Uses: Anything relating to finance and money.

 

Free Creative Commons Finance Images... I created these images in my studio and have made them all available for personal or commercial use. Hope you like them and find them useful.

 

To see more of our CC by 2.0 finance images click here... see profile for attribution.

Kinetic: Relating to, caused by, or producing motion.

 

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

 

Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!

 

None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

 

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

 

Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

 

If you'd like to see more please check out my set, "Vertigo:"

 

www.flickr.com/photos/motorpsiclist/sets/72157630591282642/

 

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To read more about Kinetic Photography click the Wikipedia link below:

 

en.wikipedia.org/wiki/Kinetic_photography

 

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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

 

Rom - Pantheon

 

The Pantheon (UK: /ˈpænθiən/, US: /-ɒn/; Latin: Pantheum, from Greek Πάνθειον Pantheion, "[temple] of all the gods") is a former Roman temple, now a church, in Rome, Italy, on the site of an earlier temple commissioned by Marcus Agrippa during the reign of Augustus (27 BC – 14 AD). It was completed by the emperor Hadrian and probably dedicated about 126 AD. Its date of construction is uncertain, because Hadrian chose not to inscribe the new temple but rather to retain the inscription of Agrippa's older temple, which had burned down.

 

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, 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, 43 metres (142 ft).

 

It is one of the best-preserved of all Ancient Roman buildings, in large part because it has been in continuous use throughout its history and, since the 7th century, the Pantheon has been in use as a church dedicated to "St. Mary and the Martyrs" (Latin: Sancta Maria ad Martyres) but informally known as "Santa Maria Rotonda". The square in front of the Pantheon is called Piazza della Rotonda. The Pantheon is a state property, managed by Italy's Ministry of Cultural Heritage and Activities and Tourism through the Polo Museale del Lazio; in 2013 it was visited by over 6 million people.

 

The Pantheon's large circular domed cella, with a conventional temple portico front, was unique in Roman architecture. Nevertheless, it became a standard exemplar when classical styles were revived, and has been copied many times by later architects.

 

The name "Pantheon" is from the Ancient Greek "Pantheion" (Πάνθειον) meaning "of, relating to, or common to all the gods": (pan- / "παν-" meaning "all" + theion / "θεῖον"= meaning "of or sacred to a god"). Cassius Dio, a Roman senator who wrote in Greek, speculated that the name comes either from the statues of many gods placed around this building, or from the resemblance of the dome to the heavens. His uncertainty strongly suggests that "Pantheon" (or Pantheum) was merely a nickname, not the formal name of the building. In fact, the concept of a pantheon dedicated to all the gods is questionable. The only definite pantheon recorded earlier than Agrippa's was at Antioch in Syria, though it is only mentioned by a sixth-century source. Ziegler tried to collect evidence of panthea, but his list consists of simple dedications "to all the gods" or "to the Twelve Gods," which are not necessarily true panthea in the sense of a temple housing a cult that literally worships all the gods.

 

Godfrey and Hemsoll point out that ancient authors never refer to Hadrian's Pantheon with the word aedes, as they do with other temples, and the Severan inscription carved on the architrave uses simply "Pantheum," not "Aedes Panthei" (temple of all the gods). It seems highly significant that Dio does not quote the simplest explanation for the name—that the Pantheon was dedicated to all the gods. In fact, Livy wrote that it had been decreed that temple buildings (or perhaps temple cellae) should only be dedicated to single divinities, so that it would be clear who would be offended if, for example, the building were struck by lightning, and because it was only appropriate to offer sacrifice to a specific deity (27.25.7–10). Godfrey and Hemsoll maintain that the word Pantheon "need not denote a particular group of gods, or, indeed, even all the gods, since it could well have had other meanings…. Certainly the word pantheus or pantheos, could be applicable to individual deities…. Bearing in mind also that the Greek word θεῖος (theios) need not mean "of a god" but could mean "superhuman," or even "excellent."

 

Since the French Revolution, when the church of Sainte-Geneviève in Paris was deconsecrated and turned into the secular monument called the Panthéon of Paris, the generic term pantheon has sometimes been applied to other buildings in which illustrious dead are honoured or buried.

 

The 4,535 metric tons (4,999 short tons) weight of the Roman concrete dome is concentrated on a ring of voussoirs 9.1 metres (30 ft) in diameter that form the oculus, while the downward thrust of the dome is carried by eight barrel vaults in the 6.4-metre (21 ft) thick drum wall into eight piers. The thickness of the dome varies from 6.4 metres (21 ft) at the base of the dome to 1.2 metres (3.9 ft) around the oculus. The materials used in the concrete of the dome also varies. At its thickest point, the aggregate is travertine, then terracotta tiles, then at the very top, tufa and pumice, both porous light stones. At the very top, where the dome would be at its weakest and vulnerable to collapse, the oculus actually lightens the load.

Beam in the dome of the Pantheon

 

No tensile test results are available on the concrete used in the Pantheon; however, Cowan discussed tests on ancient concrete from Roman ruins in Libya, which gave a compressive strength of 20 MPa (2,900 psi). An empirical relationship gives a tensile strength of 1.47 MPa (213 psi) for this specimen. Finite element analysis of the structure by Mark and Hutchison found a maximum tensile stress of only 128 kPa (18.5 psi) at the point where the dome joins the raised outer wall.

 

The stresses in the dome were found to be substantially reduced by the use of successively less dense aggregate stones, such as small pots or pieces of pumice, in higher layers of the dome. Mark and Hutchison estimated that, if normal weight concrete had been used throughout, the stresses in the arch would have been some 80% greater. Hidden chambers engineered within the rotunda form a sophisticated structural system. This reduced the weight of the roof, as did the elimination of the apex by means of the oculus.

 

The top of the rotunda wall features a series of brick relieving arches, visible on the outside and built into the mass of the brickwork. The Pantheon is full of such devices – for example, there are relieving arches over the recesses inside – but all these arches were hidden by marble facing on the interior and possibly by stone revetment or stucco on the exterior.

 

The height to the oculus and the diameter of the interior circle are the same, 43.3 metres (142 ft), so the whole interior would fit exactly within a cube (also, the interior could house a sphere 43.3 metres (142 ft) in diameter). These dimensions make more sense when expressed in ancient Roman units of measurement: The dome spans 150 Roman feet; the oculus is 30 Roman feet in diameter; the doorway is 40 Roman feet high. The Pantheon still holds the record for the world's largest unreinforced concrete dome. It is also substantially larger than earlier domes. It is the only masonry dome to not require reinforcement. All other extant ancient domes were either designed with tie-rods, chains and banding or have been retrofitted with such devices to prevent collapse.

 

Though often drawn as a free-standing building, there was a building at its rear into which it abutted. While this building helped buttress the rotunda, there was no interior passage from one to the other.

 

The extravagant Pantheon can be entered through the pronaos, which is the rectangular area located at the front of the temple. This is recognizable part of the structure surrounded by numerous towering granite columns, each 13 metres (43 ft) in height. This entrance is covered by a tympanum, a semi-circular surface placed over the entry. This element is bordered by a lintel and arch. The building itself is perched upon a series of broad white steps, elevating the building.

 

Upon entry, visitors are greeted by an enormous rounded room covered by the dome. Off to either side, the building is divided into two parts or naves, excluding the center part of the temple. The oculus at the top of the dome was never covered, allowing rainfall through the ceiling and onto the floor. Because of this, the interior floor is equipped with drains and has been built with an incline of about 30 centimetres (12 in) to promote water run off. There are three floors in the Pantheon; the second is made up of lessens that allow sunlight to filter through to the first floor, assisted by the light flowing in through the oculus.

 

The interior of the dome was possibly intended to symbolize the arched vault of the heavens. The oculus at the dome's apex and the entry door are the only natural sources of light in the interior. Throughout the day, the light from the oculus moves around this space in a reverse sundial effect. The oculus also serves as a cooling and ventilation method. During storms, a drainage system below the floor handles the rain that falls through the oculus.

 

The dome features sunken panels (coffers), in five rings of 28. This evenly spaced layout was difficult to achieve and, it is presumed, had symbolic meaning, either numerical, geometric, or lunar. In antiquity, the coffers may have contained bronze stars, rosettes, or other ornaments.

 

Circles and squares form the unifying theme of the interior design. The checkerboard floor pattern contrasts with the concentric circles of square coffers in the dome. Each zone of the interior, from floor to ceiling, is subdivided according to a different scheme. As a result, the interior decorative zones do not line up. The overall effect is immediate viewer orientation according to the major axis of the building, even though the cylindrical space topped by a hemispherical dome is inherently ambiguous. This discordance has not always been appreciated, and the attic level was redone according to Neoclassical taste in the 18th century.

 

(Wikipedia)

 

Das Pantheon (altgriechisch Πάνθειον (ἱερόν) oder auch Πάνθεον, von πᾶν pân „alles“ und θεός theós „Gott“) ist ein zur Kirche umgeweihtes antikes Bauwerk in Rom. Als römisch-katholische Kirche lautet der offizielle italienische Name Santa Maria ad Martyres (lateinisch Sancta Maria ad Martyres).

 

Nach einer seit dem Mittelalter gebräuchlichen Namensform Sancta Maria Rotunda wird das Bauwerk in Rom umgangssprachlich auch als La Rotonda bezeichnet.

 

Das möglicherweise bereits unter Kaiser Trajan um 114 n. Chr. begonnene und unter Kaiser Hadrian zwischen 125 n. Chr. und 128 n. Chr. fertiggestellte Pantheon hatte mehr als 1700 Jahre lang, gemessen am Innendurchmesser, die größte Kuppel der Welt und gilt allgemein als eines der am besten erhaltenen Bauwerke der römischen Antike. Das Pantheon besteht aus zwei Hauptelementen: einem Pronaos mit rechteckigem Grundriss und Tempelfassade im Norden sowie einem kreisrunden, überkuppelten Zentralbau im Süden. Ein Übergangsbereich vermittelt zwischen beiden Gebäudeteilen, die sich ergebenden Zwickel der Schnittstellen wurden für Treppenhäuser genutzt.

 

Erbaut auf dem Marsfeld, war das Pantheon vermutlich ein allen Göttern Roms geweihtes Heiligtum. Der Historiker Cassius Dio berichtet, dass dort Statuen des Mars und der Venus sowie weiterer Götter und eine Statue des als Divus Iulius unter die Götter aufgenommenen Caesar aufgestellt waren. Welche Götter insgesamt hier verehrt werden sollten, ist jedoch umstritten, zumal nicht restlos geklärt ist, ob das Pantheon seiner Urbestimmung nach ein Tempel oder ein imperialer Repräsentationsbau war, der trotz seiner der Sakralarchitektur entlehnten Elemente säkularen Zwecken diente.

 

Am 13. Mai vermutlich des Jahres 609 wurde das Pantheon in eine christliche Kirche umgewandelt und der heiligen Maria sowie allen christlichen Märtyrern geweiht. In ihr werden vor allem an hohen Feiertagen Messen gefeiert. Die Kirche wurde am 23. Juli 1725 von Papst Benedikt XIII. zur Titeldiakonie erhoben. Papst Pius XI. übertrug diese am 26. Mai 1929 an die 400 Meter entfernte Kirche Sant’Apollinare alle Terme Neroniane-Alessandrine. Santa Maria ad Martyres trägt den Titel einer Basilica minor und ist der Pfarrgemeinde Santa Maria in Aquiro angeschlossen. Das Gebäude gehört dem italienischen Staat und wird vom Ministerium für Kulturgüter und Tourismus unterhalten.

 

Der Einfluss des Pantheon auf die Architekturgeschichte vor allem der Neuzeit ist enorm. Der Begriff Pantheon wird heute auch allgemein auf ein Gebäude angewendet, in dem bedeutende Persönlichkeiten bestattet sind, was von der späteren Nutzung des römischen Pantheon herrührt.

 

Das Pantheon ist der Nachfolger eines Tempels, den Konsul Agrippa nach seinem Sieg bei Actium von 27 bis 25 v. Chr. zu Ehren seines Freundes und Förderers Augustus am selben Ort hatte errichten lassen. Dieser Vorgängerbau war bereits als Rundbau angelegt und hatte etwa die gleichen Ausmaße und dieselbe Ausrichtung wie das heute zu sehende Gebäude. Er wurde während eines Feuers im Jahr 80 n. Chr. beschädigt und unter Kaiser Domitian restauriert. Eindeutige Spuren dieser Maßnahme konnten nicht nachgewiesen werden. Möglicherweise sind Spuren des zugehörigen Fußbodenniveaus zwischen dem des ersten und dem des heutigen Gebäudes erhalten.

 

Im Jahr 110 brannte das Pantheon infolge eines Blitzschlages erneut ab. Die Forschung schreibt den Wiederaufbau traditionell Kaiser Hadrian zu und datiert dessen Errichtung auf die Jahre zwischen 118 und 125. Jüngste, noch nicht eingehend diskutierte Forschungsergebnisse lassen aufgrund von Ziegelstempeln eine Bauzeit bereits von 114 bis 119 n. Chr. möglich erscheinen, also einen Baubeginn noch unter Hadrians Vorgänger Trajan. Wer als Architekt dieses größten und vollkommensten Rundbaus des Altertums in Frage kommt, steht nicht fest. Die Zuweisung der Bauplanung an den Architekten Apollodor von Damaskus, den leitenden Architekten Trajans, der für zahlreiche Großbauten dieses Kaisers verantwortlich zeichnete, ist umstritten. Einhellig wird davon ausgegangen, dass Hadrian den Tempel eingeweiht hat.

 

Ob und wie lange man das Pantheon danach kultisch genutzt hat, lässt sich aufgrund der mangelhaften literarischen Quellenlage nicht genau bestimmen. Der Geschichtsschreiber Cassius Dio erwähnt, dass Hadrian dort Gericht abgehalten habe. Um das Jahr 230 berichtet Iulius Africanus von „der schönen Bibliothek des Pantheon, die ich selbst dem Kaiser eingerichtet habe“. Wie die Stelle aufzufassen ist, ist unklar. Befunde, die mit einer Bibliothek zu verbinden sind, liegen im Pantheon selbst nicht vor. Spätestens Anfang des 5. Jahrhunderts, unter Kaiser Honorius, muss der Tempelbetrieb endgültig eingestellt worden sein. Der oströmische Kaiser Phokas schenkte „den Tempel, der Pantheon genannt wird“ (templum qui appellatur Pantheum), im Jahre 608 Papst Bonifatius IV. Dieser weihte am 13. Mai vermutlich des Jahres 609 das Pantheon dem Patrozinium Sancta Maria ad Martyres, dem Gedächtnis Mariens und aller Märtyrer. Dies ist der Ursprung des in der Westkirche seit dem Jahre 835 am 1. November begangenen Festes Allerheiligen. Einer mittelalterlichen Legende nach, die in gedruckter Form wohl erstmals bei Pompeo Ugonio vorliegt, hatte Bonifatius IV. 28 Wagenladungen mit Gebeinen von Märtyrern aus den Katakomben in die Kirche bringen lassen.

 

Als der oströmische Kaiser Konstans II. im Jahr 663 Rom besuchte, ließ er die vergoldeten Bronzeplatten der Kuppelverkleidung abnehmen und nach Konstantinopel schaffen. Papst Gregor III. sorgte 735 für eine neue Bleiverdachung. Zu einem unbekannten Zeitpunkt in nachantiker Zeit wurden zwei Säulen auf der Ostseite des Pronaos entfernt, die Papst Alexander VII. im 17. Jahrhundert durch Säulen aus den Nerothermen ersetzen ließ.

 

Im Jahr 1270 wurde ein romanischer Glockenturm über dem Pronaos errichtet. Im Laufe des 15. und 16. Jahrhunderts wurde der Platz vor dem Pantheon im Auftrag mehrerer Päpste freigeräumt und eingeebnet, so dass die heutige Piazza della Rotonda entstand. Seit dem 16. Jahrhundert wurde das Pantheon zur Grabeskirche bedeutender Persönlichkeiten, später auch des italienischen Königshauses. Im 17. Jahrhundert veranlasste Papst Urban VIII. aus der Familie der Barberini die Entfernung der bronzenen Platten, mit denen der Dachstuhl des Pronaos verkleidet war, und ließ sie größtenteils zu 80 Kanonen für die Engelsburg verarbeiten, zum Teil aber auch für das Ziborium des Petersdoms verwenden. Die Bevölkerung Roms prägte daraufhin das Sprichwort Quod non fecerunt barbari, fecerunt Barberini „Was die Barbaren nicht schafften, das schafften die Barberini“. Anstelle des Glockenturms aus dem 13. Jahrhundert ließ Urban zwei von Bernini entworfene Türme im Osten und Westen des Pronaos errichten. 1883 wurden diese wieder abgerissen.

 

Insgesamt gehört das Pantheon zu den am besten erhaltenen Bauten der römischen Antike, was vor allem seiner recht frühen Umwandlung in eine Kirche zu verdanken ist.

 

Der wichtigste Baubestandteil des Pantheon ist ein überwölbter Rundbau von 43,30 m (das heißt 150 römische Fuß) Innendurchmesser und -höhe. Das tragende Mauerwerk besteht aus Opus caementicium, einem Gussmauerwerk, mit Ziegeln als verlorener Schalung unterbrochen durch Ausgleichslagen. Die Ausgleichslagen bestehen im unteren Bereich aus Travertin und Tuff, im mittleren Bereich aus Ziegeln und im oberen Bereich zum großen Teil aus Tuff, so dass das Gewicht mit der Höhe abnimmt. In der Kuppel besteht der Zuschlag aus leichtem Lapilli-Tuff. Die tragenden Mauern ruhen auf einem 7,50 m breiten und 4,60 m tiefen ringförmigen Fundament aus Gussmauerwerk mit Travertin als Ausgleichslagen. Die Außenfassade dieser Rotunde ist einfach gestaltet und wird lediglich durch drei Gesimse gegliedert. Deutlich zu erkennen sind halbkreisförmige Entlastungsbögen aus Ziegeln, die den enormen Druck der Kuppel abfangen. Es finden sich heute keine Spuren, die darauf hindeuten würden, dass die Fassade in der Antike mit Marmorplatten verkleidet gewesen wäre.

 

Die Rotunde vermittelt ein gänzlich anderes Raumgefühl als der Pronaos. Dessen typischem Aufbau eines rechteckigen römischen Podiumstempels steht der kreisrunde, von der Kuppel dominierte Innenraum gegenüber, wie er bezüglich der Dimensionen in der römischen Tempelarchitektur kein Vorbild hat. Die ursprüngliche, reiche Ausstattung des Innenraums mit verschiedenfarbigem Gestein aus allen Teilen des Mittelmeerraums hat sich in ihren Grundzügen bis heute erhalten. Der Fußboden greift die Gestaltung im Pronaos auf und ist mit einem Muster aus großen Quadraten und Kreisen aus Porphyr, grauem Granit und Giallo Antico (dem begehrten gelben Marmor aus Simitthu), die von Bahnen aus Pavonazzetto gerahmt werden, überzogen. Die umlaufende Wand ist in zwei Dekorzonen unterteilt. In der unteren Zone wird die Wand durch sieben Nischen sowie das Eingangsportal gegliedert. Lediglich das Tonnengewölbe über dem Eingang und die Kalotte der Südnische schneiden in die obere Wandzone ein. Die Nischen besitzen abwechselnd halbrunden und rechteckigen Grundriss. Sie werden gerahmt von Eckpfeilern mit korinthischen Kapitellen. In die Nischen eingestellt sind je zwei kannelierte korinthische Säulen. Außer in der südlichen befinden sich in allen übrigen Nischen je drei Ädikulen. Hier waren in der Antike möglicherweise Statuen verdienter Römer aus republikanischer Zeit aufgestellt. Auch zwischen den einzelnen Nischen sind Ädikulen vorgeblendet. Die freibleibenden Wandteile der unteren Dekorzone sind mit einem geometrischen Muster aus Kreis- und Rechteckfeldern aus verschiedenfarbigem Gestein bedeckt. Nach oben schließt die untere Zone mit einem reich verzierten Gebälk ab. Die Inkrustation der darüber liegenden Attikazone ist heute nicht mehr original erhalten, kann aber in einem kurzen Abschnitt nach Zeichnungen von Baldassare Peruzzi und Raffael rekonstruiert werden. Sie war mit einem ähnlichen, aber zierlicheren Muster wie die untere Zone bedeckt.

 

Eine Kuppel bildet die Decke des Gebäudes. Sie besitzt einen Durchmesser von etwa 43,45 m bei annähernd halber Stichhöhe. Zu einer Kugel vervollständigt würde sie etwa einen halben Meter unter dem Boden hindurch führen. Der römische Beton der Kuppel wurde aus leichtem vulkanischen Tuff- und Bimsstein vermischt. Zur weiteren Gewichtsersparnis wird die Kuppel durch fünf konzentrische Ringe aus je 28 Kassetten gegliedert, wobei die Kassetten der einzelnen Ringe nach oben hin immer kleiner werden. Die Gliederung der Kassetten entspricht nicht jener der darunterliegenden Wand, sondern ist leicht versetzt. Ursprünglich war die Innenseite der Kuppel bemalt und jede Kassette trug einen bronzenen, möglicherweise vergoldeten Stern oder eine Rosette. Am Scheitelpunkt der Kuppel befindet sich eine kreisrunde Öffnung von neun Metern Durchmesser, das Opaion, das neben dem Eingangsportal die einzige Lichtquelle des Innenraums darstellt. Um das hierdurch eindringende Regenwasser abzuleiten, ist der Boden des Kuppelsaals leicht zum Zentrum hin geneigt und an günstigen Stellen mit kleinen Abflüssen versehen. Am Außenbau ist die Mauer unterhalb der Kuppel höher als im Innenraum, sodass die Kuppel – von außen betrachtet – keine komplette Halbkugel darstellt. Außen ist die Kuppel mit Bronzeplatten gedeckt, deren antike Originale allerdings nicht mehr erhalten sind.

 

(Wikipedia)

Photographer: P H Jauncey. PAColl-1296-2-07. Lucy Taylor photographs relating to Wellington Girls’ College, Alexander Turnbull Library

 

An expanded version was published in FishHead magazine, January 2014.

 

Here we are at the Wellington Girls’ College in Thorndon. It is Parents’ Day, 1927, and the girls are giving a demonstration of Swedish drill. This particular move was called the halfway side falling position and was designed to strengthen the side muscles. An instruction booklet of the time stresses that it should be done without bending the knees or letting the hips sink. The girls seem very proficient.

 

By the 1920s Swedish drill was seen as the state-of-the-art in girls’ physical education. The flexing, lunging and balancing movements are not dissimilar to some exercise programmes today, and the loose tunics worn here were certainly an improvement on the restrictive clothing these girls’ mothers would have had to wear for any outdoor activity.

 

Less modern was the strict regimentation. In the years between the wars such military-like manoeuvrings were a popular part of organised activity for the young. In the same year as this photograph was taken, the outdoor highlight for many Wellington school children was a tightly choreographed welcome to the Duke of York at Newtown Park. Theyformed themselves into a living union jack. Other examples of uniformed mass choreography for young people included the uniquely New Zealand phenomenon of marching girls that emerged in the 1930s.

