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Zitan wood
Qing dynasty [1644-1911]
Gallery of Ancient Chinese Furniture: Ming and Qing Dynasties
Shanghai Museum
4436
After the visit to Penmon Point to see the lighthouse, we headed back up the toll road, and stopped in the car park near the toll booth to have a look around the ruins of Penmon Priory.
The monastery (called St. Seiriol's monastery) grew in size and had a wooden church building by the 10th century. This wooden building was, however, destroyed in 971 and then rebuilt in the 12th century in stone, from 1120 to 1123. The oldest parts of the Priory Church of St Seiriol date to 1140. It survived the initial Norman invasion of Gwynedd between 1081 and 1100, defended by Prince Gruffudd ap Cynan of Gwynedd. The priory church was enlarged in the early 13th century, at the time of the Augustinian Rule. There are records for the election of Priors in the Calendar of Patent Rolls back to 1306, when one Iowerth the Prior is mentioned. The dining hall was on the first floor, with a cellar below and dormitory above. In the 16th century, a kitchen and a warming house were added at the east of the building. The eastern range of buildings has gone, but the southern one, containing the refectory with a dormitory above, still stands.
Llywelyn Fawr and his successors made the church wealthy, giving it land. This was taken away at the time of the Dissolution of the Monasteries in 1536 but the church survived. The priory was in decline before 1536 in any event, and had only the Prior and two other members at that time.
St. Seiriol's Church, which was the centrepiece of the monastery, is now part of the Rectorial benefice of Beaumaris, within the Diocese of Bangor. The church was given a grant by the Welsh Assembly Government of £20,570 in May 2004. This was to repair the leadwork, the rainwater goods, repointing and limewashing of the tower roof and the superstructure of the building. Another building in Penmon, the Priory House (which is set around the cloister court of the church), received £21,600. This was to repair the chimneys, the walls, the windows and the roof of the house.
The ruins of the south range of Penmon Priory.
Grade I Listed Building
History
Linear range of monastic buildings, probably contemporary with the chancel of the adjacent church erected in the first half of the C13. Comprising refectory with cellar below and dormitory above and extended by the addition of a warming room and upper rooms at the E end in early C16.
Exterior
The substantial, roofless, remains of a 3-storey range of monastic buildings built of local rubble masonry with limestone dressings and large boulders as quoins. The refectory is a 5-window range with 3 narrow lights to the dormitory and 3 openings to the cellars below; a doorway to the L and narrow windows with deep slayed reveals to the right. The L (W) return has a tall lancet window in the gable apex and 2 rectangular lights to the refectory. A blocked arched window can be seen from the cloister courtyard to the N.
The warming room addition is built to the E end and has similarly detailed cellar openings with doorway to the R. There is a single 1st floor window of paired arched lights and square headed openings to each floor in the E gable with doveholes in the gable apex.
Interior
The position of each floor is clearly visible in the masonry inside the building; shown as ledges along the lateral walls and joist holes. The warming room block retains lower and 1st floor fireplaces; the 1st floor has square jambs and an elliptical arch, a small carved bust on the L (W) jamb. To the NE corner is a small doorway to a narrow passage to a garderobe with corbelled vault and blocked loop in the E wall.
Reasons for Listing
Listed as the substantial remains of a predominantly C13 monastic building, part of an important monastic estate including the adjacent Priory Church, and other conventual buildings, the nearby holy well and cell and also the monastic remains at Ynys Seiriol.
Ancient Monument No 1/1838/AN 027 (ANG) G.
Detail of the Ross School of Business at the University of Michigan on a partly cloudy Day in December.
Photographed with a MInolta Autocord TLR using Ilford Pan F 50 film. The exposure was EI 50 and it was developed in Diafine. Exposure was estimated using the Suny 16 rule.
Download full size texture at www.tilingtextures.com/rectangular-warm-wall-tiles/
More brick and other textures at www.tilingtextures.com
Claudius. AD 41-54. Æ Sestertius (34mm, 27.51 g, 7h). Imitating a Rome mint issue of circa AD 41-50. Laureate head right; two c/ms: both TI (AV) within rectangular incuse / Spes advancing left, holding flower and raising hem of skirt. Cf. RIC I 99; for c/m: Pangerl -.
