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... Knowing you can always count on me, for sure
That's what friends are for
For good times and bad times
I'll be on your side forever more
That's what friends are for"
Ninguém melhor que Kim e Mimia pra expressar a alegria e até gratidão de ter pessoas ao seu lado em momentos difíceis, torcendo pra poder comemorar a melhora que já vem vindo...
"That's what friends are for!!"
Ai, eu aaaaaamo essas duas, gente!! Uma é minha baby linda aka *my precious* e a outra minha eterna favorita, como não babar nessa dupla??
Using the S4 again with a new to m Nikkor 105mm. We had our first spring snow so got to try out some quick shots with the lens. Was impressed with some of the sharpness but had some trouble with the exposure as my "meter" (my brain) was off. Live and learn.
Knowing the Difference Between the Adult and Child CPR Is critical to prevent further injuries among children. Check out CPR professionals in Denver.
Knowing Touch, June 2008, Dharamkot, Dharamsala, Himachal Pradesh, india.
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Walking down the empty street knowing that you will be facing candy sky gives you them moment. Setting up your rig in the middle of dozens of hungry, bloodsucking mosquitos gives you the moment. Pressing the button knowing that you have saved something pretty gives you the moment. Consuming fresh coffee while processing gives you the moment...the moment which everyone pursues...
Seen in:
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fineartamerica.com/featured/the-moment-matti-ollikainen.html
www.redbubble.com/people/mattiollikainen/works/9001833-th...
By Erik. It's a pleasant feeling to discover some special place that you never expected. This museum of homestead-era homes from all around Fort Rock Valley of Oregon's High Desert offered plenty of perspective and a bounty of indoor photo opportunities, not something I normally find myself enjoying.
The day began with us not knowing what to do, and by midday were on the top of a hill surrounded by stone towers and thousands of tourists.
Welcome to San Gimignano.
Not sure whether the plethora of towers here is the result of penis envy or something similar, or that they great and the good liked to look down on everyone else, and that meant building skyscrapers, long before the term was thought of.
Towers, let us not forget, that erupt from the stone buildings of a hilltop fortress, so are lofty indeed, and you'd need locks of great length for you prince to climb up some of these.
I had not been here before, but suspected it a tourist trap, so we had to leave early in order to get a parking spot. Yes, in the 16 years since we were last here, tourism in Tuscany seems to have gotten really popular, in most cases, more popular than the infrastructure can stand, but still the people keep coming.
Including us.
Tuscan us not large, distances, as the Tuscan crow flies are modest, and yet travelling 50 miles to Florence or San Gimignano takes 90 minutes or more, as roads twist and turn up and down mountains, through woods and picturesque hilltop villages.
Everything takes time, so it had better be worth doing, and doing well.
Some Italians. Some, like to tear around the place like their in Monza even if they're driving a 20 year old Jimny, and when they come up against the Englishman abroad in his Audi, they sit three inches from the back bumper. So I brake. Sharp. And wave them past, usually passing them in the next village talking with their Nonna.
And so it goes.
We set out at half eight-ish, heading up through the hills past Siena and nearly into Florence, up and down, round and round the roads went, and I kept to them.
Which was nice.
West of Florence, we joined the train of traffic heading up the hill to San Gimignano.
At the top there are three car parks, two big ones a smaller on between. The smaller one had 26 spaces, so we went in, and after driving round and round, we found the lower level and some spaces.
So I parked in carefully the space at the end so whoever parked next would have plenty of space, and leave space for us to get back into the car.
That was the plan.
From there it was a short walk to the city gates, and already the main street leading to the piazzas with the towers was already pretty busy.
However, we had made it, it was just after ten, so we stopped at the first place for breakfast: a fresh roll with Tuscan preserved meats and a strong coffee.
And then up to the squares. A bit of a climb in the warm, nearly hot morning. But we made it fine, then in the square, the guided tours had begun. I mean, I don't mean to be rude, but if can't guide yourself round a small hilltop village with a book, then you really shouldn't leave your house.
