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An upgrade to a new single line signalling system replacing the old token system taking place on the Knaresborough to York line. The photos show the signaller at Knaresborough having to walk to the platform ends to give/recieve the Cattal token, all of this has been done away with now.
The Point Perpendicular Lighthouse was established in 1899 to replace the inaccurately placed Cape St George Lighthouse.
The original 1860 lighthouse had been built in the wrong position due to inadequate supervision by the authorities of the day. It was not visible to the northern approach at Jervis Bay and failed to warn of offshore reefs.
Even though when the error was realised it was intended to show a light at Cape St George only as a temporary measure it was not until 1898, over 30 years later, that work began on its replacement on the northern side of the entrance to the bay.
This tower is believed to be a "first" in New South Wales. It is erected on a flat concrete base and is the first tower to be constructed of concrete blocks - made on the ground - lifted into position, then cement-rendered on both the inside and the outside.
This building technique eliminated the use of heavy scaffolding and shuttering which is necessary for the "concrete poured" construction of towers.
Most of the stores and materials for the new lighthouse were landed at Bindijine Wharf, constructed in 1898, on Honeymoon Bay inside the sheltered side of Jervis itself. They were then carted by house and cart to Point Perpendicular.
The original apparatus was vapourised kerosene, 100,000 cd with a range of 33 kilometres. The power was increased to 222,000 cd in 1909 and again to 316,000 in 1923. The light was converted to electric operation in 1964 with the installation of 2 diesel generators. When to light was finally replaced in 1993 the power was 1,200,000 cd.
The new "lattice" style tower is solar powered and the lightstation has been demanned.
There was much protest when the Department of Defence fenced off the area preventing public access to the lighthouse even though it had been agreed that access should continue. There have been mixed reports about what the current situation is though the restriction does seem to have been relaxed.
Also the keepers complex was put on the market at this time and it is also not known what the outcome has been.
The window above the main door is interesting as it displays the Waratah, the state flower of New South Wales, and the construction date of the tower.
The light was last lit by Ian Clifford on Saturday 17 November 1999 for the Seafarer's Festival Ball and to celebrate the centenary of Point Perpendicular.
ELEVATION: 93 metres
RANGE: 26 nautical miles (42 kilometres)
HEIGHT: 21.4 metres
On Saturday, July 30, workers replaced sections of the LIRR's Atlantic Avenue Viaduct at the Nostrand Avenue Station. The rehabilitation includes the strengthening and repair of existing column bases; complete replacement of the existing steel superstructure from mid-column upward, utilizing the existing column bases; installation of a new, improved track structure, complete painting of the structure and the installation of new and improved lighting under the viaduct. This is Phase 3 of LIRR's four-phase rehabilitation and replacement of the viaduct and the Nostrand Avenue station. The viaduct, which was built in 1901, carries 25,000 people per weekday between Jamaica and downtown Brooklyn. Photo by Metropolitan Transportation Authority / Patrick Cashin.
Brief note, November 2010: I have replaced the original shot with a reworked copy. This tries to remove some of the yellow spots, and various colour casts that were on the original. The new Photoshop Auto Align Layers works much better than previously, and seems to be able to conform the plates to one another much better, correcting for some of the distortion that can be introduced by the differential shrinkage of the emulsions. I've also done a slight bit of re-contrasting here and there, and changed the title to reflect Slava's comments (Tkx!).
There still is a town called Gunib in Dagestan, and interestingly, it is the place where Shamil (third imam of Dagestan and leader of a rebellion against the Russians) surrended to Russian forces, and was for a while imprisoned. SPG has several photographs depicting Shamil's place of imprisonment, and shows again his fondness for juxtaposition; Gunib is a part of the Russian Empire, but also a site commemorating rebellions against the autocracy.
What's interesting about the composition, for me, are the strong verticals of the poplar trees, clearly planted as windbreaks to shelter the houses, and the verticals of the deeply eroded gullies in the mountainous background, criss-crossed with many many terraced fields. For this is, in spite of what a cursory look might argue, a deeply socialized landscape, with the land back as far as one can see being worked, and clearly having been worked for a long time.
The light is afternoon, so we are likely facing south, and the (relatively) long shadows allow us to guess that it is getting on towards the later end of the day, closing in on suppertime. And in spite of much minute examination of the shot, I still can't see the Church which Slava says he can see.
We had a weekend in Borrowdale recently, a Christmas present that we tagged a day on to. After calling at work on Saturday morning to open for business we headed up the motorway to Penrith. The road through the central lakes was washed away in the recent floods and it is going to be a long job replacing it. This made the diverted journey around 145 miles but we had a good run up there. We wanted to get walking ASAP so we pulled in at Threlkeld with a view to heading up Clough Head, and subject to conditions, head over the Dodds and back by the Old Coach Road. We had left appalling weather at home, wind, rain, fog and sleet on the tops. Thankfully it was better further north. There was laying snow on the summits, it was fairly calm low down and some summits were cloud free.
We left the car at 11.10 in our winter gear, straight up through the quarries and the steep scree slope (another Red Screes), by now we were into the snow line. The cloud was down, the wind gale force and the summit frozen hard – a different world up here. South next to Calfhow Pike, the wind made it difficult to talk and it was around -4 so the there was a fair wind-chill factor. It was tough going to our next top – Great Dodd, part of the Helvellyn massif – It was to icy to walk in places which meant deviating from the path, and losing our bearings, visibility was around ten yards with spindrift creating a whiteout at times. We battled on to the top and found the summit cairn. Great Dodd isn’t the easiest top to find your way off in low visibility, we would have gone further but in these conditions it was pointless so we retraced our steps to Calfhow and clear conditions. From here we followed Mosedale beck to Mariel Bridge, which is on the Old Coach Road, this gave us a circular route back to our start. The Old Coach Road has been wrecked by the floods and the 4x4 off roaders are making it a lot worse. 9.25 miles in 3 ¼ hours and we were in Brysons Tearooms in Keswick for Coffee and cake by 3.45pm. We carried on to Borrowdale and checked in at our hotel, not a bad day really.