 

Mrs Taylor, the head of the College’s physical training programme, was an innovator, though. In particular she ignored some of her how-to-do-drill textbooks and enjoyed mixing her Swedish drill instruction with music and dance.

 

The girls in this photograph no doubt also took part in one of the highlights of the school year – Mrs Taylor’s annual “gymnastic display.” In 1927 it was at the Opera House. In addition to Swedish drill, the newspaper advertisements promised “Lantern marching, Cymbals, Wands, Poi Dances, Spanish Dances, Thunder, Rain and Frost,” all of which were ambitiously worked into a “Fairy Folk Tales of the Maori” theme, based on James Cowan’s recently published children’s book of the same name.

 

Go to this image's record

 

Read a review of the Opera House gymnastic display

 

Wellingtonians: From the Turnbull Collections contains a selection of the entries from this Flickr set, and some new ones too. This high-quality publication costs just $29.99. You can pick it up at good bookshops or from the publisher, Steele Roberts.

Les Invalides contains museums and monuments, all relating to the military history of France, as well as a hospital and a retirement home for war veterans, the building's original purpose. The buildings house the Musée de l'Armée (the military museum of the Army of France), the Musée des Plans-Reliefs and the Musée d'Histoire Contemporaine, as well as the Dôme des Invalides, a large church, the tallest in Paris at a height of 350 feet. It houses tombs of some of France's war heroes, most notably Napoleon. The architect of Les Invalides was Libéral Bruant. By the time the enlarged project was completed in 1676, the river front measured 643 feet, and the complex had 15 courtyards, the largest being the cour d'honneur ("court of honor") for military parades. Jules Hardouin-Mansart assisted the aged Bruant, and the chapel for veterans was finished in 1679. This chapel was known as Église Saint-Louis des Invalides, and daily attendance of the veterans in the church services was required. Shortly after the veterans' chapel was completed, Louis XIV commissioned Mansart to construct a separate private royal chapel referred to as the Église du Dôme. The domed chapel was finished in 1708. The building retained its primary function of a retirement home and hospital for military veterans until the early 20th century. In 1872 the musée d'artillerie (Artillery Museum) was located within the building to be joined by the musée historique des armées (Historical Museum of the Armies) in 1896. The two institutions were merged to form the present Musée de l'Armée in 1905. At the same time, the veterans in residence were dispersed to smaller centers outside Paris, as the building became too large for its original purpose. The modern complex includes facilities about a hundred elderly or incapacitated former soldiers, including one gentleman sitting outside in full World War II army dress.

  

Another excerpt from the story that I first started relating here.

 

The three siblings had traveled for several days, finding food and water through their own skills or the generosity of strangers along their route - which meandered but steadily took them west toward the great ocean that marked the edge of the known world. On the 19th day of their journey, they finally reached the rocky shores of the great ocean, and stopped - struck by the vast vista of water spread out before them. For the first time in any of their young lives they felt the weight of that great body of water and it penetrated them to their core, knowing their goal lay on its far side. But having traveled far, and in no particular hurry, they decided to camp that evening on the beach and plan their crossing upon morning.

 

It was while searching for firewood that the youngest brother saw a sparkle of white nestled amongst the stones of the beach. Scrambling over the slippery rocks to just near the edge of the surf, he bent down and plucked up three perfectly smooth, white stones that made him involuntarily catch his breath for the obvious magic they held within them, for surely these must be three of the fabled wishing stones of old. Smiling at his good fortune, he ran up the beach to share the news with his brother and sister. Arriving breathless at the camp though, their reactions were mixed. Rather than a similar excitement, the older brother met the stones with caution and the sister was more curious than anything else. All three had grown up with stories of the magic of old, but that was all the world was left with these days... stories and tattered memories of the great magic that had once been so common. After much debate, the youngest brother and his sister wanted to try to use the stones to cross the ocean safely. The eldest brother held out though, arguing that they had come so far on just their wits and abilities that it was foolish to trust something they knew next to nothing about. But the younger two were just as stubborn, arguing that they should not be diverted by fear of the unknown, as the crossing of the ocean itself was a great unknown voyage that would not be without great danger. In the end, they decided to put the stones aside and get some badly needed rest, as the trek across the continent had been arduous indeed. The stones and their use could wait until the next morning as well, just as the ocean would.

 

And indeed, wait they did, for the stones and the ocean were still there when the three awoke in a chilly, damp fog. But still agreement eluded them and even threatened to fray the bonds between them. So each decided to take a stone and decide how to best use it. The youngest brother walked down to the surf, wading up to his knees and wished to be a fish, so that he could swim across the ocean to the far side, agreeing to wait on the far shore for the other two. Amazingly enough, and quite suddenly, the youngest brother was gone, and a silver fish hung suspended momentarily in the air where he had stood, and then gravity claimed it and the fish splashed into the ocean. The other two watched it leap once above the waves and then it was seen no more, presumably swimming west.

 

The middle sister then took up her stone, and with a quick hug to her older brother, wished to be a bird, such that she could fly safely above the ocean to the far shore, and hopefully keep an eye out for her younger brother. In a blink, she too vanished and a splendid white gull flapped its wings a bit unsteadily, before rising into the sky, circling twice and flying away west until her silhouette vanished into the morning mist. The oldest stood there a long time gazing out across the ocean and into the fog, which gently receded as the day grew longer. He stood there, just looking, holding his stone in his hand. At one point he brought it up to his chest and mouthed words that only an empty beach could hear and dropped the stone into his pocket.

 

He spent the rest of that day collecting wood, with which he started to fashion a small boat. The beach was quite generous, for between what the ocean had washed up and what he carried himself, he soon had all he needed and small but sturdy vessel lay in front of him, pulled up just beyond the hungry reach of the incoming tide. Into the boat he stocked what food and water he had left and just as the shadows were beginning to grow long, he pushed the small craft into the height of the tide. He sailed all through the evening, and though he did not think it likely, the fatigue of the day soon caught up with him and he fell fast asleep, trusting to the wind and tides to carry him in the right direction. In the middle of the night, the eldest brother was woken from his sleep and sat up with a start. The sky above him was absolutely dark and at first he didn't notice the reason, but as the fog of sleep slowly crept from his brain, he realized that not a star shone in the sky above. He then became aware of a light from the ocean itself, and leaning over the side of his small boat, he gasped as he saw all the stars of the night sky floating in the ocean - not reflected, for he glanced quickly back up to the still blank canvas of the night sky above him. The ocean itself contained all the stars that should have been wheeling by over him. The eldest could make no sense of this spectacle, and he lingered at the edge of the boat for some time trying to comprehend what he saw. Slowly dawn approached on the horizon and the stars faded from the waters around the boat as the sky lightened above it.

 

He was shaken from his reverie by the cry of a gull overhead and looking up he saw his sister flying closer and closer until she plummeted into the ocean nearby. The eldest brother quickly brought his boat around and scooped the bird from the water and set her gently into the boat. In a moment the bird was gone, replaced by the familiar form of his younger sister. "The ocean is too big," she gasped. "I flew for hours and hours and still saw no land, there is no way I can fly across this whole expanse. I am glad you came when you did." He gave her some food and water and together they sailed through the day. Just as the sun was approaching the horizon and the breeze was turning cool, a gleaming silver fish jumped from the water and landed with a splash in the boat, only to disappear and be replaced by the form of the youngest. "Am I so glad to see you," the youngest exclaimed. "It is impossible to find one's way through the ocean, it is too vast and deep. I asked other fish, but they only know of things below the waves, coasts and quests such as ours do not concern them and they were of no help at all."

 

And with that the three were once again reunited. They pointed their boat toward the setting sun and ran with the wind across the surface of the ocean. And for another eighteen days they sailed such, collecting rain water when they needed it and catching fish from the bountiful waters to fill their stomachs. But other than that first night, the stars remained as they should, twinkling safely in the night sky overhead, and the eldest remained at a loss to explain the significance of what he had seen. The story of that night had such an impact that it distracted the younger two siblings from ever asking their older brother what had become of his wishing stone, and for his part, he did not bring the subject up, content as he was with having the three reunited. And on the nineteenth day of sailing, a dark strip of land finally broke the horizon, and smiles crested the horizons on three different faces in a like manner.

  

5593 "Kolhapur" passes Copmanthorpe with a York to Carnforth special on the 4th June 1988. Michael's notes relate that the loco later failed at Keighley. I wonder whether it went on to the Worth Valley?

Uses: Anything relating to finance and money.

 

Free Creative Commons Finance Images... I created these images in my studio and have made them all available for personal or commercial use. Hope you like them and find them useful.

 

To see more of our CC by 2.0 finance images click here... see profile for attribution.

Uses: Anything relating to finance and money.

 

Free Creative Commons Finance Images... I created these images in my studio and have made them all available for personal or commercial use. Hope you like them and find them useful.

 

To see more of our CC by 2.0 finance images click here... see profile for attribution.

1. The spiritual entity Qalb

 

Prophecy and knowledge relating to this was granted to the Prophet Adam

 

In the Urdu language the fleshy meat, (the heart) is known as dil, and in Arabic it is called fawad. The spiritual entity that is next to the heart is the Qalb and according to a Prophetic statement the heart and the Qalb are two separate entities.

 

Our solar system is the physical human sphere. There are other realms and spheres, for example the realm of the angels, the realm of the throne of God, the realm of the soul, the realm of the secrets, the realm of unification and the realm of the essence of God. These spheres and life forms inhabiting these spheres have existed before the eruption of the ball of fire, our Sun, which created our solar system. Ordinary angels were created alongside the creation of the souls when God commanded "Be" but the Archangels and the spiritual entities (which are placed inside the human body at birth) have existed in these realms before the formation of our solar system.

 

Many planets in our solar system were inhabited but subsequently these life forms became extinct. The remaining planets and their inhabitants are awaiting their destruction. The Archangels and the spiritual entities (of the human body) were created seventy thousand years before the command "Be."

 

Of these spiritual entities God placed the Qalb in the realm of love. It is with this that a human being is able to become connected with God. The Qalb acts like a telephone operator between God and the human being. A human being receives guidance and inspiration through it. Whereas the worship and the meditation done by the spiritual entities themselves can reach the highest realm, the Throne of God, with the aid of the Qalb. The Qalb itself, however cannot travel beyond the realm of the angels, as its place of origin is the Khuld, the lowest heaven in the realm of the angels.

 

The Qalb’s meditation is from within and its vibrating rosary is within the human skeleton (the heartbeat). People that failed to achieve this meditation of the Qalb in this lifetime will be regretful, even though they may be in paradise. As God has stated regarding those who will go to paradise, that do they, the inhabitants of paradise think that they will be equal to those who are elevated (reached higher realms by practicing the spiritual disciplines and becoming illuminated). As those that have achieved the meditation of the Qalb, they will enjoy its pleasures even in paradise when their Qalb will be vibrating with the Name of God.

After death physical worship ceases to exist and the people whose Qalb and spiritual entities are not strengthened and illuminated with the light of God are afflicted and distressed in their graves and their spiritual entities waste away. Whereas the illuminated and strengthened spiritual entities will go to the realm where the righteous will wait before the final judgement.

After the day of judgement a second body will be given, the illuminated spiritual entities along with the human soul will enter that body. The people that taught their spiritual entities, meditation, whereby the entities chanted the Name of God Allah in this life time will find that the spiritual entities will continue with this meditation even in the hereafter. Such people will continue to be elevated and exalted in the hereafter.

  

Those that were “blind of heart” (not illuminated) in this life time will be in darkness in that realm also, as this world was the place of action and effort. Those in the latter category will become quiescent.

Besides the Christians and the Jews the Hindu faith also holds a belief in these spiritual entities. The Hindu faith refers to them as Shaktian and the Muslims know them as Lata’if.

The Qalb is two inches, to the left of the heart. This spiritual entity is yellow in colour. When it is illuminated in a person, that person sees the colour yellow in their eyes. Not only this but there are many practitioners of alternative medicine who use the colours of these spiritual entities to heal people.

Most people regard their heart’s word, “inner feeling” to be truthful. If the hearts of people were indeed truthful, then why are all the people of the heart not united?

The Qalb of an ordinary person is in the sleeping or unconscious state and it does not possess any appreciation or awareness. Due to the dominance of the spirit of the self, the ego, and the Khannas, or due to the individual’s own simple- mindedness the heart can make judgements in error. Placing trust in a sleeping Qalb is foolish.

Only when the Name of God Allah, does vibrate in the heart does an appreciation of right and wrong and wisdom follow. At this stage the Qalb is known as the awakened Qalb. Thereafter due to the increase in the meditation by the Qalb, of the Name of God Allah, it is then known as the God-seeking Qalb. At this stage the heart is capable of preventing the person from doing wrong but it is still incapable of making a right or just decision. Thereafter and only when the Light and the rays of the Grace of God (theophany) start to descend upon that heart, is it known as the purified and illuminated Qalb that stands in the presence of God (witnessing Qalb).

 

A Prophetic statement:

“The mercy of God descends upon a broken heart and an afflicted grave.”

 

Thereafter when the heart reaches this stage then one must accept whatever it dictates, quietly without question because due to the rays of the Light and the Grace of God the spirit of the self, (ego) becomes completely illuminated, purified and at peace. God is then closer to that individual than that person’s jugular vein.

God then says, “I become his tongue with which he speaks and I become his hands with which he holds.”

   

2. The Human Soul

 

Prophecy and knowledge relating to this was granted to the Prophet Abraham

 

This is on the right side of the chest. This is awakened and illuminated by the meditation and one-pointed concentration on it. Once it becomes illuminated, a vibration similar to the heartbeat is felt on the right side of the chest. Then the Name of God, Ya Allah is matched with the vibrating pulse. The meditation of the soul is done in this way. At this point, there are now two spiritual entities meditating inside the human body, this is an advancement in rank and status and is better than the Qalb. The soul is a light red in colour and when it is awakened, it is able to travel to the realm of the souls (the station of the Archangel Gabriel). Anger and rage are attached to it that burn and turn into majesty.

  

3. The spiritual entity Sirri

 

Prophecy and knowledge relating to this was granted to the Prophet Moses

 

This spiritual entity is to the left of the centre of the chest. This is also awakened and illuminated by the meditation and one-pointed concentration on it with the Name of God, Ya Hayy, Ya Qayyum. Its colour is white and in the dream state or by spiritual separation from the physical body “transcendental meditation” it can journey to the realm of the secrets. Now there are three spiritual entities meditating within a person and its status is higher than the other two.

   

4. The spiritual entity Khaffi

 

Prophecy and knowledge relating to this was granted to the Prophet Jesus

 

This is to the right of the centre of the chest. It too is taught the Name of God Ya Wahid by meditation. It is green in colour and it can reach the realm of unification. Due to the meditation of four entities one's status is further increased.

 

5. The spiritual entity Akhfa

 

Prophecy and knowledge relating to this was granted to the Prophet Mohammed

 

This is situated at the centre of the chest. It is awakened by meditating on the Name of God, Ya Ahad. It is purple in colour and it too, is connected to that veil in the realm of unification behind which is the throne of God.

 

The hidden spiritual knowledge relating to these five spiritual entities was granted to the Prophets, one by one and half of the knowledge of every spiritual entity was granted from the Prophets to the Saints of their time. In this way there became ten parts of this knowledge. The Saints in turn passed this knowledge on to the spiritually favoured (Godly) who then had the benefit of the sacred knowledge.

 

The apparent knowledge of the seen is connected to the physical body, the spoken word, the human realm and the spirit of the self, this is for the ordinary mortals. This knowledge is contained in a book that has thirty parts. Spiritual knowledge was also given to the Prophets by revelation brought by Gabriel and for this reason it is known as the spiritual Holy Scripture.

 

Many of the verses of the Qur’an would sometimes be abolished, since the Prophet Mohammed would sometimes mention matters relating to this “hidden spiritual knowledge” before ordinary people, which was only meant for the special and Godly. Later this knowledge passed on spiritually from the chest of one Saint to another, and now it has become widespread by its publication in books.

  

6. The spiritual entity Anna

 

This spiritual entity is inside the head and is colourless. It is by the meditation on the Name of God Ya Hu that this spiritual entity reaches its pinnacle. It is this spiritual entity that when it becomes illuminated and powerful it can stand in the Presence of God, face to face, and communicate with God unobstructed. Only the extreme lovers of God reach this realm and station. Besides this there are a few and extremely exalted people who are granted additional spiritual entities, for example the spiritual entity Tifl-e-Nuri or a spiritual entity of the Godhead, Jussa-e-Tofiq-e-Ilahi, the spiritual status of such people is beyond understanding.

 

With the spiritual entity, Anna, God is seen in the dream state.

 

With the spiritual entity of the Godhead, God is seen in the “physical meditating state” when the spiritual entity itself leaves the human body and transcends to the essence of God.

 

Those possessing the spiritual entity, the Tifl-e-Nuri, see God whilst they are fully conscious.

 

It is these people who are the majesty and power of God in the world. They can either occupy the people by prescribing worship and austerities or by their spiritual grace send a person straight to the realm of God’s love. In their sight, concerning dispensing spiritual grace the believers and the non-believers, the dead and the living are all the same. Just as a thief became a Saint, in an instant, by the passing glimpse of the Saint Sheikh Abdul-Qadir al-Jilani, similarly, Abu-Bakr Havari and Manga the thief, became instant Saints by the passing glimpses of such Saints.

 

The five major Messengers were given knowledge of the five spiritual entities separately and in order of their appearance, as a result of which spirituality continued to prosper. With whichever spiritual entity you practice meditation you will be connected to the corresponding Messenger and become worthy of receiving spiritual grace (from that Messenger).

 

Whichever spiritual entity receives the rays of the Grace of God (favour), the Sainthood granted to that spiritual entity will be connected to the corresponding Prophet’s spiritual grace.

 

Access to seven realms and gaining elevated spiritual status in the seven heavens is obtained through these spiritual entities.

The functions of the spiritual entities inside the human body

 

Akhfa: Due to the spiritual entity, Akhfa a person is able to speak. In its absence a person may have a normal tongue but will be dumb. The difference between human beings and animals lies in the presence or the absence of these spiritual entities. At birth, if the entity, Akhfa was unable to enter the body for whatever reason, then a Prophet appointed for the rectification of this ailment would be called to treat the condition as a result of which the dumb would start to speak.

 

Sirri: A person is able to see due to the spiritual entity, Sirri. If it does not enter the body the person is blind from birth. An appointed Prophet had the duty to find and place the spiritual entity into the body, as a result of which the blind would start to see again.

Qalb: Without the spiritual entity of the Qalb, in the body, a person is like the animals, unacquainted, far from God, miserable and without purpose. Returning this entity into the body was the task of the Prophets also.

The miracles of the Prophets were also granted to the saints, in the form marvels and mystical wonders as a result of which even the impious and liberal became close to God. When a spiritual entity is returned by any allocated Saint or Prophet, the deaf, dumb and the blind are healed.

Anna: When the spiritual entity, Anna, fails to enter the body, a person is regarded as insane even though the brain may be functioning normally.

Khaffi: In the absence of the spiritual entity, Khafi, a person is deaf, even if the ears are opened wide.

These conditions can be caused by other defects in the body, and can be treated. There is no cure in the case, where the defect is caused by the absence of the associated spiritual entity except where a Prophet or a Saint intervenes and cures the defect.

Nafs, self: As a result of the spiritual entity of the self (ego) a persons mind is occupied with the material world and it is because of the spiritual entity Qalb that a persons direction turns towards God. For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags

 

It seems as though everyone has had a bit of an Alien fever with all the awesome Xenomorph themed posts and LEGO vignettes seen lately, and I am no different. Two weeks ago I got the idea to make an Aliens board game for my D&D group. We often like to play an assortment of board games and I thought I’d challenge myself to see if I could make one based off one of my favorite franchises for FUN (hear that 20th Century Fox, this is just for fun, not for resale). :)

 

Anyways, I’ve finally got all my items in order (i.e., board design, rule book, game tokens and, of course, LEGO built characters). Now I want to stress that I did not develop these ideas, as they are a composite of all the awesome builds I researched on Flickr these past few weeks. I really enjoyed Simon Jackson’s simplified Xenomorph MOC (as seen here: www.flickr.com/photos/tzidik/2374377008/in/faves-10119307...) as it was a small enough design to relate to the minifigures on the game board. A few days ago Tim Lydy built a miraculous Alien MOC (www.flickr.com/photos/timlydy/23268385550/in/faves-101193...), which I rebuilt just for kicks, as seen with the Queen Alien. Finally, the Queen was a build I purchased off eBay from Brick Brigade Toy Lab (as seen here: www.ebay.com/itm/271962293309?_trksid=p2057872.m2749.l264... ).

 

I get to try out the game for the first time with my friends tomorrow evening to see how well it plays. I designed the board, cards and character sheets all based off Alien merchandise from the movies and comic series. Again, I did this just for kicks because I enjoy the saga so much. If anyone is interested in obtaining a copy of the gaming materials (board, rule book, item list, card images), I am happy to send you a link to my Public Dropbox folder where you can download it for free free free, just PM me and I’ll try and respond with the link as soon as I am able to. Feel free to modify the game and its rules, since it’s all just a hobby to me. Again, I’m simply appreciating the amazing genius Alien fans have put out into the universe and combined that all into an exciting table top game for those that want to play.

 

This was nearing the end of summer when new growth is rallying to survive the winter so that it can rally next spring. This new shrub found a spot in the sun. It really pops from the deep shadows down by the stream in early October, a season of showy colors and the "fall" of chlorophyll. This was on the river trail at Golden Ponds Park in Longmont. This was a Bush (the only one) that was not trying to take over the world by hegemony. Now, we are greening again, while this February and March fooled all trees and plants into an early spring but then global warming is taking us way off the charts. The Koch brothers, their Kochistan and climate changes are ushering in a new reality and surprises for Faux and their certainties.

 

I am going autumn for this series of edits. On this particular October outing to the ponds, I found a lot of showy images. The trees, reeds, grasses and cattails were not ready to tip over yet. This is about as far pumped as you will see in my shots and I let natural light and not HDR, relate the scene.

 

I made another loop of the path but the breeze was gone and there were no ripples on the waters here at Golden Ponds, the Longmont, Boulder County greenbelt and rec area and fortunately, the turn off is only a half-dozen blocks down Hover St. I wanted to look for possible locations even though the sky had been the pits lately. I wandered the green space and took some detail shots that were available, The sky was bold and really popping highlights from the deep shadows. I shot more pictures.

  

I’m evil to the core

What I shouldn't do I will

They say I’m emotional

What I wanna save I’ll kill

Is that who I truly am?

