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AWIB-ISAW: Khasekhemwy Monument (II)
This image shows the niches that were probably added when the immense structure became a monastic settlement. During that period the wall was cut into so much, that the excavators now use sandbags to reinforce the weaker sections of the walls. by Kyera Giannini (2009)
copyright: 2009 Kyera Giannini (used with permission)
photographed place: Abdju (Abydos) [pleiades.stoa.org/places/756512]
Published by the Institute for the Study of the Ancient World as part of the Ancient World Image Bank (AWIB). Further information: [www.nyu.edu/isaw/awib.htm].
You can see two boys playing with a broken office chair on the top-most level, while monks swathed in saffron robes return to the pagodas for their afternoon sessions. When you see a monk in Cambodia, you always know what time it is...
Phnom Penh, Cambodia.
Memphis National Cemetery
Memphis, Tennessee
The Illinois monument was erected in 1929 to honor those individuals who fought in the Civil War. Constructed in bronze and granite, the monument depicts a soldier in repose.
Once Memphis fell under Union control, it became a convenient location to care for the sick and wounded troops flooding in from surrounding areas. General hospitals capable of caring for thousands of men at a time were set up in and around the city. A board of officers who purchased 32 acres northeast of the city chose the cemetery site. It was originally known as Mississippi River National Cemetery. At the end of the war, burials included reinterments from camps and hospitals throughout the region.
Memphis has the second-largest group of unknowns interred in any national cemetery. The large quantity of unknowns may be attributed to the long interval between battlefield burial and reinterment at Memphis National Cemetery. Often, the crude wood markers that identified original burials had been removed or deteriorated to the point where they were no longer legible. As soldiers were not required to carry personal identification, it was often difficult to determine the identity of the remains.
Memphis National Cemetery is also the burial place of the victims of one of the nation's most tragic maritime disasters—the explosion of the USS Sultana. On April 23, 1865, after undergoing boiler repairs, the vessel had picked up a number of Union prisoners of war released from Andersonville prison in Georgia and Cahaba prison in Alabama. The captain, a part owner of the vessel, was paid $5 a head for enlisted men and $10 for officers, so he did not baulk when the steamer was overloaded with passengers. The USS Sultana was certified to carry 376 passengers, but it carried well over 2,000 soldiers anxious to return home.
The steamer left Vicksburg and reached Memphis on the evening of April 26, where the passengers heard the news of President Lincoln's assassination. From Memphis, the ship stopped at a coaling station on the Arkansas side of the river, bound for Cairo, Ill. About 2 a.m. a boiler exploded and the blast toppled the smokestack and cut the deck in two. Many men were killed instantly by the fire and steam, others began going over the side. Many of the wounded were put over the side to avoid the inferno, only to drown miles away. Only about 800 persons survived.
Information copied from: www.cem.va.gov/CEM/cems/nchp/memphis.asp
Johann Wolfgang von Goethe was a German writer and statesman. His body of work includes epic and lyric poetry written in a variety of metres and styles; prose and verse dramas; memoirs; an autobiography; etc. In addition, more than 10,000 letters, and nearly 3,000 drawings by him are extant.
(Berlin; 11th September 2014)
Berlin Global – News from Berlin
Institute for Cultural Diplomacy
Pullman National Monument, also known as The Pullman District and Pullman Historic District, is located in Chicago and was the first model, planned industrial community in the United States. The district had its origins in the manufacturing plans and organization of the Pullman Company, and became one of the most famous company towns in the United States, as well as the scene of the violent 1894 Pullman strike. It was built for George Pullman as a place to produce the famous Pullman sleeping cars.
Originally built beyond the Chicago city limits, it is now in what is the Pullman community area of Chicago, the district includes the Pullman factory and also the Hotel Florence, named after George Pullman's daughter. Also within the district is the A. Philip Randolph Pullman Porter Museum, named for the prominent labor and civil rights leader A. Philip Randolph, which recognizes and explores African American labor history. Parts of the site, in recent decades have been owned by the Illinois Historic Preservation Agency prior to gifting them to the federal government. Additional grounds remain owned by the state, as The Pullman State Historic Site. The Pullman District, including the national monument, state historic site, and private homes is east of Cottage Grove Avenue, from East 103rd St. to East 115th St. It was named a Chicago Landmark district on October 16, 1972. It was listed on the National Register of Historic Places on October 8, 1969 and declared a National Historic Landmark on December 30, 1970.
Source: Wikipedia
This controversial monument is next to the multidisciplinary technical lyceum №1501 and is a symbol of the institution, which is like a chicken-hen, warms his warm eggs, hatching chicks learn to take the first steps in the development of science and helps them to make the first flight in life.
Этот неоднозначный памятник находится рядом со зданием многопрофильного технического лицея №1501 и является символом данного учебного заведения, которое как курица-наседка, согревает своим теплом яйца, учит вылупляющихся птенцов делать первые шаги в освоении наук и помогает совершить им первый полет в своей жизни. Автор неизвестен.