After a poor night in a poor bed we were breakfasted and out for 8.30. We drove the few miles up to Seatoller and we were kitted up and away at 9.10. A bitterly cold and icy morning, there was some sun but not as much as promised. We could see the summit of Great End covered in cloud, we were heading up there on to the Sca Fell massif. We followed the valley to the east of Seathwaite Fell, a new path for us. Once in the snow the going was very icy with the path ice covered in places. The snow was dry and powdery and in places it had blown over the underlying ice. At this point I might add, we do own crampons. After a winter of splashing around soaked we didn’t expect to need them and they were at home – very clever! This was our first real winters day this winter, other than an hour on Sca Fell Pike on Christmas Day, we haven’t seen winter conditions this winter. By the time we got to Esk Hause it was difficult to stay upright and on our way to Great End we had to pick our way very carefully around the worst of the ice. The spindrift made it difficult to see the ground at times, spinning around our feet in a mist. Once on the summit the cloud was thick and the wind speed high. We had been here fairly recently so I knew the layout of the summit and we had little difficulty finding the summit cairn. We were cursing our lack of crampons and the cloud. Instead of heading into the cloud along the Sca Fell Pike path we decided to get under the cloud, back to Esk Hause and head over Allen Crags and Glaramara. At this point we both took some heavy falls, as did others up there, a lot turned around and headed back down, it was deadly. The cloud had thickened, there wasn’t a ray of sun to soften things. Our chosen route was one of the hardest afternoons we had ever had. Everywhere was frozen solid, we had to kick toe or heel holes to move on slopes that we wouldn’t have broken stride on normally. Minor rock scrambles down steep crags had become life threatening in places and we proceeded with extreme care. The knees were creaking on the long descent to Seathwaite. 10.3 miles in six hours, almost half the speed of yesterday. We made it Keswick for afternoon tea – and bought some Micro Spikes for unfinished business to deal with tomorrow. A beautiful day was forecast so fingers crossed we headed back for a soak in the tub.
Day three, a gorgeous icy, sunny winters day. Things looked promising. We left along yesterday’s route at the same start time – with walking poles and Micro Spikes! At the top of the valley we met a guy who had set off before us, two guys known to him were picking their way through the crags, tiny specks on the 800 foot rocky crag. Some appeared to have tried to climb the snow filled chimney that runs to the summit but we heard later that conditions weren’t suitable. Even though it was minus four the sun had softened the snow just enough to get a grip and it was easier to avoid the worst of the ice, unlike yesterday. The summit of Great End was incredible with never ending vistas. We could see a steady stream of walkers on every path by now. Word had got out that we were in for a rare treat today, plus it was school half term so a lot of people were off work. I visited every possible viewpoint as we went to the summit of Ill Crag , Broad Crag and finally Sca Fell Pike. It was 1.00 PM by now and a steady stream of elated walkers were arriving on England’s highest point. It was bitter but beautiful. We had around five miles back to the car along the Corridor Route to Styhead, Stockley Bridge and Seathwaite. Part of this route we had covered recently on Christmas Day and despite the snow and ice we powered along. We would have been back in two hours but! A mile from the car, following the manmade path down Taylorgill Force to Stockley Bridge Jayne Stumbled. It’s not often she walks in front. I normally lead and relay instructions and warnings back to her. She hit the rock path with her head and face really hard, stunned, she rolled off the path over a drop. She was vertical, resting on a rock on her knees and clinging on to the edge of the path with her fingertips. I grabbed her rucksack and held her whilst I checked her injuries. She had a bad bump on her temple, another on her forehead, split the bridge or her nose, her glasses had gone flying but would straighten. Being left handed she had stuck her left hand out and it had been bent back, it was swelling and discolouring pretty fast. When I had established that nothing was serious enough to stop her moving I got her back on to the path to see to her injuries. The pain initially made her think that she was in a worse state than ( I thought) she really was. She could move her fingers and wrist, albeit with some pain but not enough for it to be broken. The wound to the bridge of her nose although very painful wasn’t going to be a problem. The bumps on her head were turning into eggs by now. I gave her Ibuprofen and Paracetemol and she sat and composed herself for the final mile. We made it to the café in Keswick and got a slightly later afternoon break, our first of the day again. 11.3 miles today in 6 ¼ hours and fairly tough going. It was nothing more than a careless, tired perhaps, stumble on one of the horrible ( our own opinion, I might add) manmade paths made out of irregular stones which are laid at odd angles and are a nightmare to descend when wet on tired legs. A few days later and Jayne is sat on reception at the doctors looking like she’s been boxing, with a purple eye and nose, her left hand swollen and purple – otherwise she’s OK. I came down with mild food poisoning during the night and had to drive 145 miles home at 8.00 the morning after feeling extremely ill. I was due to start fasting for a Colonoscopy in three days. I ended up eating six slices of toast over a four day period – Monday evening to Thursday evening- Having had over 40 stomach endoscopies in twenty years the colonoscopy was nothing more than uncomfortable and , subject to biopsy results, everything looked OK. The trapped wind was another matter – for two days! All in all a very traumatic week. Needless to say we didn’t use the Micro Spikes.
In 1944, Fairchild Aircraft won the contract for an aircraft that would replace the prewar C-46 Commando and C-47 Skytrain transports. Fairchild’s design, which would become the C-82 Packet, utilized an unusual high wing with twin tail booms, with the fuselage between. This gave the Packet a large, uncluttered fuselage space for cargo storage. It was also unstable and underpowered. To address these problems, Fairchild redesigned the Packet as the XC-82B, but the new version was so different that it was a new aircraft, and thus it was redesignated C-119 Flying Boxcar, for its fuselage shape. The C-119, which quickly acquired the nickname “Dollar Nineteen,” was larger than the C-82, equipped with more powerful engines and a strengthened airframe, and moved the cockpit from above the fuselage to the nose, improving pilot visibility and handling. It retained the Packet’s rear clamshell doors, allowing equipment to be loaded directly into the aircraft.
US Air Force crews assigned to C-119s still considered them one level above a deathtrap, remarking that it was good that it was designed to drop paratroopers, since the plane would crash anyway. The C-119 could still struggle into the air when it was fully loaded (later C-119 users, such as Canada and India, would equip their aircraft with a jet engine mounted atop the wings), and the loss of an engine would usually result the aircraft diving into the ground. Nonetheless, it could carry more cargo than any other aircraft of its time, including 65 paratroopers fully loaded, and if it took awhile to win converts, the Flying Boxcar was to prove its worth. The C-119 was first used in Korea as a general cargo aircraft and paratroop carrier, participating in the limited number of combat drops of the Korean War.