I truly don’t have a chance

Tomorrow I’ll keep a beat

And repeat yesterday’s dance

 

Yo, this song will never be on the radio

Even if my clique were to pick and the people were to vote

It’s the few, the proud, and the emotional

Yo, you, bulletproof in black like a funeral

The world around us is burning but we’re so cold

It’s the few, the proud, and the emotional

 

I’m fairly local, I’ve been around

I’ve seen the streets you're walking down

I’m fairly local, good people now

 

Oh, oh, oh, oh, oh, oh, oh

 

Hey guys! So pretty much in love with this series. I feel like the more emotion and love you put into something, the more depth it takes on. The lyrics above are also from twenty one pilots new album Blurryface and the song is Fairly Local

 

www.youtube.com/watch?v=HDI9inno86U

 

I recently watched an interview with the band and they discussed who the Blurryface character is. Essentially what Blurryface embodies is every fear, insecurity, and inner thought that causes damage to who you are as a person. In the interview, Tyler Joseph said that the black paint he wears on his neck represents suffocation, the nervousness that overcomes you at times and you feel like you're dying. It can come out of nowhere and completely consume you. He also says how the black paint on his hands represents his insecurities with what he creates with his hands. Whether its music or anything else in his life, creating a song and releasing it into the world can be a little intimidating at times and insecurities can take over.

  

As a photographer, I 110% relate to this concept. I wear my insecurities on my sleeves. A lot of my fears are the things I choose to shoot. I create dark art and honest emotional pieces at times that can leave me exposed to the damages of the world. For me, Blurryface embodies my darkest fears and secrets, it's the part of me that can consume my entire happiness at times and leave me feeling empty.

  

The key thing is to never let it have the power to consume your being, your thoughts, who you are as a person...because in the end something that embodies your deepest insecurities doesn't hold power over you...it only grows with the power you give it.

 

112 pictures in 2012 #29 leap day (any shot to be taken on, or relating to 29th February 2012)

 

PeterJ© on Flickeflu

View On Black

The Greatest

Mumbaikar of All..

Huge and Tall

Hears you Cry

Hears Your Call

Saves you each Time

before You Fall

whatever your religiosity

he removes obstacles

he sees there are no pitfalls

no terrorists can breach

our city's walls

Mutual Coexistence

Be Proud Indians

on our Souls he scrawls

our greatest enemy

our bigotry

our narrow mindedness

our hate for each other

that hits the nation

first of all

before being

a hindu muslim christian

be an Indian

says it all

miljul ke rehne

main hi bhaliee hai

our mantra

of peace

the greatest cure all

dont sell your country

for american dollars

or saudi riyal

  

from wikipedia

 

Ganesha (Sanskrit: गणेश; Gaṇeśa; listen (help·info), also spelled Ganesa or Ganesh) is one of the best-known and most worshipped deities in Hinduism[8]. Although he is known by many other attributes, Ganesha's elephant head makes him easy to identify.[9] Several texts relate mythological anecdotes associated with his birth and exploits, and explain his distinct iconography. Ganesha is worshipped as the lord of beginnings and as the lord of obstacles (Vighnesha),[10] patron of arts and sciences, and the god of intellect and wisdom.[11] He is honoured with affection at the start of any ritual or ceremony and invoked as the "Patron of Letters" at the beginning of any writing.[12]

 

Ganesha appears as a distinct deity in clearly-recognizable form beginning in the fourth to fifth centuries, during the Gupta Period. His popularity rose quickly, and he was formally included as one of the five primary deities of Smartism (a Hindu denomination) in the ninth century. During this period, a sect of devotees (called Ganapatya; Sanskrit: गाणपत्य; gāṇapatya) who identify Ganesha as the supreme deity was formed.[13] The principal scriptures dedicated to his worship are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

Ganesha is one of the most-worshipped divinities in India.[14][15] Worship of Ganesha is considered complementary with the worship of other forms of the divine, and various Hindu sects worship him regardless of other affiliations.[16][17][18] Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Ganesha has many other titles and epithets, including Ganapati and Vighneśvara. The Hindu title of respect Shri (Sanskrit: श्री; śrī, also spelled Sri or Shree) is often added before his name. One popular form of Ganesha worship is by chanting one of the Ganesha Sahasranamas, which literally means "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. There are at least two different versions of the Ganesha Sahasranama. One of these is drawn from the Ganesha Purana, a Hindu scripture that venerates Ganesha.[24]

 

The name Ganesha is a Sanskrit compound, joining the words gana (Sanskrit: गण; gaṇa), meaning a group, multitude, or categorical system and isha (Sanskrit: ईश; īśa), meaning lord or master.[25][26] The word gaņa in association with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva (also spelled "Śiva").[27] The term more generally means a category, class, community, association, or corporation.[28] Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of created categories," such as the elements, etc.[29] The translation "Lord of Hosts" may convey a familiar sense to Western readers. Ganapati (Sanskrit: गणपति; gaṇapati) is a synonym for Ganesha, being a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord").[30]

 

Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras.[31] This name is reflected in the naming of the eight famous Ganesha (aṣṭavināyaka) temples in Maharashtra.[32] The name Vignesha, meaning "Lord of Obstacles", refers to his primary function in Hindu mythology as being able to both create and remove obstacles (vighna).

 

One of the main names for Ganesha in the Tamil language is Pille or Pillaiyar, which means "Little Child".[33] A. K. Narain differentiates these terms by saying that pille means a "child" and pillaiyar a "noble child", and adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk of an elephant" but more generally "elephant".[34] In discussing the name Pillaiyar, Anita Raina Thapan notes that since the Pali word pillaka has the significance of "a young elephant" it is possible that pille originally meant "the young of the elephant".[35]

 

Ganesha is a popular figure in Indian art.[36] Unlike some deities, representations of Ganesha show wide variation with distinct patterns changing over time.[37][38][39] He may be portrayed standing, dancing, taking heroic action against demons, playing with his family as a boy, sitting down, or engaging in a remarkable range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the sixth century.[40] The figure shown to the right is typical of Ganesha statuary from 900-1200, after Ganesha had been well-established as an independent deity with his own cult. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973-1200 by Martin-Dubost[41] and another similar statue is dated circa twelfth century by Pal.[42] He has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha . He holds his own broken tusk in his lower-right hand and holds some form of delicacy, which he samples with his trunk in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet which he holds in his lower-left hand is a particularly archaic feature.[43] A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century.[44] Details of the other hands are difficult to make out on the statue shown; in this standard configuration, Ganesha typically holds either an axe or a goad in one upper arm and a noose in the other upper arm as symbols of his ability to cut through obstacles or to create them as needed.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but rather is turned toward the viewer in the gesture of protection or "no fear" (abhaya mudra).[45][46] The same combination of four arms and attributes occurs in statues of Ganesha dancing,[47] which is a very popular theme.[48]

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art.[50] Puranic myths provide many explanations for how he got this form.[51] One of his popular forms (called Heramba-Ganapati) has five elephant heads, and other less-common variations in the number of heads are known.[52]

 

While some texts say that Ganesha was born with an elephant head, in most stories he acquires the head later, with several accounts given.[53] The most common motif in these stories is that Ganesha was born with a human head and body and that Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant.[54] Details of the battle and where the replacement head came from vary according to different sources.[55] In another story, when Ganesha was born his mother Parvati showed off her new baby to the other gods. Unfortunately, the god Shani (Saturn) – who is said to have the "evil eye" – looked at him, causing the baby's head to be burned to ashes. The god Vishnu came to the rescue and replaced the missing head with that of an elephant.[56] Another story tells that Ganesha is created directly by Shiva's laughter. Shiva became concerned that Ganesha was too alluring, so he cursed Ganesha to have the head of an elephant and a protruding belly.[57]

 

The earliest name referring to Ganesha is Ekadanta ("One Tusk"), noting his single tusk; the other is broken off. [58] Some of the earliest images of Ganesha show him holding his broken tusk.[59] The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta.[60]

 

Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries).[61] This feature is so important that according to the Mudgala Purana two different incarnations of Ganesha use names based on it, Lambodara ("Pot Belly", or literally "Hanging Belly") and Mahodara ("Great Belly").[62] Both names are Sanskrit compounds describing his belly (Sanskrit: udara).[63] The Brahmanda Purana says that he has the name Lambodara because all the universes (i.e., cosmic eggs; Sanskrit brahmāṇḍas) of the past, present, and future are present in Ganesha.[64][65]

 

The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms.[66] Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts.[67] His earliest images had two arms.[68][69] Forms with fourteen and twenty arms appeared in Central India during the 9th and 10th century.[70]

 

The serpent is a common element in Ganesha iconography, where it appears in many forms.[71][72] According to the Ganesha Purana, Ganesha wrapped the serpent Vāsuki around his neck.[73][74] Other common depictions of snakes include use as a sacred thread (Sanskrit: yajñyopavīta),[75][76] wrapped around the stomach as a belt, held in a hand, coiled at the ankles, and as a throne. Upon Ganesha's forehead there may be either a third eye or a sectarian mark (Sanskrit: tilaka) of Shiva showing three horizontal lines.[77][78] The Ganesha Purana prescribes both a tilaka mark as well as a crescent moon for the forehead.[79][80][81] A distinct form called Bhālacandra ("Moon on the Forehead") includes that iconographic element.[82][83]

 

The colors most often associated with Ganesha are red [84] and yellow, but specific other colors are prescribed in certain forms.[85] Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on iconography that includes a section on variant forms of Ganesha. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati.("Ganapati Who Releases From Bondage").[86] Ekadanta-Ganapati is visualized as blue during meditation on that form.[

The earliest Ganesha images are without a Vahana (mount).[88] Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha has a mouse in five of them, but uses a lion in his incarnation as Vakratunda, a peacock in his incarnation of Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja.[89] Of the four incarnations of Ganesha listed in the Ganesha Purana, Mohotkata has a lion, Mayūreśvara has a peacock, Dhumraketu has a horse, and Gajanana has a rat.[90][91] Jain depictions of Ganesha show his vahana variously as a mouse,[92] an elephant,[93] a tortoise, a ram, or a peacock.[94]

 

Mouse as vahana

 

Ganesha riding on his mouse. A sculpture at the Vaidyeshwara temple in Talakkadu, Karnataka, India. Note the red flowers offered by the devotees.Ganesha is often shown riding on, or attended by a mouse.[95][96] Martin-Dubost says that in central and western India the rat began to appear as the principal vehicle in sculptures of Gaṇeśa in the 7th century A.D., where the rat was always placed close to his feet.[97] The mouse as a mount first appears in written sources in the Matsya Purana, and later in the Brahmananda Purana and Ganesha Purana where Ganesha uses it as his vehicle only in his last incarnation.[98] The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag.[99] The names Mūṣakavāhana ("Mouse-mount") and Ākhuketana ("Rat-banner") appear in the Ganesha Sahasranama.[100]

 

Devotee literature provides a variety of interpretations regarding what the mouse means. Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish.[101] Martin-Dubost thinks it is a symbol of the fact that Ganesha, like the rat, penetrates even the most secret places.[102] Krishan gives a completely different interpretation, noting that the rat is a destructive creature and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ which means "stealing, robbing". It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. In this theory, showing Ganesha as master of the rat proclaims his function as Vigneshvara and gives evidence of his possible role as a folk grāmata-devatā (village deity) who later rose to greater prominence.[103]

Buddhi

Ganesha is considered to be the Lord of Intelligence.[108] In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect.[109] The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, where many stories showcase his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya.[110] This name also appears in a special list of twenty-one names that Gaṇeśa says are of special importance at the end of the Ganesha Sahasranama.[111] The word priya can mean "fond of", but in a marital context, it can mean "lover" or "husband". Buddhipriya probably refers to Ganesha's well-known association with intelligence.

 

This association with wisdom also appears in the name Buddha, which appears as a name of Ganesha in the second verse of the Ganesha Purana version of the Ganesha Sahasranama.[112] The positioning of this name at the beginning of the Ganesha Sahasranama reveals the name's importance. Bhaskararaya's commentary on the Ganesha Sahasranama says that this name means that the Buddha was an avatar of Ganesha.[113] This interpretation is not widely known even among Ganapatya. Buddha is not mentioned in the lists of Ganesha's incarnations given in the main sections of the Ganesha Purana and Mudgala Purana. Bhaskararaya also provides a more general interpretation of this name as simply meaning that Ganesha's very form is "eternal elightenment" (nityabuddaḥ), so he is named Buddha.

  

[edit] Aum

 

Ganesha (Devanagari) Aum jewelGanesha is identified with the Hindu mantra Aum (ॐ, also called Om, Omkara, oṃkāra, or Aumkara). The term oṃkārasvarūpa ("Aum is his form") in connection with Ganesha refers to this belief that he is the personification of the primal sound.[114] This association is attested in the Ganapati Atharvashirsa. The relevant passage is translated by Paul Courtright as follows:

 

You are Brahmā, Vişņu, and Rudra [Śiva]. You are Agni, Vāyu, and Sūrya. You are Candrama. You are earth, space, and heaven. You are the manifestation of the mantra "Oṃ".[115]

 

A variant version of this passage is translated by Chinmayananda as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire and air. You are the sun and the moon. You are Brahman. You are (the three worlds) Bhuloka, Antariksha-loka, and Swargaloka. You are Om. (that is to say, You are all this).[116]

 

Some devotees see similarities between the shape of his body and the shape of Om in the Devanāgarī and Tamil scripts.[117]

  

[edit] First chakra

Ganesha is associated with the first or "root" chakra (mūlādhāra). This association is attested in the Ganapati Atharvashirsa. As translated by Courtright this passage reads:

 

You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra].[118]

 

A variant version of this passage is translated by Chinmayananda:

 

You have a permanent abode (in every being) at the place called "Muladhara".[119]

  

[edit] Family and consorts

 

Shiva and Pārvatī giving a bath to Gaṇeśa. Kangra miniature, 18th century. Allahbad Museum, New Delhi.[120]For more details on this topic, see Consorts of Ganesha.

While Ganesha is popularly considered to be the son of Shiva and Parvati, the Puranic myths relate several different versions of his birth.[121][122] These include versions in which he is created by Shiva,[123] by Parvati,[124] by Shiva and Parvati,[125] or in a mysterious manner that is discovered by Shiva and Parvati.[126]

 

The family includes his brother Skanda, who is also called Karttikeya, Murugan, and other names.[127][128] Regional differences dictate the order of their births. In North India, Skanda is generally said to be the elder brother while in the South, Ganesha is considered the first born.[129] Prior to the emergence of Ganesha, Skanda had a long and glorious history as an important martial deity from about 500 BCE to about 600 CE, when his worship declined significantly in North India. The period of this decline is concurrent with the rise of Ganesha. Several stories relate episodes of sibling rivalry between Ganesha and Skanda[130] and may reflect historical tensions between the respective sects.[131]

 

Ganesha's marital status varies widely in mythological stories and the issue has been the subject of considerable scholarly review.[132] One pattern of myths identifies Ganesha as a brahmacharin (brahmacārin; celibate).[133] Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified by goddesses who are considered to be Ganesha's wives. A third pattern couples Ganesha with the goddess of culture and the arts, Sarasvati, and the goddess of luck and prosperity, Lakshmi, symbolically indicating that these qualities always accompany one other. A fourth pattern mainly prevalent in the Bengal region links Ganesha with the banana tree, Kala Bo.

  

[edit] Buddhi, Siddhi, and Riddhi

 

Shri Mayureshwar, MorgaonThe Ganesha Purana and the Mudgala Purana contain descriptions of Ganesha flanked by Buddhi and Siddhi.[134] In Chapter I.18.24-39 of the Ganesha Purana, Brahmā performs worship in honour of Ganesha. During the puja, Ganesha himself causes Buddhi and Siddhi to appear so that Brahmā can offer them back to Ganesha. Ganesha accepts them as offerings.[135] In a variant, the two are born from Brahmā's mind and are given by Brahmā to Ganesha.[135] Buddhi and Siddhi are best identified as his consorts in the Shiva Purana, where Ganesha cleverly wins the two desirable daugters of Prajāpati over Skanda.[136] The Shiva Purana version says that Ganesha had two sons: Kshema (Kşema, prosperity) and Labha (profit). The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. However, this story has no Puranic basis. Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.[137][138]

 

Representations of Ganesha's consorts can be found aside from Puranic texts. In the Ganesha Temple at Morgaon (the central shrine for the regional aṣṭavināyaka complex), Buddhi and Siddhi stand to the right and left sides of the Ganesha image.[139] In northern India, the two female figures are said to be Siddhi and Riddhi; Riddhi substitutes for Buddhi with no Puranic basis.[140] The Ajitāgama describes a Tantric form of Ganesha called Haridra Ganapati as turmeric-colored and flanked by two unnamed wives distinct from shaktis.[141] The word "wives" (Sanskrit: दारा; dārā) is specifically used (Sanskrit: दारायुगलम्; dārāyugalam).[142]

  

[edit] Interpretations of relationships

 

Ganesha with the Ashta (meaning eight) Siddhi. The Ashtasiddhi are associated with Ganesha. Painted by Raja Ravi Varma (1848-1906).In discussing the Shiva Purana version, Courtright comments that while Ganesha is sometimes depicted as sitting between these two feminine deities, "these women are more like feminine emanations of his androgynous nature, Shaktis rather than spouses having their own characters and spouses."[143] Ludo Rocher says that "descriptions of Gaṇeśa as siddhi-buddhi-samanvita 'accompanied by, followed by siddhi and buddhi.' often seem to mean no more than that, when Gaṇeśa is present, siddhi 'success' and buddhi 'wisdom' are not far behind. Such may well have been the original conception, of which the marriage was a later development."[144] In verse 49a of the Ganesha Purana version of the Ganesha Sahasranama, one of Ganesha's names is Ŗddhisiddhipravardhana ("Enhancer of material and spiritual success"). The Matsya Purana identifies Gaṇesha as the "owner" of Riddhi (prosperity) and Buddhi (wisdom).[145] In discussing the northern Indian sources, Cohen remarks:

 

They are depersonalized figures, interchangeable, and given their frequent depiction fanning Gaṇeśa are often referred to as dasīs — servants. Their names represent the benefits accrued by the worshipper of Gaṇeśa, and thus Gaṇeśa is said to be the owner of Ṛddhi and Siddhi; he similarly functions as the father of Śubha (auspiciousness) and Lābha (profit), a pair similar to the Śiva Purāṇa's Kṣema (prosperity) and Lābha. Though in Varanasi the paired figures were usually called Ṛddhi and Siddhi, Gaṇeśa's relationship to them was often vague. He was their mālik, their owner; they were more often dasīs than patnīs (wives).[146]

 

His relationship with the Ashtasiddhi — the eight spiritual attaintments obtained by the practice of yoga — is also of this depersonalized type. In later iconography, these eight marvellous powers are represented by a group of young women who surround Ganesha.[147] Raja Ravi Varma's painting (shown in this section) illustrates a recent example of this iconographic form. The painting includes fans, which establish the feminine figures as attendants.

  

[edit] Motif of shaktis

 

Ganesha in his form as Mahāganapati with a shakti. From the Sritattvanidhi (19th century).A distinct type of iconographic image of Ganesha shows him with a single human-looking shakti (śakti).[148] According to Ananda Coomaraswamy, the oldest known depiction of Ganesha with a shakti of this type dates from the sixth century.[149] The consort lacks a distinctive personality or iconographic repertoire. According to Cohen and Alice Getty, the appearance of this shakti motif parallels the emergence of tantric branches of the Ganapatya cult. Six distinct forms of "Shakti Ganapati" can be linked to the Ganapatyas.[150] Of the thirty-two standard meditation forms for Ganesha that appear in the Sritattvanidhi (Śrītattvanidhi), several include a shakti.[151][152] A common form of this motif shows Ganesha seated with the shakti upon his left hip, holding a bowl of flat cakes or round sweets, with him turning his trunk to his left to touch the tasty food. In some tantric forms of this image, the gesture is modified to take on erotic overtones.[153] Some tantric variants of this form are described in the Śāradātilaka Tantram.[154]

 

Prithvi Kumar Agrawala has traced at least six different lists of fifty or more aspects or forms of Ganesha each with their specific female consorts or shaktis.[155][156] In these lists, goddess names such as Hrī, Śrī, and Puṣṭī are found. However, Buddhi, Siddhi, and Riddhi do not appear on any of these lists, which also do not provide any details about the personalities or distinguishing iconographic forms for these shaktis. Agrawala concludes that all of the lists were derived from one original set of names. The earliest of the lists appears in the Nārada Purāṇa (I.66.124-38), and a similar list with minor variations appears in the Ucchiṣṭagaṇapati Upāsanā. These lists are of two types. In the first type the names of various forms of Ganesha are given with a clear-cut pairing of a named shakti for that form. The second type, as found in the Brahmāṇḍa Purāṇa (II.IV.44.63-76) and the commentary of Rāghavabhaṭṭa on the Śāradātilaka (I.115), gives fifty or more names of Ganesha collectively in one group, with the names of the shaktis provided collectively in a second group. The second type of list poses problems in separating and properly connecting the names into pairs due to ambiguities in the formation of Sanskrit compound words.

  

[edit] Worship and festivals

 

Celebrations of Ganesh by the Indian and Sri Lankan Tamil community in Paris, FranceWhether the reason has to do with a religious ceremony, a new vehicle, students taking exams, sessions of devotional chanting, or beginning a business, Ganesha is worshipped. Throughout India and the Hindu culture, Ganesha is the first icon placed into any new home or abode. Devotees widely believe that wherever there is Ganesha, there is success and prosperity. By calling on him people believe that he will come to their aid and grant them success in their endeavours.

 

The worship of Ganesha is considered complementary with the worship of other deities.[157] Hindus of all sects begin prayers, important undertakings, and religious ceremonies with an invocation to Ganesha. Ganesha is also adored by dancers and musicians, who begin their performances of arts such as Bharatnatyam dance with a prayer to him, particularly in South India.[158] Mantras such as Om Shri Gaṇeshāya Namah ("Om, salutation to the Illustrious Ganesha"), and others, are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (literally, "Om, Gaṃ, Salutation to the Lord of Hosts").

 

Devotees offer Ganesha various sweets, such as modaka, small sweet balls (laddus) and others.[159]. He is often shown carrying a bowl of sweets, called a modakapātra, which is one of his iconographic elements.[160] Because of his identification with the color red, he is often worshipped with things such as red sandalwood paste (raktacandana),[161] or red flowers. Dūrvā grass (Cynodon dactylon) and various other materials are used in his worship.[162]

  

[edit] Ganesh Chaturthi

 

A large Ganesha statue at a Chaturthi festival in Mumbai, 2004There is an important festival honouring Ganesha that is celebrated for ten days starting from Ganesh Chaturthi.[163] This festival culminates on the day of Ananta Chaturdashi when images (murtis) of Ganesha are immersed into the most convenient body of water.

 

The Ganapati festival is celebrated by Hindus with great devotional fervour. While it is most popular in the state of Maharashtra,[164] it is performed all over India.[165] In Mumbai, the festival assumes huge proportions. On the last day of the festival, millions of people of all ages descend onto the streets leading up to the sea, dancing and singing, to the rhythmic accompaniment of drums and cymbals.

