única e insubstituível de habitats que AROCHA equipe e os voluntários estão estudando . Não há hotéis suficientes e clubes de golfe na área . Posso incentivar observadores e naturalistas de olhar para cima AROCHA Portugal, e apoiar o trabalho duro que eles fazem em uma base diária . Eles começaram a correr birding viagens para ajudar a financiar o trabalho e aumentar a visibilidade da natureza nesta zona do Algarve . Tendo sido em um de seus residenciais , eu posso recomendar vivamente -los eo trabalho vital que eles fazem. Portanto, amigável e qualificada. De fato Portugal é um país tão amigável.

Year X Week 51 15-22/12/19

Christmas morning and the joy on her face is irreplaceable. A present a day for the duration of her stay followed by a house full of attention, really made her day. More soon.

darrennunis.blogspot.com

What does a railroad do with a tired, worn out (yet historic) steam loco from an earlier timeframe, when scrap prices are too low to make it worthwhile to destroy right away? Why, send it to some lineside municipality looking to fill out a park and get a tax write-off to boot! Such was the fate of a lot of older locomotives in the early 1900's, 20's, and 30's. (The 4-4-0 Texas of the The Great Locomotive Chase fame comes to mind in this regard.)

Sadly, a lot of World War II scrap drives drove towns and cities to destroy historic engines and other pieces of our shared industrial heritage, causing irreplaceable pieces to be destroyed and untold damage to be done to others. In the decades following the 1940's, many engines were also destroyed by Mother Nature - left to rot in public parks until they were beyond saving and the cutting torch was brought in to put them out of their misery. Thankfully, not all was lost in these dark times! A lot were pulled from their pedestal and refurbished cosmetically, with shelters erected around them. Some very lucky few were even restored to working order for a new generation to enjoy the sights, sounds, ands smells of a living steam loco and a long-passed way of life.

Now, onto the LEGO model itself. This modular-compatible plinth was born out of a idea to show off a western loco in a modern LUG layout without it looking odd. The locomotive portion of the model was heavily inspired by the famous C.P. Huntington 4-2-4T steam loco originally owned by the Central Pacific, which was at one point on a plinth very similar to this one.

Taken at Irreplaceable, Irreplaceable (213, 135, 57)

Hot Air Ballooning Cappadocia:

A must do in Cappadocia is take a balloon ride in order to see the sights from a vantage point like no other. On this 1-hour flight at sunrise you will experience the changing colors and the unique landscapes that scatter the region.

Enjoy a unique hot air balloon flight over the fairy chimneys and rock cut churches. This exhilarating experience in Cappadocia is one of the best places around the world to fly with hot air balloons.

www.britannica.com/place/Cappadocia/media/94094/229210

CAPPADOCIA WORLD HERITAGE LIST :

www.whc.unesco.org/en/list/357

In a spectacular landscape, entirely sculpted by erosion, the Göreme valley and its surroundings contain rock-hewn sanctuaries that provide unique evidence of Byzantine art in the post-Iconoclastic period. Dwellings, troglodyte villages and underground towns – the remains of a traditional human habitat dating back to the 4th century – can also be seen there.

Brief synthesis

Located on the central Anatolia plateau within a volcanic landscape sculpted by erosion to form a succession of mountain ridges, valleys and pinnacles known as “fairy chimneys” or hoodoos, Göreme National Park and the Rock Sites of Cappadocia cover the region between the cities of Nevşehir, Ürgüp and Avanos, the sites of Karain, Karlık, Yeşilöz, Soğanlı and the subterranean cities of Kaymaklı and Derinkuyu. The area is bounded on the south and east by ranges of extinct volcanoes with Erciyes Dağ (3916 m) at one end and Hasan Dağ (3253 m) at the other. The density of its rock-hewn cells, churches, troglodyte villages and subterranean cities within the rock formations make it one of the world's most striking and largest cave-dwelling complexes. Though interesting from a geological and ethnological point of view, the incomparable beauty of the decor of the Christian sanctuaries makes Cappadocia one of the leading examples of the post-iconoclastic Byzantine art period.

It is believed that the first signs of monastic activity in Cappadocia date back to the 4th century at which time small anchorite communities, acting on the teachings of Basileios the Great, Bishop of Kayseri, began inhabiting cells hewn in the rock. In later periods, in order to resist Arab invasions, they began banding together into troglodyte villages or subterranean towns such as Kaymakli or Derinkuyu which served as places of refuge.

Cappadocian monasticism was already well established in the iconoclastic period (725-842) as illustrated by the decoration of many sanctuaries which kept a strict minimum of symbols (most often sculpted or tempera painted crosses). However, after 842 many rupestral churches were dug in Cappadocia and richly decorated with brightly coloured figurative painting. Those in the Göreme Valley include Tokalı Kilise and El Nazar Kilise (10th century), St. Barbara Kilise and Saklı Kilise (11th century) and Elmalı Kilise and Karanlık Kilise (end of the 12th – beginning of the 13th century).

Criterion (i): Owing to their quality and density, the rupestral sanctuaries of Cappadocia constitute a unique artistic achievement offering irreplaceable testimony to the post-iconoclastic Byzantine art period.

Criterion (iii): The rupestral dwellings, villages, convents and churches retain the fossilized image of a province of the Byzantine Empire between the 4th century and the arrival of the Seljuk Turks (1071). Thus, they are the essential vestiges of a civilization which has disappeared.

Criterion (v): Cappadocia is an outstanding example of a traditional human settlement which has become vulnerable under the combined effects of natural erosion and, more recently, tourism.

Criterion (vii): In a spectacular landscape dramatically demonstrating erosional forces, the Göreme Valley and its surroundings provide a globally renowned and accessible display of hoodoo landforms and other erosional features, which are of great beauty, and which interact with the cultural elements of the landscape.

Integrity

Göreme National Park and the Rock Sites of Cappadocia, having been extensively used and modified by man for centuries, is a landscape of harmony combining human interaction and settlement with dramatic natural landforms. There has been some earthquake damage to some of the cones and the pillars, but this is seen as a naturally occurring phenomenon. Overuse by tourists and some vandalism have been reported and some incompatible structures have been introduced.

The erosional processes that formed the distinctive conical rock structures will continue to create new fairy chimneys and rock pillars, however due to the rate of this process, the natural values of the property may still be threatened by unsustainable use. The cultural features, including rock-hewn churches and related cultural structures, mainly at risk of being undermined by erosion and other negative natural processes coupled with mass tourism and development pressures, can never be replaced. threats Some of the churches mentioned by early scholars such as C. Texier, H.G. Rott and Guillaume de Jerphanion are no longer extant.

Authenticity

The property meets the conditions of authenticity as its values and their attributes, including its historical setting, form, design, material and workmanship adequately reflect the cultural and natural values recognized in the inscription criteria.

Given the technical difficulties of building in this region, where it is a matter of hewing out structures within the natural rock, creating architecture by the removal of material rather than by putting it together to form the elements of a building, the underlying morphological structure and the difficulties inherent in the handling of the material inhibited the creative impulses of the builders. This conditioning of human effort by natural conditions persisted almost unchanged through successive periods and civilizations, influencing the cultural attitudes and technical skills of each succeeding generation.

Protection and management requirements

The World Heritage property Göreme National Park and the Rock Sites of Cappadocia is subject to legal protection in accordance with both the Protection of Cultural and Natural Resources Act No. 2863 and the National Parks Act No. 2873. The entire territory between the cities of Nevşehir, Ürgüp and Avanos is designated as a National Park under the Act No. 2873. In addition, natural, archaeological, urban, and mixed archaeological and natural conservation areas, two underground towns, five troglodyte villages, and more than 200 individual rock-hewn churches, some of which contain numerous frescoes, have been entered into the register of immovable monuments and sites according to the Act No. 2863.

Legal protection, management and monitoring of the Göreme National Park and the Rock Sites of Cappadocia fall within the scope of national and regional governmental administrations. The Nevşehir and Kayseri Regional Conservation Councils are responsible for keeping the register of monuments and sites, including carrying out all tasks related to the legal protection of monuments and listed buildings and the approval to carry out any restoration-related works. They also evaluate regional and conservation area plans prepared by the responsible national and/or local (i.e. municipal) authorities.

Studies for revision and updating of the existing land use and conservation plan (Göreme National Park Long-term Development Plan) of 1981 were completed in 2003. The major planning decisions proposed were that natural conservation areas are to be protected as they were declared in 1976. Minor adjustments in the peripheral areas of settlements and spatial developments of towns located in the natural conservation sites including Göreme, Ortahisar, Çavuşin, Ürgüp and Mustafapaşa will be strictly controlled. In other words, the Plan proposes to confine the physical growth of these towns to recently established zones. Hotel developments will take into account the set limits for room capacities. Furthermore, the plan also suggested that local authorities should be advised to review land use decisions for areas that have been reserved for tourism developments in the town plans.

Preparation of conservation area plans for the urban and/or mixed urban-archaeological conservation sites within the historic sections of Göreme are in place and provide zoning criteria and the rules and guidelines to be used in the maintenance and restoration of listed buildings and other buildings which are not registered, but which are located within the historic zones. Similar planning studies for the towns of Ortahisar and Uçhisar are in place. Once finalised, a conservation area plan for the urban conservation area in Ürgüp will be in place. All relevant plans are kept up to date on a continuing basis.

