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Sitesize/Joan Vila-Puig i Elvira Pujol . Narracions metropolitanes_Aula permanent
Bòlit-Sant Nicolau
Fotògraf: Miquel Ribot
Carmen Lomellin, Ambassador, Permanent Representative of the United States to the OAS
Date: March 15, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião para intalação e eleição de presidente e vice-presidente.
A comissão mista foi criada em 2019 para acompanhar movimentos migratórios nas fronteiras do Brasil e a situação dos refugiados internacionais dentro do País. O colegiado precisa ser reinstalado todos os anos. A composição é de 12 senadores e 12 deputados como membros titulares e mesmo número de suplentes, escolhidos pelo critério da proporcionalidade partidária.
Em pronunciamento via videoconferência, deputado Túlio Gadêlha (Rede-PE).
Foto: Waldemir Barreto/Agência Senado
Permanent Make Up, I'm the only Non-Laser Tattoo Removal in Tucson, Permanent Eyebrows, Hair Stroke Brows, Eyeliner,
Lips, & Liner & Paramedical,Areola I'm the only Non-Laser Tattoo Removal in Tucson, Restoration. I'm the only Non-Laser Tattoo Removal in Tucson.
Permanent Makeup plays New World Brewery, Ybor City, Tampa, FL - December 25, 2011 - for another fine New Granada Xmas show.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
From left to right:
Sebastián Eugenio Kraljevich Chadwick, Ambassador, Permanent Representative of Chile to the OAS
Hugh Adsett, Ambassador, Permanent Representative of Canada to the OAS
Date: August 17, 2022
Place: Washington DC
Credit: Juan Manuel Herrera/OAS
From left to right:
Denis Moncada, Chair of the OAS Permanent Council and Permanent Representative of Nicaragua to the OAS
Alejandro Aristizabal, Secretary, General Committee of the Permanent Council
Date: February 22, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
From the Doors Open description: "Officially opened on April 7, 1930, the Canada Permanent Building is located in the heart of Toronto's financial district. It was constructed at the beginning of the Depression, but the use of materials and sense of craftsmanship is very apparent. F. Hilton Wilkes' design for the skyscraper was influenced by classical architecture. Of particular note in the Corinthian columns are the Canadian symbols of wheat sheaves and fleurs-de-lys. The grand Romanesque entrance is magnificent with its coffered vault flanked by fluted pilasters. The Banking Hall was restored to its former grandeur by CIBC Mellon between May and December 2001. Recent additions include the chandeliers, designed as replicas of the originals. Their circular design is Art Deco, another gesture of the Art Deco style of the building."
This video effectively addresses problems arising out of high blood pressure. The essence of the pranayamas, yoga asanas, acupressure and home remedies for t… Video Rating: 4 / 5
madanireview.info/permanent-cure-high-blood-pressure-with...
In order to save time, stress and money, get permanent makeup from Ailis Beauty Lab to look beautiful every day without the tension of using makeup.
Fase de Arpa, Canto y Música de Cámara del Concurso Permanente de Jóvenes Intérpretes de Juventudes Musicales de España que ha tenido lugar los días 18 a 20 de noviembre´11 en Ciutadella de Menorca (Islas Baleares, Spain)
Toda la información en la web de Juventudes Musicales de España, o en la página de Joventuts Musicals de Ciutadella.
Álbum Concurso Permanente de Jóvenes Intérpretes JJMMEspaña – Ciutadella de Menorca - Noviembre´11
Montecito Malibu Meander RUSA Permanent #388 Control #3 Hows Trancas Market, PCH & Trancas Canyon, Malibu
Auguste Renoir - French, 1841 - 1919
A Girl with a Watering Can, 1876
West Building, Main Floor — Gallery 85
A pale-skinned young girl with blond hair, wearing a blue dress, stands in a garden in this vertical painting. The girl and background are painted with blended strokes, giving the scene and especially the girl a soft look. She faces our right and stands in the middle of the composition. Her shoulder-length cloud of hair is topped with a red bow, and long bangs frame her round face. Under faint brows, her sapphire-blue eyes look to our right. She has a petite nose, and her coral-pink mouth turns up in a slight smile. Her cobalt-blue dress is trimmed with wide, blue-white lace on the neckline, across the bottom hem, and down the front to either side of a row of white buttons. The white edges her petticoats come down to just below her knees, peeking out from under the flaring skirt. She wears white socks over blue ankle boots, which also have a row of white buttons down the side we can see. Her near hand is raised with her index finger hooked in the handle of a green watering can, and she holds two daisies by her side in her other hand. She stands on a path flecked with ivory white, pale purples, greens, and pink that curves up and to her left. A bush with emerald and pine-green leaves dotted with pink blooms fills the lower left corner. Behind her, green grass runs back to meet a profusion of pink, purple, and poppy-red plants and flowers that run along the top edge of the composition. The artist signed and dated the lower right, “Renoir. 76.”