D.W. MacDowell and A.V.M. Hubrecht discuss the countermarked bronzes from the Rhineland in “Countermarks on the Aes of Claudius from Nijmegen”, Proceedings of the XIth International Numismatic Congress, vol. 2, pp. 265-7. There appear to be three distinct variations of the TI AV countermark. One appears solely on asses of Agrippa, and is probably contemporary with the reign of Tiberius. The other two are found on aes of Caligula and Claudius, and are localized in Upper Germany and the lower Rhine. MacDowell and Hubrecht conclude that the countermarks at Nijmegen were applied to lightweight products of a local mint, and indicated the coins were to be accepted at the full weight standard of the Rome mint issues struck under Tiberius (hence the countermark, TI[berius] AV[gustus]). cngcoins.com
Shot with a Minox 35 GT-E
Minox Color-Minotar 35mm f/2.8 lens
Kodak Tri-X 400 film
Shot at EI 400
Developed in the Ego Lab using Rodinal (1:25, 2:50min at 88F, agitating first and each minute)
Scanned with a Coolscan 9000ED
rough sketch of my mixed media mini album here on a piece of 12x12 chipboard - u know the kind that comes with your papers in the post to prevent the papers from bending.
Lipper International Child’s Rectangular Table and 2-Chair Set, Pecan via Smart Furniture Shop ift.tt/1FU0v2C
This rectangular vase is from Stig Lindberg's Karneval line, produced by Gustavsberg starting in 1957. The surrealistic scene is hand-painted and the bottom is hand-signed with Stig Lindberg's signature mark, Sweden and 230 J. The original Stig Lindberg design sticker is also present.
Rectangular lighting found in one of the stairwells at the Gucci Store, New York City.
Click "All Size" for a wallpaper/background size.
The Alcázar (castle) of Cordoba, with its thick defensive walls, served both as a fortress and a palace, and is a perfect illustration of the development of Cordoban architecture through the ages. Roman and Visigoth ruins lie side by side with Arabic remains in this magnificent building, which was once the favourite residence of the different rulers of the city. However, when Cordoba was taken by Fernando III «the Saint» in 1236, the former Caliphal Palace was in a pitiful, ruinous state. Alfonso X «the Wise» began the restoration work, which was finished off during the reign of Alfonso XI. It has fulfilled many different functions over the years, such as Headquarters of the Inquisition, or a prison (first half of the 20th century).
At first sight, one of the most surprising features of the fortress is its almost rectangular shape with its long walls made of solid blocks of stone (ashlars) and four corner towers (the tower of the Lions, the main keep, the tower of the Inquisition and the tower of the Doves). Inside, the different halls are distributed around courtyards with an exotic array of flowers, aromatic herbs and mature trees. Both rooms and corridors are covered by stone cupolas in Gothic style. In one of the galleries leading to the halls, there is a Roman sarcophagus on display, a pagan work dating from the early 3rd Century, on the front of which there is a sculpture in relief depicting the journey of the dead to the underworld through a half-opened door. The most interesting hall is the small Baroque chapel, the Hall of the Mosaics, where a series of Roman mosaics, discovered underneath the Corredera, are displayed around the walls. Below this hall are the baths, built in Arabic style, which are divided into three rooms with vaulted ceilings containing the familiar star-shaped openings. The boiler which provided water for the baths was situated below the Main Keep.
There are two courtyards, but the one in Mudejar style is by far the most attractive. The cool marble floors and the murmur of water, running down the channels and into the ponds, refreshes the hot summer air and soothes the weary visitor's spirits. The spacious gardens, stretching out to the west, give this Alcázar, or castle, an air of monumental grandeu
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Església de nau rectangular, amb tres absis semicirculars formant una capçalera trevolada i un cimbori vuitavat al centre del creuer. Els tres absis semicirculars tenen les mateixes dimensions, estan oberts amb arcs presbiterials i ornats exteriorment amb arcuacions cegues i dues lesenes cadascun. Les lesenes van fins a un petit sòcol que envolta els absis i hi ha tres arcuacions cegues entre lesena i lesena, en total nou a cada absis. El central té tres finestres de doble esqueixada i els laterals una cadascun, també de doble esqueixada. A la façana de ponent, refeta en la restauració de 1957-73, hi ha el portal d'entrada, de mig punt amb una imposta. Una orla sobresortida volta l'arc, i les dovelles estan molt ben polides i encaixades; damunt seu hi ha una finestra allargada de volta de mig punt amb una orla semicircular i imposta. A l'aresta de la façana de migdia hi ha un contrafort. La nau és coberta amb una volta de canó lleugerament apuntada, reforçada per dos arcs torals, el del creuer de mig punt i el del mig de la nau apuntat, i recolza sobre unes columnes de factura molt sòlida, amb impostes en les de l'arc apuntat. Els absis són coberts amb volta de quart d'esfera. La cúpula del cimbori és semiesfèrica, de base quadrada i de grans dimensions, aguantada pels arcs dels absis (el central i els laterals) i el de la nau. Té quatre trompes a partir de les quals els carreus estan disposats uniformement fins al punt final de la semiesfera. El cimbori té tots els costats d'idèntiques dimensions. A la paret de migdia hi ha una finestra rodona. La coberta de la nau té dues vessants, la del cimbori en té vuit i en els absis és cònica, totes amb teula àrab.