But I digress.
The first square is entered through a large arch, it is surround by impossibly old buildings, most with a tower, double or triple its height, then on and up to the second square, were the Cathedral looks down on not just the town, but all of creation.
Thankfully, its just a fiver to get in. I queue to buy tickets, then through the gates and into the cool dark space beyond.
Its walls are covered in frescoes. The south wall with scenes from the Passion, and the North had at least one scene from Exodus and the fleeing across the Dead Sea.
And it wasn't that crowded, in fact at times there was just half a dozen of us in there. So I take as many shots as I want, and we leave by the front door, the square laid out below us.
So, we people watch.
Jools comes back to say she has found a place to eat, so I follow here down a steep alley to a small door with two chairs and tables, but inside its larger, and no other customers.
We were offered a table, and from the brief menu we order the Charcuterie board which I followed with roast suckling pig and vegetables.
The starter was excellent, made so with a small jar of local honey dropped on the meat, but the main, and I know what suckling pig means, was delicious, and was the house speciality. And washed down with a glass of Brunello for a fiver, was a bargain.
We walked back down through the town, through the gate to the car. Where someone had had parked so close i couldn't get in, and Jools only just managed it.
But we got the car out, loaded it with supplies, and we high-tailed it out, down the hill and back towards Roccastrada.
The same hills, the same bends, the same villages. And the same occasional inpatient local drivers.
We went to the CoOp again, as we needed fruit. Cheese. Bread. Wine. White wine. Pasta. Passata.
Jools went for a wander and bought two more artisan ice creams, which would defrost on the way back to the apartment.
Then we could eat and enjoy. And relax.
Which we did.
It was five in the afternoon, clouds were building. But it was the weekend. Apparently.
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The Collegiata di Santa Maria Assunta or Duomo di San Gimignano is a Roman Catholic collegiate church and minor basilica[1] in San Gimignano, in Tuscany in central Italy. It contains important cycles of Renaissance frescoes by artists including Domenico Ghirlandaio, Benozzo Gozzoli, Taddeo di Bartolo, Lippo Memmi and Bartolo di Fredi. It falls within the UNESCO World Heritage Site of the "Historic Centre of San Gimignano", with its frescoes being described by UNESCO as "works of outstanding beauty"
The first church on the site was begun in the 10th century.[3] During the early 12th century the importance of San Gimignano, and its principal church, grew steadily, owing to the town's location on the pilgrimage route to Rome, the Via Francigena.[3] The present church on this site was consecrated on 21 November 1148 and dedicated to St. Geminianus (San Gimignano) in the presence of Pope Eugenius III and 14 prelates.[3] The event is commemorated in a plaque on the facade.[3] The power and authority of the city of San Gimignano continued to grow, until it was able to win autonomy from Volterra. The church owned land and enjoyed numerous privileges that were endorsed by papal bulls and decrees.[4] It was elevated to collegiate status 20 September 1471.[5]
During the 13th, 14th and 15th centuries, the church was enriched by the addition of frescos and sculpture.[4] The western end of the building (liturgical east) was altered and extended by Giuliano da Maiano between 1466 and 1468, with the work including vestries, the Chapel of Conception and the Chapel of St Fina.[3] The church was damaged during World War II, and during the subsequent restoration in 1951 the triapsidal eastern end of the earlier church was discovered lying beneath the nave of the present church.[3]
The church possesses the relics of St. Geminianus, the beatified Bishop of Modena and patron saint of the town, whose feast day is celebrated on 31 January. On 8 May 1300 Dante Alighieri came to San Gimignano as the Ambassador of the Guelph League in Tuscany.[6] Girolamo Savonarola preached from the pulpit of this church in 1497.
