View allAll Photos Tagged irreplaceable
4012. The particular point of this short series is look at the condition of the irreplaceable relic as she was 35 years ago.
Designed by the E.J. Reed, Chief Constructor of the HM Navy, specifically for the defence of the gold boom city of Melbourne, the 3,340 ton iron breastwork turret ship HMVS CERBERUS was laid down at Palmers Shipbuilding and Iron Co Ltd at Jarrow on Tyne on Sept. 1, 1867, and completed in 1870. With a freeboard of less than four feet [she was designed to protectively submerge up to her turrets during battle] the ships sides were built up for her voyage to Australia, and she arrived on April 7, 1981.
We have canvassed the ship's career, and the struggle to save this truly historic maritime relic number of times. The purpose of this series is to look at her condition when Photostream contributor and maritime journalist and author Graeme Andrews visited CERBERUS in 1974 at Half Moon Bay in the bayside Melbourbne suburb of Black Rock.
CERBERUS was scuttled in shallow water there on September 2, 1926 to form a breakwater, and has been deteriorating ever since. This is the once revolutionary vessel, now in her 141st year, looked 35 years ago, when Graeme was aboard.
Photo Graeme Andrews RAN 1955-1968, RANR 1980. From a private disc, with permission.
A COMPENDIUM of links to 35+ HMVS CERBERUS images on the Photostream can be found under entry NO. 5848, here:
www.flickr.com/photos/41311545@N05/7253528494/in/photostream
How do you define "BEAUTY", what qualifies to be "beautiful"? Do you have your own eyes for it, or do you see it via the world media's eyes? ^^
I was once again reminded and inspired by the clip I shared in the previous pic (www.upworthy.com/dustin-hoffman-breaks-down-crying-explai...). NO ONE (men or women) should look down on themselves, think less of themselves or evaluating themselves based on how the typical world's way in categorizing "beautiful, sexy, cute.... and so on." REALLY, if we don't see how we, as each individual, are absolutely unique and irreplaceable in this whole universe... then we'll never know how to treat ourselves right and to truly appreciate who we are and love to be ourselves. It's only when we can appreciate ourselves properly, that we can love others in a positive way!
這個世界為“美”下了定義，設了框架，使人不自覺或不由己地用“世界的標準”來檢視自己，衡量自己的價值，歸類自己的美與否，迷人與否，性感與否，受歡迎與否....
最近看的一個小短片（如上連結），非常地被震撼，也再一次的被提醒...... 你用什麼標準衡量美呢？你用什麼樣的眼光看自己，看世界？
沒有一個（女）人該看＂輕＂自己，每一個都該看＂清＂自己，是如此獨一無二又無可取代！不先學會愛自己，就不可能有真正的自在，更不可能用正面的方式去愛別人！^^
Beyoncé @ Verizon Center, Washington, DC, on Tuesday, July 30, 2013.
The Mrs. Carter Show World Tour Setlist:
I Been On (Intro)
Run the World (Girls)
End of Time
Flaws and All
You Are a Queen (Interlude)
If I Were a Boy (With elements of "Bitter Sweet Symphony")
Get Me Bodied
Baby Boy
Diva
Naughty Girl
Party
Freakum Dress
I Care
I Miss You
Schoolin' Life
Why Don't You Love Me
1+1 (With elements of "Speechless")
Bey Stage:
Irreplaceable
Love on Top
Survivor (Destiny’s Child cover)
Countdown (Interlude)
Crazy in Love
Single Ladies (Put a Ring on It) (With elements of "Movin' on Up")
Grown Woman
Encore:
I Was Here (Interlude)
I Will Always Love You (Whitney Houston over)
Halo
Green Light / Suga Mama (Outro)
this girl is... irreplaceable. I've known her since I was four years old... since we were daisies in girlscouts. i drove to school with her every day of high school, i spent countless after school hours and weekends with her in color guard and winter guard. we're around eachother so much, that people get our names confused. A few even just call us "bethany" to circumvent the problem.
the point of this is... even though she's only 45 minutes away from me at school... i'm going to miss her. she deserved the first guest appearance in my 365
The monthly series
According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.
In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.
The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.
Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.
The family of painters Bassano
Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.
Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.
Die Malerfamilie Bassano
Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.
Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.
Die Monatsserie
Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.
Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.
Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.
Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.
Ahja’s loss and subsequent reacquisition of voice was, in a way, a cunning strategy. Now when she starts complaining for breakfast in the wee hours of the morning, I’m happier to oblige her because I’m so grateful her (irascible, insistent, irreplaceable) voice came back. And of course, extra special deference must be paid for International Day of the Cat!
Höfði is a house in Reykjavík, the capital city of Iceland, built in 1909. Höfði is located at Félagstúni. Initially, it was built for the French consul Jean-Paul Brillouin in Iceland. Best known as the location for the 1986 Iceland Summit meeting of presidents Reagan and Gorbachev that effectively was a step to the end of the Cold War. Within the building the flags of the USA and the USSR are cross-hung to commemorate the meeting.
The city of Reykjavik purchased the house in 1958, restored it to its former glory. From that time used it for formal receptions and festive occasions.
The building was used to make the first radio communications between Iceland and the outside world on 26th June 1905, when contact was made with Poldhu in Cornwall, UK.
On 25th September 2009, at the building's 100th birthday, Höfði was damaged in a fire. All irreplaceable artefacts were saved.
Höfði hefur gegnt mörgum hlutverkum í tímans rás, en er nú eingöngu notað sem móttökuhús borgarstjórnar Reykjavíkur. Upphaflega var húsið byggt sem franskur ræðismannsbústaður fyrir fyrri heimsstyrjöldina, var aðsetur breska sendiherrans í síðari heimsstyrjöldinni, en frægast varð húsið þegar forsetar risaveldanna hittust þar og lögðu grundvöllinn að lokum kalda stríðsins. Þá hvíldu augu alheimsins á húsinu og síðan þá er Höfði órjúfanlega tengdur þeirri gjörbreyttu heimsmynd sem spratt upp úr þeim fundi.
