View allAll Photos Tagged present
Ana (Annabelle de son vrai prénom ) est une jeune fille sarcastique,désabusé qui souhaite juste une chose ...qu'on la laisse tranquille ,ce que sa soeur Célia a du mal à comprendre.
Elle a un caractère bien trempé, elle déteste une chose ...qu'on lui dise qu'elle est blonde
-------------------
Ana (Annabelle his real name) is a young girl sarcastic, disillusioned who just want one thing ... to be left alone, that his sister Celia has trouble understanding.
She has a strong character, she hates one thing ... to be told that she is blonde
Photographed at the 10th Annual Riverfront Cruise-In and Car Show in Havana, Illinois on August 11, 2012.
Please visit my collection of Motor Vehicles on Flickr where you will find more than 10,000 photographs thoughtfully organized into albums, and presented by model year, manufacturer, vehicle type, and more. This project, which began in 2008, continues to expand with new material added daily.
présentation du foulard au départ de la foulée des Festayres à Biarritz, le 25 juillet 2012 - Reynald ARTAUD météopassion
© Chase Hoffman Photography. All rights reserved.
I don't like to get overly philosophical, but shots like these remind me how it important it is to remain present in the moment.
This was my Christmas present for my sister. It's an Icelandic pullover, knit out of Icelandic wool and according to a pattern in the Finnish knitting magazine Moda.
Presented by Accenture on June 21, 2012 5:30 p.m. to 7:00 p.m.
In this new age of networked intelligence, collaborative communities are enhancing and even bypassing crumbling institutions. We are innovating the way our financial institutions and governments operate; how we educate our children; how the healthcare, newspaper, and energy industries serve their customers; how we care for our neighbourhoods; and even how we solve global problems.
From his latest book, (co-author Anthony D. Williams) Macrowikinomics: New Solutions for a Connected Planet, Don Tapscott presents groundbreaking innovations from every corner of the globe: how businesses, organizations and individuals alike are using mass collaboration to revolutionize not only the way we work, but how we live, learn, create and care for each other.
The evening will be hosted by Wayne Ingram, CIO, Accenture in Canada. All attendees will receive a copy of the new (paperback) edition of Macrowikinomics: New Solutions for a Connected Planet, made possible by Accenture.
In 2012, Don Tapscott joins the MaRS community as the inaugural fellow of the Martin Prosperity Institute. In 2011, Don was named one of the world’s most influential management thinkers by Thinkers50. Don opens TED Global 2012: Radical Openness, on June 26.
Agenda
Networking reception: 5:00 – 5:30 p.m.
Presentation: 5:30 – 6:30 p.m.
Book signing: 6:30 – 7:00 p.m.
Part of the MaRS Global Leadership Series
(further pictures and information are available by clicking on the link at the end of page!)
History of the Vienna Hofburg
First residence
With the elevation of Austria to Archduchy in 1156, Vienna became a city of residence. From the residence of the Babenberg dynasty, who was located on the present site "Am Hof", unfortunately, there do not exist any remains anymore. After the extinction of the Babenberg, Ottokar II of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known as Schweizerhof today. In the battle for the German crown Ottokar was defeated at the Battle of Dürnkrut by Rudolf I of Habsburg (1218-1291) and killed during the retreat.
As the old residence of the Babenberg in 1276 burned down, Rudolf probably 1279 moved into the former castle of Ottokar. The descendants of Rudolf extended the castle only slightly: castle chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426). Due to the division of the lands of the Habsburg Vienna lost its importance and also lacked the financial resources to expand the castle.
Imperial residence
Under Frederick III. (1415-1493) the Habsburgs obtained the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence only rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand set in a large construction activity: The three existing wings of the Swiss court were expanded and increased. The defensive wall in the northwest as fourth tract with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco) was rebuilt. In the southwest, a tract for Ferdinand's children (the so-called "children Stöckl") was added. The newly constituted authorities Exchequer and Chancery were located in adjacent buildings at Castle Square. Were added in the castle an art chamber, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.
First major extensions of the residence
In the area of "desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) after his father's death in 1564 moved into the ancient castle. His residence he for his Spanish horses had converted into a Hofstallgebäude (Stallburg - stables) and increased from 1565 .
Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, stayed Maximilian II, who was awarded alongside Austria above and below the Enns also Bohemia and Hungary, readily in Prague and he moved also the residence there. In 1575 he decided to build a new building in front of the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but by the governor of the Emperor (Archduke Ernst of Austria) was inhabited. However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I.), which in 1711 there installed her widow seat.
In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the Treasure and Art chamber (1583-1585) and setting up of a dance hall in the area of today's Redoutensäle (1629-1631).
Under Leopold I the dance hall by Ludovico Burnacini 1659/1660 was rebuilt into an at that time modern theater ("Comedy House"). 1666 Leopold I in the area of today's castle garden a new opera house with three tiers and a capacity of 5,000 people had built.
In the 1660-ies under Leopold I (1640-1705) after the plans of architect Filiberto Lucchese an elongated wing building between the Amalienborg Castle and the Schweizerhof, the so-called Leopoldine Wing, was built. However, since the tract shortly after the completion burned down, this by Giovanni Pietro Tencala was set up newly and increased. Architecturally, this tract still connects to the late Renaissance. The connection with the Amalienborg castle followed then under Leopold's son Joseph I (1678-1711).
After completion of the Leopoldine Wing the in the southeast of castle located riding school was renewed, the south tower of the old castle pulled down, the old sacristy of the chapel replaced by an extension. Under Charles VI. (1685-1740) the Gateway Building between cabbage market (Kohlmarkt) and Courtyard by Johann Lucas von Hildebrandt was transformed into a monumental triumphal arch as a representative sign of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.
Baroque redesign of the Hofburg
In the early 18th Century set in a buoyant construction activity. The emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls and a new court library.
