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Fai Chun (揮春) is a traditional decoration that is frequently used during Chinese New Year. People put Fai Chun in the doorways to create jubilant festive atmosphere since the phrases written on it means good luck and prosperity. Customarily, Fai Chun is written by hand but owing to convenience, printed versions are mass-produced nowadays. Fai Chun is in either square or rectangular shape. It can be hung vertically or horizontally. Not only does it exist in China, but also in Korea, Japan and Vietnam.
History
Fai Chun originated from “taofu” (桃符; peach wood charms) in ancient times. Peach wood charms are the long pieces of wood hung from peach trees. They are about seven to eight inches long and slightly more than one inch wide. According to the legend, there was a peach tree in the East China Sea that was the gate where the ghosts passed through between the underworld and the world of the living. Two gods, Shentu and Yulei, were responsible for guarding this gate. The ghosts travelling the world at night time were required to return to the underworld before the early morning. It was believed that the two gods could dispel all the demons which did harm to human at night time. People, therefore, used the peach wood to make two puppets of the two gods and put them at the entrance of their home in order to protect their family. Then, as early as the Han dynasty, people found that it was hard and complicated to make puppets, so they simplified the puppets to two peach wood boards on which they drew portraits of the gods. Later on, people simply wrote down the names of the gods on pieces of peach wood and hung them on both sides of the door. Around the Tang dynasty, commoners no longer wrote the names of the gods only but add some blessings to symbolize good fortune as well as express their hope and best wishes in the new year. Since Ming dynasty, pieces of peach wood were replaced by square red papers.
Colour
Traditional Fai Chun is in bright red color with black or gold characters inscribed on it with a brush. Similar to the color of fire, red color was chosen as to scare the legendary fierce and barbarous beast “Nian”, which ate up villagers’ crops, livestock and even villagers themselves on the eve of the new year.
Forms of Fai Chun
In the past, Fai Chun was presented in Xuan paper, also named rice-paper. Its fine and soft texture enables vivid and dynamic artistic expression of Chinese calligraphy. In this age of technology, city dwellers seldom write their own Fai Chun. Instead, they purchase them in the stationery stores or shopping malls where a wide diversity of styles is offered. Thanks to the advancement in technology, Fai Chun can be printed in multiple colors. Commercialization of Fai Chun can be seen when animated characters are used to attract children while sparkling decoration are used to attract adults. Moreover, the material of Fai Chun is no more limited to mere paper. Fai chun made by cloth, plastic and layers of cardboards are quite common. Nevertheless, the practice of writing Fai Chun continues in traditional areas, particularly in walled villages.
Types of Fai Chun
The types of Fai Chun are as follows:
Doufang
It is a square that its angles point to four cardinal points. Owing to the limited space, this type of Fai Chun only displays one character such as “Chun” (春; Spring), “Man” (滿; Full) and “Fu” (福; Good fortune). “Man” is stuck on rice bins of refrigerators hoping for abundant food. “Fu” is always hung inverted on the center of the door on purpose. The reason behind is the superstition that the homonym of the Mandarin word “inverted” (倒) and “arrival” (到) suggests the arrival of happiness and good fortune. Combined words, a non-existent word that encompasses parts of Chinese characters, is also very common.
Chuntiao
It is a vertical or horizontal rectangle that carries two or four Chinese characters. Auspicious phases are expressed based on various contexts. For example, “Gōngxǐ fācái” 恭喜發財 is an ubiquitous phase that wishes people to become affluent so it can be seen in all occasions. Regarding workplace, “Cáiyuán gǔngǔn” (財源滾滾; Merchandise will turn like a wheel) is a term that suggest prosperity. At home, “niánnián yǒuyú” (年年有餘; Surplus year-after-year) are deemed to wish for excess family possessions in the end of the year. Children usually paste “Xuéxí jìnbù” (學業進步; Progress in studies) on their bedroom doors hoping for higher form position in the coming academic year while the elderly hang “Lóng mǎ jīngshén” (龍馬精神; Spirits of dragon and horse), which is conceived to be able to shelter them from diseases.
Chunlian (Spring couplets)
Chunlian is a couplet, typically seven characters, on two sides of the door frame, whose content is related to spring. Lexical and tonal rules are always adhered, though not strictly, as Chunlian is transformed from metrical poems. Sometimes, concurrently, a horizontal scroll with four to five characters is hanged on the crosspiece of the door. Its content is mostly about the beauty of nature, patriotism of China and their earnestness of a splendid future. Except from being hung on door frames, Chunlian is a necessary item that is unfurled in the end of a dragon dance, an exultant performance in celebration.