Appropriate facilities aimed at improving the understanding of the World Heritage property have been completed for the subterranean towns of Kaymaklı and Derinkuyu, and are required for Göreme and Paşabağı.

Monuments in danger due to erosion, including the El Nazar, Elmalı, and Meryemana (Virgin Mary) churches, have been listed as monuments requiring priority action. Specific measures for their protection, restoration and maintenance are required at the site level.

While conservation plans and protection measures are in place for individual sites, it is recognised by the principal parties responsible for site management that an integrated Regional Plan for the Cappadocia Cultural and Tourism Conservation and Development Area is required to protect the World Heritage values of the property. Adequate financial, political and technical support is also required to secure the management of the propert

whc.unesco.org/en/list/357

www.nationalgeographic.com/travel/world-heritage/cappadocia/

www.en.wikipedia.org/wiki/Cappadocia

This photo is for the group Macro Mondays and this week the theme is "Trinkets".

I chose to photograph a small bracelet that my Grandpa gave me when I was 7 or 8 years old. He gave it to me after returning home from a visit to Florida. He passed away when I was 9 years old from Sudden Cardiac Death. He had been a coal miner his entire life and had several heart attacks along with black lung disease before having the SCD.

I lived next door to my Grandparents so it was very hard when he suddenly passed away. My bedroom window faced my Grandpas bedroom window and each night before I went to bed we would wave goodnight to each other. I can remember standing in my bedroom window crying after he passed away.

The bracelet does not have any monetary value....but it is irreplaceable to me.

The picture that I laid the bracelet on is of me (1 yr old or younger) and my Grandpa.

APPROXIMATE RELEASE DATE: 2021-2023

***This outfit is modeled on Girl of Today #16 "Valerie."

PERSONAL FUN FACT: I fell in love with this simple ensemble in the pages of an American Girl catalogue. It's such a shame that AG doesn't mail out catalogues much these days, because there is something irreplaceable about holding one in your hands. Anyways, what is especially cool about this getup is that it is marketed for the boy and girl dolls. I always appreciate versatility in designs. While I don't have any Truly Me boy dolls, I do have two Bitty Twins boys. They can fit these 18 inch ensembles just fine. I sadly got Eddie and Sonny at the flea market, several years after the Bitty Twins were retired. Their outfits are kind of pricey on eBay (especially considering the designs of some of the outfits aren't really that cute in my opinion). Of course, I mostly wanted this outfit for my ladies. I was envisioning it on Miss Isabelle. As a kid, I always leaned towards casual fashions for my plastic friends. This captures everything I love in a doll outfit--the hoodie, pants, and sneakers! It also is a little cheaper than other AG fashions on the website. I almost bought this before, when there was a site wide discount (that excluded newly released things). However, I ended up picking out the Western Chic Outfit instead. Ironically, both the Game On and Western Chic Outfit ended up on a flash sale the following month, in June of 2023. Since I had a rewards coupon and Julie's Home Game Uniform was part of the sale, I snagged this too. Julie's outfit wasn't marked down much...and with the price of shipping, I wouldn't have saved any money ordering it by itself. So I picked this Game On Outfit too, to make the order more worth while. This was also heavily discounted, by around 40%, already...in addition to my rewards coupon!

"Do not let your fire go out, spark by irreplaceable spark in the hopeless swaps of the not-quite, the not-yet, and the not-at-all. Do not let the hero in your soul perish in lonely frustration for the life you deserved and have never been able to reach. The world you desire can be won. It exists.. it is real.. it is possible.. it's yours."

-- Ayn Rand, "Atlas Shrugged"

Tragic fire destroying an irreplaceable piece of history. I hope some will survive.

© All rights reserved. Please do not use this image on websites, blogs or any other media without my explicit permission.

PYF: February 10, 15, 15, 16, 22, 24, 26, 28. March 12, 20, 20, 21, 2012. January 19, 25, 2020.

My first real go at watercoloring these. In Scotland we have a series of archeological features built between 500-4,000 years before Christ. We treasure these as the irreplaceable historical artifacts they are. Nah, we leave them out in fields where they offer shelter to sheep and cows.

Just to be clear then, anywhere up to 6,000 years ago a bunch of folks, who had way better things to do (finding enough to eat), set about moving around, and erecting, the biggest pieces of stone they could find. It is amazing to stand in the wind and snow and put your hands on something that was put there by other hands, 300 generations or so ago. And they are everywhere. Which doesn't mean they are always easy to get to or easy to find, but well worth the effort - hail, horizontal rain, or snow.

Explore

Mar 1,2009

#481

The Custom House (Irish: Teach an Chustaim) is a neoclassical 18th century building in Dublin, Ireland which houses the Department of the Environment, Heritage and Local Government. It is located on the north bank of the River Liffey, on Custom House Quay between Butt Bridge and Talbot Memorial Bridge.

It was designed by James Gandon to act as the new custom house for Dublin Port and was his first large scale commission. When it was completed and opened for business on the 7th November 1791, it cost £200,000 to build — a huge sum at the time. The four facades of the building are decorated with coats-of-arms and ornamental sculptures (by Edward Smyth) representing Ireland's rivers.

As the port of Dublin moved further downriver, the building's original use for collecting custom duties became obsolete, and it was used as the headquarters of local government in Ireland. During the Anglo-Irish War in 1921, the Irish Republican Army burnt down the Custom House, in an attempt to disrupt British rule in Ireland. Gandon's original interior was completely destroyed in the fire and the central dome collapsed. A large quantity of irreplaceable historical records were also destroyed in the fire, including parish records of Irish births, marriages and deaths going back in some cases to the Middle Ages. Despite achieving its objectives, the attack on the Custom House was a disaster for the IRA because a large number of its members were captured fleeing the scene.

The south facade of the Custom House by night

After the Anglo-Irish Treaty, it was restored by the Irish Free State government. The results of this reconstruction can still be seen on the building's exterior today — the dome was rebuilt using Irish Ardbraccan limestone which is noticeably darker than the Portland stone used in the original construction. This was done as an attempt to promote Irish resources.

Further restoration and cleaning of the stonework was done by an Office of Public Works team in the 1980s.

In Scotland we have a series of archeological features built between 500-4,000 years before Christ. We treasure these as the irreplaceable historical artifacts they are. Nah, we leave them out in fields where they offer shelter to sheep and cows.

Just to be clear then, anywhere up to 6,000 years ago a bunch of folks, who had way better things to do (finding enough to eat), set about moving around, and erecting, the biggest pieces of stone they could find. It is amazing to stand in the wind and snow and put your hands on something that was put there by other hands, 300 generations or so ago. And they are everywhere. Which doesn't mean they are always easy to get to or easy to find, but well worth the effort - hail, horizontal rain, or snow. I plan to return with these to try a little watercoloring for final.

Es ist nicht bekannt, welche Funktion dieses Zimmer hatte und wer dieses Appartement bewohnte.. Die ursprünglichen Möbel und Gemälde sind verloren. Die Tapete jedoch ist eine Besonderheit und gehört zu einer Gruppe von Wanddekorationen, die drei Räume im Obergeschoss schmücken. Es handelt sich dabei um Tapeten, die wie Gemälde mit Ölfarben auf Leinwand oder Rupfen gemalt wurden. 1754 kaufte Herzogin Elisabeth Albertine alle drei zusammen in Dresden. Die abgebildeten Blumen waren damals fast ausschließlich in Schlossgärten zu finden. Das florale Muster war somit auch ein Zeichen von Luxus.

It is not known what function this room had and who lived in this flat. The original furniture and paintings have been lost. The wallpaper, however, is a speciality and belongs to a group of wall decorations that adorn three rooms on the upper floor. These are wallpapers that were painted like paintings with oil colours on canvas or Hessian fabric (burlap). In 1754, Duchess Elisabeth Albertine bought all three together in Dresden. The flowers depicted were almost exclusively found in palace gardens at the time. The floral pattern was therefore also a sign of luxury.

Schloss Mirow wurde ab etwa 1709 als Witwensitz für Herzogin Christiane Aemilie Anthonie von Mecklenburg-Strelitz errichtet. Baumeister war Joachim Borchmann. Im Herzen des Baus hat sich der hochbarocke Festsaal des italienischen Stuckateurs Giovanni Battista Clerici in seiner ganzen Pracht erhalten. Kaum ein Besucher würde bei der äußeren Bescheidenheit des Schlosses solch einen fulminanten Saal erwarten. Zu den unerwartet prachtvollen Raumkunstwerken gehören auch jene des friderizianischen Rokokos. Der Eintritt Preußens in den Siebenjährigen Krieg verursachte in dem benachbarten Königreich einen fast völligen Stillstand der baulichen Aktivitäten. Die Künstler suchten nun anderswo nach neuen Aufträgen. Dieser historische Umstand führte dazu, dass in Mirow eine zweite Umgestaltungsphase unter Herzogin Elisabeth Albertine begann, die von 1756 bis 1761 ihr Appartement mit originären friderizianischen Innenraumdekorationen von höchster Qualität ausstatten ließ.

