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We have found that if the mask is sewn with channels down each side then the fasterner, ie, elastic loops or fabric tie can be replaced if needed or desired.
The rectangular panel represents the entire decorated area of a floor and was found together with another mosaic (now in the Baltimore Museum of Art) in an olive grove at Daphne-Harbiye in 1937. In Roman times, Daphne was a popular holiday resort, used by the wealthy citizens and residents of Antioch as a place of rest and refuge from the heat and noise of the city. American excavations at Daphne in the late 1930s uncovered the remains of several well-appointed houses and villas, including the one that contained this mosaic.
At its center is a panel (emblema) with the bust of a woman, decked out with a wreath of flowers around her head and a floral garland over her left shoulder. Traditionally identified as Spring, the figure is probably the representation of a more generic personification of abundance and good living, well suited to the luxurious atmosphere created at Daphne by its rich patrons.
Roman, Imperial, 2nd century CE
Excavated from a villa at Daphne near Antioch (modern Antakya, Turkey), the metropolis of Roman Syria
Metropolitan Museum of Art, New York (38.11.12)
Església d'una sola nau, rectangular, d'estil gòtic, molt transformada. Conserva l'empremta gótica especialment a les voltes interiors en dos trams de la nau, malgrat les modificacions modernes efectuades. Hi ha claus de volta en forma de medalló. Presenta al mur de ponent una porta d'entrada, adovellada, de mig punt, i un campanar d'espadanya central. Hi té adossada la rectoria.
Observacions: També coneguda com Església de Françola. Des de 1911 (1915 segons altres fonts) es l'església parroquial del terme, quan es va traslladar la parroquialitat des de l'esglèsia de Santa Maria de Miralles o del Castell. Les claus estàn a l'ajuntament. Molt a prop del Mas de Sant Romà, enrunat (fitxa 5). A l'interior es conserva un quadre antic barroc representant a Sant Pere i a Sant Pau. Una de les capelles laterals està dedicada a Sant Antoni de Pàdua, representat en un retaule on apareixen diverses escenes de la seva vida. Una altra capella està dedicada a tres àngels al·legòrics de la missa i la comunió. A les altres dues capelles, més senzilles, apareix una Mare de Déu i el Sant Crist, aquest just a l'entrada on també trobem una pila baptismal de marbre, tancada en un petit recinte per un reixat de ferro forjat, de base quadrada i peu molt elaborat. El cor és molt senzill, amb barana de fusta. A l'altar major hi ha, en una fornícula, una figura de Sant Romà. A l'entorn de l'esglèsia, a l'exterior, hi ha un corró.
Tot i que tal vegada tingui un origen romànic anterior (el seu titular, Sant Romà, és un sant antic), aquestà esglèsia, d'estil gòtic, està documentada des del 1413. En aquest moment s'esmenta amb el nom de Florençola, i més tard serà coneguda com de Sant Romà de Françola. Al segle XV era una simple capella de la parroquia del Castell. Antigament era d'una nau, amb volta apuntada, d'arcs encreuats i sostre a dues aigües. Al segle XV s'amplia i es pot observar la diferència d'alçada entre totes dues parts. Cap al 1890 la façana de migdia apareix amb una porta adovellada, una finestra d'espitlleres i un campanar d'espadanya amb dos cloquers. Al 1910 el campanar ha desaparegut i s'hi ha construït al costat oriental una casa de pagés. Al 1911 o al 1915 (segonts les fonts) la església del Castell perd la parroquialitat del terme i li serà traspassada a Sant Romà. Per aquest motiu fou restaurada el 1913. L'església es va allargar i si li afegí l'absis actual. A la nau s'incorporen capelletes laterals semicirculars.La planta es transforma en planta de creu llatina allargant els laterals abans d'arribar a la capçalera. El campanar fou retallat. El 1916 es construí la rectoria. Vers 1925 es va ampliar el temple, i es va reformar la façana (sobrealçada d'estil orientalitzant) i es basteix un nou campanar d'espadanya central. També s'observa (a les fotos antigues) un cobert rural afegit a ponent.
