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This is "A curved shawl with diamond edging" from Victorian Lace Today by Jane Sowerby. We knitters (and probably other crafters) usually call our projects languishing around UFOs (for unfinished objects). So I finally have an FO! I finished knitting it a while ago, it's just taken me a while to weave in the ends and then block it. Especially with lace, you must wet the garment then stretch and pin it out to dry, or you will never see the pattern. My challenge is finding space large enough to pin a shawl out--plus it is backbreaking work (bending over that thing...)
Then it was a matter of how to photograph it...
Banner, designed by Julian House, for the Found Objects blog, which mysteriously disappeared back in May but is BACK, with a slightly different address:
Go there for all your hauntalogical / folk horror / / edgelands / postwar nostalgia / strange childhood memories / charity shop tat needs!
Mystery Object: And the object is 'A Piece Of Paper-Bark' which shed from our neighbors tree!...@ F/51.
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Illustrations provided with permission of the Royal Botanic Gardens and Domain Trust
Melaleuca quinquenervia
– Broad-leaved Paperbark
Pieces from the collection Objects & Materials, shown during the Stockholm Design Week 2010.
Black Lounge Chair
A lounge chair that is all black. But behind the color black; soft, warm, shiny and a bit rough is hiding in different materials.
material: steel, leather
size: 700x850x800
made by: Lammhults
photo credits: Christian Hersborn
Folded Lamp
Lamp made out of aircraft plywood, wich is so flexible, that it almost gets a textile expression. The stand is made of bent steel, like a cable on the floor.
material: aircraft plywood, steel
size: 1370 mm, 690 mm
made by: Blond
photo credits: Christian Hersborn
Takeaway Table
A petite tray table for some cheese and wine, a social piece of furniture with a textile expression. Like a frosen moment of textile cloth and rope.
material: coated steel, laminated cotton cloth
size: 460x490 mm made in collaboration with: Källemo
photo credits: Christian Hersborn
for buying information please contact lina@headoffice.se
Arsenal (Vienna)
The Vienna Arsenal, object 1
(Pictures you can see by clicking on the link at the end of page!)
The Arsenal in Vienna is a former military complex in the southeast of the city, located in the 3rd district of Vienna. The mighty, consisting of several brick buildings facility is located on a rectangular plan on a hill south of the Country Road Belt (Landstraßer Gürtel).
Meaning
The Arsenal is the most important secular assembly of Romantic Historicism in Vienna and was conducted in Italian-Medieval and Byzantine-Moorish forms. Essentially the complex is preserved in its original forms; only the former workshop buildings within the bounding, from the the outside visible wings were replaced by new constructions.
History to 1945
Bird's eye view of the complex, arsenal, lithography Alexander Kaiser, 1855
Vienna Arsenal (Museum of Military History)
Arsenal, with HGM (Heeresgeschichtliches Museum) from the East
The complex, with a total of 31 "objects" (buildings) was built from 1849 to 1856 on the occasion of the March Revolution of 1848 and was the first building of the fortress triangle, replacing the old Vienna's city walls, with the Rossauer Barracks and the now-defunct Franz Joseph barracks at Stubenring. These buildings should not serve to deter foreign enemies from the city, but to secure state power in the event of revolutionary upheavals in Vienna. The decision to build the Arsenal, it came from the 19-year-old Emperor Franz Joseph I who on 2 December 1848 had come to the throne.
The design for the Imperial Artillery Arsenal came from General Artillery Director Vincenz Freiherr von Augustin, to which, subsequently, the site management had been transferred. Under his leadership, the buildings under assignment of sectors have been planned of the architects Carl Roesner, Antonius Pius de Riegel, August Sicard von Sicardsburg, Eduard van der Nüll, Theophil von Hansen and Ludwig Förster and built by the company of the architect Leopold Mayr.