 

In 1893, Lokmanya Tilak reshaped the annual Ganesh festival from private family celebrations into a grand public event. [166] He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropiate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra.[167][168] Thus, Tilak chose Ganesha as a rallying point for Indian protest against British rule because of his wide appeal as "the god for Everyman".[169][170] Tilak was the first to install large public images of Ganesha in pavillions, and he established the practice of submerging all the public images on the tenth day.[171]

  

[edit] Rise to prominence

 

[edit] First appearance

Ganesha appears in his classic form as a clearly-recognizable deity with well-defined iconographic attributes from the early fourth to fifth centuries.[172] Shanti Lal Nagar says that the earliest known cult image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period.[173]. By about the tenth century his independent cult had come into existence.[174] Narain sums up controversy between devotees and academics regarding the development of Ganesha as follows:

 

[W]hat is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence or the existence of this divinity prior to the fifth century.[175]

  

[edit] Possible influences

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In this search for a historical origin for Gaņeśa, some have suggested precise locations outside the Brāhmaṇic tradition.... These historical locations are intriguing to be sure, but the fact remains that they are all speculations, variations on the Dravidian hypothesis, which argues that anything not attested to in the Vedic and Indo-European sources must have come into Brāhmaṇic religion from the Dravidian or aboriginal populations of India as part of the process that produced Hinduism out of the interactions of the Aryan and non-Aryan populations. There is no independent evidence for an elephant cult or a totem; nor is there any archaeological data pointing to a tradition prior to what we can already see in place in the Purāṇic literature and the iconography of Gaņeśsa.[176]

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India, but concludes that:

 

Although by the second century AD the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut.[177]

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vināyakas.[178][179] In Hindu mythology the Vināyakas were a group of four troublesome demons who created obstacles and difficulties,[180] but who were easily propitiated.[181] The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras.[182] Krishan is one of the academics who accepts this view, stating flatly of Ganesha that "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th-4th century B.C.) who cause various types of evil and suffering."[183]

  

[edit] Vedic and epic literature

 

5th C Ganesh by Shahi King Khingala, found at Gardez, Afghanistan now at Dargah Pir Rattan NathGanesha as we know him today does not appear in the Vedas. The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, the teacher of the gods. H. H. Wilson translates the Sanskrit verse "gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnāmupamaśravastamam" (RV 2.23.1 [2222]) as "We invoke the Brahmaṇaspati, chief leader of the (heavenly) bands; a sage of sages".[184] While there is no doubt that this verse refers to Brahmanaspati, the verse was later adopted for worship of Ganesha even to this day.[185][186] In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati - who is the deity of the hymn - and Bṛhaspati only."[187] The second passage (RV 10.112.9) equally clearly refers to Indra.[188] Wilson translates the Sanskrit verse "ni ṣu sīda gaṇapate gaṇeṣu tvāmāhurvipratamaṃ kavīnām" as "Lord of the companies (of the Maruts), sit down among the companies (of the worshippers), they call you the most sage of sages".[189]

 

Ganesha does not appear in epic literature. There is a late interpolation to the epic poem Mahabharata, saying that the sage Vyāsa asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed, but only on the condition that Vyasa recite the poem uninterrupted, without pausing. The sage agreed to this, but found that to get any rest he needed to recite very complex passages in order to get Ganesha to ask for clarifications. This is the single passage in which Ganesha appears in that epic. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata,[190] where the twenty-line story is relegated to a footnote to an appendix.[191] Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation to the text.[192] Richard L. Brown dates the story as 8th century, and Winternitz concludes that it was known as early as c. 900 but he maintains that it had not yet been added to the Mahabharata some 150 years later. Moriz Winternitz also notes that a distinctive feature of Southern manuscripts of the Mahabharata is their omission of this Ganesha legend.[193]

  

[edit] Puranic period

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, circa 600- 1300.[194] Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he came to acquire an elephant's head are in the later Puranas composed from about 600 onwards, and that references to Ganesha in the earlier Puranas such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.[195]

 

In his survey of Ganesha's rise to prominence in Sanskrit literature Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.[196]

 

Ganesha's rise to prominence was codified in the 9th century when he was formally included as one of the five primary deities of Smartism. The ninth-century philosopher Śaṅkarācārya popularized the "worship of the five forms" (pañcāyatana pūjā) system among orthodox Brahmins of the Smārta tradition.[197][198] This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devī, and Sūrya.[199][200] Śaṅkarācārya instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity. The monistic philosophy preached by Śaṅkarācārya made it possible to choose one of these as a preferred principal deity and at the same time worship the other four deities as different forms of the same all-pervading Brahman.

  

[edit] Ganesha Scriptures

 

Statue of Ganesha with a flowerFor more detail see: Ganesha Purana and Mudgala Purana

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some brāhmaṇas chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition as seen in the Ganesha Purana and the Mudgala Purana.[201]

 

The date of composition for the Ganesha Purana and the Mudgala Purana, and their dating relative to one another, has sparked academic debate. Both works developed over periods of time and contain age-layered strata. Anita Thapan reviews different views on dating and provides her own judgement. She states that it appears likely that the core of the Ganesha Purana came into existence around the 12th and 13th centuries but was subject to interpolations during the succeeding ages.[202] Lawrence W. Preston considers that the period 1100-1400 is the most reasonable date for the Ganesha Purana because that period agrees with the apparent age of the sacred sites mentioned by it.[203]

 

R. C. Hazra suggested that the Mudgala Purana is older than the Ganesha Purana which he dates between 1100 and 1400 A.D.[204] However Phillis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha because, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas that deal at length with Ganesha (these are the Brahma, the Brahmanda, the Ganesha, and the Mudgala puranas).[205] The Mudgala Purana, like many other Puranas, contains multiple age strata. While the kernel of the text must be old it continued to receive interpolations until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions.[206] Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the sixteenth or seventeenth centuries A.D.[207]

  

[edit] Beyond India and Hinduism

For more on this topic, see Ganesha outside Hinduism.

 

Tibetan depiction of Dancing Ganesha[208] This form is also known as Maharakta ("The Great Red One")[209]India had an impact on the regions of West and Southeast Asia as a result of commercial and cultural contacts. Ganesha is one of many Hindu deities who reached foreign lands as a result.[210] The worship of Ganesha by Hindus outside of India shows regional variation.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures.[211] The period from approximately the tenth century onwards was marked by the development of new networks of exchange, the formation of trade guilds, and a resurgence of money circulation. It was during this time that Ganesha became the principal deity associated with traders.[212] The earliest inscription where Ganesha is invoked before any other deity is by the merchant community.[213]

 

Hindus spread out to the Malay Archipelago and took their culture with them, including Ganesha.[214] Statues of Ganesa are found throughout the Malay Archipelago in great numbers, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences.[215] The gradual emigration of Hindus to Indochina established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side-by-side and mutual influences can be seen in the iconography of Ganesha in the region.[216] In Thailand, Cambodia, and Vietnam, Ganesha was mainly thought of as a remover of obstacles.[217] Even today, in Buddhist Thailand Ganesha is regarded as remover of obstacles and thus god of success.[218]

 

Before the arrival of Islam, Afganistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. A few examples of sculptures from the period 5th-7th century have survived, suggesting that the worship of Ganesha was in vogue in the region at that time.[219][220]

 

Ganesha appears in Buddhism, not only in the form of the Buddhist god Vināyaka, but also portrayed as a Hindu demon form with the same name (Vināyaka).[221] His image appears in Buddhist sculptures during the late Gupta period.[222] As the Buddhist god Vināyaka, he is often shown dancing, a form called Nṛtta Ganapati that was popular in North India, later adopted in Nepal and then in Tibet.[223] In Nepal, the Hindu form of Ganesha known as Heramba is very popular, where he appears with five heads and rides on a lion.[224] Tibetan representations of Ganesha show ambivalent views of him.[225] In one Tibetan form, he is shown being trodden under foot by Mahākala, a popular Tibetan deity.[226][227] Other depictions show him as the Destroyer of Obstacles, sometimes dancing.[228] Ganesha appears in both China and Japan in forms that show distinct regional character. In North China, the earliest known stone statue of Ganesha carries an inscription dated 531 CE.[229] In Japan the Ganesha cult was first mentioned in 806 CE.[230]

 

The canonical literature of Jainism does not mention the cult of Ganesha.[231] However Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera.[232] Jain connections with the trading community support the idea that Jainism took up the worship of Ganesha as a result of commercial connections.[233] The earliest known Jain Ganesha statue dates to about the 9th century.[234] A 15th century Jain text provides procedures for the installation of Ganapati images.[235] Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.[236]

  

en.wikipedia.org/wiki/Ganesha

  

Collective: of, relating to, or denoting a group of individuals considered as a whole.

 

The Collective is a group of friends/business partners who met while in school. They are makeup artists, hairstylists, photographers and fashion stylists that formed a group.

 

They sometimes work together (or in pairs or small groupings) on photoshoots, music videos and other projects.

 

The Collective is:

 

From left to right:

 

Front seated- Intern Tory Thomas

 

Back rear- Photographers: Jon Alexander

Evan Knight

 

Stylists: Danny Silvera

Foreground- Rowan Rogers

Willow (just Willow)

 

Makeup Artists: Doran Cain

Dallas Alexander (Jon's sister)

 

Hairstylists: Phoenix Jones (no relation to Nebraska or Noxema)

Nina Chen (professionally goes by Nina Black)

We realize that different users will have different needs while using their Android smartphone. Luckily, there are excellent apps and widgets for Android that supports advance customization, in order to make the device more relatable to the user’s need—hence making their life more productive. Bel...

 

getnap.com/2016/01/20/6-excellent-customization-apps-for-...

Visiting Dyce Military Cemetery Aberdeen Scotland today Sunday 13th Of January 2019, I found a number of hand painted stones placed on the Cross Of Sacrifice, it is the first time I have viewed any personal items reflecting thoughts of remembrance other than flowers or wreaths at a commonwealth grave cemetery.

 

Hand painted and personally placed on the Cross Of Sacrifice by unknowns who appreciate those who gave the ultimate sacrifice moved me , hence I captured a number of photo’s to archive the scene .

 

There are ten German graves in Dyce Cemetery. It is assumed that all of them relate to Luftwaffe personnel.

 

They are the crews of three aircraft which failed to make it back after missions over Aberdeen.

 

Aberdeen was the most frequently bombed city in Scotland. It was attacked 34 times and 178 people were killed.

 

The heaviest attack was on 21st April 1943. In a pre-planned air raid 25 Dornier 217s of the Kampf-Geschwader Group 2 swept into Aberdeen from the north of the city as dusk fell causing damage in the Woodside, Hilton, Cattofield, Kittybrewster and George Street areas.

 

The toll was heavy : 98 people were killed and a similar number seriously injured.

 

Dyce airport was a Royal Air Force station during the 1939-1945 War, and an extension on the western side of the old churchyard was chosen by the authorities for the burial of casualties from the air station.

 

Only airmen are buried in this reserved plot.

 

There is 1 Commonwealth burial of the 1914-18 war in the churchyard.

 

There are a further 45 of the 1939-45 war, 1 being an unidentified airman of the R.A.F. There are 11 Foreign National war burials and 4 non-war Service burials here.

 

The Cross of Sacrifice is a Commonwealth war memorial designed in 1918 by Sir Reginald Blomfield for the Imperial War Graves Commission (now the Commonwealth War Graves Commission). It is present in Commonwealth war cemeteries containing 40 or more graves. Its shape is an elongated Latin cross with proportions more typical of the Celtic cross, with the shaft and crossarm octagonal in section. It ranges in height from 18 to 24 feet (5.5 to 7.3 m).

 

A bronze longsword, blade down, is affixed to the front of the cross (and sometimes to the back as well). It is usually mounted on an octagonal base. It may be freestanding or incorporated into other cemetery features.

 

The Cross of Sacrifice is widely praised, widely imitated, and the archetypal British war memorial. It is the most imitated of Commonwealth war memorials, and duplicates and imitations have been used around the world.

  

The Imperial War Graves Commission

 

The First World War introduced killing on such a mass scale that few nations were prepared to cope with it. Millions of bodies were never recovered, or were recovered long after any identification could be made. Hundreds of thousands of bodies were buried on the battlefield where they lay. It was often impossible to dig trenches without unearthing remains, and artillery barrages often uncovered bodies and flung the disintegrating corpses into the air.

 

Many bodies were buried in French municipal cemeteries, but these rapidly filled to capacity. Due to the costs and sheer number of remains involved, Australia, Canada, India, Newfoundland, New Zealand, South Africa, and the United Kingdom barred repatriation of remains.

 

Fabian Ware, a director of the Rio Tinto mining company, toured some battlefields in as part of a British Red Cross mission in the fall of 1914.

 

Ware was greatly disturbed by status of British war graves, many of which were marked by deteriorating wooden crosses, haphazardly placed and with names and other identifying information written nearly illegibly in pencil. Ware petititoned the British government to establish an official agency to oversee the locating, recording, and marking of British war dead, and to acquire land for cemeteries. The Imperial War Office agreed, and created the Graves Registration Commission in March 1915. In May, the Graves Registration Commission ceased to operate an ambulance service for the British Red Cross, and in September was made an official arm of the military after being attached to the Royal Army Service Corps.

 

During its short existence, the Graves Registration Commission consolidated many British war dead cemeteries. Ware negotiated a treaty with the French government whereby the French would purchase space for British war cemeteries, and the British government assumed the cost of platting, creating, and maintaining the sites. Over the next few months, the Graves Registration Commission closed British war dead cemeteries with fewer than 50 bodies, disinterred the bodies, and reinterred them at the new burying grounds. The Graves Registration Commission became the Directorate of Graves Registration and Enquiries in February 1916.

 

As the war continued, there was a growing awareness in the British Army that a more permanent body needed be organized to care for British war graves after the war. In January 1916, the prime minister H. H. Asquith appointed a National Committee for the Care of Soldiers' Graves to take over this task. Edward, Prince of Wales agreed to serve as the committee's president. The committee's membership reflected all members of the British Commonwealth (with a special representative from India).

 

Over the next year, members of the National Committee for the Care of Soldiers' Graves began to feel that their organization was inadequate to the task, and that a more formal organization, with a broader mandate, should be created. The idea was broached at the first Imperial War Conference in March 1917, and on 21 May 1917 the Imperial War Graves Commission (IWGC) was chartered . Lord Derby was named its chair, and the Prince of Wales its president.

 

The same month he was appointed to the senior architects' committee, Blomfield accompanied Lutyens and Baker on a tour of French and Belgian battlefields.

 

Designing the Cross of Sacrifice

 

Kenyon, Baker, and Blomfield all submitted cross designs to the senior architects' committee. Kenyon submitted two draft designs, one for a Celtic cross and one for a medieval Christian cross (both typically found in old English cemeteries). Baker, who had advocated the cemetery theme of "crusade" since July 1917 and (according to Goebel, was "obsessed" with the idea), submitted the design of a stone Christian cross with a bronze longsword (called a Crusader's sword by Baker) on the front. His design, which he called the "Ypres cross", also included a bronze image of a naval sailing ship, emblematic of the Royal Navy's role in winning both the Crusades and the First World War.

 

Blomfield, on the other hand, took a different approach to the cross. He rejected Kenyon's design, arguing that "runic monuments or gothic crosses had nothing to do with the grim terrors of the trenches." Blomfield wanted a design that reflected the war, which had stripped away any notions about glory in combat and nobility in death on the battlefield. "What I wanted to do in designing this Cross was to make it as abstract and impersonal as I could, to free it from any association of any particular style, and, above all, to keep clear of any sentimentalism of the Gothic. This was a man's war far too terrible for any fripperies, and I hoped to get within range of the infinite in this symbol..." His design featured an elongated cross of abstract design, on the front of which was a bronze longsword, blade pointed downward. It was intended to be an overtly Christian symbol, in contrast to Lutyen's Stone of Remembrance (which was purposefully stripped of any such associations). Blomfield drew the inspiration for the sword from a sword which hung in his home in Rye.

 

The senior architects' committee quickly endorsed the Blomfield design. The committee considered adding text to the base or steps of the cross, but rejected this idea.

In order to ensure that the architects' ideas for Commonwealth cemeteries worked well in the field, the IWGC decided to fund the construction of three experimental cemeteries Le Tréport, Forceville, and Louvencourt. The goal was to determine how expensive the cemeteries were likely to be.

 

The model cemeteries were designed by Baker, Lutyens, and Blomfield, and began construction in May 1918. Due to problems with construction, none were complete until early 1920, six months later than planned. Each model cemetery had a chapel and shelter, but no Stone of Remembrance or Cross of Sacrifice. Nevertheless, even without these major additions, the cemeteries were too expensive.

 

The model cemeteries experiment changed the way the Stone of Remembrance was placed in cemeteries, and almost changed the design of the Cross of Sacrifice itself. To reduce costs, Blomfield offered to design a wide variation of Crosses, many of which were less costly than the original design. But the committee of senior architects rejected his offer. What became apparent with the experimental cemeteries is that a full-size Cross or Stone was appropriate only for the largest cemeteries. Mid-size and smaller cemeteries needed smaller memorials. Blomfield quickly designed two smaller-sized Crosses to accommodate this need. But Lutyens refused to allow anything but a full-sized War Stone (12 feet (3.7 m) in length and 5 feet (1.5 m) in height) to be used.

 

Subsequently, and partly as a cost-saving measure, no Stone of Remembrance was erected in a cemetery with fewer than 400 graves. Budgetary issues also led the committee to agree that shelters should be forgone in any cemetery with fewer than 200 graves.

 

The model cemeteries experiment also helped the architects decide where to place the Cross of Sacrifice. As early as 1917, Lutyens and Kenyon had agreed that the War Stone should be in the east, but facing west. (All graves were supposed to face east, facing the enemy, although many of the earliest cemeteries had graves facing in other [sometimes in many different] directions.)

 

The initial idea was to have the Cross of Sacrifice be in opposition to the Stone. In practice, however, the placement of the Cross of Sacrifice varied widely.

 

The model cemeteries experiment also had one other effect, and that was to make Blomfield's design for the cross the only one ever used by the IWGC. The original intent of the senior architects had been to allow each junior architect to design his own cross for his own cemetery. But Blomfield's design proved so wildly popular that the decision was made to implement it as a standard feature in all cemeteries.

 

The formal adoption of Blomfield's Cross of Sacrifice, and the concepts regarding its placement, position, and use, were outlined by Kenyon in a report, A Memorandum on the Cross as Central Monument, submitted in January 1919 as an addendum to his November 1918 main report.

 

About the Cross of Sacrifice

 

Cross of Sacrifice at Eindhoven, Netherlands.

According to Fabian Ware, the name "Cross of Sacrifice" arose spontaneously from an unknown source, and attached itself to the cross.

 

The Cross of Sacrifice is carved from white stone.[61][58] This is usually Portland stone,[62] but it is sometimes granite[63] or any type of white limestone commonly found in France or Belgium. In Italy, Chiampo Perla limestone was used.[65] The proportions of the cross, with short arms close to the top of the shaft are similar to some Celtic crosses, the crossarm being one-third the length of the shaft (as measured from the point where the shaft emerges from the base).

 

The cross consists of three pieces: The shaft, from base to crossarm; the crossarm; and the upper shaft, above the crossarm. The crossarm is fastened to the lower and upper shaft by two bronze dowels. A joggle (a portion of the shaft which extends into the base, acting as a joint) about 6 inches (15 cm) long extends into the base, where it is secured by another bronze dowel. The shaft and crossarm are both octagonal in shape, and the shaft tapers slightly as it rises to give the cross entasis.

 

On the large size version, there are three plain mouldings on the shaft near the base, often reduced to one in smaller sizes, and the three extremities of the cross finish at a plain moulding projecting sideways from the main element. The crossarms are sometimes irregular octagons in section, with four wide faces at front, back, top and bottom, and four shorter faces in between them.

A stylized bronze longsword, point down, is fastened to the front of the cross.[66] The cross is designed so that a second bronze sword may be fastened to the rear as well. The sword is positioned so that the crossguard on the sword matches where the cross' shaft and crossarm meet.

 

The Cross of Sacrifice originally came in four heights: 14 feet (4.3 m), 18 feet (5.5 m), 20 feet (6.1 m), and 24 feet (7.3 m).[43] Sizes up to 30 feet (9.1 m) are now permitted,[67] although sometimes even larger versions are allowed. As of 2012, the largest Cross of Sacrifice in the world was the 40-foot (12 m) high marker at the Halifax Memorial in Halifax.

 

The Halifax Memorial's Cross of Sacrifice

 

The shaft is fastened to an octagonal base. The size of the base varies, according to the height of the shaft, but the 24-foot (7.3 m) high cross has a base 15 feet 6 inches (4.72 m) in diameter.[69] This largest base weighs 2 short tons (1.8 t).[58] The base usually sits on three octagonal steps.[58] This can vary, however, depending on the height of the cross, its placement in the cemetery, and whether it is part of some other cemetery element.

 

The position of the Cross of Sacrifice in Commonwealth war cemeteries varies depending on a wide range of factors. Many cemeteries were laid out haphazardly during the war. The role of the junior designing architect was to determine the position of the Cross (and Stone of Remembrance) in relationship to the graves.[57] Most cemeteries had two axes—a main axis and an entrance axis, or a main/entrance axis and a lateral axis. An overriding guiding principle was that the War Stone should be the focus of the cemetery.

 

The Cross of Sacrifice, however, usually functioned as the primary orienting feature of the cemetery for visitors, due to its height. In hilly areas, the architect had to ensure that the cross was visible from the road or path. (This was far less important in flat areas, obviously.) When a road passed directly by the cemetery, the cross usually was placed near the road and the entrance to the cemetery associated with the cross. These design considerations meant that the Cross of Sacrifice could be placed in a wide variety of places. Sometimes it was situated next to the War Stone, and sometimes in opposition to it. In some cases, the Cross of Sacrifice was placed in a distant corner of the cemetery, so that its relationship to the Stone of Remembrance was not clear.

 

It was not necessary for the Cross of Sacrifice to stand alone, either. In some cases, it was incorporated into a wall or benches.

 

The placement of the Cross of Sacrifice affected other elements of the cemetery. The architect's choice of buildings to erect—double shelters, galleries, gateways, pergolas, sheltered alcoves, or single shelters—depended on the location of the War Stone, the Cross of Sacrifice, and the size of the cemetery.

 

The cross at Tyne Cot Cemetery near Ypres, Belgium, was incorporated into a pillbox.

 

A Cross of Sacrifice was erected in almost every Commonwealth war cemetery. Subsequent Commonwealth War Graves Commission policy has erected the cross Commonwealth war cemeteries with 40 or more graves.

 

There were only a handful of exceptions. No cross was erected in cemeteries which held a majority of Chinese or Indian graves.

 

In Turkey, no cross was erected in order to accommodate local Muslim feelings. Instead, a simple Latin cross was carved into a stone slab, which was placed at the rear of the cemetery. In Macedonia, a cairn was used in place of a cross to reflect the local custom.

 

In the several Commonwealth cemeteries in the mountains of Italy, Blomfield's design was replaced with a Latin cross made of rough square blocks of red or white stone.