In 1876, Renoir began to paint anecdotal depictions of women and children, subjects in which he excelled. A Girl with a Watering Can, typical of these works, displays a mature impressionist style attuned to the specific requirements of figure painting. Renoir's colors reflect the freshness and radiance of the impressionist palette, while his handling is more controlled and regular than in his landscapes, with even brushstrokes applied in delicate touches, especially in the girl’s face. Brilliant prismatic hues envelop the child in an atmosphere of warm light and charmingly convey her innocent appeal.
Specific identifications have been proposed for the girl, but none is convincing. More likely, Renoir depicted a neighborhood child whose pretty features pleased him. A girl with similar curly blond hair, sparkling blue eyes, plump pink cheeks, and smiling red lips appears, dressed the same way in other paintings by Renoir, suggesting she was a favorite figure in the artist’s repertory. A Girl with a Watering Can is a showcase of the grace and charm of the artist's work.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Henri de Toulouse-Lautrec - French, 1864 - 1901
Marcelle Lender Dancing the Bolero in "Chilpéric", 1895-1896
West Building, Main Floor — Gallery 80
We look slightly down onto a stage, at a woman who dances at the center of this square painting. The pale, white skin on her face is tinged with slate-blue shadows and heightened noticeably with pink blush at the cheekbones. She wears crimson-red lipstick and her dark brown eyebrows are peaked over blue eyes. Two flaring pink flowers, each about the size of the woman’s face, are pinned in the woman’s flame-red hair. The black bodice of her dress has puffed, elbow-length sleeves and a low-cut square neckline. The lime-green skirt flares around her dancing feet to billow up and reveal layers of bubblegum pink underneath. Her body is angled to our left as she points her left, black-stockinged foot and holds her arms by her sides. Behind her, thirteen people dressed in sapphire-blue, ocean-green, and black costumes suggest a royal court, including a dark-haired man who wears a brick-red bolero style suit. He stands near the woman to our right, watching her dance.
Henri de Toulouse-Lautrec had a passion for the theater in all its forms, from the popular dance halls and cabarets to the avant-garde theaters of Paris. He was both a keen spectator and an active participant, designing posters, theater programs, scenery, and costumes for a number of theaters and stage productions. Although he was drawn to the spectacle of the performance, it was the performers who most fascinated him.
Among Toulouse-Lautrec's favorite subjects was the red-headed actress Marcelle Lender. He first encountered her in 1893, the year he began to attend the theater on a regular basis. His infatuation with her reached its peak two years later when she starred in the revival of the French librettist and composer Hervé's Chilpéric. Performed at the Théâtre des Variétés in Paris from February 1 to May 1, 1895, this comic operetta recounted the tale of Chilpéric, king of the Franks in the late sixth century. In a bid to consolidate his power, he allied himself with the Visigoths in Spain through a marriage to the princess Galeswinthe, even as his vengeful mistress Frédégonde plotted her murder. It was neither the melodramatic narrative nor the extravagant staging of the operetta that most appealed to Toulouse-Lautrec, however, but the actress in the role of the princess. Like all his "furias" (as the artist termed his fixations on certain performers), this one was brief but intense. During the operetta's three-month run, he attended it more than twenty times, arriving just to see Lender dance the bolero in the second act. When asked about his devotion to the play, Toulouse-Lautrec explained, "I come strictly in order to see Lender's back. Look carefully; you will seldom see anything as wonderful. Lender's back is sumptuous." He sketched and studied the actress diligently, ultimately producing six lithographs inspired by her appearance in Chilpéric (five of them of the performance itself) and two paintings, including this monumental canvas. Toulouse-Lautrec's admiration was not reciprocated. "What a horrible man!," Lender is said to have remarked. "He is very fond of me….But as for the portrait you can have it!"
