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San Marco in Lamis, Gargano ,Puglia ,Italia© 2015 All rights reserved
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Convento di San Matteo: Il Chiostro.
Il Convento di San Matteo, è un imponente monastero situato, a circa un paio di chilometri ad est di San Marco in Lamis alle pendici del monte Celano (871 m), tra il verde dei carpini e dei frassini che sovrastano la Valle dello Starale. Il santuario è stato probabilmente fondato dai Longobardi, ma sicuramente l'esistenza di una chiesa e di un ospizio erano cosa certa già dal V-IV secolo. La prima data certa che troviamo nei documenti è quella del 1007.Inizialmente doveva avere più le sembianze di una fortezza, grazie ai suoi contrafforti ed alla sua posizione, quasi a controllo della valle dello Starale. Per quanto riguarda la facciata centrale, bisogna ricordare che fu munita della attuale scalinata nel 1838, la quale conduce all'ingresso che a sua volta conduce attraverso una serie di archi e vele al chiostro di forma rettangolare che ci rimanda a quello spirito benedettino che mostra le origini della costruzione. Dal chiostro si può ammirare il loggiato cinquecentesco ed il piazzale medievale alla cui sommità è posta una statua raffigurante l'Arcangelo Michele. Un lungo corridoio conduce alla chiesa ad un'unica navata che presenta un presbiterio rialzato completamente realizzato con marmi policromi da maestri napoletani. Il Convento di San Matteo è stato luogo di passaggio dei pellegrini che da Mont Saint-Michel in Francia attraverso la via francigena e la cosiddetta “ via sacra Longobardorum” giungevano a Monte Sant’Angelo, a pochi chilometri dal convento di San Matteo , dove sorge un santuario dedicato al culto dell’Arcangelo Michele, per poi andare a Brindisi e quindi imbarcarsi per la Palestina e Gerusalemme.Dal 1966 in questo convento è custodito un prezioso Presepe artistico. da wikipedia
The convent of San Matteo: The cloister
The convent of San Matteo, is an imposing monastery is located about 2 km east of San Marco in Lamis on the slopes of monte Castro (871 m), between the green of hornbeam and ash trees that overlook the Valley of Starale. The sanctuary was probably founded by the Lombards, but surely the existence of a church and a hospital were sure thing already from V-IV century. The first certain date that we find in the documents is that of 1007. Initially had more the appearance of a fortress, with its buttresses and its location, near the Valley of the Starale control. As regards the Central facade, it must be remembered that the current staircase was in 1838, which leads to the entrance which leads through a series of arches and sails to the rectangular cloister that we refer to the Benedictine spirit, showing the origins of the building. From the courtyard you can admire the 16th century loggia and medieval square at the top is a statue of the Archangel Michael. A long hallway leads to a single nave church with a raised presbytery completely made of polychrome marble from Neapolitan teachers.. The convent of San Matteo was place of passage of pilgrims from Mont Saint-Michel in France through the via francigena and the so-called "via sacra Langobardorum" came to Monte Sant'Angelo, not far from the convent of San Matteo, where there is a temple dedicated to the cult of the Archangel Michael, and then go to Brindisi, and then to Palestine and Jerusalem. By 1966 this convent houses a precious artistic Nativity.from wikipedia
Details best viewed in Original Size.
According to Wikipedia, the Pantheon was commissioned by Marcus Agrippa during the reign of Augustus as a temple to all the gods of ancient Rome, and rebuilt by the Emperor Hadrian about 126 AD. The building is circular with a portico of large granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment. A rectangular vestibule links the porch to the rotunda (seen here), which is under a coffered concrete dome, with a central opening (oculus) to the sky. Almost two thousand years after it was built, the Pantheon's dome is still the world's largest unreinforced concrete dome. The height to the oculus and the diameter of the interior circle are the same, 142 feet (43.3 meters). It is one of the best-preserved of all Roman buildings. It has been in continuous use throughout its history, and since the 7th century, the Pantheon has been used as a Roman Catholic church dedicated to "St. Mary and the Martyrs" but informally known as "Santa Maria Rotonda".
This panorama was constructed using Photoshop CS6 to stitch together four images: two landscape oriented images horizontally and two landscape oriented images vertically.
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
Ballymote Castle (Irish: Caisleán Bhaile an Mhóta) is a large rectangular keepless castle, built around 1300. It is located in the townland of Carrownanty on the outskirts of Ballymote in southern County Sligo, Ireland. This area was known historically as Átha Cliath an Chorainn, which roughly translates as The Ford of the Hurdles of Corran. It is the last of the Norman castles in Connacht. It was probably built in order to protect the newly won possessions of Richard Óg de Burgh, 2nd Earl of Ulster (also known as the Red Earl), in County Sligo
Seen on the Whispering Fern Loop at Quiverheart Gorge Preserve. The Arc of Appalachia recently opened the 1.25 mile trail that goes down Bundle Run, then heads up to the cliffs and crosses a tributary. With hundreds of photos taken we spent 4.5 hours hiking both the Waterfall Loop and Wispering Fern Loop.
St Wolstan's, known as 'Scala Caeli' - 'Steps of Heaven', was founded by Richard, the first prior, and Adam de Hereford c. 1205 for the Augustinian canons of St Victor. The priory was suppressed in 1536 when Richard Weston, the last prior, was seized of the site (with gardens, orchards, cottages, etc) and the property was granted to John Allen, Lord Chancellor (Gwynn and Hadcock 1970, 193). On a short, gentle, N-facing pasture slope on the S bank of the R. Liffey. The very poorly preserved remains are very similar in layout to the Augustinian Priory at Athassel, Co. Tipperary (TS068-013----), founded slightly earlier, c. 1200. No ecclesiastical buildings survive and the upstanding remains comprise the defensive, enclosing elements of the priory. An inner rectangular area (dims. L c. 100m E-W; Wth c. 80m N-S) immediately S of the river is defined along the W and N by a small tributary of the Liffey, and by a partially stone-faced drain or fosse along the E. A faint fosse along the S noted in 1985 (SMR file) is no longer clearly visible. The inner area was entered via a main gatehouse mid-way along the S side, and there is a second, small gate (postern gate?) mid-way along the E. A third, outer gateway, c. 180m to the SE, marks the outer extent of the priory. The OS 6-inch map records a fourth 'Gate' located almost midway between the main inner and outer gates, of which no visible surface trace survives: it was drawn by A. Cooper in 1782 as a two storied, circular tower with a significant crack running up its full height, and fell c. 1830 (Cane 1920, 55, 59).