From 1853 to 1856, Arsenal church was built by the architect Carl Roesner. The K.K. Court Weapon Museum, later K.K. Army Museum, now Museum of Military History, housed in a separate representative free-standing wing, was completed structurally in 1856, but was only in 1869 for the first time accessible.
For the construction of the Arsenal 177 million bricks were used. Construction costs totaled $ 8.5 million guilders. In the following years, there have been extensions. During the two world wars, the complex served as a weapons factory and arsenal, especially as barracks.
The record number of employees in Arsenal was reached in the First World War, with around 20,000 staffers. After 1918, the military-industrial operation with own steel mill was transformed into a public service institution with the name "Austrian Factories Arsenal". However, there were almost insoluble conversion problems in the transition to peacetime production, the product range was too great and the mismanagement considerable. The number of employees declined steadily, and the company became one of the great economic scandals of the First Republic.
By the fall of 1938, the area belonged to the 10th District Favoriten. However, as was established during the "Third Reich" the Reich District of Greater Vienna, became the arsenal complex and the south-east of it lying areas in the wake of district boundary changes parts of the 3rd District.
During the Second World War, in the Arsenal tank repair workshops of the Waffen-SS were set up. In the last two years of the war several buildings were severely damaged by bombing. During the Battle of Vienna, in the days of 7 to 9 April 1945, was the arsenal, defended by the 3rd SS Panzer Division "Totenkopf", focus of the fighting, the Red Army before its victory facing heavy losses.
History since 1945
Ruins of the object 15 after the air raids 1944
Deposits at the Arsenal Street
After heavy bomb damages during the Second World War, the buildings of the Arsenal were largely restored to their original forms.
In the southern part and in the former courtyard of the arsenal several new buildings were added, among them 1959-1963 the decoration workshops of the Federal Theatre designed by the architects Erich Boltenstern and Robert Weinlich. From 1961 to 1963, the telecommunications central office was built by the architect Fritz Pfeffer. From 1973 to 1975 were built operation and office building of the Post and Telephone Head Office for Vienna, Lower Austria and Burgenland (now Technology Centre Arsenal of Telekom Austria) with the 150-meter high radio tower in Vienna Arsenal according to the plans of architect Kurt Eckel. In the 1990s, a rehearsal stage of the Castle Theater (Burgtheater) was built according to plans by Gustav Peichl.
Also the Austrian Research and Testing Centre Arsenal, now Arsenal Research, which has made itself wordwide a celebrity by one of the largest air chambers (now moved to Floridsdorf - 21st District), was housed in the complex. A smaller part of the complex is still used by the Austrian army as a barracks. Furthermore, the Central Institute for Disinfection of the City of Vienna and the Central Chemical Laboratory of the Federal Monuments Office are housed in the arsenal. The Military History Museum uses multiple objects as depots.
In one part of the area residential buildings were erected. The Arsenal is forming an own, two census tracts encompassing census district, which according to the census in 2001 had 2.058 inhabitants.
End of 2003, the arsenal in connection with other properties of the Federal Property Society (BIG - Bundesimmobiliengesellschaft) was sold to a private investor group. Since early 2006, the lawyer of Baden (Lower Austria, not far away from Vienna) Rudolf Fries and industrialist Walter Scherb are majority owners of the 72,000 m2 historic site that they want to refurbish and according to possibility rent new. Fries also plans to enlarge the existing living space by more than a half (about 40,000 m2).
An architectural design competition, whose jury on 28 and 29 in June 2007 met, provided proposals amounting to substantial structural changes in the complex. Such designed competition winner Hohensinn a futuristic clouds clip modeled after El Lissitzky's cloud bracket, a multi-level horizontal structure on slender stilts over the old stock on the outskirts of the Swiss Garden. The realization of these plans is considered unlikely.