Degut al canvi de parroquialitat, havien estat traslladades les imatges i els retaules de l'església del Castell a la nova parròquia, que desaparegueren durant la guerra Civil (1936-39). En el periode de la guerra, l'església es remodela novament, se li retiren els símbols religiosos i és utilitzada com a escola i magatzem. A l'Arxiu Comarcal d'Igualada es conserva una fotografia del 17.3.1934 on s'aprecia el altar major, que va ser destruït totalment el 1936, i una altra foto de l'1.1.1937 on es veu com la façana ha perdut el seu aspecte original (es totalment llisa, sense cap signe religiós). A l'any 1940 s'hi intervé puntualment per restaurar-hi el culte. A l'Arxiu Comarcal d'Igualada es conserven tres fotografies del 17.4.1947 on s'hi aprecia un altar provisional a l'interior i un reforç de dos contraforts a la façana que enmarquen la porta d'accés. Als anys 60 (1964) l'església fou novament restaurada, afegint-se un frontis triangular a la façana.
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Rectangular hanging chalkboard, perfect for directing guests to eat, drink, or just reminding them to be merry. Wipes clean for reuse, so you can get creative again and again. Lightweight. Handmade. Approximately 7.25”wide x 3” high.
Available at www.etsy.com/shop/EventDesignShop!
Rectangular hanging chalkboard, perfect for directing guests to eat, drink, or just reminding them to be merry. Wipes clean for reuse, so you can get creative again and again. Lightweight. Handmade. Approximately 7.25”wide x 3” high.
Available at www.etsy.com/shop/EventDesignShop!
With older rectangular target board. These signals & the entire pole have been fully replaced with new LED signals on a new overhead mast. Siemens signals like these are now collector's items and that older Aldridge signal with rounded housings were the very last remaining kinds in South Australia. Not only old traffic lights got to Walkley Heights, but various locations obscure to public.
Contrasting woolen fabric for with hand stitched edges. Luxurious silver fox fur collar. Hand sewn linen thread brooch loops. Furs and fabrics will vary.
£120 starting price depending on furs
mini album made with chipboard cut to various different shapes and sizes.
Simply scribbled some random shapes on a piece of 12x12 cardstock (used to ship my goodies to me) and cut them out with scissors.
Patterned paper is from scenic route Laurel.
Stitches are filet-style Tunisian crochet lace.
Crocheted on the bias, Aery-Faery can be finished with rows that square off the scarf ends into an edged rectangular shape, instead of seaming it invisibly into a continuous loop.
Masia de planta rectangular que consta de planta baixa, pis i golfes de tipus basilical; amb el cos central més elevat i les cobertes de teules àrabs. Façana principal orientada a migdia, on destaca el portal d'accés d'arc de mig punt adovellat. A la planta pis hi ha tres finestres amb els ampits i les llindes de pedra treballada. Entre dues finestres es poden veure les restes del que havia estat un rellotge de sol, que encara conserva el gnom. A les golfes hi trobem una galeria d'arcades simètricament distribuïdes. Els paraments són llisos, arrebossats amb les cantoneres de pedra escairada. Té un celler soterrat de volta, i un cos lateral de cellers compost de sis voltes de maó pla i altres annexos posteriors per la façana septentrional.
El document més antic que en parla és un capmàs de 1587 on es parla de la casa d'en Cartró de la Riera, quan Bartomeu Almirall n'era el propietari.
Aquesta masia és fruit de la unió entre els masos Querol i Figueras. Després dels Cartró de la Riera passà als Canals, després als Valldeperes, d'Olesa, i últimament als Puiggener, també d'Olesa; tots per maridatge. L'any 1844 els masovers eren la família Costa, procedent de Gelida.
patrimonicultural.diba.cat/?fitxa=220000037#
El rellotge de sol de La Pedrera està ubicat a la façana principal, orientada a migdia, entre les dues finestres de la dreta situades a la planta pis. El seu estat de conservació és molt dolent però encara es pot veure la seva morfologia. És del tipus vertical declinant, esgrafiat i policromat, realitzat damunt de l'arrebossat sorrenc de la façana. S'observen restes de pintura blanca i una franja rectangular d'uns 3 cm de gruix que emmarca el rellotge. Es conserva el gnòmon de vareta, de ferro i de secció circular. Per damunt d'aquest hi ha una sanefa d'1 cm d'amplada aproximadament en sentit horitzontal formant un requadre amb la capçalera del rellotge. Al seu interior s'observen motius ornamentals alguns dels quals conserven una lleugera tonalitat rosa.