After the death of Johann Bernhard Fischer von Erlach, his son Joseph Emanuel Fischer von Erlach took over the construction management for the stables and the court library. 1725 the palatial front of the stables was completed. As already during the construction period has been established that the stables were dimensioned too small, the other wings were not realized anymore. The with frescoes by Daniel Gran and statues of Emperors by Paul Strudel equipped Court Library was completed in 1737.
Opposite the Leopoldine Wing a new Reich Chancellery should be built. 1723 was entrusted with the planning Johann Lucas von Hildebrandt. 1726, however, the supervision the Reich Chancellery was withdrawn and transferred to the Chancery and thus Joseph Emanuel Fischer von Erlach, who also designed the adjacent Court Chamber and the front to St. Michael's Church. 1728 the Court Chamber and the facade of the two buildings were completed. By Joseph Emanuel Fischer von Erlach was also the Michaelertrakt, the connection between the Winter Riding School and the Imperial Chancellery Wing planned. However, since the old Burgtheater the building was in the path, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner .
Under Maria Theresia (1717-1780) the at St. Michael's Square located and only as remnants existing Ballhaus was adapted as a court theater. Beside the Emperor hospital in return a new ball house was built, being eponymous for the Ballhausplatz. Subsequently, there occured again and again conversions and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small and large ball room (1744-1748). The transformation of the two halls (from 1760), repair of the Court Library, and from 1769 onwards the design of the Josephsplatz took place under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension for the Court Library in the southeast the Augustinian tract was built.
Other structural measures under Maria Theresia: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg housed art collection into the Upper Belvedere, razing of the two remaining towers of the old castle, the construction of two stairways (the ambassador stairway and the column stairways (Botschafter- and Säulenstiege).
Extensions in the 19th Century and early 20th century
Francis II (1768-1835) gave Duke Albert of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa) the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and extended by a wing building to today's Albertina.
1804, Francis II proclaimed the hereditary Empire of Austria and was, consequently, as Franz I the first Emperor of Austria. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.
1809 part of the old bastions was blown up at the castle in consequence of the war with Napoleon, and after it blazed. Towards today's ring road, then new outworks were created (the so-called Hornwerkskurtine and the Escarpen). In the early 20-ies of the 19th Century were layed out three gardens: the private imperial castle garden with two of Louis Remy planned steel/glass- constructed greenhouses, Heroes Square (Heldenplatz) with avenues and the People's garden (Volksgarten) with the Theseus Temple (Pietro Nobile). At the same time, emerged also the new, 1821 by Luigi Cagnola began and 1824 by Pietro Nobile completed outer castle gate.
1846 was built a monumental memorial to Francis I in Inner Castle Square. In the turmoil of the 1848 revolution the Stallburg was stormed and fought fiercely at the outer castle square and the castle gate. As a result, the roof of the court library burned. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Fürst Metternich and the enthronement of Ferdinand's nephew Franz Joseph.
In the first years of the reign of Emperor Franz Joseph I (1830-1916) the royal stables of Leopold Mayer have been redesigned and expanded. As part of the expansion of the city, the city walls were razed and instead of the fortifications arose place for a magnificent boulevard, the Ringstrasse. 1862, the idea of an Imperial Forum by architect Ludwig Förster was born. On the surface between the Hofburg and the Imperial Stables should arise court museums (Museum of Art History and Museum of Natural History).
At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (victor over Napoleon at the Battle of Aspern) and Prince Eugene of Savoy (victor over the Turks in several battles) set up.
After an unsuccessful architectural competition on the design of the Heroes' Square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing complex beyond the ring road, with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was began with the Erdaushebungen (excavations) for the museums. 1889, the Museum of Natural History was opened, and in 1891, the Museum of Art History.
On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905) an overall view of the Imperial Forum is shown.
1888, the Old Court Theatre at St. Michael's Square was demolished, as the new KK Court Theatre (today's Burgtheater), built by Gottfried Semper and Carl Freiherr von Hasenauer, was finished. The since 150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules' at he side of the passage arches. 1893, the Hofburg had finally got its ostentatious show facade.
1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans by Friedrich Ohmann (completed in 1910). In 1907, the Corps de Logis, which forms the end of the Neue Burg, is completed. Since Emperor Franz Joseph I in budding 20th Century no longer was interested in lengthy construction projects and the heir to the throne Franz Ferdinand of Austria-Este (1863-1914) was against the establishment of a throne hall building, but was in favour for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922), succeeded to the throne, however, he held only two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11 November 1918 the First Republic was proclaimed. As Karl although renounced to government business, but not to the throne, he had to go into exile with his family.
The Imperial Palace in the 20th century
The interior design of the ballroom tract and the Neue Burg continued despite the end of the monarchy until 1926. By the end of the monarchy, many of the buildings lost their purpose. Furthermore used or operated was the Riding School. The stables were used from 1921 as an exhibition site of the Vienna Fair ("Fair Palace"). In 1928, the Corps de Logis, the Museum of Ethnology, until then part of the Natural History Museum, opened. In 1935 the collection of weapons (Court, Hunting and Armour Chamber) of the Kunsthistorisches Museum (Museum of Art History) came in the Neue Burg.
1933/1934 the outer castle gate by Rudolf Wondracek was transformed into the hero monument to the victims of the First World War. 1935 emerged on the left and on the right of the castle gate the pylon portals with eagle sculptures by William Frass. In March 1938, the Heroes Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler to the cheering crowd at the Heldenplatz announced the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace during the period of Nazism propaganda events were held.
During the war, the Hofburg (Imperial Stables, St. Augustine's Church, Albertina, the official building of the Federal President, the current building of the Federal Chancellery) was severely damaged by bombing: The first President of the Second Republic, Dr. Karl Renner, in 1946 the Office of the President moved into the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).
During the occupation time the seat of the Inter-Allied Commission was housed in the Neue Burg.