Several USAF aircraft were loaned to the CIA and used to resupply the besieged French garrison at Dien Bien Phu in 1954 before it was overrun; others were modified with the Fulton Recovery System and used to snag photographic capsules from Discoverer reconnaissance satellites beginning in 1960, marking the first time such an object had been recovered from space. As the C-130 Hercules replaced the Flying Boxcar in the late 1950s, it would be passed on to friendly nations, and eventually 24 air forces would fly C-119s. The last C-119s would not leave military service with the Republic of China Air Force until 2002, and many were converted after being withdrawn from other air forces into firefighting aircraft, though these have since been grounded. A few small Alaskan air cargo companies still fly C-119s in revenue service. Of the 1183 produced, 64 aircraft are preserved in museums in military colors.
This is C-119C 49-0199, on display at the Castle Air Museum near Atwater, California. Surprisingly, almost nothing can be found about this aircraft's USAF career, other than it entered service around 1950 and was retired in 1969. It was sold to Aero Union for conversion into a firefighting aircraft, and would fight fires for both Aero Union and Hemet Valley until 1999, when it was finally withdrawn from service; during its second career, it was fitted with a jet engine above the fuselage. 49-0199 was donated to Castle, still in its firefighting markings. By 2007, the aircraft was repainted back to its USAF appearance of the late 1950s, with white uppersurfaces, and light gray replacing bare metal.
When I visited in May 2021, the sun was beginning to take its toll on 49-0199, with the markings faded. Castle has been steadily repainting its aircraft, so I imagine it won't be long before 49-0199 gets a fresh coat of paint. I wish I could find more about this aircraft: all of them have a story.
Hornfels with pinite (= muscovite mica replacing intergrown cordierite-indialite; “cherry blossom stones”), Tamba Group, Mesozoic (Triassic to lowermost Cretaceous), ~98 m.y. contact metamorphic date.
Locality: at or near Ashio, Tochigi Prefecture, Honshu Island, central Japan
(Limper Geology Museum specimen, Miami University, Oxford, Ohio, USA)
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One of the most famous & visually intriguing geologic materials collected in Japan is the cherry blossom stone. These interesting structures have a complex geologic history.
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What are they now?
Cherry blossom stones are relatively small, subhexagonal-shaped masses of fine-grained muscovite mica that show a flower-like pattern in transverse cross-section.
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What did they used to be?
The muscovite mica is not the original material making up these structures. Before the growth of muscovite mica, these were complex intergrowths of six cordierite crystals and one indialite crystal. So, cherry blossom stones represent muscovite mica replacing cordierite-indialite (muscovite pseudomorphs after cordierite-indialite). Such complex pseudomorphs have been referred to as pinite.
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What is the host rock?
Cherry blossom stones are hosted in a matrix of hornfels, a fine-grained, contact metamorphic rock. Hornfels form by intense alteration (heating & chemical alteration) of shales by nearby lava or magma.
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How did they form?
The hornfels host rocks were originally fine-grained siliciclastic sedimentary rocks (shales) of the Tamba Group (Triassic-Jurassic-lowermost Cretaceous). In the mid-Cretaceous (early Cenomanian Stage, ~98 m.y.), underground igneous activity resulted in granites and granodiorite intrusions altering the shales into hornfels by contact metamorphism. These hornfels had decent-sized masses of intergrown cordierite-indialite.
Indialite is a magnesium aluminosilicate mineral (Mg2Al4Si5O18). Cordierite is an iron magnesium aluminosilicate mineral ((Fe,Mg)2Al4Si5O18). The subhexagonal-shaped masses of cordierite-indialite in the hornfels consist of seven individual crystals. At the center of each mass is a dumbbell-shaped indialite crystal - very narrow at the center, and relatively wide at the ends (look at the varying sizes of the center hexagon in the cherry blossom stones in this photo album). Surrounding the indialite crystal are six prism-shaped cordierite crystals. They are widest at the center of each cherry blossom stone and narrowest at the ends.
A second metamorphic event altered the cordierite-indialite masses. Hydrothermal metamorphism resulted in fine-grained muscovite mica replacing the original minerals.
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Much info. from:
Rakovan et al. (2006) - Sakura Ishi (cherry blossom stones): mica pseudomorphs of complex cordierite-indialite intergrowths from Kameoka, Kyoto Prefecture, Japan. in Minerals from Japan. Rocks & Minerals Reprint 2006: 31-39.
Replacing an earlier scanned photo with a better version 20-Oct-16, plus Topaz DeNoise AI 05-Jun-25
With additional 'Continental Connection' sticker by the passenger door.
It could hardly be described as one of the iconic signalling facilities in the area, much the same as the Sheffield P.S.B. with its block-house, barrow, slitty windows and no view over the railway scene there; this one, in a different way, has the same outlook, though here it is the blinds which are a hindrance to the passing traction below. Today it just happens to be something reasonably interesting and there are times when steam railtours also pass this way; nothing like what it used to be here when Barnsley had its shed, over on the right behind the RHTT set and coded 36D in BR days and latterly as part of BR Eastern Region, 41G; this was all swept away in the early 60s to make way for an additional platform in the old Exchange Station which was eventually revamped, after which came the building of the bus station in what eventually was developed into Barnsley Interchange under the progressive control of the SYPTE, the South Yorkshire Passenger Transport Executive. The level crossing at the other side of the Barnsley PSB is well known, 'Jumble Lane Crossing' and it must be getting irksome to the locals and the traffic these days, even with only 7 or 8 passenger stock moves an hour, 4 in each direction, and in a 'bad' hour that would mean the gates going up and down about every 7 minutes... ArfaDint has already made a comment in regard to this, below these pictures and it would be interesting to know what the solution would be, a flyover would have been hard to get into this space either side of the crossing; a footbridge is another matter, with a new road elsewhere where space permits? This is the 3rd day of the 'Leaf Fall' season, RHTT, but not the third run of this move as it failed on Monday at Wakefield Kirkgate, just before it was supposed to come along here and there was no run yesterday, Tuesday; today, with DRS class 20302 on the rear, all seems to be well. This is the 3S14, Grimsby Town via Sheffield for a driver change of end, to Bridlington and then on from there back to York Thrall Europa for around 21:42. In the picture on the right, the 'new' A61 dual carriageway dominates the background. It crosses the area and is here located at the place where the GCR's old line into the old Barnsley Court House station started to cross, at a very shallow angle, the Midland's line into Exchange; the two station's were 'spitting distance', 150m, apart, if you can, and would want, to spit that far! The GC lines would have crossed and come directly towards the camera on a multi-arch bridge and so this photograph would not have been possible, but of course, there would a have been a large amount of other stuff to photograph here, in the 1950s & 1960S! The DRS class 20, 20303, which was brought up from Barrow Hill yesterday, to replace what now looks like 20308, as today, Friday the 21st, the RHTT set is out with 20303 & 20305. The 20302 is on the rear of the set, and looking a bit cleaner than the rest of the consist, including the leading 20312; the steam and Sandite equipment to spray the rail-head, doesn't appear to be on here, though it isn't usually switched on through a station, for obvious reasons.
