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«Être homme, c'est précisément être responsable. C'est connaître la honte en face d'une misère qui ne semblait pas dépendre de soi. C'est être fier d'une victoire que les camarades ont remportée. C'est sentir, en posant sa pierre, que l'on contribue à bâtir le monde.»
(Antoine de Saint-Exupéry "Terre des hommes")
«To be a human is, precisely, to be responsible. It is to feel shame at the sight of what seems to be unmerited misery. It is to take pride in a victory won by one's comrades. It is to feel, when setting one's stone, that one is contributing to the building of the world»
(Antoine de Saint-Exupéry "Wind, Sand and Stars")
«Να είσαι άνθρωπος, σημαίνει ακριβώς να είσαι υπεύθυνος. Να γνωρίσεις την ντροπή απέναντι σε μια δυστυχία που δε μοιάζει να έρχεται από σένα. Να νιώθεις περηφάνια για μια νίκη που πέτυχαν οι συνάδελφοί σου. Να αισθάνεσαι, βάζοντας κι εσύ το λιθαράκι σου, πως συντελείς στο κτίσιμο του κόσμου»
(Antoine de Saint-Exupéry "Γη των ανθρώπων")
"Talvez você só precise (re)organizar as coisas por dentro, rearrumar os sentimentos, refazer as prioridades.
Tira a poeira desse sorriso, desengaveta teus sonhos.
Joga fora o que pesa na alma, o que te desassossega.
Manda embora o que tira teu sorriso frouxo.
Faz uma faxina e deixa aí só o que for bonito."
[Monalisa Macedo]
falso-íris, lírio-roxo, lírio-roxo-das-pedras, lírio-roxo-das-pedreiras, pseudo-íris-azul, alho-do-mato, maricá, doze-apóstolos, íris-da-praia-azul, Apostle plant, marica, twelve apostles, walking íris.
Nome Científico: Neomarica caerulea
Família (Cronquist (APG2): Iridaceae
Gênero: Neomarica
Some of the fabulous architecture at Bluewater, not often looked up at.
The whole inscription at the bottom, in case anyone’s interested, reads:
The dawn’s precise pronouncement waits
With breath of light indrawn,
Then forms with smoky, smut-red lips
The great O of the sun.
Laurie Lee 1919-1947
Thanks for viewing, favs and comments, much appreciated 😊
... or Sacramento National Wildlife Refuge, to be precise. About 70 miles northweste of downtown Sacramento. It's one of the places — carefully managed as it is — where you can get a feeling this time of year for what a wild place the valley once was.
The shot was taken from the Empire State Building in New York City
The Empire State Building derives its name from a nickname for New York state. While the precise origin of the nickname “Empire State” is unknown, one of its oldest documented sources is a letter written by George Washington in 1785 in which he expresses admiration for New York’s strength during the American Revolution and deems the state “the Seat of the Empire.”
San Lorenzo Maggiore is a church in Naples, Italy. It is located at the precise geographic center of the historic center of the ancient Greek-Roman city, at the intersection of via San Gregorio Armeno and via dei Tribunali. The name "San Lorenzo" may also refer to the new museum now opened on the premises, as well as to the ancient Roman market beneath the church itself, the Macellum of Naples.
The church's origins derive from the presence of the Franciscan order in Naples during the lifetime of St Francis of Assisi, himself. The site of the present church was to compensate the order for the loss of their earlier church on the grounds where Charles I of Anjou decided to build his new fortress, the Maschio Angioino in the late 13th century.
San Lorenzo actually is a church plus monastery. The new museum takes up the three floors above the courtyard and is given over to the entire history of the area that centers on San Lorenzo, beginning with classical archaeology and progressing to a chart display of historical shipping routes from Naples throughout Magna Grecia and the Roman Empire. The museum provides a detailed account of the local "city hall" that was demolished in order to put up the church in the 13th century and continues up past the Angevin period and into more recent history.
Beneath San Lorenzo, about half of an original Roman market has been excavated.The site has been open since 1992, the result of 25 years of painstaking excavation. The market place is the only large-scale Greek-Roman site excavated in the downtown area.
In this church Boccaccio met his beloved Fiammetta (1338) (Wikipedia)
en.wikipedia.org/wiki/Marmalade
Marmalade generally refers to a fruit preserve made from the juice and peel of citrus fruits boiled with sugar and water. It can be produced from kumquats, lemons, limes, grapefruits, mandarins, sweet oranges, bergamots, and other citrus fruits, or any combination of them.
For many decades now, the preferred citrus fruit for marmalade production in Britain has been the Spanish Seville orange, Citrus aurantium var. aurantium, prized for its high pectin content, which gives a good set.[clarification needed] The peel imparts a lively bitter taste to the marmalade.