1946 first events were held in the Exhibition Palace again, and were built two large halls in the main courtyard of the Exhibition Palace. In the course of the reconstruction war damages were disposed and the Imperial Palace was repaired, the barn castle (Stallburg) erected again. In 1958, in the ballroom wing the convention center has been set up.
1962-1966 the modern Library of the Austrian National Library is housed in the Neue Burg.
1989 emerged for the first time the notion of a "Museum Quarter". The museum quarter should include contemporary art and culture. The oversized design by Laurids and Manfred Ortner but was downsized several times after resistance of a citizens' initiative. It was implemented a decade later.
1992 the two Redoutensäle (ball rooms) burned out completely. Yet shortly after the fire was started with reconstruction. The roof was reconstructed and the little ball room (Kleiner Redoutensaal) could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.
From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.
Was began in 1999 with the renovation of the Albertina. The by a study building, two exhibit halls and an underground storage vault extended Museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.
In 2006, additional rooms for the convention center were created by the boiler house yard.
(Source: Trenkler, Thomas: "The Hofburg Wien", Vienna, 2004)
www.burghauptmannschaft.at/php/detail.php?ukatnr=12185&am....
#UP4014 is passed by Front Runner as it departs the depot in Ogden, Utah. Front Runner is Utah Transit Authority (UTA)'s new commuter rail system, creating a unique contrast to #4014 which was finished in 1941.
........allora, qui sopra potete vedere, a sx ovviamente Fede, a dx Bo "Thaiwan" e al centro io con un'espressione da imbecille..........ahahahhahahahahha........... soprattutto, questa è la prova del raggiungimento della meta!!!!!!!!!!!
these were a birthday present for my sons kindergarten teacher who became a really good friend (and customer lol) over the last two years. made of polymer clay and adorned with swarovski crystals. she loves them! :-)
Présentation de lettre de créance ce mardi 14 Juin 2016 à la Présidence de la République de l’Ambassadeur de l’Afrique du Sud près le Bénin, Madame Noluthando MAYENDE-SIBIYA au Chef de l’Etat Patrice Talon
A modern freight train travelling along the line near Olary, Outback South Australia with an old water tower from a bygone era in the back ground.
The Mobility Roadshow –
why visit?
Presenting the finest in mobility innovation for 30 years, the national Mobility Roadshow is the original hands-on mobility event, showcasing the best possible products and services for an independent lifestyle. Whether you want to test drive, have a go at sport, driving experiences, rock climbing or just find out what’s new in the mobility market – it’s all here!
Inspirational - be amazed at life-changing productsand new ideas for YOUR independent lifestyle
Informative - gain a wealth of expert help, information and advice
Interactive - test drive vehicles, wheelchairs, powerchairs, scooters, cycles; join in sport, watch demonstrations, activities for all the family
What is it?
The UK’s most comprehensive event of its kind, it is THE annual mobility and lifestyle consumer event, showcasing a huge variety of products and services to aid an independent lifestyle. The Mobility Roadshow aims to give anyone with a mobility problem - drivers, passengers, adults or children - the chance to assess what is available to help solve that problem and most importantly to try out and evaluate the options in a ‘no pressure’ environment
Whether you have a disability that affects your mobility, or you’re an older person who is finding mobility that little bit more restricted than it used to be, the Mobility Roadshow is your one-stop shop for independence and freedom. It offers, quite simply, the best possible showcase of mobility products and services anywhere in the UK.
When and where is the next show?
Telford International Centre, 27th-29th June 2013
Who organises it?
The Mobility Roadshow is organised by registered charity Mobility Choice.
How much does it cost to get in?
Admission, parking and showguide are free, as are all activities on site.
Is it just for people with disabilities?
Not at all - there are all kinds of devices that could help people of any age who may be experiencing mobility problems through something like arthritis or stiffening joints – swivel seats make getting in and out of a car much easier, while lightweight portable scooters that fit easily in the boot of a car can be a real help for shopping or leisure activities for the less mobile.
Who exhibits at the Roadshow?
Around 160 companies and organisations, including several of the major car companies, plus vehicle adaptation and conversion specialists, mobility aids manufacturers, scooter and wheelchair manufacturers, information and advice services, charities, mobility insurance specialists; sport, leisure and holiday companies; plus a range of equipment and services for an independent lifestyle.
What sort of products will I see?
Latest cars and converted vehicles fitted with adaptations; the widest range of wheelchair-accessible vehicles (WAVS); lightweight, sports, power and manual wheelchairs; hand controls; hoists; car seats; commercial vehicles; battery chargers; trikes and scooters; walkers; rotating car seats; specialist wheels and tyres; suspension systems; ramps; seat clamps; wheelchair restraints; independent living aids and numerous gizmos and gadgets to make life easier for anyone with a mobility problem.
Can I have a go on things?
Yes, this is the original ‘hands-on’ mobility event for consumers. There are opportunities to test drive adapted vehicles and specialist wheelchair-accessible conversions, scooters and wheelchairs and to try out products before you even think about buying, so you can compare all the available options. As well as test driving vehicles, you can try out wheelchairs and scooters on a dedicated Mobility Test Track, plus interactive Sports Arena, and our ever-popular accessible rock-climbing wall with experienced helpers to get you to the top!
You mean I actually get to test drive vehicles?
Yes – many of the major motor manufacturers and conversion specialists will have a range of adapted vehicles available to try out – make sure you bring your driving licence with you. For the first time in the Roadshow's 30-year history, test drives will take place on the public roads around the International Centre, accompanied by a professional driver at all times and dual controls fitted to each vehicle (full licence holders only). You can register to test drive in advance, either through the website or by post.
Is it just for Motability customers?
No. The Roadshow is for anyone who has a mobility problem, whether you have a vehicle through the Motability scheme or you own one privately.