The main inner gatehouse is a partially ivy-clad, substantial, three-storied, rectangular structure (ext. dims. L 11.15m E-W; Wth 6.6m N-S) with a small, rectangular, stairs-tower at the S end of the E wall (ext. dims. L 3.13m N-S; Wth 2.2m E-W). Built of roughly coursed, undressed limestone blocks, there is a slight base batter on the N wall. A very tall archway (dims. H c. 6m; L 6.6m N-S; Wth 2.7m E-W) on the E side of the structure is flanked on the W by a rectangular guardroom entered from the archway through a round-arched doorway at the N end of its E wall. Corbel stones mark first-floor level and there is a vaulted ceiling (N-S) above the first floor. The ground floor is lit by a double-splayed loop in the N wall, while the first floor is lit by a pointed-arched window in the N wall. The spiral stairs is accessed through a round-arched doorway in the N wall of the tower, and lit by a loop at ground and first-floor level. There is no longer access from the stairs to the area above the archway and guardroom. Farm sheds and a silage pit are built, almost abutting this gatehouse. The surviving portion of the smaller gate on the E side stands forward of (8m outside) the fosse (Wth 2m; D 0.7m) defining the inner enclosure. Now no more than an ivy-clad, single-storied wall, built of coursed, roughly dressed, limestone blocks (dims. L 5m N-S; T 1.7m), rounded at its N end with traces of a step on its inner face at N, it contains a tall, round arched doorway (H 2.25m; Wth 1.23m). A grassed-over causeway crosses the fosse inside. A small tower stands in the NE sector of the inner enclosure. Built of coursed, roughly dressed limestone blocks, this three-storied, almost square structure (ext. dims. L 5m N-S; Wth 4.5m E-W) has a small, rectangular, four-storied, turret (ext. dims. L 2.1m E-W; Wth 0.75m N-S) at its SW angle which helps accommodate a spiral stairs. It appears to be a folly: externally at first-floor level, the faces of the W, N and E wall are stepped out beyond the wall faces below and each floor is lit by Gothic-arch style windows. The third, outer gateway, c. 180m to the SE of the main gatehouse to the inner enclosure, marks the S extent of the priory. A rectangular structure (dims. L 6.75m E-W; Wth 5.05m N-S) built of coursed, roughly dressed limestone blocks, it contains a tall archway (dims. H c. 4.4m; L 5.05m N-S; Wth 2.95m E-W) flanked on the E by an intramural stairs entered through a square-headed doorway in the N wall, and lit by a robbed-out loop in the SE angle. Short fragments of two walls running E (L 1.65m; T 0.6m) and W (L 2.05m; T 0.9m) from the SE and SW angles of the gateway appear to be the vestiges of a curtain wall. There are historical references to several mills at St Wolstan's (Boylan 1972, 141, 146), of which no visible surface traces survive. (Kirkpatrick 1896-99, 283-288; Lyster 1903-5, 101; Killanin and Duignan 1967, 101; Harbison 1972, 136-40; Meagher 1979-80, 118)
The rectangular main prayer hall building is covered by a 45 meter diameter central spherical dome. The dome is supported by twelve round columns and the prayer hall lined by rectangular piers carrying four levels of balcony. Staircases at the corners of the building give access to all floors.
The main hall is reached through an entrance covered by a dome 10 meters in diameter. The interior design is minimalist, simple and clean cut, with minimal adornment of aluminium geometric ornaments.
@4th floor, Masjid Istiqlal, Jakarta.
Montijo [Portugal] - Two rectangular windows from the Alegro Montijo shopping center.
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© 2018 Alexandra Galvão
This shot contains two photos . . .
The top part shows the beginning of the art stroll, with my *featured artist's booth just behind the young lad in the lavender shirt. (Richard Haining's rectangular box is slightly visible behind the boy's head!)
The bottom part of this post shows my husband walking towards the red and white striped diagonal barricade from which I framed the Idaho Joe's scene!
*click on below
Lateeve More
Templenacloonagh/Teampall na Cluanach
Oratory: Located in the SE part of the enclosure, this rectangular drystone oratory, 4.55m x 3.35m internally, now lacks its corbelled roof.
Templenacloonagh is an early ecclesiastical site located at Lateevemore. The site is divided by a field boundary running through the centre. Most of the remains are in the southern half of the enclosure. Situated in this half are the remains of a boat shaped oratory, two leacht features and two cross inscribed pillar stones. The two pillar stones remain standing. Also inside the enclosure are some childrens graves and a holed or pivot stone. Megalithic Ireland
De la petita i acollidora església romànica de Sant Pere de Bertí, pertanyent al bisbat de Vic, ja se'n té constància escrita a l'any 1031 a la documentació de Sant Miquel del Fai, que l'anomena Bertino. Sembla ser que el temple actual va ser edificat al segle XIII i que va refer-se de nou l'any 1437. És conegut que al 1325 hi havia tres advocacions en aquesta parròquia: a Sant Pere, a Sant Jaume i a Santa Maria, pel que podria ser que anteriorment hagués tingut tres absis.
La planta, d'una sola nau, no arriba a ser rectangular, amb coberta de volt apuntada feta de pedres de cantell i absis carrat. Amb posterioritat van afegir-s'hi dues capelles laterals al costat sud i s'alçà un campanar de cadireta de dos ulls desiguals i d'accés exterior. La porta d'accés és adovellada i es troba a migjorn, així com el petit cementiri, i es troben després d'uns graons empedrats en forma de ferradura.
A l'any 1659 va ser reconstruïda amb volta massisa. El campanar transformat tal i com el veiem avui en dia, ampliant els dos arcs amb l'edificació, sobre la volta de l'església, de tres parets amb arcs, formant un nou i únic campanar comunidor on va haver-hi quatre campanes, destruïdes al 1936. L'accés al nou campanar és interior mitjançant una escala de cargol. La nova campana hi és des del juliol del 1998, de nom Clara.
Completa el conjunt la rectoria, que actualment és una segona residència. La porta d'accés també és amb arcada adovellada. Recentment s'han afegit nous elements a la façana de la rectoria, com un rellotge de sol.
Siempre vemos esas fotos de Cuba, con coches antiguos de los 50 y 60 que mantienen en perfecto estado, pues no les queda otro remedio. Aquí también tenemos la costumbre pero... con otro estilo.
El Renault 6 es un automóvil de turismo producido por el fabricante francés Renault entre los años 1968 y 1986. Fue presentado en el Salón del Automóvil de París de 1968. Con este modelo se pretendía cubrir el segmento en el que competía el Citroën Ami, partiendo de la plataforma del Renault 4 (con el que compartía la mayoría de las soluciones técnicas).
Historia
El diseño del Renault 6 estaba basado en el del Renault 16, presentado en 1965, el cual era innovador en el concepto de versatilidad, permitiendo varios usos gracias al diseño de su carrocería y de los asientos, pudiendo convertirse en un eventual vehículo para transportar mercancías pequeñas. El asiento trasero del Renault 6 podía ser plegado hacia adelante, dejando libre una plataforma muy amplia y completamente lisa, con unas dimensiones de 1,02 x 1,08 metros, ofreciendo así un amplio espacio de carga con 900 dm3.
