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SFU Academic quadrant. Designed by Arthur Erickson. Commonly referred to as a "concrete prison" design by people, its controversial because it's designed by the award winning Arthur Erickson in 1965.
Detail of one of the doors of the Archbishop`s palace in Passau. Rich wood tones contrast with the gilt door furniture.
This is a very animated postcard published and printed in the UK by W.H. Smith in their Kingsway series. It dates from about 1908 and shows Piccadilly Circus looking northwest towards the Quadrant and Regent Street. There is a Vine Street police constable on point duty bottom right with his arms akimbo. Middle left is the famous drapers, Swan & Edgar and on the right is an early motor bus heading towards the Elephant & Castle and Camberwell with an advertisement for "Tatcho", this was a hair restorer for gentlemen which was endorsed on the bottle by George R. Sims who was a famous journalist, playwright and poet. One of his most famous stanzas was "It is Christmas day in the workhouse". Mr. Sims had registered the product in 1897 and in 1912 the British Medical Association published a report on the hair restorer stating that it contained 2.7 parts Borax, 2-5 parts glycerine, and small parts of quinine, formaldehyde, alcohol, and perfume". I don't think it worked somehow. Best viewed with the zoom feature.
Out of service and parked up at the Quadrant. Two Dennis Darts pose in original SWT post deregulation livery (left) and the initial pre barbie First Cymru livery (right)
Vancouver, BC Canada
c. 1966 Signal IV
c. 2001 Sea Imp XV
c. 2012 Quadrant Recruit
Year Built: 1966
Place: New Westminster, BC
Measurement: 29.3' x 12.9' x 6.3'
Builder: John Manly Ltd.
Hull:Steel
Gross Tonnage:12.48
Type 1: Tug
Registered Tonnage: 8.49
Engine: 220bhp diesel engine (1966)
Propulsion: Screw
In 1966-1973 she was owned by Signal Towing Ltd., New Westminster BC.
In 1974-1990 she was owned by Empire Tug Boats Ltd., New Westminster BC.
In 1991-1993 she was owned by Roman Wengryniuk, North Vancouver BC.
In 1994 she was owned by Sandra L. Leblanc, Sechelt BC.
In 1995-1999 she was owned by Susan A. Reynolds, Black Creek BC.
In 2001-2012 she was owned by Catherwood Towing Ltd., Mission BC.
In 2013-2019 she was owned by Quadrant Investments Ltd., Coquitlam BC.
Reference: nauticapedia.ca
This image is best viewed in Large screen.
Thank-you for your visit, and any faves or comments are always greatly appreciated.
Sonja
RATP London United (on loan from RATP London Sovereign, BCE47144, LG71 DXB, Fulwell/Wellington Road (FW)-based (on loan from Edgware/Approach Road (BT)) at The Quadrant, Richmond, London. Body no M423/7, delivered new 31/12/2021
Dave, DAVE! someone has parked on the pavement again!
PG72AB is a British Army EKA heavy lifting 8x8 mahine
N465 on a V/line passenger service to Shepparton passes the outer lower quadrant signal at Wallan on 14-5-2018
Highbury, Islington, North London.
I used to (temporarily) live in one of these houses and loved it...
WVN37 is seen on the 80, curtailed at The Quadrant stands, with a sheet of paper displaying the route number and a blank destination blind.
A real attraction at Weybourne, North Norfolk Railway is the lower quadrant signal at the Holt end of the station.
330_P1010691CE
John Wilcox used this quadrant on his voyages from Madison to New York and the Connecticut River in the early 1800's to about 1860. A quadrant was a forerunner of the sextant and measured the altitude of heavenly bodies for navigation.
Brass and ivory fitted ebony frame with the maker's name and compass degrees engraved on ivory set into the frame. Colored glass filters used in the sighting device. Quadrant fits into oak box with partial label of William Davenport, instrument dealer in Philadelphia. Cut side of box is painted yellow and has faint traces of a star and "JOHN WILCOX" painted on it. Made by Spencer, Browning & Rust, London England c. 1800.
15" X 13 3/4" X 3 1/2"
Found in collection.
ACC# 79.680.1-2
See more museum items at flic.kr/s/aHskgxX9We.
(Photo credit Bob Gundersen www.flickr.com/photos/bobphoto51/albums)
From Wikipedia, the free encyclopedia
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Arles
Arles is located in France
Arles is located in Provence-Alpes-Côte d'Azur
Coordinates: 43°40′36″N 4°37′40″ECoordinates: 43°40′36″N 4°37′40″E
Country France
Region Provence-Alpes-Côte d'Azur
Department Bouches-du-Rhône
Arrondissement Arles
Canton Arles
Intercommunality CA Arles-Crau-Camargue-Montagnette
Government
• Mayor (2014–2020) Hervé Schiavetti (PCF)
Area1 758.93 km2 (293.02 sq mi)
Population (2012)2 52,439
• Density 69/km2 (180/sq mi)
Time zone CET (UTC+1)
• Summer (DST) CEST (UTC+2)
INSEE/Postal code 13004 /13200
Elevation 0–57 m (0–187 ft)
(avg. 10 m or 33 ft)
1 French Land Register data, which excludes lakes, ponds, glaciers > 1 km² (0.386 sq mi or 247 acres) and river estuaries.
2 Population without double counting: residents of multiple communes (e.g., students and military personnel) only counted once.
Arles (French pronunciation: [aʁl]; Provençal [ˈaʀle] in both classical and Mistralian norms; Arelate in Classical Latin) is a city and commune in the south of France, in the Bouches-du-Rhône department, of which it is a subprefecture, in the former province of Provence.
A large part of the Camargue is located on the territory of the commune, making it the largest commune in Metropolitan France in terms of territory (though Maripasoula, French Guiana, is much larger). The city has a long history, and was of considerable importance in the Roman province of Gallia Narbonensis. The Roman and Romanesque Monuments of Arles were listed as UNESCO World Heritage Sites in 1981. The Dutch post-Impressionist painter Vincent van Gogh lived in Arles from 1888 to 1889 and produced over 300 paintings and drawings during his time there. An international photography festival has been held in the city since 1970.
Geography
The river Rhône forks into two branches just upstream of Arles, forming the Camargue delta. Because the Camargue is for a large part administratively part of Arles, the commune as a whole is the largest commune in Metropolitan France in terms of territory, although its population is only slightly more than 50,000. Its area is 758.93 km2 (293.02 sq mi), which is more than seven times the area of Paris.