The term "marmalade" is not precise, universal, nor definitive, but unless otherwise stated, marmalade is generally distinguished from jam by its fruit peel. However, it also may be distinguished from jam by the choice of fruit. Historically, the term was more often used in senses other than just citrus conserves.[1]
Contents [hide]
1Origins
2Etymology
2.1International usage
3Dundee Marmalade
3.1Scots legend
4In children's books
5See also
6References
7Further reading
Origins
The Romans learned from the Greeks that quinces slowly cooked with honey would "set" when cool (though they did not know about fruit pectin). Greek μελίμηλον (melimēlon, "honey fruit") transformed into Portuguese "marmelo"— from the Greek μῆλον (mēlon, "apple") stood for all globular fruits, and most quinces are too astringent to be used without honey. A Roman cookbook attributed to Apicius gives a recipe for preserving whole quinces, stems and leaves attached, in a bath of honey diluted with defrutum—Roman marmalade. Preserves of quince and lemon appear—along with rose, apple, plum and pear—in the Book of ceremonies of the Byzantine Emperor Constantine VII Porphyrogennetos, "a book that is not only a treatise on the etiquette of imperial banquetting in the ninth century, but a catalogue of the foods available and dishes made from them."[1]
Medieval quince preserves, which went by the French name cotignac, produced in a clear version and a fruit pulp version, began to lose their medieval seasoning of spices in the 16th century. In the 17th century, La Varenne provided recipes for both thick and clear cotignac.[2]
In 1524, Henry VIII received a "box of marmalade" from Mr Hull of Exeter.[3] As it was in a box, this was probably marmelada, a solid quince paste from Portugal, still made and sold in southern Europe. Its Portuguese origins can be detected in the remarks in letters to Lord Lisle, from William Grett, 12 May 1534, "I have sent to your lordship a box of marmaladoo, and another unto my good lady your wife" and from Richard Lee, 14 December 1536, "He most heartily thanketh her Ladyship for her marmalado".[2]
The English recipe book of Eliza Cholmondeley, dated from 1677 and held at the Chester Record Office in the Cheshire county archivists, has one of the earliest marmalade recipes ("Marmelet of Oranges") which produced a firm, thick dark paste. The Scots are credited with developing marmalade as a spread, with Scottish recipes in the 18th century using more water to produce a less solid preserve.[4]
The first printed recipe for orange marmalade, though without the chunks typically used now, was in Mary Kettilby's 1714 cookery book, A Collection of above Three Hundred Receipts (pages 78–79).[5][6][7] Kettilby called for whole oranges, lemon juice and sugar, with the acid in the lemon juice helping to create the pectin set of marmalade, by boiling the lemon and orange juice with the pulp.[4][7] Kettilby then directs: "boil the whole pretty fast 'till it will jelly" – the first known use of the word "jelly" in marmalade making. Kettilby then instructs that the mixture is then poured into glasses, covered and left until set. As the acid would create a jelly, this meant that the mixture could be pulled from the heat before it had turned to a paste, keeping the marmalade much brighter and the appearance more translucent, as in modern-day marmalade.[4]
The Scots moved marmalade to the breakfast table, and in the 19th century the English followed the Scottish example and abandoned the eating of marmalade in the evening. Marmalade's place in British life appears in literature. James Boswell remarks that he and Samuel Johnson were offered it at breakfast in Scotland in 1773. When American writer Louisa May Alcott visited Britain in the 1800s, she described "a choice pot of marmalade and a slice of cold ham" as "essentials of English table comfort".[7]
Etymology
Antique marmalade cutter, used to cut citrus fruit peel into thin slices
According to the Oxford English Dictionary, "marmalade" appeared in the English language in 1480, borrowed from French marmelade which, in turn, came from the Portuguese language marmelada. According to José Pedro Machado’s Dicionário Etimológico da Língua Portuguesa,[8] the oldest known document where this Portuguese word is to be found is Gil Vicente’s play Comédia de Rubena, written in 1521:
Temos tanta marmelada
Que a minha mãe vai me dar um pouco[9]
The extension of "marmalade" in the English language to refer to a preserve made from citrus fruits occurred in the 17th century, when citrus first began to be plentiful enough in England for the usage to become common.
In Portuguese, according to the root of the word, which is marmelo, "quince", marmelada is a preserve made from quinces, quince cheese. Marmelo in turn derives from Latin melimelum, "honey apple",[10] which in turn comes from the earlier Greek μελίμηλον (melímēlon),[11] from "μέλι" (meli), "honey"[11] + "μήλον" (mēlon), "apple".[11]
There is an apocryphal story that Mary, Queen of Scots, ate it when she had a headache, and that the name is derived from her maids' whisper of "Marie est malade" (Mary is ill). In reality, the word's origin has nothing to do with Mary.[12]
International usage[edit]
Marmalade spread on bread
In much of Europe, the term "marmalade" and its variations are still used as a generic term for preserves of all fruits, whereas in Britain it refers solely to a citrus preserve.[4] The name originates in Portuguese, where marmelada applies exclusively to quince jam.[13][14] In Spanish the term usually refers to what in English is called jam (and jalea — used in Mexico and Central America — is similar to the American English jelly). In Italian too, marmellata means every jam and marmalade.
Dundee Marmalade[edit]
Jars of homemade marmalade
The Scottish city of Dundee has a long association with marmalade.[15][16] James Keiller and his wife Janet ran a small sweet and preserves shop in the Seagate section of Dundee.[16] In 1797, they opened a factory to produce "Dundee Marmalade",[17] a preserve distinguished by thick chunks of bitter Seville orange rind. The business prospered, and remains a signature marmalade producer today.[18]
Scots legend[edit]
According to a Scottish legend, the creation of orange marmalade in Britain occurred by accident. The legend tells of a ship carrying a cargo of oranges that broke down in the port of Dundee, resulting in some ingenious locals making marmalade out of the cargo.[16][19]
In children's books[edit]
Paddington Bear, a fictional character in children's books, is renowned for his liking for marmalade, particularly in sandwiches, and kept it in his briefcase wherever he went.[20] He is now used on the label of Robertson's Golden Shred marmalade.
Sepia, to be precise - version of the previous shot.
Note the spelling of cinema and coiffeur - modern Turkish is full of French words, phonetically spelled (as pronounced in French, e.g. 'oto' for auto and 'spor' for sport).. Makes navigation around town easier :)
The Hubble Space Telescope has spotted a UFO — well, the UFO Galaxy, to be precise. NGC 2683 is a spiral galaxy seen almost edge-on, giving it the shape of a classic science fiction spaceship. This is why the astronomers at the Astronaut Memorial Planetarium and Observatory gave it this attention-grabbing nickname. While a bird’s eye view lets us see the detailed structure of a galaxy (such as this Hubble image of a barred spiral), a side-on view has its own perks. In particular, it gives astronomers a great opportunity to see the delicate dusty lanes of the spiral arms silhouetted against the golden haze of the galaxy’s core. In addition, brilliant clusters of young blue stars shine scattered throughout the disc, mapping the galaxy’s star-forming regions. Perhaps surprisingly, side-on views of galaxies like this one do not prevent astronomers from deducing their structures. Studies of the properties of the light coming from NGC 2683 suggest that this is a barred spiral galaxy, even though the angle we see it at does not let us see this directly. NGC 2683, discovered on 5 February 1788 by the famous astronomer William Herschel, lies in the Northern constellation of Lynx. A constellation named not because of its resemblance to the feline animal, but because it is fairly faint, requiring the “sensitive eyes of a cat” to discern it. And when you manage to get a look at it, you’ll find treasures like this, making it well worth the effort. This image is produced from two adjacent fields observed in visible and infrared light by Hubble’s Advanced Camera for Surveys. A narrow strip which appears slightly blurred and crosses most the image horizontally is a result of a gap between Hubble’s detectors. This strip has been patched using images from observations of the galaxy made by ground-based telescopes, which show significantly less detail. The field of view is approximately 6.5 by 3.3 arcminutes.
Credit: ESA/Hubble & NASA
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NASA’s Origins, Spectral Interpretation, Resource Identification, Security-Regolith Explorer (OSIRIS-REx) spacecraft completed its 1.2 billion-mile (2 billion-kilometer) journey to arrive at the asteroid Bennu Monday. The spacecraft executed a maneuver that transitioned it from flying toward Bennu to operating around the asteroid.