Aðdragandinn að byggingu Höfða
Aðdragandinn að byggingu Höfða er samofinn sögu vinaþjóðanna Íslands og Frakklands. Eins og kunnugt er stunduðu franskir sjómenn þorskveiðar við Íslandsstrendur í hartnær þrjár aldir. Þeir sigldu hingað frá norðurströnd Frakklands á litlum seglskipum á miðjum vetri, þegar allra veðra var von. Talið er að fjöldi skipa hafi mestur orðið um hálft fjórða hundrað og sjómennirnir rúmlega sex þúsund. Sjóslys voru tíð og áætlað að um 400 skip hafi farist og 4000 sjómenn týnt lífi eftir að sókn franskra seglskipa jókst mjög frá árinu 1825.
Þetta mikla mannfall vakti auðvitað athygli og samúð með kjörum fiskimannanna og fjölskyldna þeirra. Á heimaslóðum þeirra var meðal annnars stofnaður félagsskapur um útgerð spítalaskipa á Íslandsmiðum, þrír franskir spítalar voru byggðir hér með þátttöku franska ríkisins og var einn þeirra í Reykjavík. Nutu margir Íslendingar góðs af spítölunum og starfsliði þeirra. Upp úr aldamótunum var svo ráðinn maður til að gæta hagsmuna sjómannanna og útgerða skipanna. Þessi franski ræðismaður, að nafni Brillouin, sótti um leyfi til byggingar Höfða, sem byggður var árið 1909. Höfði hefur síðan þá verið eitt glæsilegasta hús höfuðborgar Íslendinga.
Árin milli heimsstyrjaldanna
Þegar heimsstyrjöldin fyrri braust út hélt Brillouin heim og tók þátt í baráttu Frakka gegn Þjóðverjum. Eftir brotthvarf franska ræðismannsins héðan bjuggu ýmsir fyrirmenn í Höfða. Einar Benediktsson, skáld og athafnamaður, keypti Höfða árið 1914 og bjó þar til ársins 1917. Eftir að Einar kaupir húsið komast á kreik sögur um að reimt væri í Höfða. Þegar Einar kom til Íslands sem nýútskrifaður lögfræðingur frá Kaupmannahöfn var fyrsta verkefni hans að leysa föður sinn af í vandasömu sakamáli, en faðir Einars var sýslumaður í Þingeyjarsýslu. Verkefni Einars var að rannsaka og rétta yfir systkinum sem var gefið að sök að hafa átt í ástarsambandi og eignast saman barn, sem þau voru sögð hafa deytt. Við yfirheyrslur viðurkenndi bróðirin sök en systir hans, Sólborg að nafni, lá veik og stytti sér aldur meðan á yfirheyrslum stóð. Þetta fékk mjög á Einar og trúði hann því alla tíð að Sólborg fylgdi honum.
Þá bjó í Höfða Páll Einarsson hæstaréttardómari, sem varð árið 1908 fyrsti bæjarstjóri Reykjavíkur. Matthías Einarsson yfirlæknir eignaðist Höfða árið 1924 og bjó þar ásamt fjölskyldu sinni í mörg ár. Dóttir hans, Louisa Matthíasdóttir listmálari, ólst þar upp. Louisa fluttist síðan til New York og bjó á Manhattan í hálfa öld og var gift ameríska listmálaranum Leland Bell. Louisa málaði alltaf íslenskt landslag og hangir ein af myndum hennar í Höfða.
Breskt sendiráð í síðari heimsstyrjöldinni
Breska ríkið tók húsið á leigu árið 1938 og eignaðist það 1942. Í seinni heimsstyrjöldinni varð Höfði miðstöð starfsemi Breta hérlendis og þangað bárust fyrst upplýsingar um að væntanlegur væri breskur her til að verja Ísland fyrir þýskum nasistum. Sir Winston Churchill, forsætisráðherra Breta, er eflaust frægasti gestur Höfða á þessum árum, en hann kom í heimsókn í Höfða í ágúst árið 1941. Churchill kom hingað eftir fund með Franklin Delano Rossevelt, forseta Bandaríkja Norður-Ameríku, eftir að þeir gengu frá Atlantshafsyfirlýsingunni, sem kölluð hefur verið grundvöllurinn að stofnskrá Sameinuðu þjóðanna. Annar frægur gestur í Höfða á þessum árum var Marlene Dietrich.
Upp úr stríðinu ritaði sendiherra Breta ráðamönnum í Bretlandi bréf þar sem hann óskaði þess að honum yrði fundinn nýr embættisbústaður. Ástæðan er sögð vera sú að sendiherrann kvartaði sáran yfir draugagangi í húsinu, ásókn hvítklæddrar veru “The White Lady” sem ekki léti hann í friði. Varð úr að sendiráð Breta var flutt úr Höfða í miðborgina árið 1951. Hermir sagan að aldrei fyrr hafi sendiherra flust búferlum vegna meints draugagangs í húsnæði sendiráðs.
Reykjavíkurborg eignast Höfða
Eftir að breska sendiráðið flutti úr húsinu bjuggu ýmsir í Höfða. Reykjavíkurborg keypti húsið árið 1958 og stóð þá til að rífa það. Þáverandi borgarverkfræðingur, Gústaf E. Pálsson, heillaðist af Höfða og var í kjölfarið ákveðið að lagfæra húsið í upprunalegri mynd. Frá árinu 1968 hefur Höfði verið móttökuhús borgarstjórnar Reykjavíkur.
Við endurbætur á Höfða var tekið tillit til varðveislusjónarmiða og notagildis hússins. Höfði er einlyft hús með brotnu (mansard) þaki og kjallara og var lengi vel eitt stærsta einbýlishús Reykjavíkur. Húsið er norskt “katalóghús” í Jugend stíl, sem er franskur byggingarstíll, sem var mjög í tísku um aldamótin 1900 og fyrstu áratugi 20. aldarinnar. Spjaldhurðir og umbúnaður innanhúss taka mið af stíl Lúðvíks 16., sem var konungur Frakklands þegar franska stjórnarbyltingin var gerð þann 14. júlí 1789. Yfir dyrunum inn í stofuna er letrað nafn Brillouin og yfir öðrum dyrum má sjá upphafsstafi franska ríkisins, RF (République Francaise), jakobínarhúfurnar og hina rómversku vendi. Anddyrið er hins vegar í norskum Dreka stíl, en um aldamótin voru norðmenn í auknum mæli að hverfa aftur til þjóðlegra hefða í byggingarstíl sínum og er anddyri Höfða vitnisburður um það. Höfði var friðaður samkvæmt þjóðminjalögum af Reykjavíkurborg árið 1978 og tekur friðunin til ytra byrðis hússins.