Observacions: No consta en l'inventari dels rellotges de sol dels Països Catalans de la Societat Catalana de Gnomònica.
patrimonicultural.diba.cat/?fitxa=220000188#
Descripció:
Masia rectangular de fidels línies de tipus basilical català, de planta, pis i golfes a un cos central més elevat, a dues vessants, i un gran celler de volta continuada subterrani. Distribució tradicional: gran entrada, pis a mig aire per els masovers, cellers a cada banda i escala que condueix a una grandiosa sala superior repartidora de les habitacions on hi ha l'armariet buit de l'antic rellotge. D'aquesta sala parteix una escala que porta a les golfes que reben la claror per cinc arquets, estrado amb la teulada sostinguda per encavallades de fusta. Tres finestres simètriques a la façana i restes del rellotge de sol. Annexos hi existeixen uns cellers obrats el segle passat.
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Description: Rectangular white marble statue base, with moulding above on four sides and below on three sides (W. 0.63 × H. 1.17 × D. 0.43). Chipped on all edges, upper front corners broken.
Text: Inscribed on the face.
Letters: 0.04
Date: Julio-Claudian (context, lettering)
Findspot: South Agora: in 'East Agora Trench 5'
Original Location: Almost certainly in the Sebasteion
Last recorded location: Museum (1978)
History of discovery: Excavated by the NYU expedition in 1977 (77.123; SBI 48)
Bibliography: published by Reynolds, PCPS 206 (1980), no. 15, whence SEG 1980.1251; BE 1982.355; AnnEpig 1980.876, McCabe PHI Aphrodisias 202.
Text constituted from: Transcription (Reynolds), publications. This edition Reynolds (1980).
Edition Diplomatic Epidoc (XML) [Conventions] [Font help] 1 v. Μᾶρκον v.
2Λέπιδον
2a vacat 1 ΜΑΡΚΟΝ
2ΛΕΠΙΔΟΝ
2a vacat
Μᾶρκον
Λέπιδον
Translation:
(Statue of) Marcus Lepidus.
Commentary:
Probably one of the Sebasteion group of dedications to the imperial family (9.37=72.224, 9.38=72.237, 9.39=72.275, 9.40=73.145, 9.33=77.123, 9.26=80.172, 9.27=82.108, 9.35=82.109, 9.28=82.116, 9.34=82.117, 9.29=82.118, 9.36=82.210, 9.30=84.30, 9.31=84.31, and 9.32=84.41). On these see Reynolds (1996), 'Ruler-cult at Aphrodisias'.
educational use only
Descripció
L'església del convent de Sant Salvador és d'una sola nau rectangular, reforçada amb contraforts laterals, i absis tendent al semicercle, cobert per una volta nervada més baixa que la coberta de la nau. Se'n conserven els arcs diafragma que en principi suportaven l'entramat de bigues de la coberta, encara que una falsa volta del segle XVIII impedeix la seva visió des de l'interior. Els arcs descansen sobre columnes de base hexagonal adossades amb capitells decorats per motius geomètrics. En un dels costats de la nau hi ha un seguit de capelles d'estil barroc. Als peus hi ha un cor, just al damunt de l'entrada. A sota a continuació de les capelles, hi ha l'altar del sant, amb cúpula i cimbori, d'estil barroc. L'altar principal és dedicat a la verge dels àngels. Aquest primer edifici va ser ampliat pel sector dels peus en els segles XIV-XV, en construir l'actual primer tram de nau, cobert amb volta de creueria, el mur de tancament -centrat per una interessant portada gòtica amb arquivoltes sostingudes per esveltes columnes sobre base retranquejada-, i un atri de planta quadrada amb les tres façanes obertes. Tot aquest sector medieval dóna exteriorment sensació de solidesa, tant per la utilització de carreus de pedra com per la homogeneïtat dels contraforts. L'interior és il·luminat per diversos òculs circulars. A finals del segle XVI o inicis del XVII es devien construir el claustre i, al seu voltant, les estances del convent. Durant el segle XVII i el XVIII es va ampliar el sector del convent. Aquest conforma un cos allargat paral·lel a l'església -de la qual està separat pel claustre-, que la ultrapassa en l'extrem est prenent forma d'ela. Es van construir, a més, la majoria de capelles laterals del temple, entre les quals destaca la de Sant Salvador, de pla central i coberta amb cúpula. Cal destacar la porta d'entrada, d'arc apuntat i brancals força amples, amb arquivoltes en degradació motllurades, columnes de fust cilíndric i capitells de decoració vegetal que formen una línia d'impostes seguida. També cal destacar el porxo, als quals s'hi accedeix mitjançant una llarga escalinata. L'absis és reforçat per contraforts i sense gaires obertures, d'estil romànic-gòtic. El claustre constava en principi de dos pisos, dels quals només es conserva l'arqueria inferior -arcs carpanells sobre columnes toscanes de fust llis, amb capitell d'àbac motllurat i amb base sobre plint quadrat. Les quatre cantonades estan apilastrades. L'ampit sobre donant dues entrades al pati pavimentat amb lloses de pedra i amb