Replacing and earlier scanned photo with a better version, plus Topaz DeNoise AI 24-Feb-24.
Usually, A310-200's didn't come with 'wing fences', however, Hapag-Lloyd had them fitted to their A310-200's. I think they were the only airline to do so.
First flown with the Airbus test registration F-WWBO, this aircraft was delivered to Hapag Lloyd as D-AHLX in Dec-88. Hapag-Lloyd was renamed Hapagfly .com in Apr-05.
The aircraft was sold to Cramlington Services in Mar-06 and ferried to Maastricht, Netherlands for repaint in S7 Siberia Airlines livery. It was leased to S7 Airlines as VP-BTL in Jun-06.
It was withdrawn from service and stored at Amman-AMM, Jordan in early 2011 and was last noted still there in Jan-16 with many parts missing. It was broken up at Amman in 2019.
We had a weekend in Borrowdale recently, a Christmas present that we tagged a day on to. After calling at work on Saturday morning to open for business we headed up the motorway to Penrith. The road through the central lakes was washed away in the recent floods and it is going to be a long job replacing it. This made the diverted journey around 145 miles but we had a good run up there. We wanted to get walking ASAP so we pulled in at Threlkeld with a view to heading up Clough Head, and subject to conditions, head over the Dodds and back by the Old Coach Road. We had left appalling weather at home, wind, rain, fog and sleet on the tops. Thankfully it was better further north. There was laying snow on the summits, it was fairly calm low down and some summits were cloud free.
We left the car at 11.10 in our winter gear, straight up through the quarries and the steep scree slope (another Red Screes), by now we were into the snow line. The cloud was down, the wind gale force and the summit frozen hard – a different world up here. South next to Calfhow Pike, the wind made it difficult to talk and it was around -4 so the there was a fair wind-chill factor. It was tough going to our next top – Great Dodd, part of the Helvellyn massif – It was to icy to walk in places which meant deviating from the path, and losing our bearings, visibility was around ten yards with spindrift creating a whiteout at times. We battled on to the top and found the summit cairn. Great Dodd isn’t the easiest top to find your way off in low visibility, we would have gone further but in these conditions it was pointless so we retraced our steps to Calfhow and clear conditions. From here we followed Mosedale beck to Mariel Bridge, which is on the Old Coach Road, this gave us a circular route back to our start. The Old Coach Road has been wrecked by the floods and the 4x4 off roaders are making it a lot worse. 9.25 miles in 3 ¼ hours and we were in Brysons Tearooms in Keswick for Coffee and cake by 3.45pm. We carried on to Borrowdale and checked in at our hotel, not a bad day really.
After a poor night in a poor bed we were breakfasted and out for 8.30. We drove the few miles up to Seatoller and we were kitted up and away at 9.10. A bitterly cold and icy morning, there was some sun but not as much as promised. We could see the summit of Great End covered in cloud, we were heading up there on to the Sca Fell massif. We followed the valley to the east of Seathwaite Fell, a new path for us. Once in the snow the going was very icy with the path ice covered in places. The snow was dry and powdery and in places it had blown over the underlying ice. At this point I might add, we do own crampons. After a winter of splashing around soaked we didn’t expect to need them and they were at home – very clever! This was our first real winters day this winter, other than an hour on Sca Fell Pike on Christmas Day, we haven’t seen winter conditions this winter. By the time we got to Esk Hause it was difficult to stay upright and on our way to Great End we had to pick our way very carefully around the worst of the ice. The spindrift made it difficult to see the ground at times, spinning around our feet in a mist. Once on the summit the cloud was thick and the wind speed high. We had been here fairly recently so I knew the layout of the summit and we had little difficulty finding the summit cairn. We were cursing our lack of crampons and the cloud. Instead of heading into the cloud along the Sca Fell Pike path we decided to get under the cloud, back to Esk Hause and head over Allen Crags and Glaramara. At this point we both took some heavy falls, as did others up there, a lot turned around and headed back down, it was deadly. The cloud had thickened, there wasn’t a ray of sun to soften things. Our chosen route was one of the hardest afternoons we had ever had. Everywhere was frozen solid, we had to kick toe or heel holes to move on slopes that we wouldn’t have broken stride on normally. Minor rock scrambles down steep crags had become life threatening in places and we proceeded with extreme care. The knees were creaking on the long descent to Seathwaite. 10.3 miles in six hours, almost half the speed of yesterday. We made it Keswick for afternoon tea – and bought some Micro Spikes for unfinished business to deal with tomorrow. A beautiful day was forecast so fingers crossed we headed back for a soak in the tub.