Primera serie del Renault 6 (1968 - 1974).
Durante sus primeros años de producción, el Renault 6 utilizaba un motor de 845 cc igual al del Renault 4, lo cual no era muy adecuado ya que la potencia era insuficiente para impulsar el vehículo. Sin embargo, en 1970 fue presentada una versión con un motor de 1.108 cc, ya utilizado antes en el Renault 8, que supuso un notable avance para el modelo. Además incorporaba una nueva caja de cambios y un sistema de refrigeración, así como frenos de disco en el eje delantero. En España se montó, sin embargo, el motor de 956 cc del Renault 8 español, debido al sistema impositivo que grababa los vehículos con motores de más de 1.040 cc.
Más tarde fue incorporado un ventilador eléctrico, lo cual permitió el traslado del radiador junto a la calandra delantera, a la que se aplicó una rejilla adicional en el alojamiento que se había usado en el modelo anterior para colocar la matrícula delantera. Este cambio mejoró sustancialmente la refrigeración del motor.
La estructura fue basada en un chasis compartido con el Renault 4, así como su sistema de suspensión con barras de torsión (el cual proporcionaba las ventajas de una utilización «todo camino»). La carrocería, al igual que la del Renault 4, iba atornillada al chasis.
La reestilización de 1974 incluyó unos faros delanteros rectangulares y cambios en la calandra, parachoques, intermientes delanteros (siendo colocados en el parachoques), y luces traseras.
El Renault 6 TL fue un modelo que se realizó dentro del programa de puesta al día del Renault 6, su principal característica fue el aumento de cilindrada a 1037 cc al adaptar el motor que montaban los Renault 5 GTL. Este nuevo motor le confería mayor suavidad de marcha y una reducción del consumo que por aquel entonces empezaba a ser tenida en cuenta por los compradores. En el capítulo del confort la aparición de los cristales tintados y la sustitución del volante por uno con cuatro brazos le daban un toque de puesta al día, conforme a las necesidades que el mercado exigía.
El Renault 6 dejó de fabricarse en Francia en 1980, pero su producción siguió en Argentina, Colombia, y España durante algunos años más.
El Renault 6 en Argentina
En 1969 IKA-Renault decidió comenzar la fabricación de este modelo en la República Argentina. En 1979 aparece la única reestilización de importancia, la versión GTL, abandonándose los ventiletes y defensas en los paragolpes y adoptándose los faros cuadrados en vez de los redondos que tenía la Primera Serie. Asimismo, se reemplazó el motor de 1100 cc por uno de 1400 cc (el conocido M1400), el cual portaba el Renault 12. El Renault 6 se fabricó en Argentina hasta enero de 1984. En total, se fabricaron 80.869 unidades en la planta de Santa Isabel, Córdoba.2 Como curiosidad extrema, VEFRA (Vehiculos Especiales Fabricación Renault Argentina) fabricó muy pocas unidades de una Renault 6 furgón que poseía elementos de R4, solamente estaba disponibles para los concesionarios Renault para service, nunca a la venta. Con la desaparición de VEFRA, fueron subastadas, sin saber su posterior destino.
El Renault 6 en España
En 1969, FASA Renault inició la producción del Renault 6 en España. El Renault 6 adaptado al mercado español, al contrario que la versión francesa (que disponía de un motor Ventoux, el mismo del Renault Dauphine), recibió el motor Sierra de 956 cc, la misma motorización utilizada en el Renault 8, pero adaptada a la tracción delantera del Renault 6.
En 1981 fue puesta a la venta en España una nueva versión del Renault 6, que fue denominada Renault 6 GTL. La característica más importante de esta versión fue el montaje de un motor con 1108 cc de cilindrada.
Finalmente, el Renault 6 dejó de fabricarse en España en 1986, después de haberse construido 328.000 unidades tras dieciocho años de producción.3
El Renault 6 en Colombia
Un año después de iniciar operaciones con el Renault 4 en Colombia, SOFASA-Renault presentó en 1971 el Renault 6, un automóvil encaminado a una clientela más rigurosa, que buscaba un automóvil práctico, elegante y con una buena mecánica. El primer modelo correspondía al Renault 6 francés, en cuanto a su estética y motor (contaba con un motor de 1108 cc). Al igual que la versión francesa, tenía la innovación de poseer frenos de disco delanteros, siendo así el primer automóvil ensamblado en el país con este mecanismo. Desde su lanzamiento, el R6 fue muy popular y recibió una gran acogida por parte del consumidor colombiano.
En 1976, el modelo sufre un cambio tanto exterior como interior, ya que el tradicional motor 1108 es cambiado por uno de 1300 cc, dándole así más potencia, además del cambio exterior, obedeciendo así al cambio de imagen del R6 a nivel mundial.Las farolas redondas son reemplazadas por unas cuadradas, una gran parrila hace su aparición en la parte delantera y atrás los stops son más grandes y se incorporan unas pequeñas luces de reverso. El Renault 6 debía competir hasta ese momento con el Simca 1000 y el Dodge 1500, los Fiat 128 y 125, y también con sus hermanos el Renault 4 y el robusto Renault 12.
Para 1982, el Renault 6 fue retocado en ciertos aspectos exteriores, para estar a tono con la competencia. Se ofreció un nuevo volante, nueva cojinería y nuevas gamas de colores manteniéndose así hasta 1984. Se fabricaron 42.500 unidades,4 2.000 de éstas fueron taxis,5 convirtiéndose así en otro símbolo de la industria automotriz colombiana.
'Powder puffs by Su_G' in a rectangular tablecloth (mockup c/o Roostery)
Simple powder puffs or puffballs, white on powder blue.
Original: Chalk on paper.
© Su Schaefer 2011
Sometimes the simplest designs can look the best, something I learned from pacing this through various mockups. I'm not sure I would ever have such a very loooong tablecloth though.
See 'Powder puffs by Su_G' as fabric @ Spoonflower
See 'Powder puffs by Su_G' as a tablecloth and other soft furnishings @ Roostery.
[Powder puffs by Su_G_RectangularTablecloth_Mockup]
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.
Imperial Roman, 2nd century CE.
Met Museum, New York (38.11.12)
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The Melbourne Rectangular Stadium (officially named AAMI Park since March 2010) is situated just south-east of the city. It is the first purpose built rectangular stadium in Melbourne as opposed to the typical oval stadium constructions used for Australian Football. The stadium's 190mn AUD construction began in 2007 and it was first opened in 2010. Today it holds 31,000 visitors with a potential of expansion to up to 50,000 seats. Personally, I prefer one of nicknames over the offical name - the "Bubble Stadium" which reminds me of its exterior shape.