Für die Kulturgeschichte ist das Gebäude ein Schatz von unersetzlichem Wert. Die Region des ehemaligen Herzogtums Mecklenburg-Strelitz hat nämlich dramatische Verluste im 20. Jahrhundert erlitten: Das Residenzschloss in Neustrelitz wurde im Jahr 1945 ausradiert. Im selben Jahr fiel auch das Neubrandenburger Palais der Zerstörung anheim. Die ehemalige Sommerresidenz Hohenzieritz hat kriegsbedingt im Inneren bis auf wenige Überbleibsel ihren fürstlichen Glanz verloren. Das Untere Schloss in Mirow brannte schon im 19. Jahrhundert vollständig aus. Somit ist das Obere Schloss das letzte und einzige Denkmal überhaupt, in dem sich die herzogliche Wohnkultur der Mecklenburg-Strelitzer Dynastie erhalten hat.

Trotz der idyllischen Abgeschiedenheit reicht die Bedeutung des Schlosses weit über Mecklenburg-Vorpommern hinaus – bis in die ganze Welt hinein. Die berühmteste Schlossbewohnerin ist Queen Charlotte, die von ihrem Gemahl König Georg III. von Großbritannien „mein Schatz aus Strelitz“ genannt wurde. Nach ihr wurden die Millionenstadt Charlotte in den USA und viele Landmarken weltweit benannt. Aber auch die beliebte Paradiesvogelblume, die Strelitzie, verdankt ihren Namen dem einstigen Mirower Lottchen. Ihr Bruder Adolph Friedrich IV. kam als Fritz Reuters schräger Herzog „Dörchläuchting“ zu zweifelhaftem Ruhm und ihre Nichte Luise sollte die berühmteste aller preußischen Königinnen werden Nach 1761, dem Tod von Herzogin Elisabeth Albertine, kam der Hof nur noch zu Beerdigungen nach Mirow. Nach dem ersten Weltkrieg und der Enteignung der herzoglichen Familie wurde der Bau museal genutzt, später wurde das Schloss Dienststelle der Wehrmacht. Eine erste Renovierung des langsam verfallenden Schlosses gab es 1953, als es zu einem Altersheim umgewandelt wurde, das bis Ende der 1970-er Jahre bestand. Von der Geschichte des Hauses, seiner Bewohners und seiner Rettung nach der Wende von 1989 erzählt eine moderne Ausstellung.im Erdgeschoss

Nach dem Schlossbesuch lockt die Ruhe im Park. Auf geschwungenen Wegen, am Ufer des Sees, in barocken Alleen oder auf der Liebesinsel lässt es sich herrlich lustwandeln. Hier verbindet sich das Naturerlebnis mit den Spuren der Vergangenheit auf idyllische Art und Weise. Schloss und Park Mirow sind Teil eines ganzen Ensembles auf der Schlossinsel. Hier gibt es noch zwei weitere architektonische Höhepunkte: das Renaissancetorhaus und die Johanniterkirche, zu der auch die Familiengruft des Strelitzer Herzogshauses gehört. Im barocken Kavalierhaus gegenüber dem Schloss befinden sich ein Welcome Center und ein Café.

www.mv-schloesser.de/de/willkommen-auf-schloss-mirow/

Mirow Palace was built from around 1709 as a widow's residence for Duchess Christiane Aemilie Anthonie of Mecklenburg-Strelitz. The architect was Joachim Borchmann. At the heart of the building, the Baroque banqueting hall by Italian stucco artist Giovanni Battista Clerici has been preserved in all its splendour. Given the outward modesty of the palace, hardly any visitor would expect such a magnificent hall. The unexpectedly splendid works of interior art include those of the Frederician Rococo period. Prussia's entry into the Seven Years' War brought building activities in the neighbouring kingdom to an almost complete standstill. Artists now looked elsewhere for new commissions. This historical circumstance led to the beginning of a second remodelling phase in Mirow under Duchess Elisabeth Albertine, who had her flat furnished with original Frederician interior decorations of the highest quality from 1756 to 1761.

The building is a treasure of irreplaceable value for cultural history. The region of the former Duchy of Mecklenburg-Strelitz suffered dramatic losses in the 20th century: The residential palace in Neustrelitz was wiped out in 1945. In the same year, the palace in Neubrandenburg was also destroyed. The former summer residence in Hohenzieritz lost all but a few remnants of its princely splendour during the war. The Lower Palace in Mirow burnt down completely in the 19th century. This makes the Upper Palace the last and only monument to the ducal residential culture of the Mecklenburg-Strelitz dynasty.

Despite its idyllic seclusion, the castle's significance extends far beyond todays state of Mecklenburg-Western Pomerania - all over the world. The most famous resident of the castle was Queen Charlotte, who was called "my treasure from Strelitz" by her husband King George III of Great Britain. The metropolis of Charlotte in the USA and many landmarks around the world were named after her. The popular bird of paradise flower, the Strelitzia, also owes its name to the former Charlotte from Mirow. Her brother Adolph Friedrich IV achieved dubious fame as Fritz Reuter's quirky duke "Dörchläuchting" and her niece Luise was to become the most famous of all Prussian queens. After 1761, the death of Duchess Elisabeth Albertine, the court only came to Mirow for funerals. After the First World War and the expropriation of the ducal family, the building was used as a museum and later became a Wehrmacht office. The slowly decaying palace underwent its first renovation in 1953 when it was converted into a retirement home, which remained in existence until 1978. A modern exhibition on the ground floor tells the story of the house, its residents and its rescue after the fall of communism in 1989.

After visiting the palace, the tranquillity of the park beckons. Take a leisurely stroll along the winding paths, along the shores of the lake, along Baroque avenues or on the Island of Love. Here, the experience of nature is combined with traces of the past in an idyllic way. Mirow Palace and Park are part of a whole ensemble on Palace Island. There are two other architectural highlights here: the Renaissance gatehouse and the Church of the Order of St. John, which also houses the family crypt of the Mecklenburg-Strelitz ducal family. The Baroque Cavalier house opposite the Palace houses a Welcome Centre and a café.

www.mv-schloesser.de/de/willkommen-auf-schloss-mirow/

suziecoba.blogspot.com/2015/11/in-order-to-be-irreplaceab...

When I first started noticing Monster High dolls in 2011, Draculaura certainly wasn't one of the characters to catch my attention. There were so many other appealing options who jumped out at me, like Deuce Gorgon and Cleo de Nile. Even as I learned more about the franchise in 2013, Draculaura still didn't stand out in my memory. I would relate her in this way to Bratz Cloe. Like Cloe, Draculaura is one of the pillars in the world of Monster High. Also, similar to Cloe, I wasn't compelled by Draculaura initially. Instead, my fondness was rooted in the fact that I overlooked her. Let me explain. It was March 2013...close to a year after my dad passed away. In those days, Colleen and I had lots of time to kill. We were both learning how to navigate this new and daunting life all by ourselves. However, we followed in the footsteps of our dad and often found ourselves using shopping as a distraction. It was this spring that I felt the strongest urge to dabble in Monster High. Maybe I needed a new type of doll to wash away my worries. Maybe it was simply that I put off my desire to buy Monster High dolls for two years. Whatever the case, the timing couldn't have been any more perfect.

I had my heart set on getting Scaris Deuce. As I mentioned before, Mr. Gorgon was one of the Monster High characters who stole my heart immediately. It was that green snake mohawk...oh how I have a weakness for male dolls with this hairdo. I had discovered while doing some preliminary Monster High internet browsing, that a Scaris Deuce was scheduled to be released. This would be the MOST opportune time to score a Deuce Gorgon doll. The day I set out to procure this Deuce, I had no such luck. But after spending several hours driving around in my beat up 1999 Jeep Wrangler and stopping at every possible location that carried dolls, my sister started realizing how obtainable Monster High dolls were. Colleen had not liked the concept or look of the dolls from the get go. She preferred more traditional, conventionally attractive dolls. We were also both aware that collectors and kids alike were frenzied over them. Seeing how affordable and widely stocked they were made Colleen have a change of heart. She encouraged me to buy at least one of the dolls we stumbled upon that day. That way I could see how much I enjoyed her, and track Deuce down later if I was impressed. I had my sights set on "Swim Class" Lagoona. We were at one of the last stops of the day, at a small store called Benny's, when I finally caved. The "Swim Class" dolls were all on some sort of sale, which sweetened the offer. The last store we planned on popping into was an antique shop down the road. Since there would be no Monster High dolls there, I made my move. I decided to not only buy Lagoona, but Venus McFlytrap too. She was yet another character whose unique design captured my attention. I realized as I was giving one last pan over the humble Monster High section that there was only one doll left in the "Swim Class" line. I would only be missing Draculaura. It seemed silly to not grab her too, what with the sale and the adorably irresistible beach theme (a true shopaholic's logic). Just as Cloe dolls found themselves at the register in year's past, Draculaura made her way to check out just because it would have been unfair to not snag her too.

Unexpectedly, it was that almost-left-behind Draculaura who made the greatest impression on me. Looking back nearly ten years ago as I type this, I can still visualize that moment with such clarity it's like I was just experiencing it. I thought I'd open my "least favorite" doll first, as we had the hoard of newly acquired plastic friends spread out over our dining room table. We'd also found several 90s Disney dolls at the antique store that same afternoon...strangely, I was more excited about the Monster High gals. It didn't take much effort to free Draculaura from her cardboard and plastic shroud. The second she was fully grasped in my hand was truly magical. There was something special about the way this doll felt, the scent emanating from her new hair, and her vampire styled features. I turned to Colleen and expressed how impressed I was. She too found herself fawning over Draculaura. Her darling pigtails, cherubic swimsuit, and goofy expression (which lacked fangs) were irresistible. I knew in my heart that this was the beginning of something wonderful...and something expensive.

