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I've been watching your world from afar,
I've been trying to be where you are,
And I've been secretly falling apart,
I'll see.
I'll put a spell on you,
You'll fall asleep and I'll put a spell on you.
The following links will open my other flickr streams:
my photostory DER BAUM:
www.flickr.com/photos/130854129@N02///?details=1
my flickr- PANORAMAS:
www.flickr.com/photos/129809053@N04///?details=1
my flickr- MACROS & CLOSE UP:
Made for Factions on Eurobricks.
Original Post: www.eurobricks.com/forum/index.php?/forums/topic/180068-j...
Elsewhere, on the planet Imynusoph's vast savannas, Imperial-Officer-turned-big-game-hunter Jebel Corbett travels with his manservant Slyfoot in search of glorious prey. The aristocratic and selfish Corbett turns aside to his companion, a smile playing under his comparatively-small mustache.
"I've become so very good, don't you think Slyfoot? If only those rebels could see me now. A man of virtue! Honor!"
"I'm afraid I dont understand, sir."
"My habits! Entirely reformed, aren't they, Slyfoot? And in hindsight, I'm forced to admit it's for the better. I really was a ghastly sort of tyrant. Killing people and whatnot. I'm surprised to say that even the memory I can stomach no longer. A weak stomach for dispatching dissidents? Me? Ha! How things change, eh Slyfoot?"
"Indeed, sir. You've adapted quite well to your circumstances. And the...available pool of targets."
"I have, haven't I? And to my betterment! Being good is it's own reward, naturally, but it has its perks, too. Side effects, if you will."
"Like less blaster fire, sir?"
"Exactly, Slyfoot! Good lord, you stole it right out from under me. Indeed! You're spot on. The wildlife never shoots back! A most welcome benefit. Yes, turning over a new leaf is the best thing I ever did. Good lord, did you see that bird, Slyfoot? It was enormous! Come on, let's fill it with holes!"
________________________________________________________
To be continued!
Hear: ... Ich hab noch einen Koffer in Berlin - Hildegard Knef (I have still a suitcase in Berlin ) ... AND see SLIDE Show: from our Newest or Unvalued ... or look ... bigly . or . map
Unser Garten ist "unser Koffer in Berlin"
Our garden is "our suit-case in Berlin"
Ort.: Unsere ersten Kirschen im ♦ Garten ♦ Kladow ♦ Spandau ♦ Land Berlin • Deutschland
Place.: Our first cherries in ♦ Garden ♦ Kladow • Spandau • Land Berlin • Germany
Kommentar: → Klick "Links" ↑oben↑ für mehr Infos (alle in neuem TAB)
Comment: → Click "Link" ↑above↑ ) for more infos (all in new TAB)
>> Christina Georgina Rossetti <<
Where sunless rivers weep
Their waves into the deep,
She sleeps a charmed sleep:
Awake her not.
Led by a single star,
She came from very far
To seek where shadows are
Her pleasant lot.
She left the rosy morn,
She left the fields of corn,
For twilight cold and lorn
And water springs.
Through sleep, as through a veil,
She sees the sky look pale,
And hears the nightingale
That sadly sings.
Rest, rest, a perfect rest
Shed over brow and breast;
Her face is toward the west,
The purple land.
She cannot see the grain
Ripening on hill and plain;
She cannot feel the rain
Upon her hand.
Rest, rest, for evermore
Upon a mossy shore;
Rest, rest at the heart's core
Till time shall cease:
Sleep that no pain shall wake;
Night that no morn shall break
Till joy shall overtake
Her perfect peace.
Beloeil (literally "beautiful eye") is one of the largest and most beautiful castle in Belgium. It was founded in the 13th century as a medieval fortress, then was progressively transformed into a residential palace in the 17th and 18th century. The central part of the castle was devastated by a fire in 1900, and rebuilt 2 years later.
Since 1394, the castle has belonged to the Princes of Ligne, one of Belgium's highest ranking noble family. The family has its roots in the village of Ligne, eight kilometres north-east of Beloeil.
The castle has a pleasant French-style park expanding on 120 hectares - the greatest part of which runs across the village of Beloeil, outside the property's boundaries. A rectangular artificial lake faces the castle, with classical statues at each end. Take a look at the enormous carps that swim in the moat surrounding the castles.
The 18th-century classical interior reminds of Versailles and is certainly in accordance with the princely status of the proprietors. It contains an impressive collection of art from the 15th to the 19th century, including an impressive library with some 20,000 books.
This photo is a HDR from 3 exposures.
www.meucat.com/maps/mapa_satelite.php?COD=roma&NOME=P...
Fontana dei Quattro Fiumi
Following, a text, in english, from Wikipedia, the free encyclopedia:
The Fontana dei Quattro Fiumi or "Fountain of the Four Rivers" is a fountain in Rome, Italy, located in the Piazza Navona. Designed by Gianlorenzo Bernini, it is emblematic of the dynamic and dramatic effects sought by High Baroque artists. It was erected in 1651 in front of the church of Sant'Agnese in Agone, and yards from the Pamphilj Palace belonging to this fountain's patron, Innocent X (1644-1655).
The four gods on the corners of the fountain represent the four major rivers of the world known at the time: the Nile, Danube, Ganges, and Plate. The design of each god figure has symbolic importance.
Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows:
So strong was the sinister influence of the rivals of Bernini on the mind of Innocent that when he planned to set up in Piazza Navona the great obelisk brought to Rome by the Emperor Caracalla, which had been buried for a long time at Capo di Bove for the adornment of a magnificent fountain, the Pope had designs made by the leading architects of Rome without an order for one to Bernini. Prince Niccolò Ludovisi, whose wife was niece to the pope, persuaded Bernini to prepare a model, and arrange for it to be secretly installed in a room in the Palazzo Pamphili that the Pope had to pass. When the meal was finished, seeing such a noble creation, he stopped almost in ecstasy. Being prince of the keenest judgment and the loftiest ideas, after admiring it, said: “This is a trick … It will be necessary to employ Bernini in spite of those who do not wish it, for he who desires not to use Bernini’s designs, must take care not to see them.”
Paraphrase from Filippo Baldinucci, The life of Cavaliere Bernini (1682)
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Montalto, whose statuary now resides at Victoria and Albert Museum in London.
Each has animals and plants that further carry forth the identification, and each carries a certain number of allegories and metaphors with it. The Ganges carries a long oar, representing the river's navigability. The Nile's head is draped with a loose piece of cloth, meaning that no one at that time knew exactly where the Nile's source was. The Danube touches the Papal coat of arms, since it is the large river closest to Rome. And the Río de la Plata is sitting on a pile of coins, a symbol of the riches America could offer to Europe (the word plata means silver in Spanish). Also, the Río de la Plata looks scared by a snake, showing rich men's fear that their money could be stolen. Each is a river god, semi-prostrate, in awe of the central tower, epitomized by the slender Egyptian obelisk (built for the Roman Serapeum in AD 81), symbolizing by Papal power surmounted by the Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour-guides, is that Bernini positioned the cowering Rio de la Plata River as if the sculpture was fearing the facade of the church of Sant'Agnese by his rival Borromini could crumble against him; in fact, the fountain was completed several years before Borromini began work on the church.
The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Fontana in Piazza San Bernardo (1585-87) or the customary embellished geometric floral-shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta.
Unveiling
he Fontana dei Quattro Fiumi was unveiled to the populace of Rome on 12 June 1651. According to a report from the time, an event was organised to draw people to the Piazza Navona. Beforehand, wooden scaffolding, overlaid with curtains, had hidden the fountain, though probably not the obelisk, which would have given people an idea that something was being built, but the precise details were unknown. Once unveiled, the full majesty of the fountain would be apparent, which the celebrations were designed to advertise. The festival was paid for by the Pamphili family, to be specific, Innocent X, who had sponsored the erection of the fountain. The most conspicuous item on the Pamphili crest, an olive branch, was brandished by the performers who took part in the event.
The author of the report, Antonio Bernal, takes his readers through the hours leading up to the unveiling. The celebrations were announced by a woman, dressed as the allegorical character of Fame, being paraded around the streets of Rome on a carriage or float. She was sumptuously dressed, with wings attached to her back and a long trumpet in her hand. Bernal notes that "she went gracefully through all the streets and all the districts that are found among the seven hills of Rome, often blowing the round bronze [the trumpet], and urging everyone to make their way to that famous Piazza." A second carriage followed her; this time another woman was dressed as the allegorical figure of Curiosity. According to the report, she continued exhorting the people to go towards the piazza. Bernal describes the clamour and noise of the people as they discussed the upcoming event.
The report is actually less detailed about the process of publicly unveiling the fountain. However, it does give ample descriptions of the responses of the spectators who had gathered in the Piazza. Once there, Bernal notes, the citizens of the city were overwhelmed by the massive fountain, with its huge life-like figures. The report mentions the "enraptured souls" of the population, the fountain, which "gushes out a wealth of silvery treasures" causing "no little wonder" in the onlookers. Bernal then continues to describe the fountain, making continuous reference to the seeming naturalism of the figures and its astonishing effect on those in the piazza.
The making of the fountain was met by opposition by the people of Rome for several reasons. First, Innocent X had the fountain built at public expense during the intense famine of 1646-48. Throughout the construction of the fountain, the city murmurred and talk of riot was in the air. Pasquinade writers protested the construction of the fountain in September 1648 by attaching hand-written invectives on the stone blocks used to make the obelisk. These pasquinades read, "We do not want Obelisks and Fountains, It is bread that we want. Bread, Bread, Bread!" Innocent quickly had the authors arrested, and disguised spies patrol the Pasquino statue and Piazza Navona
The streetvendors of the market also opposed the construction of the fountain, as Innocent X expelled them from the piazza. The Pamphilij pope believed they detracted from the magnificence of the square. The vendors refused to move, and the papal police had to chase them from the piazza. Roman Jews, in particular, lamented the closing of the Navona, since they were allowed to sell used articles of clothing there at the Wednesday market.
Navona Square (Piazza Navona).