 

It is unclear how much it cost to manufacture a Cross of Sacrifice. Generally speaking, however, the cost of building a cemetery was borne by each Commonwealth nation in proportion to number of their war dead in that cemetery.

 

While generally considered a beautiful design, the Cross of Sacrifice is not a robust one. The artwork is susceptible to toppling in high wind, as the shaft is held upright only by a 6-inch (15 cm) long piece of stone and a single bronze dowel. Should the stone joggle or dowel break, the shaft topples.

 

This problem quickly became apparent in Europe, where a large number of the crosses fell in high winds in the 1920s and 1930s. At one point, the Imperial War Graves Commission considered suing Blomfield for under-designing the artwork, but no lawsuit was ever filed.

 

Vandalism has also been a problem. Crosses of Sacrifice have been smashed or the bronze swords stolen, with the vandalism being particularly bad in the 1970s.

 

The Cross of Sacrifice is considered one of the great pieces of war-related art. Its enduring popularity, historian Allen Frantzen says, is because it is both simple and expressive, its abstraction reflecting the modernity people valued after the war.

 

Fabian Ware argued that its greatness was because its symbolism is so purposefully vague: To some, it is a Christian cross; to others, the stone is irrelevant and the sword itself is the cross; and to others, the artwork symbolizes those who sacrificed their lives to the sword.

 

The theme of sacrifice is commonly seen in the piece. Jeroen Geurst points out that Lutyens' War Stone unsettlingly brings to mind images of soldiers sacrificed on the altar of war, while Blomfield's cross speaks about self-sacrifice and the saving grace of Jesus Christ's sacrifice.

 

The sword has drawn praise as well. Frantzen notes that the sword can be both an offensive and defensive weapon, which mitigates against an interpretation of the Cross of Sacrifice as a glorification of war.

 

The sword also incorporates elements of chivalry, which was an important value to officers and men during the war.

 

Historian Mark Sheftall agrees that the sword evokes chivalric themes, and argues that by combining the religious and the chivalric with the classical Blomfield created "a single powerful image".But the military element has also been criticized. Geurst argues that one may interpret the sword as implying that the Great War was a religious crusade—which it most certainly was not.

 

The impact of the Cross of Sacrifice on war memorialization is difficult to underestimate. The IWGC considered the artwork a "mark of the symbolism of the present crusade". Cemetery historian Ken Worpole argues that the Cross of Sacrifice "became one of the most resonant and distinctive artefacts in British and Commonwealth war cemeteries, following the end of World War One."

 

First World War historian Bruce Scates observes that its symbolism was effective throughout the Commonwealth, despite widely disparate cultural and religious norms.

 

Historians agree it is the most widely imitated of Commonwealth war memorials,and Sheftall concludes that it has become the archetypal example of Great War commemoration in Britain.

  

It is proven, that the Abbazia di Sant'Antimo existed since Carolingian times. Legends (of course) know, that it was Charlemagne himself, who founded the abbey when he had left Rome, following the Via Francigena northward. The earliest document relating to the abbey is a land grant of Charlemagne´s son Louis the Pious from 813.

 

One year after the 1117 earthquake the erection of the church of today started. At that time the powerful abbey was one of the largest landowners in the area. As sovereigns and imperial officials at the same time, they also levied taxes.

 

The decline began with Siena's awakening striving for power, which conquered Montalcino in 1212. In the following decades, the property of the monastery shrank to a fifth. The church was never completed in the years that followed, as the complex construction probably exceeded the abbey's financial possibilities. A sign of decay is the unfinished facade.

 

New religious ideas gained influence. The then new orders of the Franciscans and Dominicans, whose monasteries were not built in the cities, gained strength. The Benedictine wish to be able to follow the rule ora et labora in seclusion was pushed into the background.

 

In 1462 Pope Pius II suppressed the abbey, annexed whatever was left - and handed it over to the Bishop of Montalcino-Pienza, who was his nephew.

1992 the abbey became an active monastery again with the arrival of a new congregation of Canons Regular of the Premonstratensian Order.

The architecture seems influenced by churches in Burgundy. It looks a bit like a sibling of the church at Vignory in Champagne.

 

Eagles and griffins on the lintel above the side portal.

  

You can find many more photos from Tuscany here

www.ipernity.com/doc/323415/album/795810

  

Photographed on 7 September 2016

 

The name ‘Treasurer’s House’ relates to the building that first stood on this site built for the medieval Treasurers of York Minster. The first Treasurer was appointed in 1091 AD. The Treasurer controlled the finances of the Minster but also entertained important guests, which is why he was provided with a grand residence. All that remains of the original Treasurer’s House is an external wall from the 12th century.

 

The Reformation of the English Church in the 1540s brought an end to the office of Treasurer and the house passed into the hands of the Archbishops of York. Thomas Young, Archbishop between 1562 and 1568, and his descendants are responsible for the structure of Treasurer’s House as it is today. The symmetrical front was part of changes made by the Young family in the early 17th century which involved almost entirely rebuilding the house. Treasurer’s House played host to Royalty when Sir George Young entertained King James I in 1617.

 

During the 18th century Treasurer’s House became the town residence of gentry families, lawyers and clergy. The greatest changes made during this period were the division of the building into several residences and the various extensions made. By the end of the 19th century, the house was very decayed and poorly cared for. However, at the turn of the century Frank Green came to the rescue.

 

Frank Green was a wealthy collector, and owned Treasurer’s House between 1897 and 1930. He demolished the additions made to the building in the 19th century and restored the house to what he thought was its original shape. He turned Treasurer’s House into a stage for his collection, designing rooms of different periods to display his antique furniture. It was at this time that Treasurer’s House received a second Royal visit, in June 1900. Edward VII and Queen Alexandra visited as Prince and Princess of Wales along with their daughter Victoria. It was in their honour that the King’s Room, Queen’s Room and Princess Victoria’s Room were so named.

 

Frank Green was a very precise man, in both his own appearance and the way he ran his home. He was a bit of a ‘dandy’, neatly dressed and often seen wearing a floppy silk bow tie. He had studs fixed to the floor in the rooms of Treasurer’s House so the house maids knew exactly where furniture should stand. Frank was also careful about the state of his house; signs can be seen at Treasurer’s House with careful instructions to the staff. A former kitchen maid told how Frank would inspect the kitchen, turning out any drawers he thought were untidy. Frank Green retired to Somerset in 1930 and gave Treasurer’s House to the National Trust, complete with his vast collection. It was the first historic house acquired by the Trust with its contents complete.

Here is another scan and retouch that relates a load of history... and a load of grief. It's age is in question. Maybe someone knows of this cutout photo prop at Rockaway Beach at New York City. This is a crowd of people all loaded into two who choose to advertise it. A bay tug could be at risk of capsizing were this a real boat. Perhaps the date of the snap could be determined by investigating when a food shortage took NYC by storm.

 

These two are the crowd that created the mess of the Hodum family children and spreading families. You need to pack a lot of groceries away to generate enough energy to pull off a feat like that with bodies like these. Does anyone have footage of elephants mating?

 

As usual, dust on negatives and contact printing left untold white specks and black holes. Grubby fingers and tears left plenty of defects across the image. In close, it looked like a shotgun blast. I attacked the worst of the flecks. As always, it provides plenty of practice whether needed or not. I already have far too much practice. I used the same two techniques, the Stamp and Brush to work on the image. Unfortunately, this scanner usually features all the defects on old snaps like this. I would have been lucky if these were all the problems I encountered. Part of the original was ripped away when someone tore it from an album with black pages where it was glued down, an elegant presentation certainly. Perhaps not so good for longevity and finding any inscription that might be on the reverse. I searched for the scrap but never found it.

 

I suppose that it will always be possible that this family will exchange the digital retouching and spread them far enough that my labor won't be entirely wasted. I gang output to high resolution PDFs that can be printed at home or taken to Fed-X/Kinkos for color printing. I output a couple dozen ganged sheets. Their output never seems to waver from the quality of the PDF. Trimming them with scissors, especially the deckle edges, will be a challenge. That's not my job.

 

I received a load of scanning and retouching recently relegated to me. So far, I have several solid days packed into the project and the collection has not shrunk that much. So much for me keeping up with Flickr. I wonder why the family thinks that I owe them thousands in difficult retouching labor?

 

www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?S...

 

The Zodiac Man or Man of Signs (homo signorum in Latin) is an age-old diagram that relates the calendar and the movement of the heavenly bodies to the human body. Sections of the body are labeled with the twelve zodiacal signs, beginning with Aries, which ruled the head, and ending with Pisces associated with the feet. This illustration demonstrates centuries of connections between astrology and human personality, health, sickness, and medical treatments. For example, Leo is associated with the heart because tradition says the strength the lion was located in its heart. Scorpio is associated with the genitals because a scorpion’s strength was located in its tail. While some of these diagrams were accompanied by a basic explanation of the associations between the body and the heavens, most did not, assuming these astrological theories governing health care were widely accepted and understood.

 

Image courtesy of the British Library Catalogue of Illuminated Manuscripts.

This rambling text relates to these 3 images but they are not necessarily posted in order… I am not sure that you will all (or any of you!) be able to make sense of it …but here goes

 

I have recently seen a few explanations of how to draw ellipses by enclosing it in a square that is in perspective. I discovered that setup trick quite a few years back but it never really helped me draw teacups because I never setup a perspective for my tea cup sketches and it is hard to work out where the square is anyway. At one stage I had a little sheet of plastic I would put over the top of the cup to help me see the square…but that was SILLY (kept the tea warm though while I was draw the cup!)

    

Coincidentally around the time of those other explanations appeared, I happened to be doing my own crazy analysis of circles and centre-points. This was in preparation for the start of my class (way back in late April) I took some photos of a lid with centre-points marked and tried to get a grip on how the centre-point varied and with very inaccurate photos I did some crazily accurate measurement on my CAD programme. This was a true left brain moment!

 

I then had a total brain switch (to the right hand side) and thought.."the shape I am looking at is a true ellipse which is bounded by a rectangle and the centrepoint is in the centre. My head went into a spin and I need an emergency call to the perspective guru - Gerard. Anyway, he set me straight. But I didn't get around to putting it all together…or how to find a way to explain my dilemma about how the circle can have a different centre-point from the ellipse… but it normally does! (Gerard agrees!)

    

The long and the short of all this rambling is that totally regardless of my analysis…

to draw a tea cup all I do is

1. establish a vertical axis that will pass through the centre of cup rim, base and saucer

2. 'measure' the height and the width of the cup. And draw a cross-hair with these distances meeting at the centre-point.

3. Draw an ellipse connecting these points… if you need more set up- think of a squashed circle in a rectangle and use the 'little less than 3/4 rule for the diagonal)

4. do this for each of the edges of the cup/saucer

5. accept that they might be wonky… colour and pattern will make up for it!

Especially wonky to be expected if one draws slower than normal speed like I did here

 

Ok… have I confused everyone???

 

My best advise: go and make yourself a cup of tea and draw what you see!!!

Written by my sister:

 

As a very popular old song says, “If you can’t have the one you want, love the one you’re with.” We’ve all, as doll collectors, at one point in our life had those “grail dolls.” The fantasies. I’m sure many of you will relate when I say that, as kids, Shelly and I spent a lot of time thinking out loud about what we’d do when we got our hands on certain dolls. We figured that our doll games would be so much more exciting after Shelly got a Tarzan Jade doll. We spent months leading up to Christmas plotting what we’d do in our scenarios when Shelly got her hands on the Winning London dolls. For my sister in particular, “the next thing” was an all consuming obsession. I remember a lot of time we could have spent playing dolls but, instead, spent brooding about the one she wanted at the time.

 

As doll collectors, we’ve all experienced getting one doll when our first choice was unobtainable. You go to many stores and, when the doll you’ve wanted isn’t there, you take the next best thing. After a while, you “love the one you’re with” and forget who you were seeking in the first place. I can think of this scenario playing over many times in my life as a doll collector--having to get Fashion Party Nikki instead of Totally Yo Yo Nikki for Christmas 2002, Shelly wanting the original Deuce but, him being unavailable at the time, deciding to settle on Scaris then deciding to buy a Swim Class Lagoona after hours of searching for a Scaris Deuce, and Shelly getting both the Bratz Wild Wild West and Rock lines when our quest to find 10/10/10 Party Cloe didn’t succeed after hours of searching. Until around March 2016, when rewriting “fun facts” for line photos, I’d actually forgotten that my original choice for the perfect Nikki doll was the Totally Yo Yo doll but that she wasn’t in stores anymore so Dad bought me the Fashion Party doll. To me “Nikki” will always be Fashion Party Nikki. Many times, we’ll forget that the doll we are having so much fun with was just a placeholder...or a replacement. Other times, the novelty of a doll being a replacement makes her that much more special. For instance, Katie and Heidi: My favorite Kid Kore Katie doll lost an arm. I dragged Dad to a billion Walmarts to replace her. The second Katie wound up meaning WAY more to me--even though I got the first a few months before Mom passed away and I have a lot of good memories of Katie that involve Mom. The same is true of Heidi. The first Heidi was a Travel in Style Barbie that Shelly randomly bought, using mostly quarters, at a KB toy store one weekend with Dad. However, Shelly made the poor choice of giving her a haircut. When Dad had to resort to the internet to replace Heidi, Shelly became even more attached to the newer doll. In these instances, being a replacement/placeholder made the doll more dear.

 

Sometimes we end up eventually getting the doll we initially were pursuing sometime down the road--but the doll we took in their stead ends up becoming such an important part of our lives that the “grail doll” doesn’t hold a candle to her! I could probably give at least ten examples, but the most memorable example, to me at least, is the story of a sad little doll I named Margie Valentine. In what I recall to be spring 2002, Shelly and I were with our parents at the same flea market we still go to to this day. She bought a Pretty Surprise Barbie and we decided to buy a blue dining room table (that we still use all the time to this day). The seller had dolls sitting at the table. She moved them over to pack up the chairs. I noticed a sweet, blue-eyed blonde Skipper that intrigued me because the only doll we had on that body at the time was Daphne, our Teen Time Courtney we’d had since Shelly was two! I secretly wanted her but didn’t say anything. However, seeing her really sparked my interest in all things Skipper (a passion I still have to this day). I started playing with Daphne after that, I believe, and wanted to come across more Skippers. It was a regret I had every time I looked at our blue table.

 

Fast forward six months--my life had changed so much. Mom had passed away over the summer so it felt like a different world. In the fall, I started collecting Skipper officially--buying Robin (Pet Pals) boxed and several in stores. I was buying as many Skipper outfits as I could get my hands on. One chilly weekend in early 2003, we came to the GROSSEST indoor flea market I’d ever seen (at the time). The guy wanted way too much for his disgusting dolls--he had three “old” Skippers that he wanted five dollars a piece for. I wanted them so much that I bought them (now I’d walk away laughing at the ridiculous price) and hadn’t seen any like them. I found Cool Crimp Courtney, 1990 Babysitter Skipper, and Hawaiian Fun Skipper. Of course, I didn’t know who they were at the time--I’ll admit it added to their mystique. Hawaiian Fun Skipper, who I named Margie, reminded me a bit of the doll I’d seen and deeply regretted not buying, the doll that kick started my Skipper obsession. By then, Robin was the queen bee, my favorite. I chose Margie for her best friend and Beach Party Cloe’s sister. Ironically, Beach Party Cloe was also a placeholder, not the “perfect Cloe” and Cloe, just like Margie, wormed her way into our hearts and our story line.

 

Over the next six months, Margie ended up being a huge part of our doll games and our lives. She went pretty much everywhere we did--to the beach, to visit relatives, to go to the flea market and the toy stores to buy more friends...Sometime during summer 2003, a doll collector’s miracle occurred, one I NEVER honestly thought possible: my dream doll reappeared at the flea market! Of course, I didn’t pass her up a second time--she’s a lovely Wet ‘n Wild Skipper I call Sonya. Never for a moment have I looked at her and not felt super grateful that we were reunited. However, as precious as that once-in-a-lifetime experience as a doll collector is to me, she doesn’t come close to being as special as Margie! That is because, while Margie started as a placeholder in my heart--a doll standing in for the one I thought I’d never have a chance to buy again--she wound up becoming an irreplaceable friend and playmate.

 

In fact, when I look back at our doll “cast” from the two year span when dolls were the most important to us they’d ever been, 2002 and 2003, about half of our main “cast” consisted of dolls that started as replacements or placeholders--Margie, Cloe, Heidi, Nikki, Katie, and Jasmine. Shelly’s all-time favorite fashion doll, and “leading lady” of the day, Sparkling Jasmine was never in the original plan either. For years, Shelly wanted a new Jasmine doll. The Classics we’d grown up with were well out of stores. When the King of Thieves movie came out, Mom told her she could either get the wedding doll or the VHS. Like the day I didn’t buy Sonya at the flea market back in 2002, Shelly made the mistake of passing up Jasmine as a beautiful bride. She pined for her for a long time, then became enamored by the Holiday doll. When the Holiday Princess too disappeared from stores, she settled on the only Jasmine in stores at the time--Sparkling Jasmine.

 

I think dolls like Margie--the dolls you never planned to love--are one of the biggest reasons why I love being a collector. I also think that dolls like Margie are a big part of the reason why I collect the way I do. Most of the time, the dolls we buy are the ones we come across by chance, like Margie. We buy them in bulk and get a lot of duplicates--and each one has a different...personality. We find dolls like Lindsey and Maya (MAG #41) that we NEVER planned to get and end up falling very much in love with them because of the memories--like that day we bought Lindsey, the “Ken Suitcase Lot,” and stopped at Dunkin Donuts. We also buy a lot of our dolls opportunistically--on a sale. For example, I don’t think either of us “wanted” the Freak du Chic dolls--but we’ve really had a great time with them since they turned up so cheap at Walmart. I’m not saying we don’t buy special dolls for special occasions or that I wouldn’t be overjoyed if Totally Yo Yo Nikki found her way to my flea market. The dolls we make a point of tracking down are special in their own way too. What I mean is that those dolls like Margie that just find their way into your life also find a way into your heart that can be just as special as the doll you pined for for months or years! Dolls like Margie and Swim Class Lagoona have shaped our collection, our memories, and who we are as doll collectors. I wouldn’t take back the memories we made with Margie, Cloe, Heidi, Nikki, Katie, and Jasmine. The mishaps and adventures that led to them being in our lives are part of our most special doll memories. That’s why… “When you can’t have the one you want, love the one you’re with."

Moorook Hall is dated 1897 – 1933.

The date of 1897 relates to the one-roomed stone school building, complete with chimney as had many schools of that era. The school also served as a public hall and was used for many meetings, church services and social events. In 1901 the Moorook Hall was used for an inquest after a young man was found dead near the Moorook billabong.

After the Moorook Hall of 1933 was built the old hall was referred to as the ‘supper room’.

 

The following Village Settlements, all on the River Murray, were proclaimed under the Act of 1893 in Executive Council on Wednesday: Holder, Kingston, Lyrup, Moorook, Murtho, Pyap, Ramco and Waikerie. [Ref: Adelaide Observer 6-6-1896]

 

From Kingston, reached Moorook in about four miles. Here again very much has been done. For the most part the dwellings are comfortable, and their schoolhouse, which is used for all meeting purposes, would not disgrace any town in the colony: it is well built and well finished.

The pumping-plant here seems well kept and well suited for its work, and it is really surprising the growth everything makes with a judicious water supply. As elsewhere, the settlers seem sanguine that there will soon be an entire change of system, and that if so they can support themselves without further Government assistance, and also in time pay off their liabilities to the State. [Ref: South Australian Register 17-4-1897]

 

MOOROOK, July 23

The settlement is greatly improving. A new fence has been erected to enclose the settlement from the public road. A large place has been reserved for the schoolchildren.

 

The work of making channels was started today to carry water from the low lift to the respective blocks inhabited by the settlers.

All the settlers have received the permission of Mr R Fleming, the manager, to select pine trees growing about the place, and use them for the building of temporary houses on the blocks. [Ref Register (Adelaide) 1-8-1901]

 

Moorook May 6th

A farewell social was given to Sapper Harry Krollig of the engineers on Tuesday evening of last week. Sapper Krollig having obtained his final leave came up to say good bye to his people, who are much respected in this district. The notice was short but a goodly number of folks rolled up to do him honour.

It was a coincidence that Pte H Ledgard was also in the neighbourhood. He had resided here previously and came to say goodbye to his sister Mrs B L Drogemuller, and was also welcomed and farewelled as a fellow guest of Sapper Krollig.

The Captain of the Rifle Club, Mr W Munn, presented Sapper Krollig with a periscope on behalf of the club. Mr A H Roberts also spoke and cheers were given for the soldiers.

Thirty three men have enlisted from Moorook: thirteen of these were members of the Rifle Club.

The ladies provided supper, and dancing concluded a pleasant evening. [Ref: Murray Pioneer and Australian River Record (Renmark) 11-5-1916]

 

MOOROOK

Before breakfast time on Saturday morning the ‘Industry’ and the ‘Alexandra’ left the Cobdogla woolshed landing, and His Excellence the Governor and the viceregal party continued their journey downstream. It was a perfect spring morning, and the fast steam with the current was one of the most delightful of experiences.

The trip seemed all too short, but there was plenty of interest to be seen on landing, for the next stopping place was at Moorook, originally a village settlement, but abandoned as such in 1905. A number of the old irrigable blocks are being worked by settlers with satisfactory results, and now a considerable addition has been made to the population by the establishment of a number of returned soldiers there.

The new orchards have been in for three years now, and it is anticipated that this year some 200 tons of grapes will be got from them. There are 34 returned soldiers established on the area and about 19 civilian orchardists. At the outset an experiment was tried with dairying, and several of the irrigationists grew lucerne and kept dairy cows. It has been found, however, that this is not a success, the cows have been disposed of, and the lucerne patches are to be planted, with vines, which, of all fruit crops tried along the river, are proving to be the most regular and financially successful. A packing shed and winery are now being established, and prosperity appears to lie ahead of all the settlers.

A function took place in the new hall shortly after the arrival of the visitors, who were given a hearty welcome to the district. This hall is one of the best seen all along the river. It was previously the pay office at Mitcham [military camp] and is just the very thing for the district. [This prefabricated building was subsequently named the McIntosh Hall and was intended for use by the RSL and for church services. It later became the Moorook Cooperative and general store] [Ref: Observer (Adelaide) 23-10-1920]

 

Moorook May l

A handsome Honour Roll was unveiled in the local hall on Anzac Day in the presence of a large audience. The board was constructed by Pengelly & Co, and the lettering by Mr R H Herriott, who was himself one of the original Anzacs. Mr A H Roberts who presided, asked Mr R Fleming to perform the act of unveiling, which he did, delivering a thoughtful address.

Major M I Herbert, one of the original 10th Battalion, gave a graphic account of the historic landing at Gallipoli, and of the conditions prevailing until and at the evacuation.

 

The Rev Eric Wyllie conducted the service, when special prayers were said and hymns sung, including, Kipling's Recessional and the National Anthem.