Now, at about 11.8 miles (19 kilometers) from Bennu’s Sun-facing surface, OSIRIS-REx will begin a preliminary survey of the asteroid. The spacecraft will commence flyovers of Bennu’s north pole, equatorial region, and south pole, getting as close as nearly 4 miles (7 kilometers) above Bennu during each flyover.
The primary science goals of this survey are to refine estimates of Bennu’s mass and spin rate, and to generate a more precise model of its shape. The data will help determine potential sites for later sample collection.
This image of Bennu was taken by the OSIRIS-REx spacecraft from a distance of around 50 miles (80 km).
Image credit: NASA/Goddard/University of Arizona
"This precise time and right here
Are not going anywhere
I`ve had enough of new todays
For once I`d like to go another way"
J.Frusciante
In questo istante, qui,
non si sta andando da nessuna parte
Ho avuto abbastanza nuovi "oggi"
per una volta mi piacerebbe prendere un'altra strada
Bosque de Paz, Alajuela Province, Costa Rica
Caribbean Lowlands
MYXOGASTRIA (myxomcetes) > LUCISPOROMYCETIDAE >
Trichiidia (clear-spored clade) >Trichiales >
Trichiaceae > Hemitricia calyculata
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This is my last post from Costa Rica – three high-magnification stacked macro images of slime mould or, to be more precise, the fruiting bodies of slime mould. These shape-shifting organisms called myxomycetes resemble fungi in some forms, but are actually more closely related to amoebas. They are a new-found interest that, together with lichens and some of the smaller ascomycete fungi, will be my main focus of attention over the coming months. Whilst lichens can be readily found in various habitats, slime mould - from my current experience - is far more of a challenge, but challenges are good so it will be interesting to see how these new albums grow.
A delayed opener (two images too late, to be precise) to my new Lujiazui cityscape series. This scene includes most of the skyscrapers around Lujiazui Central Green!
© Andy Brandl (2013) // PhotonMix Photography // Andy Brandl @ Getty Images
Don´t redistribute - don´t use on webpages, blogs or any other media without my explicit written permission.
See my "profile" page for my portfolio´s web address and information regarding licensing of this image for personal or commercial use.
ArchesAndAngles - Architectural Photography Architectural Photography
"You are perfect in the eyes of the one that truly loves you." ~Tomitheos
Copyright © 2014 Tomitheos PHOTOGRAPHY - All Rights Reserved
Don't have a more precise date than February 1968 for this one and the location is Welwyn Garden City thanks to the Gents below.
The class 15's hauling the train of coal wagons are D8233 in green and the one with the double arrows was given as D8231 but I can not make out the number. They were both allocated to Finsbury Park at this time.
D8233 was new to Stratford in August 1960 and withdrawn in February 1969, it then moved into departmental service which happily lead to it now being preserved. D8231 was not so lucky, being withdrawn in March 1971 and cut up at Crewe within a year.
Image from a slide in my collection by an unknown photographer.
046/365: O is for Orange
Terry'c Chocolate Orange to be precise :) I bought 2 chococolate orange to make truffles out of but I keep just eating the chocolatr first!! I've now bought another one and I will get around to making truffels soon!
I did a precise measurement and approximately 59 seconds out of every minute was spent visualizing myself slipping and falling into the water, then washed over the waterfall forever. The other 1 second was spent partially slipping and feeling intense panic that everything visualized in the previous 59 seconds was about to come true.
The summer solstice represents a precise moment, the one in which the Sun in its apparent motion reaches the highest point with respect to the horizon. In practice, it occurs when the Sun is at its maximum height above the horizon at noon, thus giving us the maximum number of hours of light possible in the space of a day. This year the solstice falls at 12.07 in the morning on June 21st.
In Italy we will have a day of 15 hours and 14 minutes.
The period of the Summer Solstice is a particularly interesting time to visit the Cathedral (Opera di Santa Maria del Fiore) and the Basilica of San Miniato al Monte.
The Cathedral offers a singular spectacle in which the sun's rays align, thanks to an ancient and ingenious gnomon, with a solstice sundial identified several centuries ago with astonishing precision. One of the windows of the Dome contains a small "perforated shelf", through which the sun's rays pass during the summer solstice. The circular beam of light is thus projected onto the floor of one of the side chapels of the cathedral, and precisely the so-called "chapel of the cross", at a time between 12 and 13.
During this period of time, the light beam projected through the gnomon coincides with a circular marble slab, which denotes the moment in which the sun reaches its zenith during its celestial journey and has been in this location since 1510.
The precise moment that the guy in the turban and the woman with the camera engaged. Priceless encounter for the woman. India.
This is a shot of the precise spot where the Byzantine Cathedral of the Taxiarchs (of St. Michael the Archangel) once stood in Ioannina, Greece, within the South-Eastern citadel (aka Iç-Kale) of the Castle. The church was deliberately demolished in c.1430, then on the exactly same spot the “FETHİYE Câmii” (Turkish for “mosque of the Conquest”) was erected by the Ottoman Turks.
It was in writing that the latter had promised certain privileges (such as the freedom of worship with no conversion of churches into mosques etc.) to the people living in Ioannina as conditions of the surrender agreement reached (“Sinan Paşa's designation”, ratified by imperial decree of Sultan Murad II).
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
Qi Bo's photos on Flickr Hive Mind
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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“You will not teach anything if those who listen to you do not perceive your emotion in doing so.”