un pou cilíndric central. La galeria del claustre estava coberta amb bigueria de fusta i tenia damunt un altra amb columnes cilíndriques i entaulament, però ara es troba desapareguda en part. És el segon element en importància després de l'església. Escuts als murs interiors de l'església. Es tracta de baixos relleus situats als murs de tancament de les capelles esquerres de l'església. És un element dividit en tres parts; es tracta d'un escut amb tres torres idèntiques amb porta de mig punt, dues finestres i quatres merlets. També consta de tres franges horitzontals i tres estrelles a la part superior i dues a la part inferior. Atri i pòrtic de l'església: La planta és quadrada amb tres façanes, ocupant la quarta el pòrtic que dóna accés a l'església. La façana principal té una sola obertura amb arc apuntat de grans mesures, mentre que a les laterals n'hi ha dos, també amb arc apuntat i separades pel contrafort i l'arc de diafragma interior que parteix la cobertura en dues parts iguals. S'hi troba la porta que dóna accés al convent i que omple una de les dues obertures de la façana lateral sud. A sota dels arcs laterals hi ha uns ampits de pedra amb restes de sepulcres i osseres al damunt. Pòrtic amb portalada d'arc apuntat i una gran arquivolta, amb faixa de capitells ornamentats amb motius vegetals i base típica gòtica. Làpides a l'atri i pòrtic de l'església: Es tracta de baixos relleus. És un element dividit en tres parts. La part superior amb una inscripció, la part central amb tres escuts (tenalles, martell i edifici) i part inferior amb tres columnes nervades, arrencada la part superior a les columnes. Hi ha un segon element sarcòfag rectangular dividit en tres parts. L'esquerra amb inscripció, la central llisa on s'insinua algun element de forma quadrada i part dreta amb una figura semblant a un calze i un altra figura amb una creu ( potser templera) inscrita a una circumferència. Aquestes tres parts estan sobre una base i tenen també una part superior o tapa amb forma semblant a un frontó, més gran i alt el central i més petits els laterals. La capella de Sant Salvador està situada a l'entrada de l'església al costat esquerre de planta quadrada i cúpula esfèrica amb una cornisa que descansa damunt d'arcs torals i petxines i coronada amb un cupulí o petit cimbori. La planta és típicament barroca. L'alta ocupa l'espai que deixa l'arc toral frontal.
Notícies històriques
L'antic convent de la Mare de Déu dels Àngels d'Horta de Sant Joan és conegut avui pel nom de convent de Sant Salvador, en record de l'estada d'aquest sant en el lloc, entre 1547 i 1549. Les primeres notícies documentades del convent comencen el segle XVI, quan s'hi estableix una comunitat de franciscans (1542). L'augment de la devoció, principalment per l'obra i miracles de sant Salvador devia fer que s'ampliés el convent a principis del segle XVII i que continuadament es fecin reformes. De 12 frares que tenia al principi va arribar a tenir-ne 40. El convent s'aixeca a llevant del poble, sota el puig de Sant Salvador o Santa Bàrbara. Les construccions conservades ens donen una cronologia que comença el segle XIII, època en què es degué aixecar l'església original, conservada amb moltes modificacions. La porta d'accés en aquesta època devia ser la que dóna al claustre. Al segle XVIII van començar les depredacions que, accentuades després de l'exclaustració de 1835, han portat el conjunt al seu estat actual. El més afectat és el convent, del qual només resten en peu les parets mestres i un semisoterrani que hom pensa que es pot tractar de la part més antiga. Durant els anys 1990-1991 es van fer diverses intervencions. La coberta del temple i del nàrtex foren construïdes de nou, amb nous cavalls i nous elements. Es van arrenjar i sanejar les juntes de morter dels carreus i es van reforçar i rehabilitar els elements estructurals més deteriorats. Els accessos foren netejats. Els anys 1999-2001 es va dur a terme un programa d'actuacions en el convent de Sant Salvador a càrrec de l'1% cultural entre el Departament de Cultura i el de Política Territorial i Obres Públiques, afectant principalment als accessos. El 2003 es va acabar la restauració dels altars de Sant Salvador i dels Àngels. Els orígens de l'església no són clars. Tanmateix sembla probable que s'hi establissin, al segle XIII, la comanda templera d'Horta. Les primeres referències de l'església, dita en tels primers documents Santa Maria d'Horta, són de la fi del segle XIII. El convent dels templers devia passar a mans de l'ordre de l'Hospital el 1317, el qual el conservà fins al segle XVI. Després d'un primer intent dels franciscans d'establir-s'hi a principis del segle XVI, el 1547 hi anà a viure una comunitat de conventuals