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Construction: vers 1900.
Architecte: Joseph Venne, (1858-1925), intégra de nouveaux matériaux dans les constructions de l'époque: acier, béton, verre.
Il fut un des fondateurs de l'ordre de architectes du Québec. Il a aussi réalisé l'édifice du Monument National, sur boul. Saint-Laurent ainsi que la nouvelle façade de l'église du Saint-Enfant-Jésus au 5037, rue Saint-Dominique.
Ce superbe bâtiment est imbriqué dans un ensemble avec son jumeau. Ils encâdrent tous deux un autre bâtiment tout aussi impressionnant par les motifs de briques en marquetterie dont on voit une section à gauche. Voir: www.flickr.com/photos/urbexplo/4343182232
Il y avait peut être des scuptures logées dans les alcôves des pignons...(?)
Deits József fénykép terme (Gyöngös) 1870-es évek vége?
Utánrendelés végett az üveglap (Matrice)
több évre eltevődik.
"For the purpose of reprint orders the glass plate (Matrice) will be stored for several years"
További Deits József képek / further images from J Deits
Probably earliest www.flickr.com/photos/antaldaniel/6926593747/in/photostream
and earlier than this: www.flickr.com/photos/fotobarat33/4948139280/
On Thursday, December 14th, the Los Angeles Fire Department provided a media demonstration of the UAVs, better known as drones. The LAFD drone fleet consists of two DJI Matrice 100s and two DJI Phantom 4 Pros. One Matrice 100 is equipped with a HD camera for area survey and the second Matrice 100 has Forward Looking Infrared Radar (FLIR) to assess hotspots. For more information and to view the footage from the demonstration, go to: bit.ly/lafdUAV
Date: 12.14.2017
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Harry Garvin
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Consagrada a Nuestra Señora de la Asunción, fue edificada en el año 1314. Su austera fachada incorpora un pórtico de arcos apontados y está rematada por un bello rosetón.
Matrices from Gebr. Klingspor for Hans Kühne’s Magere Stahl typeface (the 48-pt size). Photographed at the Schriftgießerei Gerstenberg at the Haus für Industriekultur in Darmstadt – an Außenstelle of the Hessisches Landesmusuem.
Matrices from D. Stempel for Hans Möhring’s Elegant-Grotesk mager typeface (the 60-pt size). Photographed at the Schriftgießerei Gerstenberg at the Haus für Industriekultur in Darmstadt – an Außenstelle of the Hessisches Landesmusuem.
Matrices from either D. Stempel AG or the Haas’sche Schriftgiesserei for Helvetica (the 36-pt size). Photographed at the Schriftgießerei Gerstenberg at the Haus für Industriekultur in Darmstadt – an Außenstelle of the Hessisches Landesmusuem.
Four matrices from D. Stempel AG for Jan Tschichold’s Sabon typeface (the 16-pt size) on top of a wooden box containing the master casting (Probeguß), to be used as a reference for setting the sorts’ widths, each time they are cast. Photographed at the Schriftgießerei Gerstenberg at the Haus für Industriekultur in Darmstadt – an Außenstelle of the Hessisches Landesmusuem.
On April 25, 2019 the Los Angeles Fire Department provided a demonstration of the Unmanned Aerial System (UAS) program for Councilmember Blumenfield and his staff. This event showcased the entire fleet, provided a live stream demo and highlighted the arrival of the newest addition, the DJI Matrice 600. The Matrice 600 was donated via the LAFD Foundation and is the largest drone in the fleet. It is capable of performing an active role within an incident. For example, it can drop rope lines and/or life preservers during a water rescue which could facilitate a quicker rescue.
LAFD Event: 042519
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Alex Gillman
LAFD Event: 031419
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Matrices from Gebr. Klingspor for Rudolf Koch’s Leichte Kabel typeface (the 60-pt size). Photographed at the Schriftgießerei Gerstenberg at the Haus für Industriekultur in Darmstadt – an Außenstelle of the Hessisches Landesmusuem.
St Mary and St Walstan, Bawburgh, Norfolk
There are islands off the coast of Norwich. Here we are in typical rural Norfolk, a quiet village set in a rolling landscape of farms and sprawling fields punctuated by woods and copses, the sound of traffic on the busy A11 and A47 not so very far off. And yet, we are very close to Norwich, but floating free from it thanks, perhaps to local authority planning.
Norfolk and Suffolk have their similarities of course. Norfolk is a lot bigger, and emptier, especially towards the west. But the biggest difference between the two counties is their relationship with their county towns. Ipswich, above all else, is Suffolk distilled and amplified, the working and historic county translated into an urban setting. Industrial Ipswich was the fountainhead of the county's agricultural production, the docks an interface between Suffolk and the world. To know brash and breezy Ipswich is to know what Suffolk was and is.