Following, a text, in english, from Wikipedia, the free encyclopedia:
Piazza Navona is a city square in Rome, Italy. It is built on the site of the Stadium of Domitian, built in first century AD, and follows the form of the open space of the stadium.[1] The ancient Romans came there to watch the agones ("games"), and hence it was known as 'Circus Agonalis' (competition arena). It is believed that over time the name changed to 'in agone' to 'navone' and eventually to 'navona'.
Defined as a public space in the last years of 15th century, when the city market was transferred to it from the Campidoglio, the Piazza Navona is a significant example of Baroque Roman architecture and art. It features sculptural and architectural creations: in the center stands the famous Fontana dei Quattro Fiumi or Fountain of the Four Rivers (1651) by Gian Lorenzo Bernini; the church of Sant'Agnese in Agone by Francesco Borromini and Girolamo Rainaldi; and the Pamphilj palace also by Rainaldi and which features the gallery frescoed by Pietro da Cortona.
The Piazza Navona has two additional fountains: at the southern end is the Fontana del Moro with a basin and four Tritons sculpted by Giacomo della Porta (1575) to which, in 1673, Bernini added a statue of a Moor, or African, wrestling with a dolphin, and at the northern end is the Fountain of Neptune (1574) created by Giacomo della Porta. The statue of Neptune in the northern fountain, the work of Antonio Della Bitta, was added in 1878 to make that fountain more symmetrical with La Fontana del Moro in the south.
At the southwest end of the piazza is the ancient 'speaking' statue of Pasquino. Erected in 1501, Romans could leave lampoons or derogatory social commentary attached to the statue.
During its history, the piazza has hosted theatrical events and other ephemeral activities. From 1652 until 1866, when the festival was suppressed, it was flooded on every Saturday and Sunday in August in elaborate celebrations of the Pamphilj family. The pavement level was raised in the 19th century and the market was moved again in 1869 to the nearby Campo de' Fiori. A Christmas market is held in the piazza.
Other monuments on the Piazza Navona are:
Stabilimenti Spagnoli
Palazzo de Cupis
Palazzo Torres Massimo Lancellotti
Church of Nostra Signora del Sacro Cuore
Palazzo Braschi (Museo di Roma)
Sant'Agnese in Agone
Literature and films
The piazza is featured in Dan Brown's 2000 thriller Angels and Demons, in which the Fontana dei Quattro Fiumi "The Fountain of the four rivers"(the Danube, the Gange, the Nile and the River Plate) is listed as one of the Altars of Science. During June 2008, Ron Howard directed several scenes of the film adaptation of Angels and Demons on the southern section of the Piazza Navona, featuring Tom Hanks.
The piazza is featured in several scenes of director Mike Nichols' 1970 adaptation of Joseph Heller's novel, Catch-22.
The Fontana dei Quattro Fiumi was used in the 1990 film Coins in the Fountain. The characters threw coins into the fountain as they made wishes. The Trevi Fountain was used in the 1954 version of the film.
A Fontana Dei Quattro Fiumi, é maior das três fontes, localizada no centro da praça. Na fonte dos rios, Bernini projetou quatro estátuas representando os rios dos quatro continentes: o Nilo, o Danúbio, o rio da Prata e o Ganges. As estátuas estão montadas sobre um obelisco egípcio, sendo circundadas por leões e outros animais fantásticos, tendo no cume uma pomba em bronze, símbolo da paz no mundo e da família Pamphili. Para realçar a rivalidade entre Bernini e Borromini, que fez a igreja de Santa Agnese, os romanos criaram uma lenda em torno da fonte dos rios, que fica em frente a esta igreja. Segundo os romanos, as estátuas duvidam da solidez do projeto de Borromini. A que retrata o rio da Prata, tem a mão erguida, a proteger o corpo do desabamento da igreja; a que retrata o Nilo, traz a cabeça coberta por um véu, a recusar a ver a obra de Borromini.
A seguir um texto, em português, da Wikipédia a Enciclopédia Livre:
Fontana dei Quattro Fiumi
Fontana dei Quattro Fiumi (Fonte dos Quatro Rios), foi esculpida por Gian Lorenzo Bernini entre 1648 e 1651, artista do barroco italiano, foi concebida por uma ordem do Papa Inocencio X o Papa da familia Pamphili, cujo tinha sua casa nesta praça.
Esta localizada na Praça de Navona, em Roma. Ela representa os quatro principais continentes do mundo cortados por seus principais rios: Rio Nilo, na África; Rio Ganges, na Ásia, Rio da Prata, na América e o Rio Danúbio, na Europa.
A seguir, texto em português do site Wiki lingue:
A escultura da Fonte dos Quatro Rios, encontra-se na Piazza Navona de Roma (Itália) e foi criada e talhada pelo escultor e pintor Gian Lorenzo Bernini em 1651 baixo o papado de Inocencio X, em plena época barroca, durante o período mais prolífico do genial artista e cerca da que em outro tempo fué a Chiesa dei San Giacomo de gli Spagnoli
A fonte compõe-se de uma base formada de uma grande piscina elíptica, coroada em seu centro de uma grande mole de mármol, sobre a qual se eleva um obelisco egípcio de época romana, o obelisco de Domiciano .
As estátuas que compõem a fonte, têm umas dimensões maiores que na realidade e são alegorias dos quatro rios principais da Terra (Nilo, Ganges, Danubio, Rio da Prata), a cada um deles em um dos continentes conhecidos na época. Na fonte a cada um destes rios está representado por um gigante de mármol .
As árvores e as plantas que emergem da água e que se encontram entre as rochas, também estão em uma escala maior que na realidade. Os animais e vegetales, gerados de uma natureza boa e útil, pertencem a espécies grandes e potentes (como o leão, cavalo, cocodrilo, serpente, dragão, etc.). O espectador, girando em torno da fonte, descobre novas formas que dantes estavam escondidas ou cobertas pela massa rocosa. Com esta obra, Bernini quer suscitar admiração em quem olha-a, criando um pequeno universo em movimento a imitação do espaço da realidade natural.
A fonte foi submetida a restauração, um trabalho que se deu por concluído em dezembro de 2008. Constitui um dos palcos finque da novela e o filme Anjos e Demónios, à qual é arrojado um dos cardeais sequestrados, e Robert Langdon (Tom Hanks) se lança à água para lhe salvar.
Os animais da fonte
A fonte apresenta figuras de sete animais, além de uma pequena pomba e o emblema dos Pamphili. Para poder observá-las basta com dar uma volta ao redor da fonte. As figuras são: um cavalo, uma serpente de terra (na parte mais alta, cerca do obelisco), uma serpente de mar, um delfín (que funciona também como desagüe), um cocodrilo, um leão e um dragão. Notar também a vegetación esculpida que parece real.
Praça Navona.
A seguir, um texto em português, da Wikipédia a Enciclopédia livre:
A Praça Navona (em italiano: Piazza Navona) é uma das mais célebres praças de Roma. A sua forma assemelha-se à dos antigos estádios da Roma Antiga, seguindo a planificação do Estádio de Domiciano (também denominado entre os italianos de Campomarzio, em virtude da natureza rude e esforçada dos exercícios - manejo de armas - e desportos atléticos que aí se realizavam). Albergaria até 20 mil espectadores sentados nas bancadas. A origem do nome deve-se ao nome pomposo que lhe foi dado ao tempo do Imperador Domiciano (imperador entre 81-96 d.c.): "Circo Agonístico" (do étimo grego Agonia, que significa precisamente - exercício, luta, combate). Actualmente o nome corresponde à corruptela da forma posterior in agone, depois nagone e finalmente navone, que por mero acaso significa também "grande navio" na língua italiana.
As casas que entretanto e com o passar dos anos foram sendo construídas sobre as bancadas, delimitariam e circunscreveriam até à actualidade o tão afamado Circo Agonístico.
A Navona passou de fato a caracterizar-se como praça nos últimos anos do século XV, quando o mercado da cidade foi transferido do Capitólio para aí. Foi remodelada para um estilo monumental por vontade do Papa Inocêncio X, da família Pamphili e é motivo de orgulho da cidade de Roma durante o período barroco. Sofreu intervenções de Gian Lorenzo Bernini (a famosa Fontana dei Quattro Fiumi (Fonte dos Quatro Rios, 1651) ao centro); de Francesco Borromini e Girolamo Gainaldi (a igreja de Sant'Agnese in Agone); e de Pietro de Cortona, que pintou a galeria no Palácio Pamphilj, sede da embaixada do Brasil na Itália desde 1920.
O mercado tradicional voltou a ser transferido em 1869 para o Campo de' Fiori, embora a praça mantenha também um papel fundamental em servir de palco para espectáculos de teatro e corridas de cavalos. A partir de 1652, em todos os Sábados e Domingos de Agosto, a praça tornava-se num lago para celebrar a própria família Pamphili.
A praça dispõe ainda duas outras fontes esculpidas por Giacomo della Porta - a Fontana di Nettuno (1574), na área norte da praça, e a Fontana del Moro (1576), na área sul.
Na extremidade norte da praça, por debaixo dos edifícios, foram postas a descoberto ruínas antiquíssimas, a uma cota muito abaixo da actual, comprovando a primeva utilização daquele imenso terreiro. Outros monumentos com entrada para a praça:
Stabilimenti Spagnoli
Palazzo de Cupis
Palazzo Torres Massimo Lancellotti
Church of Nostra Signora del Sacro Cuore
Curiosidades
Na Piazza Navona, está localizado o Palazzo Pamphilj, propriedade da República Federativa do Brasil, sede da Embaixada Brasileira e da Missão Diplomática do Brasil para a Itália.
Qualcuno dice nascosto e basta. Oppure è Cappuccetto Rosso che si nasconde dal Lupo mangia nonna? O meglio ancora, perchè no, Cenerentola, che ha perso la scarpa, ha fatto tardi, e mo la strega cattiva la cerca, per trasformarla in lombrico? E se fosse Gretel che ha perso la strada, perchè Hansel s'è magnato tutta la cioccolata?