Source: Wikipedia
The Roman Forum is a rectangular forum (plaza) surrounded by the ruins of several important ancient government buildings at the center of the city of Rome, Italy. Citizens of the ancient city referred to this space, originally a marketplace, as the Forum Magnum, or simply the Forum. For centuries it was the center of Roman public life: the site of triumphal processions and elections; the venue for public speeches, criminal trials, and gladiatorial matches; and the nucleus of commercial affairs. Here statues and monuments commemorated the city's great men. The teeming heart of ancient Rome, it has been called the most celebrated meeting place in the world, and in all history. Located in the small valley between the Palatine and Capitoline Hills, the Forum today is a sprawling ruin of architectural fragments and intermittent archaeological excavations attracting numerous sightseers.
Many of the oldest and most important structures of the ancient city were located on or near the Forum. The Roman kingdom's earliest shrines and temples were located on the southeastern edge. These included the ancient former royal residence, the Regia (8th century BC), and the Temple of Vesta (7th century BC), as well as the surrounding complex of the Vestal Virgins, all of which were rebuilt after the rise of imperial Rome. Other archaic shrines to the northwest, such as the Umbilicus Urbis and the Vulcanal (Shrine of Vulcan), developed into the Republic's formal Comitium (assembly area). This is where the Senate—as well as Republican government itself—began. The Senate House, government offices, tribunals, temples, memorials and statues gradually cluttered the area.
Over time the archaic Comitium was replaced by the larger adjacent Forum and the focus of judicial activity moved to the new Basilica Aemilia (179 BC). Some 130 years later, Julius Caesar built the Basilica Julia, along with the new Curia Julia, refocusing both the judicial offices and the Senate itself. This new Forum, in what proved to be its final form, then served as a revitalized city square where the people of Rome could gather for commercial, political, judicial and religious pursuits in ever greater numbers.
Eventually much economic and judicial business would transfer away from the Forum Romanum to the larger and more extravagant structures (Trajan's Forum and the Basilica Ulpia) to the north. The reign of Constantine the Great, during which the Empire was divided into its Eastern and Western halves, saw the construction of the last major expansion of the Forum complex—the Basilica of Maxentius (312 AD). This returned the political center to the Forum until the fall of the Western Roman Empire almost two centuries later.
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.
Otras fotos de Els Galls Carnuts:
www.flickr.com/search/show/?q=carnuts&w=11299883%40N08
Descripció:
És una torre d'aparença troncopiramidal, de planta rectangular que fa 8,20x6 m de base, i uns 8 m d'alçada.
Els murs, de gairebé 1 m de gruix, tenen els paraments de maçoneria i les cadenes cantoneres de carreus. En un dels costat curts, orientat vers migdia, hi ha la porta d'accés amb arc de mig punt de potent dovellatge. Tres metres més amunt hi ha quatre espitlleres que es repeteixen a la façana oposada que mira a tramuntana. En el mateix nivell, al mig de la façana, s'obre una finestra que sembla posterior.
Al costat d ponent hi ha adossada una casa -ara seminenderrocada- que constituí l'ampliació moderna del mas.
La torre estava coberta amb una teulada, possiblement a dues vessant amb el carener paral·lel a la façana principal.
El coronament del mur de llevant presenta uns talls verticals en l'aparell de pedra que fa dubtar si antigament podia haver tingut una terrassa amb merlet. o si eren finestres d'una galeria solana.
L'interior té planta baixa i dos pisos de sostre pla embigat que descansen en dos arcs diafragmàtics, paral·lels a la façana principal, situats al bell mig de l'estança. El de la planta baixa és de mig punt i el del primer pis és apuntat.
Notes històriques:
Les notícies documentals sobre aquesta casa forta o mas són escasses.
Al segle XIII apareix vinculada als castlans del castell de Selma. En 1217, quan Ramon de Castellbisbal va vendre l'honor de Selma a la família dels Fonollars, castlans del castell de Selma, aquests ja posseïen entre d'altres masos el conegut com a mas dels Galls Carnuts.
El 1274, en fer testament Elisenda de Fonollar llegà al seu fill primogènit, Guillem, entre d'altres propietats el mas dels Galls Carnuts.
www.diputaciodetarragona.cat/marc/web/diputacio-de-tarrag...