Can I bring the kids?
Yes, it`s a fun day out for all the family. There’s a variety of entertainment such as jugglers, clowns, magicians, face painters or balloon sculptors – plenty to see and do for everyone.
What about sport?
The Roadshow’s interactive Sports Arena offers you a chance to really get involved in a range of sports such as basketball, rugby, sledge hockey, and find out about what’s available in your area.
Can I hire a wheelchair or scooter?
Yes. Wheelchairs and scooters can be pre-booked (subject to availability), and some will be available on the day.
Will I really get impartial advice?
Yes. The Roadshow is all about choice and opportunity. A large number of charitable organisations and information services will be offering impartial advice on a range of mobility issues.
Did you know?
* There are over 10 million disabled people in the UK, that’s over 15% of the population.
* There are 2.3 million blue badge holders in the UK, indicating that they have a significant mobility problem.
* Mobility vehicles represent around 20% of the UK car market.
* Over 5.5 million disabled people are of working age, which represents 16% of the working population. However only 50% of disabled people of working age are in employment compared to 87% of non-disabled people of working age.
*Around 40% of the UK population is over 45 - the age at which the incidence of disability begins to increase significantly.
* The estimated annual purchasing power of people with disabilities is £40-£50 billion
* Over half the population over 75 has some kind of disability – 70% have difficulty walking or climbing stairs.
* 85% of disabled people in the UK were not born disabled, but became so in later life through accident or illness.
* 66% of disabled people are older people. In the next 50 years the number of over 60s will double and the number of over 80s will treble.
Angkor Wat or "Capital Temple" is a temple complex in Cambodia and the largest religious monument in the world. It was first a Hindu and later a Buddhist temple. It was built by the Khmer King Suryavarman II in the early 12th century in Yaśodharapura, present-day Angkor, the capital of the Khmer Empire, as his state temple and eventual mausoleum.
Breaking from the Shiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. As the best-preserved temple at the site, it is the only one to have remained a significant religious center since its foundation. The temple is at the top of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple, based on early Dravidian architecture, with key features such as the Jagati. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat and an outer wall 3.6 kilometres long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls.
The modern name, Angkor Wat, means "Temple City" or "City of Temples" in Khmer; Angkor, meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ), which comes from the Sanskrit word nagara (नगर). Wat is the Khmer word for "temple grounds" (Sanskrit: वाट vāṭa ""enclosure").
HISTORY
Angkor Wat lies 5.5 kilometres north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. It is in an area of Cambodia where there is an important group of ancient structures. It is the southernmost of Angkor's main sites.
According to one legend, the construction of Angkor Wat was ordered by Indra to act as a palace for his son Precha Ket Mealea.
According to the 13th century Chinese traveler Daguan Zhou, it was believed by some that the temple was constructed in a single night by a divine architect. The initial design and construction of the temple took place in the first half of the 12th century, during the reign of Suryavarman II (ruled 1113-C. 1150). Dedicated to Vishnu, it was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as "Varah Vishnu-lok" after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished.
In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon respectively) a few kilometers to the north.
In the late 13th century, Angkor Wat gradually moved from Hindu to Theravada Buddhist use, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was somewhat neglected after the 16th century it was never completely abandoned, its preservation being due in part to the fact that its moat also provided some protection from encroachment by the jungle.
One of the first Western visitors to the temple was António da Madalena, a Portuguese monk who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."
In the mid-19th century, the temple was visited by the French naturalist and explorer, Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:
"One of these temples - a rival to that of Solomon, and erected by some ancient Michelangelo - might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged."
Mouhot, like other early Western visitors, found it difficult to believe that the Khmers could have built the temple, and mistakenly dated it to around the same era as Rome. The true history of Angkor Wat was pieced together only from stylistic and epigraphic evidence accumulated during the subsequent clearing and restoration work carried out across the whole Angkor site. There were no ordinary dwellings or houses or other signs of settlement including cooking utensils, weapons, or items of clothing usually found at ancient sites. Instead there is the evidence of the monuments themselves.
Angkor Wat required considerable restoration in the 20th century, mainly the removal of accumulated earth and vegetation. Work was interrupted by the civil war and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period other than the theft and destruction of mostly post-Angkorian statues.The temple is a powerful symbol of Cambodia, and is a source of great national pride that has factored into Cambodia's diplomatic relations with France, the United States and its neighbor Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and even transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937. Angkor Wat's aesthetics were also on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from C. 1880 to the mid-1920s. The splendid artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country that had been under Siamese (Thai) control since 1351 AD (Manich Jumsai 2001), or by some accounts, 1431 AD. Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since that time.
ARCHITECTURE
SITE AND PLAN
Angkor Wat, located at 13°24′45″N 103°52′0″E, is a unique combination of the temple mountain, the standard design for the empire's state temples and the later plan of concentric galleries. The temple is a representation of Mount Meru, the home of the gods: the central quincunx of towers symbolises the five peaks of the mountain, and the walls and moat the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple.Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction - prasavya in Hindu terminology - as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services. The archaeologist Charles Higham also describes a container which may have been a funerary jar which was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.
A further interpretation of Angkor Wat has been proposed by Eleanor Mannikka. Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, she argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honor and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.
STYLE
Angkor Wat is the prime example of the classical style of Khmer architecture - the Angkor Wat style - to which it has given its name. By the 12th century Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are of sandstone blocks, while laterite was used for the outer wall and for hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested. The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity and style." Architecturally, the elements characteristic of the style include: the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, and on pediments extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.
FEATURES
OUTER ENCLOSURE
The outer wall, 1024 by 802 m and 4.5 m high, is surrounded by a 30 m apron of open ground and a moat 190 m wide. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper. Under the southern tower is a statue of Vishnu, known as Ta Reach, which may originally have occupied the temple's central shrine.Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth. The outer wall encloses a space of 820,000 square metres, which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.