But Norwich is different to Ipswich, and it is different to the rest of Norfolk. As you enter the city you pass hoardings which proudly proclaim, in George Borrow's words, that you are entering Norwich, a Fine City! It is like crossing a forcefield. Norwich is a fine city, and it is also a small city, but as Norwich is so far from any other place of near-equivalent size - Ipswich is 40 miles away, Cambridge nearly 60 - it is completely out of scale to its population. If Norwich were dropped into South or West Yorkshire, or Greater Manchester, it would disappear. Here, it assumes the importance of a Leeds or a Sheffield, cities four times as big.
At times, Norwich can feel like a great European city, living a technicolour life in the soft, pastel setting of its rural hinterland. Its industrial past, in shoes, textiles and chocolate, was not grounded in the local countryside in the same way as the industry of Ipswich. In the 1960s the University of East Anglia came, and Norwich's nightlife is lived by people who have, in fair proportion, not grown up in Norfolk.
To set off from Norwich is to enter a countryside that feels different. It is like leaving a shore for the open sea, a sea with islands. The soft fields of Norfolk wash right up against the edge of the city, insulating villages that would have been absorbed if she had grown any larger. Just a mile or so from the edge is Bawburgh. Every island has a story, and Bawburgh's is the story of St Walstan.
St Walstan was a Prince, the son of Benedict and Blid of the royal house of East Anglia. Blid would herself become a Saint. Walstan was born in Bawburgh, or perhaps at the royal vill of Blythburgh in Suffolk. As a teenager, he followed Christ's instruction to renounce all he possessed and become a disciple. Giving up his claims to succession, he did not delay to reach northern parts, as the Nova Legenda Anglie tells us, and humbled himself to become a farmworker in central Norfolk.
After a series of adventures which revealed his saintly character, one of which involved him being rewarded with a pair of young oxen, he received news in about 1015 from an Angel. He would die and be received into heaven in three days time. With typical East Anglian stoicism, he nodded his head and left his scythe to go and find a Priest to receive the Last Rites. Unfortunately, the Priest had no water, but, magically, a spring welled up where they stood.
This was in Taverham, and when Walstan died the two oxen carried his body on a cart to be buried at Bawburgh. On the way, they stopped to rest in Costessey, where another spring sprang up. At last, they came to Bawburgh. They stopped outside the church, and a third spring appeared, the biggest. And then, the Nova Legenda Anglie tells us, Angells opened the walls in hast, and the two oxen with their burden walked into the church. Walstan's body was placed in the church, becoming a site of pilgrimage for people who sought miracles and healing. Eleven miracles have been handed down to us.
The St Walstan legend is interesting for all sorts of reasons. Compared with the West Country, survivals of local Saints' cults are very rare in East Anglia. This part of Norfolk was strongly recusant during the penal years, and it is likely that local people kept stories of Walstan in their tradition even after the practice of devotion to him became impossible. When the penal years ended, the new Catholic church at Costessey in 1841 was dedicated to Our Lady and St Walstan.
Although there is no evidence that the Saint was part of the original dedication of Bawburgh church, the foundations of which certainly predate the St Walstan legend, it bears the name today, and that is because the relics of St Walstan continued to be important right up to the Reformation. Bequests made to the shrine are recorded in late Medieval wills, and these in turn were noted by 18th century antiquarians who restored dedications to parish churches, not always very accurately, after the long puritan night.
During the late 14th century, when acts of pilgrimage were at their most significant, thousands of people must have made their way every year. On the north side of the church was the chapel that contained his bones. From this, a sunken pathway led down the steep hill to the well on the site of the third spring. Incredibly, this pathway was destroyed as recently as 1999, to be replaced by a sterile driveway that circumnavigates the farm to the north of the church.
The date of the Walstan legend is interesting, right on the eve of the Norman settlement of England. It is almost exactly contemporary with that much more famous legend, the founding of the shrine at Walsingham by Lady Richeldis. Could it be that these cults endured partly as a form of resistance by the Saxons, popular local legends in the face of Norman cultural hegemony? Or was it that the Normans themselves who ensured that these popular pieties continued, nurturing them in the place of surviving neo-pagan practices?
We can never know, but what is certain is that St Walstan's legend recommended him as a Saint of the ordinary people, a worker Saint if you will, which may explain his almost complete disappearance from popular English story after the Reformation.
Two excellent books by local author Carol Twinch have helped popularise this very East Anglian figure. And, interestingly, in the latter half of the 20th century his cult has been explored increasingly by the Anglicans, at a time when devotion to Saints seems to be going out of fashion in that Communion. There are popular pilgrimages here every year still under the auspices of the Anglican Diocese of Norwich. Perhaps it is the simplicity of Walstan's life, and the healing nature of his miracles, that lend themselves particularly to the quiet nature of modern Anglican spirituality.