The Collegiate Church stands on the west side of Piazza del Duomo, so named although the church has never been the seat of a bishop.[7] The church has an east-facing facade, and chancel to the west, as at St Peter's Basilica. The architecture is 12th and 13th century Romanesque with the exception of the two chapels in the Renaissance style. The facade, which has little ornament, is approached from the square by a wide staircase and has a door into each of the side aisles, but no central portal. The doorways are surmounted by stone lintels with recessed arches above them, unusual in incorporating the stone Gabbro.[8] There is a central ocular window at the end of the nave and a smaller one giving light to each aisle. The facade, which is stone, was raised higher in brick in 1340, when the ribbed vaulting was constructed, and the two smaller ocular windows set in.[7] Matteo di Brunisend is generally credited as the main architect of the medieval period, with his date of activity given as 1239, but in fact his contribution may have been little more than the design of the central ocular window.[8] Beneath this window is a slot which marks the place of a window which lit the chancel of the earlier church, and may be the most visible sign of the church's reorientation in the 12th century rebuilding, although this is not entirely agreed upon by scholars.[8]
To the north side of the church, in the corner of the transept and chancel, stands a severely plain campanile of square plan, with a single arched opening in each face. The campanile may be that of the earlier church, as it appears to mark the extent of the original western facade, or it may have been one of the city's many tower houses, pressed into service of the church. To the south side of the church is the Loggia of the Baptistry, a 14th-century arcaded cloister with stout octagonal columns and a groin vault.[9]
Internally, the building is in the shape of a Latin Cross, with central nave and an aisle on either side, divided by arcades of seven semi-circular Romanesque arches resting on columns with simplified Corinthianesque capitals.[10] The chancel is a simple rectangle with a single arched window at the terminal end. The roofs throughout are of quadripartite vaults which date from the mid 14th century.[7] Although Gothic by date and decoration, the profiles of the ribs are semi-circular in the Romanesque manner. The clerestory has small windows, inserted when the nave was vaulted, along with lancet windows in the north aisle, the aisle windows were subsequently blocked for the painting of the fresco cycle, making the interior very dark.
The Romanesque architectural details of the church's interior are emphasised by the decorative use of colour, with the voussoirs of the nave arcades being of alternately black and white marble, creating stripes, as seen at Orvieto Cathedral. The vault compartments are all painted with lapis lazuli dotted with gold stars, and the vaulting ribs are emphasised with bands of geometric decoration predominantly in red, white and gold.
The church is most famous for its largely intact scheme of fresco decoration, the greater part of which dates from the 14th century, and represents the work of painters of the Sienese school, influenced by the Byzantine traditions of Duccio and the Early Renaissance developments of Giotto. The frescoes comprise a Poor Man's Bible of Old Testament cycle, New Testament cycle, and Last Judgement, as well as an Annunciation, a Saint Sebastian, and the stories of a local saint, St Fina, as well as several smaller works.
The wall of the left aisle had six decorated bays, of which the paintings of the first bay are in poor condition and those of the sixth have been damaged and in part destroyed by the insertion of the pipe organ. The remaining paintings, with the exception of a repainted panel in the sixth bay, are the work of Bartolo di Fredi, and, according to an inscription, were completed around 1356.[11] The paintings are in three registers and proceed from left to right chronologically in each register.
Upper level
The upper register occupies the lunettes beneath the vault and depicts the story of Creation.[11]
Creation of the Firmament
Creation of Man
Adam names the animals
Creation of Eve
God commands Adam and Eve not to touch the forbidden fruit
The Original Sin (lost)
Middle level
The second register has ten remaining scenes, with two at the furthest right having been lost with the insertion of the organ.[11]
The Expulsion of Adam and Eve from the Garden of Eden (very incomplete)
Cain kills Abel (very incomplete)
Noah and his family building the Ark
Animals entering the Ark
Noah and his family giving thanks after the Great Flood
The Drunkenness of Noah
The departure of Abraham and Lot from the land of the Chaldeans
Abraham and Lot go separate ways.