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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Árbol de 2 a 12(25) m de alto, generalmente caducifolio; corteza persistente en placas rectangulares de color gris sobre el tallo y las ramas principales, persistente o exfoliante en pequeñas láminas rugosas sobre las ramillas, dejando al descubierto la corteza interior de color café anaranjado, ramillas del año no exfoliantes o exfoliantes, de color rosado, púrpura o café pálido, pubescentes con pelos simples cortos y curvados y con pelos glandulares rectos a ligeramente flexuosos, divergentes, de 1 a 6 mm de largo, las del segundo año rugosas; peciolo de 1 a 4 cm de largo, a veces de color rosado a púrpura, con el mismo tipo de pubescencia que las últimas ramillas, láminas foliares ovadas a elípticas, de 2,5-10 cm de largo y de 1.5 a 5 cm de ancho, el ápice agudo u obtuso, la base cuneada, truncada, redondeada o subcordada, simétrica o algo asimétrica, margen finamente aserrado o entero, con pelos glandulares, haz de color verde olivo, brillante pero haciéndose opaco en el material seco, envés de color verde pálido, opaco, pubescente con pelos simples finos y flexuosos y pelos glandulares cortos, estos últimos principalmente hacia la base y a lo largo de la nervadura central; inflorescencias terminales laxas, compuestas de grupos de racimos, rara vez reducidas a uno o dos racimos, éstos de 2 a 7 cm de largo y de 1.5 a 3 cm de ancho, ejes y pedicelos a veces de color rosado a púrpura, densamente pubescentes, pedicelos de 0.5 a 1.1 cm de largo, con una bráctea basal de 2.2 a 4.6 mm de largo y 2.2 a 3.4 mm de ancho, endurecida, amarillenta a rosada, densamente pubescente en ambas caras, con amplio margen escarioso de color rosado pálido a café, ciliado en el ápice; lóbulos del cáliz triangulares, de 1.5 a 2.4 mm de largo, membranáceos, con ápice agudo u obtuso, escarioso; corola de 5 a 7.8 mm de largo, de color blanco, a veces verdoso, blanco amarillento, amarillo verdoso o amarillo crema, fragante, glabra exteriormente, los lóbulos con márgenes auriculados imbricados; fruto de 0.9 a 1.1 cm de largo y de 1 a 1.2 cm de diámetro, de color amarillo a rojo. Vive en encinares, bosques de pino-encino, bosques de pino-encino con elementos tropicales, bosques de coníferas (Pinus y Abies), bosques de Cupressus, Quercus y Abies y bosques hú. Alt. 1700-3100 m. Especie endémica de México, distribuido desde Sinaloa hasta Michoacán y el estado de México. En iturraran se encuentra en las zonas 1 y 8.
Tree 2 to 12 (25) m tall, generally deciduous; persistent bark in gray rectangular plates on the stem and main branches, persistent or exfoliating in small rough sheets on the twigs, exposing the orange-brown inner bark, non-exfoliating or exfoliating twigs of the year, pink, purple or pale brown, pubescent with short curved simple hairs and with glandular hairs straight to slightly flexuous, divergent, 1 to 6 mm long, those of the second year rough; petiole 1 to 4 cm long, sometimes pink to purple, with the same type of pubescence as the last twigs, ovate to elliptical leaf-blades, 2.5-10 cm long and 1.5 to 5 cm long broad, the apex acute or obtuse, the base wedge-shaped, truncated, rounded or subchordinate, symmetrical or somewhat asymmetrical, margin finely serrated or whole, with glandular hairs, upper surface olive green, shiny but becoming opaque in the dry material, on the underside of pale green, dull, pubescent with fine, flexuous simple hairs and short glandular hairs, the latter mainly towards the base and along the midrib; terminal inflorescences lax, composed of groups of racemes, rarely reduced to one or two racemes, these 2 to 7 cm long and 1.5 to 3 cm wide, axes and pedicels sometimes pink to purple, densely pubescent, pedicels 0.5 to 1.1 cm long, with a basal bract 2.2 to 4.6 mm long and 2.2 to 3.4 mm wide, hardened, yellowish to pinkish, densely pubescent on both sides, with wide scarious pale pink to brown margin , ciliate at the apex; calyx lobes triangular, 1.5 to 2.4 mm long, membranous, with acute or obtuse, scarious apex; corolla 5 to 7.8 mm long, white, sometimes greenish, yellowish-white, greenish-yellow or creamy-yellow, fragrant, glabrous externally, the lobes with overlapping auriculate margins; fruit 0.9 to 1.1 cm long and 1 to 1.2 cm in diameter, yellow to red in color. It lives in oak forests, pine-oak forests, pine-oak forests with tropical elements, coniferous forests (Pinus and Abies), Cupressus, Quercus and Abies forests and hu forests. Alt. 1700-3100 m. Endemic species of Mexico, distributed from Sinaloa to Michoacán and the state of Mexico. In iturraran it is found in zones 1 and 8.