Climate
Arles has a Mediterranean climate with a mean annual temperature of 14.6 °C (1948 - 1999). The summers are warm and moderately dry, with seasonal averages between 22 °C and 24 °C, and mild winters with a mean temperature of about 7 °C. The city is constantly, but especially in the winter months, subject to the influence of the mistral, a cold wind which can cause sudden and severe frosts. Rainfall (636 mm per year) is fairly evenly distributed from September to May, with the summer drought being less marked than in other Mediterranean areas.[1]
Climate data for Arles, 1948–1999
Month Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Year
Average high °C (°F) 10.4
(50.7) 12.3
(54.1) 15.7
(60.3) 18.5
(65.3) 22.8
(73) 27.1
(80.8) 30.3
(86.5) 29.7
(85.5) 25.5
(77.9) 20.3
(68.5) 14.4
(57.9) 11.0
(51.8) 19.8
(67.6)
Average low °C (°F) 2.1
(35.8) 2.8
(37) 5.3
(41.5) 7.5
(45.5) 11.2
(52.2) 14.5
(58.1) 17.7
(63.9) 17.3
(63.1) 14.4
(57.9) 10.4
(50.7) 5.9
(42.6) 3.1
(37.6) 9.4
(48.9)
Average precipitation mm (inches) 54.7
(2.154) 50.8
(2) 49.3
(1.941) 50.3
(1.98) 48.6
(1.913) 37.3
(1.469) 17.1
(0.673) 39.2
(1.543) 81.7
(3.217) 85.7
(3.374) 66.7
(2.626) 54.7
(2.154) 636.1
(25.043)
Source: Italian Wikipedia article on Arles
History
Arles Amphitheatre, a Roman arena.
Passageway in Roman arena
Church of St. Trophime and its cloister.
Ancient era
The Ligurians were in this area from about 800 BC. Later, Celtic influences have been discovered. The city became an important Phoenician trading port, before being taken by the Romans.
The Romans took the town in 123 BC and expanded it into an important city, with a canal link to the Mediterranean Sea being constructed in 104 BC. However, it struggled to escape the shadow of Massalia (Marseilles) further along the coast.
Its chance came when it sided with Julius Caesar against Pompey, providing military support. Massalia backed Pompey; when Caesar emerged victorious, Massalia was stripped of its possessions, which were transferred to Arelate as a reward. The town was formally established as a colony for veterans of the Roman legion Legio VI Ferrata, which had its base there. Its full title as a colony was Colonia Iulia Paterna Arelatensium Sextanorum, "the ancestral Julian colony of Arles of the soldiers of the Sixth."
Arelate was a city of considerable importance in the province of Gallia Narbonensis. It covered an area of some 40 hectares (99 acres) and possessed a number of monuments, including an amphitheatre, triumphal arch, Roman circus, theatre, and a full circuit of walls. Ancient Arles was closer to the sea than it is now and served as a major port. It also had (and still has) the southernmost bridge on the Rhône. Very unusually, the Roman bridge was not fixed but consisted of a pontoon-style bridge of boats, with towers and drawbridges at each end. The boats were secured in place by anchors and were tethered to twin towers built just upstream of the bridge. This unusual design was a way of coping with the river's frequent violent floods, which would have made short work of a conventional bridge. Nothing remains of the Roman bridge, which has been replaced by a more modern bridge near the same spot.
The city reached a peak of influence during the 4th and 5th centuries, when Roman Emperors frequently used it as their headquarters during military campaigns. In 395, it became the seat of the Praetorian Prefecture of the Gauls, governing the western part of the Western Empire: Gaul proper plus Hispania (Spain) and Armorica (Brittany). At that time, the city was perhaps home to 75,000–100,000 people.[2][3][4][5]
It became a favorite city of Emperor Constantine I, who built baths there, substantial remains of which are still standing. His son, Constantine II, was born in Arles. Usurper Constantine III declared himself emperor in the West (407–411) and made Arles his capital in 408.
Arles became renowned as a cultural and religious centre during the late Roman Empire. It was the birthplace of the sceptical philosopher Favorinus. It was also a key location for Roman Christianity and an important base for the Christianization of Gaul. The city's bishopric was held by a series of outstanding clerics, beginning with Saint Trophimus around 225 and continuing with Saint Honoratus, then Saint Hilarius in the first half of the 5th century. The political tension between the Catholic bishops of Arles and the Visigothic kings is epitomized in the career of the Frankish St. Caesarius, bishop of Arles 503–542, who was suspected by the Arian Visigoth Alaric II of conspiring with the Burgundians to turn over the Arelate to Burgundy, and was exiled for a year to Bordeaux in Aquitaine. Political tensions were evident again in 512, when Arles held out against Theodoric the Great and Caesarius was imprisoned and sent to Ravenna to explain his actions before the Ostrogothic king.[6]
The friction between the Arian Christianity of the Visigoths and the Catholicism of the bishops sent out from Rome established deep roots for religious heterodoxy, even heresy, in Occitan culture. At Treves in 385, Priscillian achieved the distinction of becoming the first Christian executed for heresy (Manichaean in his case, see also Cathars, Camisards). Despite this tension and the city's decline in the face of barbarian invasions, Arles remained a great religious centre and host of church councils (see Council of Arles), the rival of Vienne, for hundreds of years.
Roman aqueduct and mill
Aqueduct of Arles at Barbegal
The Barbegal aqueduct and mill is a Roman watermill complex located on the territory of the commune of Fontvieille, a few kilometres from Arles. The complex has been referred to as "the greatest known concentration of mechanical power in the ancient world".[7] The remains of the mill streams and buildings which housed the overshot water wheels are still visible at the site, and it is by far the best-preserved of ancient mills. There are two aqueducts which join just north of the mill complex, and a sluice which enabled the operators to control the water supply to the complex. The mill consisted of 16 waterwheels in two separate rows built into a steep hillside. There are substantial masonry remains of the water channels and foundations of the individual mills, together with a staircase rising up the hill upon which the mills are built. The mills apparently operated from the end of the 1st century until about the end of the 3rd century.[8] The capacity of the mills has been estimated at 4.5 tons of flour per day, sufficient to supply enough bread for 6,000 of the 30-40,000 inhabitants of Arelate at that time.[9] A similar mill complex existed also on the Janiculum in Rome. Examination of the mill leat still just visible on one side of the hill shows a substantial accretion of lime in the channel, tending to confirm its long working life.
It is thought that the wheels were overshot water wheels with the outflow from the top driving the next one down and so on, to the base of the hill. Vertical water mills were well known to the Romans, being described by Vitruvius in his De Architectura of 25 BC, and mentioned by Pliny the Elder in his Naturalis Historia of 77 AD. There are also later references to floating water mills from Byzantium and to sawmills on the river Moselle by the poet Ausonius. The use of multiple stacked sequences of reverse overshot water-wheels was widespread in Roman mines.