Les dues façanes laterals, sud i nord, presenten decoració d'arcuacions cegues llombardes de les mateixes dimensions que les de l'absis; aquestes arcuacions presenten una lesena central al mur nord, mentre que en el mur sud apareixen seguides i tenen una tipologia molt especial, ja que són formades per plafons semicirculars refets del pla de façana. A la paret de migdia hi ha dues finestres de doble esqueixada i una porta més petita que la del mur de ponent, i a la paret nord hi ha una finestra de doble esqueixada on també es troba un portal de mig punt, de petites dimensions. L'aparell constructiu de l'edifici és de carreus de pedra tallats amb uniformitat en tot el conjunt, excepte a la base, que és de pedra basta. L'edifici presenta alguns elements que el singularitzen, atorgant-li un interès especial: en primer lloc, la presència de les dues portes secundàries situades a les façanes nord i sud, que es corresponen força bé amb les portes accessòries que apareixen a les esglésies monàstiques medievals i que plantegen, per a alguns estudiosos, un possible caràcter monàstic de l'església de Terrassola. Així, i seguint aquesta hipòtesi, seria l'únic element conservat d'un conjunt monàstic desaparegut, si és que s'arribà a completar el projecte en el qual es concebí l'església. Tanmateix, a la façana sud cal destacar la singularitat formal del seu fris d'arcuacions, molt diferent del que és més habitual en aquest tipus decoratiu. També és un element singular en la composició del mateix edifici, en la qual la situació dels absis i de la façana nord segueix les fórmules habituals del seu tipus. És difícil donar una motivació a aquesta singularitat, potser justificada per la presència d'edificis annexos.
L'indret que ocupa l'església de Sant Marçal de Terrassola ja estava habitat, com a mínim, des del segle IV aC. Després de ser abandonada durant el Baix Imperi, l'emplaçament es tornà a poblar al segle X. Damunt d'una església anterior, entre els anys i 1043 i 1053, Guislabert, bisbe de Barcelona, consagrà l'actual església de Sant Marçal a petició del matrimoni format per Silveri Borrell i Ermessenda. Deuen ser d'aquesta època o de la capella anterior les tombes antropomorfes actualment tapades que hi ha dintre del recinte del temple i que aparegueren durant les obres de restauració dels anys 1985-86. Al començament del segle XIII, l'església de Sant Marçal depenia del monestir italià de Sant Martino dell'Isola Gallinaria, a l'igual que el proper priorat de Sant Pere de Riudebitlles. El 1209, Nicolau, abat de l'esmentat monestir, nomenà síndic Bernat de Blancafort, monjo i diaca d'aquell cenobi. L'any següent hi hagué una concòrdia entre Pere, bisbe de Barcelona, i Bernat de Blancafort, perquè aquest darrer no volia observar sobre la institució de l'església de Sant Marçal la cura d'ànimes i l'entredit. La dependència del cenobi italià durà fins que es va fer una permuta de propietats amb el monestir de Montserrat l'any 1428, que canviava Sant Marçal per terres italianes.