Title: Tea Table
Artist/Maker: Carving attributed to Samuel Harding (Carver, d. 1758)
Place Made: United States: Pennsylvania: Philadelphia
Date Made: ca. 1750
Medium: wood; mahogany; Atlantic white cedar; yellow pine
Measurements: Overall: 29 1/4 in x 24 1/2 in x 19 in; 74.295 cm x 62.23 cm x 48.26 cm
Credit Line: Gift of Mrs. Anne C. Bienstock
Collection: The Diplomatic Reception Rooms, U.S. Department of State, Washington, D.C.
Accession No: RR-1992.0028
Linen cloak with linen lining. Squirrel fur edging down front. Without pin. Loops for pennanular or brooch hand done in linen thread.
£85
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...
c. Mercaders, 42; pl. Beates, 2.
El palau Mercaders emplaçat al carrer Mercaders 42 del districte de Ciutat Vella, es localitza en una illa de cases rectangular delimitada pels carrers Mercaders, Beates, Sant Pere més Baix, Freixures, l'avinguda Cambó i la plaça Beates.
En origen era una casa benestant que tot i els seus orígens anteriors al segle XVII - XVIII fou en aquest període quan la finca va configurar la fisonomia actual. Actualment és la seu del Cercle Artístic de Sant Lluc.
Encara que actualment la finca on es troba emplaçat és resultat de l'annexió de diversos edificis, l'edifici té personalitat pròpia tot i que originalment era més gran i continuava per un tram del carrer Beates (actualment ocupat per un casalot del segle XVIII).
L'edifici s'estructura en alçat de planta baixa, planta noble i dos pisos, presentant dos façanes exteriors afrontades al carrer Mercaders i a la plaça Beates. Les dues tenen tot el parament de carreus, amb finestres enreixades a la planta baixa, balcons amb voladís tancats per baranes de ferro forjat a la primera planta i de nou finestres a la planta superior. Els balcons són de llosana de pedra motllurada i s'emmarquen amb carreus i una gran llinda. També és de pedra la cantonera, lleugerament arrodonida.
La planta baixa s'obre per una amplia porta escarsera per a carruatges tancada per una porta de ferro. Aquesta dona pas a un vestíbul rectangular que per mitjà d'un ampli arc escarser que accedeix al patí central on es troben diverses dependències. També en aquest pati comença una escala amb un primer tram orientat al nord i un segon a l'oest, que permet accedir a la planta noble. Aquesta escala està coberta amb un pòrtic d'arcs rampants sobre columnes toscanes de capitells i bases paral·leles a la barana ascendent. Sobrepassant aquesta planta noble, i a la mateixa alçada, es pot accedir a un pati interior
L'any 2005 es va fer un estudi històric de la finca previ a la rehabilitació de l'edifici. Aquest estudi va poder revelar gràcies a l'anàlisi de les fonts que la finca completa assoleix les seves dimensions actuals mitjançant la unificació de tres propietats al segle XVIII. Entre els anys 1788 i 1796, es van realitzar reformes (reorganització de les obertures, addició d'un pis, etc.). En el marc d'aquest estudi també es van realitzar cales muràries que advertien de la presència d'arcs i murs baix-medievals a la planta baixa (segle XIII), així com d'altres vestigis parietals que ratifiquen una primera unificació estructural vers el segle XVI. Com a elements arquitectònics singulars amb valor patrimonial es van observar les obertures de les façanes (algunes amb testera i brancals de pedra Montjuïc), el pati central dels segles XVII i XVIII, els forjats de fusta de la planta baixa i primer pis (segles XVII i XVIII), el mirador o torratxa (segles XVII i XVIII) i la decoració neoclàssica (fins i tot eclèctica) dels sostres del primer pis (segle XIX).
En el mateix procés de rehabilitació es va realitzar una excavació arqueològica preventiva. Es varen excavar i documentar un seguit d'estructures i elements arqueològics que junt amb l'estudi dels paraments conservats indicaren una ocupació del indret en època alt medieval (s. X-XII), baixmedieval (s. XIII-XVI), passant per època moderna (s. XVII-XVIII), fins època contemporània, amb la projecció de l'actual Palau Mercaders (finals s. XVIII-XIX). Les restes arqueològiques documentades es varen localitzar durant els rebaixos mecànics del pati interior sobreelevat. En la resta de la planta baixa de l'edifici tant sols es varen realitzar controls puntuals de rases i forats per a fonamentacions i sistemes de desaigües, però no es varen obtenir resultats positius en quant a la troballa de restes arqueològiques.
invarquit.cultura.gencat.cat/Cerca/Fitxa?index=0&cons...