As I began my infamous Monster High binge of 2013, I strangely wasn't compelled to buy Draculaura dolls. Perhaps this was in part because my "Swim Class" Draculaura was hard to beat. I was admittedly trying not to purchase too many of the same character, that way I could have a bit more variety in my collection. I could not, however, resist a deal. That's why I bought 2012 Dead Tired and Skull Shores Draculaura rather early on. I was especially excited by Skull Shores, since she was slightly "out of date" (not really, but the line wasn't brand new). Funnily enough, she turned out to be one of my first duplicates. I acquired the Skull Shores Gift Set later that summer for dirt cheap (with a gift card and a sale I think I paid $15 for the set). I was amazed at how derpy and homely this version was (her Indonesian country make gave her strikingly different features). I was happy to dress her in a Scaris fashion pack I bought...why have two dolls wearing the same outfit on display? Then of course there was 2012 Dead Tired Draculaura. Just like my "Swim Class" lady, she ended up in my shopping bag because of a sale at the Family Dollar. She was the least interesting of the trio when I stumbled upon them on our way, ironically, to the aforementioned antique store not long after. Several years later, in 2014, I cracked and bought Scaris Draculaura for 50 percent off (a shopping spree we dubbed the "Barnes and Noble Bonanza"). She was the LAST doll from the expansive Scaris line I was missing. Despite the fact that she was rather bland, I just couldn't pass up the opportunity to complete the iconic collection when she was such a bargain.

Not all my Draculaura dolls were random purchases though. There were several gals who I was fixated on adding to my collection. I'll never forget the most notorious one...."1st Edition Re-release" Draculaura. Websites denoted this reissue wave as the "Original Favorites." I had heard rumors that Clawdeen, Frankie, and Draculaura might be re-released, but I was skeptical. One day I was checking Walmart's website when I saw the three dollies pop up. I literally screeched from my rolling chair in front of the computer. Colleen could hear my jubilant cries from the bathroom. I immediately ordered all three...but I most anticipated Draculaura. When the package arrived, I was enthralled by her. She was perfect in every way. I recall taking photos of her for my old Flickr account in front of our porch flower baskets. Her beauty had to be captured. My collection began at a convenient time because Mattel was beginning to re-release many of the old school Monster High dolls (a smart way to capitalize off the brand's success). Dead Tired Draculaura was released as a Kohl's exclusive with her bed set. I stalked this doll online until she went on a 50% off sale. She was a Christmas gift of sorts to myself...and the very first thing I ever ordered for Kohl's website. Her iconic, vertically styled ponytails had made her one of those dolls I HAD to own. I was over the moon that Mattel had made it possible for me to purchase these classic Draculaura dolls for retail price. At that point, in 2013, the online resale values of Monster High dolls were outrageous (I relate it to the Beanie Babies fad of the 1990s). I simply couldn't afford to purchase any of the older dolls on eBay...and I didn't want to feed into the ridiculous hype. Some people scoffed at the reissues and made many disparaging remarks about their quality (I recall my old Flickr being barraged with these sorts of comments). But my spirit was not dampened...I was simply grateful for the opportunity to get my hands on some of these gals like Draculaura.

Two of my other early favorites were Snow Bite and 13 Wishes Draculaura. I couldn't believe my luck when Snow Bite popped up at Target for 50% off one evening when we were heading home from an eye exam. Ironically, I also found Sea Stunnerz Cloe on sale at the same store. Cloe was still notorious for being the last Bratz character I'd buy from a set. I couldn't decide who I was more stoked to acquire that night between Draculaura and Cloe (to this day, I can't answer that question). Poor Little Dead Riding Wolf Clawdeen didn't stand a chance. I hoped to get 13 Wishes Draculaura on sale, but that opportunity never came my way. I was so taken with her, that I remember forking out the full hog for her at Kmart one afternoon. I just couldn't bear the thought of not having her...especially since I had the rest of the Haunt the Casbah set already (in perfect condition). Die-ner Draculaura was another fixation of mine. Normally it would have been her food themed playset that drew me in. On the contrary, I found the doll herself to be captivating. I almost purchased her at Toys 'R' Us in 2014 on sale. But since I was trying to curb my doll spending, I ended up leaving her behind. It was a decision I regretted until I found my secondhand lady at the flea market some years later.

Speaking of the flea market, I have always had decent luck when it came to Draculaura. Being manufactured for almost every Monster High line means that Drac has a better chance of turning up in the wild. Sometimes I would hit gold and stumble upon a coveted Draculaura. "School's Out," Art Class, and Sweet 1600 were all ladies I wanted to buy brand new. Obviously, "School's Out" was long gone from stores by the time I started my collection. But I almost bought Sweet 1600 and Art Class Draculaura on several different occasions when they were still available. I was willing to pay a little more than usual for them secondhand too, because I was so in love. I want to say Sweet 1600 cost me a whopping $6 used, because the seller knew Monster High dolls were so popular at the time. She was worth every penny, especially since I was angry with myself for not buying her in stores while I could (I still would buy her boxed since I don't have her spare clothing item!). Gloom Beach Draculaura is another notable flea market find. I discovered her all alone in a large container, entirely nude with only a stand. I recognized her right away...that goofy expression was ingrained into my memory. I took pity on her unclad figure and gluey head. Since she was just one dollar, I had to adopt her. It wasn't all that long later that I purchased an inexpensive Monster High clothing lot on eBay, that featured her swimsuit! I can't deny that it was the presence of her outfit that prompted me to buy it. Similarly I took pity on Creepateria Draculaura at the local Salvation Army. She was wearing improper attire AND was sporting limbless arm sockets. I couldn't leave her behind in such a condition when I had Draculaura fashion packs at home, and a set of arms! Not all my thrifted dolls were such sorry stories though. I found a few gems, like Save Frankie and Frights Camera Action--dolls I didn't ogle in stores, but was very grateful to find used.

Something else notable about my love for Draculaura was my keen interest in her redesign. In 2016, Mattel started shifting the Monster High brand into a more "kid friendly" direction. Translated, this means they were making the dolls cheaper quality with more babyish details, to appeal to a younger audience. Cue in the era of molded clothes and less articulation! Unlike many collectors, I didn't see this revamp as a Monster High doomsday. Granted, I knew it would lead to the end of the franchise, but I still was interested in buying the dolls. I couldn't write this "My Story" and not mention my infamous Monster Family Vampire Kitchen pack. It was a set that I could only dream about. It retailed for around $45 and only showed up locally at Kmart. I was broke then, in 2018...which meant I didn't have the funds for such an extravagant purchase. I was also cripplingly depressed...the worst my depression had ever been. For my 27th birthday, Colleen and our friend Beth surprised me. I knew that Beth was coming over to hang out for my birthday. I did NOT know that she and Colleen conspired to buy me the Monster High set. They told me one afternoon they were going out to eat at a restaurant Colleen had a gift card to. While this was true, they also went out to Kmart after and bought Draculaura and Dracula. It was an easy lie to sell, because I HATE going out to eat (I haven't sat at an actual restaurant since probably 2015...only pizza places once a year if that). You can imagine how my face lit up when I opened the wrapped gift and saw Draculaura and Dracula staring back at me. I had no idea what was in the mysterious package...it was a better present than I ever could have dreamed. If you watch my videos, then you will be very familiar with Dracula. But it shouldn't go unmentioned that I adore Draculaura just as much--she means the world to me. This memory has made the revamped era of Monster High dolls irreplaceable to me. Sure, if the dolls had come out a few years earlier it would have been more detailed. But I love Dracula's static "Pepsi drinking" bent arm and Draculaura's matronly design. I am also incredibly fond of Party Hair and Skulltimate Art Class Draculaura who are from the same time frame. They were both dolls I admired on store shelves, but couldn't afford. Needless to say, I appreciated them even more when I found them discounted later on ($5 art class playset...what a bargain!).

I can't quite explain it, but somehow Draculaura has become the most sentimental Monster High character. Perhaps it's because I blew her off in the beginning so my love for her was unexpected. It could be that I appreciated her re-releases the most. Or maybe it's that experience with my Monster Family Vampire Kitchen that makes her irreplaceable. I can't deny that I have an immense fondness for the revamped era Draculaura dolls...a connection the other characters cannot touch. Sometimes it's the dolls you have the least expectations for that leave the greatest impression in the end. Draculaura has come to mean so much more to me as time has gone on. She's always been a staple in the world of Monster High. But more than that, Draculaura is an integral piece to my personal Monster High experience. I wouldn't change anything...not a single dolly!

'There is something of the Winter that is primal, mysterious and utterly irreplaceable, something both bleak and profoundly beautiful, something essential to this myth of ourselves, to the story of our humanity, as if we need the darkness of the winter months to replenish our inner spirits as much as we need the light, energy and warmth of the summer.' - Sting

My first real go at watercoloring these. In Scotland we have a series of archeological features built between 500-4,000 years before Christ. We treasure these as the irreplaceable historical artifacts they are. Nah, we leave them out in fields where they offer shelter to sheep and cows.