Es creu que aquesta església tingué una funció monacal, com ho corrobora l'existència de les portes laterals, i cal suposar que la façana meridional connectava amb el possible claustre, la de tramuntana amb el fossar i la de ponent estava reservada als fidels. Amb tot, fins al segle XV no hi ha cap document que parli de la seva funció com a cenobi. L'església s'utilitzà també com a magatzem de gra, com ho demostra la troballa, en les últimes excavacions, de set sitges tallades al terreny natural. Aquestes es trobaren distribuïdes per la nau sense cap ordre. Possiblement aquest factor indica una diacronia en la construcció, fent-se a mesura que calia augmentar la capacitat d'emmagatzematge. Les sitges eren de forma ovoïdal, força irregulars, amb el diàmetre més gran prop de la base, que presentava una lleugera concavitat. El brocal estava fet amb pedres treballades en arc de cercle, i la tapadora era monolítica, amb una perforació central. Aquests dipòsits van estar en ús fins l'any 1780, ja que se sap per la documentació que el bisbe, amb motiu d'una visita pastoral, va sol·licitar al rector que proporcionés un altre lloc per guardar el blat, ja que no era decent que el tingués dins l'església. Al segle XIV es va substituir la volta de canó per una altra lleugerament apuntada. Al segle XVIII es van fer algunes actuacions a l'església, a fi de com sanejar la volta, posar nova teulada, construir un campanar rectangular damunt de la nau i fer el contrafort de la façana sud. Al començament del segle XX s'adossà la sagristia a sota del campanar. En la restauració que es va fer a partir de l'any 1957, a càrrec de la Diputació de Barcelona, es van treure el campanar i la sagristia i es va refer la façana actual d'entrada entre d'altres millores. Però no és fins a la intervenció de 1985-86 que el temple queda en perfecte estat de conservació. Es pot considerar un dels millors exemplars del romànic català que ha arribat fins als nostres dies.
Durant els anys 1985-86 l'església de Sant Marçal de Terrassola fou objecte d'una restauració total i una reorganització de l'entorn dutes a terme pel Servei de Patrimoni Arquitectònic de la Diputació de Barcelona, segons el projecte de l'arquitecte Rafael Vila Rodríguez. Aquesta actuació va ser precedida d'una recerca documental, portada a terme per les senyores Anna Castellano i Maria José Sureda. L'excavació arqueològica prèvia abastà la totalitat de la superfície interior del temple i els rebliments que hi havia sota les teulades; a més es van fer dos sondeigs extramurs de l'absis major. Les recerques dutes a terme permeteren identificar deu fases diferents d'ocupació. Així, les restes més antigues conegudes al solar de Sant Marçal corresponen a una habitació d'època ibèrica, situada al bell mig de l'àrea ocupada pel temple actual, amb una cronologia que abasta des de mitjan segle IV a la darreria del segle II aC. L'ocupació del capcer de Terrassola a l'època de l'Alt Imperi Romà també és documentada per la presència d'alguns materials ceràmics. Si bé no coneixem cap estructura arquitectònica d'aquell moment, es pot suposar que hi havia una vil·la romana als voltants del lloc on avui hi ha l'església. Després de l'abandó de l'explotació agrícola romana, de la qual tan sols podem intuir que funcionava durant els segles II i III dC, no tenim més dades sobre l'ocupació del promontori fins al segle X, la qual cosa no vol dir que deixés d'utilitzar-se en aquesta darrera data. És d'aquell moment una necròpoli d'inhumació, amb vuit sepultures antropomorfes d'adults i dues d'el·líptiques d'infants, coetànies a les anteriors, retallades en part als rebliments de l'època ibèrica i en part al terreny natural. Les tombes es trobaven concentrades a la meitat sud de la nau i, en més quantitat, a ponent. La presència d'aquesta sagrera pot indicar l'existència d'un edifici religiós anterior a l'actual, desconegut fins ara, que caldria situar fora de l'àrea afectada per l'excavació arqueològica, segurament cap al sud-oest. Els rebaixos de nivell realitzats anteriorment al voltant del temple fan que sigui impossible confirmar aquesta hipòtesi. Només es coneixen íntegrament tres tombes d'adults, ja que dues estaven tallades pels fonaments del temple i la resta estaven parcialment arrasades per remocions posteriors.
L'absència d'aixovar i d'elements de cultura material als rebliments de les tombes fa difícil la datació absoluta de la necròpoli, però la tipologia i la datació "ante quem" proporcionada pel fet que algunes sepultures van ser tallades per la cimentació del temple permeten establir-ne la datació prop del final del segle IX i sobretot al llarg del segle X. Finalment, a les acaballes del segle XI o començament del XII es va construir l'edifici que sense grans canvia ha arribat fins avui.