STEFANO CHIACCHIARINI
…I was looking for an aphorism on emotions, I came across this, I think it can also fit well with photography, because the photographic story that I am about to present here, on Flickr, led me to experience intense emotions while I was taking my photographs , I took photos yes, but at the same time I had to make a strong effort to repress those emotions, because they were so intense that I risked being overwhelmed by them… thus risking losing concentration on what was materializing before my eyes…. The party I attended, thus realizing this photographic series, was held at the beginning of May in the town of Melilli, which celebrates its patron saint San Sebastiano, in reality the canonical feast is held on January 20 also in Melilli, however this town in the province of Syracuse, in early May a "Big Feast" is organized to commemorate an event that seems to originate now from a historical event (it would be reported on an ancient correspondence), now from a story that has the flavor of legend : the story tells that in April 1414 a ship coming from the Adriatic Sea was wrecked on an island near the coast, there were no deaths, and the event, considered miraculous, was attributed to the presence on the ship of a statue of San Sebastiano, which was kept inside a chest, a chest that became heavily immovable by anyone who tried to lift it, the story (or legend) has it that the chest containing San Sebastiano became light only when some inhabitants of Melilli tried to lift it, a sign that the Saint wanted to be brought to that country, and so San Sebastiano was satisfied. Talking about the feast of San Sebastiano di Melilli also means talking about the so-called "nuri", a Sicilian dialect word which indicates those who "naked" come on foot (even barefoot) from numerous towns in the surrounding area, even very distant countries: in reality the custom of walking "naked" covered only by a band in correspondence with the pubic area belongs to the past, when "naked" were only male, later with the participation also of the female, the "naked" ” they have covered themselves, wearing white clothes, including a bandana, with red bands tightened around the waist and trunk, so they come on foot, even barefoot, wearing or not wearing white socks; the children cannot be missing, and since for them the journey on foot is unthinkable, the parents take turns carrying their little ones on their shoulders, even very small ones (we are talking about distances to be covered on foot of even 40 or 50 km!; the “ nuri" arrive in groups, and if all the groups, who are expected according to a precise programme, do not arrive beforehand, the procession with San Sebastiano does not begin; the "nuri (or naked)" bring with them bundles of fresh flowers, the “nuri” from Solarino bring handcrafted paper flowers with them, because due to the distance they have to cover, often under a sun in early May which can be very hot, the fresh flowers would arrive completely ruined. inside the church, they approach the float on which there is the statue of the Saint, a beautiful statue whose face is extremely sweet, not large in size, it appears covered with gold and precious objects: one witnesses a unique ritual of its kind, the devotees ask the staff present on the float to bring their objects closer to the Saint, in this way these objects are considered so blessed (I photographed a very kind and nice gentleman who explained this custom to me, he himself he had a “Sicilian puppet” blessed!). When all the various groups of "nuri" have arrived, then the procession begins, which will carry the statue of San Sebastiano to another church, from which in the late afternoon it will leave for a new procession inside the town of Melilli, to then return to the "his" church.
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“Non insegnerai nulla se chi ti ascolta non percepirà la tua emozione nel farlo.”
STEFANO CHIACCHIARINI
…cercavo un aforisma sulle emozioni, mi sono imbattuto in questo, credo che possa adattarsi bene anche con la fotografia, perché il racconto fotografico che mi appresto a presentare qui, su Flickr, mi ha portato a vivere emozioni intense nel mentre scattavo le mie fotografie, scattavo le foto si, però al contempo dovevo sforzarmi fortemente nel reprimerle quelle emozioni, perché erano talmente intense che rischiavo di farmi travolgere da esse… rischiando così di perdere la concentrazione su ciò che andava materializzandosi davanti ai miei occhi…. La festa alla quale ho assistito, realizzando così questa serie fotografica, si è tenuta agli inizi di Maggio nel paese di Melilli, che festeggia il suo santo patrono San Sebastiano, in realtà la festa canonica si tiene il 20 gennaio anche a Melilli, però in questo paese della provincia di Siracusa, i primi di maggio si organizza una “Festa Grande” per rievocare un evento che sembra originare ora da un evento storico (sarebbe riportato su di un antico carteggio), ora da un racconto che ha il sapore della leggenda: la storia narra che nell’Aprile del 1414 una nave proveniente dal mar Adriatico naufragò su di un’isola nei pressi della costa, non vi furono morti, e l’evento, ritenuto miracoloso, fu attribuito alla presenza sulla nave, di una statua di San Sebastiano, che era conservata dentro una cassa, cassa che diventò pesantemente inamovibile da chiunque tentava di sollevarla, la storia (o leggenda) vuole, che la cassa contenente San Sebastiano diventò leggera solo quando alcuni abitanti di Melilli provarono a sollevarla, segno che il Santo desiderava essere portato in quel paese, e così San Sebastiano fu accontentato. Parlare della festa di San Sebastiano di Melilli, significa anche parlare dei cosiddetti “nuri”, parola dialettale siciliana che sta ad indicare coloro che “nudi” provengono a piedi (anche a piedi scalzi) da numerosi paesi del circondario, paesi anche molto lontani: in realtà l’usanza di mettersi in cammino “nudi” coperti solamente da una fascia in corrispondenza della zona pubica, appartiene al passato, quando “i nudi” erano solamente di sesso maschile, successivamente con la partecipazione anche del sesso femminile, i “nudi” si sono coperti, indossando degli abiti bianchi, inclusa una bandana, con delle fasce rosse stretta attorno alla vita ed al tronco, essi quindi vengono a piedi, anche scalzi, indossando o meno dei calzettoni bianchi; i bambini non possono mancare, e poiché per loro il tragitto a piedi è improponibile, i genitori a turni, portano in spalla i loro pargoletti, anche molto piccoli (parliamo di distanze da percorrere a piedi anche di 40 o 50 Km !; i “nuri” arrivano in gruppo, e se prima non arrivano tutti i gruppi che sono attesi secondo un programma ben preciso, la processione con San Sebastiano, non inizia; i “nuri (o nudi)” portano con se dei fasci di fiori freschi, i “nuri” provenienti da Solarino recano con se dei fiori di carta costruiti artigianalmente, poiché a causa della distanza che devono coprire, spesso sotto un sole di inizio maggio che può essere molto caldo, i fiori freschi arriverebbero completamente rovinati. I vari devoti, giunti dentro la chiesa, si avvicinano alla vara (il fercolo) sulla quale c’è la statua del Santo, una bellissima statua il cui volto è estremamente dolce, non di grandi dimensioni, appare coperto di oggetti d’oro e preziosi: si assiste ad un rito unico nel suo genere, i devoti chiedono al personale presente sulla vara di far avvicinare dei loro oggetti al Santo, in tal modo questi oggetti vengono ritenuti così benedetti (ho fotografato un gentilissimo e simpatico signore che mi ha spiegato questa usanza, egli stesso si è fatto benedire un “pupo siciliano”!). Quando tutti i vari gruppi di “nuri” sono arrivati, allora inizia la processione, che porterà la statua di San Sebastiano in un’altra chiesa, dalla quale nel tardo pomeriggio uscirà per una nuova processione dentro il paese di Melilli, per poi rientrare nella “sua” chiesa.