Technique:
The panorama consists of 4x2 shots, but is now equivalent to the size of a 6 shot panorama due to cropping. I used DxO Optics 6 to import the files, while correcting for lens barrel effects and sharpness of my camera sensor. I then stitched the panorama with Autopano Pro 2 and postprocessed in Bridge can PS CS5.
Print:
The pano has almost 40 Megapixels and takes about 350 Megabytes of harddisc space in compressed TIFF format. It can be printed at 2.4x1.8m at 72 DPI.
Feel free to contact me direclty if you are interested in this photograph: +61 402 254 235.
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. He married Nest, princess of Deheubarth around 1095. Nest brought the manor of Carew as part of her dowry, and Gerald cleared the existing fort to build his own castle on Norman lines.
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. He extended the castle with luxurious apartments with many Tudor features in the late 15th century.
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.
Nawab Nusrat Khan alias Khawaja Sabir belonged to a distinguished family of nobles and received the title of Khan-e-Dauran from Shah Jahan. He died at Lahore in 1659 and the present mausoleum was raised to his memory by Aurangzeb.
My Journey of Two years for getting permission to visit this Tomb:-
Two years back, I was searching the list of Tombs present in Lahore. Most of them, I had seen in past or at least know there locations. Then there was a name came in front of me, “Nusrat Khan Tomb”. I had never heard about it and also did not know about its location or see any of its pictures. I thought it might be vanished in past and may be some ruined exists of it. Only information which I got on internet that it was located few kilometers from Kokaltash’s tomb. At that time, I did not have idea that it is inside the grounds of carriage shop. So the search begins after my office work, I reached near Kokaltash tomb and asked from locals is there any tomb there. There were very funny interesting answers. Someone was telling me about Mian Mir Tomb and someone speaking me about Madhu Lal Tomb. Then I reached near the Chabacha stop there was railway line coming out of carriage railway workshop. Few railway policeman were standing there, I also inquired the directions from them. They were not sure about the name but they told me same structures like Kokaltash also exists inside the carriage workshop but it was using as Mosque and they did not know was there any grave inside . So at last the mystery solved. I asked them how to visit there. They told come at early 8 in the morning and take permission from inspector railway deputed at Railway Carriage. Next morning, I reached there and meet the inspector. There was quite interesting conversation. Firstly I told him my reason of my visit. He answered there is no tomb exists inside. Secondly he questioned, do I visit there for making documentary film? He again questioned, you looks an educated guy are you preparing report for some organization. I wanted to explain him I have passion to explore historical architectures but I could not able to convince him. When I was about to leave he smiled and advised take promise from headquarters or bring some media card with you, you might get permission.
I was not disheartened in fact I got more anxious to visit it. The second attempt was discussing this site with one of friend Syed Faizan also known as Lahore ka khoji. He tried to get permission but it was also in vain.
Thirdly I asked one of my friends and my table tennis coach as well Masood Ali, who plays table tennis for Pakistan railways to grant me permission from head quarters. He asked from seniors but they told the site is prohibited to visit as the area is sensitive.
I also asked one of my friend, who is editor in a renowned newspaper. But he also failed to get permissions.
After so many failed attempts, I again asked few of my friends who have passion of history and architecture like me. But none of them, able to get permission of visit.
At last after two years when I visited all the tombs of Lahore, I found a way how could I visit this last tomb a tricky way but it works. Someone told me meet railway worker union president. I found him and told him the reason of meeting. He was not willing first but I offered him some handsome fee for his great generous services :P. After few weeks he called me that I can come in morning but I am not allowed to bring DSLR camera with me. Well that I did not listen next I day I was there with camera bag and two mobile camera as well for Plan B. luckily at entrance they did not check my bag I have only two three minutes to see the great architecture. I took few shots all around, absorb the site in mind and left the place with feeling of accomplishment.
Location
Nusrat Khan's tomb is located at a distance of approximately ½ mile northwest of Zafar Jang Kokaltash's tomb in thegrounds of Carriage and Wagon Shops of Pakistan Railways. It can be reached by traveling north on Mughalpura Road until it ends on Workshop Road. Traveling some distance east on Workshop Road, you will reach the Pakistan Railways Carriage and Wagon Shops gate on your right. The tomb lies hidden deep within the grounds of the Carriage and Wagon Shops and is inaccessible to the general public due to the security requirements of the Pakistan Railways.
Construction
The tomb is a massive structure, built entirely of small Lahori bricks without the use of stone or Kashi Kari. The octagonal mausoleum stands in the centre of a platform of octagonal shape which is now covered with grass. The building has an ornamental niche decoration on its façade and pigeon-holes in a schematic way on its dome. The double shell dome is raised over a circular drum. There is a clear evidence of tendency towards the evolution of a bulbous dome. The monotony of the circular drum is broken by rectangular panels set back slightly. On the eastern side, the drum has been pierced with a small window giving an entry to the cavity between the two shells.
At the top of the dome, there can been seen the remains of a lotus base for a pinnacle that is no longer extant. The building is surmounted by turrets of much elegance and beauty. Many of them survive to this day, however; the domes have fallen off of a few of them. The interior was decorated with paintings of different colors but unfortunately now has been paint-washed in the traditional colors of the Pakistan Railways, green and yellow. The tomb has been converted to the use of a mosque for the employees of the Carriage and Wagon Shops. Most of the arched entrances have been closed up and metal posts have been used to support a tin roof over a portion of the first storey.
Historical Background
The tomb suffered extensive damage during the reign of Ranjit Singh when the marble embellishments were removed. The tomb was also used as a private residence by General Court, a member of Ranjit Singh's army. General Court added many rooms to the building but they had all been destroyed by the early 1890s except three arches in the upper storey to the west. It was further damaged during the British time when it was turned into a hall room for military officers. The structure came to be called Gumbad Bijjar-wala on the account of people from the Bijjar tribe having lived in it after the collapse of the Sikh government.
Description of Buildings:
Gesu Church is a rectangular structure of structural steel, reinforced-concrete construction and features exterior walls covered with stucco.
An arcaded portico projects from the west façade of the church and is divided by four massive piers into three bays.
The piers and pilasters on the opposite wall rest
on cubical pedestals approximately nine feet high. A chamfered molding serves as a capital for each pier and is repeated, at the same level as a belt course
running completely around the building.
The central bay of the portico projects slightly, and its arch springs from two semi-engaged Doric columns, thus framing
the main entrance of the church.
Articulation of the west wall echoes the tripartite divisions of the portico with semicircular arched portals at each bay. Double doors of wood and glass are recessed within the portal and have dentilled transoms and cartouches above.
The north façade of the church features an elevated basement from which piers rise to the architrave above. Indented panels between the piers contain tall, semi-circular arched stained glass windows.
A tripartite tower complex embellishes the roof. The central tower which is square in plan, rises in a series of steps and contains a belfry with arched windows. Two hipped roof towers flank the central tower.