observants i el 1576 una de franciscans recol·lectes. Aquesta comunitat hi restà fins a l'exclaustració de 1835. La primitiva església fou construïda al segle XIII i ampliada pel davant, o pues, amb un cor i atri gòtics, probablement de la segona meitat del segle XV. Amb l'arribada al segle XVI de l'ordre franciscana s'hi va construir un convent adossat a l'església, fet que va comportar algunes reformes a l'església: afegit de diverses capelles laterals i una de més gran dedicada a Sant Salvador, construïda al segle XVII, i reforma de tot l'interior, amb nova ornamentació barroca al llarg del segle XVIII. L'església fou inicialment dels templers i més tard dels hospitalers, els quals van instal·lar al convent la seva residència. El claustre: Es pot atribuir la seva construcció a una ampliació del convent franciscà portada a terme a finals del s.XVI o a principis del sXVII. Atri i pòrtic: És un element posterior a la construcció. El cos format per cor i l'atri foren construïts durant la influència de l'ordre dels hospitalers, encara que seguint les directrius constructives del temple; és per aquest fet que es veu una simbiosi entre els materials i el tractament de les construccions d'ambdues èpoques. Sembla que la porta d'accés al temple durant l'època templera és la que dóna al claustre. La capella fou construïda al segle XVII i dedicada a Sant Salvador, frare que havia viscut en aquest convent des de 1547 fins 1559.
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From the August 2016 return trip to Siem Reap and the Angkor complex:
I love the Angkor complex, Siem Reap, and the Cambodian people so much that I returned again for about a week to photograph as much of the “non-major” sites as I could. Some of them are slightly far from Angkor Wat (by that, I mean to say more than 10 kilometers away), and usually require a little more money to get to. Also, some of the sites (Beng Mealea, Phnom Kulen) are not included in the Angkor ticket price and have an additional admission fee.
I don’t know if there’s a set number of how many sites belong in the Angkor complex, though I’m sure it would vary. (Do you only count the major sites like Angkor Wat, Bayon, Ta Prohm? Do you add the sites that aren’t included in the standard “Angkor Pass,” but are clearly of the same era? Do you include sites that aren’t even named (as are one of the sites in this series)? All in all, I’ll put a very rough number at…50 sites in the Siem Reap area, and that includes the sites that are about 100 km away. Of those, I would say I’ve been to all but 5-10 now. All are included here with the exception, obviously, of the sites that I didn’t visit. (Off the top of my head, I can say they include Koh Ker & that respective group, which is about 120 km ENE of Siem Reap; Phnom Krom, one of the three “mountains” with temples; Ta Prohm Kel; and Mangalartha.)
In practical terms, I’m afraid that with the volume of shooting (about 1,500 frames in the past 7 days), photos will start to look redundant to those who don’t have the same interest in ancient/historical architecture or Angkor as I do. That being said, there are a few things besides temples here. The Old Market area (now Night Market/Pub Street) is represented – a little – and Phnom Kulen has a pretty nice waterfall which is also in this series. Also, I tried to catch a few people in here, though didn’t get as many as I would’ve liked.
I had my friend Mao (tuktuk driver) take me around for 5 of these 7 days this time around. As I mentioned last time, he may cost a little more than what you can arrange through a hotel/guesthouse, but he’s well worth the money (and, in the grand scheme of things, not too expensive; I paid less than $200 for the five days, two of which were “long” trips). He loves his country and heritage, he knows what he’s showing you, he’s flexible, he gives you enough ice water to keep you hydrated, and he’s just a good guy. (He even bought me a birthday cake for cryin’ out loud…) Anyway, I highly recommend Mao. You can find him here: www.facebook.com/mao.khvan (or on Trip Advisor: www.tripadvisor.com/Attraction_Review-g297390-d10726821-R... )
Now that shameless plugs and other assorted rhetoric are out of the way, it’s time to get on to the temples, ruins, and other miscellany.
Banteay Srei (Citadel of the Women, or Citadel of Beauty) is, from what I can tell, the most attractive temple in terms of intricate details. The details are so intricate, in fact, that when this temple was “discovered” in the 20th century, it was thought to be from the 13th or 14th centuries (late Angkor period). During restoration, it was discovered that this temple was actually begun in 967 AD…and finished not too long afterwards.