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FESTA SAN SEBASTIANO BI-MARTIRE ( MELILLI 2023 )
Melilli - L'arrivo dei Nuri a San Sebastiano
Festa di San Sebastiano Melilli. Arrivo dei NURI (prima parte) 4 maggio 2023
San Sebastiano Melilli 4 Maggio 2023
FESTA DI SAN SEBASTIANO MELILLI 4/5/2023 DA ANDREA GIONFRIDA
san sebastiano di Melilli (Sr)
Melilli 4 Maggio 2023 Trionfale Uscita San Sebastiano Martire e Spettacolo Ditta FUOCHI CHIARENZA
Melilli: la svelata di San Sebastiano
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Il sale della Terra- scene più significative
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Il sale della Terra - Clip 5 - Galapagos
The Salt of the Earth Official Trailer 1 (2015) - Documentary HD
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Sebastião Salgado: Body & Soul I Photographer's Profiles
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Une inscription permet de dater le cloître très précisément de l'année 1100. Celui-ci est constitué de quatre galeries charpentées dont les arcades retombent sur une série de 116 colonnettes de calcaire, rythmées par une alternance de fûts simples et doubles.
An inscription allows the cloister to be dated very precisely to the year 1100. It consists of four timber-framed galleries whose arches rest on a series of 116 limestone columns, punctuated by alternating single and double shafts.
San Lorenzo Maggiore is a church in Naples, Italy. It is located at the precise geographic center of the historic center of the ancient Greek-Roman city, at the intersection of via San Gregorio Armeno and via dei Tribunali. The name "San Lorenzo" may also refer to the new museum now opened on the premises, as well as to the ancient Roman market beneath the church itself, the Macellum of Naples.
The church's origins derive from the presence of the Franciscan order in Naples during the lifetime of St Francis of Assisi, himself. The site of the present church was to compensate the order for the loss of their earlier church on the grounds where Charles I of Anjou decided to build his new fortress, the Maschio Angioino in the late 13th century.
San Lorenzo actually is a church plus monastery. The new museum takes up the three floors above the courtyard and is given over to the entire history of the area that centers on San Lorenzo, beginning with classical archaeology and progressing to a chart display of historical shipping routes from Naples throughout Magna Grecia and the Roman Empire. The museum provides a detailed account of the local "city hall" that was demolished in order to put up the church in the 13th century and continues up past the Angevin period and into more recent history.
Beneath San Lorenzo, about half of an original Roman market has been excavated.The site has been open since 1992, the result of 25 years of painstaking excavation. The market place is the only large-scale Greek-Roman site excavated in the downtown area.
In this church Boccaccio met his beloved Fiammetta (1338) (Wikipedia)
Last Tuesday to be precise. They say wearing black is meant to be slimming but looking at this I'm not so sure. My eyes are unfortunately still quite bad so this was the last time I dressed, hopefully they'll have cleared up (or at least improved) so I can go out on Thursday. I spent most of Monday playing golf and am now most definitely paying the price from an eczema perspective, as grass and I don't really don't get along. Oh well back to work 💋
The Importance of Being Ernesto
“While it takes many valuable people to run any company, there is none more important than the cat that runs the forklift.” - Ward McCready.
Meet Ernesto T. Rodarte of Station 19, Outpost 31 located on Rospaw, the last of Ubiquidyne Industries’ port hubs before the thirty-seven hour jump to Helvetius. Don’t call him Ernie, or Ern, or any shortened facsimile of what his name is. He is Ernesto. And out here in the Dark, that carries more weight than any overly familiar and juvenile misrepresentation can carry. He has no time for any level of stupid keeping this station running smoothly. He doesn’t talk much; but when he does, it’s fast and precise and always with the best interests of the facility in mind. He is an asshole and an asset, and he is proud of both. And above all, he wants everything to run smooth.
However…
He may be inclined to “adjust” shipping manifests and other documentations and orders if the priorities deem it necessary or the price is right. Treat him fair and he’ll treat you fair; treat him otherwise and there may be an issue. Or five. Or simply something missing from your cargo’s smooth passage through this bustling port. Shrink happens, more so in a vast, impossible to account for everything corporation such as Ubiquidyne Industries. Remember that you can trust that Ernesto will make sure everything runs smooth.
And Ernesto keeps this hub running smoothly with Ol’ Number 7, a Caterpillar 808F skid loader. It dutifully runs the bays with the only hiccup being a leaky shock in the left rear that he’s been threatening to fix for well over a Sol year if he ever gets a chance. Along with Ernesto, she’ll make sure any cargo is given the best care money can buy and that your time on Rospaw is a smooth one.
Fourth wall: Well, as soon as I said I was going to focus more on trophy fig scale and there about, I go and get an itch to build this. It comes about as I actually sat down and started working on Hecate again. Yes, she’s still here taking up a good chunk of real estate and screaming at me every day to work on her. So I did. A little bit anyways, minor stuffs as proofs of concept more than anything. But I started getting back into the swing of mental disparity that is building something on this massively stupid scale, which is to eat it as you would an elephant: Small bites. And the small bite I needed next was a forklift. I found exactly what I was envisioning as a suitably futuristic loader HERE and made some slight alterations for more weight, balance, and strength. I wanted it to look like Ripley’s loader without being a walking facsimile (while I adore it, there ain’t nothin’ wrong with wheels and treads.) So here ya’ll go with no promise that Hecate will be done soon or that I will concentrate on her or anything for that matter. I’m just building so long as my back and hands hold out.
Cheers!
Well, to be more precise, the same four day-old Moon, on the left first in 16bit mode and then on the right in 8bit mode a few minutes later with the same camera and all other settings identical. I wanted to see if there was any obvious difference in the quality of the two images. There is - just - it is very subtle and difficult to pick up though.
Both images were taken in evening twilight before it got dark.
Peter
At this precise moment in time, a family member is laying on a hospital bed knowing there is not long left..
During times like these people get sad, people cry, people ask questions, people get angry..with me...it sort of stays inside..I dont bottle it up.. I just deal with quietly.
Its times like these that make you take a step back and think..
This family memeber... said words that I will never forget.. Ever. As she lay there on the bed she asked my mother..."why is this happening to me ?, I have never done nobody any harm. I have been nothing but kind."
Hearing my mum tell me those words.. really hit me.. I never get emotional at sad times.. I show it in the bucket loads during fun times..but sad times I hide it.. But at that moment,, It hit me.. and I cried.
How do you deal with knowing you are going to die..in days ?
It makes me wonder.. sometimes....what is the whole point of it all..
We all know that every single one of us has the same destiny.. we can not change that..
Whoever decided that this is the way is was to be....needs to re-think.. because this way is shit.
I wish I was I was in charge of all this.. I wouldn't know what to do, or the right way to make it all better.. but I know it should not have to be this way.
"Too often we underestimate the power of a touch, a smile, a kind word, a listening ear, an honest compliment. Or the smallest act of caring, all of which have the potential to turn a life around."
All to often, when we go through these tough times..we are given advice or get told things to help make good of what we have.
Here are a few litte quotes that spring to mind..