Gesu Rectory is located directly east of the church and is connected to it. This four story rectangular structure is of structural steel, reinforced concrete construction, and its exterior walls are covered with stucco. Its pedimented gable
roof is covered with Spanish tile.
The main entrance is located in the center bay of the north façade and features a double door with large lights. The majority of windows are three over one double
hung sash. Round arch windows grace the fourth floor.
Gesu School is located east of the rectory. The building is a five story rectangular structure of reinforced concrete construction covered with stucco. A flat roof with parapet tops the building and features a pediment above the main entrance.
The focal point of the building is a grand, three story portico on the north façade. Ionic columns support the portico and are repeated in pilasters separating each bay. The main entrance features a colossal semi-circular arch with double doors.
The Fathers of the Society of Jesus have been instrumental in the establishment of Gesù Catholic Church from its inception. Gesù Parish was established as a result of the large Catholic community present in Miami. The original wooden church was built on land donated by Henry Flagler, and as Miami began to grow the need for a larger Church became a necessity. In 1921, the first cornerstone of this concrete and steel structure was laid to suit the needs of the growing Catholic community in Miami
Through the years, Gesù has been a spiritual ambassador to Catholics living in South Florida. It has taken on many roles aside from being a Church. For more than 75 years, Gesù Church started Gesù School which provided elementary and high school education. The school was run by the Sisters of St. Joseph
In addition, the Centro Hispano Católico at Gesù assisted Cuban refugees and refugees from other Central American countries with basic needs and helped with assimilation into a foreign country. From 1959-1982, the Centro Hispano Católico provided refugees with food, clothes, medical care, jobs, housing, daycare, school tuition, English classes, and immigration assistance. In 1962, Gesù served as headquarters to the Pedro Pan operation which bought more than 14,000 unaccompanied children from Communist Cuba
In September 1961, Gesù housed Belén Jesuit Preparatory School for a year and a half. After being exiled from Cuba, Jesuit Priests opened a school for refugee students who were living in Miami. This was the beginning of Belén Jesuit in South Florida.
Today, Gesù Catholic Church remains the spiritual center of downtown Miami. As the oldest church in South Florida, Gesù invites all to visit this historic landmark that has been serving South Florida’s Catholic community for nearly 120 years.
Credit for the data above is given to the following websites:
www.halsema.org/places/miami/GesuChurchandRectory.pdf
© All Rights Reserved - you may not use this image in any form without my prior permission.
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. He married Nest, princess of Deheubarth around 1095. Nest brought the manor of Carew as part of her dowry, and Gerald cleared the existing fort to build his own castle on Norman lines.
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. He extended the castle with luxurious apartments with many Tudor features in the late 15th century.
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.
Església de planta rectangular, de tres naus, amb capelletes laterals entre els contraforts.
L'església es troba situada a la plaça de St. Bartomeu. És de planta rectangular, de tres naus, amb capelletes laterals entre els contraforts. Té arcs de mig punt i voltes de canó en les naus. La façana és simètrica amb un campanar a la dreta, de planta quadrada, un pis vuitavat i una torre circular inacabada. Es troba dividida horitzontalment, per impostes, en tres cossos. En l'inferior s'obre la porta, emmarcada per brancals de pedra i per un timpà trencat amb una fornícula buida; en el cos central hi ha una obertura circular, amb restes d'un esgrafiat que figura un sol. El cos superior és constituït per un timpà. L'obra és de paredat, arrebossat i imitant carreus.
Notas históricas:
La parròquia de Sant Bartomeu fou anteriorment una vicaria mitral que depenia del rector de Valls. Posteriorment es va fer independent i passà a tenir més importància. L'any 1579, l'arquebisbe Antoni Agustí va fer sufragània seva la parròquia de Puigpelat, anteriorment depenent de la de Vallmoll. La construcció de l'església actual, motivada pel creixement demogràfic i econòmic del moment, data del segle XVIII, i a la llinda de la porta d'accés hi ha una inscripció on figura l'any 1767. Fou beneïda el 1769.
www.diputaciodetarragona.cat/marc/web/diputacio-de-tarrag...
While I am looking for the right angle, several people are enjoying the last sunlight of the day....
#25/100 Photo pool=EYES. Sheep have rectangular eyes because it allows them to better scan the horizon and improves their ability to evade predators. This is what I learned in school today. ;-)
Rectangular slab, with a convex profile, decorated with a trireme. The ship is depicted with an “acrostolium” with a volute curled inwards and, at the stern, with a “rostrum” with three swords. The hull is protected by longitudinal beams.
The ship moves to the right pushed by the triple row of oars; two reliefs depicting the icon of a deity and the head of Medusa are carved at the bow; at the stern rises the “stylis” with the flag. In addition to the helmsman (“gubernator”), seven naked rowers and a figure at the bow appear as members of the crew.
This and the slab inv. no. 6600 belong to a funerary monument with a circular drum. The two slabs, probably, recall the feats accomplished by the military fleet stationed at Miseno in the last decades of the 1st century BC.
Marble bass-relief
Height 95 cm; width 82 cm
Late 1st century BC
From Fusaro lake
Museo Archeologico dei Campi Flegrei - Baia Castle – Inv.6601
Charleston SC, Fujifilm X-Pro1, XF18mm F/2 R,
© All Rights Reserved, PJ Resnick
Better on black. Click on photo or press L.
PJ Resnick Photography: pjresnickphotography.smugmug.com
Fluidr Gallery Sets:
The Alfred I. DuPont Building is a historic building in Miami, Florida. It is located at 169 East Flagler Street. Started in 1937 and completed in 1939, it is a 17-story rectangular building in the Modern style with Art Deco embellishments. It was the first skyscraper built after the County courthouse and the bust of 1928. Thus, it represents Miami's emergence from the great depression. It replaced the Halcyon Hotel on this site. On January 4, 1989, it was added to the U.S. National Register of Historic Places.
Alfred I. DuPont was the owner of the Florida National Bank, the principal tenant of the building. Major tenants in 2023 are Bench jewelers who use a combination of skills to make and repair jewelry. Some of the more common skills that a bench jeweler might employ include antique restoration, silversmithing, goldsmithing, stone setting, engraving, fabrication, wax carving, lost-wax casting, electroplating, forging, & polishing, manufactures & wholesale watches for Rolex & Richard Mille. The other major building in Miami is the Seybold Building for jewelry, diamonds and fine watches.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Alfred_I._DuPont_Building
© All Rights Reserved - you may not use this image in any form without my prior permission.
Sant Martí Xic
Sant Martí Xic és una ermita del municipi de les Masies de Voltregà (Osona) inclosa en l'Inventari del Patrimoni Arquitectònic de Catalunya.
Està situada a tocar del recinte del castell de Voltregà, als seus peus. Antigament, un mur incloïa aquest edifici dintre el recinte del castell.