Sögulegir fundir í Höfða
Leiðtogafundur forseta risaveldanna Bandaríkjanna og Sovétríkjanna átti sér stað í Höfða 11. og 12. október 1986. Þó svo árangur fundarins hafi í byrjun ef til vill ekki þótt mikill er nú talið hafið yfir allan vafa að fundur þeirra Ronalds Reagan og Mikhails Gorbatsjov markaði tímamót í sögunni. Höfði hefur síðan þá verið fastur viðkomustaður erlendra ferðamanna. Fundur leiðtoganna tveggja markaði upphafið að endalokum kalda stríðsins og í kjölfarið breyttist síðar heimsmyndin með hruni kommúnismans í Austur-Evrópu og Sovétríkjunum.
Til hægri við viðhafnarstofuna, sem er í miðju húsi, er frægasta herbergi Höfða, þar sem Reagan og Gorbatsjof sátu fundinn. Þar eru varðveittir stólarnir sem þeir Reagan og Gorbatsjov sátu í, borðið sem þeir sátu við, og gestabók sem þáverandi borgarstjóri, Davíð Oddsson, fékk þá til að rita nöfn sín í. Talið er að nöfn þeirra standi hvergi saman á annarri blaðsíðu og er gestabókin því mikið fágæti. Síðan þá hafa margir aðrir þjóðhöfðingjar ritað nöfn sín í hana.
Þá var haldinn annar sögulegur fundur í Höfða þann 25. ágúst 1991 þegar utanríkisráðherrar baltnesku ríkjanna, sem þá kröfðust sjálfstæðis, hittust í Höfða, ásamt Jóni Baldvini Hannibalssyni, þáverandi utanríkisráðherra, og Davíð Oddssyni, þáverandi forsætisráðherra. Á þessum fundi í Höfða viðurkenndi Ísland sjálfstæði þessara ríkja, fyrst allra þjóða. Á vegum Reykjavíkurborgar hafa svo heimsótt Höfða þjóðhöfðingjar og stjórnmálaleiðtogar, auk margra annarra góðra gesta.
The damage and looting of historic sites in Iraq and Syria, which have been preserved for millennia, have destroyed irreplaceable evidence of ancient life and society. Further damage to these countries’ treasures increases the loss of their common heritage and cultural legacies of universal importance. Fragile sites and buildings have suffered as collateral damage to battles, targets for purposeful ideological destruction, and prey for systematic looting:
The Islamic State of Iraq and the Levant (ISIL) has proudly trumpeted their destruction of many of the most historic monuments of Islamic architecture in Mosul, including the tomb of Nebi Yunus/Prophet Jonah, which is sacred to Muslims, Christians, and Jews.
The Syrian regime’s indiscriminate shelling and airstrikes, notably on the historic centers of Homs and Aleppo, a UNESCO World Heritage Site, have decimated or irrevocably damaged large areas of these historic sites.
The medieval castle Crac des Chevaliers, also a World Heritage site, dating to the 11th century, has been severely damaged and scarred by war.
Looters, exploiting the vacuum of government control in ISIL-run territory in eastern Syria, have destroyed the ancient Roman city of Dura Europos, where pagans, Jews, and Christians once lived and worshipped side-by-side.
In Raqqa, ISIL publicly ordered the bulldozing of a colossal ancient Assyrian gateway lion sculpture dating to the 8th century BC.
As the international community responds to the wanton destruction perpetrated by extremists in Iraq and to the brutality and suffering facing the Syrian people, we also recognize that preserving these countries’ cultural heritage is a critical step towards reconstruction, reconciliation, and building civil society.
Secretary of State John F. Kerry announced September 22, 2014, that the Department of State has partnered with the American Schools of Orient Research (ASOR) to comprehensively document the condition of, and threats to, cultural heritage sites in Iraq and Syria to assess their future restoration, preservation, and protection needs. Findings are posted weekly at: www.asor-syrianheritage.org/
In Iraq, the United States government has provided nearly $33 million since 2003 for a broad range of cultural heritage projects, including infrastructure upgrades to the Iraq National Museum, establishment of a cultural heritage preservation training institute in Erbil, and site management planning and conservation work at the site of ancient Babylon. The Department of State also partnered with international organizations to develop the Emergency Red List of Iraqi Antiquities at Risk to enable customs officials to identify and detain objects from Iraq that are particularly at risk of looting, theft, and illicit trafficking. Since 1990, the United States has restricted the importation of cultural property of Iraq and other items of archaeological, historical, cultural, rare scientific or religious importance.
For Syria, the Department of State sponsored the publication of the Emergency Red List of Syrian Cultural Objects at Risk to alert international customs authorities to the illicit trafficking of Syrian artifacts and produced a map featuring 1,000 important museums, historic buildings, and archaeological sites to raise awareness of threats to Syrian cultural heritage.
We urge all parties in Iraq and Syria and the international community to respect and protect archaeological, historic, religious, and cultural sites, including museums and archives, and reaffirm that all those who destroy important cultural property must be held accountable.
*****************
Fact Sheet
Office of the Spokesperson
Washington, DC
September 23, 2014
St Mary, Ixworth, Suffolk
Coming back to Ixworth after almost twenty years away, I found that I couldn't remember where the church was. Being too lazy to get out my map, and not stupid enough to use a satnav, I cycled up the long hill of that remarkably good high street until I reached the fire station at the top, and then I was back in open country. Finally checking the map, I found that the church was at the bottom of the hill. Still, it didn't take long to get back there.
Ixworth is one of those small towns, or large villages, that Suffolk seems to do so well. The Bury St Edmunds to Diss and Stowmarket to Thetford roads cross here, but both are now carried past the village on bypasses, and so Ixworth has the pleasant air of a relatively remote and self-sufficient place, with a shop, a post-office, a couple of decent pubs, and that pre-requisite of modern rural civilisation, a ladies' hairdresser. There's a super little water mill on the road to Pakenham, actually in Pakenham parish but closer to here. Ixworth is not to be confused with Ixworth Thorpe, a tiny hamlet a mile or two to the north, with a stunning little thatched church, and especially not with Ickworth, home of the Marquis of Bristol, some ten miles to the south-west.