Middle Ages
Place de la République.
Cafe Terrace at Night by Vincent van Gogh (September 1888), depicts the warmth of a café in Arles
In 735, after raiding the Lower Rhône, Andalusian Saracens led by Yusuf ibn 'Abd al-Rahman al-Fihri moved into the stronghold summoned by Count Maurontus, who feared Charles Martel's expansionist ambitions, though this may have been an excuse to further Moorish expansion beyond Iberia. The next year, Charles campaigned south to Septimania and Provence, attacking and capturing Arles after destroying Avignon. In 739. Charles definitely drove Maurontus to exile, and brought Provence to heel. In 855, it was made the capital of a Frankish Kingdom of Arles, which included Burgundy and part of Provence, but was frequently terrorised by Saracen and Viking raiders. In 888, Rudolph, Count of Auxerre (now in north-western Burgundy), founded the kingdom of Transjuran Burgundy (literally, beyond the Jura mountains), which included western Switzerland as far as the river Reuss, Valais, Geneva, Chablais and Bugey.
In 933, Hugh of Arles ("Hugues de Provence") gave his kingdom up to Rudolph II, who merged the two kingdoms into a new Kingdom of Arles. In 1032, King Rudolph III died, and the kingdom was inherited by Emperor Conrad II the Salic. Though his successors counted themselves kings of Arles, few went to be crowned in the cathedral. Most of the kingdom's territory was progressively incorporated into France. During these troubled times, the amphitheatre was converted into a fortress, with watchtowers built at each of the four quadrants and a minuscule walled town being constructed within. The population was by now only a fraction of what it had been in Roman times, with much of old Arles lying in ruins.
The town regained political and economic prominence in the 12th century, with the Holy Roman Emperor Frederick Barbarossa traveling there in 1178 for his coronation. In the 12th century, it became a free city governed by an elected podestat (chief magistrate; literally "power"), who appointed the consuls and other magistrates. It retained this status until the French Revolution of 1789.
Arles joined the countship of Provence in 1239, but, once more, its prominence was eclipsed by Marseilles. In 1378, the Holy Roman Emperor Charles IV ceded the remnants of the Kingdom of Arles to the Dauphin of France (later King Charles VI of France) and the kingdom ceased to exist even on paper.
Modern era
Arles remained economically important for many years as a major port on the Rhône. In the 19th century, the arrival of the railway diminished river trade, leading to the town becoming something of a backwater.
This made it an attractive destination for the painter Vincent van Gogh, who arrived there on 21 February 1888. He was fascinated by the Provençal landscapes, producing over 300 paintings and drawings during his time in Arles. Many of his most famous paintings were completed there, including The Night Cafe, the Yellow Room, Starry Night Over the Rhone, and L'Arlésienne. Paul Gauguin visited van Gogh in Arles. However, van Gogh's mental health deteriorated and he became alarmingly eccentric, culminating in the well-known ear-severing incident in December 1888 which resulted in two stays in the Old Hospital of Arles. The concerned Arlesians circulated a petition the following February demanding that van Gogh be confined. In May 1889, he took the hint and left Arles for the Saint-Paul asylum at nearby Saint-Rémy-de-Provence.
Jewish history
Main article: History of the Jews in Arles
Arles had an important and evident Jewish community between the Roman era and until the end of the 15th century. A local legend describes the first Jews in Arles as exiles from Judaea after Jerusalem fell to the Romans. Nevertheless, the first documented evident of Jews in Arles is not before fifth century, when a distinguished community had already existed in town. Arles was an important Jewish crossroads, as a port city and close to Spain and the rest of Europe alike. It served a major role in the work of the Hachmei Provence group of famous Jewish scholars, translators and philosophers, who were most important to Judaism throughout the Middle Ages. At the eighth century, the jurisdiction of the Jews of Arles were passed to the local Archbishop, making the Jewish taxes to the clergy somewhat of a shield for the community from mob attacks, most frequent during the Crusades. The community lived relatively peacefully until the last decade of the 15th century, when they were expelled out of the city never to return. Several Jews did live in the city in the centuries after, though no community was found ever after. Nowadays, Jewish archaeological findings and texts from Arles can be found in the local museum.[10]
Population
Historical population
Year Pop. ±%
1806 20,151 —
1820 20,150 −0.0%
1831 20,236 +0.4%
1836 20,048 −0.9%
1841 20,460 +2.1%
1846 23,101 +12.9%
1851 23,208 +0.5%
1856 24,816 +6.9%
1861 25,543 +2.9%
1866 26,367 +3.2%
1872 24,695 −6.3%
1876 25,095 +1.6%
1881 23,480 −6.4%
1891 24,288 +3.4%
1896 24,567 +1.1%
1901 28,116 +14.4%
1906 31,010 +10.3%
1911 31,014 +0.0%
1921 29,146 −6.0%
1926 32,485 +11.5%
1946 35,017 +7.8%
1954 37,443 +6.9%
1962 41,932 +12.0%
1968 45,774 +9.2%
1975 50,059 +9.4%
1982 50,500 +0.9%
1990 52,058 +3.1%
1999 50,426 −3.1%
2008 52,729 +4.6%
2010 57,328 +8.7%
Main sights
Gallo-Roman theatre.
The Alyscamps.
Arles has important Roman remnants, most of which have been listed as UNESCO World Heritage Sites since 1981 within the Arles, Roman and Romanesque Monuments group. They include:
The Gallo-Roman theatre
The arena or amphitheatre
The Alyscamps (Roman necropolis)
The Thermae of Constantine
The cryptoporticus
Arles Obelisk
Barbegal aqueduct and mill
The Church of St. Trophime (Saint Trophimus), formerly a cathedral, is a major work of Romanesque architecture, and the representation of the Last Judgment on its portal is considered one of the finest examples of Romanesque sculpture, as are the columns in the adjacent cloister.
The town also has a museum of ancient history, the Musée de l'Arles et de la Provence antiques, with one of the best collections of Roman sarcophagi to be found anywhere outside Rome itself. Other museums include the Musée Réattu and the Museon Arlaten.