Mr R F Mayfield, chairman of the Loxton District Council, motored from Loxton to attend the ceremony, and delivered a short address. The room was tastefully decorated with flags. Altogether the ceremony was of a most impressive nature. [Ref: Murray Pioneer and Australian River Record (Renmark) 6-5-1921]

 

In 1923 the government erected a new school, still standing today, resulting in the original school house being available solely for hall use.

The following newspaper report describes the manner in which residents secured the old hall for their use.

 

The annual meeting of Moorook Progress Association was held in the local hall on the 24th inst. The president, Mr A Carne JP, occupied the chair.

Since the establishment of the new school the old "Moorook Hall" had lost its principal source of revenue. The premises, and some half acre of land, were reserved for educational purposes at the time of the founding of the Village Settlement, and the deeds were handed to the Education Department.

 

Fearing that the premises might now be lost to the public benefit by some means, the committee had for some time been in communication with the department, with the result that it had been offered a lifelong lease of the building and adjoining reserve, at a nominal rental, providing suitable trustees were appointed. To enable negotiations to be finalized, trustees were appointed at this public meeting, the following gentlemen being elected: Messrs J Aird, A G Carne, C F Drogemuller, C R Krollig, A H Roberts, A. L. Shillabeer and T G A Wachtel.

A motion authorising them to take over a lease of the property, so that it might be conserved for the benefit of the residents was carried unanimously.

Several amendments to the rules of the Progress Association were adopted. [Ref: The Murray Pioneer and Australian River Record (Renmark) of 30 March 1923]

 

Moorook November 2

A community song hour, which is held on alternate Mondays in the local and McIntosh halls, still holds its own in enthusiasm, especially that in the McIntosh hall, where the attendance is particularly good.

Mr H Gray is conductor, Mrs Herriot pianiste. [Ref: Murray Pioneer and Australian River Record (Renmark) 7-11-1924]

 

IMPROVING MOOROOK HALL

Moorook August 23

The Moorook Hall has recently been painted and generally repaired, and to the great satisfaction of the ladies, the anteroom has been floored with cement, new benches and cupboards have been installed, and doors added leading from the hall. This has been a long felt want and will be greatly appreciated by everyone having occasion to use the building. [Ref: Murray Pioneer and Australian River Record (Renmark) 27-8-1926]

 

NEW MOOROOK HALL Foundation Stone

Moorook October 7

Before a large assembly, including visitors from Barmera, Renmark, Loxton and surrounding districts, the official ceremony of laying the foundation stone of the new Moorook Hall was performed by Moorook's oldest settler and one of the River's pioneers, Mr J Aird senr, on Saturday. Appropriate speeches were made by Messrs C R Krollig, chairman of hall trustees, S G A Wachtel and F J Petch, chairman Loxton district council. Mr Aird was presented with a suitably engraved silver trowel.

The sum of £8/12/ was laid on the stone.

 

Following the ceremony a bazaar, opened by Mr F J Petch, was held in the old hall. The ugly man competition was responsible for raising about £15. Various stalls, and a mock court were operating during the afternoon and evening.

 

In the evening a dance was held, Messrs Flaherty senr, and N Schenscher supplying the music. As a result of the day's effort the building fund of the new hall will benefit to the extent of about £52.

 

It is anticipated that the building will be competed and ready for opening towards the end of December of this year. [Ref: Murray Pioneer and Australian River Record (Renmark) 12-10-1933]

 

MOOROOK January 6

The official ceremony of opening the new hall was performed by Mr T C Stott MP, before a large attendance. After a presentation to Mr Stott, by Mr C R Krollig on behalf of the hall trustees, of a gold key suitably inscribed, a banquet followed, at which, an impressive toast list was given.

A social and dance held in the evening was attended by a large crowd. [Ref: Murray Pioneer and Australian River Record (Renmark) 11-1-1934]

 

HALL IMPROVEMENT COMMITTEE

The Moorook Hall Improvements Committee held a social and dance on Saturday August 12, in the Moorook Hall.

Almond blossom and greenery on the stage comprised the decorative schemen.

Items interspersed with dancing were given by boys of the Yinkanni school, recitation: Misses S Battams and R Loxton songs: Miss F Saxon and B Krollig humorous sketches.

 

The Moorook Harmony Boys supplied the music for dancing. Mr C Krollig was MC. Supper was served by the committee.

 

Following the social and dance it is proposed if satisfactory by the Hall Improvement committee to purchase a 500 candle power petrol light for the main hall. Mr Don Loxton offered to demonstrate this lamp.

A King competition for the forthcoming fete was also discussed.

A pet and doll show with decorated perams and cycles and a miniature arts and crafts exhibition are also being considered.

 

The first of a series of bridge and table tennis evenings, arranged by the stallholder of the fete to be held in November, was held.

Bridge was played in the supper room, a cosy fire adding to the comfort of the players. Table tennis was fought out in the main hall under the direction of Mr A B C Downs. [Ref: Murray Pioneer and Australian River Record (Renmark) 24-8-1939]

 

Held on Saturday afternoon, November 25 in the hall with a large attendance, the fete of the Moorook institute was opened by Mr T C Stott MP, who made a hurried trip from Melbourne to fulfil his promise to officiate.

Mr Stott in his customary jocular manner complimented those present on the appearance of the hall and urged strong support for the undertaking. The hall was transformed into a garden, complete with trees, flowers, rockeries and garden seats.

Much credit is due to Mrs S Sanders and her band of willing workers for the beautiful setting, a veritable ocean of flowers.

A dance followed at night in the Institute, with Ern Saxon's orchestra in attendance.

The total proceeds amounted to nearly £73 which has been earmarked for the bank overdraft. [Ref: Murray Pioneer and Australian River Record (Renmark) 14-12-1939]

 

In aid of the DBNS a carnival night held In the Moorook Hall was a great success. Takings amounted to £18.

The stage was decorated with multicoloured streamers and balloons. Palm leaves and blossoms were in evidence in the background.

The large throng of dancers enjoyed the melodies supplied by the Night Owls Orchestra of Cobdogla. Mr W Wetherall was MC.

Strawberry, ice cream and cool drinks stalls were arranged cabaret style in the supper room.

 

During the evening opportunity was taken to honour Steward C Loxton, by the Win the War Committee and Moorook residents. Mr J Grey introduced Mr G Scott (president of the Moorook RSL Sub-branch) who made the usual presentation. Steward Loxton responded.

Prior to the carnival Mrs A E Loxton was hostess at a small dinner party at which Colin was the guest of honour. [Ref: Murray Pioneer and Australian River Record (Renmark) 19-12-1940]

 

Three Soldiers Honoured

Three members of the AIF, Privates M Royal, B Bartsch and R Bartsch were honoured by residents of Moorook and district on August 9.

The Moorook Hall was filled with one of the largest gatherings to a function of this nature. Mr J Gray (chairman of the Win the War Fund) presided and welcomed the residents. Presentations were made by Mr W E Harrington, representing the Moorook RSL Sub-branch.

The Bartsch brothers had lived in the district all their lives, while Pte Royal had come to Moorook as a young man and had become well known. He wished them a safe return.

The three men responded, thanking the residents for the interest taken in their welfare.

Mr. Harrington called for a minute's silence in honour of the late Pte T Chisholm.

Mr C Krollig was MC for a programme of dances. Community songs were sung to music played by Mrs R Herriott. Supper was served by members of the local Red Cross Circle.

Among the gathering were Pte T McCullock (Garrison), Steward C Loxton (RAN), Ptes L Aird, F Seiboth and G Bartsch (Militia). [Ref: Murray Pioneer and Australian River Record (Renmark) 14-8-1941]

 

New Kitchen for Moorook Hall

Following a donation for £20 from the CWA for the erection of a new kitchen, the Moorook Hall Committee met a CWA subcommittee to draw plans for the kitchen. This is now well in hand, but the treasurer stated he would like a little more money in hand for the project. Anyone wishing to give a donation could send it to Mr O W Kloden, by whom it would be officially acknowledged. [Ref: Murray Pioneer (Renmark) 26-10-1950]

 

Moorook CWA Help for Hall

Christmas Party Moorook December 18

The Moorook Branch of the CWA, at its last meeting for the year, held in the Moorook Hall on December 13, decided to help the Hall committee on a 50/50 basis, to build a new kitchen and if possible to carry on with the proposed children's playground.

The Loxton District Council, it was stated, had offered its equipment to level the ground when it was in the district.

The first function in aid of the fund would be a cherry fete on December 15.

 

A huge Christmas tree decorated the stage for a Christmas party which the hostesses arranged to follow the meeting. A good programme comprising community singing, competitions and songs by Mesdames Bullock and M E Loxton was much enjoyed.

 

During the afternoon "Merry Christmas" arrived with a huge stocking on her back containing small parcel for each person present. The president, treasurer and secretary received a well filled Christmas stocking from the members, and much appreciated the thought.

Afternoon tea was served in the supper room, and a Christmas cake made by Mrs Loxton and decorated by Mrs R Smith was cut by the president. [Ref: Murray Pioneer (Renmark) 21-12-1950]

   

Recent postings relating to the latest member of our 'Fantasy Fleet', AEL 170B and in-depth information received from 'Landersreach' on the dispersal of this batch of Bournemouth Atlanteans sent me off on an electronic rummage. I'd forgotten that I'd taken a picture of another of them beyond those which came to Stonier's and Berresfords and so here it is. The last of the batch made its way to South Wales and the predominantly Leyland based fleet, Creamline of Tonmawr. At some time in it's life, 179 appears to have gained a one piece windscreen ... unless it was that the remainder had gained two piece whilst at Bournemouth for practical reasons. The bus is seen here parked next to a poorly Leopard in the yard of Creamline's wonderfully scenic valley side garage.

Kinetic: Relating to, caused by, or producing motion.

 

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

 

I choose a light source and/or subject, set my camera for a long exposure (typically around 4 seconds), focus on my subject and push the shutter button. When the shutter opens I move the camera around with my hands...large, sweeping, dramatic movements. And then I will literally throw the camera several feet up into the air, most times imparting a spinning or whirling motion to it as I hurl it upward. I may throw the camera several times and also utilize hand-held motion several times in one photo. None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

 

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

 

To read more about Kinetic Photography click the Wikipedia link below:

 

en.wikipedia.org/wiki/Kinetic_photography

 

And to see more of my Kinetic Photographs please visit my set, “Flux Velocity:”

 

www.flickr.com/photos/motorpsiclist/sets/72157622224677487/

 

.

 

Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

 

.

 

My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

 

Uses: Anything relating to finance and money.

 

Free Creative Commons Finance Images... I created these images in my studio and have made them all available for personal or commercial use. Hope you like them and find them useful.

 

To see more of our CC by 2.0 finance images click here... see profile for attribution.

 

Uses: Anything relating to finance.

Relating to L263, see in my comments, it has recently had some major work carried out on the body and a repaint restoring it back to Selkent Travel livery. The centre door and areas around and including the front indicator box were scavenged from similar vehicle L101 / C101CHM, as seen in this photo.

 

The work was carried out by an external contractor and they received both buses. Apart from the bodywork it was hoped that other more “under the bonnet” bits could be used from L101 to benefit L367, but costing proved that this would have to be carried out back “in house”. As a result L101 is now back at EATM residing on the new land awaiting future donor role.

 

More on L367 and L101 in due course.

 

MORE EASTERN COACH WORKS (ECW) HERE.

 

Photo by Graham Woods.

A second photo album relating to the Valdes Scott Family. The first album can be viewed here www.flickr.com/photos/runninginsuffolk/albums/72157665423... This album also turned up at a car boot sale but a year later than the other in 2017. Seems to date from 1951 and the birth of Roselle in Chile.

This relates to the time I spent at Arriva. My regular journey in the mornings was a peak hour service 23 from Erskine to Glasgow. My arch enemy was Neil Stafford (although I did not know him at the time) who had the same timed competitive journey for Gibson's. Normally he would have a Dart and I would have a Dart or sometimes a Scania. Every morning was a battle of wits! The only predictable thing was that we were both unpredictable! One or other of us would throw down the gauntlet.......Let the battle commence. One bus would suddenly shoot off, closely followed by the other. Passengers would be scooped up. All the old tricks would be played, leave your back end sticking out at an angle, indicate to get out when you were still taking fares, hang back if not enough bums were on seats. It was all great fun, sometimes I would get the upper hand, sometimes not, but there were enough passengers to go round, and I usually got into Glasgow with a full load. Neil probably did too. It was actually many years later that I discovered Neil was a bus spotter too.

relating to or denoting faculties or phenomena apparently inexplicable by natural laws, esp. involving telepathy or clairvoyance.

 

another sign? indeed.

 

still playing tag with deb, check out her entire collection, it's all eye candy.

  

Uses: Anything relating to finance and money.

 

Free Creative Commons Finance Images... I created these images in my studio and have made them all available for personal or commercial use. Hope you like them and find them useful.

 

To see more of our CC by 2.0 finance images click here... see profile for attribution.

 

Inspiration: dollar, exchange rate, currency, money, US economy

 

who can relate to this?

Enjoy the animation.

The east window of the Church of St.Giles, Calke, is in memory of Sir George Crewe (8th Baronet), the restorer of the church. The three scenes are believed to relate to Solomon's building of the Temple in Jerusalem. There are no records relating to this window so neither designer not maker are known.

The face of the artist is nothing but his mask, since his real "I" remains invisible. According to Steiner, the head having become a kind of hologram of the body, then all the effort of spiritualization of the human being by the artist, will have to relate to the shape of the human head. This is what will happen with the design of the Goetheanum. Once more, we are faced with an objectification of the supersensible domain. The model of Gnostic art for Rudolf Steiner is of course as a work of art the Goetheanum in which he will give substance to his thought. 1965 The model of artistic gnosis for Raymond Abellio is of course a cabalistic diagram: the Universal Senaire Sphere which achieves the synthesis and the program of all his thought. Same. Through these images, we can grasp the artistic project of the first Goetheanum whose architectural elements, such as the columns, the capitals and the windows, owed nothing to chance, neither taste nor even less to functionality, but had to obey requirements particular esoteric and spiritual. The entire Goetheanum was to illustrate the foundations and 16 teachings of Anthroposophy, just as the art of Gothic cathedrals illustrated the foundations and various passages of the sacred history of Christianity. The scene of the Goetheanum was of course the apogee of his artistic project, with the column-seats where the twelve "apostrophes" should sit, next to the carved wooden ensemble, "The Representative of Humanity". which returns as a colored figure under the cupola.

In the rented hall of the Munich State Theatre, the Mystery Plays of Rudolf Steiner were performed each year between 1910 and 1913. The wish arose within the circle around Rudolf Steiner to build an appropriately designed building for these and for performances of eurhythmy. As there were many obstacles from the side of the authorities in Munich, it was decided to redesign the building to be erected on donated land in Dornach near Basel/Switzerland.

Construction began in 1913, meeting with delays during the First World War. Still incomplete, the building burnt down on New Year’s Eve of 1922/23.

The central element, already present in the project in Munich was the ground plan: 2 domes of different sizes resting on 2 large rotundas and interlinked with one another. Because of their particular proportions, they gave the impression both of a single, sculpted space, or also one consisting of 2 separate portions. The pillars along the interior of the building connected with earlier epochs in the development of architecture. Yet each pillar was sculpted individually with a base and a capital whose motifs were carved in such a manner that each new one derived its forms from elements of the previous one. It was Steiner’s attempt to incorporate into the design the laws underlying all development from one form to another in the living world, as in Goethe’s theory of metamorphosis, and to give to these new forms of artistic expression.

Architecture thereby departs from the static, “dead” state and begins to take on elements of a path of animated development. The arts of architecture, sculpture, painting and stained glass windows were united to create a space for the other arts – music, drama and eurhythmy. The building represents an effort to assist what slumbers in each human being as a higher element into full fruition

 

The First Goetheanum: A Centenary for Organic Architecture

John Paull*

University of Tasmania, Hobart, Australia *Corresponding Author: j.paull@utas.edu.au, john.paull@mail.com

ABSTRACT

A century has elapsed since the inauguration (on 26 September, 1920) of a remarkable piece of architecture, Rudolf Steiner‟s Goetheanum, headquarters of the Anthroposophy movement, on a verdant hilltop on the outskirts of the Swiss village of Dornach, near Basel. The Goetheanum was an all timber structure, sitting on concrete footings and roofed with Norwegian slate. The building was begun in 1913, and construction progressed through the First World War. Rudolf Steiner‟s intention was to take architecture in a new and organic direction. On New Year‟s Eve, 31 December 1922, the Goetheanum hosted a Eurythmy performance followed by a lecture by Rudolf Steiner for members of the Anthroposophy Society. In the hours that followed, despite the fire-fighting efforts of the Anthroposophists and the local fire brigades, the building burned to the ground. The popular narrative is that the fire was arson but that was never proved. A local watchmaker and anthroposophist, Jakob Ott, was the only person to perish in the fire. He was falsely accused (in death) as „the arsonist‟ but the evidence is rather that he perished in his brave efforts at saving the Goetheanum. Rudolf Steiner saw the “calamity” as an opportunity “to change the sorrowful event into a blessing”. He promptly embarked on plans for a new building, Goetheanum II. This time there was to be “no wood”. The short-lived Goetheanum I had served as a placeholder for Goetheanum II. This new Goetheanum, Rudolf Steiner‟s finest work of organic architecture, is of steel reinforced concrete and today stands on the Dornach hill right on the site of the old Goetheanum.

Keywords: Rudolf Steiner, Anthroposophy, Goethe, Edith Maryon, Jakob Ott, Marie Steiner, fire, arson, disability, Dornach, Switzerland.

INTRODUCTION

The present Goetheanum building, located at Dornach, Switzerland, is one of the great buildings of the twentieth century (). The world has this building, Goetheanum II, because of three strokes of good luck (karma if you prefer), although they did not appear in that guise at the time. First, was a frustrating bureaucratic denial [1], second, was a catastrophic fire that Rudolf Steiner (1861-1925) described as a “calamity” [2], and third was the arrival of a talented English sculptor who became one of Rudolf Steiner‟s closest colleagues [3].

The original Goetheanum was opened on 26 September, 1920. It was designed by the New Age philosopher, Rudolf Steiner. The first plan was to build a centre for Rudolf Steiner‟s Anthroposophy movement in Munich, but the city authorities denied building approval [1, 4]. It was a source of frustration and disappointment at the time, although it was really a stroke of great good fortune. As the Nazi ideology took root in Germany, Rudolf Steiner was unwelcome and threatened in Germany. After two decades of

living in Berlin, Rudolf Steiner relinquished his Berlin apartment in 1923 and never revisited Germany [5].

Alfred Hummel, who served as a member of the Building Office for the Goetheanum, explains of the denial of building approval: “this could be seen as good providence because the building would have run into great difficulties after the outbreak of World War 1. Munich would have been a place of great danger after 1933” [4: 2]. If the Goetheanum had been raised in Munich, it would have stood a good chance of destruction during World War II since the city was carpet bombed, including with magnesium incendiary bombs, in Allied raids. Such an alternative reality was never tested because shortly after the Munich denial, Dr Emil Grossheintz offered a site for the Goetheanum in Switzerland and Rudolf Steiner took up the offer [1].

The first Goetheanum was a building of very short life. Opened in 1920, it was burned to the ground at the end of 1922. This was a blow to the aspirations of the Anthroposophists and the multinational contingent of dedicated workers

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who had laboured through the war, many as volunteers, to create this unique building. Rudolf Steiner described it as a “calamity” [1]. But, the destruction proved to be a blessing in disguise because it allowed a rethink of the design. In place of the original rather quaint structure of Goetheanum I, there is now Goetheanum II, which is a truly remarkable and timeless masterpiece.

The English sculptor, Edith Maryon (1872- 1924), arrived in Dornach a few months before the outbreak of war in 1914, to devote her talents to the service of Rudolf Steiner and his Anthroposophy movement. Here she found her spiritual home and she devoted herself forthwith to „the cause‟. Goetheanum I was already designed and under construction by the time Edith Maryon arrived in Dornach, but she was the sculptor on hand, and by then established as one of Rudolf Steiner‟s close collaborators when Goetheanum II was conceived.

On the occasion of the centenary of the opening of Goetheanum I, the present paper, considers the dharma of the building, its reception, and its passing

Methods

Goetheanum I is, a century on from the opening, beyond living memory. The present account draws on contemporary documents of the time, to throw light on the building, its reception, and its calamitous demise. Documents drawn on include eye witness accounts, personal published and manuscript accounts, newspaper accounts, correspondence, and Rudolf Steiner‟s own comments, explanations and lectures. The original sources are quoted where appropriate.

Results

The Goetheanum with which this paper is concerned is the first Goetheanum, Rudolf Steiner referred to it as the “old Goetheanum”[6], the present paper will refer to it generally as „Goetheanum I‟. When building approval was denied in Munich [4], a devotee of Rudolf Steiner‟s Anthroposophy, the Zürich dentist Dr Emil Grosheintz, offered a site on the outskirts of the Swiss village of Dornach, the site of a famous Swiss battle of 1499 where Swabian invaders were repulsed [7]. Dornach is a brief commute (train or tram, about 15 km) to the city of Basel, which sits in the north west of Switzerland near the junction of three country borders (France, Germany and Switzerland).

The Goetheanum was a project of the New Age philosopher and mystic Rudolf Steiner. He had honed his skills as an orator and lecturer as

leader of the German section of the Theosophy Society [8]. Emerging differences between the Theosophists and Rudolf Steiner led to the establishment of a breakaway movement, the Anthroposophy Society. The Goetheanum was to be the home of the new Society, an administrative centre, and a performance space for Steiner‟s Mystery plays.

Rudolf Steiner went on to design various buildings in the growing enclave of Anthroposophists at Dornach [9], but the monumental Goetheanum I was the first venture into Anthroposophical architectural design on a grand scale, and the Goetheanum II was the apogee of Rudolf Steiner‟s architectural manifestations .

THE GREAT WAR

An Australian soldier, arriving in Europe in 1916, sent a postcard home: “Dear Dave, We have seen a lot of ruined towns & villages since we have been in France. This must have been a nice building once, now ruins, Keith” [10].

In the Europe of the time, destruction on an industrial scale was the order of the day. However, Switzerland remained neutral throughout, and her neutrality was honoured by all the belligerents for the duration.

Construction of the Goetheanum at Dornach began in 1913. Construction carried on through the years of World War I (1914-1918). The Russian artist, Assya Turgeniev, recalled: “Already at the beginning of hostilities Dr Steiner tried to speak to us about the background to the events of the war ... The stirred up chauvinistic moods of his listeners thrown together from all quarters of the globe (we were from about 17 different nations) that did not allow him to continue” [11: 99].

Marie Steiner wrote that, as the war stretched on, the work force was depleted by call-up notices: “one after another our artists were called away to the scene of the war. With very few exceptions, there remained only those men who belonged to neutral countries, and the women” [in 12: vii].