This striking monument commemorates the American-French victory over the British in the Siege of Yorktown (1781), which effectively ended the Revolutionary War. The Yorktown Monument to the Alliance and Victory was designed by architects R.M. Hunt and Henry Van Brunt and sculpted by J.Q.A. Ward in 1881. Lightning damaged the statue of liberty atop the column and Oskar J.W. Hansen sculpted a replacement in 1957.
The monument is adorned with symbolism, including four high relief sculptures depicting military aspects of the American-French alliance. Thirteen neoclassical female figures represent the thirteen original colonies forming the United States of America. Beneath them is written, “One country, one constitution, one destiny.” Thirty-eight stars on the column represent the 38 states at the time the monument was erected. And of course, Lady Liberty stands at the top.
Well, I've got to run to keep from hidin',
And I'm bound to keep on ridin'.
And I've got one more silver dollar,
But I'm not gonna let 'em catch me, no,
Not gonna let 'em catch the Midnight Rider.
A.B...
Flew into D.C. in a rain/snow storm.
But today was a perfect cool day. Could have used a few clouds though.
Six shot HDR, click on image to see it on black.
© 2011 Chuck Lapinsky Photography. Copyrighted and All Rights Reserved. All Images are registered with the United States Copyright Office. Unauthorized use, copy, display, or distribution of any photographs taken by Chuck Lapinsky, is strictly prohibited. You do not have permission to use this photo in any form without the written consent of Chuck Lapinsky or Chuck Lapinsky Photography.
Monument in the Plaza de Espana commemorates the centenary of the declaration of the Spanish Constitution of 1812 in the city.
Monument Valley is located on the southern border of Utah with northern Arizona (around [show location on an interactive map] 36°59′N, 110°6′W). The valley lies within the range of the Navajo Nation Reservation, and is accessible from U.S. Highway 163. The Navajo name for the valley is Tsé Bii' Ndzisgaii (Valley of the Rocks).
More info: en.wikipedia.org/wiki/Monument_Valley
The Skeiðará Bridge Monument is what remains of the bridge following the floods that accompanied a volcanic eruption
Colorado National Monument.
It's not visible in from this angle, but climbers put an American flag on top of this formation every July 4. It was up when we saw it in the morning, but the flag was gone when we viewed Independence Monument from above that afternoon.
The Battle of Mohács was fought on August 29, 1526 near Mohács, Hungary. In the battle, forces of the Kingdom of Hungary led by King Louis II of Hungary and Bohemia were defeated by forces of the Ottoman Empire led by Sultan Suleiman the Magnificent.
The Hungarians had long opposed Ottoman expansion in southeastern Europe, but the fall of Nándorfehérvár, (present-day Belgrade, Serbia) and Szabács in 1521 meant that most of southern Hungary was left indefensible. King Louis II, King of Hungary and Bohemia, entered into marriage with Mary of Habsburg in 1522. The Ottomans saw that growing alliance as a threat to their power in the Balkans and worked to break this alliance. Even in peacetime the Ottomans raided Hungarian lands and conquered small territories (with border castles), but a final battle still offered a glimmer of hope. To such ends, in June 1526, an Ottoman expedition advanced up the Danube River.
On 29 th of August 1526, 20 000 Hungarian tryed to defense its home vs. 80-100 000 turks. The battle was short and unbalanced and followed by a huge massacre where no inhabitants were captured and kept alive, but killed.
Following this Ottomans kept occupied Hungary including the capital, Budapest, for more than 150 years.
Mohács is seen by many Hungarians as the decisive downward turning point in the country's history, a national trauma that persists in the nation's folk memory. For moments of bad luck, Hungarians still say: "more was lost at Mohács" (Több is veszett Mohácsnál). Hungarians view Mohács as marking the end of an independent and powerful European nation.
more info: en.wikipedia.org/wiki/Battle_of_Moh%C3%A1cs
Memorial in the north nave aisle at Gloucester to Sarah Morley who died at sea in 1784. The sculptor was John Flaxman.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
Erected in 1850, a replica of Eddystone lighthouse in memory of Sir John Barrow, explorer, member of Britains 1st mission in China, secretary of the Admiralty and a founder of the Royal Geographic society.
During the erection of this monument , the committee applied to Her Majesty's Goverment, for permission to remove the Mortal remains of the two Martyrs from Stirling, to this spot, and after a lengthened correspondence, the following letter was received from the Lord Advocate.
Guidyer House, Whitehall
London 5 May 1847
Sir, I have laid the Memorial, for the relatives of Andrew Hardie and John Baird, before Secretary Sir George Gray and I have the satisfaction of informing you that if the Kirk Session of Stirling, see no objections upon other grounds, opposition will not be made on the part of Government, to the removal of the remains of those unfortunate men from their present place of interment.
But the permission is given under the express condition, that the removal shall take place without any public notice, or intimation, and without any procession, or concourse, or attendance of people, but in the prescence of a few friends only.
Andrew Rutherford
In accordance with these instructions, the exhumation, took place at an early hour on the morning of the 20th July 1847, and the remains reinterred infront of this Monument on the same dayin prescence of a considerable assembly of friends.