Some objects are since 2013 adapted for use by the Technical University of Vienna: Object 227, the so-called "Panzerhalle" will house laboratories of the Institute for Powertrains and Automotive Technology. In object 221, the "Siemens hall", laboratories of the Institute for Energy Technology and Thermodynamics as well as of the Institute for Manufacturing Technology and High Power Laser Technology are built. In object 214 is besides the Technical Testing and Research Institute (TVFA) also the second expansion stage of the "Vienna Scientific Cluster" housed, of a supercomputer, which was built jointly by the Vienna University of Technology, the University of Vienna and the University of Agricultural Sciences.
Accessibility
The arsenal was historically especially over the Landstraßer Gürtel developed. Today passes southeast in the immediate proximity the Südosttangente called motorway A23 with it connection Gürtel/Landstraßer Hauptstrasse. Southwest of the site runs the Eastern Railway, the new Vienna Central Station closes to the west of the arsenal. Two new bridges over the Eastern Railway, the Arsenal Stay Bridge and the Southern Railway bridge and an underpass as part of Ghegastraße and Alfred- Adler-Straße establish a connection to the on the other side of the railway facilities located Sonnwendviertel in the 10th District, which is being built on the former site of the freight train station Vienna South Station.
On the center side is between Arsenal and Landstraßer Gürtel the former Maria Josefa Park located, now known as Swiss Garden. Here stands at the Arsenal street the 21er Haus, a branch of the Austrian Gallery Belvedere, on the center-side edge of the Swiss Garden has the busy suburban main railway route the stop Vienna Quartier Belvedere, next to it the Wiener Linien D (tram) and 69A (bus) run.
The Apple - a metaphor for an object of desire
Olympus E-30
1/250 sec at f/14
ISO 200
OLYMPUS 12-60mm Lens
35 mm
Copyright 2011 Ben Gethin
Strobist info:
YN460-II (1/64 power) placed in the back of the apple that has been hollowed out to take the flash head and triggered with PT-04 trigger.
Apple placed on a 40cmx40cm black polished porcelain tile for the reflection.
A smarter, cleaner setup than mine can be found at flic.kr/p/54bmuh
"You found a strange object!"
This was another item at the lodge in Big Bear which I was obsessed with. I wish that super bright light wasn't right beside it but it also gave nice illumination to the interior. I try not to control the things I find too much, but if it were in my own space I would attempt to position it under better light.
Anyway I was undecided whether to upload this as a single diptych image, because I rather prefer it to be viewed with its partner image (with the focus on the back). But I decided the full image is nice so I just included them both here. I dunno let me know if you'd like to see the diptych.
I was trying to take pictures of only blue things and it struck me as funny that toothbrushes now have colored bristles. . . seems kind of ridiculous.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Participants in my Learning Objects workshop are watching DVD video from Learning Objects: Believe It or Not! where Maricopa faculty talk about using content from the MLX.
When the pilgrims end the way to compostela, they come to Finisterra and leave the objects thataccompanying them on the walk.
In this place, place of meditation, they burn objects as a sign of greeting.
Many just leave objects, leaving a letter under a stone, or make a small cairn.
Quando os peregrinos terminam o caminho de compostela, vêm a Finisterra e deixam os objectos que os acompanharam na caminhada.
Neste lugar, sitio de meditação, queimam os objectos (antigamente, para prevenir alguma doença) como sinal de cumprimento.
Muitos apenas deixam os objectos, deixam uma carta por baixo de uma pedra, ou fazem um pequeno monte de pedras.
english
Cape Finisterre (Galician: Cabo Fisterra) is a rock-bound peninsula on the west coast of Galicia, Spain.
Cape Finisterre is sometimes said to be the westernmost point of the Iberian Peninsula. However, this is not true, since Cabo da Roca, in Portugal, actually the westernmost point of Continental Europe, is about 16.5 km farther west. The name of Cape Finisterre, like that of Finistère in France, derives from the Latin name Finis Terrae, which literally means "End of the earth".
Monte Facho is the name of the mountain on Cape Finisterre, which has a peak that is 238 meters above sea level. A prominent lighthouse is at the top of Monte Facho. The seaside town of Fisterra is nearby.