Day three, a gorgeous icy, sunny winters day. Things looked promising. We left along yesterday’s route at the same start time – with walking poles and Micro Spikes! At the top of the valley we met a guy who had set off before us, two guys known to him were picking their way through the crags, tiny specks on the 800 foot rocky crag. Some appeared to have tried to climb the snow filled chimney that runs to the summit but we heard later that conditions weren’t suitable. Even though it was minus four the sun had softened the snow just enough to get a grip and it was easier to avoid the worst of the ice, unlike yesterday. The summit of Great End was incredible with never ending vistas. We could see a steady stream of walkers on every path by now. Word had got out that we were in for a rare treat today, plus it was school half term so a lot of people were off work. I visited every possible viewpoint as we went to the summit of Ill Crag , Broad Crag and finally Sca Fell Pike. It was 1.00 PM by now and a steady stream of elated walkers were arriving on England’s highest point. It was bitter but beautiful. We had around five miles back to the car along the Corridor Route to Styhead, Stockley Bridge and Seathwaite. Part of this route we had covered recently on Christmas Day and despite the snow and ice we powered along. We would have been back in two hours but! A mile from the car, following the manmade path down Taylorgill Force to Stockley Bridge Jayne Stumbled. It’s not often she walks in front. I normally lead and relay instructions and warnings back to her. She hit the rock path with her head and face really hard, stunned, she rolled off the path over a drop. She was vertical, resting on a rock on her knees and clinging on to the edge of the path with her fingertips. I grabbed her rucksack and held her whilst I checked her injuries. She had a bad bump on her temple, another on her forehead, split the bridge or her nose, her glasses had gone flying but would straighten. Being left handed she had stuck her left hand out and it had been bent back, it was swelling and discolouring pretty fast. When I had established that nothing was serious enough to stop her moving I got her back on to the path to see to her injuries. The pain initially made her think that she was in a worse state than ( I thought) she really was. She could move her fingers and wrist, albeit with some pain but not enough for it to be broken. The wound to the bridge of her nose although very painful wasn’t going to be a problem. The bumps on her head were turning into eggs by now. I gave her Ibuprofen and Paracetemol and she sat and composed herself for the final mile. We made it to the café in Keswick and got a slightly later afternoon break, our first of the day again. 11.3 miles today in 6 ¼ hours and fairly tough going. It was nothing more than a careless, tired perhaps, stumble on one of the horrible ( our own opinion, I might add) manmade paths made out of irregular stones which are laid at odd angles and are a nightmare to descend when wet on tired legs. A few days later and Jayne is sat on reception at the doctors looking like she’s been boxing, with a purple eye and nose, her left hand swollen and purple – otherwise she’s OK. I came down with mild food poisoning during the night and had to drive 145 miles home at 8.00 the morning after feeling extremely ill. I was due to start fasting for a Colonoscopy in three days. I ended up eating six slices of toast over a four day period – Monday evening to Thursday evening- Having had over 40 stomach endoscopies in twenty years the colonoscopy was nothing more than uncomfortable and , subject to biopsy results, everything looked OK. The trapped wind was another matter – for two days! All in all a very traumatic week. Needless to say we didn’t use the Micro Spikes.
I have been through the village many times, but not found the church ope, but after driving by recently, I saw the west porch door open, so found a place to park nearby.
The church stands on high ground over the village's famous ford, and beside what was once the high road, but is still busy.
The porch is underneath the tower on the west end of the church, and upon entering the building is filled with light. The pews have been replaced by modern seating, an there is a fairly new alter, but the apse is clean and light.
A couple were visiting from up north, and were delighted to have met another visitor, especially one who has visited close to 350 Kentish churches.
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Sitting on high ground above the famous ford, this is a light and well cared for church. Saxon in origin, but with a character now of the thirteenth century, it is currently (2005) being reordered to make it more adaptable. Already the north aisle is not part of the church but proposals to remove pews and change the layout will result in an even more flexible space. The finest part of the church is the south transept - with its very tall lancet windows and modern altar.
www.kentchurches.info/church.asp?p=Eynsford
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EYNSFORD.
SOUTHWARD from Farningham lies Eynsford, sometimes written Aynsford, so named from a noted ford here over the river Darent.
THIS PARISH extends about four miles from east to west, and about three miles from north to south; on the north side it reaches almost up to the village of Farningham, near to which stood the antient mansion of Sibell's; and towards the west, over the hills, by Wested-farm and the obscure and little known hamlet of Crockenhill, both within its bounds, among a quantity of woodlands. The soil is in general chalky, except towards the west, where there is some strong heavy land. The village of Eynsford, through the eastern part of which the high road leads from Dartford through Farningham, and hence towards Sevenoke, is situated near the south-west bounds of the parish, in the valley on the banks of the Darent; over it there is a bridge here, repaired at the public charge of the county. At the north end of the village, near the river, are the remains of Eynsford castle, (fn. 1) and at the south end of it the church; beyond which this parish extends southward, on the chalk hills, a mile and an half; where, near the boundaries of it, is Afton lodge.
THIS PLACE was given to Christ church, in. Canterbury, in the time of archbishop Dunstan, who came to the see in 950, by a certain rich man, named Ælphege; after whose death one Leossune, who had married the widow of Eadric, Elphege's nephew, retained this land as his own, notwithstanding this devise of it. Upon which the trial of it was appointed at Ærhede, before Uulsi, the priest seir-man, or judge of the county, in presence of archbishop Dunstan, the parties themselves, the bishops of London and Rochester, and a multitude of lay people; and there, in the presence of the whole assembly, the archbishop taking the crossin his hand, made his oath upon the book of the ecclesiastical laws to the scir-man, who then took it to the king's use, as Leossune himself refused to receive it, that the right use of these lands was to Christ church; and as a farther confirmation of it to future times, it had the ratification of a thousand of the choicest men out of Suthex, Westsex, Middlesex, and Eastsex, who took their oaths also on the cross to the truth of it after him. (fn. 2)
At the time of taking the general survey of Domesday, Eynesford was held of the archbishop of Canterbury, by knight's service, and accordingly it is thus entered, under the general title of Terra Militum Archiepi, in that record.
Ralph Fitz Unspac holds Ensford of the archbishop. It was taxed at six suling. The arable land is. In demesne there are five carucates and 29 villeins, with nine borders, having 15 carucates. There are 2 churches and nine servants, and two mills of 43 shillings, and 29 acres of meadow; wood for the pannage of 20 hogs. In the time of king Edward the Confessor it was worth 16 pound, and now it is worth 20 pounds.—Of this manor Richard de Tonebridge holds as much wood as 20 bogs may go out from, and one mill of five shillings, and one fishery in this lowy.