A few things to note about this temple are that it was not commissioned by a king, but by a brahman. (I believe it’s the only temple in the Angkor complex that wasn’t commissioned by a royal.) Also, the name Banteay Srei is not its original name, though I don’t know who bestowed that name or when. The original name is Tribhuvanamahesvara, which means “Great Lord of the Threefold World.” (This is taken from an inscription on its central linga.)
Apart from that, things to note are its size (rather small) and its detail. The current saying is that, “This is a temple that must have been built by women as it is so beautiful.” It is carved from a slightly pinkish stone and the stone carvings are arguably among the best in the world.
Some of the carvings of note show delicate women with lotus flowers in hand in traditional skirts and recreations of scenes from the Ramayana above the main doors of the libraries. In addition, there are mythical guardians standing watch over the temple, though these are recreations. (The originals are in the National Museum in Phnom Penh.)
Banteay Srei is not a temple that is included in either the standard mini circuit or grand circuit tours of Angkor as it’s a bit farther afield. It’s 21 km northeast of Bayon (or about 35-40 km northeast of Siem Reap). Because of that, it’s necessary to arrange for a tuktuk driver to take you here, and it’s best if you do this in conjunction with other “far” sites in the area – Phnom Kulen, Phnom Bok, Banteay Samre, Kbal Spean, or even Beng Mealea. In my case, the second day consisted of sunrise at Sra Srang, Banteay Srei, Phnom Kulen, and Banteay Samre.
This is a temple that, like almost every one at Angkor, faces east. There are east and west entrances – with the eastern entrance along a causeway – that are both easily accessible. Mao & I trampled through the woods (a “shortcut,” and it really was only about a 2 minute walk from where we parked) to the back of the temple. The sun finally came out after having been at Banteay Srei for about half an hour, so some of the shots should have some nice lighting.
After visiting in May, this temple is definitely one of the ones I most wanted to see upon returning and I wasn’t disappointed. I would highly recommend it to anyone who visits Angkor.
As always, I hope you enjoy this set. I appreciate you taking time to look. If you have any questions, please feel free to send me a message or leave it via comment.
Hut circles (round houses) of the late bronze age or iron age north of Tullymurdoch, centred at NGR grid reference NO202534.
Link: canmore.rcahms.gov.uk/en/site/31123/details/tullymurdoch/
www.geograph.org.uk/photo/227241
www.startrust.org.uk/RIG%20AND%20FURROW-AF.PDF
Report from RCAHMS "Centred at NO 202 534 is a settlement of nine circular stone-walled huts (A - J) within a contemporary field system marked by stone clearance heaps, lynchets, and ruinous walls, which is partly overlaid by walls contemporary with several late rectangular buildings to the E of the huts.
'A' is a "Dalrulzian" hut, measuring 15.0m between the centres of the outer wall, and 8.5m injtrnally, with an ill-defined entrance in the SE. The inner face of contiguous stones is well-preserved. A contemporary wall runs W from the W arc.
'B', 'C', and 'D' are part of an unusual "Dalrulzian" complex which has suffereed mutilation. 'B' is 9.0m internally; 'C', 11.0m internally; and 'D', the best preserved, is 7.0m internally. (See enlargement.)
'E' is a well-preserved "Dalrulzian" type hut 18.5m between outer wall centres and 10.0m internally, with the entrance in the S.
'F' - Only vague traces survive. It appears to have been a "Dalrulzian" hut, 8.0m internally and about 15.0m between outer wall centres. It abuts in the N on to a curving field wall which runs SE to join hut 'G'. 'G' is a "Dalrulzian" hut of similar dimensions as 'F'. No entrance is evident. The centre is partly overlaid by a later rectangular building (5.0m x 3.5m).
'H' is a single-walled hut 10.0m in diameter within a wall 1.4m thick. Occasional outer and inner facing stones are visible. The entrance is not visible but may be obscured by the remains of a probably secondary wall which joins the SE arc.
'J' severely mutilated, is 7.5m between the centres of a wall spread to 2.0m with an ill-defined entrance in the SSW. Traces of an outer wall curving round the N and W arcs suggest that this has been a "Dalrulzian" hut.
Immediately to the SW, and also 20.0m SE of 'J', are two almost identical later rectangular buildings attached to the E arcs of two contemporary sub-circular enclosures measuring about 16.0m in diameter. Within the enclosure to the SW are traces of earlier stonework, which suggests that the enclosure overlies the last fragments of a "Dalrulzian" hut with a possible internal diameter of 9.5m.