Laugh when you can,
Apologise when you should,
Let go of what you can not change,
Kiss slowly,
Forgive quickly,
Play hard,
Take chances,
Give everything and have no regrets,
Life is too short to be anything else but happy..
Edit: Explored !! Thank You !!
Highest position: #220 on Wednesday, July 7, 2010
Another view of the classic Diamond Formation of the Thunderbirds. At times these elite pilots maneuver their F-16's to within 18 inches of each other. In an interview, Major Lauren Schlichting said that "you sometimes have to ignore your basic survival instincts" to go ahead and perform the demanding and precise maneuvers of a Thunderbirds show script.
September 2022
Camera: Nikon D7100
Lens: Nikkor 18-300mm 3.5 - 6.3
One of my favorite female Northern Harriers making a very precise approach to her postal perch in the coastal wetland.
No matter how precise the manufacture of a mechanical instrument, proper servicing and regular use is necessary to keep it running smoothly. This is certainly the case with my vintage Leica IIf from 1952.
It is more than likely that this old camera has not been used to take photographs in decades. So what could go wrong?
Recently our fully mechanical Dugena clock manufactured in East Germany in 1960 simply stopped working. It is now undergoing a proper service. It appears the problem is simply one of lubrication. Over time the lubricants wear out and need to be replaced. Mechanically the clock is fine.
There are two problems with the camera that you can see in these samples: (1) One of the shutter curtains appears to be closing fractionally late and shows up "ghosting" in the sky. (2) Those little spots of light on the dark wood panels are telltale signs of pinholes that have formed in the cloth shutter curtains allowing light leaks onto the negative.
Tyvek (yes that building stuff) quilt blocks by Andre Mowbray currently on exhibit at Fruitlands Museum in Harvard, Massachusetts
121 in 2021
#73 - Precision
Thank you in advance for your views, comments, and faves. They are much appreciated!
Bluff Rock sits beside the New England Highway ten kilometres south of Tenterfield. The precise details of what happened here on October 17, 1844 remain somewhat clouded but the general contours of the story are well known and stand as an example of what took place across Australia in the nineteenth and early twentieth centuries as white settlement expanded into Aboriginal homelands. By 1840 pastoralists, including one Edward Irby, had begun to take up runs on the northern tablelands of New South Wales. Local Aborigines fiercely resisted this incursion into their country. With justification the settlers were regarded as foreign invaders, and in the course of the Aboriginal resistance shepherds were attacked and sheep were speared.
As a hedge against possible prosecution, contemporary reports of reprisals by white settlers were often guarded and there are conflicting stories of what transpired at Bluff Rock. A second hand account from a later date relates how, in response to Aboriginal attacks on shepherds and sheep, men from Irby’s station set out in pursuit. It was said that when they caught up with the “culprits” at Pyes Creek, the Aborigines retreated across country to Bluff Rock where they were thrown from the top onto the rocks below. According to this report, most were killed and many were injured.
Somewhat more circumspectly, Irby himself describes how one of his shepherds, Robinson by name, was killed and how he and three others set out to find those responsible. In his journal he records the dark deeds of that day:
The blacks saw us coming and hid themselves among the rocks, One, in his haste, dropped poor Robinson’s coat so we knew we were onto the right tribe. If they had taken to their heels they might have got away, instead of doing so, they got their fighting men to attack us. So we punished them severely and proved our superiority to them.
Like many of his time, Irby seems not to have questioned his natural right to mete out punishment to those he saw as murders and thieves. Among pioneering pastoralists there was little recognition of the fact that they, the white settlers, were the intruders and that the Aborigines were legitimately defending their land and their way of life. The incident at Bluff Rock is but one small event in what historians such as Henry Reynolds refer to as the Aboriginal Wars. In this series of frontier skirmishes that followed the expansion of white settlement, it is estimated that some 2,500 whites lost their lives and at least 30,000 Aborigines were killed.
© Irwin Reynolds, all rights reserved. If you are interested in using one of my images or would like a high quality fine art print, please send me an email (irwinreynolds@me.com)
Gaia is a global space astrometry mission. Its goal is to make the largest, most precise three-dimensional map of our Galaxy by surveying an unprecedented number of stars - more than a thousand million.
Additional scientific benefits include the detection and characterisation of tens of thousands of extra-solar planetary systems, a comprehensive survey of objects ranging from huge numbers of minor bodies in our Solar System, through galaxies in the nearby Universe, to about 500 000 distant quasars. It will also provide stringent new tests of Albert Einstein’s general relativity theory.
For an overview of the Gaia mission, please click here.
Credits: ESA/Medialab
Much to my annoyance at the time, in the process of taking a work call that couldn't wait, and in "pre-Realtime Trains" days with no precise information of imminent workings, however the chances of capturing two loco-hauled services via the Trans-Pennine Standedge tunnel route actually passing is probably now a nigh-on impossibility! On 3rd June 1999, a RES Class 47-hauled Serco test train heads west whilst eastbound was the 4Z55 10:55 Ditton O'Connors to Immingham Mineral Quay 'Enterprise' with Mainline 37216 growling past the Dobcross Mill at Diggle. With the Pentax 35mm camera resting on the footbridge and a phone in my left hand, this was the hurried result. The Grade II-listed Dobcross mill, then used as a pallet works by company W H Shaw, and used for munitions manufacture in the Second World War, has now been demolished and replaced by a new school building. Such is progress over 25 years later...
© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission
Ulak Tartysh is team riding horse game. It consist in a wrestle for possession of the headless carcass of a goat. The two teams of riders attempt to deliver it across the opposition s goal line, or into the opposition s goal, made with a big tub or a circle marked on the ground.
The goat is 35 kilogs, and the men on the horses carry it with 1 hand!
© Eric Lafforgue
Primavera, is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli made in the late 1470s or early 1480s (datings vary). It has been described as "one of the most written about, and most controversial paintings in the world", and also "one of the most popular paintings in Western art".
The painting depicts a group of figures from classical mythology in a garden, but no story has been found that brings this particular group together. Most critics agree that the painting is an allegory based on the lush growth of Spring, but accounts of any precise meaning vary, though many involve the Renaissance Neoplatonism which then fascinated intellectual circles in Florence. The subject was first described as Primavera by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, by 1550.
Although the two are now known not to be a pair, the painting is inevitably discussed with Botticelli's other very large mythological painting, The Birth of Venus, also in the Uffizi. They are among the most famous paintings in the world, and icons of the Italian Renaissance; of the two, the Birth is even better known than the Primavera. As depictions of subjects from classical mythology on a very large scale, they were virtually unprecedented in Western art since classical antiquity.