In the reign of king Henry II. a family of the name of Eynsford was in the possession of this place, one of whom. William de Eynesford, was sheriff of London in that reign. (fn. 3) They bore for their arms, A fretty ermine, which coat is carved on the roof of the cloisters, at Canterbury. William de Eynesford, whether the same as above mentioned does not appear, held the MANOR and CASTLE of Eynsford of the archbishop, at which time archbishop Becket, having given the church of Eynsford to one Laurence, William de Eynesford dispossessed him of it, for which he was excommunicated by the archbishop, which offended the king exceedingly; (fn. 4) another of the same name possessed this manor and castle in the 12th and 13th years of king John. (fn. 5) In the reign of king Edward I. this estate was become the property of the family of Criol, in the 21st year of which, as appears by the Tower records, John de Criol and Ralph de Sandwich claimed the privileges of a manor here; Nicholas de Criol, a descendant of this John, died possessed of it, anno 3 king Richard II. (fn. 6) after which it passed by sale to the Zouches, of Harringworth. William Zouche died possessed of it in the 5th year of that reign, and left three sons, Sir William le Zouche of Braunfield, Edmund. and Thomas; which last and this castle and manor, of which he was possessed at his death, anno 6 king Henry IV. (fn. 7) After which it passed into the name of Chaworth; and Elizabeth, wife of William Chaworth, was found to die possessed of it in the 17th year of king Henry VII. Soon after which, it was conveyed by sale to Sir Percival Hart, of the body of Henry VIII. His son, Sir George Hart, died anno 22 queen Elizabeth possessed of this castle and manor, with the mill, called Garsmill, holding them of the king, as of his manor of Otford, by knights service; (fn. 8) since which they have descended in the same manner that Lullingstone has, to Sir John Dixon Dyke, bart. the present possessor of them.
There are large ruins still remaining of Eynsford castle. The walls, which are built of squared flint, are near four feet thick, being entire for near forty feet in height. The circuit of these walls are of a very irregular form, and contain about three quarters of an acre of ground, in the middle of them is a strong keep or dungeon. It stands at a small distance eastward from the river Darent, between which and the castle, as well as for the same space about it, there is much rubbish and foundations of buildings, and there are remains of a broad moat round it, now quite dry.
Many lands in Eynsford are held of this manor by annual quit rents. A constable is chosen at the court leet, held for it, for the liberty of Eynsford, which extends over the parish of Eynsford, and great part of the south side of Farningham-street.
SOUTH-COURT is a manor here, which was antiently part of the estate of the family of Eynesford, already mentioned, and was formerly parcel of Eynsford-castle. John de St. Clere possessed this manor in the 20th year of king Edward III. at which time he paid aid for it. In the reign of king Henry VII. it was come into the name of Dinham; and John Dinham died possessed of the manor of South-court, with its appurtenances, in Eynsford, which he held of the archibshop, as of his manor of Otford, by knights service, in the 17th of king Henry VIII. (fn. 9) From Dinham it passed by sale to Sir Thomas Wyatt of Allington-castle, from which family it was sold to Hart; and Sir John Hart, son and heir of Sir Percival Hart, knight of the body to king Henry VIII. (fn. 10) died possessed of it in the 22d year of queen Elizabeth, holding it of the queen, as of her manor of Otford, by knight service.
Since this unity of possession, the style of these manors has been, the castle and manor of Eynsford cum Southcourt; by which title they have descended, in the same manor as Lullingstone, to Sir John Dixon Dyke, bart. the present possessor of them.
The MANOR of ORKESDEN, the mansion of which is now called, by corruption, Aston-LODGE, was antiently possessed by a family, who took their surname from their residence here. William de Orkesden, in the 12th and 13th years of king John's reign held half a knight's see in Eynsford, by knight's service of the archbishop. He was one of the Recognitores Magna Assise, or justices of the Great Assize. (fn. 11)
In the reign of king Edward III. Reginald de Cobham was become possessed of this manor; in the 14th year of which he obtained a charter of free warren in all the demesne lands within his lordship of Orkesdenne; and in the next year he obtained licence to castellate his house here. He was son of Reginald de Cobham, who was son of John de Cobham of Cobham, by his second wife, Joane, daughter of Hugh de Nevill. (fn. 12)
This Reginald de Cobham was a great warrior; and in the 18th year of king Edward III. was constituted admiral of the king's fleet, from the Thames mouth westward. In the 20th of king Edward III. he paid aid for one quarter of a see in Orkesden, which he held of William de Eynesford, as of his manor of Eynsford. He died of the pestilence in the 35th year of that reign possessed of this manor, leaving Regihald his son and heir, and Joane his wife, daughter of Sir Maurice de Berkeley surviving, who possessed this manor at her death, anno 43 king Edward III. (fn. 13) Her son, Reginald, was lord of Sterborough, castle, in Surry, from whence this branch of the Cobhams was henceforward called, Cobhams of Sterborough-castle. (fn. 14)
His grandson, Sir Thomas Cobham, left a sole daughter and heir, Anne, who carried this manor in marriage to Sir Edward Borough, who survived him, and died possessed of it in the 20th year of king Henry VIII. then holding it of the lord Zouche, as of his manor of Eynsford, by knights service. (fn. 15)
Thomas, their son and heir, was summoned to parliament, as lord borough, anno 21 Henry VIII. He left Thomas his son and heir, who bequeathed this manor of Orkesden to his youngest son, Sir William Borough; and he, in the beginning of queen Elizabeth's reign, passed it away by sale to Francis Sandbache, esq. who sold it to John Lennard, esq. custos brevium of the court of common-pleas, who purchased it for his second son, Samuel Lennard, who was afterwards knighted, and was of West Wickham, in this county. On his death, in 1618, he was succeeded here by his son, Sir Stephen Lennard, who was created a baronet in 1642; he sold it to Richard Duke, esq. from whom it passed to Nathaniel Tench, esq. who died in 1710, and was buried at Low Leyton, in Essex. His only surviving son, Fither Tench, was created a baronet in 1715. (fn. 16) and died possessed of Orkesden manor in 1736; soon after which it was conveyed by sale to Percival Hart. esq. of Lullingstone, whose grandson, Sir John Dixon Dyke, bart. is the present owner of it.
Many lands in Eynsford, Lullingstone, and Sevenoke, are held of this manor by small annual quit rents.
On the western side of this parish, next to St. Mary Cray, lies the HAMLET of CROCKENHILL, which, as appears by a writ, Ad quod damnum, brought against the prioress of Dartford, in the 11th year of king Edward IV. was in the possession of that prioress and convent; with whom it staid till their suppression, in the reign of king Henry VIII. when their lands and revenues were surrendered into the king's hands; all which were confirmed to him and his successors by the general words of the act of the 31st of his reign, the year after which the king granted to Percival Hart, esq. among other premises, the manor of Crekenhill, alias Crokenhill, with its appurtenances, to hold of him in capite by knights service. (fn. 17) His son, Sir George Hart, of Lullingstone, died possessed of it, being then stiled Crockenhill, alias Court-hawe, in the 22d year of queen Elizabeth, holding it by the above tenure. Since which it has descended, in the same manner as the rest of his estates in this parish, to Sir John Dixon Dyke, bart. the present possessor of it.