Es tracta de dos edificis perfectament diferenciats tot i que formen part de la mateixa parcel·la. L'edifici situat al carrer de les Beates, 2, és un casalot del segle XVIII convertit en edifici d'habitatges. Té una alçada de planta baixa i tres pisos i ocupa una parcel·la molt ampla. La façana corresponent mostra tres eixos de composició segons els quals es col·loquen les obertures dels baixos -portals d'arc pla tots iguals, un ocupat per l'accés a l'escala de veïns- i els balcons dels diferents pisos, que van disminuint de grandària amb l'alçada. Tota la planta baixa és de pedra, i a les altres, arrebossades, en són el marc de les obertures i la llosana d'alguns balcons, en especial la de la balconada que dóna a la plaça Beates, l'únic element que marca alguna jerarquia en un frontis de gran homogeneitat.
En el cas de l'edifici situat al carrer Mercaders, 42, es tracta d'un palau de grans proporcions, amb planta baixa, planta noble i dos pisos. Als baixos s'obre una amplíssima porta escarsera per a carrosses, que dóna accés a un pati -parcialment subedificat- amb escala al seu voltant, coberta amb un pòrtic d'arcs rampants sobre columnes toscanes de capitells i bases paral·leles a la barana ascendent. Els balcons són de llosana de pedra motllurada i s'emmarquen amb carreus i una gran llinda. També és de pedra la cantonera, lleugerament arrodonida. Les seves façanes tenen tot l'alçat de carreus i mentre que la que mira a la placeta està ben conservada, la del carrer Mercaders està en força mal estat, sobretot l'extrem més proper a l'avinguda Francesc Cambó.
ajuntament.barcelona.cat/informaciourbanistica/cerca/ca/f...
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
This rectangular fabric expansion joint is designed for high air circulation flow for an air cooling loop duct in a power plant. It measures 81" L x 18" W x 16" face-to-face, and is fabricated with stainless steel angle, frame ends and internal liner. The fabric belt material is reinforced silicone fabric cloth, which can withstand temperatures up to 550°F. This expansion joint is rated for axial movement of +/- 1" with a 1/2" lateral offset. A dye penetrant test on all welds was conducted prior to a quality assurance inspection prior to shipment.
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
Obverse: Vine-wreathed head of the young Dionysos to right. Reverse: Herakles, bearded and wearing lion's skin, kneels to right on right knee and draws his bow; in the field at the right, lyre and monogram, all in rectangular frame. Inscription in Greek in left field, upwards. (see media screen for Greek inscription)
HIDE FULL DESCRIPTION
Provenance
By 1961: Athens art market; February 8, 1961: purchased by MFA for $ 1,500- (this is the total price for 61.137 and 61.138)
Credit Line
Theodora Wilbour Fund in memory of Zoë Wilbour
Greek, Late Classical Period, about 345 B.C.
Mint
Thasos, Thrace (Islands off)
Catalogue Raisonné
Greek Coins, 1950-1963 (MFA), no. 077.
Dimensions
Diameter: 13 mm. Weight: 2.86 gm. Die Axis: 9
Accession Number
61.138
Medium or Technique
Electrum
Habitatge de planta rectangular amb coberta de dos aiguavessos, de teula àrab, i carener perpendicular a la façana principal, que s'obre cap el SE. L'edifici compta amb planta baixa i planta pis. Les obertures de la façana principal, actualment tapiades, no es distribueixen de forma simètrica. Totes les finestres d'aquesta façana són allindades, mentre que els dos accessos de la planta baixa tenen arc escarser.
Malgrat estar deshabitada i amb els accessos tapiats, l'edifici conserva en prou bon estat la coberta, fet que, en principi, garanteix, de moment, la seva conservació. Pel que fa a la cronologia, les seves característiques físiques ens fan inclinar per una data de construcció dins del segle XIX, si més no, per l'edifici que actualment podem observar. Si més no, ens trobaríem davant una reforma molt important en aquest moment. Sobta, en tot cas, que sembla més antiga la Baltana Nova, clarament situable dins el segle XVIII, que no pas la Baltana Vella que tractem en aquesta fitxa.
Masia de planta rectangular de tres pisos, amb teulada a doble vessant coberta amb teula àrab i alguns edificis annexos.
La façana principal presenta, a la planta baixa, un gran portal d'entrada d'arc rebaixat emmarcat amb uns carreus de pedra de mida notable, amb algunes finestres de forma quadrada a banda i banda d'aquest. El primer pis s'articula a partir de tres finestres que s'obren a la façana, de forma rectangular amb balcó de baranes de ferro forjat. El pis superior presenta dues galeries de finestres d'arc de mig punt, de petit tamany, separades per un interessant rellotge de Sol fet amb rajoles vidrades on hi ha representada, al centre, l'escena del bateig de Crist per Sant Joan Baptista.