Sai che dico, è Alfredo, che dopo la marachella, l'ennesima nota sul diario data dalla maestra, torna a casa, o meglio non torna, se no il babbo, chi lo sente. E guai a parlare di silenzio degli innocenti, in fondo, si sà, il lupo perde il pelo ma non il vizio...
Yashica Fx3
Fuji Neopan 1600
Lagotto Romagnolo family.
Moka is very happy with her 6 wonderful puppies.
This is a dog specialised in finding truffles on any type of ground whatever, the only breed recognised as having this ability. It is an ancient breed for retrieving from water, known from the 16th Century in the Comacchio (Italy) valleys and the Ravenna (Italy) lagoons, which became widely distributed as from the 19th Century in the plains and hills of Romagna (Italy) with the specific role of truffle hound.
It is a typical aquatic dog, medium to small in size, mesomorphic and square built; its general appearance is stout, strong and well proportioned, making its capability for the job apparent. Its expression is attentive, intelligent and lively.
While working it displays passion and efficiency, exploiting its innate ability for the search and its excellent sense of smell.
The instinct for the chase has been eliminated, so that it is not distracted by game. It is affectionate and strongly attached to its master, making it also an excellent companion dog; it is highly trainable.
*© All rights reserved *
Part of my major .
This image was very tricky to shoot and difficult to manipulate because I did not have any idea on how to make it work.
There's only very slight motion going on because I wanted to make it look almost like a freeze frame.
The final works are actually not in print format, they're projected onto the center of the frame she enters (in the First Phase) coupled with a soundtrack and sound effects. I have the video but didn't do a recording of it being projected onto the frame. It's probably going to go up for exhibition at my school so maybe I'll a recording then.
So glad it's over! Sleeping, getting back to games and online shopping are currently my top priorities.
I'll still be shooting, but I might be trying a new style. (This whole series was quite new to me, having the make the settings etc, it's also aesthetically quite different from my preferred ghostly themed work or vintage inspired photographs) I'm not sure yet but possibilities are endless. One thing though, I really don't like studio lights, it just doesn't seem to fit what I do so I'll still be using natural lighting :D Might want to try incorporating drawing with photography or maybe take up digital painting and see how things go from there.
Fire from : shaedsofgrey
Church of St David , Llanddew.
Llanddew Church is in the Diocese of Swansea and Brecon, in the community of Llanddew in the county of Powys. It is located at Ordnance Survey national grid reference SO0548330743. At one time it may have been dedicated to the Holy Trinity.
Summary
St.David's Church at Llanddew is a large cruciform stone structure with a central tower, lying 2km to the north-east of Brecon. It is considered to be a 'clas' foundation, but the earliest parts of the structure date from the 13thC. There have been subsequent rebuildings in the 17thC and 19thC. Medieval survivals include two stoups, a font and two carved lintels, as well as a stone with a ring-cross which may be pre-Conquest. The churchyard may originally have been curvilinear but its form has been modified in later centuries.
Nave supposed to be earliest part of church; this could be true for the south wall excepting the window insertions, but the west wall is a complete Victorian rebuild and it is possible that a substantial part of the featureless north wall was treated likewise in the 19thC.
North transept has portions rebuilt, namely the upper part of the north wall and some of the west, but the remainder should be 13thC on the basis of the single lancet window in the east wall.
For both chancel and south transept, it is difficult to determine the degree of rebuilding, and while the 13thC date is not in doubt most of the window dressings are considerably more recent. The porch, too, is 19thC.
Parts of the following description are quoted from the 1979 publication 'The Buildings of Wales: Powys' by Richard Haslam
History
Llanddew was an early medieval clas foundation. There is also a tradition that Eluned, a daughter of Brecon, fled to this church about 500 AD.
The Bishop of St Davids established a palace here in the 12thC, and Giraldus Cambrensis, as archdeacon of Brecon, had a residence at Llanddew in the late 12thC.
Its appearance in the 1291 Taxatio as 'Ecclesia de Llandon' at a value of œ8 implies a more wealthy establishment than the average.
The central tower was rebuilt in 1629 as attested by a plaque in the west wall of the chancel, and was restored in c.1780, the date of the roof. It is claimed that the nave was also refurbished in the 1620s.
Damage to the church may have occurred in a fire early in the 19thC.
In 1865 Glynne recorded a small whitewashed cruciform church in a 'truely deplorable' condition. The nave alone was used for services, the unpaved north transept was dilapidated and the south transept was walled off for a school, which no longer operated because of a lack of funds. The chancel was Early English in design, vaulted in stone, with lancet windows in the sides and a triplet with hood mouldings in the east wall; the priest's door had a trefoil head and a good hoodmould. The rest of the church might also be Early English but its diagnostic features had been obliterated, the nave having modern windows, though the north side was windowless. The tower was low and clumsy, with square belfry windows and a tiled, pointed roof. It stood on four plain semi-circular arches. There was a plain south porch. Inside were pews and there was a shabby chest for an altar. The east wall of the chancel had a small square recess and there was a 'rude' pointed piscina. The font in the chancel with its large circular bowl on a quadrangular stem with chamfered angles was not used.
By 1875 only the nave was in use, the other parts of the building being closed off, because of their state of disrepair. Restoration occurred in 1884 when the chancel and south transept were refurbished, new roofs were put in place in the chancel and transepts, and there was some new flooring; and in 1900 the nave had new lancets, a new roof, and the walls were stripped. A number of fragmentary post-medieval wall paintings of texts were uncovered in the chancel during the works but these have since been destroyed.
Architecture
Llanddew church is a massive cruciform structure with short transepts and a longer nave and chancel. There is a tower over the crossing and a south porch towards the south-west angle of the nave. It is aligned east to west.
Fabrics: 'A' comprises slabs and a few blocks of predominantly grey and red sandstone, most of them small to medium in size but a few large. Better dressed stones selected for quoins. 'B' is of small rather haphazardly laid lumps of red, brown and grey sandstone. 'C' is of predominantly grey sandstone (though some red) masonry, irregular in appearance and in coursing, small to medium in size and less uniform than 'A'.
Roofs: shale tiles, ornamental terracotta ridge tiles; stone cross finials to nave, north transept and chancel but a metal cross above the porch.
Drainage: stone chipping around wall base of building indicates an underlying drain.
Exterior
Nave. General. Supposedly the earliest part of the building. However, the evidence might point to the north wall abutting the north transept, though reverse is true for the south wall.
North wall: in Fabric 'A' with a strong batter to height of 1.5m and then a general slope inwards; no windows. Highest quoins at north-west corner (the last 0.8m) replaced to support Victorian kneelers; limewash traces near north-east corner.
South wall: mainly Fabric 'A' with a faint batter at base. West of the first lancet the junction with the Victorian west wall is visible. Further east plaster/render remnants can be seen on 'A'. Three lancet windows, all Victorian, but a good job made of the insertions.
West wall: fabric is largely 'A' but almost certainly re-used, the whole having been rebuilt with the possible exception of the foundation at the north-west corner. Three lancet windows all with modern dressings.
North transept. General. Base battered to maximum height of over 2m on north, dropping to about 1m near the south-west angle. Basically Fabric 'A' throughout, though occasional anomalies visible.
North wall: batter in Fabric 'A' but higher up on either side of the window (though not perhaps as far as the wall angles) the masonry is in 'B'. Lancet window with grey sandstone dressings - Victorian.
East wall: fabric akin to 'A', and batter not as pronounced as on north side. A single, small, narrow lancet now used as an electricity cable inlet is 13thC; some jambstones replaced but others could be original.
West wall: in Fabric 'A' but close to angle with nave the upper part of the wall appears to have been replaced. One Victorian lancet window, the inserted masonry around it just visible.
Tower. General. Pyramidal roof to tower which was rebuilt in 1623 and restored in 18thC; with weathercock. It is not centrally placed but stands a little south of the east/west axis.
North wall: masonry of Fabric 'A' with quoins some of which are dressed, others poorly so. Rectangular, louvred, belfry window with wooden lintel and projecting stone sill. Apex of north transept roof to within one metre of the window and above the meeting place is a stone drip-course with lead flashing beneath.
East wall: chancel roof higher than that of north transept, and belfry window, though of exactly the same form as on the north, is commensurately smaller.
South wall: as north wall in all aspects.
West wall: as east wall but to south and below belfry level is a small, glazed slit window without dressings.
Chancel. General. Low batter on all sides, rising to no more than 0.5m. Fabric 'C'.
North wall: some reconstruction adjacent to north transept wall where a narrow vertical band of masonry is slightly inset. Three Victorian lancets though just possible that the most easterly window has one or two original jambstones.
East wall: Three lancet windows with continuous hoodmould arching over each individually. The smaller, outer lancets have new yellow stone heads, but the jambs of all of them are flaking and weathering, and conceivably some might be earlier. Fabric above the hoodmould is more weathered and lichened and this runs down almost to the bottom of the corners where there are dressed yellow freestone quoins of Victorian date. It thus appears that the upper part of the wall has been reconstructed using original weathered masonry.
South wall: weathered 'C'. Three lancets; the jambs eroding on the most easterly and in grey sandstone with a yellow sandstone head; the other two have red sandstone dressings but none are convincingly original. Trefoil-headed priest's door in Decorated style, and while the yellow sandstone head is undoubtedly relatively new some of the jambs could be original, and likewise the hoodmould in the form of a two-centred arch with worn extremities.
South transept. General. Battered to height of 1.6m on south side, 1.3m on west. Fabric 'C'.
East wall: appears to be 'C' though perhaps 'B' in places. Large two-centred arch turned in edge slabs with carefully selected jambstones; this must be Victorian or later
South wall: heavy repointing above eaves level; dressed quoins. Victorian lancet in flaking grey sandstone.
West wall: one Victorian lancet.
Porch. General. Abuts nave and was constructed in the 19thC.
East wall: plain. Appears to be an 'A'-type fabric.
South wall: two-centred archway employing large voussoirs; no dressed quoins. Gable projects with collar showing externally.
West wall: plain.
Interior
Porch. General. Flagged floor; bare walls; Victorian roof of collars and rafters, replacing earlier roof for which a ledge is still visible on the south wall of the nave. Resting on the ground against the east and west walls are the carved lintels from an earlier church (see below).