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Earthly Elements is a revolutionary hardwood that offers unparalleled artistic freedom using two new shapes - Squares & Rectangles, and traditional Planks.
Sponza Palace, also called Divona, is a 16th-century palace in Dubrovnik. Its name is derived from the Latin word "spongia", the spot where rainwater was collected. The rectangular building with an inner courtyard was built in a mixed Gothic and Renaissance style between 1516 and 1522 by Paskoje Miličević Mihov. The loggia and sculptures were crafted by the brothers Andrijić and other stonecutters. The palace has served a variety of public functions, including as a customs office and bonded warehouse, mint, armory, treasury, bank and school. It became the cultural center of the Republic of Ragusa with the establishment of the Academia dei Concordi, a literary academy, in the 16th century. It survived the 1667 earthquake without damage. The palace's atrium served as a trading center. The palace is now home to the city archives, which hold documents dating back to the 12th century, with the earliest manuscript being from 1022. These files, including more than 7000 volumes of manuscripts and about 100,000 individual manuscripts, were previously kept in the Rector's palace / Dubrovnik is a city on the Adriatic Sea in southern Croatia. It is one of the most prominent tourist destinations in the Mediterranean Sea, a seaport and the center of Dubrovnik-Neretva County. Its total 2019 population was <30,000. In 1979, the city of Dubrovnik joined the UNESCO list of World Heritage sites. The prosperity of the city was historically based on maritime trade; as the capital of the maritime Republic of Ragusa, it achieved a high level of development, particularly during the 15th and 16th centuries, as it became notable for its wealth and skilled diplomacy. In 1991, after the break-up of Yugoslavia, Dubrovnik was besieged by Serbian and Montenegrin soldiers of the Yugoslav People's Army for seven months and suffered significant damage from shelling. The 'Pearl of the Adriatic', situated on the Dalmatian coast, became an important Mediterranean Sea power from the 13th century onwards. Although severely damaged by an earthquake in 1667, Dubrovnik managed to preserve its beautiful Gothic, Renaissance and Baroque churches, monasteries, palaces and fountains. Damaged again in the 1990s by armed conflict, it has since a focus for its complete restoration in a program coordinated by UNESCO. After making repair and restorations in the 1990s and early 2000s, Dubrovnik has re-emerged as one of the top tourist destinations in the Mediterranean.
The Golden Temple in Amritsar has a beautiful rectangular pond (sarovar) inside the complex. This pond has a number of fishes inside it, originally meant to eat the algae and others so that the water tank would be cleaned. Now, there is a filtration system that has been installed, but these fish are still present and are a big excitement to children (and to adults such as myself) when they are seen.
The Golden Temple is one of the most famous monuments in Amritsar, in the state of Punjab in North India. It is the spiritiual headquarters of the Sikh religion, and is a very well visited place. Besides Sikhs, people from other religions visit the temple, it being an open place. The temple is also referred to as the Harmandir Sahib or the Darbar Sahib, and was built during the 16th century by the fifth Sikh Guru (completed in the year 1604), Guru Arjan Dev around a holy tank. Earlier to this, in 1577, the fourth Guru, Guru Ram Das ji excavated a tank which came to be known as Amritsar. The Harmandir Sahib symbolizes openess, and has four doors to depict the same. Over a period of time, modifications were done, such as the layering of gold over the dome by the ruler of the time, Maharajah Ranjit Singh.
The holy nature of the Golden Temple is also symbolized by the presence of the Holy Book of the Sikhs, the Guru Granth Sahib. The central structure of the Gurudwara is surrounded by a holy tank of water, with a causeway over this body of water. There are some restrictions for entering the site, such as the removal of shoes before entering (and washing ones feet in a small pool of water as well), covering the hair through a scarf or some other cloth, and ensuring that they show proper respect towards the central shrine.
The Golden Temple is also the location for a major military operation (Operation Blue Star in 1984), where the Indian Army went in against Sikh militants lead by Jarnail Singh Bhindrawale inside the compound of the Golden Temple, with bullets and even machine guns inside the compound. The operation was a major operation, with the death of more than 500 people reported (including soldiers, militants and civilians). It was also very controversial, since this was seen as an attack on the spiritual center of Sikhs, and lead to some desertions in the army, and also an attack on the Prime Minister, Indira Gandhi, by her own Sikh bodyguards which resulted in her death.
potato strip on a colorful rectangular plate - A rectangular colorful plate with a two pieces of a potato strip on a fork. To Download this image without watermarks for Free, visit: www.sourcepics.com/free-stock-photography/24743185-potato...