One of the largest and most elaborate paintings Toulouse-Lautrec ever created, Marcelle Lender Dancing the Bolero in "Chilpéric" depicts the very scene the artist so enjoyed, in which Galeswinthe performs the bolero, a lively dance from her native Spain, for her future husband and his courtiers. She dominates the center of the composition. Dressed in a Spanish-inspired costume composed of black and bright complementary shades of red and green, her body is described in strong, sinuous lines. Toulouse-Lautrec's portrayal of the actress is both dynamic and sensual. He captures her at mid-movement, as one long leg, clad in black stockings, juts boldly outward from a swirl of pink petticoats, mimicking the silk flowers she wears in her hair in form and color. Her low-cut bodice accentuates her ample bosom, which is tinged green from the reflected glow of the footlights. All eyes are upon her as she dances, from King _Chilpéric, seated on his throne at left, to Galeswinthe's brother, Don Nervoso, who stands, arms akimbo, at the far right. Gazing at her from behind with an expression of open appreciation, it is Don Nervoso and not the viewer who is the beneficiary of the fine view of Lender's back, and as such he may be a stand-in for the artist himself.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
An old diesel (water?) truck abandoned for good near an old old abandoned mining operation -- Dale Mining District
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para debater o seguinte tema: "Combate ao desmatamento ilegal na Amazônia e no Cerrado: situação atual e propostas para o atingimento da Contribuição Nacionalmente Determinada do Brasil (NDC)."
Mesa:
diretora de Ciências do Instituto de Pesquisa Ambiental da Amazônia (IPAM), Ane Auxiliadora Alencar Costa;
relator da CMMC, senador Jorge Viana (PT-AC);
coordenador geral de Fiscalização Ambiental do Instituto Brasileiro do Meio Ambiente e dos Recursos Naturais Renováveis (Ibama), Renê Oliveira.
Foto: Jefferson Rudy/Agência Senado
Tomada de posse do Presidente do Conselho Científico, Membros da Comissão Permanente e dos Membros designados pelas Unidades de Investigação do ISCTE-IUL, teve lugar na sala de atos do ISCTE-IUL, a 24 de fevereiro de 2017. Fotografia de Hugo Alexandre Cruz.
Walter Albán Peralta, Ambassador, Permanent Representative of Peru to the OAS
Date: March 01, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Déplacement du ministre Jean-Michel Blanquer , pour deux permanences ministérielles, en Gironde (Lormont et St-Martin-Lacaussade), le lundi 8 juillet 2019 - ©Philippe DEVERNAY.
Kress Foundation
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The Georgia Museum of Art, on the campus of the University of Georgia, in Athens, is both an academic museum and, since 1982, the official art museum of the state of Georgia. The permanent collection consists of American paintings, primarily 19th- and 20th-century; American, European and Asian works on paper; the Samuel H. Kress Study Collection of Italian Renaissance paintings; and growing collections of southern decorative arts and Asian art.
From the time it was opened to the public in 1948 in the basement of the old library on the university’s historic North Campus, the museum has grown consistently both in the size of its collection and in the size of its facilities. Today the museum occupies a contemporary building in the Performing and Visual Arts Complex on the university’s burgeoning east campus. There, 79,000 square feet house nearly 17,000 objects in the museum’s permanent collection—a dramatic leap from the core of 100 paintings donated by the museum’s founder, Alfred Heber Holbrook.
Much of the museum’s collection of American paintings was donated by Holbrook in memory of his first wife, Eva Underhill Holbrook. Included in this collection are works by such luminaries as Frank Weston Benson, William Merritt Chase, Stuart Davis, Arthur Dove, Georgia O’Keeffe, Childe Hassam, Winslow Homer, Jacob Lawrence and Theodore Robinson.