Just to be clear then, anywhere up to 6,000 years ago a bunch of folks, who had way better things to do (finding enough to eat), set about moving around, and erecting, the biggest pieces of stone they could find. It is amazing to stand in the wind and snow and put your hands on something that was put there by other hands, 300 generations or so ago. And they are everywhere. Which doesn't mean they are always easy to get to or easy to find, but well worth the effort - hail, horizontal rain, or snow.

{Rose & Thorn} Poses Irreplaceable by the lovely Taliah Dravos

Set by Whole Wheat

C499 FAX

Leyland Tiger/Duple Laser 2 C51F

Henley's Bus Services, Abertillery, Gwent

Llandudno, July 1998

Another Duple Laser 2 in Llandudno, this one was still with its original operator who had taken delivery 13 years earlier. It is unusual in being an 11m Tiger chassis and became well-known in the Henley's fleet, where it remained right up until May 2013, when it was sold for well-deserved preservation. Note that it still had its original rearlights at this time, but these irreplaceable items must have subsequently sustained damage as it now sports a pair of vertical BMAC units that do it no favours.

miss Frank Black. Some days I miss Frank Black more than I can say. I miss Millennium, too, but it’s the man that defined the series that is most conspicuous in his absence. It goes without saying that he was a singular hero, unique and utterly irreplaceable. More and more often, when I sit to watch classic episodes from my collection of DVDs I feel as if I am visiting the memorial of a great man who was taken from us when he still had so much to teach us. I am sometimes struck by a strange sense of hope or a painfully nostalgic twinge. I want to know that Frank Black is alive and well, that he’s out there doing what he Truly, he is one of the greatest actors of our age, and that was never more evident than when he slipped on the identity of our favorite profiler.does best.

台南祀典武廟 - 三百年古梅樹 / 小花蕊看到大玄機 - 生命的力量無可取代

The Force Temple of the Official Ceremony Tainan - 300 years ancient plum tree / Small flowers see the big mystery - Irreplaceable life force

El templo de la fuerza de la ceremonia oficial Tainan - 300 años de árbol de ciruelo antiguo / Pequeñas flores ver el gran misterio - fuerza de la vida Irreplaceable

台南の関帝廟 - 3百年の古梅樹 / 小さい花蕊は大きい玄妙な道理を見ました - 生命の力は取って代わるべきものがありません

Der Kraft-Tempel der amtlichen Zeremonie Tainan - 300 Jahre alte Pflaumebaum / Kleine Blumen sehen das große Geheimnis - Irreplaceable Lebenskraft

Le temple de force de la cérémonie officielle Tainan - 300 ans de prunier antique / Petites fleurs voir le grand mystère - la force de vie irremplaçable

Tainan Taiwan / Tainan Taiwán / 台灣台南

Multiple flower petals are out of the ordinary / 多重花瓣與眾不同 / 多重の花弁は一般のものとは異なります

管樂小集 2014/01/25 安平古堡 Fort Zeelandia performances

{ 煙が目にゲット Smoke Get In Your Eyes 煙燻上眼睛 }

{View large size on fluidr / 觀看大圖}

{My Blog / 管樂小集精彩演出-觸動你的心}

{My Blog / Great Music The splendid performance touches your heart}

{My Blog / 管楽小集すばらしい公演-はあなたの心を心を打ちます}

{Mi blog / La gran música el funcionamiento espléndido toca su corazón}

{Mein Blog / Große Musik die herrliche Leistung berührt Ihr Herz}

{Mon blog / La grande musique l'exécution splendide touche votre coeur}

家住安南鹽溪邊

The family lives in nearby the Annan salt river

隔壁就是聽雨軒

The next door listens to the rain porch

一旦落日照大員

The sunset Shineing to the Taiwan at once

左岸青龍飛九天

The left bank white dragon flying in the sky

OLYMPUS OM-D/E-M1

OLYMPUS M.ZUIKO DIGITAL ED 75mm F1.8

The United States Botanic Garden is a living plant museum that informs visitors about the importance, and often irreplaceable value, of plants to the well-being of humans and to earth's fragile ecosystems. More than 200 years ago, George Washington had a vision for the capital city of the United States that included a botanic garden that would demonstrate and promote the importance of plants to the young nation. Established by the U.S. Congress in 1820, the U.S. Botanic Garden is one of the oldest botanic gardens in North America.

Soft scent and special look makes sweet pea irreplaceable in dainty floral . . .

I've posted some of this cosplay before but this picture was for a contest!

Wearing!

ASR- sophia kemono head

Utilizator Kemono body

petite chambre-kira kira eyes for ASR

Rei's chest

hime dream- philo sophia Yuna medium 2

Dollypop baby angel lips

Wretch- frill socks

Wretch- loafers

Wretch-loose socks

Wretch-Seifuku short sleeves

Wretch-Seifuku Skirt

Wretch-Seifuku Top

Somali-Judgement armband

Limerence- Luisa hair

www.youtube.com/watch?v=w-Zkud-_9JQ

You were closer to me than anyone else, but that voice cannot be heard (I'll find out about...the sister's noise)

Yet at long last I was able to meet you within the continued ticking of time

I continue to search for the sister's noise, because these feelings that have accumlated

to where my heart wanders cannot be destroyed by anyone...! (I'll shoot down... the sorrow of your heart...)

The town surreptitiously hid you;

The place that you struggled to arrive; those memories that you recalled

The reality that was repeated was distant;

That pain of yours stays unnoticed

Even if those dreams that I believed in that day tear me apart

I shall still believe in just my most precious hope

Living seemingly for myself, I want to convey this more than anything else (I'll find out about... the sister's noise...)

The pain of sorrow that continues to be born: If I etch in that meaning,

The sister's voice will now be delivered. I'll turn even tears into power and (I'll shoot down... the sorrow of your heart...)

only our connected strength will pierce everything

The end of twilight, the usual townscape,

and the skies that you'd casually looked up at: I remember their gentleness

Your gaze made me notice

the strength of courage to recognize weakness

Those warm hands of yours guides me

I want to protect you more than anything, because hope pierces through darkness

Because the hot feelings that I've embraced closely illuminate this world (I'll find out about...the sister's noise)

Your dreams that I continue to run and search for start to move

The sister's noise begins to echo the meaning of a loud life: (I'll shoot down... the sorrow of your heart...)

I understand it. Irreplaceable bonds do not break.

Living seemingly for myself, I want to convey this more than anything else (I'll find out about... the sister's noise...)

The pain of sorrow that continues to be born: If I etch in that meaning...

You were closer to me than anyone else, but that voice cannot be heard (I'll find out about...the sister's noise)

Yet at long last I was able to meet you within the continued ticking of time

I continue to search for the sister's noise, as I will surely protect the same smile that we both experienced

where our hearts wander to (I'll shoot down... the sorrow of your heart...)

Because they can no longer be destroyed by anyone...!

Sung by: Nanjō Yoshino (fripSide)

Lyrics/Music/Arrangement by: Yaginuma Satoshi (fripSide)

Benni got another grooming after several months of growing out a disaster cut. This one is way too short and neither of us liked the groomer. She said Benni was "nervous" and that she had mats. Not true, she gets brushed every day. So another 2 months of growing out and on with the search to replace the irreplaceable. Why did Holly have to move to Oregon?

P.S. Good thing I said to leave her whiskers, ears and tail alone!

Schloss Mirow wurde ab etwa 1709 als Witwensitz für Herzogin Christiane Aemilie Anthonie von Mecklenburg-Strelitz errichtet. Baumeister war Joachim Borchmann. Im Herzen des Baus hat sich der hochbarocke Festsaal des italienischen Stuckateurs Giovanni Battista Clerici in seiner ganzen Pracht erhalten. Kaum ein Besucher würde bei der äußeren Bescheidenheit des Schlosses solch einen fulminanten Saal erwarten. Zu den unerwartet prachtvollen Raumkunstwerken gehören auch jene des friderizianischen Rokokos. Der Eintritt Preußens in den Siebenjährigen Krieg verursachte in dem benachbarten Königreich einen fast völligen Stillstand der baulichen Aktivitäten. Die Künstler suchten nun anderswo nach neuen Aufträgen. Dieser historische Umstand führte dazu, dass in Mirow eine zweite Umgestaltungsphase unter Herzogin Elisabeth Albertine begann, die von 1756 bis 1761 ihr Appartement mit originären friderizianischen Innenraumdekorationen von höchster Qualität ausstatten ließ.

Für die Kulturgeschichte ist das Gebäude ein Schatz von unersetzlichem Wert. Die Region des ehemaligen Herzogtums Mecklenburg-Strelitz hat nämlich dramatische Verluste im 20. Jahrhundert erlitten: Das Residenzschloss in Neustrelitz wurde im Jahr 1945 ausradiert. Im selben Jahr fiel auch das Neubrandenburger Palais der Zerstörung anheim. Die ehemalige Sommerresidenz Hohenzieritz hat kriegsbedingt im Inneren bis auf wenige Überbleibsel ihren fürstlichen Glanz verloren. Das Untere Schloss in Mirow brannte schon im 19. Jahrhundert vollständig aus. Somit ist das Obere Schloss das letzte und einzige Denkmal überhaupt, in dem sich die herzogliche Wohnkultur der Mecklenburg-Strelitzer Dynastie erhalten hat.