Geography
Cape Finisterre has some spectacular beaches, including O Rostro, Arnela, Mar de Fora, Langosteira, Riveira, and Corbeiro. Many of the beaches are framed by steep cliffs leading down to the Mare Tenebrosum (or dark sea, the name of the Atlantic in the Middle Ages).
There are several rocks in this area associated with religious legends, such as the "holy stones", the "stained wine stones", the "stone chair", and the tomb of the Celtic crone-goddess Orcabella.
Pilgrimage
Cape Finisterre is the final destination for many pilgrims on the Way of St. James, the pilgrimage to the shrine of the apostle Saint James the Great in the Cathedral of Santiago de Compostela. Cape Finisterre is about a 90-km walk from Santiago de Compostela. It is a recent tradition for pilgrims to burn their clothes or boots at the end of their journey at Cape Finisterre.
The origin of the pilgrimage to Finisterre is not certain. However, it is believed to date from pre-Christian times and was possibly associated with Finisterre's status as the "edge of the world". The tradition continued in medieval times, when "hospitals" were established to cater to pilgrims along the route from Santiago de Compostela to Finisterre.
Some pilgrims continue on to Muxia, which is a day's walk away.
Português
O Cabo Finisterra (em galego: Cabo Fisterra) é um promontório de granito, de uma altura de 600 m, situado no concelho de Finisterra, provÃncia da Corunha, na Galiza (Espanha), e constituindo uma penÃnsula de 3 km de comprimento.
O cabo serve de linha divisória entre as Rias Baixas e as Rias Altas galegas
O emblemático cabo obteve a distinção de Patrimônio Europeu a 19 de Março de 2007, tornando-se um dos trinta bens escolhidos pela União Europeia como elementos com um "papel essencial na história e na identidade da Europa".
Última etapa do Caminho de Santiago
Localizado ao redor de 90 km de Santiago de Compostela, é destino final para parte dos peregrinos do caminho de Santiago. Esta tradição, que parece remontar séculos atrás, poderia provir quer do culto à Ara Solis (culto em honra do Sol) quer na existência de hospitais em Cee, Corcubión e a mesma Finisterra
Outras lendas e tradições
No vizinho Monte do Facho, existia um menir fincado de pé contra o qual os casais, seguindo ritos celtas, copulariam para melhorar a fertilidade. O menir seria demolido no século XVIII por clérigos locais.
Há também, perto do lugar uma série de pedras ligadas a lendas religiosas: as pedras santas, as pedras manchadas de vinho, a cadeira de pedra, etc. Há autores que identificam o cabo Finisterra com o antigo Promontório Nerio dos geógrafos romanos, enquanto outros situam neste lugar a Ara Solis, na qual se praticava o culto ao Sol.
O farol
O farol foi construÃdo em 1853. A torre mede 17 metros e a sua luz, situada a 143 metros altura acima do nÃvel do mar, alcança mais das 30 milhas náuticas. A constante névoa do Inverno provocou que lhe acrescentasse uma sirena em 1888, a Vaca de Finisterra, para avisar aos navegantes do perigo existente. Ainda assim, foi palco de naufrágios, como em 1870, quando o Monitor Captain se afundou levando 482 pessoas da sua tripulação no acontecimento mais lutuoso desta costa.
A torre, feita de cantaria, é de base octogonal, e acaba numa cornija sobre a que se apoia a varanda. Em cima fica a abóbada, com uma lanterna poligonal.
Batalhas do Cabo Finisterra
Foi palco de duas batalhas navais entre o Reino Unido e França, com vitória em ambos os casos para o Reino Unido.. A primeira teve lugar durante a guerra da sucessão austrÃaca, a 3 de Maio de 1747, enquanto a segunda ocorreu a 22 de Julho de 1805, durante as Guerras Napoleônicas.