Contingut
1 Història
2 Arquitectura
3 Referències
4 Enllaços externs
Història
Fou des dels seus inicis una capella i després tingué funcions parroquials, depenent dels senyors del castell, fins que finalment passà a dependre del domini episcopal. Es conegué primerament com a Sant Martí de Voltregà o Sant Martí del castell, fins que la creença popular de la seva petitesa li donà el nom de Sant Martí Xic. Les primeres notícies es remunten a l'any 1097, quan el sacerdot Ermemir deixà dos sesters de pa i de vi per la seva edificació, que deu correspondre a l'edifici actual. A partir de 1110 hi ha constància del seu funcionament com a parròquia. Al mateix temps comencen a documentar-se abundoses deixes de terres i diners, en les quals destaquen principalment les dels senyors del castell, patrons de l'església i principalment la que l'any 1242 li féu Beatriu de Cabrera, vídua de Guerau de Castelló, senyora de Voltregà, que li donà el mas de Gallissans. Els Cabrera de la línia de castlans del castell, continuaren fent importants donacions, essent les més importants les dels anys 1286, 1298 i 1330. Quan els bisbes de Vic va comprar el castell de Voltregà al vescomte de Cabrera, Bernat IV, l'any 1370, també esdevingueren patrons de l'església. Hi tingueren un sacerdot beneficiat que tenia cura de l'església amb l'obligació de celebrar quinze misses l'any. Al segle XV li fou llevat el títol de parròquia atès que la majoria dels habitants de l'indret deixaven la muntanya i anaven a viure a la plana. A partir de 1656, l'església de Sant Martyí es fusionà amb la parròquia de Sant Hipòlit de Voltregà. La falta de culte va portar a l'abandó i posterior ruïna de la capella, fins que l'any 1984 va ser restaurada. [1]
Arquitectura
Temple molt curiós per les seves proporcions. Ha conservat tota la seva estructura en els seus elements primitius. L'únic afegitó fet en el transcurs de la seva història fou el campanar d'espadanya sobre el mur oposat a l'absis. Planta rectangular d'una sola nau capçada a llevant per un absis semicircular. És coberta amb una volta de canó reforçada per un únic arc toral. Les cobertes eren inexistents; la de la nau ha estat resolta amb teules àrabs mentre que la de l'absis ho és amb lloses de pedra molt ben tallades i rejuntades. Per sota d'aquesta coberta hi ha una filada de pedres rectangulars molt regulars col·locades en la restauració a manera de cornisa. El mur de tancament de la nau pel cantó de llevant s'alça pel damunt del nivell de la teulada. L'aparell és de carreus de pedra calcària, escairats i de mides molt irregulars, disposats en filades irregulars agafats amb morter de calç. La porta d'entrada s'obre a migjorn, resolta amb arc de mig punt fet de dovelles ben tallades. En aquest mateix cantó hi ha una finestra de mig punt i una altra d'igual al cantó de ponent que, amb la que hi ha al fons de l'absis, completa la il·luminació de l'església.[1]
Lung Ta (horizontal) prayer flags are of square or rectangular shape, and are connected along their top edges to a long string or thread. They are commonly hung on a diagonal line from high to low between two objects (e.g., a rock and the top of a pole) in high places such as the tops of temples, monasteries, stupas, and mountain passes.
Traditionally, prayer flags come in sets of five, one in each of five colors. The five colors represent the elements,[1] and the Five Pure Lights and are arranged from left to right in specific order: blue, white, red, green, and then yellow. Different elements are associated with different colors for specific traditions, purposes and sadhana. Blue symbolizes sky/space, white symbolizes air/wind, red symbolizes fire, green symbolizes water, and yellow symbolizes earth.[1] According to Traditional Tibetan medicine, health and harmony are produced through the balance of the five elements. [Wikipedia]
Rectangular fragment (one of three) of a polychrome tomb-painting representing a banquet scene, divided into two registers: upper - three seated couples are attended by serving women and boys; lower - a group of women, seated apart from the men, are attended by a standing serving woman.
An entire wall of the tomb-chapel showed a feast in honour of Nebamun. Naked serving-girls and servants wait on his friends and relatives. Married guests sit in pairs on fine chairs, while the young women turn and talk to each other. This erotic scene of relaxation and wealth is something for Nebamun to enjoy for all eternity. The richly dressed guests are entertained by dancers and musicians, who sit on the ground playing and clapping. All the guests wear elaborate linen clothes.
The artists have painted the cloth as if it were transparent, to show that it is very fine. These elegant sensual dresses fall in loose folds around the guests' bodies. The words of their song in honour of Nebamun are written above them:
The earth-god has caused
his beauty to grow in every body...
the channels are filled with water anew,
and the land is flooded with love of him.
Egyptian, Thebes, 18th dynasty, ca. 1350 BCE.
British Museum, London (.37986)
The Château de Montbrun is a castle in the commune of Dournazac in the Haute-Vienne département of France. The castle was built in the 12th and 15th centuries, and was restored in the late 19th century.
The castle stands within a deep valley. Built in the 12th century, its function was to defend the borders of the Duchy of Aquitaine. Though rebuilt in the 15th century, it still has the moat, high walls and a square keep topped with machicolations.
Montbrun is a fine example of a 15th-century castle. In plan rectangular, it is flanked in the corners with round towers and protected by water. Its narrow romanesque keep, 40 metres (131 ft) square, close up against one of the towers, gives it a strange appearance.
The castle (then called Trados) was built in 1179 by Aymeric Bruni (also called Brun) on his return from the Second Crusade. The Brun family, (Montbrun after 1366), remained owners until 1516. At the start of the Hundred Years' War, the castle was occupied by the English. It was retaken by the French in 1353. At the end of the century it was taken again by the English and partially destroyed. Between 1433 and 1438, square towers were replaced with round towers and the castle took on its present form.
In 1562, Montbrun was attacked by Protestants during the Wars of Religion and although it was not captured a fire raged through the castle.
During the French Revolution, at the instigation of people's representatives Borie and Jacques Brival, the castle was pillaged and destroyed and the archives were burned. The property was divided up and sold as national property.
Restored in 1871, it suffered a serious fire in 1916. A second restoration was carried out between 1964 and 1966.
It has been a protected monument historique listed by the French Ministry of Culture.
It was purchased by Maarten Lamers, a Dutch businessman, and has been for sale since 2009.
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Maarten Lamers: Satanist van de Wallen
Maarten Lamers schudt met zijn Kerk van Satan in de jaren zeventig en tachtig iedereen in Nederland wakker. Is dit een doorgeslagen act of moeten we hier echt bang voor zijn? Een portret van een kleurrijke kwajongen.
Bizar - Vico Olling - 20 okt. 2021 | 14:31
panorama.nl/artikel/460140/maarten-lamers-satanist-van-de...