As I say, the church is immediately beside the High Street, but as it is concealed from it by a row of shops and houses I felt vindicated for cycling past it without noticing. A short driveway leads into a small churchyard, out of which rises a pretty big church, apparently all built on the eve of the Reformation. This is pretty much the case, since the late 15th and early 16th century replaced everything except the porch and the chancel. There are even dates for the completion of the tower. That other great age of faith, the late 19th century, replaced the chancel. All pieces of the ensemble are pretty typical of their ages.
Look west of the church, and you can see the site of the former Ixworth Priory. Most of this has now gone, but the vaulted undercroft has been retained as part of the current house on the site. There are more ruins visible from the High Street further west.
You step into the feel of a thoroughly urban church, as at Yoxford. This is partly a result of the rather mediocre 1855 restoration, with its sombre benches, but is also to do with the size of St Mary, and its serious east window. With the aisles, the nave feels as wide as it is long. Towards the west, the space beneath the tower has been converted into a meeting room, all finished rather well in the early 1980s manner. I was glad that I had Sam Mortlock's book with me, because he told me about something rather fascinating I'd find inside the meeting room, if I had been able to get in (it was locked). Several of the dedicatory tiles that were set in the buttresses of the newly-finished tower in the 16th century have been reset here.
One of them is to a local man called Thome Vyal. I could just make it out through the glass door. Mortlock tells us that his will was proved in 1472, and he gave four pounds to the steeple. The interesting thing about it is that we know Vyal was a carpenter, so he probably worked in this church, where no woodwork of the period survives, but perhaps also at nearby Ixworth Thorpe, where much does. Additionally, many of the churches round about here are famous for their bench ends. Even more fascinating is the fact that the font here clearly includes carpentry tools among the symbols on the shields. Perhaps this suggests that Ixworth was once a centre of excellence for woodcarving, and one wonders what we might have found here before the Victorian restoration.
The sombreness of the nave is barely enlightened by the clerestory, and isn't helped by several heavy memorials around the north doorway. But the lady chapel at the end of the north aisle is rather sweet. In medieval times, it was the chapel of the guild of St James, says Mortlock. In any case, there is plenty of evidence of the busy life of the parish, so the gloom doesn't weigh you down too much.
The base of the roodscreen survives, and you step up through it into the 19th century chancel. Now, this is really serious - the great east window positively frowns on you. Up in the sanctuary, the Victorians reset the perky tomb of Richard Coddington. Brasses of Coddington and his wife are set within a semi-circular relief, and the tomb chest beneath glows with heraldry.
Coddington was not from Suffolk at all, and could never have expected to end up buried here. However, when the monasteries were suppressed in the 1530s, Henry VIII offered the estate and lands of Ixworth Priory to Coddington in exchange for the village he owned near Ewell in Surrey. This was good business for Coddington, but unfortunate for the villagers of the little settlement of Cuddington, because Henry had their houses and church erased from the map. In their place, he built the massive pile of Nonesuch Palace, the largest, grandest and most highly decorated single construction in England during the course of the 16th century. It was furnished with all the great riches that continental Europe had to offer. It was surrounded by an amazing park, woodlands and rides. I suppose that it is good to know that the irreplaceable treasures of the English medieval church weren't all frittered away on pointless and fruitless sieges of French coastal towns.
Nonesuch Palace no longer exists. When the English royal family could no longer keep itself in the manner to which it had become accustomed, the house was demolished for building materials. This seems to have taken a considerable time, for destruction began in the 1680s, but at least one of the towers was still standing in the early 18th century. Oliver Cromwell himself had overseen the selling off of the contents during the Commonwealth, and his parliament had ordered the cutting down of most of the trees for shipbuilding. Hardly a memory survives today.
But Richard Coddington lies here, probably still feeling quietly pleased with himself.
Monastery of St. Catherine on the Sinai Peninsula, at the mouth of an inaccessible gorge at the foot of Mount Sinai, in Egypt is one of the oldest continuously functioning Christian monasteries. It is a UNESCO World Heritage Site.
Saint Catherine was a Christian martyr initially sentenced to death on the wheel. However, when this failed to kill her, she was beheaded. According to tradition, angels took her remains to Mount Sinai. Around the year 800, monks from the Sinai Monastery found her remains. At this time Egypt was a Muslim country so this Christian monastery in the enormous mountain passes of Sinai could use an Egyptian saint from the Early Church.
St. Catherine's Monastery possesses some of the earliest icons in existence, including this 6th-century hot wax icon.
The monastery was built by order of Emperor Justinian I between 527 and 565, enclosing the Chapel of the Burning Bush ordered built by Helena, the mother of Constantine I, at the site where Moses is supposed to have seen the burning bush; the living bush on the grounds is purportedly the original. The site is sacred to three major world religions - Judaism, Christianity, and Islam.
Though it is commonly known as Saint Catherine's, the actual name of the monastery is the Monastery of the Transfiguration. The site was associated with St. Catherine of Alexandria (whose relics were purported to have been miraculously transported there by angels) and it became a favorite site for pilgrimages.
The monastery library preserves the second largest collection of early codices and manuscripts in the world, outnumbered only by the Vatican Library. Its strength lies in Greek, Coptic, Arabic, Armenian, Hebrew, and Syriac texts.
The complex houses irreplaceable works of art: mosaics, Greek and Russian icons, encaustic paintings, as well as sacerdotal ornaments, chalices and reliquaries. Most importantly, it is home to some of the earliest icons in the world, dating to the 5th and 6th centuries. The oldest icon on the Old Testament theme is also preserved there. A project to catalogue the works held in the library is currently being undertaken.
If you like this, You can check my Most Interesting Photos according to Flickr.
Even after all that happened on this Monday i keep on noticing all of us in a hurry rushing along the streets. we are here, and we continue our track, as though nothing has happened. we should .. no, we must.
everyone's step is important, everyone's breath is irreplaceable.
Sneaker has been hanging up there for a couple years. I remember taking a picture of it with my old 3 pixel 'starter camera'
"In order to be irreplaceable one must always be different." - Coco Chanel
so yeah...I love Coco Chanel x]
If you've never seen the movie "Coco Before Chanel" go watch it...now...
anyways, I may be posting a few more Chanel shots soon :] blarg. I can't promise anything. I am SO swamped with everything right now that I've barely had time to even think about photography. blah. and I did some photos of one of my best friends with her boyfriend for prom, and I havn't even uploaded them to facebook yet, muchless flickr :/
vufgbnvifnvufivnfudv.....yeah...I'm slightly frazzled at the moment x]
jakerzz.tumblr.com
4013. Corrosion attacks the heavily armoured sides of the ship, but her form remains intact. The Kookaburra suspects that many people over the years have looked look at the form of CERBERUS and thought she was a heavil;y-stripped hulk.