Rectangular twists side
From a square of tant paper. 1/64 grid.
At the Geneva convention, I saw Robin folding the double square wave tessellation by Jorge Lucero. An amazing design, featuring a seldom used rectangular twist. So I decided to try another model with this twist.
The Grade I Listed Carew Castle, a Norman Rectangular castle with Elizabethan Ranges alongside the Carew River in Pembrokeshire, South Wales.
The Carew family take their name from the place, and still own the castle, although it is leased to the Pembrokeshire Coast National Park, which administers the site.
The use of the site for military purposes extends back at least 2000 years. The castle stands on a limestone bluff overlooking the Carew inlet — a part of the tidal estuary that makes up Milford Haven. The site must have been recognised as strategically useful from the earliest times, and recent excavations in the outer ward have discovered multiple defensive walls of an Iron Age fort.
The Norman castle has its origins in a stone keep built by Gerald de Windsor around the year 1100. Gerald was made castellan of Pembroke Castle by Arnulf of Montgomery in the first Norman invasion of Pembrokeshire.
Gerald's son William took the name "de Carew", and in the middle of the 12th century created an enclosure with stone walls incorporating the original keep, and a "Great Hall" inside it.
The de Carews fell on hard times in the post-Black Death period and mortgaged the castle. It fell into the hands of Rhys ap Thomas, who made his fortune by strategically changing sides and backing Henry Tudor just before the battle of Bosworth.
Rhys's grandson Rhys ap Gruffudd fell out of favour and was executed by Henry VIII for treason in 1531. The castle thus reverted to the crown and was leased to various tenants. In 1558 it was acquired by Sir John Perrot, a Lord Deputy of Ireland, who completed the final substantial modifications the castle.
Perrot subsequently fell out of favour and died imprisoned in the Tower of London in 1592. The castle reverted to the crown and was finally re-purchased by the de Carew family in 1607. In the Civil War, the castle was refortified by Royalists although south Pembrokeshire was strongly Parliamentarian. At the Restoration the castle was returned to the de Carews, who continued to occupy the eastern wing until 1686. The castle was then abandoned and allowed to decay.
Information Source:
Amazing to see that this short focal length covers about 90% of the GFX sensor well. In the corners, lateral chromatic aberration is visible as blue fringing, Alas, stopping down to f/5.6 did not help the problem but it should be remediable in PhotoSnot.
Some of the undesired appearance in the corners and indeed the sky-backed tree branches is due to the high flare level of this lens. Pentax made a bespoke rectangular metal hood for it to minimize the flare. Sometimes, however, flare may be your asset in creating a mood, esp, in B&W.
The Pensnett Railway served the coal mines of the Earl of Dudley and linked various sites in the Brierley Hill / Dudley area with Round Oak Steel Works. Looking at the size of these arches (if you can have rectangular arches), one could be forgiven for thinking that the railway was narrow-gauge.It was however, as far as I am aware, the normal standard gauge. There were three lines that passed under Dudley Road, whilst adjacent to them was a canal bridge to the North of the lines.
1846–1867. From Sohns Pottery in Hermann, Missouri, the flowerpot was made by Michael Sohns (1809–1867). He was from Baden, Germany, and had established his pottery business in Missouri by 1840. Missouri History Museum Collections.
1951-129-0001
Chand Minar, Daulatabad Fort
Coming out of the Jain Temple, you cross the pathway to the Chand Minar, a circular tower rising to a height of 210 feet erected by Alauddin II Bahmani in 1435 AD. Its midway gallery is supported by brackets with balustrades all around. Very few of the glazed persian tiles of diamond shape and lapis lazuli color which once decorated the minar can now be seen on it. The top is accessed by a spiral staircase. On the rectangular base, there is a mosque to one side and a Drum-Hall (Nakhar Khana) on the other side.
Daulatabad also known as Devagiri, is a town which includes the Devagiri-Daulatabad fort It is a 14th-century fort city in Maharashtra state of India, about 16 kilometres (9.9 mi) northwest of Aurangabad. The place was originally named Devagiri when it was an important uplands city along caravan routes (ca. sixth century AD), but the intervening centuries have reduced it to a village. However it is also considered to be one of the seven wonders of Maharashtra and a developing tourist spot.