Als Zwarte Joop de Vries met zijn Casa Rosso de koning van de Wallen in Amsterdam is, dan is Maarten Lamers zijn puberende opstandige kroonprins van de nacht.
Maarten Lamers is oprichter van het eerste echte Sex Theater op de Wallen in 1969, maar hij is ook de leider geweest van de Kerk van Satan. Later in zijn leven vaart hij mee in het kielzog van een van de eerste Nederlandse 06-lijnen-pioniers en belandt Lamers tussen de jetset van Monaco, is kind aan huis bij de Grimaldi’s en noem maar op. Nu woont hij in Frankrijk in een kasteel (zie kader). Lamers spreekt zeven talen waaronder Italiaans, Frans, Duits en Enochiaans natuurlijk, ofwel de taal waarmee men aan het hof van koningin Elizabeth I in de 16de eeuw meende met de engelen te kunnen communiceren. Maarten is componist en houdt van klassieke muziek. Hij speelt zelf piano, orgel en gitaar.
Het occulte
Maarten Lamers begon als acteur in Amsterdam. Zijn vader was ook acteur en maakte daarna de switch naar dagbladverslaggever. Hij schreef onder andere rechtbankverslagen. Vooral de boekenkast van vader Lamers is belangrijk voor de jonge Maarten. Zijn vader was vrijmetselaar met een interesse voor het occulte. Het is waarschijnlijk die boekenkast die ook bij Maarten de interesse heeft gewekt voor het occulte, wat later naar alle waarschijnlijkheid heeft uitgemond in de oprichting van de Kerk van Satan.
Als zijn moeder scheidt van zijn vader begint ze een lesbische relatie en emigreert ze naar Mallorca. Ze neemt Maarten mee. Van 1959 tot 1964 brengt hij zijn dagen door op het eiland. Hij drinkt als 13-jarige cola-cognac en speelt gitaar in uitgaansgelegenheden. Maarten geniet heel veel vrijheid in zijn jeugd. Daardoor kan hij zich in zijn latere leven nooit conformeren aan autoriteit of gezag.
Als Maarten terug in Amsterdam komt, richt hij in 1965 een toneelgezelschap op dat optreedt in de Cave Toulouse Lautrec, de uitgaanskelder onder de befaamde stripteaseclub Moulin Rouge op het Thorbeckeplein. In een bewaard gebleven tv-interview met het gezelschap zien we in eerste instantie een van Maartens collega’s zo goed en zo volledig mogelijk antwoorden op vragen van de verslaggever. Als Maarten geïnterviewd wordt, merk je meteen dat het hele gesprek onder spanning komt te staan. Maarten zegt niets overbodigs, kiest zijn woorden zorgvuldig en kijkt met een zeker dedain naar de man die de vragen stelt. De beroemde Franse schrijver Sartre komt ter sprake omdat Maarten een satire over hem geschreven heeft. Lamers uit wat kritiek op Sartre: schrijven kan hij wel, maar filosoferen moet hij toch echt aan een ander overlaten.
“Ik ontken namelijk dat Sartre überhaupt een filosoof is,” zo zegt de jonge Maarten in het interview.
In 1975 schopt de Kerk van Satan het tot de Panorama-cover.
Studenten op het podium
In 1969 richt hij op de Wallen het Sex Theater op. Maarten heeft daarvoor de toestemming nodig van de destijds bekende Amsterdamse penozefiguur Haring Arie. Als Maarten in San Francisco Anton LaVey ontmoet, gebeurt er iets. LaVey is de oprichter van de Church of Satan en op de een of andere manier liggen de twee elkaar wel. Wanneer Maarten terugkeert naar Nederland zit hij in zijn vliegtuigstoel met een opdracht: hij richt in 1971 de eerste Nederlandse Kerk van Satan op. Zoals valt te verwachten, is de Kerk van Satan een geliefd onderwerp in de media. Ook een afvaardiging van Panorama gaat bij Maarten op bezoek. In 1975 staat in editie 19 een grote reportage over de Kerk van Satan. De actualiteitenrubrieken zoals Hier en Nu komen ook bij hem langs. Maarten lijkt in die opnamen te genieten van de aandacht. Hij zit achter zijn bureau, met zijn halflange haar lijkt hij net uit een clip van een rockgroep weg te zijn gelopen. Maarten speelt het spel met verve. Op iedere vraag van de verslaggever neemt Maarten overdreven lang de tijd om zijn antwoord te formuleren. Als hij spreekt, doet hij dit langzaam en zorgvuldig articulerend. Als de interviewer vraagt of hij met zijn camera even de kerk in mag om wat beelden te schieten, zegt Maarten dat er geen elektriciteit is toegestaan in de rituele kapel.
Vreemd, want in een andere reportage zien we dat de kerk verlicht wordt met peertjes aan de muur...
De interviewer vraagt Maarten ook wat zijn eerdere professie was. Hij antwoordt acteur. Daarop vraagt de interviewer of hij nu soms ook acteert. Hoewel er een meewarig lachje om Maartens lippen speelt, antwoordt hij dat dit vanzelfsprekend geen act is.
Maarten komt op het lumineuze idee om bezoekers een glas te laten huren. Dit glas wordt à 50 cent per minuut gratis bijgevuld. Zo kan hij de horecavergunning omzeilen
Op beelden uit 1976 zien we Maarten en enkele dames die in de toen net geopende nachtbar Le Boudoir werken. Waar Casa Rosso, in het algemeen gesproken, mensen van een lagere sociale klasse inzet, werkt Maarten in zijn sekstheater met jonge twintigers, studenten die op de UvA zitten. Het is erg lastig om deze dames nu op te sporen en ze te interviewen over deze tijd omdat de meiden van destijds vrijwel alleen bij de voornamen bekend zijn. Veel vrouwen willen hier ook niet meer aan herinnerd worden. Zij zijn de advocaten of doktoren van nu.
Geen wonder dus dat ze liever niet over hun wilde jaren willen spreken.
De meisjes die vanaf 1978 in de Walburga Abdij werken, hebben wel weer vrijwel allemaal een verhaal. Een moeilijke jeugd, of ze zijn weggelopen of misbruikt. Er is een Thaise vrouw die als 12-jarige moest werken in een staatsbordeel van Thailand. Ze kon daar op een gegeven moment weg, en komt in Amsterdam bij de Walburga Abdij terecht waar ze in de weer kan met sigaren en bananen. Dat is voor haar een manier om een treetje hoger te komen in de wereld. Nu hoeft ze namelijk niet meer aan seks te doen.