This manor pays a yearly fee-farm rent to the crown of eleven shillings and five-pence.
LITTLE-MOTE and PETHAM-COURT are two manors, situated at the two opposite sides of this parish; the former being at the north east corner of it, near Farningham; and the latter at the north-west corner of it, near adjoining to Crokenhill and St. Mary Cray. These manors were, for many generations, part of the possessions of the family of Sibell, who resided at a mansion, called after them Sibell's, situated in Little or Lower Mote, and bore for their arms, Argent, a tiger gules, viewing himself in a glass or mirror, azure. Their estate here was much increased in the reign of king Henry VIII. by one of them marrying the female heir of Cowdale. These Cowdales bore for their arms, Argent, a chevron gules between three cows heads caboshed sable; which coat, both impaled and quartured with Sybill, Philipott says was remaining in the mansion here, both in painted glass and carved work, in his time. (fn. 18)
One of this family, John Sibell, died in the 17th year of queen Elizabeth, possessed of these estates, and also of the demesne lands of the manor of Hiltes bury; all which were held of the manor of Eynsford. He left an only daughter and heir, Elizabeth, and Jane his wife surviving, who held these estates for her life, and afterwards married Francis Hart, esq.
Elizabeth Sibell, the daughter, in the 24th year of queen Elizabeth, married Robert Bosevile, esq. afterwards knighted, the younger brother of Henry Bosevile of Bradborne, and son of Ralph Bosevile, of that place, clerk of the court of wards; and he, on her mother's death, became, in her right, possessed of Sibell's, with the manors of Littlemote and Petham. His descendant, Sir Thomas Bosevile, was of Littlemote, and had been a colonel in the king's army, and knighted by king Charles I. at Durham, in May 1642. He died the next year, and was buried in St. Mary's church, Oxford. (fn. 19) By Sarah, his wife, who afterwards married Col. Richard Crimes, he had a son, Thomas, who possessed these manors and Sibell's on his father's death. He married Elizabeth, only daughter of Sir Francis Wyat, of Boxleyabbey, and died in 1660, leaving an only daughter and heir, Margaretta, who carried the manor of Petham-court in marriage to Sir Robert Marsham, bart. of Bushey-hall, in Hertfordshire; and his great grand son, the Right Hon. Charles Marsham, lord Romney, is the present possessor of it.
But the manor of Littlemote, with Sibell's, became the property of Sir Henry Bosevile, who died in 1702, (fn. 20) without issue, and devised this manor and estate to his kinsman, Robert Bosevile, esq. of Staffordshire, whose family was originally of Ardesley, in Yorkshire, in the reign of queen Elizabeth, a younger branch of them settled in Kent, at Bradborne, in Sevenoke, and here at Eynsford; and a younger branch of these again in Staffordshire; they bore for their arms, Argent, a fess lozengy gules, in chief three bears heads erased sable.
His son of the same name, in the year 1755, sold it, in several parcels, to different persons, since which it has been of no consequence worth mentioning, and the old mansion of Sibell's has been pulled down some years ago, and two tenements have been erected on the scite of it.
Charities.
PERCIVAL HART, esq. gave by will, for the benefit of the poor, an annuity out of lands, vested in Sir John Dyke, bart. and of the annual produce of 2l.
AN UNKNOWN PERSON gave for the like use, a house, let by the parish to Philip Weller, and of the annual value of 4l.
SIR ANTHONY ROPER and . . . . . . . . HATCLIFF, esq. (as is supposed) gave for the benefit of the same, lands and houses in Greenwich, the rents to be divided, to the parish of Farningham threefifths, to Horton Kirkby one-fifth, and to this parish of Eynsford one-fifth, the annual produce being to this parish, on an average, 7l.
EYNSFORD is in the ECCLESIASTICAL JURISDICTION OF THE diocese of Rochester, and being a peculiar of the archbishop, it is as such in the deanry of Shoreham. The church, which is dedicated to St. Martin, is situated at the south-east end of the village.
It seems from the form of it to be one of our early Norman structures, and coeval with the castle. It is built in the form of a cross, with two large wings or side chancels; that on the south side belonged to the Sibell's, and afterwards to the Bosevile's, many of whom lie buried in it, several of whose gravestones and inscriptions are now so covered with fifth and rubbish that they are illegible; and the place itself, through continued neglect, is hastening to a total ruin. The north chancel is kept in good repair, and is filled with pews and a neat vestry room. In this chancel, according to Weever, was a stone, on which was engraved, in wondrous antique characters, Ici gis. la famme de la Roberg de Eckisford, perhaps it may have been so spelt for Einesford, or one of his mistakes for it, and if so, this chancel might belong to the Eynesfords, lords of this manor and castle; the stone is now hid by the wooden flooring over it. At the west end of the church is a spire steeple, underneath which is a curious circular door way of Saxon or very early Norman architecture. (fn. 21)
Among other monuments and inscriptions in this church, in the chancel, a gravestone, arms, a lion passant guardant, in chief three stirrups, for George Gifford, esq. obt. 1704, æt. 85; another for Thomas Gifford, esq. obt. 1705, æt. 59. In the chancel, on the south side of the church, a gravestone for lady Sarah Bosevile, wife of Col. Richard Crimes, obt. 1660; another for Tho. Bosevile, esq. of Littlemote, in Eynsford, only son of Sir Thomas Bosevile; he married Elizabeth, only daughter of Sir Francis Wiat of Boxley-abbey, by whom he left Margaretta, his sole daughter and heir; obt. 1660; another, arms, five lozenges in fess, in chief three bears heads erased, impaling two bends engrailed, and a canton, for Sir Henry Bosevile, of Littlemote, and dame Mary his wife; she died 1693, he died 1702. On the south wall, a monument with the above arms, for Mrs. Margaret Bosevile, only daughter and heir of Sir Henry Bosevile, of Littlemote, ob. 1682, æt. 26. (fn. 22)
William de Eynesford, lord of this parish, gave the church of Eynsford to the monks o Christ-church, in Canterbury, when he became a monk there; which was confirmed by William de Enysford, his grandson. (fn. 23) Archbishop Richard, in the reign of king Henry II. appropriated this church to the almonry of Christ church. (fn. 24) In the time of Stephen Langton, archbishop of Canterbury, there was a dispute, whether the church of Farningham was a chapel to the church of Eynsford or not ?