Not so, of course. Her late 19th Century Monistor form was simple Century. People thought he guns were missing, but her guns were there, wholly enclosed in her revolving turrets.
When scuttled at Black Rock, CERBERUS was basically the same ship that she had been through 55 years of naval service, to the Victorian Colobnial Navy, the Commonwealth Navy Forces from January 1, 1901, and the RAN that latter became on July 10, 1911.
CERBERUS a port guard and ammunition store ship in Port Phillip Bay during WWI.
We have had several photos of CERBERUS in her prime. A favourite of everybody's is this image of CERBERUS in the Yarra River in 1898, at pic NO. 153, here:
www.flickr.com/photos/41311545@N05/3847216747/
This Photo: Graeme Andrews, RAN 1955-1968, RANR 1980. From a private disc, with permission.
A COMPENDIUM of links to 35+ HMVS CERBERUS images on the Photostream can be found under entry NO. 5848, here:
www.flickr.com/photos/41311545@N05/7253528494/in/photostream
New Bern is a city in Craven County, North Carolina with a population of 30,316 as of the 2012 census. It is located at the confluence of the Trent and the Neuse rivers, near the North Carolina coast. It lies 112 mi (180 km) east of Raleigh and 87 mi (140 km) northeast of Wilmington. New Bern is the county seat of Craven County and the principal city of the New Bern Micropolitan Statistical Area. New Bern is the birthplace of Pepsi Cola.
New Bern was settled in 1710 by Swiss and Palatine German immigrants. The new colonists named the settlement after Bern, the capital of Switzerland and hometown of their leader Christoph von Graffenried. The English connection with Switzerland had been established by some Marian exiles who sought refuge in Protestant parts of Switzerland. There were also marriages between the Royal House of Stuart and notable people in the history of Calvinism. The colonists later discovered they had started their settlement on the site of a former Tuscarora village named Chattoka. This caused conflicts with the Tuscarora who were in the area.
New Bern is the second-oldest European-American colonial town in North Carolina (after Bath). It served as the capital of the North Carolina colonial government, then briefly as the state capital. After the American Revolution, New Bern became wealthy and quickly developed a rich cultural life. At one time New Bern was called "the Athens of the South," renowned for its Masonic Temple and Athens Theater.
New Bern has four historic districts listed on the National Register of Historic Places; their numerous contributing buildings include residences, stores and churches dating back to the early eighteenth century. Within easy walking distance of the waterfront are more than 164 homes and buildings listed on the National Register of Historic Places. Also nearby are several bed and breakfasts, hotels, restaurants, banks, antiques stores and specialty shops. The historic districts contain many of the city's 2,000 crape myrtles—its official flower—and developed gardens. New Bern has two "Local Historic Districts," a municipal zoning overlay that affords legal protection to the exteriors of New Bern's irreplaceable historic structures. These areas provide much of New Bern's unique charm, appeal to retirees and heritage tourism, and contribute to the city's economic success.
en.wikipedia.org/wiki/New_Bern,_North_Carolina
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
My mom bought this for me when she went on her Alaskan cruise vacation. It's simple, but the fact that she thought about me and bought something for me made this simple gift irreplaceable.
Beyoncé @ Verizon Center, Washington, DC, on Tuesday, July 30, 2013.
The Mrs. Carter Show World Tour Setlist:
I Been On (Intro)
Run the World (Girls)
End of Time
Flaws and All
You Are a Queen (Interlude)
If I Were a Boy (With elements of "Bitter Sweet Symphony")
Get Me Bodied
Baby Boy
Diva
Naughty Girl
Party
Freakum Dress
I Care
I Miss You
Schoolin' Life
Why Don't You Love Me
1+1 (With elements of "Speechless")
Bey Stage:
Irreplaceable
Love on Top
Survivor (Destiny’s Child cover)
Countdown (Interlude)
Crazy in Love
Single Ladies (Put a Ring on It) (With elements of "Movin' on Up")
Grown Woman
Encore:
I Was Here (Interlude)
I Will Always Love You (Whitney Houston over)
Halo
Green Light / Suga Mama (Outro)
The restaurant and breakfast area created from the old basement cellars, face on to the two courtyards on the side of the Villa, and enjoy direct access and views of the parks surrounding the entire complex.
The brick vaulted area of the small restaurant maintains the same atmosphere as the original setting, and is tempered and enhanced with old Eastern furnishings, offering diners the flavours found in the fresh produce from the area, all irreplaceable ingredients in the preparation of the best regional dishes and faithful interpretations of local cuisine.
The wine cellar holds a selection of prestigious labels, offering wines produced in the renowned surrounding vineyards and selected from the best cellars in the area.
This atmosphere of elegant simplicity and quality therefore provides the ideal framework for a restful interval in which to catch your breath, or conduct a discreet business meeting.
A well-lit area, with the sunny and airy courtyard during summer mornings, and the warmth of the fireplace in winter, lend a serene energy to the breakfast area.
The furnishing, in light and warm ivory tones, has been conceived to offer guests the possibility of an informal setting for the all important time taken to enjoy breakfast: you could settle into a comfortable sofa paging through the morning paper, or contemplate your programme for the day.
Ristorante e sala breakfast, ricavati dalle antiche cantine seminterrate, si affacciano sulle due corti laterali della Villa e fruiscono del contatto diretto e della vista del parco che circonda l’intero complesso.
Il locale a volte in mattone del piccolo ristorante, mantiene l’atmosfera degli ambienti originari, temperata e impreziosita dalla presenza di antichi mobili orientali e offre i ritrovati sapori dei prodotti freschi della zona, ingredienti insostituibili per la preparazione dei migliori piatti del territorio e di una cucina locale filologicamente interpretata.
L’enoteca, assieme a una selezione di etichette prestigiose, propone anche i vini prodotti nella rinomata area vinicola circostante e selezionati dalle migliori cantine della zona.