North wall: doorway to church has modern segmental arch and large jambstones of red sandstone which are probably original.
East and west walls: plain.
South wall: reveal of doorway turned in edge stones at outer face.
Nave. General. Floored with red tiles, benches raised on wooden boarding, and the aisle carpet-covered with several grilles over the heating duct. Walls bare of plaster. Roof has two tie beams with king posts supporting a collar purlin and collar beams above.
North wall: nothing of note.
East wall: plain, off-centre, round-headed arch turned in edge stones; jambstones not chamfered. Wall battered at base and north wall of nave appears to butt against it.
South wall: uniformly splayed windows, each having a two-centred internal arch turned in edge stones. One corbel at a height of c.3m beside most easterly window might have supported a loft or gallery.
West wall: windows as south wall.
Crossing:. One step up from nave. Tiled floor; bare walls. Ceiled in wood just above the apex of the arches; the ceiling rest on eleven corbels, not of uniform design.
North wall: two-centred arch, smaller than its counterparts in the east and west walls, leads into north transept; its soffit is turned in edge stones.
East wall: round-headed arch in edge stones.
South wall: round-headed arch with a keystone and the arch turned in blocks with similar jambs; the arch is only one block deep. Two mural tablets of 1814 and 1823 in south-east corner.
West wall: round-headed arch as on east side.
North transept. General. Now used as a vestry. Tiled floor; walls plastered and whitewashed. Older roof than that in nave with a tie beam and collar against the north wall and two tiers of triangular windbraces.
North wall: splayed window but nothing of note.
East wall: the small lancet is backed on the inside by a large two-centred alcove for an altar. In south-east corner is a squint into the chancel.
South wall: wall has battered base. A gallery approached by a ladder is supported on corbels and gives access via a rectangular doorway to the tower.
West wall: splayed window but nothing of note.
Chancel. General. One step up from crossing, a further two steps up to sanctuary and one to altar. Tiled floor with encaustic tiles in sanctuary; choir stalls on raised wooden platforms. Walls plastered and whitewashed, except for internal jambs and sills of windows. Roof of four bays, the same form as the nave.
North wall: three splayed windows; squint at north-west angle. Corbel to east of central window, again at a height of c.3.0m, and either for a rood screen or a statuette.
East wall: splayed windows.
South wall: splayed windows, Victorian piscina with two-centred arched recess and a flat base. A corbel matches that on the north wall. 17thC graveslab fragment leans against south wall of chancel near priest's door.
West wall: round-headed arch. Plaque of 1629 set into wall face just to north of it, reads: 'This steeple was newly erected and made in Apriel Anno Dom. 1629. William Havard and William Griffith Gent then churchwardens'. Two coats-of-arms of the churchwardens also set into wall.
South transept. General. Used as a separate chapel with an altar against the south wall, and in the 19thC as a schoolroom. Tiled floor; walls plastered and whitewashed. Roof of braced collars; that against the north wall could be original, the rest are replaced.
North wall: wall face shows disconformity at eaves level which could indicate rebuilding; squint in north-east corner and redundant stoup placed in it.
East wall: doorway of no age. Monument of 1855 near south-east corner.
South wall: splayed window; monument of 1833.
West wall: splayed window; two monuments, that of 1848 above that of 1864.
Churchyard
Llanddew has an irregular churchyard, best described as a polygonal D-shape; the only hint of curvilinearity is around the east side, though this does hint at an earlier oval enclosure. To the south of the church the ground is level, but on the north side it drops away, and this reflects the general siting which is on the southern edge of a dry valley.
The enclosure is well maintained and is used for current burials.
Boundary: buildings fringe the churchyard on the south, and there is a drystone wall on the west and further short stretches of wall on either side of the eastern entrance. On the north a garden hedge gives way to a hedged drop to the road. The churchyard area is raised on the north and east sides and there is internal banking on the west and south though the former may not be of any great age.
Monuments: these are spread out around the south and east sides of the church with a few on the west. Most are 19thC and 20thC and there are only a couple of 18thC examples to the east of the chancel.
Furniture: none.
Earthworks: there are minor earthworks on the south side which cannot be characterised and might even be derived from the construction of the adjacent house, though this does seem unlikely. A low scarp just inside the east entrance reveals the original course of the churchyard perimeter.
Ancillary features: stone and timber lychgate at the east, a small wooden gate into field on west side of the churchyard, and a farm gate at the north-west corner.
Vegetation: there are two yews, one each on the east and west sides, and pines along the west side.
Sometimes the most painful choice is the most freeing. - By Rosie
Karen's lesson was a painful one, one that would scar her for the rest of her life.
Inspiration:
Have you ever heard about The Red Shoes?
This shoot was fun to do but the outcome wasn't good.
It looks very strange because my right hand looks ethereal and it looks like I photoshopped myself in when I didnt. The blood and my amputated legs didn't quite turn out as the way I hoped they would. But I love this location, I walk past this place every time I take the bus, it's swarming with mosquitoes though. I've been wanted to take a photo outdoors for sometime and finally I have!
Everyone kept staring at me when I walked out of my house (odd though because my neighborhood is usually quiet, someone was hosting a party today), I felt a little weird.
This week was an interesting week, I had the most terrifying but most awesome experience in my whole life, for once I seriously feared for my life. I shot outdoors twice, I willingly let someone photograph me (I'm really scared when posing in front of another person's lens, anyone else feel the same?) and I discovered new places to shoot, I never expected Singapore to actually have some beautiful locations! Although you'll get attacked by a billion mosquitoes.
Overall? I loved this week, I loved shooting this, but I didn't really like the outcome.
And I'm turning 18 next week! I can't wait! I've been waiting to turn 18 for a long time and I wanna stay 18 forever.
........................................................................Más grande - View On Black
Aún tengo que aprender sobre cómo hacer una nocturna en modo manual, se que es bastante mejorable, pero me "peleé" con la máquina (y mi ignorancia) hasta conseguir ésta foto porque había bastante diferencia de luz entre los dos edificios y estaba muy lejos como para utilizar el flax. Quería mostrar los contrastes que en Barcelona, como en cualquier gran ciudad, también existen, pero en ocasiones no vemos o no queremos ver.
Muchas gracias a aenm49 Albert y a yutis2003 Reyes,
por tener la paciencia de esperar a que yo consiguiera algo "potable".
También a Piriskoskis y Color-de-la-vida Bea
por esperar a "los tardones" (ahora sabeis la causa) al pié de la torre.
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I have a lot of things to learn about how to make nocturnal in the manual mode. This can be better, but was very difficult for me because there was a lot light difference and it was very far like using flax. It wanted to show the diferences that in Barcelona, like in any city, also exist… but sometimes we don't see… or we don't want to see.
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La TORRE AGBAR es un rascacielos de Barcelona, Tiene 145 metros de alto y 34 plantas. Fue diseñada por el estudio del francés Jean Nouvel en colaboración con la firma de arquitectos barcelonesa b720 Arquitectos.
La torre fue diseñada por el estudio del francés Jean Nouvel en colaboración con la firma de arquitectos barcelonesa b720 Arquitectos. Jean Nouvel explica que su torre "no es un rascacielos en el sentido norteamericano del cielo. Es una experiencia única, singular, en medio de una ciudad más bien tranquila. Pero no se trata de una vertical espigada y vigorosa, como las agujas o los campanarios que suelen acentuar las ciudades horizontales". En contraposición a la rigidez y la simetría de torres emblemáticas como las desaparecidas Torres Gemelas neoyorquinas, Nouvel buscó que su obra emerja del suelo de una forma especial. Y pensó una metáfora arquitectónica: combinó el agua (en referencia al Grupo Aguas de Barcelona, que ocupará el edificio) con el verbo "emerger". También encontró referencias formales en los pináculos de la montaña sagrada de Cataluña, Montserrat, y los campanarios de la Sagrada Familia.
El edificio se conforma como la unión de dos conceptos opuestos: ligereza del vidrio que recubre el edificio en forma de lamas de 120 x 30 cm, formando un gran brise-soleil y masividad del hormigón de su estructura. El hormigón va recubierto de placas de aluminio que dan color al conjunto, con una superficie difuminada de 16.000 m2. Las lamas de vidrio presentan diferentes inclinaciones, y opacidades provocando un juego de luz, según el momento del día y la estación del año, con las chapas de aluminio lacadas que recubren el hormigón. La forma de cilindro ovoidal o "bala" se forma a través de dos cilindros no concéntricos de planta ovoidal, hasta la planta 26 llega el anillo exterior. A partir de esta planta se levanta una cúpula ligera de vidrio y acero. El cilindro interior alberga los ascensores, escaleras e instalaciones, el exterior presenta aperturas, las ventanas (4.400 en total), formando un gran fractal.
Un elemento muy característico del edificio es su iluminación nocturna. Dispone de más de 4.000 dispositivos luminosos que utilizan la tecnología LED y que permiten la generación de imágenes luminosas en su fachada. El sistema ideado permite iluminar de forma independiente cada una de las 4500 luminarias que componen el alumbrado de la Torre. Permite proyectar 16 millones de colores, gracias a un sofisticado sistema de hardware y software, además de la capacidad de crear transiciones de color también independientes, sin apreciarse retrasos y creando un efecto impactante.
es.wikipedia.org/wiki/Torre_Agbar
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The AGBAR TOWER, is a 21st-century skyscraper at Barcelona, Catalonia, Spain. It was designed by French architect Jean Nouvel in association with the Spanish firm b720 Arquitectos.