CENTRAL STRUCTURE
The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. Mannikka interprets these galleries as being dedicated to the king, Brahma, the moon, and Vishnu.
Each gallery has a gopura at each of the points, and the two inner galleries each have towers at their corners, forming a quincunx with the central tower. Because the temple faces west, the features are all set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason the west-facing steps are shallower than those on the other sides.
The outer gallery measures 187 by 215 m, with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (the "Hall of a Thousand Gods"). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water.
North and south of the cloister are libraries.
Beyond, the second and inner galleries are connected to each other and to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 by 115 m, and may originally have been flooded to represent the ocean around Mount Meru.
Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The very steep stairways represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m square with axial galleries connecting each gopura with the central shrine, and subsidiary shrines located below the corner towers. The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and to the shrines. The tower above the central shrine rises 43 m to a height of 65 m above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.
DECORATION
Integrated with the architecture of the building, and one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these, "the greatest known linear arrangement of stone carving".
From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hindu mythology.
On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras, and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst"). and a battle between the Hindu gods and asuras. The north-west and south-west corner pavilions both feature much smaller-scale scenes, some unidentified but most from the Ramayana or the life of Krishna. Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.
CONSTRUCTION TECHNIQUES
The stones, as smooth as polished marble, were laid without mortar with very tight joints that are sometimes hard to find. The blocks were held together by mortise and tenon joints in some cases, while in others they used dovetails and gravity. The blocks were presumably put in place by a combination of elephants, coir ropes, pulleys and bamboo scaffolding. Henri Mouhot noted that most of the blocks had holes 2.5 cm in diameter and 3 cm deep, with more holes on the larger blocks. Some scholars have suggested that these were used to join them together with iron rods, but others claim they were used to hold temporary pegs to help manoeuvre them into place. The monument was made out of millions of tonnes of sandstone and it has a greater volume as well as mass than the Great Pyramid of Giza in Egypt. The Angkor Wat Temple consumes about 6 million to 10 million blocks of sandstone with an average weight of 1.5 tons each. In fact, the entire city of Angkor used up far greater amounts of stone than all the Egyptian pyramids combined, and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids which use limestone quarried barely half a km away all the time, the entire city of Angkor was built with sandstone quarried 40 km (or more) away. This sandstone had to be transported from Mount Kulen, a quarry approximately 40 km to the northeast. The route has been suggested to span 35 kilometres along a canal towards Tonlé Sap lake, another 35 kilometres crossing the lake, and finally 15 kilometres upstream and against the current along Siem Reap River, making a total journey of 90 kilometres. However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2012 a shorter 35-kilometre canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.
Virtually all of its surfaces, columns, lintels even roofs are carved. There are miles of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots as well as warriors following an elephant-mounted leader and celestial dancing girls with elaborate hair styles. The gallery wall alone is decorated with almost 1000 square metres of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were a prime target for robbers. While excavating Khajuraho, Alex Evans, a stonemason and sculptor, recreated a stone sculpture under 1.2 m, this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labor force to quarry, transport, carve and install so much sandstone must have run into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artifacts that have been dated to the seventh century, before the Khmer came to power.
ANGKOR WAT TODAY
The Archaeological Survey of India carried out restoration work on the temple between 1986 and 1992. Since the 1990s, Angkor Wat has seen continued conservation efforts and a massive increase in tourism. The temple is part of the Angkor World Heritage Site, established in 1992, which has provided some funding and has encouraged the Cambodian government to protect the site. The German Apsara Conservation Project (GACP) is working to protect the devatas and other bas-reliefs which decorate the temple from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed restoration of the north library of the outer enclosure in 2005. World Monuments Fund began conservation work on the Churning of the Sea of Milk Gallery in 2008 after several years of conditions studies. The project restored the traditional Khmer roofing system and removed cement used in earlier restoration attempts that had resulted in salts entering the structure behind the bas-relief, discoloring and damaging the sculpted surfaces. The main phase of work ended in 2012, and the final component will be the installation of finials on the roof of the gallery in 2013. Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Angkor Wat has become a major tourist destination. In 2004 and 2005, government figures suggest that, respectively, 561.000 and 677.000 foreign visitors arrived in Siem Reap province, approximately 50% of all foreign tourists in Cambodia for both years. The site has been managed by the private SOKIMEX group since 1990, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti; ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance - as of 2000 approximately 28% of ticket revenues across the whole Angkor site was spent on the temples - although most work is carried out by foreign government-sponsored teams rather than by the Cambodian authorities. Since Angkor Wat has seen significant growth in tourism throughout the years UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organized seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasized the importance of providing high quality accommodation and services in order for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed with regard to traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large amounts of tourists. The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat. Locals of Siem Reap have also voiced concern over the charming nature and atmosphere of their town being compromised in order to entertain tourism. Since this charming local atmosphere is the key component to projects like Angkor Tourist City, local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture. At the ASEAN Tourism Forum 2012, both parties have agreed Borobudur and Angkor Wat to become sister sites and the provinces will become sister provinces. Two Indonesian airlines are considering the opportunity to open a direct flight from Yogyakarta, Indonesia to Siem Reap.
WIKIPEDIA
After our first embarrassing ( for me ) and awkward meetings kevin and I began to get to know each other a bit better.
APPROXIMATE RELEASE DATE: 2014-present day
IMPORTANT NOTES: This outfit is sold on Josefina, as well as separately. The separately sold outfit does not come with hair accessories.