L’ atmosfera, di elegante semplicità e qualità, diventa così cornice ideale per una pausa di ristoro così come per un incontro discreto di lavoro.
Un ambiente luminosissimo,la corte soleggiata e ariosa nelle mattinate estive, il calore del camino d’inverno, danno serena energia alla sala per breakfast.
L’arredamento, nei colori chiarissimi e caldi dell’avorio, è pensato per suggerire agli ospiti possibilità di situazioni informali per l’importante momento della prima colazione: perchè non su un comodo divano sfogliando il quotidiano del mattino o concertando il planning della giornata?
Harpers Ferry was the site of a large battle in the American Civil War. Following the dramatic Southern victory at Second Bull Run on August 30, 1862, Confederate Gen Robert Lee was in a dilemma; he had defeated two Union thrusts towards the Southern capital at Richmond Virginia; however in both cases he had failed to destroy the Union armies, and his troops had suffered massive, increasingly irreplaceable casualties. Doubtless more Union attacks would come. Additionally in the earlier fighting, much of the Northern Virginia countryside had been devastated by war. It was now the fall harvest season, and Lee hoped to give the farmers of his state time to harvest the crops that fed his army. Additionally, the border state of Maryland had a large, vocal population of Southern supporters, and it had caused much trouble for the Lincoln Administration at the start of the war. Eventually, the Southern commander elected to move North, using the momentum of the previous 2 victorious campaigns to drive the Union forces from Maryland, reinforce his battered army with legions of fresh Maryland recruits, and cut off Washington DC from the rest of the North. Perhaps with a third major victory, Washington DC could be forced to surrender, Britain and France could be persuaded to intervene to support the Confederacy, or the war-weary North could force the Lincoln Administration to ask for terms recognizing the Southern Confederacy. It was with these ideas in mind that Lee's 55000 troops crossed the Potomac River into Maryland on Sept 3, 1862, contact Confederate Pres Jefferson Davis only after the fact. Along with the Kentucky Campaign and the Second Corinth Campaign, the Maryland Campaign (or Lee's First Invasion of the North) would be the largest concerted (if uncoordinated) Confederate offensive of the war.
Meanwhile, the defeated Union Army of Virginia under Maj Gen John Pope had regrouped in Washington DC. Knowing his effectiveness in restoring the morale of the troops, and against the advice of his cabinet, Pres Abraham Lincoln reluctantly reappointed Maj Gen George McClellan back in command of the Army of the Potomac, now consolidated with the units from Pope's army; Pope himself was reassigned to Minnesota. Hearing news of Lee's crossing the Potomac, McClellan marched out of Washington DC with 87000 of his 100000 troops.
Meanwhile the results of Lee's march into Maryland were disappointing; by 1862, Maryland had become firmly embedded into Union support as thousands of Southern loyalists went South to join the Confederacy. Additionally, the region Lee was marching through, Western Maryland, generally held a dimmer view of slavery than the more plantation-heavy tidewater region. As a result, despite strict orders against looting, the civilian population proved indifferent and best and hostile at worst. Thus the Maryland Campaign had become a failure only a few days in; a few score Southern supporters joined the Confederate ranks, only a fraction of the massive losses Lee had sustained the previous summer; additionally more troops deserted when it was clear that they would not be fighting defensively for the Confederacy, more were sick from the unripe apples and corn consumed along the way, and all were exhausted; some units of Lee's army had fought nonstop for 5 straight months. Lee's troops were soon less than half the strength of McClellan's Union forces lethargically pursuing.
As Lee moved North, he had managed to cut off large Union garrisons in the Shenandoah Valley at Winchester, Martinsburg, and Harpers Ferry. These troops blocked Lee's supply lines through the valley, and were also tempting targets for their large depots of supplies. It was for one or both of these reasons that Lee decided on an even riskier maneuver: he would divide his small and rapidly weakening force to try to capture these towns and their garrisons. Some 30000 or so troops under Maj Gen James Longstreet moved towards Hagerstown, while Jackson move with 11500 of his troops to strike at Martinsburg from the West before moving on to Harpers Ferry. Another 8000 troops under Maj Gen Lafayette McLaws would seize Maryland Heights and the final 3400 reinforcements under Maj Gen John Walker would seize Londoun Heights, both overlooking Harpers Ferry.
The Union garrison of Winchester quickly evacuated. Faced by the approach of Jackson's overwhelming force, the Martinsburg garrison also evacuated on Sept 11, pulling back to join the garrison at Harpers Ferry. McClellan requested that the Harpers Ferry garrison be evacuated as well and be linked up with the Army of the Potomac, but general-in-chief Henry Halleck refused, ordering the garrison to hold out to the last extremity or be relieved by McClellan's force.
The Union odds at Harpers Ferry were poor; the town was strategic, but mostly indefensible, hemmed in on the bend of the Potomac and Shenandoah Rivers and surrounded on all sides by high ridgelines, the highest of which were Maryland Heights and Londoun Heights. Additionally, the bulk of the Harpers Ferry garrison was made up of green troops, some of whom (like the 126th New York) had been in the army for only 21 days. Perhaps most importantly, the Harpers Ferry garrison was commanded by Col Dixon Miles, a distinguished veteran of the Mexican-American War, but one that had already disgraced himself in the First Battle of Bull Run when he had tried leading his men while drunk. Miles did not improve his reputation at Harpers Ferry, starting by taking his orders to hold Harpers Ferry quite literally, moving most of his 12000 garrison into the town and Bolivar Heights here immediately in front of the town itself. Only a single brigade was left on Maryland Heights, while Londoun Heights was completely unoccupied.
Bolivar Heights, Harpers Ferry National Historic Park, Harpers Ferry, West Virginia
In the midst of so many great poets I can say no more.
08.10.15. Thursday. Really bright sharp start to the morning. Clouds over in the afternoon with some sun breaking through and dry all day. Funeral this afternoon for another pleasant man. Service had a smell of revolution around it as it started with the Red Flag and, following quickly on "all things bright and beautiful", the priest proceeded as a missile that needs the target, with one of those challenging readings from the bible as only the bible doth do!