According to Jean Nouvel, the shape of the Torre Agbar was inspired by Montserrat, a mountain near Barcelona, and by the shape of a geyser rising into the air. Jean Nouvel, in an interview, described it as having a phallic character.[6][7] As a result of its unusual shape, the building is known by several nicknames, such as "el supositori" (the suppository), "l'obús" (the shell) and some more scatological ones.[6] It is also somewhat similar in shape to Sir Norman Foster's 30 St. Mary Axe in London, often called "the Gherkin". It has 30,000 m² (323,000 ft²) of above-ground office space, 3,210 m² (34,500 ft²) of technical service floors with installations and 8,351 m² (90,000 ft²) of services, including an auditorium. The Agbar Tower measures 144.4 m (473.75 ft) in height[8] and consists of 38 storeys
Its design combines a number of different architectural concepts, resulting in a striking structure built with reinforced concrete, covered with a facade of glass, and over 4,500 window openings cut out of the structural concrete. The building stands out in Barcelona; it is the third tallest building in Barcelona, only after the Arts Hotel and the Mapfre Tower, both 154 m (505.25 ft).
A defining feature of the building is its nocturnal illumination. It has 4,500 LED luminous devices that allow generation of luminous images in the façade. In addition, it has temperature sensors in the outside of the tower that regulate the opening and closing of the glass blinds of the façade of the building, reducing the consumption of energy for air conditioning.
San Miguel de Allende, ciudad del estado mexicano de Guanajuato, se encuentra a una altitud de 1910 m y dista 274 km de la Ciudad de México.
El 7 de julio de 2008 fue inscrita por la Unesco en el Patrimonio cultural de la Humanidad. Anteriormente fue parte del proyecto de "pueblos mágicos", pero debido a esta última distinción de la Unesco, fue cambiada su designación.
La ciudad fue fundada en 1542 por el monje franciscano Fray Juan de San Miguel, quien bautizó el asentamiento como San Miguel el Grande. Era un punto de paso importante del Antiguo Camino Real, parte de la ruta de plata que se conectaba con Zacatecas.
El pueblo se destacó durante la Guerra de Independencia de México. Ignacio Allende, nativo de San Miguel, fue un líder clave en la guerra. Capturado cuando marchaba hacia Estados Unidos en busca de armas, fue juzgado en Chihuahua, sentenciado y fusilado. Su cabeza fue expuesta en uno de los ángulos de la Alhóndiga de Granaditas en Guanajuato junto a las de Miguel Hidalgo, Juan Aldama y Mariano Jiménez. La población de San Miguel el Grande fue elevada a ciudad el 8 de marzo de 1826 y cambió el nombre por "San Miguel de Allende" en honor al héroe nacional.
Durante la década de 1950,
San Miguel de Allende se convirtió en un lugar turístico conocido por su bella arquitectura colonial y sus fuentes termales.
El lugar es famoso por su clima templado, los ojos de agua termal y su arquitectura.
La iglesia de San Francisco de Asís se comenzó a construir en 1778 y tardó más de 20 años en terminarse, se observan diferentes cambios arquitectónicos de acuerdo con el periodo y la moda. La fachada es churrigueresca pura, con una enorme cantidad de figuras labradas de piedra y afiladas columnas. Sin embargo, el campanario, construido en 1799 por el famoso arquitecto, Francisco Eduardo Tresguerras, es de estilo neoclásico, el cual estaba de moda entonces.
Y también en Twiter
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La ameba Nebela se ha echado a dormir, se ha enquistado dentro de su cascarón de pepitas de cuarzo formando una esfera como el mundo; así estará bien arropada y protegida, y quizá de esa forma pueda pasar mejor el invierno de hielo, en la Sierra de la Culebra le espera bajo los aullidos sobrecogedores de los lobos que a veces visitan la charca en la que vive.
Hoy la Naturaleza ha gastado una broma a esta ameba discreta, colocando sobre la cúpula de su casa un tirabuzón. Molinete verde que adorna su cabeza haciéndola presumida en este tiempo de sueño invernal. La espiral de la vida seguirá su ciclo y este filamento que adorna como una joya minúscula, la minúscula casa de joya de Nebela se irá despertando al desperezarse la espiral, cuando sople el viento de primavera.
Cuando ella llegue se convertirá en hilo ondulado...hilo de vida de una cianobacteria que aunque recuerda a Lyngbia contorta probablemente sea Scitonema...y que ha hecho lo mismo que Nebela. Se ha convertido en un ovillo para pasar estos fríos de invierno junto a la compañía de esta ameba. Cuando la primavera empiece a despertar ellas lo harán también transformando su belleza estática en latido.
La ameba Nebela protege su cuerpo dentro de un cascarón fuertemente comprimido en forma de gota y ese cascarón de doble capa, se cubre hoy de pepitas de cuarzo transparentes que ella misma fabrica como gotas de cristal.
La cápsula que encierra el cuerpo de Nebela suele ser ligeramente ocre o amarillenta, comprimida lateralmente y presenta pequeños poros laterales difíciles de observar. El cuello tras el que se encuentra la apertura de su casa - que puede ser lineal, ligeramente o fuertemente curvada - es muy corto, apenas está marcado y su borde está rodeado por un collar de materia orgánica.
El caparazón y casa de esta ameba puede estar compuesto de dos capas una interna constituida por un cemento orgánico y la más externa donde se adhieren partículas minerales, restos de diatomeas o placas de sílice fabricadas por ella misma, como ocurre en la Nebela de hoy. El caso es que para que pueda tener esta capa exterior fabricada con placas, necesita alimentarse de otras amebas que también tengan caparazón. Si no lo tienen y se alimenta solo de amebas desnudas, su cuerpo estará también semidesnudo y únicamente protegido por la capa más interna de cemento traslúcido.
Cuando camina por los fondos Nebela desparrama sus brazos en el agua abriéndose en ella y abrazándola como gruesas raíces móviles que se funden y desaparecen para volver a surgir en mil formas diferentes.
Nebella tubulosa , no es una ameba común, la de hoy vive entre los esfagnos de una turbera situada en las inmediaciones de la pequeña localidad de Boya, situado en pleno corazón de la Sierra de la culebra de Zamora y ha sido fotografiada a 400 aumentos con la técnica de contraste de interferencia.
1BRETHREN, IF any person is overtaken in misconduct or sin of any sort, you who are spiritual [who are responsive to and controlled by the Spirit] should set him right and restore and reinstate him, without any sense of superiority and with all gentleness, keeping an attentive eye on yourself, lest you should be tempted also.
2Bear (endure, carry) one another's burdens and [a]troublesome moral faults, and in this way fulfill and observe perfectly the law of Christ (the Messiah) and complete [b]what is lacking [in your obedience to it].
3For if any person thinks himself to be somebody [too important to condescend to shoulder another's load] when he is nobody [of superiority except in his own estimation], he deceives and deludes and cheats himself.
- Galatians 6:1-3 (Amplified Bible)
.....................................................................................................View On Black
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Turbio fondeadero donde van a recalar,
barcos que en el muelle para siempre han de quedar...
Sombras que se alargan en la noche del dolor;
náufragos del mundo que han perdido el corazón...
Puentes y cordajes donde el viento viene a aullar,
barcos carboneros que jamás han de zarpar...
Torvo cementerio de las naves que al morir,
sueñan sin embargo que hacia el mar han de partir...
Amarrado al recuerdo
yo sigo esperando...
¡Niebla del Riachuelo!...
De ese amor, para siempre,
me vas alejando...
Nunca más volvió,
nunca más la vi,
nunca más su voz nombró mi nombre junto a mí...
esa misma voz que dijo: "¡Adiós!".
Sueña, marinero, con tu viejo bergantín,
bebe tus nostalgias en el sordo cafetín...
Llueve sobre el puerto, mientras tanto mi canción;
llueve lentamente sobre tu desolación...
Anclas que ya nunca, nunca más, han de levar,
bordas de lanchones sin amarras que soltar...
Triste caravana sin destino ni ilusión,
como un barco preso en la "botella del figón"
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Nieblas del Riachuelo - Letra Enrique Cadícamo / Interpretada por Bebo y Cigala
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{Foto de Archivo} otras del 2009 cuando me estrenaba con mi cámara....
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♥
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No usar esta imagen en páginas web, blogs u otros soportes sin mi autorización, © Todos los derechos reservados.
Don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
“Y estos derechos... a respetarlos, ¿eh? ¡No vaya a pasar como con los diez mandamientos!” (Mafalda)
10 FACTS TAG!
i was tagged by my beautiful bestfriend, Mary Buzbee!
1.)i can play Hey Ya the acoustic cover and
Anyone Else but You by the Moldy Peaches on the guitar slowly.:)
2.)i really support what TOMS is doing and i've yet to buy a pair.
3.) i have a little scar on the back of my leg from when i was very little
and i was playing on my friend's dad's old van. we would slide down the window
on the front of the car over and over again. Her dad called us to come eat and i went to slide down and got hung on a piece of metal sticking out and was literally hanging from it.
4.) i used to be able to touch my feet to the back of my head while laying on my stomach. not that flexible anymore.
5.) my favorite nail polish color is bright yellow.
6.) i play video games and i'm currently working on God of War 2 for PS2.
7.) i love Summertime, but it's not my favorite season. my favorite season is Autumn.
8.) I can't stop listening to The Moon by The Swell Season.
9.) i almost always have a safgn on my head.
10.) i am very strong and i love my life.
ENGLISH
Bread is one of the oldest prepared foods, dating back to the Neolithic era. The first breads produced were probably cooked versions of a grain-paste, made from ground cereal grains and water, and may have been developed by accidental cooking or deliberate experimentation with water and grain flour. Descendants of these early breads are still commonly made from various grains worldwide, including the Mexican tortilla, Indian chapatis, rotis and naans, Scottish oatcake, North American johnnycake, Middle Eastern Pita bread (Kmaj in Arabic and Pitot in Hebrew) and Ethiopian injera. The basic flat breads of this type also formed a staple in the diet of many early civilizations with the Sumerians eating a type of barley flat cake, and the 12th century BC Egyptians being able to purchase a flat bread called ta from stalls in the village streets.
The development of leavened bread can probably also be traced to prehistoric times. Yeast spores occur everywhere, including the surface of cereal grains, so any dough left to rest will become naturally leavened. Although leavening is likely of prehistoric origin, the earliest archaeological evidence is from ancient Egypt. Scanning electron microscopy has detected yeast cells in some ancient Egyptian loaves. However, ancient Egyptian bread was made from emmer wheat and has a dense crumb. In cases where yeast cells are not visible, it is difficult, by visual examination, to determine whether the bread was leavened. As a result, the extent to which bread was leavened in ancient Egypt remains uncertain.