In 2011, the museum opened an expanded contemporary building, with additions and renovations designed by Gluckman Mayner Architects, in the Performing and Visual Arts Complex on the university’s burgeoning East Campus. New galleries house the permanent collection, and visitors enjoy an outdoor sculpture garden and expanded lobby. In 2012, Brenda and Larry Thompson donated 100 works of art by African American artists to the collection, mirroring Holbrook’s original gift. They also established an endowment to fund the position of Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art. The Thompsons have continued to give to the museum (their gifts can be found in the collections database), and their gift has had a transformative effect, strongly privileging an expansion of the traditional art historical canon. They received the Patron of the Year award from the Georgia Association of Museums and Galleries in 2019.
The museum continues to balance its dual designation as an academic museum with its role as the official state art museum of Georgia. Its schedule is a reflection of the academic study of the history of art and a broader array of popular exhibitions that appeal to all audiences. From the time Alfred Holbrook first loaded works from his art collection in the trunk of his car to share with Georgia’s schoolchildren until today, when the museum staff crisscrosses the state of Georgia to present a variety of educational programs, the Georgia Museum of Art has made the state a richer and more culturally viable place to live.
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Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública para debater participação na COP-24, tratar da agenda do parlamento e implementação do Acordo do Clima pelo Brasil.
À mesa, em pronunciamento, secretário de Mudança do Clima e Florestas do Ministério do Meio Ambiente (MMA), Thiago de Araújo Mendes.
Foto: Roque de Sá/Agência Senado
Senadora Mara Gabrilli, eleita relatora da Comissão Mista Permanente sobre Migrações Internacionais e Refugiados
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved .
Realizado em Brasília nos dias 19, 20 e 21 de novembro, uma iniciativa do Ministério da Saúde, por meio da Secretaria de Gestão do Trabalho e da Educação na Saúde, do Departamento de Gestão e Regulação do Trabalho (DEGERTS) e da Mesa Nacional de Negociação Permanente do SUS (MNNP-SUS), com o objetivo de contribuir para a consolidação das diretrizes da Política Nacional de Negociação Permanente do SUS e do seu Sistema Nacional de Negociação Permanente – SINNP-SUS.
Fotos: Ana Oliveira/MNNP-SUS
Fort Smith helped guard the "Permanent Indian Frontier." As it turns out, "permanent" lasted from 1834 until the Mexican-American War (1846-48).
The date of 1907 here refers to Oklahoma's statehood.
Minutos antes de comenzar la Sesión Permanente de este miércoles, con mi amigo el Senador Pablo Gómez
Ford Mustang Mach-E (2021-on) Motor Permanent magnet synchronous motor
Battery 68 - 88 kwW
Claimed range 211 - 300 miles
Designed by a team, under chief designer Jason Castriota The Ford Mustang Mach-E (CX727) is a battery electric compact crossover SUV, produced in Mexico and China. The Mustang Mach-E uses the Global Electrified 1 (GE1) platform, which is a heavily reworked version of the C2 platform shared with the fourth generation Focus and third generation Kuga/fourth generation Escape. It offers a traditional cargo area at the rear of 821 litres.
The model was launched with two battery pack sizes and three power outputs. The entry-level rear-wheel drive version is offered with either a 68 kWh battery pack driving a 266-horsepower (198 kW; 270 PS) motor or an 88 kWh extended battery pack driving a 290-horsepower
In the States the launch price was The Standard 68 kWh range RWD was $ 42,895 for the base (Select) $ 47000 for the Premium, $ 45,595 to $ 49,700 for the Standard Range AWD version. The Extended Range (88 kWh) is prices at 4 49,800 for the entry level (California) and $ 52,000 for the RWD versions, the 4WD Extended range costing $ 54,700 (Premium) $ 58,300 (1st Edition and $ 59,900 for the GT
Diolch am 87,505,097 o olygfeydd anhygoel, mae pob un yn 90cael ei werthfawrogi'n fawr.
Thanks for 87,505,097 amazing views, every one is greatly appreciated.
Shot 12.09.2021 at Cars in the Park, Lichfield Ref. 121-291
October 19, 2019 - Bishop Parkes ordained Deacon Pablo Riano, Deacon Andrew Williams, Deacon Wil Huertas, Deacon Rafael Ferreris, Deacon Hector Rios, Deacon Mike Miller, Deacon Carlos Zayas Hernandez and Deacon Marc Garofani to the permanent diaconate at the Cathedral of St. Jude the Apostle in St. Petersburg. Photo credit: Michael Donovan with Life Through the Lens Photography.