On a day when the world tries to make sense of Russian actions (26 missiles into Syria through Iranian and Iraqi air space from the Caspian), news appears to struggle for news dominance with the interminable machinations of the FIFI corruption scandal! Should anyone hold a position of responsibility for 17 years? Could Sepp Blether and co be that irreplaceable? Generally, when people are given the privilege of service (in politics and management) should it not be time limited... shared with others ready to step in? I've argued this in politics. But then, for one thing, would the anticipated 'Corbyn shake' (think new cocktail of forgotten values) ever have happened and would politics continue to service a self-serving global elite... without any challenge and review whatsoever? But will it aid digestion... the cocktail bitters I mean, and feed the spirit as bitters are intended to do? VW appear to be 'shipping' blame for their emissions mess onto several rogue engineers... that is neither an appropriate resolution nor is it Vorsprung durch Technik! Its possible to see how they can recover but I suspect they are holding back awaiting for the rest of the car industry to fall into the same dark hole.
A solid #wood #armoire, this piece has #decorative paneling with lozenge, Maltese cross and quatrefoil designs, a scalloped apron and cornice top. The date carved in the upper section reads “1781”. Comes with 2 original shelves and hang bar. 60(W) 84(H) 28(D) Item 25874 #storagegoals #woodarmoire #wardrobe #antiques #vintage #interiordesign #architecture #decor #furniture #upcycle #irreplaceable #artifact @irreplaceableartifacts
BLACK AND WHITE PHOTO OF SOOKE BASIN MAY 5TH 2017
Just printed this print in the darkroom, it is an image of the Sooke Basin I took from the Wiffen Spit yesterday around 4pm. I used a long exposure to emphasize the strong upper winds we experienced yesterday. The camera was a Hasselblad 500c/m with a 50mm Distagon f4 lens. The film was Ilford FPan ISO 50 120mm. I Rated it at 6 ISO and made up the difference along with the films reciprocity in the development time. The photograph is a traditional silver gelatin print, printed on Oriental Seagull grade 3 glossy Fiber Paper and digitally it will be on Epson Hot Press Natural 330gsm Cotton rag. Film still is beautiful and irreplaceable.
Beyoncé @ Verizon Center, Washington, DC, on Tuesday, July 30, 2013.
The Mrs. Carter Show World Tour Setlist:
I Been On (Intro)
Run the World (Girls)
End of Time
Flaws and All
You Are a Queen (Interlude)
If I Were a Boy (With elements of "Bitter Sweet Symphony")
Get Me Bodied
Baby Boy
Diva
Naughty Girl
Party
Freakum Dress
I Care
I Miss You
Schoolin' Life
Why Don't You Love Me
1+1 (With elements of "Speechless")
Bey Stage:
Irreplaceable
Love on Top
Survivor (Destiny’s Child cover)
Countdown (Interlude)
Crazy in Love
Single Ladies (Put a Ring on It) (With elements of "Movin' on Up")
Grown Woman
Encore:
I Was Here (Interlude)
I Will Always Love You (Whitney Houston over)
Halo
Green Light / Suga Mama (Outro)
In 2014 Dreyfuss & Blackford Architects was selected to renovate the historic headquarters of the Sacramento Municipal Utility District that we originally designed. These historic photos were given to us from the extensive SMUD archive.
In 2010 the SMUD Headquarters was inducted into the National Register of Historic Places.
Design began on the Sacramento Municipal Utility District (SMUD) Headquarters building in 1958, by 1961 construction was complete.
The client desired a dramatic, monumental building with careful attention to the environmental issues, including full sun control and an energy efficient air conditioning and heating system; with flexibility for expected immediate and long-term growth. One of the energy efficient features of the project is the use of solar shades on the exterior of the building which move with the sun. The building was designed for, and continues to house central administration and service facilities for SMUD.
The two wings of the 166,000 square foot building are linked by an elevator and service core. The south wing encloses three clear-spanned floors of flexible office space over a lobby, auditorium, and demonstration areas. The basement of the south wing was designed to comprise the building’s cafeteria, mailroom and general storage areas. The north wing includes two floors of flexible office space over three levels of garage parking provided for staff vehicles. Tree-shaded parking is available for visitors and employees. The 15-acre site is densely landscaped featuring granite boulders and a variety of trees. The building has matured successfully over the years and is still used as originally designed. No significant changes have taken place since the original construction. The exterior has been well-maintained, and the interior has had typical upgrades for a 50 year old building.
Water City Mural by Wayne Thiebaud
A major design feature, a glass mosaic by a young Wayne Thiebaud, encircles the first level of the building. He was virtually unknown at the time and this was his first glass mosaic, which is now considered irreplaceable and priceless.
Wayne Thiebaud was a relatively unknown artist teaching at Sacramento City College in 1958 when Dreyfuss & Blackford selected him to do a mosaic mural for the new building’s façade.
Along with SMUD, they decided something bright and beautiful was needed to increase interest in the building when viewed both at a distance, through the trees, and up close as people walked under the surrounding portico.
Thiebaud submitted two sketches to choose from, both of which were to be executed in glass mosaic tiles. One was bold, with large blocks of black, brown, orange and gray on a white background, a solid color abstract. Dreyfuss & Blackford chose instead a delicate design of a city reflected in water, and Thiebaud was then commissioned by the SMUD Board to make full drawings for four panels, each 15 feet high and over 200 feet long.
The artist worked in a large hall at the old State Fair to project each sketch in full size. Color areas were numbered by reference to 58 shades of sample tiles. Predominant colors are variations of orange, red, and blue.
A detailed study was made by Dreyfuss & Blackford to determine how and where such a mosaic could be manufactured. After much review and consideration, a muralist school in Florence, Italy was finally selected to prepare the mural. Theibaud’s drawings, on rolls of butcher paper, were rolled and sent to Italy where the mural was rendered in tessera glass tile, a process involving a great deal of handwork. The completed tiles were then shipped back to San Francisco, trucked to Sacramento, and mortared into place.
Performers from Casey Elementary and Middle School entertained teachers, fellow students and family members with a winter talent show at the Camp Casey Multipurpose Complex Theater Jan. 7.
Under the direction of Mary Lee McGuire emcees Krista Bradley, Victoria Guiles, Christian Hopkins and Dahshon Pugh guided performers of all grades through a show that included dance, instrument solos, singers, and skits provided by the MCs.
According to McGuire, much of the night’s performance is left up to the students to develop, choreograph and highlight their talents.