The courtyard of the Old Arles hospital, now named "Espace Van Gogh," is a center for Vincent van Gogh's works, several of which are masterpieces.[11] The garden, framed on all four sides by buildings of the complex, is approached through arcades on the first floor. A circulation gallery is located on the first and second floors.[12]
Archaeology
Main article: Arles portrait bust
In September–October 2007, divers led by Luc Long from the French Department of Subaquatic Archaeological Research, headed by Michel L'Hour, discovered a life-sized marble bust of an apparently important Roman person in the Rhône near Arles, together with smaller statues of Marsyas in Hellenistic style and of the god Neptune from the third century AD. The larger bust was tentatively dated to 46 BC. Since the bust displayed several characteristics of an ageing person with wrinkles, deep naso-labial creases and hollows in his face, and since the archaeologists believed that Julius Caesar had founded the colony Colonia Iulia Paterna Arelate Sextanorum in 46 BC, the scientists came to the preliminary conclusion that the bust depicted a life-portrait of the Roman dictator: France's Minister of Culture Christine Albanel reported on May 13, 2008, that the bust would be the oldest representation of Caesar known today.[13] The story was picked up by all larger media outlets.[14][15] The realism of the portrait was said to place it in the tradition of late Republican portrait and genre sculptures. The archaeologists further claimed that a bust of Julius Caesar might have been thrown away or discreetly disposed of, because Caesar's portraits could have been viewed as politically dangerous possessions after the dictator's assassination.
Historians and archaeologists not affiliated with the French administration, among them Paul Zanker, the renowned archaeologist and expert on Caesar and Augustus, were quick to question whether the bust is a portrait of Caesar.[16][17][18] Many noted the lack of resemblances to Caesar's likenesses issued on coins during the last years of the dictator's life, and to the Tusculum bust of Caesar,[19] which depicts Julius Caesar in his lifetime, either as a so-called zeitgesicht or as a direct portrait. After a further stylistic assessment, Zanker dated the Arles-bust to the Augustan period. Elkins argued for the third century AD as the terminus post quem for the deposition of the statues, refuting the claim that the bust was thrown away due to feared repercussions from Caesar's assassination in 44 BC.[20] The main argument by the French archaeologists that Caesar had founded the colony in 46 BC proved to be incorrect, as the colony was founded by Caesar's former quaestor Tiberius Claudius Nero on the dictator's orders in his absence.[21] Mary Beard has accused the persons involved in the find of having willfully invented their claims for publicity reasons. The French ministry of culture has not yet responded to the criticism and negative reviews.
Sport
AC Arles-Avignon is a professional French football team. They currently play in Championnat de France Amateur, the fourth division in French football. They play at the Parc des Sports, which has a capacity of just over 17,000.
Culture
A well known photography festival, Rencontres d'Arles, takes place in Arles every year, and the French national school of photography is located there.
The major French publishing house Actes Sud is also situated in Arles.
Bull fights are conducted in the amphitheatre, including Provençal-style bullfights (courses camarguaises) in which the bull is not killed, but rather a team of athletic men attempt to remove a tassle from the bull's horn without getting injured. Every Easter and on the first weekend of September, during the feria, Arles also holds Spanish-style corridas (in which the bulls are killed) with an encierro (bull-running in the streets) preceding each fight.
The film Ronin was partially filmed in Arles.
European Capital of Culture
Arles played a major role in Marseille-Provence 2013, the year-long series of cultural events held in the region after it was designated the European Capital of Culture for 2013. The city hosted a segment of the opening ceremony with a pyrotechnical performance by Groupe F on the banks of the Rhône. It also unveiled the new wing of the Musée Départemental Arles Antique as part of Marseille-Provence 2013.
Economy
Arles's open-air street market is a major market in the region. It occurs on Saturday and Wednesday mornings.
Transport
The Gare d'Arles railway station offers connections to Avignon, Nîmes, Marseille, Paris, Bordeaux and several regional destinations.
Notable people
Vincent van Gogh, lived here from February 1888 until May 1889.
The Provençal poet Frédéric Mistral (1830–1914) was born near Arles
Jeanne Calment (1875–1997), the oldest human being whose age is documented, was born, lived and died, at the age of 122 years and 164 days, in Arles
Anne-Marie David, singer (Eurovision winner in 1973)
Christian Lacroix, fashion designer
Lucien Clergue, photographer
Djibril Cissé, footballer
Antoine de Seguiran, 18th-century encyclopédiste
Genesius of Arles, a notary martyred under Maximianus in 303 or 308
Blessed Jean Marie du Lau, last Archbishop of Arles, killed by the revolutionary mob in Paris on September 2, 1792
Juan Bautista (real name Jean-Baptiste Jalabert), matador
Maja Hoffmann, art patron
Mehdi Savalli, matador
The medieval writer Antoine de la Sale was probably born in Arles around 1386
Home of the Gipsy Kings, a music group from Arles
Gael Givet, footballer
Lloyd Palun, footballer
Fanny Valette, actress
Luc Hoffmann, ornithologist, conservationist and philanthropist.
Saint Caesarius of Arles, bishop who lived from the late 5th to the mid 6th century, known for prophecy and writings that would later be used by theologians such as St. Thomas Aquinas
Samuel ibn Tibbon, famous Jewish translator and scholar during the Middle Ages.
Kalonymus ben Kalonymus, famous Jewish scholar and philosopher, Arles born, active during the Middle Ages.
Twin towns — sister cities
See also: List of twin towns and sister cities in France
Arles is twinned with:
Pskov, Russia
Jerez de la Frontera, Spain
Fulda, Germany
York, Pennsylvania, United States
Cubelles, Spain
Vercelli, Italy
Sagné, Mauritania
Kalymnos, Greece
Wisbech, United Kingdom
Zhouzhuang, Kunshan, Jiangsu, People's Republic of China
Verviers, Belgium
See also
Archbishopric of Arles
Montmajour Abbey
Trinquetaille
Langlois Bridge
Saint-Martin-de-Crau
Communes of the Bouches-du-Rhône department
References
This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Archdiocese of Aix". Catholic Encyclopedia. New York: Robert Appleton.
INSEE
The table contains the temperatures and precipitation of the city of Arles for the period 1948-1999, extracted from the site Sophy.u-3mrs.fr.
www.academia.edu/1166147/_The_Fall_and_Decline_of_the_Rom...
Rick Steves' Provence & the French Riviera, p. 78, at Google Books
Nelson's Dictionary of Christianity: The Authoritative Resource on the Christian World, p. 1173, at Google Books
Provence, p. 81, at Google Books
Wace, Dictionary)
Greene, Kevin (2000). "Technological Innovation and Economic Progress in the Ancient World: M.I. Finley Re-Considered". The Economic History Review. New Series. 53 (1): 29–59 [p. 39]. doi:10.1111/1468-0289.00151.
"Ville d'Histoire et de Patrimoine". Patrimoine.ville-arles.fr. Retrieved 2013-03-25.
"La meunerie de Barbegal". Etab.ac-caen.fr. Retrieved 2013-03-25.
jewishencyclopedia.com/articles/1784-arles
Fisher, R, ed (2011). Fodor's France 2011. Toronto and New York: Fodor's Travel, division of Random House. p. 563 ISBN 978-1-4000-0473-7.