'Here then they rest! and far in future years
Shall freedom dew this spot with memory's tears'
One of the most impressive tombs at Hereford is that of Bishop Peter Aquablanca (d.1268) which stands in the north transept, the part of the cathedral he constructed. The effigy is badly worn in places, yet in others retains substantial parts of it's original surface and colouring, such as the deep red of the bishop's vestments. The most significant feature however is the beautiful canopy, a fine example of 13th century English Decorated Gothic, with three gables crowned by foliate crosses on each side (one on the south side retains a tiny crucified Christ figure).
Hereford Cathedral is a fascinating place, not one of largest cathedrals or considered amongst the most architecturally significant, but one of the most interesting and rewarding nonetheless. It follows the usual cruciform plan for large churches but here the nave is the longest limb, the choir being relatively short for a cathedral, though the church extends further eastwards in the fine retrochoir and lady chapel. there are an eastern pair of transepts too, though here they do not rise above aisle roof level.
The central tower dominates the small city's skyline, but much less today than it once did, for originally it was crowned by a tall lead spire, and in addition there was a similar, slightly smaller tower at the west end (without a spire) thus the building's profile was very different to what we see today. Sadly this fine building has suffered several tragedies in it's history, the greatest of which was in 1786, when the west tower suddenly collapsed following an earth tremor, taking much of the nave with it. The architect chosen for the reconstruction was the notorious James Wyatt, who demolished all the remaining upper sections of the nave and substituted them with his own rather bland interpretation of Gothic. He also shortened the nave by one bay and built a rather mean west facade without rebuilding the west tower (the main tower also lost it's spire around this time). The present west facade is a more exuberant rebuilding by John Oldrid Scott from 1902-8.
The cathedral has generally been heavily restored throughout the 19th century (largely due to the red sandstone of it's construction) and parts of the exterior betray this, particularly the east facades of choir and Lady Chapel. There is still much to enjoy though, especially the 14th century tower with it's rich ballflower decoration. Entry is normally via the grand north porch, whichj has a large upper chapel and staircases either side, formerly for the veneration of relics.
The interior shows much more 12th century Norman work than the exterior suggests, with the main nave arcade, crossing arches, and much of the choir and south transept still substantially Romanesque structures. Aside from Wyatt's 1788 rebuilding of the upper parts of the nave, the rest is mostly of late 13th - early 14th century date, with distinctive window design of the Decorated period found throughout the nave and choir aisles. The most remarkable feature is the north transept, a unique design dating to c1260, where the Gothic arches and window heads are almost triangular in form.
There is a substantial complex of additional monastic buildings, including two cloisters, the main one being south of the nave (only the east and south sides remain) and the Vicar's Choral cloister, accessed via a long walkway off the south east corner, and still inhabited by cathedral staff and thus private. The real tragedy here is the chapter house, of which very little remains. This was once arguably the most exceptionally beautiful in the country, being ten-sided and covered by an exquisite fan vault. It was sadly neglected following the Civil War and demolished soon afterwards, a grevious loss.
The cathedral retains a fine set of 14th century choir stalls with carved misercords complete with the canopied bishop's throne. The font is Norman and features defaced figures of apostles and is guarded by four lions. The stained glass is mostly Victorian with only a few 15th century fragments in a south nave window and some good (but restored) 13th century scenes and grisaille in a Lady Chapel window. The best of the glass is found in the two smallest chapels, the Stanbury and Audley chantries, with Arts & Crafts and stunning contemporary work by Denny respectively. There was a rich Victorian metal choir screen at the crossing by G.G.Scott, but this was removed in the 1950s and is now (after years of storage and neglect) a major feature in the entrance to the Victoria & Albert Museum, London. A contemporary candleabrum, the 'Corona', now hangs in it's place.
The set of monumental effigies is one of the most extensive in any English cathedral, but only a few are of the finest quality, and many have suffered later disfigurement, in the case of the medieval bishops' tombs several figures have been quite literally de-faced, whilst the post-Reformation tombs clearly offended Wyatt, who removed their architectural settings altogether leaving only the recumbent effigies randomly placed throughout the church.
But last word must go to the most famous relic of Hereford, the Mappa Mundi, the renowned c1280 map of the medieval World and the star exhibit of the famous chained library, now housed in a modern extension at the south west corner of the cloister.
The monument was reconstructed in 1977; Adamclisi, Dobrogea, Romania
"The Tropaeum Traiani is a monument in Roman Civitas Tropaensium (site of modern Adamclisi, Romania), built in 109 in then Moesia Inferior, to commemorate Roman Emperor Trajan's victory over the Dacians, in 102, in the Battle of Tapae. The monument was erected on the place where legio XXI Rapax had previously been defeated in 92. Before Trajan's construction, an altar existed there, on the walls of which were inscribed the names of the 3,000 legionaries and auxilia (servicemen) who had died "fighting for the Republic". (Latin: Tropaeum from Greek: Tropaion, source of English: "trophy"). Trajan's monument was inspired by the Augustus mausoleum, and was dedicated to the god Mars Ultor in 107/108 AD." (Wikipedia)