The Goetheanum was built during the Great War using volunteer and paid labour. They came and went. Amongst the privations and avalanche of news of death and destruction of the war: “the work went on as best it could and as far as our strength allowed” [11: 136]. “From all quarters of the globe people gathered in Dornach to help with the building. It was a motley, many-sided, multilingual company”[11: 57]. “Our carving group grew to about 70 in number, not counting those who put in a short appearance ... All financial affairs were

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attended to by Miss Stinde. For those who needed it she arranged a modest remuneration” [11: 58].

The artist Assya Turgeniev remembered: “we were only a bunch of dilettantes ... Only the knowledge that we were working together on a great future task and Dr Steiner‟s helping guidance brought order into this chaos. It remains a wonder that the work progresses without any kind of organisation” [11: 59].

With the outbreak of war, “A heavy gloom settled over Dornach ... a European war, was now on our very doorstep [11: 68]. Goetheanum volunteers were called up to return to their respective countries: “Many friends had been recruited and had to depart” [11: 69]. “Our group of wood- carvers grew less and less as further friends were called up” [11: 79].

Figure 1. View of the Goetheanum with blossom trees [source: 13].

A NEW STYLE OF ARCHITECTURE

Rudolf Steiner spoke of the Goetheanum, “The Dornach Building”, in a lecture to Anthro- posophists at The Hague in February 1921: “I have said that the style of this Goetheanum has arisen out of the same sources that gave birth to spiritual science. The endeavour to create a new style of imperfections which must accompany such architecture is accompanied by inevitable risks, by all the a first attempt” [14: 150]. Steiner elaborated: “there is not a single symbol, not a single allegory, but rather we have attempted to give everything a truly artistic form [14: 151].

Organic Architecture

Rudolf Steiner explained his Goetheanum as a manifestation of a new organic architecture: “Concrete and wood are both employed to give rise to an architectural style that may perhaps be described as the transition from previous geometrical, symmetrical, mechanical, static- dynamic architectural styles into an organic style” [14: 153]. The plinth was concrete and the superstructure was timber.

The Goetheanum was organic but not imitative of nature: “Not that some sort of organic form has been imitated in the Dornach building. That is not the case” [14: 154]. Rudolf Steiner informed his audience that: “The least and the greatest in an organic whole has its place in the organism, its absolutely right form. All this has passed over into the architectural conception of the Dornach building” [14: 154]

Rudolf Steiner acknowledged the German writer and polymath, Johann Wolfgang von Goethe (1749 -1832): “it has been my aim, in accordance with Goethe‟s theory of metamorphosis, to steep myself in nature‟s creation of organic forms, and from these to obtain organic forms that, when metamorphosed, might make a single whole of the Dornach building. In other words, organic forms of such a kind that each single form must be in precisely the place it is” [14: 154].

Windows, as all the elements of the Goetheanum, were conceived of as part of an organic whole: “we are handing over this auxiliary building [the Glass House, Glashaus] ... in order that they

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may create something that in the fairest sense may be a living member in the whole organism of our building” [12: 15].

Rudolf Steiner was aware already that not all would be won over to his organic architecture: "I well know how much may be said against this organic principle of building from the point of view of older architectural styles. This organic style, however, has been attempted in the architectural conception of the building at Dornach ... You will therefore find in the Dornach building certain organic forms... carved out of wood, as embodied in the capitals of the columns at the entrance” [14: 154-6]

THE OPENING

The Italian artist Ernesto Genoni, who later spent a year with Rudolf Steiner at Dornach (in 1924) [15, 16] and was a member of Rudolf Steiner‟s First Class, wrote two (somewhat cryptic) accounts of his first visit to the Goetheanum on the occasion of the inauguration (26 September, 1920).

In one account Ernesto Genoni relates: “In Milan I came in touch with the Anthroposophical Society where I took part for a whole year in the study of Anthroposophy. Then my sister Mrs [Rosa] Podreider, for certain business reasons, sent me to Lausanne and said „While you are there you can go as far as the Goetheanum‟. Eventually I arrived in Dornach at the inauguration of the first Goetheanum. There Mrs [Charlotte] Ferreri introduced me to Dr Steiner and I was received by him with great warmth. Unfortunately he was speaking in German which I did not know, but by his long handshake

and smiling expression of the face I could feel his sincere welcome. Here I would like to add this - That was the only time among all the people I met at the Goetheanum that anyone gave me a feeling that I was truly welcome ... So much did I feel this isolation that I decided to return to Italy” [17: 7].

In another account of his Goetheanum inauguration visit, Ernesto Genoni writes: “In autumn 1920 Rosa sent me to Lausanne for selling some opossum skins and then I went to Dornach. What a strange impression I received from the first view of the Goetheanum building ... The short conversation with Fräulein Vreede ... chilly! Frau Ferreri ... the meeting with the Doctor ... the bewildering impression of the interior of the Goetheanum. I could not enter in such saturated life of the spirit and after a few days I left ... the reproach from Miss Maryon. In the following years it was a painful search to find my way in life” [18: 19] (author‟s note: ellipses are in the original handwritten manuscript).

ART OF THE TOUR

Rudolf Steiner wanted the art of the Goetheanum to speak directly to the viewer without intermediary explanations: “Sometimes I had occasion to show visitors the Goetheanum personally. Then I used to say that all „explanation‟ of the forms and colours was in fact distasteful to me. Art does not want to be brought home to us through thoughts, but should rather be received in the immediate sight and feeling of it” [1: 3]. The photographs in the present paper offer an insight into the experience of Steiner‟s visitors (Figs. 1, 2 & 3).

Figure 2. Rear view of the Goetheanum with Heizhaus to the right (postcard)

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The First Goetheanum: A Centenary for Organic Architecture

NEWS IN THE ANTIPODES

The Register newspaper in Adelaide, Australia‟s city of churches, informed its readers in 1925 about Rudolf Steiner and the Goetheanum: “a man who built a building large enough to contain an audience of a thousand people, roofed by intersecting domes, the larger of them slightly greater span than St Peter‟s, earned a title of serious consideration from all who profess the art of architecture. The building owed nothing to traditional styles. No effect was made by its designer to present an intellectual conception of what the temples of ancient Greece could contribute to the art of modern Europe, nor were the forms of medieval Gothic borrowed and adjusted. In no sense was it a drawing board design.” [19].

The Register continued: “It was conceived and designed, as architecture should be and must be, in three dimensions, and it had to be seen in three dimensions to be understood ... as a first effort in a new presentation of architecture it has probably no rival in the history of art” [19].

Readers in South Australia were informed that the Goetheanum: “was built on the summit of one of the foothills of the Jura mountains, near the village of Dornach, standing out against a background of rugged hills and rocky cliffs ... He deliberately discards the limitations of squares, and one feels that his construction is organic rather than static” [19].

Figure 3. Interior of the Goetheanum [source: 13]. Journal of Fine Arts V3 ● I2 ● 2020

The Name

Even the name of the Goetheanum apparently drew offence. „Wokeness' is not such a twenty- first century phenomenon as some might suppose. Rudolf Steiner explained: “Many people were scandalised at the very name, „Goetheanum‟, because they failed to consider the fundamental reason for this name, and how it is connected with all that is cultivated there as Anthroposophy ... this Anthroposophy is the spontaneous result of my devotion for more than four decades to Goethe‟s world-conception” [2: 1].

Of the name, Rudolf Steiner explained: “this Goetheanum was first called „Johannesbau‟ by those friends of the anthroposophical world- conception who made it possible to erect such a building ... for me this building is a Goetheanum, for I derived my world-view in a living way from Goethe ... I have always regarded this as a sort of token of gratitude for what can be gained from Goethe, an act of homage to the towering personality of Goethe ... the anthroposophical world-view feels the deepest gratitude for what has come into the world through Goethe” [2: 2].

Second Thoughts

Less than a year after the opening of the Goetheanum, and even while the building remained incomplete (it was never entirely completed), Rudolf Steiner revealed that he was thinking of a Goetheanum Mark 2.

At a lecture in Berne on 29 June 1921 titled „The Architectural Conception of the Goetheanum‟ Rudolf Steiner told his audience that: “Naturally one can criticise in every possible way this architectural style which has been formed out of spiritual science. But nothing that makes its first appearance is perfect, and I can assure you that I know all its flaws and that I would be the first to say: If I had to put up this building a second time, it would be out of the same background and out of the same laws, but in most of its details, and perhaps even totally, it would be different” [20: 42]. As events played out just eighteen months later, it proved to be a remarkably prescient statement.

Bad Timing

For sheer bad timing (and perhaps prolixity), a fund raising letter dated 25 December 1922 by the British Anthroposophical Society in London would be hard to beat. The letter explained that: “the Goetheanum expresses in a language of line, form and colour those thoughts and ideas which a knowledge of higher spiritual worlds

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produces in the artist. As a work of art the Goetheanum can only be compared, in its tendency to the supreme artistic achievements of humanity, for it produces in the onlooker the perception of that interpenetration of object and idea of which the true world of art is the outcome, while it raises him to that point within his inner being where an ideal spiritual world is felt to be born into physical reality”.

Then the fund raising letter gets to the point: “The Goetheanum still remains to be completed. The funds at Dr Steiner‟s disposal are drawing to an end. Money is urgently needed to carry on the work. The work MUST NOT STOP ... Let each give what he or she can. In the old days ladies sold their jewellery to enable the foundation stone to be laid” [21].

Just six days after the date of the London fund raiser letter, the Goetheanum burned to the ground (on the night of 31 December 1922). Rudolf Steiner described the occurrence as a “dreadful calamity”. He reminded his audience of “The terrible catastrophe of last New Year‟s Eve, the destruction by fire of the Goetheanum, which will remain a painful memory” [2: 1].

Rudolf Steiner explained that the Anthroposophical Society was misunderstood and that there was calumny afoot: “That dreadful calamity was just the occasion to bring to light what fantastic notions there are in the world linked with all that this Goetheanum in Dornach intended to do and all that was done in it. It was said that the most frightful superstitions were disseminated there, that all sorts of things inimical to religion were being practiced; and there is even talk of all kinds of spiritualistic seances, of nebulous mystic performances, and so on” [2: 1].

The Fire

A local newspaper, the Basler Nachricten reported the news of the New Year fire at the Goetheanum: “The Goetheanum in Dornach-Arlesheim is on fire, was the terrible alarm message that flew like wildfire ... just before the bells sounded in solemn ringing ... On New Year‟s Eve ... at 7 pm , the Goetheanum had a presentation of Eurythmy and a lecture by Rudolf Steiner ... The last audience had left the lecture hall by 9.45 pm ... immediately after the seriousness of the situation was clear, the calls for help were despatched to the surrounding villages and to Basel ... The Dornachers were the first to arrive at 11:45 pm, followed by the Arlesheimers a quarter of an hour later ... Because of repair work, there was scaffolding where the fire was first seen” [22].

Rudolf Steiner put the fire as starting between 5:15 pm and 6:20 pm [23].

Rudolf Steiner related that: “one hour after the last word had been spoken, I was summoned to the fire at the Goetheanum. At the fire of the Goetheanum we passed the whole of that New Year night”. He stated that it was “exactly at the moment in its evolution when the Goetheanum was ready to become the bearer of the renewal of spiritual life”[6].

A newspaper gave an account of the events: “When the double cupolas fell in, there shot up heavenwards a giant sheaf of fire, and a torrent of sparks threatened the whole neighbor-hood so that fire-men had to be sent in all directions to prevent the spread of disaster” [24]. Later, on New Year‟s Day “The sky was veiled in clouds as if to check the great outpouring of people which took place from Basel and its neighbor- hood. For nearly the whole population there was one urge: Off to Dornach! Hour after hour unbroken streams of people climbed the muddy roads and slippery fields, whilst other streams, equally unbroken, flowed down again” [24].

Rudolf Steiner later referred to “the pain for which there are no words” [1: 7]. However, on the day, as Albert Steffen relates, Rudolf Steiner kept his nerve and declared the continuance of the New Year‟s programme: “In the morning Dr Steiner ... was still there ... „We will go on with our lectures as notified‟, he said, and gave instructions that the pools of water in the „Schreinerei‟ (the temporary shed used for lectures) and the dirt carried in by muddied shoes should be removed” [25: 13].

Seat of the Fire

Albert Steffen (1884-1963), Anthroposophist, writer and editor, wrote of the seat of the fire: “Unfortunately a scaffolding, necessary for certain work, had been put up just in the place where the fire was first noticed” [25: 12]. A local Basel newspaper had reported likewise: “Because of repair work, there was scaffolding where the fire was first seen” [22].

Ninety nine years later, accounts of the Notre Dame Cathedral fire of 2019 are reminiscent of accounts of the Goetheanum fire. “The fire began at about 18:43 local time on Monday (15 April). Pictures show flames shooting up around the spire, shortly after the doors were shut to visitors for the day. The blaze spread rapidly along the wooden roof as onlookers gathered on the ground below” [26]. Another account states

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that: “Flames that began in the early evening burst through the roof of the centuries-old cathedral and engulfed the spire, which collapsed, quickly followed by the roof” [27]. Builder‟s scaffolding for repair work are also a part of the Notre Dame story: “Much of the roof was covered in scaffolding as part of a big renovation programme, which is being investigated as a possible cause of the blaze” [26]. Two leading candidates for the cause of the Notre Dame fire are identified: “The catastrophic fire at the Notre Dame Cathedral could have been caused by a burning cigarette or an electrical malfunction, French prosecutors said ... Prosecutors are now looking at the possibility of negligence” [28].

Of the Goetheanum fire, a Basel newspaper reported: “Dr Steiner ... According to him,, who will probably know his way around the construction of the building, the fire must have started between 5:00 and 7:00 in the evening .... The smoke was noticed a little after 10 pm in the so-called „white room‟ on the third floor” [23]. The room, the apparent seat of the fire, was used by one or some Eurythmists as a change room [23]. It was reported that “there were no electrical systems at the fire site”[22].A discarded cigarette butt, a neglected candle or a portable camp stove or heater (the outside temperature would have been hovering around 0o C), or a flimsy Eurythmy costume draped carelessly on a hot light bulb are candidates as potential ignition sources.

The Goetheanum was insured for CHF 3,800,000 and with a further CHF 500,000 for furniture and equipment [22]. A proof of contributory negligence would have voided or severely prejudiced an insurance claim. This, combined with the prevailing persecution complex of the Anthroposophists, was a great motivation for fuelling suspicions of arson. To this day, the cause of the Goetheanum blaze remains an open question [29]. The timely payout of the insurance facilitated the rebuild of the Goetheanum, and the local Building Insurance Act was revised “to protect the state institution against such disasters” [30].

Jakob Ott

One person lost their life in the fire. That was Jakob Ott, a watchmaker from nearby Arlesheim, and a member of the Anthroposophy Society.

Assya Tergeniev recorded that: “When the glowing ashes had cooled, some days later, a human skeleton with a deformed spine was found therein. This deformity was the same as

that of a watchmaker who had disappeared at the time of the fire. It was officially announced that he had come to grief while helping with the rescue work” [11: 129].

A Basel newspaper reported that “Human remains were found in the rubble of the burned- down Goetheanum on Wednesday [10 January]. It is not yet certain whether it is the missing watchmaker Ott ... These are the bones of a single person, who presumably fell from the floor of the dome into the depth of the basement. The skull was smashed ... no one apart from the watchmaker Ott has been missing since that fateful night ... the bone remains were almost completely covered with slate residue from the roof of the dome. The casualty must have plunged into the stage basement below the collapsing dome at 12 midnight. Although all fire-fighting teams had withdrawn at 11:30 pm in view of the building, which was at risk and could no longer be saved, it is easily possible that, due to the thick smoke, a person who might already have been stunned had not been noticed” [31].

Conspiracy theorists of the day, and later commentators, have attributed the fire to arson, but that is not proven, and even named the supposed arsonist as Jakob Ott, and that is proven false. Research of Günther Aschoff has established: “the 28-year-old watchmaker Jakob Ott from Neu-Arlesheim had died in the fire. But he could not have been the arsonist, because he was home all New Year's Eve, then in the evening at a choir rehearsal and at the year-end service in the Reformed Church. (He was a member of the Reformed Church and of the Anthroposophical Society, he procured many advertisements for the magazine "Das Goetheanum" and had also collected signatures for the naturalization of Rudolf Steiner). At about 22.30 he was on the tram on the way home. When he saw the clouds of smoke at the Goetheanum in the moonlit night, he ran up the mountain, to help, which he used to do whenever he was needed. He was present when the fire was extinguished in the small dome at the top of the building, but when the others had already retreated because of all the smoke”. Jakob Ott failed to evacuate likely because he was overcome by smoke or that he lost his footing [32].

Jakob Ott was reportedly just 1.5 metres tall, and a hunchback with “a backbone curvature due to an accident” [31]. Another account simply sated: “Ott had a hump” [30]. He was a man of modest means and lacking influential friends. As a disabled figure, Jakob Ott was a

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ready candidate for „othering‟ and he made a convenient scapegoat for the smug. A Basel newspaper reported: “Dr Steiner, whom we also interviewed regarding Ott ... He himself has no suspicion of Ott” [23]. Rudolf Steiner subsequently attended Jakob Ott‟s funeral [33].

It appears that Rudolf Steiner never referred to the fire as „arson‟. Albert Steffen wrote of „The destruction of the Goetheanum by fire”, he did not write of „by arson‟ [25]. Arson does not rate in the top ten causes of house fires [34]. Arson does not rate as one of the nominated “leading causes of warehouse structure fires” [35]. If the arson conspiracy theory fails, then the quest for „the arsonist‟ is extinguished.

The demonising of Jakob Ott has been an unworthy episode propagated by some who should have known better. One hysterical account about Jakob Ott appears to be mere flights of fancy, ungrounded in fact, and owes more to a fertile imagination than sound research [e.g. 36]. It appears that Marie Steiner has fuelled conspiracy theories: “One of the suspects was the watchmaker Jakob Ott from Allesheim , whose skeleton was found ten days after the fire in the ashes of the Goetheanum which had burned down. It was identified by a spinal defect. Later Marie Steiner wrote „From a skeleton that was discovered, it can be established that the arsonist was burned‟‟ [quoted in 33: 904].

Jakob Ott (1895-1923) died a miserable death by incineration, in a worthy cause of trying to save the Goetheanum. Whether he was overcome by smoke and/or lost his footing, the action of entering a burning building is the act of a brave man.

A Blessing

Exactly a year on from the fire, Rudolf Steiner reflected on the events of New Year‟s Eve, 1922, at the Goetheanum. The venue for the lectures was now the much less salubrious (and cold) Schreinerei, the carpentry workshop, adjacent to the site of the remnants of the fire [37].

Rudolf Steiner referred to the “painful memory” of the final lecture that he had delivered at the Goetheanum, what he now called “our old Goetheanum” [6]. Remembering the night, Rudolf Steiner reminded his listeners that; “the flames bust from our beloved Goetheanum ... but out of the very pain we pledge ourselves to remain loyal to the Spirit to which we erected the Goetheanum, building it up through ten years of work” [6].

Changing tack, Rudolf Steiner urged his audience to move on from the “tragedy” and offered them the recipe for doing just that: “if we are able to change the pain and grief into the impulses to action then we shall also change the sorrowful event into a blessing. The pain cannot thereby be made less, but it rests with us to find in the pain the urge to action ... Let us carry over the soul of the Goetheanum into the Cosmic New Year, lets try to erect in the new Goetheanum a worth memorial to the old!” [6: 4].

Beyond Wood

Goetheanum I was an all-timber construct. One of the building officers related that: “our first director had implored us not to use any iron nail, coach screw or sheet metal in the main wooden structure. These artificial building materials were not to be brought in connection with the noble organic timber” [4: 15]

A few months after the fire, Rudolf Steiner, writing in the April 1923 issue of the periodical „Anthroposophy‟, was quick to rule in a rebuild, that was never in doubt in his mind, while at the same time he ruled out rebuilding in timber: “In rebuilding the Goetheanum we shall probably need to think on different lines ... There can, of course, be no question of a second Building in wood” [38: 38].

In 1923 Rudolf Steiner wrote to the Central Administration of the local Swiss Canton Solothurn: “The new building will stand directly on the site of the old. With regard to the construction of the building as a whole, we bring to your attention that it is to be executed as a solid structure and that all its structural parts, all floors and bearing walls, as well as the roof trusses will be carried out in reinforced concrete. We plan to employ a purely steel construction for the support of the floor of the main stage alone. Timber will be used nowhere as a constructional element in the new building, but exclusively for doors, windows, flooring and floor construction over solid slab floors, for rafters and for fixtures and cladding. As roof material the same Norwegian slate as was used on the old Goetheanum is to be employed. ... We are convinced that the entire building, when completed in this type of construction, will be able to meet all requirements as to fire safety to an unusual degree” [39: 52].

Concrete

By the time of Goetheanum II, Rudolf Steiner already had some experience of reinforced

8

Journal of Fine Arts V3 ● I2 ● 2020

 

The First Goetheanum: A Centenary for Organic Architecture

concrete as a building medium. The rather fanciful Heizhaus (Boiler House) of 1914 [9], located nearby the Goetheanum, and still standing today, is a creative exercise in concrete. Rudolf Steiner described it as “a remarkable structure” and so it is [14] (Fig.2).

Rudolf Steiner was well aware of criticism of his first adventure in concrete, the Boiler House. He proffered this rejoinder: “This is what is subject to the most severe criticism from some quarters ... I undertook to create ... a shell of concrete - a material which is extremely difficult to mould artistically. Those who criticise this structure today do not pause to reflect what would stand there if no endeavour had been made to mould something out of concrete - a material so difficult to mould. There could be nothing but a brick chimney. I wonder if that would be more beautiful than this, which of course is only a first attempt to give a certain style to something made of concrete. It has many defects, for it is only a first attempt to mould something artistic out of materials such as concrete” [14: 157].

Edith Maryon, Sculptor

Edith Maryon (1872-1924) stepped into Rudolf Steiner‟s life in 1914. It was just before the outbreak of World War I and she quickly became one of his closest confidants. Edith Maryon was an English sculptor trained at the Royal College of Arts in London.

As a trained and skilled sculptor, Edith Maryon brought new skills into the inner sanctum of Rudolf Steiner‟s bevy of talented women, which included the mathematician Elizabeth Vreede and medical doctor Ita Wegman. Goetheanum I was already under construction when Edith Maryon arrived at Dornach. Edith Maryon however quickly proved her skills in collaborative architectural design not just of sculptural elements within Goetheanum I. Together they created the Eurythmy Houses I, II and III (Eurythmiehäuser), a little way down the Dornach hill from the Goetheanum [9].

Edith Maryon brought a feminine influence and a sculptor's panache. Under the collaborative influence of Edith Maryon, Rudolf Steiner was liberated from the overt Freudian features of his earlier creations with his phallic Boiler House and the double-breasted Glass House (Glashaus) and Goetheanum I.

The clay models for Goetheanum II were constructed during 1923, the year of closest

collaboration between Rudolf Steiner and Edith Maryon. At the end of the year, at the Christmas Conference of 1923 Rudolf Steiner appointed Edith Maryon as the head of the Sculpture Section (plastic arts) of the School of Spiritual Science of the Goetheanum [40]. Sadly, by then her health was deteriorating and she passed away four months later. Rudolf Steiner‟s own health took a blow at the close of the Christmas Conference on 31 December 1923. He struggled on through nine months of 1924, before retreating to his sick bed in September, and he passed away six months later.