This event could not have been accomplished without the behind-the-scenes work of Technical Director Michael Tobin, Stage Manager Jessica Gudeman, Director of MCs Vanessa Frazier, Stage Crew; Joanne Caldwell, James Peden, Caleb Hill and Samuel Shuler.
The 15 acts lined up like this:
• Di Patapos – dance by Vhon Zeta
• Oh Danny Boy – saxophone by Alana Oden
• Dynamite – performed by Rebecca Vail
• G Slide – dance by JaNiya Campbell
• Because of You – performed by Kathleen Paclapan
• Always With Me – piano by Michelle Ramirez
• Diamonds – performed by Jaleasia Norman
• Hawaiian Dance – dance by Ashlyn Smith, Kylee Ezzio, Taylor Ezzio, Serena Walden and Kitwanna Walden
• We Are Never Getting Back Together – performed by Angelica Estrada and Hero Paclapan
• Piano selections – piano by Casey Harney
• Irreplaceable – performed by Natalia Smith
• Make You Feel My Love – performed by Mariella Iquina
• Belly Dance – dance by Paulene Amandy
• Piano Medley – piano by Tiara Russell
• What The Fox Say? – dance by JaTorreyeon Jones, Angel Flores, Solomon Smith, Schyler Smith and Malikai Harvey
Photo inspired by the-burning-house.com/
1. Fancy helmet (cause I just bought it) and bike, not pictured
2. Keys
3. 35mm Canon Rebel G + 50mm f1.4: camera setup I learned to shoot and love photography on
4. Wallet: Poketo Arcade Fire Neon Bible limited edition
5. GoLite Jam Pack: to carry all this stuff with!
6. Library of diaries, started writing when I was 12
7. Kindle: to replace all books
8. Polaroids and Instax photos: irreplaceable
9. 11" Macbook Air: the only computer I'll ever need
10 & 11. Snorri and Boyd, not pictured
Most of these items are purely practical. As far as clothing or pretty things, I don't own anything I'd like to cherish for life and pass down to my kids. And I'm quite OK with that. To shave it down even more, I'd grab 2, 6, 9, 10 & 11. The photos have been scanned; and everything else can be repurchased at a later time.
The Viennese Giant Wheel was build in 1897 and is one of Vienna’s landmarks. Its outline can be seen from a long distance and makes it an irreplaceable attraction. A ride on the fascinating and imposing structure is a must-do for most Vienna visitors.
[The Woodville School set has 5 images] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
The Woodville School (1923) in Gloucester County, Virginia is a Rosenwald school and is on the National Register of Historic Places, listed February 11, 2002 with ID reference #04000042. It was built in 1923 at a cost of $3500 replacing an earlier school for African-Americans. The 3 school districts in the county consolidated, and the school was sold for $450 for residential use in 1942. It was resold in 2001 and is currently on the market. The plaque in the front yard states that “Woodville School is an irreplaceable landmark for the Gloucester community.” However, this landmark is for sale, highlighting the possible loss of a vital educational legacy for African-Americans throughout the rural South. Although Rosenwald school structures are still around, they are an architecturally endangered group of buildings. For Gloucester this would be ironic; the United Negro College Fund was formed in 1944 at the Gloucester County home of Robert Russa Moton, former President of Tuskegee Institute.
Julius Rosenwald (1862-1932), one-time president of Sears, Roebuck and Co., was well-known for his philanthropic endeavors; he established the Julius Rosenwald Fund in 1917, which donated millions of dollars to black colleges, black hospitals, black YMCAs and YWCAs and other black institutions. The most visible of the endowments was in the creation of the “Rosenwald schools”, 5357 schools established for rural black youth throughout the Southern states at a time when public education was difficult to obtain. The schools were not large and the faculties were small; ultimately these schools employed over 14,000 teachers. The funding was discontinued in 1932; the Fund felt that responsibility for maintaining the schools should be public responsibility.
Source: Virginia Department of Historic Resources www.dhr.virginia.gov/registers/Counties/Gloucester/036-50...
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
For the most part, the BBMF fighters did loops around the airfield so mostly showed their underside when close to the crowd.
I guess these elderly planes are irreplaceable.
101 Pupa bianco
745 Essie Sand Tropez
50 Essence Irreplaceable
303 Kiko beige cromato
901 Pupa Smoky Brown
404 Pupa Grey Violet
373 Kiko terra di Siena Bruciata
910 Pupa Afro Taupe
10 DeborahCachmire creme
365 Kiko rosa tatoo
Graphite and black chalk, watercolour and opaque watercolour
Moral allegories are rare in Fuseli's work, but here he combines two long-established symbolic motifs to represent vanity: a woman admiring herself in a mirror, and the airborne figure of fleeting Time. His most original contribution to the traditional imagery is the reclining nude's fantastic hairstyle. Its intricacy and rigid geometry stand out as a beacon of artifice, in contrast to the natural curves of the undraped human body and to Time's windblown curls. The Latin quotation from Virgil's Georgics, at lower left, refers to the escape of irreplaceable Time.
[The Courtauld]
Taken in the Exhibition
Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism
(October 2022 – January 2023)
One of the most original and eccentric artists of the 18th century, the Swiss-born Henry Fuseli (1741–1825) is the subject of a new exhibition at The Courtauld.
Fuseli spent most of his career in London, where he established himself as one of 18th century Europe’s most controversial artists. He deliberately courted notoriety with his most famous painting The Nightmare and other sensationalistic images inspired by a wide range of literature and his own imagination.
Fuseli was praised by some as a creative genius, while others dismissed his works as ‘shockingly mad’. But much admired by his colleagues, he became the Royal Academy’s Professor of Painting and Keeper of its premises at Somerset House, in what is now The Courtauld Gallery, where he and his wife Sophia Rawlins (1762/3–1832) lived from 1805 until his death.
This exhibition focuses on Fuseli’s numerous private drawings of the modern woman. Blending observed realities with elements of fantasy, these studies present one of the finest draughtsmen of the Romantic period at his most original and provocative. Here, the fashionable women of the period appear as powerful figures of dangerous erotic allure, whom the artist regards with a mix of fascination and mistrust. Perhaps as problematic then as now, this visually compelling body of work provides an insight into anxieties about gender, identity, and sexuality at a time of acute social instability, as the effects of the first modern revolutions – in America and in France – swept across Britain and the Continent. Many of those anxieties still speak vividly to us today.
[The Courtauld]