PERSONAL FUN FACT: The underwear are identical to Josefina's previous ones. The shoes are darker than my 2002 Josefina's, but they are the exact same style. This outfit is more or less a modified, simplified version of Josefina's original "meet" ensemble. The camisa is virtually identical, and even the skirt is cut in the same style. It even has the lace detailing that peeks out the bottom of her skirt. However, American Girl chose to use lighter weight fabric for the skirt, so it doesn't feel as nice quality as my 1997-2014 "meet" outfits. I personally love this outfit regardless of the lower quality, and I don't just enjoy it for the underwear (which I explain on the photo of my doll wearing this, I needed the undies for Rosalita). I think the print of the skirt, coupled with the bright blue belt, looks stunning on my Josefina dolls. I've enjoyed having this outfit on display almost nonstop since I ordered it during the fall of 2014.
I got a portrait workshop as christmas present frm my girlfriend. So on the last to days two I worked for the first time in a studio with a professional photographer and real actors. Although I'm rather an available light guy it was so great to be there and to learn so much new things.
Now this is the first shot from the weekend and I still can't believe that I made it.
Thanks to Holger and Nico for their knowledge, time and patience. Was great fun!
The perfect present for someone really rich!
You are free to use this photo under its Creative Commons license. For the attribution, please link back to either one of my websites: DIY Genius or Unified Stream.
Made for a colleague's daughter for her birthday. The brief was "a pink, girly present with a bow". The cake inside is chocolate mud cake.
This was actually made before my op, but somehow I never got around to uploading it.
Presentadora: María Pamiés, detrás: Angela Jiménez y Herminia Sanchez, delante: Jesús Serrano y Miguel Vazquez, de ls chicas Ricardo Alvarez, Laura Jiménez ...
Fotos por cortesia de Jose Prieto
Edificio realizado en sillería mampuesto y ladrillos, constituido por una sola nave distribuida en cinco tramos y capilla mayor cuadrangular. En el costado derecho de ésta se adosa una capilla cuadrada. Además situada en el muro de la Epístola encontraremos La Capilla Sacramental. La torre construida en sillería, se sitúa en el muro del Evangelio, y presenta dos cuerpos rematados con un capitel piramidal. El templo dispone de dos portadas, una de ellas se abre en el muro del Evangelio y se encuentra al mismo nivel que la Plaza Mayor. La otra portada se situa en el muro de la Epístola y se accede a ella a través de una gradería que conduce a un pequeño atrio. Las dos portadas son de esquema adintelado, se flanquean por pilastras y presentan frontones en el remate. Originalmente fue una iglesia gótica de tres naves de la que unicamente se conserva la capilla colateral derecha la llamada Capilla de San José, que puede fecharse entorno a 1400. En el siglo XVI se produciría una remodelación de este templo original, el albañil Diego Sánchez construyó los dos primeros tramos de la nave actual. A consecuencia del terremoto de Lisboa de noviembre de 1755, la Iglesia quedó practicamente destruida, siendo contratado para la reparación Pedro de Silva, maestro mayor del arzobispado de Sevilla; entre sus actuaciones destacan la demolición de la antigua torre y la construcción de la actual de enero de 1758 a febrero de 1759. A finales del siglo XVIII, Antonio de Figueroa construyó los restantes tramos de la iglesia actual. Con posterioridad a estas obras hubo nuevas actuaciones que no tuvieron una decisiva importancia, si exceptuamos la restauración que la Iglesia ha sufrido en fechas recientes.
Escultura y pintura
Entre las variadas obras que alberga el templo podemos destacar:
El Retablo del Altar Mayor
Obra contratada a Luis de Vargas en el año 1727. En la hornacina central se sitúa una escultura de la Virgen con el Niño de finales del s. XVI que es atribuida a Jerónimo Hernández. Complementan el conjunto imágenes de San Pedro y San Pablo, San Miguel, San Isidoro y San Leandro.
El Cristo del Buen Fin
Es una escultura de madera policromada que representa a Cristo muerto, fijo en la Cruz mediante tres clavos. Obra atribuida al escultor Pedro Millán, fechada en 1505, su estilo está dentro del gótico flamenco. Recientemente restaurado, es una de las joyas de esta Iglesia.
Retablo de la Inmaculada Concepción
Esta obra fue contratada a Juan Martinez Montañés en el año 1606, siendo finalizada en el año 1609. Aparece como un retablo bastante sencillo, cuya estructuras se distribuye en dos cuerpos, de tres calles cada uno, y un banco. En su origen estaba presidido por la imagen de la Inmaculada en la hornacina central, aunque en la actualidad su lugar esta ocupado por la imagen de San José, escultura del s. XVIII, de la escuela sevillana de Pedro Roldán. Destacan el vuelo de la túnica y el manto, con características propias del barroco. A los lados de esta imagen aparecen los relieves de San Bartolomé y Santiago. En el centro del segundo cuerpo se aprecia un lienzo de Santa Catalina, descubierto recientemente en la restauración del retablo. Es una magnífica obra del pintor flamenco Hernando de Sturn, de la escuela de Flandes, que se instaló en Sevilla hacia 1539. Representa a Santa Catalina de Alejandría , con los atributos de su martirio: la rueda y la espada. A los lados dos tablas que representa a San Pedro y San Diego de Alcalá, obras atribuidas a Francisco Pacheco. El retablo se terminó, según la inscripción que consta en el bando, en 1608.
Inmaculada de Martinez Montañés
Talla realizada y destinada a ocupar la hornacina central del anterior retablo, en la actualidad se encuentra situada en el retablo neoclásico de la Capilla Sacramental. La escultura de la Inmaculada es una bellisima imagen que representa a la Virgen, casi una niña. Esta de pie sobre la luna que tiene en el centro una cabeza de ángel. El rostro de la Virgen está inclinado hacia el lado derecho y dirige la mirada al suelo. Es interesante el ropaje y el manto que la cubre formando grandes pliegues.