You approach the church from the village street and your first sight of it is from the south-east, looking down into the churchyard. What a beautiful church it is! It must be among the loveliest of all East Anglia's 160-odd round-towered churches. The idiosyncratic stepped gables, the red roof of the nave and a little flame-like pinnacle on the cap of the tower are memorable, particularly in this dramatic setting on the steeply-pitched side of the ridge. The graveyard falls away dramatically on the northern side, and from there St Mary and St Walstan appears fortress-like.
You step into a wide, simple interior, white walls and bare wood setting into relief sudden flashes of colour. How much of this church was here when Walstan's body was brought here? Probably, none of it. The archway to the tower is 13th century, and the windows suggest that the rest of the building is early 14th century. Quite probably, the whole church was rebuilt as a result of the prosperity brought about by the shrine of St Walstan. On the north side of the nave there is a large archway, a filled-in opening. It is tempting to think this is the wall that the Angells had opened in hast, but it was probably the entrance to the later chapel of St Walstan, since this wall post-dates the St Walstan legend by 300 years.
The remains of the 15th century roodscreen are made up rather dramatically into an early 20th century screen with bubbly cusping and a canopy of honour above, all of it unpainted. It is difficult to know how they resisted painting it, but it suits the simplicity of the building just as it is. And there are plenty of survivals here of Bawburgh's colourful Catholic past. Most interesting of all, the collection of brasses. Bawburgh has two shroud brasses and a chalice brass. The biggest of these is above a memorial inscription to Thomas Tyard who died in 1505. It is 60cm long, and he lies with the shroud partly open, his hands crossed in an act of piety. Beneath it is the inscription plate, but it seems likely to me that the inscription and the shrouded figure do not belong together, given the differences in the quality of the two. As if to confirm this, a surviving brass rivet in the stone above the figure's head suggests the loss of another brass, presumably Tyard's.
The other shroud brass is unidentified, and quite different. It depicts a smaller figure sewn tightly into a shroud, with just the face peeking out. It is so like the figures mounted on the wall at Yoxford in Suffolk that I assume it is a figure adrift from a larger collection, perhaps representing one of the dead children of a larger figure.
Set in between them is a late 17th century brass inscription and shield to a minister of this church, Philip Tenison. It is quite fitting that it should be here, because Tenison was an antiquarian at a time when such things were looked on with grave suspicion, and Carol Twinch notes that he recorded information about the Walstan shrine here that might otherwise have been lost to us. Deprived of his living by the Puritans, he later became an Archdeacon after the Restoration, in which case the date of 1660 here is obviously wrong.
I think that all five of these brasses were reset here from elsewhere in the church by the Victorians. The chalice brass may well be in its original position. It is to the Priest William Rechers, and is right on the eve of the Reformation, 1531, so he would have been one of the last Priests to be commemorated in this fashion. As at Little Walsingham, two hands are shown holding the base of the chalice, elevating it.
In the nave, there are three further pre-Reformation brass inscriptions, at least two of which are on their original matrices, and one of which retains one of the two figures commemorated, Robert Grote, who died in 1500. His wife is missing, as is the Priest Edward Kightling, whose empty matrix shows that he was wearing priestly vestments.
This is a wonderful collection of late medieval brasses, and is extraordinary that so much has survived. Only a couple have been stolen, but it is clear an attempt has been made on the life of the smaller shroud brass. It has been broken in half, and the lower part protrudes upwards. These chancel brasses have also suffered very badly from being covered by carpets, the underlay breaking up and soaking with moisture to scour the brass. On my most recent visit, the churchwarden agreed that to would be better to remove the carpet altogether, and I do hope that this will happen.
But the most vivid memory of the past at Bawburgh is the superb collection of late medieval glass in the nave. Best of all is the wonderful St Barbara, as good as anything else in Norfolk. She stands proudly, holding her church. Across the nave is a lovely fragment of an Annunciation scene. Mary stands in front of a pot of lilies, and a scroll declares Ecce Ancilla Domini Fiat ('Behold the Handmaid of the Lord, Let it be so'). A crowned female head nearby is probably from a Coronation of the Blessed Virgin.
There are floating angels, perhaps censing or collecting the precious blood at the crucifixion, and a king who may be Christ from the same Coronation scene. There is larger, crowned, bearded king, perhaps God the Father, some fragments of St Catherine and perhaps St Gregory, and a lay figure in late medieval dress who might just be a pilgrim to the Shrine of St Walstan. Perhaps most pleasing, because it is so complete, is a set of roundels featuring the words of the Nunc Dimmitis, Simeon's prayer on seeing the infant Christ for the first time. It is rather moving to find them in the same window as the Annunciation, which features words which would be familiar to pilgrims from both the Ave Maria and the Magnificat. It is easy to imagine them sitting telling their beads at a journey's end, contemplating this glass.