Observacions: Segons Salvador Palau i Rafecas (PALAU I RAFECAS, 1991), a la conca del riu Anoia, molt a prop de la masia de la Foradada, hi havia l'any 1991 les restes del molí fariner de la Foradada, del qual tan sols quedaven les dues boques de la sortida del desguàs, d'arc de mig punt. L'existència de dites restes no s'han pogut constatar en aquest estudi.
El senyor Anton Ferrer de la Foradada és el primer membre de la família que apareix documentat l'any 1586 al llibre 333 dels capbreus del benefici de Nostra Senyora de Vilarnau, que era la verge que ostentava culte a la desapareguda capella de la Foradada.
Un dels seus descendents, el senyor Antoni Rovira de la Foradada formava part del govern municipal en el moment de la segregació de Sant Sadurní d'Anoia del municipi de Subirats, l'any 1764. Segons Maria i Lluís Forns Santacana, aquesta masia rep el nom de la Foradada perquè "foradaren" la riera de Noia per modificar el seu curs, vers el segle XVII. Aquest canvi del curs de la riera provocà l'erosió de la riba dreta i una esllavissada de les terres que va comportar la destrucció de la capella de Sant Miquel de la Foradada, d'origen romànic. Segons Carles Querol, en canvi, l'esfondrament de la petita muntanya on s'ubicava la capella de Sant Miquel de la Foradada fou originat per l'erosió natural del riu Anoia, no al segle XVII, sino entre els anys 1731 i 1740.
From 6 pieces of 5x4 rectangular Korean Duo-coloured papers [9.375cm x 7.5cm]
This is the same module as the previous but with the "Hearts" flipped over to the back. Thus the back now becomes the front and the "Hearts" are now pointing inwards. This is a better variation as it also show the centre star motif.
To obtain the rectangles, simply cut off 3/8 from a 15cm square Kami and then divide the larger rectangle into two.
Wishing all viewers a Happy Valentine's Day.
Esglesia de Sant Ramón Localitat: el Plà de Santa Maria (Alt Camp) Esglesia del segle XIII, planta de creu latina, rosassa y portalada al mur del sud. a Elements destacats : Portalada , rosassa y permódols.
L'església de Sant Ramón té planta de creu llatina , amb un absis semicircular situat en el costat oriental i un transepte una mica excel·lent, sobre el creuer s' aixeca un campanar-cimborri octogonal de construcció posterior. Els murs s'intuïxen gruixuts i estan realitzats amb blocs de pedra rectangulars de formes regulars , bé amatents i col·locades formant filades de similar altura.
La ventilació interior es garanteix mitjançant unes finestres senzilles d' arc de mig punt disposades als murs exteriors , així com en la capçalera i l'absis.
LA PORTALADA.
Del conjunt de l'església de Sant Ramón, destaca la monumental portalada situada en el costat sud, als peus de la nau. Es tracta d' una gran porta amb arc de mig punt abocinada i format per un total de vuit arquivoltes en degradació, donades suport sobre sengles parells de columnes amatents en els laterals de l'entrada . Una llinda, llis i sense decoració, ocupa la mitja lluna formada pels arcs . La seva elaboració és una mica grollera i no molt elaborada, i s' emmarca clarament en el corrent escultòric romànic que ja avança i s' acosta cap a l'estètica gòtica.
Cinc de les arquivoltes apareixen senzilles i modelades amb escócies còncaves, mentre que la primera, la cinquena i la vuitena contenen algun treball escultòric.
En la primera d'elles, la mes exterior , apareixen una sèrie contínua de motius vegetals , fulles i traços entrellaçats
En la cinquena arquivolta apareix de nou un entrellaçat vegetal formant figures geomètriques
Finalment, la vuitena arquivolta ( la més interior ) apareix plena de les figures d'àngels situats de front amb les ales desplegades, que vestits amb vestidures molt elaborades, aixequen la mà dreta en actitud de mostrar-nos els palmells o de beneir, segons la figura.
En el que seria la clau apareix la Dextera Domini situada dintre d'un dels medallons formats per l'entrellaçat . En la part inferior de la llinda, a manera de travesser, una franja apareix treballada amb diferents escenes historiades, separades entre elles mitjançant una espècie de columnes helicoïdals que separen el fris cinc espais. Començant per l'esquerra podem veure:
La primera escena de l'esquerra conté l'escena d'aparició de Jesús ressuscitat (a la dreta) amb nimbe crucífer davant les tres Maries (a l'esquerra ). Al fons de l'escena apareix un arbre a manera de decoració.
En el següent espai apareix la figura que representa a San Pere, assegut de front amb les claus del cel en la seva mà esquerra .