Retablo de Santa Ana, la Virgen y el Niño
Magnífico retablo de principios del siglo XVIII, dividido en tres calles por columnas salomónicas, en la hornacina central se encuentra el grupo escultórico del segundo tercio del siglo XVI, realizado en madera policromada. La Virgen aparece en el regazo de Santa Ana y en sus brazos muestra el Niño Jesús. La imagen de Santa Ana es de mayor tamaño y en el rostro reflejauna serena madurez. Las tres figuras están dotadas de una gran solemnidad, tanto por el gesto como por las miradas que presentan. En el año 1716, la Orden Tercera del Convento de San Francisco de Cazalla de la Sierra contrató a Luis de Baias para que éste efectuase la talla de un retablo. A mediados del siglo XIX y desamortizado citado convento, el Arzobispo de Sevilla autorizó que el retablo fuese trasladado a la Parroquia de El Pedroso. Restaurado en Sevilla, actualmente lo preside una imagen de Santa Ana.
Capilla de la Virgen del Rosario
Situada frente al Sagrario en el muro del Evangelio, contiene un bello retablo fechado en 1630. Es una interesante muestra de los retablos sevillanos de esta época. Presenta un solo cuerpo dividido en tres calles, ocupando la central una imagen de candelero y las laterales relieves con San Juan Bautista, San Pablo y la Anunciación. En la parte alta se sitúa una escultura de San Esteban. Dentro de esta capilla, se encuentra la imagen de San Antonio de Padua. Una imagen realizada en madera policromada con torsura de fraile y hábito de la orden franciscana, túnica y cordón. En el brazo derecho lleva el libro de sus escritos y en la izquierda una azucena, símbolo de la pureza. Por su estilo, podemos decir que pertenece al siglo XVIII, aunque es un dato aún por confirmar.
Jesús del Gran Poder
Retablo a modo de hornacina del siglo XVIII con colores muy vivos que recurre a la pintura y talla típica de este siglo, juega con la combinación de relieves y colores, lo que le da un toque muy valioso por el juego de luces y sombras que se producen entre los relieves. Por su parte, la imagen del Gran Poder es una talla anónima del siglo XVI que fue adaptada en el siglo XVIII como imagen procesional. Actualmente procesiona en El Pedroso el domingo de Ramos en Via Crucis gracias al Grupo Joven de El Pedroso.
Informacion tomada de
12/52
Have my past photos come to haunt me? I am always comparing my past to my present. Wondering if my old style was better compared to what I am doing now. Like I am looking at my own growth.
Goéland à ailes blanches encore présent sur le bassin Loubet de Boulogne-sur-mer ce 04/12/2017
Canon 7D,300mm Canon + multiplicateur 1.2
Un goéland bourgmestre 2cy le 10/01/2018 à Outreau "bassin de la liane"
The Ipod Nano was a present that my girlfriend sent me for my birthday. She lives in the USA and I live in the Netherlands. It should have arrived within a week or so, but it never arrived. We thought the postal office employee had simply taken it home himself... Stolen... We were so sad about it :(
But then, out of the blue, about a month too late, I got a note saying that the Dutch postal services had tried to deliver a package, but that I had not been home to accept it. I could pick it up at the nearest post office! I rused there the same day and it was actually the Ipod! I couldnt believe it! :) After that we were very happy of course, and I still enjoy the ipod every day! :)
This photo is inspired by a lightbox that Andreas Reinhold posted a "Do it yourself - Guide" of. The ipod is lying inside a cardboard box, smaller than a shoebox even, which has some holes in it, about 20x30cm big. These holes are covered by a normal A4 size piece of paper, and I aim a light at the hole. Soft, even light spreads over the contents of the box. No harsh reflections, except in the previous image, because the opening of the box through which I take the photo lets light fall in as well of course. I want to make a bigger box one day, but will need some large size paper as well.
Only editing was autolevels in photoshop and making the background a little bit whiter by increasing the contrast a bit.
Here is another great Lightbox idea from Linux-Works and here is a great and cheap Ikea lightbox. Also very creative, and an idea of Zepofan. Definitely also check out this tutorial, also links to another one, created by Strobist
Presentadora y modelo colombiana Carolina Cruz modelando ropa interior de la marca Chamela.
Mas de Carolina Cruz: www.sexymodelosfamosas.com/chica/carolina-cruz/
Sexy Modelos Famosas: www.sexymodelosfamosas.com/
Chamela chamela.com.co/
Sally Fitzgibbons Claims Rip Curl Women’s Pro Bells Beach, Maiden Elite Event Win
BELLS BEACH, Victoria/Australia (Saturday, April 23, 2011) – Sally Fitzgibbons (AUS), 20, claimed her maiden ASP Women’s World Title event win today after a hard-fought Final with current ASP Women’s World No. 1 Carissa Moore (HAW), 18, taking out the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta and firmly announcing herself as a threat to the 2011 ASP World Title race.
The second stop of the 2011 ASP Women’s World Title season, the Rip Curl Women’s Pro Bells Beach enjoyed some of the best conditions ever offered to the ASP Top 17, culminating in this afternoon’s epic clash in glassy three-to-four foot (1.5 metre) waves at Rincon.
Fitzgibbons, who finished Runner-Up in three events in 2010 as well as finishing the season in the Runner-Up spot, consistently outshined her fellow ASP Top 17 members at Bells Beach, launching into incredible high scores from the opening round of competition.
“This is so overwhelming,” Fitzgibbons said. “It’s been a long journey for me to finally win and this is incredible. I can’t feel my arms or legs and I’m just trying to keep from crying right now. It’s been a really long time coming and I want to thank all the girls for pushing me as well as all my family and friends who have supported me over the years.”
Today’s maiden victory was made all the more emotional for the young Australian, clinching the title in the event’s 50th year of operation, surrounded by her heroes and sporting icons.
“It’s extra special to win it this year for the 50 years event,” Fitzgibbons said. “Ever since I was a kid, I’ve always watched my heroes surf and win here and I’ve always dreamed of ringing the Bell and now that it’s happened, I don’t know what to say. The other night at the 50-year ball, I saw all my icons on stage and I was so inspired. So to win right now is a dream come true.”