"Espace Van Gogh". Visiter, Places of Interest. Arles Office de Tourisme. Retrieved 2011-04-29.
Original communiqué (May 13, 2008); second communiqué (May 20, 2008); report (May 20, 2008)
E.g."Divers find marble bust of Caesar that may date to 46 B.C.". Archived from the original on 2008-06-05. Retrieved 2008-05-14. , CNN-Online et al.
Video (QuickTime) Archived May 28, 2008, at the Wayback Machine. on the archaeological find (France 3)
Paul Zanker, "Der Echte war energischer, distanzierter, ironischer" Archived May 29, 2008, at the Wayback Machine., Sueddeutsche Zeitung, May 25, 2008, on-line
Mary Beard, "The face of Julius Caesar? Come off it!", TLS, May 14, 2008, on-line
Nathan T. Elkins, 'Oldest Bust' of Julius Caesar found in France?, May 14, 2008, on-line
Cp. this image at the AERIA library
A different approach was presented by Mary Beard, in that members of a military Caesarian colony would not have discarded portraits of Caesar, whom they worshipped as god, although statues were in fact destroyed by the Anti-Caesarians in the city of Rome after Caesar's assassination (Appian, BC III.1.9).
Konrat Ziegler & Walther Sontheimer (eds.), "Arelate", in Der Kleine Pauly: Lexikon der Antike, Vol. 1, col. 525, Munich 1979; in 46 BC, Caesar himself was campaigning in Africa, before later returning to Rome.
I start witn an original "Quadrant Kaleidoscope" and further manipulate the image with the GIMP software, using Filters --> Distorts --> Kaleidoscope. I vary the preset settings to achieve a different effect with 4 or more reflections.
Unlike last year’s submissions, when I challenged myself to triple alliterations and puns, this year I simply tried to make a quadrant kaleidoscopes out of each picture from last year. It worked for all but 2 of last year’s photos, so I found 2 new subjects.
N473 rushes the morning passenger service from Albury to Melbourne past the lower quadrant signals at Broadford on 14-5-2018
The building on the far left (number 72, Hanger) stood next to the entrance to Shaftesbury Hall Chambers (74) and both have now been replaced by the entrance to the Burlington Arcade. Next to it is the Quadrant building of J J Allen (now called St Peter's Quarter, housing T K Maxx), with the projecting frontage that is recognisable today. In the distance is the old Beale's Fancy Fair. On the rising slope in the centre are the buildings (49-59) between Albert Road and Yelverton Road, though the corner building has been replaced by what is now the HSBC (Midland) Bank building. The right hand block start with the old Barclays Bank (61) and extends to (75) Parson & Sons, bakers (part of Malmesbury & Parson's Dairies); and finally (81) Tranter, Adams & Pare, art needlework and wool house; with Lane & Smith, estate agents (Mr E L Lane was also the local registrar of Births and Deaths).
I have not worked out the occasion but it has the feel of the 1910s/1920s (i.e. Great War era - possibly a recruiting march).
Postally unused.
Growing Mesocyclone SW Quadrant
I’m estimating this young developing Mesocyclone is 70 miles distant/ 50 miles wide. Relatively small for a Rotating mesocyclone. It was growing at the time. The sunset for that day is ongoing exactly behind me in about 15 minutes from this capture. There are just plain intense downpours under these storms sometimes. Depending on how fast they are moving makes you lucky or flooded locally lol. These only rain on a few percent of the ground area up here. Spotty! The ground under them becomes totally soaked if the storm doesn’t move.
We had a summer Mesocyclone years back that sat over us and dumped 4.5 inches of rain in 45 minutes. Water was sheet washing down the hill behind my home and skirting around the house. Almost nothing got in but that slope was angle deep in sheet wash. I have since re-landscapes using mounds to redirect any potential sheet wash off the long hill to our back. It’s only been a problem once in 20 years.
That was a rough storm. Tragically a local cowboy from a nearby ranch was killed in that storm. A truck full of locals went out to see what the 100 year water dump did, drove to one of their herds to check them, road was fine. Drove back the road had washed out. That cowboy was a passenger in that truck. County Emergency Management called me to close the road off from my side of the washout. The runoff went through a major country road that literal gully washer did. It was a major culvert to replace and a big job. We couldn’t get to the highway from that road for a while.
Location: Bliss Dinosaur Ranch, Wyoming/Montana borderlands.
Title: Growing Mesocyclone SW Quadrant
St. Hilda’s By The Sea is a small Anglican church in Sechelt. Set among the verdant green trees of the temperate rainforest, it is an eclectic mix of old and new: retired British pensioners polish the altar crystal and set out flowers for Sunday services, presided over by a gay Chinese-Canadian priest. Tai chi mixes with Celtic mysticism in a melange that is somehow stronger than its parts. And isn’t that what community is all about?
From the official website:
Walking the labyrinth is an ancient spiritual act that is being rediscovered during our time.
Usually constructed from circular patterns, labyrinths are based on principles of sacred geometry. Sometimes called “divine imprints”, they are found around the world as sacred patterns that have been passed down through the ages for at least 4,000 years. When a pattern of a certain size is constructed or placed on the ground, it can be used for walking meditations and rituals.
Labyrinths and their geometric cousins (spirals and mandalas) can be found in almost every religious tradition. For example, the Kabbala, or Tree of Life, is found in the Jewish mystical tradition. The Hopi Medicine Wheel, and the Man in the Maze are two forms from the Native American labyrinth traditions. The Cretan labyrinth, the remains of which can be found on the island of Crete, has seven path rings and is the oldest known labyrinth (4,000 or 5.000 years old).
In Europe, the Celts and later the early Christian Celtic Church revered labyrinths and frequently built them in natural settings. Sacred dances would be performed in them to celebrate solar and religious festivals. During the Middle Ages, labyrinths were created in churches and cathedrals throughout France and Northern Italy. These characteristically flat church or pavement labyrinths were inlaid into the floor of the nave of the church.
The Chartres Labyrinth
The labyrinth constructed at St. Hilda’s is an 11-circuit labyrinth. It is a replica of the one embedded in the floor of Chartres Cathedral in France. The design of this labyrinth, and many of the other church labyrinths in Europe, is a reworking of the ancient labyrinth design in which an equal-armed cross is emphasized and surrounded by a web of concentric circles. As with many Christian symbols, this was an adaptation of a symbol; that is known to have predated the Christian faith. This medieval variation is considered a breakthrough in design because it is less linear than the preceding, more formal, Roman design that developed from quadrant to quadrant. The medieval design made one path as long as possible, starting at the outer circumference and leading to the centre. Fraught with twists and turns, the path’s meanderings were considered symbolic representations of the Christian pilgrim’s journey to the Holy City of Jerusalem and of one’s own journey through life. This classical design is sometimes referred to as “the Chartres Labyrinth” due to the location of its best known example. The labyrinth was built at Chartres in the early 13th century (~ 1215 A.D.). No one knows the source of this classical 11-circuit labyrinth design, and much of its spiritual meaning and use has been lost.