Trotz der idyllischen Abgeschiedenheit reicht die Bedeutung des Schlosses weit über Mecklenburg-Vorpommern hinaus – bis in die ganze Welt hinein. Die berühmteste Schlossbewohnerin ist Queen Charlotte, die von ihrem Gemahl König Georg III. von Großbritannien „mein Schatz aus Strelitz“ genannt wurde. Nach ihr wurden die Millionenstadt Charlotte in den USA und viele Landmarken weltweit benannt. Aber auch die beliebte Paradiesvogelblume, die Strelitzie, verdankt ihren Namen dem einstigen Mirower Lottchen. Ihr Bruder Adolph Friedrich IV. kam als Fritz Reuters schräger Herzog „Dörchläuchting“ zu zweifelhaftem Ruhm und ihre Nichte Luise sollte die berühmteste aller preußischen Königinnen werden Nach 1761, dem Tod von Herzogin Elisabeth Albertine, kam der Hof nur noch zu Beerdigungen nach Mirow. Nach dem ersten Weltkrieg und der Enteignung der herzoglichen Familie wurde der Bau museal genutzt, später wurde das Schloss Dienststelle der Wehrmacht. Eine erste Renovierung des langsam verfallenden Schlosses gab es 1953, als es zu einem Altersheim umgewandelt wurde, das bis Ende der 1970-er Jahre bestand. Von der Geschichte des Hauses, seiner Bewohners und seiner Rettung nach der Wende von 1989 erzählt eine moderne Ausstellung.im Erdgeschoss

Nach dem Schlossbesuch lockt die Ruhe im Park. Auf geschwungenen Wegen, am Ufer des Sees, in barocken Alleen oder auf der Liebesinsel lässt es sich herrlich lustwandeln. Hier verbindet sich das Naturerlebnis mit den Spuren der Vergangenheit auf idyllische Art und Weise. Schloss und Park Mirow sind Teil eines ganzen Ensembles auf der Schlossinsel. Hier gibt es noch zwei weitere architektonische Höhepunkte: das Renaissancetorhaus und die Johanniterkirche, zu der auch die Familiengruft des Strelitzer Herzogshauses gehört. Im barocken Kavalierhaus gegenüber dem Schloss befinden sich ein Welcome Center und ein Café.

www.mv-schloesser.de/de/willkommen-auf-schloss-mirow/

Mirow Palace was built from around 1709 as a widow's residence for Duchess Christiane Aemilie Anthonie of Mecklenburg-Strelitz. The architect was Joachim Borchmann. At the heart of the building, the Baroque banqueting hall by Italian stucco artist Giovanni Battista Clerici has been preserved in all its splendour. Given the outward modesty of the palace, hardly any visitor would expect such a magnificent hall. The unexpectedly splendid works of interior art include those of the Frederician Rococo period. Prussia's entry into the Seven Years' War brought building activities in the neighbouring kingdom to an almost complete standstill. Artists now looked elsewhere for new commissions. This historical circumstance led to the beginning of a second remodelling phase in Mirow under Duchess Elisabeth Albertine, who had her flat furnished with original Frederician interior decorations of the highest quality from 1756 to 1761.

The building is a treasure of irreplaceable value for cultural history. The region of the former Duchy of Mecklenburg-Strelitz suffered dramatic losses in the 20th century: The residential palace in Neustrelitz was wiped out in 1945. In the same year, the palace in Neubrandenburg was also destroyed. The former summer residence in Hohenzieritz lost all but a few remnants of its princely splendour during the war. The Lower Palace in Mirow burnt down completely in the 19th century. This makes the Upper Palace the last and only monument to the ducal residential culture of the Mecklenburg-Strelitz dynasty.

Despite its idyllic seclusion, the castle's significance extends far beyond todays state of Mecklenburg-Western Pomerania - all over the world. The most famous resident of the castle was Queen Charlotte, who was called "my treasure from Strelitz" by her husband King George III of Great Britain. The metropolis of Charlotte in the USA and many landmarks around the world were named after her. The popular bird of paradise flower, the Strelitzia, also owes its name to the former Charlotte from Mirow. Her brother Adolph Friedrich IV achieved dubious fame as Fritz Reuter's (a 19th century novelist writing in the Low German language) quirky duke "Dörchläuchting " (a half affectionate, half mocking Low German way of saying Serene Highness) and her niece Luise was to become the most famous of all Prussian queens. After 1761, the death of Duchess Elisabeth Albertine, the court only came to Mirow for funerals. After the First World War and the expropriation of the ducal family, the building was used as a museum and later became a Wehrmacht office. The slowly decaying palace underwent its first renovation in 1953 when it was converted into a retirement home, which remained in existence until 1978. A modern exhibition on the ground floor tells the story of the house, its residents and its rescue after the fall of communism in 1989.

After visiting the palace, the tranquillity of the park beckons. Take a leisurely stroll along the winding paths, along the shores of the lake, along Baroque avenues or on the Island of Love. Here, the experience of nature is combined with traces of the past in an idyllic way. Mirow Palace and Park are part of a whole ensemble on Palace Island. There are two other architectural highlights here: the Renaissance gatehouse and the Church of the Order of St. John, which also houses the family crypt of the Mecklenburg-Strelitz ducal family. The Baroque Cavalier house opposite the Palace houses a Welcome Centre and a café.

www.mv-schloesser.de/de/willkommen-auf-schloss-mirow/

THE FAIRY CHIMNEYS

In the days before tourism local people called the strange rock cones that surrounded them kales, or 'castles'. Nowadays these amazing structures are usually called peribacalari, or 'fairy chimneys'. They come in an extraordinary range of shapes and sizes but most are tall and phallic-shaped with a cap of harder stone that protects the softer rock underneath from erosion. Eventually these caps fall off, whereupon the wind and rain start to whittle away the cone until eventually it, too, collapses.

Cappadocia - World Heritage List.

whc.unesco.org/en/list/357

In a spectacular landscape, entirely sculpted by erosion, the Göreme valley and its surroundings contain rock-hewn sanctuaries that provide unique evidence of Byzantine art in the post-Iconoclastic period. Dwellings, troglodyte villages and underground towns – the remains of a traditional human habitat dating back to the 4th century – can also be seen there.

Brief synthesis

Located on the central Anatolia plateau within a volcanic landscape sculpted by erosion to form a succession of mountain ridges, valleys and pinnacles known as “fairy chimneys” or hoodoos, Göreme National Park and the Rock Sites of Cappadocia cover the region between the cities of Nevşehir, Ürgüp and Avanos, the sites of Karain, Karlık, Yeşilöz, Soğanlı and the subterranean cities of Kaymaklı and Derinkuyu. The area is bounded on the south and east by ranges of extinct volcanoes with Erciyes Dağ (3916 m) at one end and Hasan Dağ (3253 m) at the other. The density of its rock-hewn cells, churches, troglodyte villages and subterranean cities within the rock formations make it one of the world's most striking and largest cave-dwelling complexes. Though interesting from a geological and ethnological point of view, the incomparable beauty of the decor of the Christian sanctuaries makes Cappadocia one of the leading examples of the post-iconoclastic Byzantine art period.

It is believed that the first signs of monastic activity in Cappadocia date back to the 4th century at which time small anchorite communities, acting on the teachings of Basileios the Great, Bishop of Kayseri, began inhabiting cells hewn in the rock. In later periods, in order to resist Arab invasions, they began banding together into troglodyte villages or subterranean towns such as Kaymakli or Derinkuyu which served as places of refuge.

Cappadocian monasticism was already well established in the iconoclastic period (725-842) as illustrated by the decoration of many sanctuaries which kept a strict minimum of symbols (most often sculpted or tempera painted crosses). However, after 842 many rupestral churches were dug in Cappadocia and richly decorated with brightly coloured figurative painting. Those in the Göreme Valley include Tokalı Kilise and El Nazar Kilise (10th century), St. Barbara Kilise and Saklı Kilise (11th century) and Elmalı Kilise and Karanlık Kilise (end of the 12th – beginning of the 13th century).

Criterion (i): Owing to their quality and density, the rupestral sanctuaries of Cappadocia constitute a unique artistic achievement offering irreplaceable testimony to the post-iconoclastic Byzantine art period.

Criterion (iii): The rupestral dwellings, villages, convents and churches retain the fossilized image of a province of the Byzantine Empire between the 4th century and the arrival of the Seljuk Turks (1071). Thus, they are the essential vestiges of a civilization which has disappeared.

Criterion (v): Cappadocia is an outstanding example of a traditional human settlement which has become vulnerable under the combined effects of natural erosion and, more recently, tourism.

Criterion (vii): In a spectacular landscape dramatically demonstrating erosional forces, the Göreme Valley and its surroundings provide a globally renowned and accessible display of hoodoo landforms and other erosional features, which are of great beauty, and which interact with the cultural elements of the landscape.

Integrity

Göreme National Park and the Rock Sites of Cappadocia, having been extensively used and modified by man for centuries, is a landscape of harmony combining human interaction and settlement with dramatic natural landforms. There has been some earthquake damage to some of the cones and the pillars, but this is seen as a naturally occurring phenomenon. Overuse by tourists and some vandalism have been reported and some incompatible structures have been introduced.