Joseph's dream
Joseph is put into a well by his brothers
Story of Joseph in Egypt (lost)
Story of Joseph in Egypt (lost)
Lower level
In the lower register, there are ten scenes.[11]
Joseph, has his brothers arrested (very incomplete)
Joseph makes his identity known to his family (incomplete)
Moses changes the rod into a serpent
The army of Pharaoh are drowned in the Red Sea. (this scene occupies two sections)
Moses on Mount Sinai
The devil is sent to Job by God
The men and herds of Job are killed
The house of Job falls, killing his sons.
Job prays to God
Job, plagued by boils, is visited by friends. (incomplete)
(Lost scene)
New Testament cycle
The six decorated bays of the right aisle, with scenes of the New Testament, pose a problem of authorship. Giorgio Vasari states that they are the work of "Barna of Siena" and relates that Barna fell to his death from the scaffolding.[12] The name "Barna" in relation to paintings at the Collegiate Church of San Gimignano appears to have originated in Lorenzo Ghiberti's Commentaries. In 1927 the archivist Peleo Bacci made the suggestion that Barna had never existed and that the paintings are the work of Lippo Memmi. This hypothesis received no support and little comment for fifty years.[13] In 1976 discussion of Bacci's attribution was revived, with Moran suggesting that there had been a mis-transcription of "Bartolo" as "Barna", with the name "Bartolo" referring to Bartolo di Fredi, painter of the Old Testament cycle.[14]
The attribution of the New Testament cycle to Lippo Memmi, perhaps assisted by his brother Federico Memmi and father Memmo di Filippucci, is now generally agreed.[13] Lippo Memmi was influenced by his more famous brother-in-law, Simone Martini.[7] Lippo Memmi also painted a large Maesta in the Town Hall of San Gimignano, in imitation of that done by Simone Martini at the Town Hall of Siena. The New Testament cycle of the right aisle appears to pre-date the Old Testament cycle and is generally accepted to date from c.1335-1345.[15]
The scenes within the New Testament cycle are organised into four separate narratives, and do not follow a clear left-to-right pattern as do those of the left aisle. As with the left aisle, they are divided into three registers, the upper being the lunettes between the vaults.
Upper level
The upper register shows the Birth of Christ. The series reads from right to left, in six bays.[15]
The Annunciation
The Nativity and adoration of the shepherds
The adoration of the Magi
The Presentation at the Temple
The Massacre of the Innocents
The Flight into Egypt
Middle level
The middle register shows scenes of the Life of Christ, beginning at the 4th bay, below the picture of the Presentation at the Temple, and reading left to right, with eight scenes.[15] The scenes have been skilfully juxtaposed so that narrative elements may be compared or contrasted. Within the fourth bay is shown the Presentation of the Temple, Jesus sitting among the Doctors of the Temple of Jerusalem as a twelve-year-old, and Jesus before his crucifixion, enthroned, crowned with thorns and mocked.[15]
Jesus among the Doctors of the Temple of Jerusalem
The Baptism of Jesus
The Calling of Peter
The Wedding at Cana of Galilee (damaged in WWII)
The Transfiguration
The Resurrection of Lazarus
Jesus enters Jerusalem
The people welcome Jesus to Jerusalem (the final two scenes are a single event spread over two frames)
Lower level
The lower register, showing the Passion of Christ, continues beneath the Entry into Jerusalem, and is read from right to left in eight scenes over four bays.[15]
The Last Supper
Judas agrees to betray Jesus for thirty pieces of silver
Jesus prays in the Garden of Gethsemane
The Kiss of Judas
Jesus at the Praetorium
The Scourging of Jesus
Jesus crowned with thorns and mocked
Jesus carrying the cross to Calvary
Bays five and six
Bay five, beneath the lunette of the Slaughter of the Innocents, has a single large scene of the Crucifixion.[15]
Bay six, beneath the lunette of the Flight into Egypt contained four scenes (destroyed in the 15th century) of post-crucifixion events[15] which are thought to have been:
The Deposition
The Descent into Limbo
The Resurrection
Pentecost
en.wikipedia.org/wiki/Collegiata_di_Santa_Maria_Assunta,_...