Craft School, The Hague - Scheveningen, NL, designed by J. Duiker in 1930-1931. Restored in 1998 to a multi-company building with 22 units.
Technical school, formerly the Third Craft School, consisting of rectangular staggered building masses of three storey's, partly basement, under flat roofs. The ideas of the Nieuwe Zakelijkheid or Modernism, break the concept of the closed façade wall and create a completely new architecture with large glass surfaces where inner and outer space penetrate each other. The wall surfaces to be completed are closed where necessary to heights that are functionally determined in relation to the activities behind the façade.
The carrying frame is made of reinforced concrete. The façades consist of, among other things, cavity walls. The outer leaf is poured concrete on the spot and the inner leaf is made of floating stone. The skeleton and inner and outer walls have been plastered; the different materials, textures and seams, are this stucco layer is made into a continuous skin. The plinth around the building is dark and changes in height. Clarity and practical room layout determine the interior with centrally located stairwell and continuous corridors with on either side at right angles or parallel to them classrooms. The toilets are projected with each classroom. The wardrobe and the bicycle parking are central and can be checked from the porter's lodge.
The building has 21 classrooms; the local dimensions form the basis for the measurement method (a column distance of 8 x 8 meters) of the design. The dimensions are of three types: 8x8, 8x13 and 8x16 meters. The concrete skeleton allows the placement of large glass surfaces. The classrooms and other rooms receive their light via steel windows with horizontal rod distribution with narrow profiles and steel façades with glass on the corridor sides. The arrival of light in the hall is achieved through large areas of glass building blocks.
The school building was very much in line with the modern ideas of upbringing and well-being from that time, which were strongly oriented towards health and hygiene. An open floor plan with large glass surfaces where light and air can penetrate to a large extent translate these ideals into architecture. Cultural-historical significance as a school building that expresses in its design the modern views on upbringing and well-being in the thirties. Architecturally important as a representative and rare example of a school building in the style of the Nieuwe Zakelijkheid or Modernism.
Ferry excursion across the bay from Kansai Airport (KIX) to Kobe Airport, each on their artificial islands off the cities of Osaka and Kobe. The ferry, in this case called Kaze (one of a trio also including Sora and Umi) is a high-speed catamaran crewed by a team of three.
Masia formada per dos cossos de planta rectangular, separats entre ells per un passadís ample; aquesta separació no es tradueix, però, a l'exterior, ja que els dos edificis resten tancats per un mur, de forma que l'aparença és la d'un sol edifici. La masia consta de baixos, primer pis, golfes i una torratxa de planta quadrada ubicada entre els dos edificis anteriorment descrits, amb finestres triforades als quatre vents, coronada per merlets de maó de forma triangular. La coberta d'un dels cossos és de teula a dues vessants, mentre que la de l'altre edifici és a quatre vessants. La masia presenta les cantoneres de pedra treballada. Al davant de la casa hi ha un jardí. Es conserven les restes d'una premsa de paper.
L'edifici té una capella adossada, d'una sola nau, amb absis poligonal i campanar d'espadanya.
Actualment l'edifici és la seu de les Caves Sumarroca. Pertany a l'hisenda de les Cases de Can Flabiol.
Observacions:
També és coneguda amb el nom de Mas Canals.
El molí està situat al costat del riu Anoia, al seu pas pel nucli del Rebato. S'hi accedeix pel camí del Rebato.
El nom de Molí d'en Coloma li ve a aquest edifici del fet que és un antic molí paperer del segle XVIII, que aleshores s'anomenava Mas Canals.
This fabulous wristlet is the way to go about town in style - whether it be going out with the girls or shopping. It is a convenient way to carry your essentials without having to lug around a big bag. Great for storing your money, cosmetics, cell phone, camera.....also great as a gift.
This pleated wristlet is made from a bright bold solid color cotton fabric. It will be lined in a coordinating color cotton fabric with a roomy patch pocket. It will be interfaced for added strength and closes with a zipper for security.
The wristlet features a detachable wrist strap via a swivel clip which loops around your wrist so you can keep your hands free.
Gorgeous-on-the-go!!
Measurements:
Approx 8 1/2" (21cm) wide at base, 1 3/4" (4.5cm) across at the base, 7" (18cm) wide at top, 4.5" (11cm) tall