The erosional processes that formed the distinctive conical rock structures will continue to create new fairy chimneys and rock pillars, however due to the rate of this process, the natural values of the property may still be threatened by unsustainable use. The cultural features, including rock-hewn churches and related cultural structures, mainly at risk of being undermined by erosion and other negative natural processes coupled with mass tourism and development pressures, can never be replaced. threats Some of the churches mentioned by early scholars such as C. Texier, H.G. Rott and Guillaume de Jerphanion are no longer extant.

Authenticity

The property meets the conditions of authenticity as its values and their attributes, including its historical setting, form, design, material and workmanship adequately reflect the cultural and natural values recognized in the inscription criteria.

Given the technical difficulties of building in this region, where it is a matter of hewing out structures within the natural rock, creating architecture by the removal of material rather than by putting it together to form the elements of a building, the underlying morphological structure and the difficulties inherent in the handling of the material inhibited the creative impulses of the builders. This conditioning of human effort by natural conditions persisted almost unchanged through successive periods and civilizations, influencing the cultural attitudes and technical skills of each succeeding generation.

Protection and management requirements

The World Heritage property Göreme National Park and the Rock Sites of Cappadocia is subject to legal protection in accordance with both the Protection of Cultural and Natural Resources Act No. 2863 and the National Parks Act No. 2873. The entire territory between the cities of Nevşehir, Ürgüp and Avanos is designated as a National Park under the Act No. 2873. In addition, natural, archaeological, urban, and mixed archaeological and natural conservation areas, two underground towns, five troglodyte villages, and more than 200 individual rock-hewn churches, some of which contain numerous frescoes, have been entered into the register of immovable monuments and sites according to the Act No. 2863.

Legal protection, management and monitoring of the Göreme National Park and the Rock Sites of Cappadocia fall within the scope of national and regional governmental administrations. The Nevşehir and Kayseri Regional Conservation Councils are responsible for keeping the register of monuments and sites, including carrying out all tasks related to the legal protection of monuments and listed buildings and the approval to carry out any restoration-related works. They also evaluate regional and conservation area plans prepared by the responsible national and/or local (i.e. municipal) authorities.

Studies for revision and updating of the existing land use and conservation plan (Göreme National Park Long-term Development Plan) of 1981 were completed in 2003. The major planning decisions proposed were that natural conservation areas are to be protected as they were declared in 1976. Minor adjustments in the peripheral areas of settlements and spatial developments of towns located in the natural conservation sites including Göreme, Ortahisar, Çavuşin, Ürgüp and Mustafapaşa will be strictly controlled. In other words, the Plan proposes to confine the physical growth of these towns to recently established zones. Hotel developments will take into account the set limits for room capacities. Furthermore, the plan also suggested that local authorities should be advised to review land use decisions for areas that have been reserved for tourism developments in the town plans.

Preparation of conservation area plans for the urban and/or mixed urban-archaeological conservation sites within the historic sections of Göreme are in place and provide zoning criteria and the rules and guidelines to be used in the maintenance and restoration of listed buildings and other buildings which are not registered, but which are located within the historic zones. Similar planning studies for the towns of Ortahisar and Uçhisar are in place. Once finalised, a conservation area plan for the urban conservation area in Ürgüp will be in place. All relevant plans are kept up to date on a continuing basis.

Appropriate facilities aimed at improving the understanding of the World Heritage property have been completed for the subterranean towns of Kaymaklı and Derinkuyu, and are required for Göreme and Paşabağı.

Monuments in danger due to erosion, including the El Nazar, Elmalı, and Meryemana (Virgin Mary) churches, have been listed as monuments requiring priority action. Specific measures for their protection, restoration and maintenance are required at the site level.

While conservation plans and protection measures are in place for individual sites, it is recognised by the principal parties responsible for site management that an integrated Regional Plan for the Cappadocia Cultural and Tourism Conservation and Development Area is required to protect the World Heritage values of the property. Adequate financial, political and technical support is also required to secure the management of the property.

whc.unesco.org/en/list/357

www.nationalgeographic.com/travel/world-heritage/cappadocia/

For anyone who enjoys Beatles memorabilia, this has been the place to be: the gift shop at the Paul McCartney photo exhibition, which ran at the National Portrait Gallery in London in 2023.

McCartney’s candid photographs from the early 1960s, when the Fab Four were at their zenith, create a loving, intimate visual account of life on the road. It was manic, yes, but the guys were young enough to take it all in their stride. And thank goodness Paul was interested in photography, because what we have here is a unique and irreplaceable record of the most frenetic time in pop music history.

In Scotland we have a series of archeological features built between 500-4,000 years before Christ. We treasure these as the irreplaceable historical artifacts they are. Nah, we leave them out in fields where they offer shelter to sheep and cows.

Just to be clear then, anywhere up to 6,000 years ago a bunch of folks, who had way better things to do (finding enough to eat), set about moving around, and erecting, the biggest pieces of stone they could find. It is amazing to stand in the wind and snow and put your hands on something that was put there by other hands, 300 generations or so ago. And they are everywhere. Which doesn't mean they are always easy to get to or easy to find, but well worth the effort - hail, horizontal rain, or snow. I plan to return with these to try a little watercoloring for final.

November 23, 2022 (Dalmatia)

► █░▓ AGES AND EPOCHS are made by the generations, and the generations and modern cultures are shaped by particular outstanding individuals. I know it's rather subjective, but be it: this very day marks the end of an era. The last great Serbian writer has passed away today. Milovan Danojlić was a giant and devoted genius who took part in my life privately but far more deep emotionally through his books, the recollections of a time which I only vaguely remember as child. He had an incredible, distinct, almost magical power to dig out the finest nuances of his time - the places, the people, the characters; to present them in a way so that they - normally overlooked - acquire their first true recognition and fill your inner self with an unexpected sense and fullness... My life would have been so much poorer without his oeuvre. There is hardly any sentence that I ever write without his more or less obvious influence sparked long ago. Especially in the last two decades of the last century his writings had been a source of life to me: inspiration and consolation at the same time, my private cultural crystalizing thread, the Good Book replacement, a poetic way to bridge the ages, a set of officially unrecognized volatile values to define our collective being, my communion in this grand scheme of times and souls. By and large the stuff to prove that the decay I was witnessing for my eyes had not always been our collective fate. There is now nobody to replace him, but the times are irreplaceable too; and he has left such a monumental mark that it will make sub-historical phenomena more difficult to evaporate and vanish, provided his books and reading generally are preserved. His output certainly must be enough - it floated between the superhuman abilities and human ardor and commitment. The result is a quite unprecedented reconstruction of the passed, refined and elevated by his manifest poetic charge. He is by far not praised enough by his people, but the time will tell. The loss of such a notable personality, the one who has created an ideal for some of us, makes life in this unprecedented social and cultural ebb tide increasingly difficult to wade on through. May eternal memory be granted to Milovan by our Almighty Lord!

I have received the news of his resting in France somewhere in the middle, half way between Poitier and Ivanovci, the places of his resting and his birth. Furthermore, my location at the moment is in such a remote area that I won't be able to make it to his burial. I was struck as by it as by lightning. The vast almost empty space surrounding me cannot sooth my cry, but is a perfect stage for his soul to roam: he favored Herzegowina a lot. The landscape is much like it, and a geographical and cultural extension of it. Broad expanses of sheer limestone land, enormous mythical flat patches and boastful mountains covered in the lower areas by Mediterranean bushes. The foliage blocks the view in the valleys. You have to reach a higher point somewhere to grasp the biblical proportion and impact of this amazing landscape. Having gathered some strength over a few hours after the news on Milovan's repose, I made my first hike in three years. We climbed a local hilltop, a friend and me scrambling through the difficult pathless limestone terrain. We stood at the flat top of Buljuk near Kuk (324 m) just before the sunset. The skies were clear after the previous full day of permanent cold rain. But the gale ("bura") was chilling to the bone, freezing the hands and biting sharp. In a few minutes the sun was already setting. This is then what I present to you - the last sun of the first day without the great author. The sun sinking behind the hills that block the view to the nearby Adriatic coast, with a cloud belt hovering above the sea. The end of an epoch starts today, on Wednesday November the 23rd, 2022. Nothing can and will be the same any more.

ꒌ ДАНАС ЈЕ ОТИШАО НАЈВЕЋИ: Милован Мића Данојлић [3. VII 1937 - 23. XI 2022], најбољи литерарни изданак србске земље и свога рода икад. Био сам у преписци са њим коју је прекинуо мој узастопни породични бродолом. После тога више нисам смогао снаге да се довољно саберем и са достојним надахнућем обраћам најбољем. Познавали смо се и приватно од пре. У првом браку био је са једном мојом даљом рођаком. Нема ни мог оца више, који је знао толико прича о људима, па и о њему; нема од данас ни њега, остала је из мог круга само његова прва жена са којом на жалост немам контакт.

Свака реченица коју напишем, у некој је даљој или ближој вези са њим, његовим штивом, његовим стилом, који су за мене били литерарно "свето писмо" и буквално животна утеха последње две деценије прошлог века.