It could be regarded as fortuitous that Goetheanum I was destroyed during Rudolf Steiner‟s own lifetime and that he and Edith Maryon had developed a close collaborative working embrace that could bring the clay sculptural models of Goetheanum II quickly to fruition. Goetheanum II is Rudolf Steiner‟s final contribution to his portfolio of Anthroposophic buildings and to organic architecture, and more than any of his prior works, it is a monumental and masterful work of sculpture.

CONCLUSION

The first Goetheanum was both success and failure. It was a bold experiment in organic design, a proof of concept that such a vision could be translated into reality, that despite the disruption of war, work could proceed, funds could be raised, a distinctive building could be manifested, and the enthusiasm and talent of a multitude of volunteers could be harnessed. However, an all timber building is a conflagration waiting to happen, it is just the timing of the conflagration that is the uncertainty. In the case of Goetheanum I, the conflagration came quickly, before even the building was completed, before a Mystery Play was ever performed in the space, remembering that a dedicated performance space for such plays had been a large part of the rationale for the building.

The dharma of Goetheanum I was to serve as a placeholder for Goetheanum II. The new Goetheanum took the money from the insurance of the demise of the old Goetheanum, and embraced the lesson that an all-timber construction is not a recipe for longevity. Goetheanum II harnessed the sculptural skills by then on hand, and brought them to the fore to create what is not only a magnificent sculpture in concrete, but is also a functioning building and a delight to work in. Flushed away is the quaintness of Goetheanum I. The new Goetheanum is a bold twentieth

Journal of Fine Arts V3 ● I2 ● 2020

9

 

The First Goetheanum: A Centenary for Organic Architecture

century building worthy of the twenty first century and beyond.

ACKNOWLEDGEMENT

Thank you to to members of the Goetheanum Archive (Dokumentation am Goetheanum Bibliothek Kunstsammlung Archiv) for kind

assistance in navigating the collection and to DeepL.com/Translator and Google Translate for assistance with various translations.

REFERENCES

[1] Steiner, R., The Goetheanum in the ten years of its life, I. Anthroposophy, 1923. 2(1-2): p. 2-10.

[2] Steiner, R., What was the purpose of the Goetheanum and what is the task of Anthroposophy, A lecture at Basel, 9 April, 1923. 1923, Fremont, IL: Rudolf Steiner Archive, .

[3] Paull, J., A portrait of Edith Maryon: Artist and Anthroposophist. Journal of Fine Arts, 2018. 1(2): p. 8-15.

[4] Hummel, A., A Diary: Life and Work During the Building of the First Goetheanum. 2003, (Trans. Friedwart Bock from c.1955 German original), Aberdeen: Camphill Architects.

[5] Paull, J., Rudolf Steiner: At Home in Berlin. Journal of Biodynamics Tasmania, 2019. 132: p. 26-29.

[6] Steiner, R., World History in the Light of Anthroposophy, A lecture at Dornach, 31 December 1923. 1923, Fremont, IL: Rudolf Steiner Archive, .

[7] Fahrni, D., An Outline History of Switzerland From the Origins to the Present Day. 1997, Zürich: Pro Helvetia Arts, Council of Switzerland.

[8] Steiner, R., The Story of My Life. 1928, London: Anthroposophical Publishing Co.

[9] Kugler, J., ed. Architekturführer Goetheanumhügel die Dornacher Anthroposophen-Kolonie. 2011, Verlag Niggli: Zurich.

[10] Keith, Postcard (with handwritten message on rear): Ypres - La Salle Pauwels (Halles d'Ypres) avant et après le Bombardment. The Pauwels Gallery (Halles of Ypres) before the Bombard- ment and after. 1916, Paris: Visé Paris (private collection).

[11] Turgeniev, A., Reminiscences of Rudolf Steiner and Work on the First Goetheanum. 2003, Forest Row, UK: Temple Lodge.

[12] Steiner, R., Ways to A New Style in Architecture: Five lectures by Rudolf Steiner given during the building of the First Goetheanum, 1914. 1927, London: Anthroposophical Publishing Company.

[13] Uehli, E., Rudolf Steiner als Künstler. 1921, Stuttgart: Der Kommnede Tag.

[14]

[15] [16] [17] [18] [19] [20] [21]

[22] [23]

[24]

[25] [26] [27]

[28]

[29] [30] [31]

Steiner, R., The Dornach Building, Lecture at The Hague, 28 Feb 1921, in Rudolf Steiner Architecture, A. Beard, Editor. 2003, Sophia Books: Forest Row.

Paull, J., Ernesto Genoni: Australia's pioneer of biodynamic agriculture. Journal of Organics, 2014. 1(1): p. 57-81.

Paull, J., The Anthroposophic Art of Ernesto Genoni, Goetheanum, 1924. Journal of Organics, 2016. 3(2): p. 1-24.

Genoni, E., Personal memoir. c.1970, 9 pp., typewritten manuscript, last date mentioned is 1966, A4. Private collection.

Genoni, E., Personal memoir. c.1955, 26 pp., handwritten manuscript, last date mentioned is 1952, school exercise book. Private collection.

The Register, Modernity in Art - New Architectural Forms. The Register (Adelaide, Australia), 1925. 31 December: p. 5.

Biesantz, H. and A. Klingborg, The Goetheanum: Rudolf Steiner's Architectural Impulse. 1979, London: Rudolf Steiner Press.

Metaxa, G., Typed letter, Dear Friends and fellow members. 2 pages. 25 December. Anthroposophical Society. 1922, 46 Gloucester Place, London.

Basler Nachrichten, Das Goetheanum niedergebrannt. Basler Nachrichten, 1923. 2 January.

Basler Nachrichten, Zum Brand im Goetheanum - Ott in Verdacht als Brandstifter oder Mitwisser. Basler Nachrichten, 1923. 5 January.

National Zeitung, The account of the burning of the Goetheanum from the National Zeitung. Anthroposophy, 1923. 2(1-2, January- February): p. 18-19.

Steffen, A., The destruction of the Goetheanum by fire. Anthroposophy, 1923. 2(1-2): p. 10-13.

BBC News, Notre-Dame: The story of the fire in graphics and images. BBC News, 2019. 16 April.

ABC News, Notre Dame fire: Paris cathedral spire collapses as blaze tears through landmark. ABC News, 2019. 16 April.

Vandoorne, S., A. Crouin, and B. Britton, Notre Dame fire could have been started by a cigarette or an electrical fault, prosecutors say. CNN, 2019. 26 June.

Balzer, M., The unsolved Goetheanum case: A play is devoted to the fire of New Year'ds Eve 1922. Aargauer Zeitung, 2019. 2 May.

Basler Nachrichten, Zur Untersuchung über den Goetheanum-Brand. Basler Nachrichten, 1923. 11 January.

Neue Zürcher Nachrichten, Ein wichtiger Fund bei den Aufräumungsarbeiten am Goetheanum. Neue Zürcher Nachrichten, 1923. 13 January.

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The First Goetheanum: A Centenary for Organic Architecture

[32] Aschoff, G., Neues vom Goetheanum-Brand. Das Goetheanum, 2007. 1-2.

[33] Prokofieff, S.O., May Human Beings Hear It!: The Mystery of the Christmas Conference. 2014, Forest Row, UK: Temple Lodge.

[34] Real Insurance, The most common causes of house fires. 2013, Sydney: Real Insurance.

[35] Campbell, R., Structure Fires in Warehouse Properties. 2016, Quincy, MA: National Fire Protection Association.

[36] Ravenscroft, T., The Spear of Destiny: The Occult Power Behind the Spear Which Pierced the Side of Christ and how Hitler inverted the Force in a bid to conquer the World. 1982, York Beach, ME: Samuel Weiser Inc.

[37] Paull, J., Dr Rudolf Steiner's Shed: The Schreinerei at Dornach. Journal of Bio-Dynamics Tasmania, 2018. 127(September): p. 14-19.

[38] Steiner, R., The Goetheanum in the ten years of its life, VI. Anthroposophy, 1923. 2(4): p. 37-41.

[39] Raab, R., A. Klingborg, and A. Fant, Eloquent Concrete: How Rudolf Steiner Employed Reinforced Concrete. 1979, London: Rudolf Steiner Press.

[40] Steiner, M., Proceedings of the Founding Conference of the General Anthroposophical Society. 1944, Roneoed publication. "As edited and published by Marie Steiner in 1944. Translated by Frances E Dawson": "For Members of the General Anthroposophical Society".

  

hal.archives-ouvertes.fr/hal-02566578/document

Who What Where When Why, I remember the 5 W's from last century , Normally from the reading for technical or down right pleasured moments. the other association is I once met this person who approached and asked my name, then mentioned that he had seen myself at car shows before , and had noticed that I was not prone to take photographs with out viewing the image from different angles , also he made mention that my photographs as viewed on the internet looked far better than his own of the same topic ! so I shared with him where the (5) ww's in my mind relate to story telling in photography, in addition part of my preparation before capture ! when some one else looks at the viewing moment ! where are their minds and eyes looking !! accentuate the Highlights and remove the distractions !!! I have a collection of photograph books going back to the film day's stay at home time, we'll I picked this example to share, the owner was looking to trade this TRI-Cycle for a trade value of $ 40,000 equivalent, That takes care of The Who, What , Why, Where at the annual Sagebrush Church Father's Day Car show, then When, the Fun time, it takes time to get all the undesirables, like chrome reflections, to a minimum, light shadows correct, and of course You can add where your eyes and mind focus ! Enjoy !

Palling's village signpost, carved by Henry Barnett and depicting a lifeboat with crew. It was refurbished in 2002.

 

The village and parish of Sea Palling is in Norfolk. The village is 19.6 miles (31.5 km) south-east of Cromer, 19.6 miles (31.5 km) north-east of Norwich and 140 miles (230 km) north-east of London.

The Domesday Book of 1086 records that the Palling area comprised nine villagers and fourteen smallholders. There were 20 acres of meadow, 14 wild mares, two cobs, 23 pigs and 71 sheep with a total value of £4.00. It was surrounded by areas of salt marsh.

The areas story has been inextricably linked to the sea since pre-history. The town of Waxham Parva disappeared under the waves in the 13th. century together with its church and some of the land that was part of the large estate of Gelham Hall. One of the earliest accounts was written by John of Oxendes, a monk at nearby St. Benet's Abbey, in which he relates the destruction wrought by the great storm of 1287,

"The sea, agitated by the violence of the wind, burst through its accustomed limits, occupying towns, fields and other places adjacent to the coast ... it suffocated or drowned men and women sleeping in their beds, with infants in their cradles ... and it tore up houses from their foundations, with all they contained and threw them into the sea with irrevocable damage".

Several more incursions occurred over the centuries and by 1604 neighbouring Eccles-on-Sea had lost 66 houses and more than 1,000 acres of land. Three years later Sea Palling's defences were breached and Waxham was flooded in 1655 and 1741. The 18th. century owner of Waxham, Sea Palling and Horsey, Sir Berney Brograve, by reviving a previous Act of Parliament, unsuccessfully tried to have the sea breaches repaired after many destructive inundations of his estate. Lack of proper maintenance of the dunes led to continuous breaches and it was not until the 19th. century that a programme of sea defence work was started. The North Sea flood of 1953 took the lives of seven Sea Palling villagers, a memorial plaque is in St. Margaret's Church. Following this tragedy the sea wall was extended in 1986 and in 1995 the Environment Agency undertook a multimillion-pound project erecting four barrier reefs then later in 1998 put up five more to make them more effective.

The sea also provided opportunities for the villagers, smuggling being one which reached its peak in the mid-1770's. Revenue cutters patrolled the coast and there were seizures of tea, Geneva and other spirits on several occasions and it is reputed that Sea Palling was the headquarters of a band of armed smugglers. To counter this a Coastguard service was established in 1822 and a station built at Sea Palling, which contributed to a decline in smuggling.

Alongside smuggling there was also salvage work. Since before the formation of the Royal National Lifeboat Institute (RNLI), lifeboats have been operated from Sea Palling. As far back as 1840 two fast sailing and rowing yawls owned by private beach companies were stationed at Sea Palling, as part of the Norfolk Shipwreck Association, known locally as the Blues and the Whites. It was a perilous occupation and the demands for exorbitant payments may be excusable given the dangers involved. The salvage value of ships that came to grief were used for the upkeep of the lifeboats and to supplement the income of the beachmen. As the companies prospered with the increase in maritime shipping they built brick sheds for storage and a lookout to watch over the Haisborough Sands. On 16th. December 1842 one of the boats was lost with five crew and a few weeks later a yawl went down with the loss of seven crew. The impact on the village was immense as most of the drowned were young men with families.

In 1858 the Sea Palling station came under the control of the RNLI and in 1870 a second station was established. In those times the boats were launched by a gang of work horses from nearby farms. It is said that when a flare was fired to alert the crews of a stricken vessel the horses would make their own way to the station, arriving before the men.

During 1929 the service was reduced to one boat and the on the 16th. January 1931 the station was closed in a rationalisation of regional lifeboat stations. The achievements of the Sea Palling lifeboats are now almost forgotten, yet when the station was closed it had one of the finest records known to the RNLI. During its 91 years of service the boats was launched 400 times and saved 795 lives, a record bettered by only three other UK stations. There were four silver gallantry medals and several commendations awarded to men of the Sea Palling lifeboat for bravery. A replica of the RNLI silver gallantry medal awarded to Tom Bishop is on display in St. Margaret’s Church, Sea Palling.

Without the lifeboat the coast was still hazardous and in December 1948 a steamer, The Bosphorous, was ensnared on Haisborough Sands and its cargo of oranges were jettisoned. To a population emerging from wartime rationing the sight of the beaches strewn with loose and crated oranges was 'miraculous' and revived another Sea Palling custom, that of plunder. The inhabitants of 1948 could trace this pastime back for centuries when the scavengers of wrecks were known as 'pawkers', despite the attempts of the Lords of the Manor to claim all shipwreck. Perhaps the greatest coup was the wreck of Lady Agatha in 1768 with a cargo valued at £50,000, none of which was recovered by authorities.

In 1972, because of the increasing number of tourists visiting this area of the coast, several residents thought it prudent to provide a lifeboat based at Sea Palling. This led to the present independent lifeboat being founded. Following much fundraising and hard work the first lifeboat, The Hearts of Oak was launched. After seven years of service this boat was replaced by the rigid hull inflatable boat (RIB) named Leo. Many local associations contributed towards its purchase including the Norwich Lions Club. Leo was on service for over twenty years and carried out many rescues throughout the years. Today the charitable Palling Voluntary Rescue Service runs a Humber 5.7 Pro RIB (19ft.) called Lionheart, powered by a Mercury 150hp outboard motor, giving her a top speed of 40 knots and a Arancia ILB (inshore lifeboat) named Lion Ros Clipston, powered by a 30 hp Tohatsu outboard motor, giving her a top speed of around 30 knots. Both boats cover the area between Eccles-on-Sea and Winterton-on-Sea.

Away from the sea, the villagers maintained an agricultural existence. There was also, for a time, some brick making. The bricks were transported by wherry along the New Cut to various Broadland staithes. The industry ended around the start of the 20th. century and the kilns dismantled.

   

relates to Sammy´s www.flickr.com/photos/196910382@N03/53321045230/in/dateta...

Uses: Anything relating to finance and money.

 

Free Creative Commons Finance Images... I created these images in my studio and have made them all available for personal or commercial use. Hope you like them and find them useful.

 

To see more of our CC by 2.0 finance images click here... see profile for attribution.

Today in Ireland and in the US new regulations relating to drones has been introduced [effective from the 21st of December 2015]. There are many similarities in the regulations but there is one major differences in that here in Ireland they have not mention the penalties for failure to register but in the US the cost of failure to register appears to be rather extreme … “civil penalties up to $27,500, or criminal penalties up to 3 years in prison and $250,000.” According to the minister the aim here in Ireland is to encourage drone users to be responsible citizens.

  

I have included the press releases from both administrations, have a read and see what you think.

  

Thursday, 17th December 2015: The Irish Aviation Authority (IAA) today announced a new drone regulation which includes the mandatory registration of all drones weighing 1kg or more from Monday, 21st December 2015.

 

The use of drones worldwide is expanding rapidly and there are estimated to be between 4,000 – 5,000 drones already in use in Ireland. Ireland has taken a proactive role in this fast emerging area and is currently one of only a handful of EU Member states that has legislation governing the use of drones.

 

The new legislation is intended to further enhance safety within Ireland and specifically addresses the safety challenges posed by drones.

 

From 21st December 2015, all drones weighing 1kg or more must be registered with the IAA via www.iaa.ie/drones. Drone registration is a simple two-step process. To register a drone, the registrant must be 16 years of age or older (Drones operated by those under 16 years of age must be registered by a parent or legal guardian). A nominal fee will apply from February 2016 but this has been initially waived by the IAA in order to encourage early registration.

  

Mr Ralph James, IAA Director of Safety Regulation, said

 

“Ireland is already recognised worldwide as a centre of excellence for civil aviation and the drone sector presents another major opportunity for Ireland. We’re closely working with industry to facilitate its successful development here. At the same time, safety is our top priority and we must ensure that drones are used in a safe way and that they do not interfere with all other forms of aviation.

 

Mr James explained that drone registration has been made a mandatory requirement as this will help the IAA to monitor the sector in the years ahead. The IAA encourages all drone operators to take part in training courses which are available through a number of approved drone training organisations.

 

“We would strongly encourage drone operators to register with us as quickly as possible, to complete a training course and to become aware of their responsibilities. People operating drones must do so in safe and responsible manner and in full compliance with the new regulations”, he said.

 

Welcoming the introduction of drone regulation, Minister for Transport, Tourism and Sport, Paschal Donohoe TD highlighted the importance of the new legislation and commended the IAA for the efficient manner to have the new registration system in place so quickly.

 

“The core safety message promoted today advocates the safe use of drones in civilian airspace. The development of drone technology brings opportunities as well as challenges for businesses and services in Ireland. I expect hundreds if not thousands of drones to be bought as presents this Christmas so getting the message to ensure that new owners and operators are aware of their responsibilities and the requirement to register all drones over 1 kg from 21st December 2015 is key. Tremendous potential exists for this sector and Ireland is at the forefront of its development. The speedy response by the IAA to this fast developing aviation area will make sure that drones are properly regulated and registered for use. As a result, Ireland is well placed to exploit the drone sector and to ensure industry growth in this area,” he said.

  

The new legislation prohibits users from operating their drones in an unsafe manner. This includes never operating a drone:

 

• if it will be a hazard to another aircraft in flight

• over an assembly of people

• farther than 300m from the operator

• within 120m of any person, vessel or structure not under the operator’s control

• closer than 5km from an aerodrome

• in a negligent or reckless manner so as to endanger life or property of others

• over 400ft (120m) above ground level

• over urban areas

• in civil of military controlled airspace

• in restricted areas (e.g. military installations, prisons, etc.)

• unless the operator has permission from the landowner for takeoff and landing.

  

For further information please visit www.iaa.ie/drones and see the IAA’s detailed Q&A sheet.

  

The Federal Aviation Administration has officially launched the drone registration program first reported in October. Drone operators are required to register their UAVs with the Unmanned Aircraft System registry starting December 21. Failure to register could result in criminal and civil penalties.

 

Under the new system, all aircraft must be registered with the FAA including those 'operated by modelers and hobbyists.' Once registered, drone operators must carry the registration certificate during operation. This new system only applies to drones weighing more than 0.55lbs/250g and less than 55lbs/25kg. The only exception to the registration requirement is indoor drone flights.

 

Required registration information includes a mailing address and physical address, email address, and full names; however, no information on the drone's make, model, or serial number is required from recreational users. Non-recreational users will need to provide drone information, including serial number, when that particular registration system goes live.

 

Failure to register could result in civil penalties up to $27,500, or criminal penalties up to 3 years in prison and $250,000. A $5 registration charge is applied, but will be refunded to those who register before January 20. The registration certificate is sent in an email to be printed at home.

Blog relating to this story .... peterjemmett.blogspot.com/2019/10/heart-attack-to-10k-par...

Bartolomeo Pinelli (1771-1835) - Telemachus Relates His Adventures to the Goddess Calypso, from The Adventures of Telemachus, Book 1 (1815)

 

www.artic.edu/artworks/17971/telemachus-relates-his-adven...

Tradition relates that it was St. James the Apostle who came to Spain to spread the Gospel. January 2nd, forty years following the birth of Our Saviour, says the legend, St. James was already in Saragossa, walking along the Ebro River with seven of his disciples whom he had chosen to help him to teach the faith.

 

While St. James walked with his brethren along the Ebro River and talked to them, Our Lady, then still on this earth, was in Jerusalem. She prayed ardently to her Son for the success of the mission of St. James because she knew about the great venture. And, as Mary prayed with much fervor, Jesus appeared to her and promised help to St. James. At the same time, He told His Mother that angels would take her to Spain to encourage the Apostle. And immediately the seraphs carried Our Lady through the skies over the Mediterranean to Saragossa where James the Apostle was kneeling at the banks of the Ebro. He suddenly saw a radiant light and then his ears were filled with heavenly music. All the disciples shared with him the beautiful vision. Mary appeared to them seated on a throne, borne by angels and while James the Apostle and the disciples gazed up at her, she smilingly told him that she had come to help. She then asked that a church be erected on the spot. And as evidence of her appearance, Our Lady took from the hands of one of the angels at her service a small column of jasper upon which there was placed a beautiful small statue of herself, carved in wood.

 

Then the apparition faded out.

 

The pillar with the statue, however, remained there in Saragossa and this is the statue of Our Lady of the Pillar venerated ever since in that Spanish city.

 

St. James succeeded in his mission though he died the death of a martyr. His earthly remnants are buried in the city of Santiago de Compostela and he is considered the patron saint of Spain.

 

Very soon after the vision accorded to St. James and the disciples, a modest chapel was built as Our Lady had requested. This chapel was eventually destroyed and many other churches and chapels shared the same fate; the pillar with the statue, however, remained intact. It is a fact that Romans, Goths, Moors, Vandals and other invaders could never desecrate or destroy the statue itself because the people of Saragossa defended it with fierce heroism. All the kings of Spain, many other foreign rulers and saints have paid their devotion before this statue of Mary. St. John of the Cross, St. Teresa of Avila, St. Ignatius of Loyola are among the most outstanding ones. The present church was built in 1686 by Charles II, King of Spain.

 

"The sentiment of the Saragossans toward their beloved Virgen del Pilar is far different from the ordinary devotion paid to a favorite saint. It is an inheritance from their forefathers, a love that is born with them, and ends only with their lives. It is interwoven with their patriotism, with their nationality, with their home life, and with their daily tasks and amusements… In their talks, she is the ever-recurrent theme, and in their patriotic songs, they acclaim her as the leader of their nation. Saragossans say that the church of the Virgen del Pilar was the first raised in her honor and will last as long as the faith."