Adjusted levels on original, copied image and added a zoom blur overlay centered on eye. Masked eye and pumped up colors and added detail. Beautiful subject!
Knowing about Abdominoperineal resection of rectum with @http://docturs.com/dd/pg/groups/11173/abdominoperineal-resection-of-rectum/
I made this shot without knowing that Christian Poveda sat in the exact same chair shown in this picture just some days before he was murdered in El Salvador on September 2nd. After reviewing some pictures I made in El Centro de las Artes, former prison of San Luis Potosí, where Christian carried out a training for young photographers some days before he went back to El Salvador, I found out that, with a difference of a few days, both of us were in the same spot. This picture was made on September 5th, when Christian was no longer with us, however the chair he used was still in the place he left it.
Some days before: www.nuestramirada.org/photo/christian-povedadc0195?contex...
William (right) and a friend at the Raw party at the Green Lantern. 1335 Green Ct NW, Washington, DC.
Knowing I have had horses before my friend asked me if I felt bad for these horses having to haul a cart with people in it around central park. The only thing I feel bad about it them having to wear the feather on their heads. I am pretty sure they feel humilitated by this.
Knowing Sweden, this is probably what an actual soldier stationed at this bunker would be doing with his time...
Created for K-Play Plus (a place to create from other members pictures) @
www.flickr.com/groups/kaleidoscope_players/
Original Source: www.flickr.com/photos/12068752@N02/4516421763/
The finishers' medals for the Madison Mini Marathon include bottle openers. It was a really well-run event, a great course (unsurprisingly, you can cover a lot of Madison in 13.1 miles), and an all-around excellent experience for my first footrace, but this is the sort of attention to detail that puts it over the top.
The Result Achieved by Knowing God
One day,
you will feel that the Creator
is no longer a riddle,
that the Creator has never been hidden from you,
that the Creator
has never concealed His face from you,
that the Creator is not at all far from you,
that the Creator is no longer the One that you constantly long for in your thoughts but that you cannot reach with your feelings,
that He is really and truly standing guard to your left and right,
supplying your life, and controlling your destiny, controlling your destiny.
He is not on the remote horizon, nor has He secreted Himself high up in the clouds.
He is right by your side, presiding over your all,
He is everything that you have, and He is the only thing you have.
Such a God
allows you to love Him from the heart,
cling to Him, hold Him close, admire Him,
fear to lose Him,
and be unwilling to renounce Him any longer, disobey Him any longer,
or any longer to evade Him or put Him at a distance.
All you want is to care for Him, obey Him,
requite all that He gives you, and surrender to His dominion.
You no longer refuse to be guided,
supplied, watched over, and kept by Him,
no longer refuse what He dictates and ordains for you,
what He dictates and ordains for you.
All you want is to follow Him, walk alongside Him to His left or right, to follow Him, walk alongside Him to His left or right,
all you want is to accept Him as your one and only Lord,
all you want is to accept Him as your one and only Lord, your one and only God.
You no longer
You no longer
You no longer
You no longer
refuse to be guided, supplied, watched over, and kept by Him,
no longer refuse
no longer refuse
no longer refuse
no longer refuse
what He dictates and ordains for you, what He dictates and ordains for you.
All you want is to follow Him, walk alongside Him to His left or right, to follow Him, walk alongside Him to His left or right,
all you want is to accept Him as your one and only Lord,
all you want is to accept Him as your one and only Lord, your one and only God.
All you want is to follow Him, walk alongside Him to His left or right, to follow Him, walk alongside Him to His left or right,
all you want is to accept Him as your one and only Lord, as your one and only Lord, your one and only God,
your one and only God.
from Continuation of The Word Appears in the Flesh