Видевши вест на телевизији у забаченој кући Ћакића у Зечеву, у бескрајном кршу Буковице иза Кистања, као гром да ме погодио. Имао сам још неке потајне планове да одем до Поатјеа, нађем негде смештај и попричам с њим о важним стварима из прошлости. Или то исто, само на трему његове обновљене куће у Ивановцима. Осетио сам се као да ми се земља измакла под ногама. Од великих више нема ниједног. Можда он више није ни могао да живи у овој епоси. У оваквом времену опстају само најјачи, они наоружани Христом и православљем, непоколебиви сведоци Крсне Истине и залога будућег живота, спремни да се суоче са сваком сушом и беспутицом. Данојлић се као и сви великани литературе и културе жртвовао пролазноме, да би достигао непролазно: био је скроз предан нашем колективном бићу. Скоро у целини потопљен у своје време, као у живо језеро, у доба у којем је рођен и из којег је поникао и црпао све животне сокове. Он мора да је последњих година духовно преживљавао буквално као риба на сувом. Остати сам (без вршњака, сличних "громада", истомишљеника по перу и духу, носећих искри духа на другим крајевима света) (иако је имао породицу, жену и два велика сина), па још у таквом времену какво је ово, све то претешко је за корифеја времена које је већ истекло и оставило суву сасушену земљу такорећи без живота, а сам живот као спржено бусење траве које једва да и подсећа на свежу, бујну раскош од пре. И ми, иако двадесет година млађи од Милована, већ се осећамо као гости у овом новом добу које за нас нема кров над главом и са себе отреса сваки дух и индивидуалност, а о колективном да не говоримо.

Маран ата!

Вјечнаја памјат Миловану!

File name: P1002659-edit-AffP

Hot Air Ballooning Cappadocia:

A must do in Cappadocia is take a balloon ride in order to see the sights from a vantage point like no other. On this 1-hour flight at sunrise you will experience the changing colors and the unique landscapes that scatter the region.

Enjoy a unique hot air balloon flight over the fairy chimneys and rock cut churches. This exhilarating experience in Cappadocia is one of the best places around the world to fly with hot air balloons.

www.britannica.com/place/Cappadocia/media/94094/229210

CAPPADOCIA WORLD HERITAGE LIST :

www.whc.unesco.org/en/list/357

In a spectacular landscape, entirely sculpted by erosion, the Göreme valley and its surroundings contain rock-hewn sanctuaries that provide unique evidence of Byzantine art in the post-Iconoclastic period. Dwellings, troglodyte villages and underground towns – the remains of a traditional human habitat dating back to the 4th century – can also be seen there.

Brief synthesis

Located on the central Anatolia plateau within a volcanic landscape sculpted by erosion to form a succession of mountain ridges, valleys and pinnacles known as “fairy chimneys” or hoodoos, Göreme National Park and the Rock Sites of Cappadocia cover the region between the cities of Nevşehir, Ürgüp and Avanos, the sites of Karain, Karlık, Yeşilöz, Soğanlı and the subterranean cities of Kaymaklı and Derinkuyu. The area is bounded on the south and east by ranges of extinct volcanoes with Erciyes Dağ (3916 m) at one end and Hasan Dağ (3253 m) at the other. The density of its rock-hewn cells, churches, troglodyte villages and subterranean cities within the rock formations make it one of the world's most striking and largest cave-dwelling complexes. Though interesting from a geological and ethnological point of view, the incomparable beauty of the decor of the Christian sanctuaries makes Cappadocia one of the leading examples of the post-iconoclastic Byzantine art period.

It is believed that the first signs of monastic activity in Cappadocia date back to the 4th century at which time small anchorite communities, acting on the teachings of Basileios the Great, Bishop of Kayseri, began inhabiting cells hewn in the rock. In later periods, in order to resist Arab invasions, they began banding together into troglodyte villages or subterranean towns such as Kaymakli or Derinkuyu which served as places of refuge.

Cappadocian monasticism was already well established in the iconoclastic period (725-842) as illustrated by the decoration of many sanctuaries which kept a strict minimum of symbols (most often sculpted or tempera painted crosses). However, after 842 many rupestral churches were dug in Cappadocia and richly decorated with brightly coloured figurative painting. Those in the Göreme Valley include Tokalı Kilise and El Nazar Kilise (10th century), St. Barbara Kilise and Saklı Kilise (11th century) and Elmalı Kilise and Karanlık Kilise (end of the 12th – beginning of the 13th century).

Criterion (i): Owing to their quality and density, the rupestral sanctuaries of Cappadocia constitute a unique artistic achievement offering irreplaceable testimony to the post-iconoclastic Byzantine art period.

Criterion (iii): The rupestral dwellings, villages, convents and churches retain the fossilized image of a province of the Byzantine Empire between the 4th century and the arrival of the Seljuk Turks (1071). Thus, they are the essential vestiges of a civilization which has disappeared.

Criterion (v): Cappadocia is an outstanding example of a traditional human settlement which has become vulnerable under the combined effects of natural erosion and, more recently, tourism.

Criterion (vii): In a spectacular landscape dramatically demonstrating erosional forces, the Göreme Valley and its surroundings provide a globally renowned and accessible display of hoodoo landforms and other erosional features, which are of great beauty, and which interact with the cultural elements of the landscape.

Integrity

Göreme National Park and the Rock Sites of Cappadocia, having been extensively used and modified by man for centuries, is a landscape of harmony combining human interaction and settlement with dramatic natural landforms. There has been some earthquake damage to some of the cones and the pillars, but this is seen as a naturally occurring phenomenon. Overuse by tourists and some vandalism have been reported and some incompatible structures have been introduced.

The erosional processes that formed the distinctive conical rock structures will continue to create new fairy chimneys and rock pillars, however due to the rate of this process, the natural values of the property may still be threatened by unsustainable use. The cultural features, including rock-hewn churches and related cultural structures, mainly at risk of being undermined by erosion and other negative natural processes coupled with mass tourism and development pressures, can never be replaced. threats Some of the churches mentioned by early scholars such as C. Texier, H.G. Rott and Guillaume de Jerphanion are no longer extant.

Authenticity

The property meets the conditions of authenticity as its values and their attributes, including its historical setting, form, design, material and workmanship adequately reflect the cultural and natural values recognized in the inscription criteria.

Given the technical difficulties of building in this region, where it is a matter of hewing out structures within the natural rock, creating architecture by the removal of material rather than by putting it together to form the elements of a building, the underlying morphological structure and the difficulties inherent in the handling of the material inhibited the creative impulses of the builders. This conditioning of human effort by natural conditions persisted almost unchanged through successive periods and civilizations, influencing the cultural attitudes and technical skills of each succeeding generation.

Protection and management requirements

The World Heritage property Göreme National Park and the Rock Sites of Cappadocia is subject to legal protection in accordance with both the Protection of Cultural and Natural Resources Act No. 2863 and the National Parks Act No. 2873. The entire territory between the cities of Nevşehir, Ürgüp and Avanos is designated as a National Park under the Act No. 2873. In addition, natural, archaeological, urban, and mixed archaeological and natural conservation areas, two underground towns, five troglodyte villages, and more than 200 individual rock-hewn churches, some of which contain numerous frescoes, have been entered into the register of immovable monuments and sites according to the Act No. 2863.

Legal protection, management and monitoring of the Göreme National Park and the Rock Sites of Cappadocia fall within the scope of national and regional governmental administrations. The Nevşehir and Kayseri Regional Conservation Councils are responsible for keeping the register of monuments and sites, including carrying out all tasks related to the legal protection of monuments and listed buildings and the approval to carry out any restoration-related works. They also evaluate regional and conservation area plans prepared by the responsible national and/or local (i.e. municipal) authorities.

Studies for revision and updating of the existing land use and conservation plan (Göreme National Park Long-term Development Plan) of 1981 were completed in 2003. The major planning decisions proposed were that natural conservation areas are to be protected as they were declared in 1976. Minor adjustments in the peripheral areas of settlements and spatial developments of towns located in the natural conservation sites including Göreme, Ortahisar, Çavuşin, Ürgüp and Mustafapaşa will be strictly controlled. In other words, the Plan proposes to confine the physical growth of these towns to recently established zones. Hotel developments will take into account the set limits for room capacities. Furthermore, the plan also suggested that local authorities should be advised to review land use decisions for areas that have been reserved for tourism developments in the town plans.

Preparation of conservation area plans for the urban and/or mixed urban-archaeological conservation sites within the historic sections of Göreme are in place and provide zoning criteria and the rules and guidelines to be used in the maintenance and restoration of listed buildings and other buildings which are not registered, but which are located within the historic zones. Similar planning studies for the towns of Ortahisar and Uçhisar are in place. Once finalised, a conservation area plan for the urban conservation area in Ürgüp will be in place. All relevant plans are kept up to date on a continuing basis.

Appropriate facilities aimed at improving the understanding of the World Heritage property have been completed for the subterranean towns of Kaymaklı and Derinkuyu, and are required for Göreme and Paşabağı.

Monuments in danger due to erosion, including the El Nazar, Elmalı, and Meryemana (Virgin Mary) churches, have been listed as monuments requiring priority action. Specific measures for their protection, restoration and maintenance are required at the site level.

While conservation plans and protection measures are in place for individual sites, it is recognised by the principal parties responsible for site management that an integrated Regional Plan for the Cappadocia Cultural and Tourism Conservation and Development Area is required to protect the World Heritage values of the property. Adequate financial, political and technical support is also required to secure the management of the propert

whc.unesco.org/en/list/357

www.nationalgeographic.com/travel/world-heritage/cappadocia/

www.en.wikipedia.org/wiki/Cappadocia

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American postcard, no. P7192. Caption: Sailboat Girl.

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