There were multiple sources of leavening available for early bread. Airborne yeasts could be harnessed by leaving uncooked dough exposed to air for some time before cooking. Pliny the Elder reported that the Gauls and Iberians used the foam skimmed from beer to produce "a lighter kind of bread than other peoples." Parts of the ancient world that drank wine instead of beer used a paste composed of grape juice and flour that was allowed to begin fermenting, or wheat bran steeped in wine, as a source for yeast. The most common source of leavening however was to retain a piece of dough from the previous day to utilize as a form of sourdough starter.
Even within antiquity there was a wide variety of breads available. In the Deipnosophistae, the Greek author Athenaeus describes some of the breads, cakes, cookies, and pastries available in the Classical world. Among the breads mentioned are griddle cakes, honey-and-oil bread, mushroom shaped loaves covered in poppy seeds, and the military specialty of rolls baked on a spit. The type and quality of flour used to produce bread could also vary as noted by Diphilus when he declared "bread made of wheat, as compared with that made of barley, is more nourishing, more digestible, and in every way superior." In order of merit, the bread made from refined flour comes first, after that bread from ordinary wheat, and then the unbolted, made of flour that has not been sifted."
More info: en.wikipedia.org/wiki/Bread
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CASTELLANO
El pan fue el alimento básico de la humanidad desde la Prehistoria. Probablemente, los primeros panes estarían hechos con harinas de bellotas o de hayucos. Los arqueólogos han desenterrado fragmentos de pan ácimo en las excavaciones de los poblados cercanos a los lagos suizos. Se sabe que los egipcios elaboraban pan desde hace mucho tiempo y de ellos datan también las primeras evidencias arqueológicas de la utilización de la levadura en el pan, se cree que descubrieron la fermentación por casualidad. El pan comido por los Hebreos no llevaba ningún tipo de levadura.
En Roma, en la República ya había hornos públicos. Para los legionarios romanos el pan era un alimento habitual y era corriente que su dieta fuese en gran medida aceitunas y pan. Se les entregaba tres libras de trigo al día, que trituraban en un molinillo de mano compartido por un grupo limitado de soldados. La harina se hacía bucellatum o se metía en el horno para hacer pan. En algunas regiones que no formaban parte del imperio como Alemania o Suecia, algunos habitantes que habían combatido en el ejercito romano adoptaban el consumo de pan, y de aquí se extendía a sectores de la población.
Este gran consumo de pan durante el imperio romano implicó la gran importancia que tuvo el cultivo y comercio del trigo.
Con la caída del imperio romano se produjo un desabastecimiento de trigo en casi toda Europa, que ya se había acostumbrado de manera masiva a su consumo. Las exportaciones hacia el norte desaparecieron por completo. Prueba de la amplia difusión del pan en esa época la palabra inglesa "lady" significa en inglés antiguo "la persona que amasa el pan".
En Escandinavia, la población, ante la escasez de trigo tuvo acostumbrarse a elaborar panes de centeno y cebada, siendo corriente que se le añadiese a la masa corteza de pino molida.
En la Edad Media empiezan a elaborarse distintos tipos de pan ante la escasez de trigo, y como consecuencia de ello comienza su comercio; el pan blanco era un privilegio de los ricos y el pan negro de cebada, centeno o avena era para el resto de la población. Se hacía a mano, en el propio hogar o en hornos públicos.
Más info: es.wikipedia.org/wiki/Pan
Depuis le 3 Octobre, plus de 200 familles dorment dans la rue de la Banque pour protester contre l'absence de logements décents. Français ou immigrés en situation régulière, tous travaillent mais vivent dans des conditions déplorables: le plus souvent à l'hôtel, ou dans des appartements minuscules, parfois menacés d'expulsion.
Dimanche 11 Novembre, une manifestation de soutien aux mal logés a réuni de 2000 à 3000 personnes, malgré la pluie. Monseigneur Gaillot, Josiane Balasko, Patrick Pelloux étaient présents dans le cortège au départ de la rue de la Banque, qui est ensuite passé devant le passage Brady, où un incendie a fait 3 morts cette semaine, et devant l'hôtel Paris Opéra, au 76 rue de Provence, où un incendie en avril 2005 avait fait plus d'une vingtaine de victimes. L'occasion pour les associations de dénoncer les "marchands de sommeil" qui continuent à profiter d'une politique d'hébergement désastreuse en partie financée par l'Etat lui-même, dont le budget hôtelier a été multiplié par 10 en 5 ans...
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
IL MIO VIDEO SU SIENA: www.youtube.com/watch?v=IFSjbSviaaw&feature=mfu_in_or...
IL MIO VIDEO SULLA "VAL D' ORCIA": www.youtube.com/watch?v=lEAQfiR50AI
IL MIO SITO: www.mauronizzi.it
¡¡Bellezón total :)))!! ¿Verdad que si amigos? ¡¡Que bien me lo he pasado contigo teacher tanto en tus clases como en las sesiones de fotos que hemos hecho en el plató de la Escuela :)))))!! Un besazooooooooooooooooooo for you baby :))).
Please don't use this image on websites, blogs or other media without my explicit permission - All Rights Reserved ©.
Happy Tall Ship Tuesday everyone! LOL
What:
The Virginia
(State Ship of Virginia)
Where:
Halifax, Nova Scotia, Canada
When:
During the Tall Ships Festival of 2009
About the Ship:
Two-masted pilot schooner 122' sparred length, 24' beam, 99 gross tons
Owner - Virginia Maritime Heritage Foundation,
The schooner Virginia is a reproduction of an early 20th century Virginia pilot schooner, originally used to help guide vessels into Virginia’s ports at the mouth of the Chesapeake Bay. Launched in December 2004, the Virginia is one of the newest Tall Ships in the United States.
Links:
Tall Ships Festival Nova Scotia
Please, no invites or crazy glittery graphics. Just a simple comment is nice.
Thank You
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Nikon D90 : Nikkor 18-200mmVR : B&W polarizer @ 48mm : 1/200s @ f/8 : ISO 200
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France just beat Brazil 1-0 in the quarter finals. Paris took to the streets to celebrate, invading the whole Champs-Elysées. No manipulation, this is straight out of the camera: the red color comes from the "fumigènes" (flares ? not sure of the word in English).
Part of World Cup 2006
En el mini-safari fotográfico que hicimos los otros días, visitamos, entre otras cosas, la vieja cárcel de Caseros, parcialmente demolida.
En una de sus paredes, me encontré con esta imagen... casi una ironía que permanece como un símbolo... de todos los que estuvieron recluidos en el lugar. No es un graffiti, no es street art... pero no pude resistir fotografiarla...
Así que, ¡quiero de vuelta mi sonrisa...!!! Y para escuchar mientras la buscan...
(Ismael Serrano)
Ya nada es lo que era,
nuevos paisajes, nuevas fronteras,
delimitando mis gestos, mis costumbres.
Otra lumbre iluminará mis versos,
otros muertos mis soledades,
otras felicidades mis fiestas,
otras dudas mis certezas.
Ya nada es lo que era.
Me tendré que acostumbrar
a esta fría soledad
como un viejo con días contados a su enfermedad.
Y nombrarte o esperarte en un café,
y padecer otro principio,
y volver a los sitios en que me has abandonado,
y ser asesinado
allí donde te amé.
Ya sólo me queda
la vacía pena
del viajero que regresa.
Estoy tan perdido,
soy el asesino
de tantas primaveras.
Ya nada es lo que era.
Ya nada es lo que era,
recorreré las aceras
buscando una luz que me recuerde a ti.
¿Quién me acompañará ahora a los Alphaville?
¿Quién hará cicatriz mis heridas?
¿Quién descubrirá mis mentiras?
¿Quién facilitará mi huida?
Y es que ya nada es lo que era.
Ya sólo me queda
la vacía pena
del viajero que regresa.
Estoy tan perdido,
soy el asesino
de tantas primaveras.
Ya nada es lo que era.
Ya nada es lo que era.
¡Un besote inmenso para todos!!! ¡A pasarla bien!!!
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Best Viewed LARGE on Black: bighugelabs.com/onblack.php?id=3728270985&size=large&...
I'm starting a new set of pictures today. I hope that this will be an ongoing series. The plan is to pair each picture in the set with a poem by our best known local poet, Byron Herbert Reece, who lived and wrote in the Choestoe area of Union County, Georgia, less than 20 miles from my home. The name Choestoe - pronounced "Chowee Stowee" is a Cherokee Indian word usually translated as "the place of the Dancing Rabbits." (I doubt that I will be patient or fortunate enough to actually get a shot of any rabbits dancing - I'm not sure my new camera even does videos!)
At any rate, I've started the set with a few pictures that I took this past Saturday at the Byron Herbert Reece Farm and Heritage Center. If you click on the set to the right you can learn more about the poet and the efforts to preserve his legacy.
_________________________________________________________________
Poem # 1:
ELBOWS ON THE SKY
If man might lean his elbows on the sky
As farmers lean their weight upon a wall
To look upon their ample fields that lie
Heavy with harvest in the yellow Fall
Then he might dicker with close-fisted fate,
Himself decide what to reject or keep
Before he comes at length beyond the gate
Where he may choose not anything but sleep.
Yet if he leaned but once upon a star
And saw his earth, and himself a fugitive,
As long as breath could keep life's door ajar
He would be happy but to breathe and live,
With little care for what he shall be when
Of death's gray waste he is a citizen.
from Ballad of the Bones and Other Poems 1945
en.wikipedia.org/wiki/Byron_Herbert_Reese
I don't meditate anymore or anything like that, but this is me tastefully nude striking a half-lotus pose. Pretty much all of the things I've been doing are on hiatus while I don't live in Chicago and I'm pretty much fine with it. Periods of transitions and all that. On the first day of my college psychology course, the professor asked us to draw a picture of ourselves in the rain, and this is how I drew myself.