The Chartres Labyrinth is located in the west end of the nave, the central body of the cathedral. When you walk in the main doors and look towards the high altar, you see the center of the labyrinth on the floor about 50 feet in front of you. It is approximately 42 feet in diameter and the path is 16 inches wide. At Chartres, the center of the Rose Window mirrors the center of the labyrinth. The cathedral is perfectly proportioned, so that if we put the west wall of the cathedral on hinges and folded it down on the labyrinth, the Rose Window would fit almost perfectly over the labyrinth.
Labyrinth or Maze?
The difference between a labyrinth used for meditation and mazes can be confusing. Mazes often have many entrances, dead-ends and cul-de-sacs that frequently confound the human mind. In contrast, meditation labyrinths offer only one path. By following the one path to the center, the seeker can use the labyrinth to quiet his or her mind and find peace and illumination at the center of his or her being. “As soon as one enters the labyrinth, one realizes that the path of the labyrinth serves as a metaphor for one’s spiritual journey. The walk, and all that happens on it, can be grasped through the intuitive, pattern-discerning faculty of the person walking it. The genius of this tool is that it reflects back to the seeker whatever he or she needs to discover from the perspective of a new level of conscious awareness.”
The Labyrinth is a Universal Meditation Tool
Anyone from any tradition or spiritual path can walk into the labyrinth and, through reflecting in the present moment, can benefit from it. A meditation labyrinth is one of many tools that can be used for spiritual practice. Like any tool, it is best used with a proper, good, intention. A church or temple can be used simply as a refuge from a rainstorm, but it can be so much more with a different intention. The same is true of the labyrinth. The seeker is only asked to put one foot in front of the other. By stepping into the labyrinth, we are choosing once again to walk the contemplative spiritual path. We are agreeing to let ourselves be open to see, to be free to hear, and to becoming real enough to respond. The labyrinth is a prayer path, a crucible of change, a meditation tool, a blueprint where psyche meets soul.
The best way to learn about the labyrinth is to walk a well-constructed one a few times, with an open heart and an open mind. Then allow your experience to guide you as to whether this will be a useful spiritual tool for you.
The Chartres Labyrinth and the Pilgrim’s Journey
Pilgrims are persons in motion – passing through territories not their own – seeking something we might call completion, or perhaps the word clarity will do as well, a goal to which only the spirit’s compass points the way.
Richard R. Niebuhr in Pilgrims and Pioneers
“The tradition of pilgrimage is as old as religion itself. Worshippers on pilgrimage traveled to holy festivals whether to solstice celebrations, to Mecca to gather around the Ka’aba for the high holy days of Islam, or to Easter festivals in the Holy City of Jerusalem. Pilgrimages were a mixture of religious duty and holiday relaxation for the peasant, the commoner and rich land owner alike. The journey was often embarked on in groups with designated places to stay at night. The pilgrims were restless to explore the mystical holy places, and many were in search of physical or spiritual healing.
The Christian story, which emphasized the humanity of Christ, fascinated the pilgrims. In the Middle Ages, most people did not read. As a result, they were much more oriented to the senses than we are today. They learned the story by traveling to Jerusalem to walk where Jesus walked, to pray where he prayed, and to experience, in a solemn moment, where he died. Unlike today, Pilgrims encountered the truth of the Christian mystery through an ongoing intimacy with all their senses.
When a person committed his or her life to Christ in the early Middle Ages, they sometimes made a vow to make a pilgrimage to the Holy City of Jerusalem. However, by the 12th century when the Crusades swept across Europe and the ownership of Jerusalem was in tumultuous flux, travel became dangerous and expensive. In response to this situation, the Roman Church appointed seven pilgrimage cathedrals to become “Jerusalem” for pilgrims. Consequently, in the pilgrimage tradition, the path within the labyrinth was called the Chemin de Jerusalem and the center of the labyrinth was called “New Jerusalem”.
The walk into the labyrinth marked the end of the physical journey across the countryside and served as a symbolic entry-way into the spiritual realms of the Celestial City. The image of the Celestial City – taken straight out of the Book of Revelation to John – captivated the religious imagination of many during the Middle Ages. The wondrous Gothic cathedrals, with painted walls either in bright, even gaudy colours, or else white-washed, were designed to represent the Celestial City. The stained glass windows – when illuminated by the sun – created the sense of colourful, dancing jewels, allowing the pilgrim to experience the awesome mystery of the City of God.”
The Journey of Life
A fundamental approach to the labyrinth is to see it as a metaphor for life’s journey. The labyrinth reminds us that all of life, with its joys, sorrows, twists and turns, is a journey that comes from God (birth) and goes to God (death). It is a physical metaphor for the journey of healing, spiritual and emotional growth and transformation. Following the path is like any journey. Sometimes you feel you are at or nearing your destination, and at other times you may feel distant or even lost. Only by faithfully keeping to the path will you arrive at the physical center of the labyrinth, which signifies God, the center of our lives and souls.
Applying the Three Fold Mystical Tradition to the Labyrinth
In the Christian mystical tradition, the journey to God was articulated in the three stages. These stages have become recognized as being universal to meditation: to release and quiet; to open and receive; and to take what was gained back out into the world.
The Three Stages
The first part of the Three- Fold Mystical Path is Purgation. This archaic word is from the root word “to purge”, meaning to cleanse, to let go. Shedding is another way of describing the experience. The mystical word is empting or releasing. It is believed that monks journeyed the first part of the labyrinth Purgation on their knees as a penitential act. This was not done for reasons of punishment as we might think, but as a way to humble oneself before God.
The second stage of the Three-Fold Path, Illumination, is found in the center of the labyrinth. Usually it is a surprise to reach the center because the long winding path seems “illogical” and cannot be figured out by the linear mind. After quieting the mind in the first part of the walk, the center presents a new experience: a place of meditation and prayer. Often people at this stage in the walk find insight into their situation in life, or clarity about a certain problem, hence the label “illumination”. As one enters the
center, the instruction is simple: enter with an open heart and mind; receive what there is for you.