At the west end of the church is a small patch of wall painting which defies easy interpretation. It is obviously at least three separate subjects, the most recent being part of an Elizabethan text, below that apparently two figures embracing, the lowest a roundel topped by indecipherable text. It is likely that there is part of a Seven Works of Mercy sequence, which was often placed on the western wall of a smaller church like this.
There is much else besides. The people here were obviously very pleased at the 1660 Restoration, and immediately erected a new set of royal arms to Charles II. You can't help thinking of Philip Tenison, and how it might just be his influence that the people were pleased to see the back of puritanism. One old bench end with an inscription is marooned on the wall, curiously in the shape and location of a holy water stoup (is it covering it?) and there's a nice European roundel in the chancel, which I take to be from a series of Stations of the Cross. Otherwise all is Victorian, or the influence of Victorians. And then you spot the 17th century poorbox fashioned like a newel post, still secured in the east end of the nave. It is from the protestant days of this church, but it is still a reminder of charity, and the offerings of generations of pilgrims that made this one of Norfolk's most significant shrines, and still a beautiful and interesting church today.
If you want your statistic students taught, or your donuts eaten, Tealeaf can get it done!
Tealeaf ( twitter.com/tealeafraccoon )
Out of this world public domain images from NASA. All original images and many more can be found from the NASA Image Library
Curated higher resolutions with digital enhancement without attribution required can be downloaded: www.rawpixel.com/board/418580/nasa
This is a free download under CC Attribution ( CC BY 4.0) Please credit NASA and rawpixel.com.
Broadside designed by Marina Chaccur with type cast by Gerry Drayton and Howard Bratter, set by Berry Ffelstead. 'Monotype' Menhart (Series 397) Display Matrices graciously loaned by Offizin Parnassia Vattis-Switzerland. Printed at Whittington Press.
These punches are still used by machinists to stamp serial numbers or other information into metal or other hard material. While resembling type punches, carved by hand or through a motorized pantograph for casting metal type matrices, these were made through industrial casting and used directly as stamps—not as models from which molds were made.
ZAFFERANA ETNEA Matrice con il vulcano fumante sullo sfondo
ZAFFERANA ETNEA, mother church's steeples and in the background smoking craters of the volcano Etna
Puedes encontrar esta plantilla en la calle Mondoñedo. Esperemos que nuestro amigo ERRE no deje de pintar en la ciudad, ultimamente es casi imposible encontrar un Stencil que no sea suyo.
If you want your statistic students taught, or your donuts eaten, Tealeaf can get it done!
Tealeaf ( twitter.com/tealeafraccoon )
On April 25, 2019 the Los Angeles Fire Department provided a demonstration of the Unmanned Aerial System (UAS) program for Councilmember Blumenfield and his staff. This event showcased the entire fleet, provided a live stream demo and highlighted the arrival of the newest addition, the DJI Matrice 600. The Matrice 600 was donated via the LAFD Foundation and is the largest drone in the fleet. It is capable of performing an active role within an incident. For example, it can drop rope lines and/or life preservers during a water rescue which could facilitate a quicker rescue.
LAFD Event: 042519
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Alex Gillman
LAFD Event: 031419
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
AEQ incorporates the talkback function to its Netbox Routers 🆕
These units are managed through a multi-post and multi-user application, based on customized views to control one or more local or remote audio matrices.
For its use in radio, giving way to several correspondents, and in television, operating remote intercom, the Talkback or MPX function has been developed.
📄 For more info: www.aeq.eu/aeq-today/news/aeq-incorporates-the-talkback-f....
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AEQ incorpora la función talkback a sus routers Netbox 🆕
Estos equipos están gestionados a través de una aplicación multipuesto y multiusuario, basada en vistas particularizadas para controlar una o varias matrices de audio locales o remotas.
Para su uso en radio, dando paso a varios corresponsales, y en televisión, manejando la intercomunicación remota, se ha desarrollado la función Talkback o MPX.
📄 Para más info: www.aeq.es/actualidad-aeq/noticias/aeq-incorpora-la-funci....
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#aeq #netboxrouters #netbox #aoipnetbox #netboxinterfaces #aeqtechnology #broadcast #tv #radio #professionalsound #tvstudios #radiostudios #broadcastaudio #software #aoip #dante #router
Punches used to make the matrices from which lead type is cast. At the Plantin-Moretus printing museum in Antwerp.
Une matrice (du latin matrix, lui-même dérivé de mater, qui signifie « mère ») est un élément qui fournit un appui ou une structure, et qui sert à entourer, à reproduire ou à construire.
Matrices from either D. Stempel AG or the Haas’sche Schriftgiesserei for Helvetica (the 36-pt size). Photographed at the Schriftgießerei Gerstenberg at the Haus für Industriekultur in Darmstadt – an Außenstelle of the Hessisches Landesmusuem.