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Lambrate iis the outer terminal of old Line 23. It's now the inner terminal of Line 19. Lambrate Railway Station is across the street. 22 October 2017. © 2017 Peter Ehrlich
You can check the video at
Straight from the camera.
And I'm trying "macro light graffiti" these days.
This is the shot from the stop-motion.
Official "Boy Scout Diary Boy Scouts of America". Small, very well worn 5 1/4" X 2 1/2" X 1/4" paperbound book of 188 pages with dates and "useful information for boys". Brown cover and back. The cover has printed sketches of scouts in action during each season, with a center medallion showing the year in center surrounded by the numbered months. "Be Prepared" and "Do a Good Turn Daily" on outer periphery. Back has a centered Boy Scout symbol.
Membership card on pg 2 lists the scout's name as Dwight Potter, 21 Pond St. Other pages for small daily diary entries (nearly all blank), a cash accounting section and useful info like knot-tying, map reading, constellations and civics law.
Donated to the MHS by the Dudley Farm Museum December 2024. Donated earlier to the Farm by Mike and Robin (Potter) Bradshaw.
ACC# TBA2024.029.004
See more info about the Dudley Farm at flic.kr/s/aHBqjBVJVN
(Photo credit - Bob Gundersen www.flickr.com/photos/bobphoto51/albums)
In Rodanthe, there's what seems to be an abandoned amusement park, "Waterfall Park." With names for tracks like "Grand Prix," "Outlaw," and "Free Fall," it reminds me of the many amusement parks on the Outer Banks when I started coming here in 2000...many of which are now closed.
"outer barcelona" és un petit projecte imprescindible. barcelona, estiu, ordes de turistes pujant i baixant dels autobusos turÃstics de la ciutat; ruta blava o ruta vermella?
més enllà d'aquests visitants, de la barcelona que només és veuen i viuen, hi ha la barcelona de veritat, la dels barris que fan de barcelona la ciutat que és.
uns barris que cal visitar, per conèixer l'entorn, la seva gent, les seves particularitats, la seva fesomia, i la seva relació amb la ciutat de la que formen part.
aquà deixo un de tants barris que té barcelona, que fan de la ciutat lo que és, encara que ella hi visqui d'esquena.
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"outer Barcelona" is a small essential project. Barcelona city, summer, orders of tourists getting up and down of tourist buses. Blue line, or red one?
beyond these visitors, beyond the Barcelona only they view, there is a real Barcelona made of neighborhoods.
neighborhoods that must be visited to learn about the sorroundings, its people, its peculiarities, its appearance and its relationship with the city that are part of.
I leave here one of many districts of barcelona, that make barcelona the city it is, although barcelona lives back of its neighborhoods.
Frisco, NC. October 2023.
If you would like to use THIS picture in any sort of media (such as newspaper or article) please send me a Flickr mail or an e-mail at natehenderson6@gmail.com.
Detail of one of the fourth pair of nave windows, predominantly purple in colour and designed by Geoffrey Clarke. The dark purple/blue windows symbolise the soul reaching old age.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
We decided hang gliding lessons were not exciting enough so Nick picked up this lone glider before we left Kitty Hawk for a more thrilling activity.