The Gay Head Lighthouse has always been perilously close to the ever-eroding cliffs. The red brick light was built in 1844 to replace a wooden tower authorized by President John Quincy Adams. In 1856, the marvelous Fresnel lens with its 1,009 prisms was installed, after having been proudly exhibited at the World's Fair in Paris. It is now preserved at the Martha's Vineyard Historical Society in Edgartown, and is lighted every evening after dark throughout the year.
The Gay Head, East Chop, and Edgartown Lighthouses are maintained by the Martha's Vineyard Historical Society under a 30-year lease with the United States Coast Guard. Each light has a large, fenced-in park area that makes a perfect place to relax and enjoy the island's view. The Gay Head and East Chop Lighthouses are open for sunset tours from late June through mid-September, from 1.5 hours before sunset to 0.5 hour after. The Gay Head Lighthouse is open Friday to Sunday; the East Chop Lighthouse just Sundays. Musicians and vocalists often perform impromptu. A $3 admission fee is requested for adults; children under 12 are admitted free.
The lighthouses are available for wedding ceremonies and other special events. Call the Martha's Vineyard Historical Society at 508-627-4441. Tax-deductible donations to help save the lights may be designated as "lighthouse donations" and mailed to The Martha's Vineyard Historical Society, P.O. Box 827, Edgartown MA 02539.
The Chapel of St John, dating from 1080, is the oldest church in London.
It is on on the second floor of the White Tower which was built in 1077 - 97 as a keep or citadel, and is the oldest part of William the Conqueror's great fortress by the Thames.
The beautiful Romanesque chapel was constructed from stone imported from France and has survived complete from the early Norman period, rather than other Norman churches in England which date from the mid-12th century. The chapel has a tunnel-vaulted nave with an east apse and groin-vaulted aisles, and the gallery above curves around the apse. Thick, round piers support unmoulded arches, with the only decoration provided by simple carvings of scallop and leaf designs.
Because St Peter ad Vincula is the parish church of the Tower of London, St John's Chapel so often overlooked.
Today, this complete 11th century church, a rarity anywhere, remains one of the least known among London's historic churches.
© Eddie Chui
"Let's take the train to anywhere
I wanna feel the wind in my hair with you.
Let's tell them all, that soon they'll know
How very wrong they were to think we'd never go,
And if you tell me yours I'll tell you mine
And we will clean the cobwebs out of one another's minds. "
DON'T EVER - Missy Higgins
Taken on the way back from a recent road trip to Rolleston - weather was miserable the whole 4 days prior. As usual with my luck the sun came out the day we drove home. After seeing these Sunflowers on the way up we quickly pulled over when we drove past on the return trip.
This wonderful scene is from Julia Pfeiffer Burns State Park in Bug Sur. This particular spot might be one of the prettiest locations I've ever been to. It is just gorgeous. And a beautiful waterfall (McWay Falls) spilling out into the ocean just tops it off.
Single exposure with CPL.
I have to say thanks very much to Joshua Cripps for the tips on what beaches to visit during my time here. I would have likely stumbled across some of the places, but his tips proved invaluable.
Thanks also to Jill Clardy for her tips in and around San Francisco.
My own little disclaimer to myself...I'm working off the laptop screen, so I may have to go back and re-look at a number of the shots I post while on travel.
Thanks for looking!
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Comments and constructive criticism always appreciated.
I am not afraid as I descend,
step by step, leaving behind the salt wind
blowing up the corrugated river.
The damp city streets, their sodium glare of rush-hour headlights pitted with pearls of rain;
For my eyes still reflect the half remembered moon.
Already your face recedes beneath the station clock,
a damp smudge among the shadows mirrored in the trains wet glass.
Will you forget me? Steel tracks lead you out past cranes and crematoria,
boat yards and bike sheds,
ruby shards of roman glass and wolf bone mummified in mud,
The rows of curtained windows
like eyelids heavy with sleep,
to the city's green edge.
Now I stop my ears with wax, hold fast
the memory of the song you once whispered in my ear.
Its echoes tangle briars in my thick hair.
You turned to look.
Seconds fly past like birds,
my hands grow cold. I am ice and cloud.
This path unravels.
Deep in hidden rooms filled with dust
and sour night-breath the lost city is sleeping.
Above, the hurt sky is weeping,
soaked night gales have ceased to sing.
Dusk has come early.
I am drowning in blue.
I dream of a green garden where the sun feathers my face
Like your once eager kiss.
Soon, soon I will climb
from this blackened earth
into the different light.
SUE HUBBARD
Castello del Boccale, Livorno, Italia, 18/09/2013
Primo scatto fatto al bellissimo Castello del Boccale vicino a Livorno, la giornata prometteva alla grande ma appena prima del tramonto il sole è rimasto intrappolato dietro alle nuvole facendomi pensare che ogni speranza fosse persa. Fortunatamente poco dopo ho potuto sfruttare questo squarcio di luce per portare a casa questo scatto che è solo il primo di una serie di 3 di un bellissimo tramonto.
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Boccale Castle, Livorno, Italy, 18th Sep 2013
First shot taken of the wonderful Boccale Castle, near Livorno. The day was very promising but just before the sunset, the sun hid behind the clouds making me lose hope. Luckily, just after that, I saw this burst of light that made it possible for me to take this shot which is just the first of a series of 3 shots of a wonderful sunset
Thank you for comments, adding to fav's - and your time :-)
© All Rights Reserved - no usage allowed in any form without my written permission.
View Mauna Kea Sunset on Black
View Mauna Kea Sunset Map/EXIF
NIKON D810 + 24-70 mm f/2.8 @ 58 mm - 2.5 sec at f/8.0, ISO 31
Manual mode @ 1 EV E.C - Pattern metering - no flash
Subject Distance: unknown
Haley and I drove up past Waimea to Saddle Road and steadily climbed towards the top of Mauna Kea. Unlike Maui's volcano, the drive seemed to take very little time - maybe because I was looking forward to it so much.
We ended up at the visitor's center at around 9200 feet and went for a short hike up to the crest of a small butte to watch the sunset from. We settled in and I ended up down the crest of the hill a bit to get out of other's folks' way while still being able to compose from a variety of angles.
This was taken just after the sun had dropped below the horizon. Soon thereafter, it got bitter cold. I stayed out for another 30-45 minutes to watch the stars rise, and was the last person to leave the hilltop.
Haley and I then finished off our awesome night by gazing at the Orion Nebula, Venus, and the moon through a number of scopes the astronomical society had set up.
19°45'14" N 155°27'32" W, 9452.1 ft
Mauna Kea Visitor's Center, Mauna Kea
Hawaii County, Hawaii, United States
Taken on 01.09.2017, uploaded on 01.21.2017.
©2017 Adam James Steenwyk. Please contact me at ajamess [at] gmail [dot] com if you would like to use this photo. Blog: www.f128.info
Saint-Jeannet a l'apparence de tous ces villages perchés, si nombreux en Provence et dans le comté de Nice, qui répondaient jadis à un souci de protection. Largement ensoleillé et protégé des vents du nord, il offre un panorama grandiose jusqu'à la mer.
Blotti au pied de son célèbre Baou, "rocher" en provençal, le village est resté authentique et plein de charme. Le vieux Saint-Jeannet, qui s'agrippe à une pente abrupte, est parcouru de ruelles tortueuses, souvent en pente - les calades - et de nombreuses impasses et placettes.
(Saint-Jeannet, village perché dans l'arrière-pays de Nice)
2nd place winner in our "Contest #38...Waterdroplets on Flowers..."thread at Unforgettable Flowers group 8th Dec 09 :-)
3rd Place - Excalibur Awards 1st October 09
Received an HONOURABLE MENTION in Round 7 of our "OUR WORLD" SERIES: FLOWERS Perpetual Contest - November 2009 Colour Photo Award - PREMIER. - 18th Nov 09 :-)
4th Place - mywinners contest - Pink 29th Nov 09
Some more pretty colours from the flowers that my daughter gave me..................
Thank you all so much for your visit/comment/award and faves!! It's really very much appreciated - have a great day and a wonderful week :-)
La Plaza Borda es la plaza principal de Taxco. Su nombre refiere a José de la Borda, empresario que labró su fortuna por las minas de plata que poseía a las afueras de la ciudad. Se halla rodeada de antiguos y nobles edificios y es un lugar de intercambio comercial.
El Templo de Santa Prisca es un monumento colonial que se localiza en la ciudad mexicana de de Taxco, población cuya principal actividad fue y es la minería de la Plata. La iglesia es la principal representación del barroco novohispano.
La construcción del templo de Santa Prisca en Taxco duro 15 años y tuvo como propósito la creación de un espacio desde donde el sacerdote Manuel de la Borda —hijo de José de la Borda, benefactor y fundador de la parroquia— pudiera oficiar misa. El diseño arquitectónico estuvo a cargo del arquitecto francés Diego Durán, y el español Cayetano Sigüenza. Los retablos son obra de los también españoles Isidro Vicente y Luis de Balbás. En el lugar suele decirse, incluso por los guías turísticos, que el templo fue construido en siete años. Esto no es más que una pintoresca leyenda, si bien es cierto que aún está por averiguar el tiempo y técnicas utilizadas en su construcción.
La construcción fue ordenada por el minero catalán José de la Borda, uno de los más prósperos de la región del siglo XVIII. Aunque había llegado a Taxco sólo unos treinta y cinco años antes de la construcción del templo de Santa Prisca, José de la Borda ya era uno de los personajes más importantes del mineral, razón por la cual el Arzobispado de México le permitió erigir la parroquia a su entero gusto.
Desde 1758 hasta 1806, el templo fue el edificio más alto de México, pero fue sobrepasado por el Templo de Nuestra Señora del Carmen.