The third stage, Union, begins when you leave the center of the labyrinth and continues as you retrace the path that brought you in. In this stage the meditation takes on a grounded, energized feeling. Many people who have had an important experience in the center feel that this third stage of the labyrinth gives them a way of integrating the insights they received. Others feel that this stage stokes the creative fires within. It energizes insight. It empowers, invites, and even pushes us to be more authentic and confident and to take risks with our gifts in the world. Union means communing with God.
The Monastic Orders experienced a union with God through their community life by creating a fulfilling balance between the work that was assigned, sleep and the many hours of worship attended daily. Our times present a similar challenge: we struggle to find balance between work, sleep, family and friends, leisure and spiritual life. The lack of structured communities in which people share work responsibilities and the “every person for himself or herself” mentality (or every family for itself) prevalent in our highly individualistic society makes the task of finding balance even more difficult.
Monastic communities offered a mystical spirituality that spoke to highly intuitive and intensely introverted people and (paradoxically to some) at the same time provided an economic structure throughout Europe. Monasteries during the Middle Ages provided schools and hospitals managed by monks; yet, at the same time, cloistered life helped the monks stay inwardly directed. Today, without any reliable structure directing us, the way of union needs to be re-thought. Our times call for most of us to be outer-directed. We are called to action in every aspect of our society in order to meet the spiritual challenges that confront us in the 21st century. Gratefully, there are still people in religious orders holding the candle for deep contemplation, but the majority of people involved in the spiritual transformation are searching for a path that guides them to service in the world in an active, extroverted, compassionate way. The third stage of the labyrinth empowers the seeker to move back into the world replenished and directed – which makes the labyrinth a particularly powerful tool for transformation.
Walking the Labyrinth: The Process
The purpose of all spiritual disciplines – prayer, fasting, meditation – is to help create an open attentiveness that enables us to receive and renew our awareness of our grounding and wholeness in God.
The Experience of Walking Meditation
Many of us have trouble quieting our minds. The Buddhists call the distracted state of mind the “monkey mind”, which is an apt image of what the mind is frequently like: thoughts swinging like monkeys from branch to branch, chattering away without any rhyme or conscious reason. When the mind is quiet, we feel peaceful and open, aware of a silence that embraces the universe.
Complete quiet in the mind is not a realistic goal for most of us. Instead, the task is to dis-identify with the thoughts going through our minds. Don’t get hooked by the thoughts, let them go. Thomas Keating, a Cistercian monk who teaches Centering Prayer (meditation) in the Christian tradition, described the mind as a still lake. A thought is like a fish that swims through it. If you get involved with the fish (“Gee what an unusual fish, I wonder what it is called?”), then you are hooked. Many of us have discovered through learning meditation how difficult it is to quiet the mind; yet, the rewards are great.
In the labyrinth, the sheer act of walking a complicated, attention demanding path begins to focus the mind. Thoughts of daily tasks and experiences become less intrusive. A quiet mind does not happen automatically. You must gently guide the mind with the intention of letting go of extraneous thoughts. This is much easier to do when your whole body is moving – when you are walking. Movement takes away the excess charge of psychic energy that disturbs our efforts to quiet our thought processes.
Two Basic Approaches to the Walk
One way to walk the labyrinth is to choose to let all thought go and simply open yourself to your experience with gracious attention. Usually – though not always – quieting happens in the first stage of the walk. After the mind is quiet, you can choose to remain in the quiet. Or use the labyrinth as a prayer path. Simply begin to talk to God. This is an indication that you are ready to receive what is there for you, or you allow a sincere part of your being to find its voice.
A second approach to a labyrinth walk is to consider a question. Concentrate on the question as you walk in. Amplify your thoughts about it; let all else go but your question. When you walk into the center with an open heart and an open mind, you are opening yourself to receiving new information, new insights about yourself.
Guidelines for the Walk
Find your pace. In our chaotic world we are often pushed beyond a comfortable rhythm. In this state we lose the sense of our own needs. To make matters worse, we are often rushed and then forced to wait. Anyone who has hurried to the bank only to stand in line knows the feeling. Ironically, the same thing can happen with the labyrinth, but there is a difference. The labyrinth helps us find what our natural pace would be and draws our attention to it when we are not honouring it.
Along with finding your pace, support your movement through the labyrinth by becoming conscious of your breath. Let your breath flow smoothly in and out of your body. It can be coordinated with each step – as is done in the Buddhist walking meditation – if you choose. Let your experience be your guide.
Each experience in the labyrinth is different, even if you walk it often in a short period of time. The pace usually differs each time as well. It can change dramatically within the different stages of the walk. When the labyrinth has more than a comfortable number of seekers on it, you can “pass” people if you want to continue to honour the intuitive pace your inner process has set. If you are moving at a slower pace, you can allow people to pass you. At first people are uncomfortable with the idea of “passing” someone on the labyrinth. It looks competitive, especially since the walk is a spiritual exercise. Again, these kinds of thoughts and feelings, we hope, are greeted from a spacious place inside that smiles knowingly about the machinations of the human ego. On the spiritual path we meet every and all things. To find our pace, to allow spaciousness within, to be receptive to all experience, and to be aware of the habitual thoughts and issues that hamper our spiritual development is a road to self-knowledge.
Summary of How to Walk the Labyrinth
Pause at the entry way to allow yourself to be fully conscious of the act of stepping into the labyrinth. Allow about a minute, or several turns on the path, to create some space between yourself and the person in front of you. Some ritual act, such as a bow, may feel appropriate during the labyrinth walk. Do what comes naturally.
Follow your pace. Allow your body to determine the pace. If you allow a rapid pace and the person in front of you is moving slower, feel free to move around this person. This is easiest to do at the turns by turning earlier. If you are moving slowly, you can step onto the labyrs (wide spaces at the turns) to allow others to pass.
The narrow path is a two-way street. If you are going in and another person is going out, you will meet on the path. If you want to keep in an inward meditative state, simply do not make eye contact. If you meet someone you know, a touch of the hand or a hug may be an important acknowledgement of being on the path together.
Symbolism and Meanings Found in the Chartres Labyrinth
Circles and Spirals
The circle is the symbol of unity or union and it is the primary shape of all labyrinths. The circle in sacred geometry represents the incessant movement of the universe (uncomprehensible) as opposed to the square which represents comprehensible order. The labyrinth is a close cousin to the spiral and it, too, reflects the cyclical element of nature and is regarded as the symbol of eternal life.
The labyrinth functions like a spiral, creating a vortex in its center. Upon entering, the path winds in a clockwise pattern. Energy is being drawn out. Upon leaving the center the walker goes in a counter clockwise direction. The unwinding path integrates and empowers us on our walk back out. We are literally ushered back out into the world in a strengthened condition.