The history of the painting is not certainly known; it may have been commissioned by one of the Medici family, but the certainty of its commission is unknown. It draws from a number of classical and Renaissance literary sources, including the works of the Ancient Roman poet Ovid and, less certainly, Lucretius, and may also allude to a poem by Poliziano, the Medici house poet who may have helped Botticelli devise the composition. Since 1919 the painting has been part of the collection of the Uffizi Gallery in Florence, Italy.
The painting features six female figures and two male, along with a cupid, in an orange grove. The movement of the composition is from right to left, so following that direction the standard identification of the figures is: at far right "Zephyrus, the biting wind of March, kidnaps and possesses the nymph Chloris, whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is scattering roses on the ground." Chloris the nymph overlaps Flora, the goddess she transforms into.
In the centre (but not exactly so) and somewhat set back from the other figures stands Venus, a red-draped woman in blue. Like the flower-gatherer, she returns the viewer's gaze. The trees behind her form a broken arch to draw the eye. In the air above her a blindfolded Cupid aims his bow to the left. On the left of the painting the Three Graces, a group of three females also in diaphanous white, join hands in a dance. At the extreme left Mercury, clothed in red with a sword and a helmet, raises his caduceus or wooden rod towards some wispy gray clouds.
The interactions between the figures are enigmatic. Zephyrus and Chloris are looking at each other. Flora and Venus look out at the viewer, the Cupid is blindfolded, and Mercury has turned his back on the others, and looks up at the clouds. The central Grace looks towards him, while the other two seem to look at each other. Flora's smile was very unusual in painting at this date.
The pastoral scenery is elaborate. There are 500 identified plant species depicted in the painting, with about 190 different flowers, of which at least 130 can be specifically identified. The overall appearance, and size, of the painting is similar to that of the millefleur ("thousand flower") Flemish tapestries that were popular decorations for palaces at the time.
These tapestries had not caught up by the 1480s with the artistic developments of the Italian Renaissance, and the composition of the painting has aspects that belong to this still Gothic style. The figures are spread in a rough line across the front of the picture space, "set side by side like pearls on a string". It is now known that in the setting for which the painting was designed the bottom was about at eye level, or slightly above it, partly explaining "the gently rising plane" on which the figures stand.
The feet of Venus are considerably higher than those of the others, showing she is behind them, but she is at the same scale, if not larger, than the other figures. Overlapping of other figures by Mercury's sword and Chloris' hands shows that they stand slightly in front of the left Grace and Flora respectively, which might not be obvious otherwise, for example from their feet. It has been argued that the flowers do not grow smaller to the rear of the picture space, certainly a feature of the millefleur tapestries.
The costumes of the figures are versions of the dress of contemporary Florence, though the sort of "quasi-theatrical costumes designed for masquerades of the sort that Vasari wrote were invented by Lorenzo de' Medici for civic festivals and tournaments." The lack of an obvious narrative may relate to the world of pageants and tableaux vivants as well as typically static Gothic allegories.
Various interpretations of the figures have been set forth, but it is generally agreed that at least at one level the painting is "an elaborate mythological allegory of the burgeoning fertility of the world." It is thought that Botticelli had help devising the composition of the painting and whatever meanings it was intended to contain, as it appears that the painting reflects a deep knowledge of classical literature and philosophy that Botticelli is unlikely to have possessed. Poliziano is usually thought to have been involved in this, though Marsilio Ficino, another member of Lorenzo de' Medici's circle and a key figure in Renaissance Neoplatonism, has also often been mentioned.
One aspect of the painting is a depiction of the progress of the season of spring, reading from right to left. The wind of early Spring blows on the land and brings forth growth and flowers, presided over by Venus, goddess of April, with at the left Mercury, the god of the month of May in an early Roman calendar, chasing away the last clouds before summer. As well as being part of a sequence over the season, Mercury in dispelling the clouds is acting as the guard of the garden, partly explaining his military dress and his facing out of the picture space. A passage in Virgil's Aeneid describes him clearing the skies with his caduceus. A more positive, Neoplatonist view of the clouds is that they are "the benificent veils through which the splendour of transcendent truth may reach the beholder without destroying him."
Venus presides over the garden – an orange grove (a Medici symbol). It is also the Garden of the Hesperides of classical myth, from which the golden apples used in the Judgement of Paris came; the Hellenistic Greeks had decided that these were citrus fruits, exotic to them. According to Claudian, no clouds were allowed there. Venus stands in front of the dark leaves of a myrtle bush. According to Hesiod, Venus had been born of the sea after the semen of Uranus had fallen upon the waters. Coming ashore in a shell she had clothed her nakedness in myrtle, and so the plant became sacred to her. Venus appears here in her character as a goddess of marriage, clothed and with her hair modestly covered, as married women were expected to appear in public.
The Three Graces are sisters, and traditionally accompany Venus. In classical art (but not literature) they are normally nude, and typically stand still as they hold hands, but the depiction here is very close to one adapting Seneca by Leon Battista Alberti in his De pictura (1435), which Botticelli certainly knew. From the left they are identified by Edgar Wind as Voluptas, Castitas, and Pulchritudo (Pleasure, Chastity and Beauty), though other names are found in mythology, and it is noticeable that many writers, including Lightbown and the Ettlingers, refrain from naming Botticelli's Graces at all.
Botticelli's Pallas and the Centaur (1482) has been proposed as the companion piece to Primavera.
Cupid's arrow is aimed at the middle Grace — Chastity, according to Wind — and the impact of love on chastity, leading to a marriage, features in many interpretations. Chastity looks towards Mercury, and some interpretations, especially those identifying the figures as modelled on actual individuals, see this couple as one to match Chloris and Zephyrus on the other side of the painting.
In a different interpretation the Earthy carnal love represented by Zephyrus to the right is renounced by the central figure of the Graces, who has turned her back to the scene, unconcerned by the threat represented to her by Cupid. Her focus is on Mercury, who himself gazes beyond the canvas at what many believe hung as the companion piece to Primavera: Pallas and the Centaur, in which "love oriented towards knowledge" (embodied by Pallas Athena) proves triumphant over lust (symbolized by the centaur).
The basic identification of the figures is now widely agreed,but in the past other names have sometimes been used for the females on the right, who are two stages of the same person in the usual interpretation. The woman in the flowered dress may be called Primavera (a personification of Spring), with Flora the figure pursued by Zephyrus. One scholar suggested in 2011 that the central figure is not Venus at all, but Persephone.