La tercera escena correspon al centre del fris, i en ella apareix una Maiestas Mariae (Maria en Majestat), és a dir : Maria asseguda en el tron amb el nen Jesús en la seva falda inscrita dintre d' una mandorla mística perlejada. A banda i banda se situen dos àngels adoradors situats gairebé de perfil.
La quarta escena representa la figura de San Pau, encara que cap traç ni detall de la figura apunta cap a aquest personatge. Sens dubte es tracta de San Pau, a l'estar situat simètricament pel que fa a l'altra figura , la de San Pere, amb la qual sol aparèixer conjuntament i cadascun situat als costats de les portes o entrades .
La ultima escena, la de la dreta, representa l'adoració dels mags en la qual apareixen els tres personatges duent cadascun dels regals.
Les columnes situades a banda i banda de l'entrada es coronen mitjançant un fris a manera de capitell corregut, que recorre tot l'ample del brancal i una mica del frontal de la paret lateral .
Gairebé la totalitat de la decoració es basa en recarregats ornaments vegetals , entrellaçats i dibuixos geomètrics:
A banda i banda, el frontal del primer dels capitells exterior , apareix historiat. Es tracta de dues figures clarament identificades, en el costat esquerre tenim a San Pere, claus en mà i beneint amb la destra, flanquejat per altres dos personatges sense identificar però que tenen nimbades els seus testes, pel que podrien ser altres dos apòstols. En el costat dret apareix la interessant figura de San Joan Bautista. Per que interessant? doncs perquè el lògic seria que aquest lloc l'ocupés San Pau, com ja hem explicat en el fris de la llinda, sol acompanyar a San Pere al costat oposat de les entrades i és rar que aparegui Juan en aquest lloc. Se li identifica per la creu i el bastó en forma de crossa, i destaquen els seus llargs i arrissats cabells i la seva posició mig girada entre perfil i frontal.
LA ROSASSA.
L' altre element destacat de Sant Ramón del Pla de Santa Maria és la rosassa situada en el mur occidental. Compost segons el pròxim model de rosassa de Santes Creus, és un treball digne i mereix una observació tranquil·la i detallada . El dibuix perfila una arquejada radial bilobulada recolzada en columnes amb capitell on hauria d'aparèixer-nos la vidriera, però que actualment se' ns presenta tapiada. El floró central tanca amb una cinta ondada en la qual apareixen sanefes en zigzag a una flor geomètrica traçada amb una cinta contínua que dibuixa un bell traçat . I tot emmarcat i rebaixat en una degradació de tres escócies i un marc decorat amb un escacat.
ELS PERMÓDOLS.
Finalment, es poden observar tot el contorn de l'església adornat en la seva cornisa amb permódols de tota classe. 99 d'ells apareixen amb algun tipus de figura o dibuix , la resta queden llisos. Dels primers podem destacar les figures de rostres humans , figures animals, animals fantàstics, decoracions vegetals , traçats geomètrics i motius heràldics. Sens dubte similars tots ells en factura i aspecte que els existents en el monestir de Santes Creus, situat a poc quilòmetres de la localitat.
Negativo de 4.5 x 7 cm
És una església de nau única, dividida en quatre trams, amb capelles laterals, entre els contraforts, i capçalera rectangular. A la façana, de pedra picada, trobem una gran portalada, i al capdamunt, destaca la fornícula amb la imatge de Santa Magdalena. El campanar vuitavat s'aixeca a la dreta de la façana.
La façana de l’església centra la importància sobre la portalada. Ens trobem amb un retaule arquitectònic amb dobles columnes exemptes sobre un important basament i un àtic precedit per una cornisa amb volutes, centrat per una fornícula amb la imatge de Santa Magdalena.
La planta és rectangular d'una nau amb capelles laterals entre contraforts (35 m. de llarg per 11 d'ample la nau i 17 les capelles). Adossades als contraforts pilastres i contrapilastres d’ordre corinti aguanten la volta de canó amb llunetes. L'estructura respon, a forma més tradicional del gòtic català degut sobretot a l'esveltesa i amplària de la nau. Les capelles laterals són poc fondes i són molt baixes. Al peu de la nau, ocupant el primer tram, el cor elevat sobre una volta rebaixada, el campanar i el baptisteri. El frontispici i tot ell de pedra picada, composant amb el campanar, és d'un disseny clàssic: dos parells de pilastres formant dos pisos suporten un frontó triangular de tota l'amplada de la nau. Centrant la composició la porta de punt rodó és flanquejada per dos parells de columnes estriades i amb pedestals i frontó curvilini trencat. El campanar, tot de pedra, s’enlaira adossat a l'angle dret formant torre vuitavada amb vuit finestrals. Al primer tram de la nau, començant pels peus, hi ha un cor elevat sobre una volta rebaixada. Al costat dret de la porta d'entrada hi ha el campanar i, al costat esquerra hi ha el baptisteri. Al costat esquerra del presbiteri (epístola) s'eixampla l'església i trobem la sagristia nova i a l'altar del Sagrat Cor.