The historical triangular fort of Daulatabad was built by first Yadava king Bhillama V in 1187.
Starting 1327, it famously remained the capital of Tughlaq dynasty, under Muhammad bin Tughluq (r. 1325-1351), who also changed its name, and forcibly moved the entire population of Delhi for two years before it was abandoned for lack of water and Tughluq was constantly known to shift the capital from Delhi to Daulatabad and Daulatabad to Delhi.
There is a belief that Devagiri was built in 1203 AD by a Dhangar or herdsman who acquired vast wealth by his good fortune. He had a brother who was a shepherd named 'Raja Ram' and in correlation with it he assumed the rank of a Raja (King).
Lord Shiva is believed to have been stayed on the hills surrounding this region. Hence the fort was originally known as Devagiri, literally (Hills of Gods)
The area of the city includes the hill-fortress of Devagiri (sometimes Latinised to Deogiri). It stands on a conical hill, about 200 meters high. Much of the lower slopes of the hill has been cut away by Yadava dynasty rulers to leave 50 meter vertical sides to improve defenses. The fort is a place of extraordinary strength. The only means of access to the summit is by a narrow bridge, with passage for not more than two people abreast, and a long gallery, excavated in the rock, which has for the most part a very gradual upward slope.
About midway along this gallery, the access gallery has steep stairs, the top of which is covered by a grating destined in time of war to form the hearth of a huge fire kept burning by the garrison above. At the summit, and at intervals on the slope, are specimens of massive old cannon facing out over the surrounding countryside. Also at the mid way, there is a cave entrance meant to confuse the enemies.
The fort had the following specialities which are listed along with their advantages :
No separate exit from the fort, only one entrance/exit - This is designed to confuse the enemy soldiers to drive deep into the fort in search of an exit, at their own peril.
No parallal gates - This is designed to break the momentum of theconfusing the invading army. Also, the flag mast is on the left hill, which the enemy will try to capitualte, thus will always turn left. But the real gates of the fort are on the right & the false ones on the left, thus confusing the enemy.
Spikes on the gates - In the era before gunpowder, intoxicated elephants were used as a battering ram to break open the gates. The presence of spikes ensured that the elephants died of injury.
Complex arrangement of entryways, curved walls, false doors - Designed to confuse the enemy, false, but well-designed gates on the left side lured the enemy soldiers in & trapped them inside, eventually feeding them to crocodiles.
The hill is shaped like a smooth tortoise back - this prevented the use of mountain lizards as climbers, because they cannot stick on it.
The site had been occupied since at least 100 BCE, and now has remains of Buddhist temples similar to those at Ajanta and Ellora.
The city is said to have been founded c. 1187 by Bhillama V, a Yadava prince who renounced his allegiance to the Chalukyas and established the power of the Yadava dynasty in the west. During the rule of the Yadava king Ramachandra, Alauddin Khalji of Delhi Sultanate raided Devagiri in 1296, forcing the Yadavas to pay a hefty tribute. When the tribute payments stopped, Alauddin sent a second expedition to Devagiri in 1308, forcing Ramachandra to become his vassal.
In 1328, Muhammad bin Tughluq of Delhi Sultanate transferred the capital of his kingdom to Devagiri, and renamed it Daulatabad. Some scholars ague that it the idea behind transfer of the capital was rational, because it lied more or less in the centre of the kingdom, and geographically secured the capital from the north-west frontier attacks.
In the Daulatabad fort, he found the area arid & dry. Hence he built a huge reservoir for water storage & connected it with a far-away river. He used siphon system to fill up the reservoir. However, his capital-shift strategy failed miserably due to lack of application & other factors. Hence he shifted back to Delhi & earned him the moniker "Mad King".
The next important event in the Daulatabad fort time-line was the construction of the Chand Minar by the Bahmani ruler Hasan Gangu Bahmani, also known as Ala-ud-Din Bahman Shah (r. 3 August 1347 – 11 February 1358).
Hasan Gangu built the Chand Minar as a replica of the Qutb Minar of Delhi, of which he was a great fan of. He employed Iranian architects to built the Minar who used Lapis Lazuli & Red Ochre for coloring. Currently, the Minar is out of bounds for the tourists, because of a suicide case.