In addition to its overt meaning, the painting has been interpreted as an illustration of the ideal of Neoplatonic love popularized among the Medicis and their followers by Marsilio Ficino. The Neoplatonic philosophers saw Venus as ruling over both Earthly and divine love and argued that she was the classical equivalent of the Virgin Mary; this is alluded to by the way she is framed in an altar-like setting that is similar to contemporary images of the Virgin Mary. Venus' hand gesture of welcome, probably directed to the viewer, is the same as that used by Mary to the Archangel Gabriel in contemporary paintings of the Annunciation.
Punning allusions to Medici names probably include the golden balls of the oranges, recalling those on the Medici coat of arms, the laurel trees at right, for either Lorenzo, and the flames on the costume of both Mercury (for whom they are a regular attribute) and Venus, which are also an attribute of Saint Laurence (Lorenzo in Italian). Mercury was the god of medicine and "doctors", medici in Italian. Such puns for the Medici, and in Venus and Mars the Vespucci, run through all Botticelli's mythological paintings.
The origin of the painting is unclear. Botticelli was away in Rome for many months in 1481/82, painting in the Sistine Chapel, and suggested dates are in recent years mostly later than this, but still sometimes before. Thinking has been somewhat changed by the publication in 1975 of an inventory from 1499 of the collection of Lorenzo di Pierfrancesco de' Medici.
The 1499 inventory records it hanging in the city palace of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano". They were the cousins of Lorenzo de' Medici ("Lorenzo il Magnifico"), who was effectively the ruler of Florence, and after their father's early death had been his wards. It hung over a large lettuccio, an elaborate piece of furniture including a raised base, a seat and a backboard, probably topped with a cornice. The bottom of the painting was probably at about the viewer's eye-level, so rather higher than it is hung today.
In the same room was Botticelli's Pallas and the Centaur, and also a large tondo with the Virgin and Child. The tondo is now unidentified, but is a type of painting especially associated with Botticelli. This was given the highest value of the three paintings, at 180 lire. A further inventory of 1503 records that the Primavera had a large white frame.
In the first edition of his Life of Botticelli, published in 1550, Giorgio Vasari said that he had seen this painting, and the Birth of Venus, hanging in the Medici country Villa di Castello. Before the inventory was known it was usually believed that both paintings were made for the villa, probably soon after it was acquired in 1477, either commissioned by Lorenzo di Pierfrancesco or perhaps given to him by his older cousin and guardian Lorenzo de' Medici. Rather oddly, Vasari says both paintings contained female nudes, which is not strictly the case here.
Most scholars now connect the painting to the marriage of Lorenzo di Pierfrancesco de' Medici. Paintings and furniture were often given as presents celebrating weddings. The marriage was on 19 July 1482, but had been postponed after the death of the elder Lorenzo's mother on 25 March. It was originally planned for May. Recent datings tend to prefer the early 1480s, after Botticelli's return from Rome, suggesting it was directly commissioned in connection with this wedding, a view supported by many.
Another older theory, assuming an early date, suggests the older Lorenzo commissioned the portrait to celebrate the birth of his nephew Giulio di Giuliano de' Medici (who later became Pope), but changed his mind after the assassination of Giulo's father, his brother Giuliano in 1478, having it instead completed as a wedding gift for Lorenzo di Pierfrancesco.
It is frequently suggested that Lorenzo di Pierfrancesco is the model for Mercury in the portrait, and his bride Semiramide represented as Flora (or Venus). In older theories, placing the painting in the 1470s, it was proposed that the model for Venus was Simonetta Vespucci, wife of Marco Vespucci and according to popular legend the mistress of Giuliano de' Medici (who is also sometimes said to have been the model for Mercury); these identifications largely depend on an early date, in the 1470s, as both were dead by 1478. Simonetta was the aunt of Lorenzo's bride Semiramide. Summarizing the many interpretations of the painting, Leopold Ettlinger includes "descending to the ludricous – a Wagnerian pantomime enacted in memory of the murdered Giuliano de' Medici and his beloved Simonetta Vespucci with the Germanic Norns disguised as the Mediterranean Graces."
Whenever this painting and the Birth of Venus were united at Castello, they have remained together ever since. They stayed in Castello until 1815, when they were transferred to the Uffizi. For some years until 1919 they were kept in the Galleria dell'Accademia, another government museum in Florence. Since 1919, it has hung in the Uffizi Gallery in Florence. During the Italian campaign of World War Two, the picture was moved to Montegufoni Castle about ten miles south west of Florence to protect it from wartime bombing.
It was returned to the Uffizi Gallery where it remains to the present day. In 1978, the painting was restored.[66] The work has darkened considerably over the course of time
San Lorenzo Maggiore is a church in Naples, Italy. It is located at the precise geographic center of the historic center of the ancient Greek-Roman city, at the intersection of via San Gregorio Armeno and via dei Tribunali. The name "San Lorenzo" may also refer to the new museum now opened on the premises, as well as to the ancient Roman market beneath the church itself, the Macellum of Naples.
The church's origins derive from the presence of the Franciscan order in Naples during the lifetime of St Francis of Assisi, himself. The site of the present church was to compensate the order for the loss of their earlier church on the grounds where Charles I of Anjou decided to build his new fortress, the Maschio Angioino in the late 13th century.
San Lorenzo actually is a church plus monastery. The new museum takes up the three floors above the courtyard and is given over to the entire history of the area that centers on San Lorenzo, beginning with classical archaeology and progressing to a chart display of historical shipping routes from Naples throughout Magna Grecia and the Roman Empire. The museum provides a detailed account of the local "city hall" that was demolished in order to put up the church in the 13th century and continues up past the Angevin period and into more recent history.
Beneath San Lorenzo, about half of an original Roman market has been excavated.The site has been open since 1992, the result of 25 years of painstaking excavation. The market place is the only large-scale Greek-Roman site excavated in the downtown area.
In this church Boccaccio met his beloved Fiammetta (1338) (Wikipedia)
This revised version of the D0-NAT-e1, nicknamed the Donatello comes packed with technology, ready to infiltrate any enemy base both digitally and physically. Equipped with all standard wireless technologies as well as several interface ports in his fingers, this suit is ready to hack into anything. A holographic projector in the left palm allows for visually showing teammates map plans and other information acquired. The staff is not only a sturdy weapon that can be used in combat, but also comes with the ability to fire off precise EMPs to disable any enemy system. The pilot sits well shielded in the chest.
My second build for Mechtober2020. After strengthening his core a little he finally managed to stand up for the photo! At first I forgot to put in the pilot turtle though, hah, so had to retake the pictures, but in the end it's a bit too hard to see the turtle in there anyway so I guess nobody would have known the difference :P