The Path
The path lies in 11 concentric circles with the 12th being the labyrinth center. The path meanders throughout the whole circle. There are 34 turns on the path going into the center. Six are semi-right turns and 28 are 180° turns. So the 12 rings that form the 11 pathways may symbolically represent, the 12 apostles, 12 tribes of Israel or 12 months of the year. Twelve is a mystical number in Christianity. In sacred geometry three represents heaven and four represents earth. Twelve is the product of 3 x 4 and, therefore, the path which flows through the whole is then representative of all creation.
The obvious metaphor for the path is the difficult path to salvation, with its many twists and turns. Since we cannot see a straight path to our destination, the labyrinth can be viewed as a metaphor for our lives. We learn to surrender to the path (Christ) and trust that he will lead us on our journey.
The path can also be viewed as grace or the Church guiding us through chaos.
The Cruciform and Labyrs
The labyrinth is divided equally into four quadrants that make an equal-armed cross or cruciform. The four arms represent in symbol what is thought to be the essential
structure of the universe for example, the four spatial directions, the four elements (earth, wind, water and fire), the four seasons and, most important, salvation through the cross. The four arms of the cross emerging from the center seem to give order to the would-be chaos of the meandering path around it.
The Chartres labyrinth cross or cruciform is delineated by the 10 labyrs (labyr means to turn and this is the root of the word labyrinth). The labyrs are double-ax shaped and visible at the turns and between turns. They are traditionally seen as a symbol of women’s power and creativity.
The Centre Rosette
In the Middle Ages, the rose was regarded as a symbol for the Virgin Mary. Because of its association with the myths of Percival and the Holy Grail at that time, it also was seen as a sign of beauty and love. The rose becomes symbolic of both human and divine love, of passionate love, but also love beyond passion. The single rose became a symbol of a simple acceptance of God’s love for the world.
Unlike a normal rose (which has five petals) the rosette has six petals and is steeped in mysticism. Although associated with the Rose of Sharon, which refers to Mary, it may also represent the Holy Spirit (wisdom and enlightenment). The six petals may have corresponded to the story of the six days of creation. In other mystical traditions, the petals can be viewed as the levels of evolution (mineral, plant, animal, humankind, angelic and divine).
The Lunations
The lunations are the outer ring of partial circles that complete the outside circle of the labyrinth. They are unique to the Chartres design.
Celtic Symbols on the St. Hilda’s Labyrinth
The Celtic peoples have given us seven enduring spiritual principles:
1. A deep respect of nature, regarding creation as the fifth Gospel.
2. Quiet care for all living things.
3. The love of learning.
4. A wonder-lust or migratory nature.
5. Love of silence and solitude.
6. Understanding of time as a sacred reality and an appreciation of ordinary life, worshipping God through everyday life, and with great joy.
7. The value of family and clan affiliation, and especially spiritual ties of soul friends.
To show our respect for such wisdom, two Celtic designs adorn the St. Hilda’s labyrinth.
To mark the entrance to the labyrinth is a Celtic zoomorphic design painted in red. Traditionally, Celtic monks used intricate knotwork and zoomorphic designs (odd animals intertwined in uncomfortable ways) as mere filler for their illuminated gospel texts. They had no discernible meaning.
However, because of their unique design components, zoomorphs are now associated with transformations.
Transformation, change, action, and passion are also associated with red, the colour of fire. Therefore, this entrance symbol may well be an appropriate sign for the journey ahead.
At the labyrinth’s centre is a Celtic triquetra. This interlocked knotwork design of three stylized fish (whales) is often interpreted as the Trinity knot. It is a perfect representation of the concept of "three in one" in Christian trinity beliefs. Having the design enclosed within the centre circle further emphasizes the unity theme.
The triquetra can also be considered to represent the triplicities of mind, body, and soul, as well as the three domains of earth- earth, sea, and sky.
Final Reflection: The Labyrinth as a “Thinning Place”
In Celtic Christianity, places where people felt most strongly connected with God’s presence were referred to as thin places. It was these places in nature (forest groves, hilltops and deep wells) that the seen and unseen worlds were most closely connected, and the inhabitants of both worlds could momentarily touch the other. Today our churches, temples and sacred sites are the new thin places to meet the Divine. Here, at St Hilda’s, we have opportunities to encounter many thinning places – whether it be during Eucharistic or Taize services, while singing or praying, or through the love of a welcoming inclusive community. The labyrinth is a welcome addition; and with the right intent can also become a new thinning place for the modern pilgrim/spiritual seeker.This outward journey is an archetype with which we can have a direct experience. We can walk it. It can serve to frame the inward journey – a journey of repentance, forgiveness and rebirth, a journey that seeks a deeper faith, and greater holiness, a journey in search of God.
This 360° High Dynamic Range panorama was stitched from 66 bracketed photographs images with PTGUI Pro, tone-mapped with Photomatix, processed with Color Efex, and touched up in Aperture.
Original size: 20000 × 10000 (200.0 MP; 1.04 GB).
Location: St. Hilda’s By The Sea Anglican Church, Sechelt, British Columbia, Canada
I started with an original "Quadrant Kaleidoscope" and further manipulated the image with the GIMP software, using Filters --> Distorts --> Kaleidoscope. I vary the preset settings to achieve a different effect with 4 or more reflections.
John Wilcox used this quadrant on his voyages from Madison to New York and the Connecticut River in the early 1800's to about 1860. A quadrant was a forerunner of the sextant and measured the altitude of heavenly bodies for navigation.
Brass and ivory fitted ebony frame with the maker's name and compass degrees engraved on ivory set into the frame. Colored glass filters used in the sighting device. Quadrant fits into oak box with partial label of William Davenport, instrument dealer in Philadelphia. Cut side of box is painted yellow and has faint traces of a star and "JOHN WILCOX" painted on it. Made by Spencer, Browning & Rust, London England c. 1800.
15" X 13 3/4" X 3 1/2"
Found in collection.
ACC# 79.680.1-2
See more museum items at flic.kr/s/aHskgxX9We.
(Photo credit Bob Gundersen www.flickr.com/photos/bobphoto51/albums)
Unlike last year’s submissions, when I challenged myself to triple alliterations and puns, this year I simply tried to make a quadrant kaleidoscopes out of each picture from last year. It worked for all but 2 of last year’s photos, so I found 2 new subjects.
Quadrants of Colour, by John McLean - see www.cathedral.org.uk/about/blog/detail/our-blog/2017/10/1...
Another quadrant of the structure was renovated recently into a gallery space which features changing exhibitions by prominant Second Life artists. The large graphic at the back wall is a reproduction of Caspar van Wittel's drawing of Santa Maria della Salute on the Grand Canal in Venice, c 1714