Notes històriques:
De la primitiva església romànica, situada davant l'actual, se'n té notícia el 1279-80. Al final del s. XV la parròquia era de col·lació del plebà de Montblanc. L'adscriví, en instituir la plebania de Montblanc el 1299, l'arquebisbe Roderic Tello, per tal de dotar la dignitat montblanquina d'un coixí jurídic i econòmic que li conferís autoritat i prestigi. Lluís Gili, ardiaca de la seu de Tarragona, a instàncies del seu cosí, el mercader blancafortí Llorenç Girona, consultà a Roma la possibilitat que el capellà de Blancafort pogués quedar-se la meitat de la primícia que percebia el plebà. Les gestions degueren fructificar i l'arquebisbe Joan Terès Borrull (1587-1603) decretà que el rector i el plebà compartissin la primícia. A mitjan s. XVII els jurats de Blancafort contractaren els serveis de l'escultor de Piera Pere March perquè els fes un retaule per a l'altar major i així mateix fou encarregada la construcció d'una capella dedicada a la Mare de Déu del Roser al mestre d'obres solsoní Vicenç Rossés pel preu de 90 lliures. El 27 de juny de 1684 es fundà el benefici del Rosari, dotat amb una finca als Gorchs. El 1720 es fundà un segon benefici dedicat a Sant Joan Baptista. La contracta per construir el temple fou signada el 3 de juny de 1793. Fou pactada entre la vila i els mestres de cases Pere Joan Abelló d'Almoster i Aleix Thomàs de l'Espluga de Francolí. Per finançar-la fou imposat 1/20 de les collites a tot el poble però una part important fou costejada pel cavaller Josep Anton Minguella. El 1804 el canonge de la catedral de Lleida, Dr. Manuel de Villar, autentificà la relíquia del beat Jeroni Emilià, que es venerava en un reliquiari de fusta daurada juntament amb les de sant Vicenç, santa Rufina i sant Ignasi de Loiola. El 1811 fou cremada per les tropes franceses del general Suchet.
L'any 1980 va començar la restauració de la teulada gran i del campanar, malmès per un llamp, essent rector Mn. Josep M. Serra. L'any 1984 s'arreglaren algunes capelles i les sagristies i també es pintà i s'arreglà tot l'enllumenat de l'església gràcies a subvencions de la Diputació de Tarragona i de la Generalitat.
www.diputaciodetarragona.cat/marc/web/diputacio-de-tarrag...
Edifici de planta rectangular d'una sola nau amb capelles laterals entre els contraforts (35 m de llarg per 11 m d'amplada; 17 m les capelles). Adossades als contraforts hi ha pilastres i contrapilastres en un perfecte ordre corinti; aguanten la volta de canó amb llunetes. L'estructura, malgrat la barroca volta de canó i l'ordre clàssic, resulta la més tradicional del gòtic català gràcies a l'esveltesa i amplària de la nau. Les capelles laterals són molt poc fondes i són molt baixes. Al peu de la nau, ocupant el primer tram, s'aixequen: el rerecor sobre una volta rebaixada, el campanar i el baptisteri. El frontispici i tot ell de pedra picada, component amb el campanar, és magnífic i d'un disseny clàssic molt acurat: dos parells de pilastres formant dos pisos suporten un frontó triangular que recull tota l'amplada de la nau. Centrant la composició hi ha l'esvelta porta de punt rodó flanquejat per dos parells de columnes corínties estriades i amb pedestals i frontó curvilini trencat. El campanar, tot de pedra, emergeix molt massís de l'angle dret formant torre vuitavada amb vuit finestrals.
Portada de l´església de Santa Magdalena
La façana no planteja solucions estructurals, sinó que cerca l´interès en la portada. Es planteja un retaule arquitectònic amb dobles columnes exemptes sobre un important basament i un àtic precedit per una cornisa amb volutes, centrat per una fornícula.
Notícies històriques
El contracte per construir el temple porta data de 3 de juny de 1793 i fou pactada entre la vila i els mestres de cases Pere Joan Abelló d'Almoster i Aleix Thomàs de l'Espluga de Francolí. Per finançar-la fou imposat un vintè sobre les collites a tot el poble; s'acaba en sis anys.
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