As we move further into the fort, we can see the Chini Mahal, a VIP prison built by Aurangzeb. In this prison, he kept Abul Hasan Tana Shah of the Qutb Shahi Dynasty of Hyderabad. The antecedents of Abul Hasan Tana Shah, the last Qutub Shahi king are shrouded in mystery. Although a kinsman of the Golconda royals, he spent his formative years as a disciple of renowned Sufi saint Shah Raju Qattal, leading a spartan existence away from the pomp and grandeur of royalty. Shah Raziuddin Hussaini, popularly known as Shah Raju, was held in high esteem by both the nobility and commoners of Hyderabad. Abdullah Qutub Shah, the seventh king of Golconda was among his most ardent devotees. He died in prison leaving no male heir to the throne.
In this Chini Mahal, Sambhaji, son of Shivaji was kept.
Most of the present-day fortification was constructed under the Bahmanis and the Nizam Shahs of Ahmadnagar. The Mughal Governor of the Deccan under Shah Jahan, captured the fortress in 1632 and imprisoned the Nizam Shahi prince Husain Shah.
Monuments
The outer wall, 2.75 miles (4.43 km) in circumference, once enclosed the ancient city of Devagiri and between this and the base of the upper fort are three lines of defences.
Along with the fortifications, Devagiri contains several notable monuments, of which the chief are the Chand Minar and the Chini Mahal. The Chand Minar is a tower 210 ft (64 m). high and 70 ft (21 m). in circumference at the base, and was originally covered with beautiful Persian glazed tiles. It was erected in 1445 by Ala-ud-din Bahmani to commemorate his capture of the fort. The Chini Mahal (literally: China Palace), is the ruin of a building once of great beauty. In it Abul Hasan Tana Shah, the last of the Qutb Shahi kings of Golconda, was imprisoned by Aurangzeb in 1687.
U.S. Bellows designed this rectangular fabric expansion joint for a ventilation air filter system at a gas turbine facility. The dimensions for the expansion joint are 153” x 55” x 21”. The fabric belt is made from PTFE, 25% glass filled coated fiber glass cloth, while the frame and liner are fabricated from A572 Gr.50 high strength steel. The expansion joint is designed for -20°F to +200°F at +/- 100" water column. A dye penetrant examination on the welds was preformed prior to shipment.
Or maybe this pattern has a different name, I don't know what it might be. You can barely tell from the top photo that the pattern is printed on both sides.
Backmark is
GLASBAKE
J-263 2-1/2QT 12
I've never seen a divided rectangular dish. Maybe it was intended for making square layer cakes and only dirtying "one pan"...
"Ruby" - 24 Interlocking Rectangular Prisms #1
Designed and folded by me out of Biotope paper.
Another orthogonal rectangular prism composition here. There are many ways to describe this design, but I like to see it as various swapping and rearranging techniques applied to some ascending arrays. This design is much cleaner and more accurate than any previous rectangular prism composition that I have made.
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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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.
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!
This statue, standing on a rectangular base, depicts a kneeling young man, holding a small shrine, naos, between his knees in which the deity Ptah-Sokar-Osiris can be seen in relief: a mummy-shaped human figure with a falcon's head and an Atef-crown, holding a long staff with a crooked end in his hands. The head of the young prince is covered with short, curled wig. The "lock of youth" on the right side is wrapped around with a decorative ribbon, and its curled end falls onto his right shoulder.
His back is covered with stylised panther skin. A vertical column of hieroglyphic text is engraved on the back pillar: "An offering, which the king gives to Osiris-Apis, the Foremost of the West, that he may give life, wealth and health to the Hereditary Prince of His Majesty, "the master-craftsman", the sem-priest of Ptah, the justified Shoshenq, the [eldest] son of the King of the Two Lands [...] Osorkon. His mother is Karama."
Therefore, the prince was the eldest son and heir of one of the rulers of the 22nd dynasty, Osorkon II.
Despite of his young age, he bore the title of the high-priest of Ptah ("the master-craftsman") . Unfortunately, not for long, he died while his father was still alive, hence he did not become the heir to the throne.
22nd dynasty, from Saqqara (found in the cemetery of Apis bulls (Serapeum) in 1852)
Inv. no. 51.2050
Museum of Fine Arts, Budapest
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!