Fitzgibbons now sits at ASP Women’s World No. 2 with today’s win.
Moore continued her rampage amongst the world’s best here at the Rip Curl Pro Bells Beach, only falling short to Fitzgibbons in the Final. The gracious Hawaiian remains firmly in the driver’s seat in this year’s hunt for the ASP Women’s World Title, and will look to further cement her position at next week’s event in New Zealand.
“I’m stoked to have made the Final with Sally (Fitzgibbons),” Moore said. “For her to come out on top was awesome. We’ve have a lot of good clashes last year and this year, and her win’s been a long time coming so congrats to her. Of course I would have liked to have rung the Bell, but that may have to happen next year.”
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion, enjoyed more of a return to form at Bells Beach, but the former three-time event winner was unable to overcome a rampaging Fitzgibbons in their Semifinal clash. Today’s Equal 3rd place finish has Gilmore sitting in ASP Women’s World No. 4 heading into the New Zealand event.
"I felt really good this event, my surfing felt more confident,” Gilmore said. “I'm happy with my performance, but hopefully I'm just building towards No. 1. Sally (Fitzgibbons) was so in form, she was throwing away scores that I was keeping as my top two, she's well deserving of the win."
Silvana Lima (BRA), 26, past event winner, put on a valiant effort in today’s conditions but ultimately fell to eventual winner Moore in her Semifinal heat.
“Very happy with my performance at Bells and that we had good waves for the girls,” Lima said. “I’m sad that I couldn’t make the Final, but Carissa (Moore) was surfing really well and she deserves it. I’m looking forward to New Zealand.”
The next stop on the 2011 ASP Women’s World Title season will be the Subaru Pro TSB Bank Women’s Surf Festival in Taranaki, New Zealand from April 27 – May 1, 2011.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
The Rip Curl Pro Bells Beach presented by Ford Ranger completed Round 4 of competition this morning with Joel Parkinson (AUS), 30, Kelly Slater (USA), 39, Jordy Smith (ZAF), 23, and Mick Fanning (AUS), 29, all taking out wins and advancing straight through to the Quarterfinals.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
When the Rip Curl Pro Bells Beach presented by Ford Rangers resumes, up first will be Owen Wright (AUS), 21, against Bede Durbidge (AUS), 28, in the opening heat of Round 5.
For more information, log onto www.aspworldtour.com
RIP CURL WOMEN’S PRO BELLS BEACH FINAL RESULTS:
1 – Sally Fitzgibbons (AUS) 16.77
2 – Carissa Moore (HAW) 15.40
RIP CURL WOMEN’S PRO BELLS BEACH SEMIFINAL RESULTS:
SF 1: Carissa Moore (HAW) 15.10 def. Silvana Lima (BRA) 12.60
SF 2: Sally Fitzgibbons (AUS) 18.37 def Stephanie Gilmore (AUS) 12.60
RIP CURL WOMEN’S PRO BELLS BEACH QUARTERFINAL RESULTS:
QF 1: Silvana Lima (BRA) 15.57 def. Sofia Mulanovich (PER) 9.60
QF 2: Carissa Moore (HAW) 13.34 def. Courtney Conlogue (USA) 5.90
QF 3: Stephanie Gilmore (AUS) 15.00 def. Tyler Wright (AUS) 11.44
QF 4: Sally Fitzgibbons (AUS) 18.56 def. Coco Ho (HAW) 14.53
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 4 RESULTS:
Heat 1: Sofia Mulanovich (PER) 14.50 def. Chelsea Hedges (AUS) 8.50
Heat 2: Courtney Conlogue (USA) 12.50 def. Melanie Bartels (HAW) 12.04
Heat 3: Tyler Wright (AUS) 13.60 def. Jessi Miley-Dyer (AUS) 12.47
Heat 4: Sally Fitzgibbons (AUS) 18.83 def. Pauline Ado (FRA) 11.50
ASP WOMEN’S WORLD TITLE TOP 5 (After Rip Curl Pro Bells Beach):
1. Carissa Moore (HAW) 18,000 pts
2. Sally Fitzgibbons (AUS) 16,400 pts
3. Tyler Wright (AUS) 13,200 pts
4. Stephanie Gilmore (AUS) 11,700 pts
5. Silvana Lima (BRA) 11,700 pts
RIP CURL PRO BELLS BEACH ROUND 4 RESULTS:
Heat 1: Joel Parkinson (AUS) 15.26, Owen Wright (AUS) 13.84, Adriano de Souza (BRA) 9.14
Heat 2: Kelly Slater (USA) 13.67, C.J. Hobgood (USA) 12.17, Bede Durbidge (AUS) 11.04
Heat 3: Jordy Smith (ZAF) 14.27, Chris Davidson (AUS) 13.37, Tiago Pires (PRT) 11.63
Heat 4: Mick Fanning (AUS) 19.10, Jadson Andre (BRA) 13.17, Michel Bourez (PYF) 11.40
RIP CURL PRO BELLS BEACH ROUND 5 MATCH-UPS:
Heat 1: Owen Wright (AUS) vs. Bede Durbidge (AUS)
Heat 2: C.J. Hobgood (USA) vs. Adriano de Souza (BRA)
Heat 3: Chris Davidson (AUS) vs. Michel Bourez (PYF)
Heat 4: Jadson Andre (BRA) vs. Tiago Pires (PRT)
Photo ASP / Kirstin
Creator: Unidentified
Location: Brisbane, Queensland
Description: Presenting flowers to The Queen outside Brisbane City Hall in March 1954. A young girls curtsies as she presents a bouquet to Queen Elizabeth II.
View this image at the State Library of Queensland: hdl.handle.net/10462/deriv/91166
Information about State Library of Queensland’s collection: pictureqld.slq.qld.gov.au/