Commerciële seksshows
Ook Tros Aktua komt in 1984 langs. Het is de tijd dat de Belastingdienst voor het eerst in het leven van Maarten Lamers komt kijken. Er wordt in diverse media geschreven dat Maarten commerciële seksshows faciliteert, dat het niets te maken heeft met een religie of geloof in een figuur als Satan, maar alles met geld verdienen zonder belasting te betalen. Zo is het voor Maarten Lamers belangrijk dat de Kerk van Satan ook echt als kerk gezien wordt omdat je als kerkgenootschap geen belasting hoeft te betalen. Maar er zijn meerdere creatieve vondsten. Zo komt Maarten bijvoorbeeld op het lumineuze idee om bezoekers een glas te laten huren. Dit glas wordt dan gedurende de tijd dat de bezoekers binnen zijn à 50 cent per minuut gratis bijgevuld. Zo kan hij de horecavergunning omzeilen, want er wordt in die zin geen drank verkócht.
Dat idee introduceert Maarten al in 1975, ten tijde van Le Boudoir.
Al deze mooie en creatieve ideeën ten spijt: Maarten verliest die zaak tegen de Belastingdienst. Belastinginspecteurs gaan kijken in de Walburga Abdij en de Kerk van Satan en zien shows met vrouwen en drank die geschonken wordt. Ze trekken de conclusie dat er miljoenen omgezet moeten worden. Vanaf dat moment ziet de Belastingdienst de Kerk van Satan gewoon als een commercieel bedrijf. Niet lang daarna neemt Maarten Lamers afstand van zijn zelf opgerichte kerk.
De Nederlandse Kerk van Satan heeft van december 1971 tot en met december 1988 bestaan. Geen enkel ander project van Maarten Lamers kent zo’n lange tijdspanne. In december 1988, als de Kerk van Satan zijn deuren definitief sluit, nu dus precies dertig jaar geleden, vertrekt Maarten naar Frankrijk. Hij richt zich na zijn avontuur met de Kerk van Satan op de opbloeiende 06-lijnenindustrie. In mei 1986 begint Lamers met Language Leasing zijn eerste 06-bedrijf. De dienst Teleheks begint in 1987. Op uitgetypte vellen papier staat beschreven wat de vrouwen van de Kerk van Satan nu allemaal weer voor geils meegemaakt hebben.
Er zijn 06-lijnen met recepten, met het gebed van de dag, maar het beste lopen de lijnen met seks. Elke maand komen er miljoenen binnen
Maarten kiest voor zijn nieuwe 06-bedrijf Curaçao als vestigingsplek. Mooi weer en in die tijd heeft dat eiland nog de naam een belastingparadijs te zijn. De toenmalige minister-president van Curaçao Don Martina ziet grote economische voordelen voor Curaçao als Maarten zich daar gaat vestigen. Martina wil graag Maartens bedrijf Lipscomb, met de handelsnaam Antillephone, binnenhalen. Dit gaat niet zonder slag of stoot. In november 1988 wordt het contract ondertekend, maar een week later ontdekken de autoriteiten op Curaçao namelijk dat Maarten eigenlijk de leider van de Kerk van Satan is. Maarten doet zogenaamd afstand van zijn functie, maar blijft uiteraard betrokken bij het bedrijf. Antillephone gaat in 1990 van start. Er zijn 06-lijnen met recepten, met het gebed van de dag, maar het beste lopen de sekslijnen. Elke maand komen er miljoenen binnen. Maarten Lamers krijgt iedere maand zo’n 30.000 dollar bijgeschreven op zijn bankrekening. Hij zit in pak om de tafel met regeringsleiders en zakenmannen. De tijd van zwart-rode capes is definitief voorbij.
In deze wereld worden deals gesloten maar word je ook bedrogen als je even niet zit op te letten. Vooral de hebzucht, het egoïsme en het achterbakse gedoe tussen de aandeelhouders speelt Maarten parten. Niets voor de verheven Maarten Lamers, dat gekrakeel. Na een paar jaar is hij het dan ook zat en wil hij eruit. De andere aandeelhouders stellen 20 miljoen voor om hem uit te kopen.
Een astronomisch bedrag natuurlijk, maar Maarten blijft cool en zegt dat hij het met zijn vrouw gaat overleggen. Hij belt terug en zegt dat hij 40 miljoen wil krijgen. Uiteindelijk komen ze uit op 36 miljoen en is Maarten multimiljonair.
Nu brengt hij zijn dagen door in een kasteel in Montbrun, in Frankrijk, met een aantrekkelijke en jonge violiste naast zich. Maarten Lamers is een man die het leven groots en meeslepend leeft en daarbij het liefst zo min mogelijk belasting wil afstaan. Niets menselijks is de leider van de Kerk van Satan vreemd...
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CV VAN EEN RIJKE REBEL
Maarten Lamers wordt op 21 maart 1947 geboren.
Tot 1969 is Maarten toneelspeler, cabaretier en regisseur. Hij richt in 1965 een eigen toneelgezelschap op: Hades Toneelmanifestaties. Hij opent een eigen theatertje op het Thorbeckeplein, in 1966 een zogenoemd Pauzetheater, in 1967 en 1968 doet hij pogingen om in Amsterdam een permanent theatergebouw te verkrijgen, in 1968 trekt hij door Nederland en België met een eigen gezelschap dat middeleeuwse wagenspelen vertoont, in 1969 begint hij het kroegtheater Prinsheerlijk.
November 1969: opening van het eerste Sex Theater op de Wallen. Met dit kleine erotische theater op de Oudezijds Voorburgwal begint Maarten Lamers’ succesvolle business op de Wallen. Een jaar later opent hij een tweede Sex Theater op de Oudezijds Achterburgwal. Dat theater sluit zijn deuren alweer in 1973. Het eerste Sex Theater verandert in 1988 van naam: Blue Angel Theater. Een jaar later wordt het door Henk de Vries ingelijfd bij zijn The Bulldog.
1971: oprichting van de Kerk van Satan, dan nog gesitueerd aan de Keizersgracht in Amsterdam.
30 april/1 mei 1975 (Walpurgisnacht): Kerk van Satan verhuist naar Etersheim vlakbij Hoorn. Dit is het onderkomen dat ook een bezoek krijgt van Panorama.
1975: opening Le Boudoir op de Oudezijds Achterburgwal, als nachtbar.
Maart 1978: opening van de Walburga Abdij. Tegenwoordig is dit de Bananenbar.
1980: Kerk van Satan opent de deuren op de Wallen.
1984: problemen met de Belastingdienst. Invallen FIOD en politie.
1986: Language Leasing begint, pioniers in 06-sekslijnen.
1986-1987: Directeur van Casa Rosso.
1988: Lipscomb/Antillephone, Curaçao, 06-lijnen (audiotex, informatie en erotiek).
1988: Kerk van Satan stopt abrupt wanneer Maarten naar Frankrijk vertrekt.
1993: Monacall, Monaco 06-lijnen (audiotex en informatie).
1995: Maarten koopt kasteel Montbrun. Dit is natuurlijk geen bedrijf, eerder een onroerendgoedinvestering.