BEST: View On Black
I was walking along a canal bank in the Louisiana outback and looking for some birds or trees to photograph and this big boy was lying there watching me!!! He is about 10 feet long! I quickly looked about me to see if its twin was lying close! I've seen bigger ones but this is pretty darn big! I don't want to end up on the menu as selection for the day!!! :-)
VER GRANDE SOBRE FONDO NEGRO I VIEW LARGE ON BLACK
Mañañana, jueves, día 16 de mayo de 2013, a las 20.00 horas, será proyectado en el Salón de Actos del Centro Cívico Juan de Austria, el audiovisual CANCIÓN DE MAR, realizado por un servidor, en versión ampliada del que fuera presentado el jueves, día 19 de abril de 2012, en el marco de la celebración del II Maratón Audiovisual Ciudad de Valladolid , en la cuarta jornada de dicha edición.
Este trabajo ha sido elaborado conjuntamente con una exposición y una publicación, integrantes de un proyecto fotográfico que inicié en el año 2006, hasta darlo por concluido en el año 2010, bajo el título "De boquerones y marengos", que trata de contar a través de imágenes el día a día de las duras jornadas de trabajo de los pescadores del litoral malagueño. Para poder elaborar el proyecto, en el que inicialmente trabajé sobre un total de más de 2.000 instantáneas, me embarqué en un pesquero de arrastre patroneado por un buen amigo, Sebastián, durante los veranos de los años 2006, 2007 y 2010. A él, a su tripulación, y al resto de marineros del litoral de la Axarquía está dedicado esta pequeña muestra del proyecto.
Benvenuto raggio di sole, a questa terra di terra e sassi
a questi laghi bianchi come la neve, sotto i tuoi passi stanchi
a questo amore a questa distrazione, a questo carnevale
dove nessuno ti vuole bene, dove nessuno ti vuole male.
A questa musica che non ha orecchi, a questi libri senza parole
benvenuto raggio di sole, avrai matite per giocare
e un bicchiere per bere forte, e un bicchiere per bere piano
un sorriso per difenderti e un passaporto per andare via lontano
Benvenuto a questa finestra, a questo cielo sereno
a tutti i clackson della mattina, a questo mondo gia' troppo pieno
a questa strana ferrovia, unica al mondo per dove può andare
ti porta dove porta il vento, ti porta dove scegli di ritornare
A questa luna tranquilla, che si siede dolcemente
in mezzo al mare c'è qualche nuvola ma non fa niente
perché lontano passa una nave, tutte le luci sono accese
benvenuto figlio di nessuno, benvenuto in questo paese.
www.meucat.com/maps/mapa_satelite.php?COD=roma&NOME=P...
Fonte do Mouro (Fontana del Moro) - Fountain of the Moor - At the southern end of Piazza Navona, in front of the brazilian embassy, we find the Fontana del Moro, designed by Giacomo della Porto and erected in 1575. The fountain has statues of four Tritons and the basin is made of special antique rose marble. In 1654, Bernini carved the central figure, a muscular Triton riding a dolphin, that resembles a "Moor". Thus, the fountain is called the Fountain of the Moor. During a restoration in 1874, the original sculptures were moved to the Villa Borghese and substitute copies were made and are still on the fountain.
Navona Square (Piazza Navona).
Following, a text, in english, from Wikipedia, the free encyclopedia:
Piazza Navona is a city square in Rome, Italy. It is built on the site of the Stadium of Domitian, built in first century AD, and follows the form of the open space of the stadium.[1] The ancient Romans came there to watch the agones ("games"), and hence it was known as 'Circus Agonalis' (competition arena). It is believed that over time the name changed to 'in agone' to 'navone' and eventually to 'navona'.
Defined as a public space in the last years of 15th century, when the city market was transferred to it from the Campidoglio, the Piazza Navona is a significant example of Baroque Roman architecture and art. It features sculptural and architectural creations: in the center stands the famous Fontana dei Quattro Fiumi or Fountain of the Four Rivers (1651) by Gian Lorenzo Bernini; the church of Sant'Agnese in Agone by Francesco Borromini and Girolamo Rainaldi; and the Pamphilj palace also by Rainaldi and which features the gallery frescoed by Pietro da Cortona.
The Piazza Navona has two additional fountains: at the southern end is the Fontana del Moro with a basin and four Tritons sculpted by Giacomo della Porta (1575) to which, in 1673, Bernini added a statue of a Moor, or African, wrestling with a dolphin, and at the northern end is the Fountain of Neptune (1574) created by Giacomo della Porta. The statue of Neptune in the northern fountain, the work of Antonio Della Bitta, was added in 1878 to make that fountain more symmetrical with La Fontana del Moro in the south.
At the southwest end of the piazza is the ancient 'speaking' statue of Pasquino. Erected in 1501, Romans could leave lampoons or derogatory social commentary attached to the statue.
During its history, the piazza has hosted theatrical events and other ephemeral activities. From 1652 until 1866, when the festival was suppressed, it was flooded on every Saturday and Sunday in August in elaborate celebrations of the Pamphilj family. The pavement level was raised in the 19th century and the market was moved again in 1869 to the nearby Campo de' Fiori. A Christmas market is held in the piazza.
Other monuments on the Piazza Navona are:
Stabilimenti Spagnoli
Palazzo de Cupis
Palazzo Torres Massimo Lancellotti
Church of Nostra Signora del Sacro Cuore
Palazzo Braschi (Museo di Roma)
Sant'Agnese in Agone
Literature and films
The piazza is featured in Dan Brown's 2000 thriller Angels and Demons, in which the Fontana dei Quattro Fiumi "The Fountain of the four rivers"(the Danube, the Gange, the Nile and the River Plate) is listed as one of the Altars of Science. During June 2008, Ron Howard directed several scenes of the film adaptation of Angels and Demons on the southern section of the Piazza Navona, featuring Tom Hanks.
The piazza is featured in several scenes of director Mike Nichols' 1970 adaptation of Joseph Heller's novel, Catch-22.
The Fontana dei Quattro Fiumi was used in the 1990 film Coins in the Fountain. The characters threw coins into the fountain as they made wishes. The Trevi Fountain was used in the 1954 version of the film.
Fonte do Mouro.
Fontana del Moro está localizada ao sul da Piazza Navona. Tem este nome devido à representação de um etíope (mouro) a lutar com um golfinho. A obra foi projetada por Bernini, para dar conclusão à fonte de Giacomo Della Porta, construída em 1576, e esculpida por Giovanni Antonio Mari, em 1654. A estátua do etíope é acompanhada por tritões e máscaras, que são cópias das originais hoje postas em algumas fontes dos jardins da Villa Borghese.
Praça Navona.
A seguir, um texto em português, da Wikipédia a Enciclopédia livre:
A Praça Navona (em italiano: Piazza Navona) é uma das mais célebres praças de Roma. A sua forma assemelha-se à dos antigos estádios da Roma Antiga, seguindo a planificação do Estádio de Domiciano (também denominado entre os italianos de Campomarzio, em virtude da natureza rude e esforçada dos exercícios - manejo de armas - e desportos atléticos que aí se realizavam). Albergaria até 20 mil espectadores sentados nas bancadas. A origem do nome deve-se ao nome pomposo que lhe foi dado ao tempo do Imperador Domiciano (imperador entre 81-96 d.c.): "Circo Agonístico" (do étimo grego Agonia, que significa precisamente - exercício, luta, combate). Actualmente o nome corresponde à corruptela da forma posterior in agone, depois nagone e finalmente navone, que por mero acaso significa também "grande navio" na língua italiana.
As casas que entretanto e com o passar dos anos foram sendo construídas sobre as bancadas, delimitariam e circunscreveriam até à actualidade o tão afamado Circo Agonístico.
A Navona passou de fato a caracterizar-se como praça nos últimos anos do século XV, quando o mercado da cidade foi transferido do Capitólio para aí. Foi remodelada para um estilo monumental por vontade do Papa Inocêncio X, da família Pamphili e é motivo de orgulho da cidade de Roma durante o período barroco. Sofreu intervenções de Gian Lorenzo Bernini (a famosa Fontana dei Quattro Fiumi (Fonte dos Quatro Rios, 1651) ao centro); de Francesco Borromini e Girolamo Gainaldi (a igreja de Sant'Agnese in Agone); e de Pietro de Cortona, que pintou a galeria no Palácio Pamphilj, sede da embaixada do Brasil na Itália desde 1920.
O mercado tradicional voltou a ser transferido em 1869 para o Campo de' Fiori, embora a praça mantenha também um papel fundamental em servir de palco para espectáculos de teatro e corridas de cavalos. A partir de 1652, em todos os Sábados e Domingos de Agosto, a praça tornava-se num lago para celebrar a própria família Pamphili.
A praça dispõe ainda duas outras fontes esculpidas por Giacomo della Porta - a Fontana di Nettuno (1574), na área norte da praça, e a Fontana del Moro (1576), na área sul.
Na extremidade norte da praça, por debaixo dos edifícios, foram postas a descoberto ruínas antiquíssimas, a uma cota muito abaixo da actual, comprovando a primeva utilização daquele imenso terreiro. Outros monumentos com entrada para a praça:
Stabilimenti Spagnoli
Palazzo de Cupis
Palazzo Torres Massimo Lancellotti
Church of Nostra Signora del Sacro Cuore
Curiosidades
Na Piazza Navona, está localizado o Palazzo Pamphilj, propriedade da República Federativa do Brasil, sede da Embaixada Brasileira e da Missão Diplomática do Brasil para a Itália.
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Para todo los Jordi´s...
Für alle Georg´s, Schorchs...
La Diada de Sant Jordi, also known as el dia de la rosa (The Day of the Rose) or el dia del llibre (The Day of the Book) is a Catalan holiday celebrated on April 23 similar to Valentine's Day with some unique twists that show the ancient practice of this day. The main event is the exchange of gifts between sweethearts, loved ones and respected ones--historically, men gave their girlfriends and wives roses, and women gave their boyfriends and husbands a book to celebrate the occasion.
Fuente: Wikipedia
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Fort Totten is a former U.S. Army installation near Bayside, Queens in Queens County, New York. It is located on the north shore of Long Island, on a peninsula named Willets Point. Fort Totten is at the head of Little Neck Bay, which is also the place where the East River widens to become Long Island Sound. While the U.S. Army Reserve continues to maintain a presence at the fort, the property is now owned by the City of New York.
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