In consequence of which, the archbishop, by his decree, made with the consent of all parties in 1225, ordained, that the rector of Eynsford and his successors, should possess entirely the whole church of Eynsford, with all its tythes, as well great as small, houses, lands, gardens, and all other things belonging to it, which the rector of it was wont to have before; and that the almoner of Christ-church, and not the monks, should possess, to the use of the almonry, the chapel of Farningham, with its appurtenauces, &c. belonging to it, as is therein mentioned; and that the rector of this church of Eynsford should, on a vacancy, present to the vicarage of this church; and that further than this, neither should intermeddle, or claim a right in the above premisess. (fn. 25)
Thus this rectory became a fine cure, the parson of this church from that time having presented to the vicarage, the incumbent of which has had the cure of souls, in which situation the rectory still remains, being esteemed as a donative of the patronage of the archbishop of Canterbury.
In the 15th year of king Edward I. this church was valued at thirty marcs. (fn. 26) In 1575, Henry Withers, clerk, parson of the parish church and benefice of Eynsford, leased this rectory to Thomas Dunmoll, yeoman, at 12l. 6s. 8d. per annum. In 1633, John Gifford, D. D. rector, let the same to Thomas Gifford, his son, at forty pounds per annum rent.
By virtue of the commission of enquiry into the value of church livings, in 1650, issuing out of chancery, it was returned, that Eynsford was a donative, with a house, and one hundred acres of glebe, and the great tythes, worth altogether one hundred and ten pounds per annum, then in the possession of George Gifford, esq. that the vicarage had a house, but no glebe land, and was worth thirty-five pounds per annum, one master Heriot enjoying it, and preaching there. (fn. 27)
Francis Porter, rector in 1674, let to George Gifford, esq. of Pennis, this rectory, or parsonage of forty pounds per annum, and of twenty pounds to the vicar, Edward Tilson, which last sum is mentioned to be an augmentation made in pursuance of the king's letters recommendatory, which lease was confirmed in 1707, in pursuance of like letters of queen Anne.
¶George Gifford, esq. of Pennis, continued lessee till his death, in 1704, when his interest in it devolved to his son, Thomas Gifford, who died the next year, and left three daughters and coheirs, viz. Margaret, married to Thomas Petley; Mary to John Selby, and Jane to Finch Umsrey; this parsonage being let by them at one hundred and forty-five pounds per annum.
The interest of this lease passed by sale from them to Percival Hart, esq. of Lullingstone, whose grandson, Sir John Dixon Dyke, bart. a few years ago, suffered the lease to expire.
The rectory of Eynsford is valued in the king's books at 12l. 16s. 8d. and the yearly tenths at 1l. 5s. 8d. the vicarage at twelve pounds, and the tenths at 1l. 4s. (fn. 28)
To replace anchor cables on the I-90 Lake Washington floating bridges, the divers must work in a fairly hostile environment. It's dark and murky at the bottom of the lake.
A camera is mounted on the diver's helmet. It provides a live video feed which shows the crew back on the barge what the diver is seeing and doing.
This is photo of the monitor on the work barge showing the diver's hands.
The divers are replacing 21 of the 108 anchor cables that help stabilize the I-90 floating bridges against wind and waves.
Learn more at: www.wsdot.wa.gov/projects/i90/floatingbridgesanchorcables/
Replacing the alternator while on the camp site
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Pisa Baptistery, Pisa Cathedral and Leaning Tower of Pisa
Baptisterium, Dom zu Pisa und Schiefer Turm von Pisa
The Piazza dei Miracoli (Italian: [ˈpjattsa dei miˈraːkoli]; English: Square of Miracles), formally known as Piazza del Duomo (English: Cathedral Square), is a walled 8.87-hectare area located in Pisa, Tuscany, Italy, recognized as an important centre of European medieval art and one of the finest architectural complexes in the world.Considered sacred by the Catholic Church, its owner, the square is dominated by four great religious edifices: the Pisa Cathedral, the Pisa Baptistry, the Campanile, and the Camposanto Monumentale (Monumental Cemetery). Partly paved and partly grassed, the Piazza dei Miracoli is also the site of the Ospedale Nuovo di Santo Spirito (New Hospital of the Holy Spirit), which houses the Sinopias Museum (Italian: Museo delle Sinopie) and the Cathedral Museum (Italian: Museo dell'Opera del Duomo).
The name Piazza dei Miracoli was coined by the Italian writer and poet Gabriele d'Annunzio who, in his novel Forse che sì forse che no (1910), described the square as the "prato dei Miracoli", or "meadow of miracles". The square is sometimes called the Campo dei Miracoli ("Field of Miracles"). In 1987, the whole square was declared a UNESCO World Heritage Site.
(Wikipedia)
The Pisa Baptistery of St. John (Italian: Battistero di San Giovanni) is a Roman Catholic ecclesiastical building in Pisa, Italy. Construction started in 1152 to replace an older baptistery, and when it was completed in 1363, it became the second building, in chronological order, in the Piazza dei Miracoli, near the Duomo di Pisa and the cathedral's free-standing campanile, the famous Leaning Tower of Pisa. The baptistery was designed by Diotisalvi, whose signature can be read on two pillars inside the building, with the date 1153.
Description
The largest baptistery in Italy, it is 54.86 m high, with a diameter of 34.13 m. The Pisa Baptistery is an example of the transition from the Romanesque style to the Gothic style: the lower section is in the Romanesque style, with rounded arches, while the upper sections are in the Gothic style, with pointed wimpergs and a rich figurative program. Like the cathedral and the campanile the Baptistery is built of bichromatic Carrara marble, white with recurring horizontal lines in blueish-grey stone, also used for abstract floral and graphic decoration, a unique trait of some of the most important religious buildings in Tuscany (In the neighboring Florence and Pistoia the dark marmo verde from Prato was used).
The east portal from probably around 1200 is facing the facade of the cathedral. The door is flanked by two columns with foliage decoration, a direct copy of a classical model. Engaged with the portal frame are two smaller three-quarter columns with a simpler, less deep floral ornamentation. The inner jambs between each pair of columns are decorated each with eleven figurative reliefs executed in Byzantine style. On the left there are depictions of the months (with September and October combined in one panel), beginning with January at the bottom. On the right it begins at the top with the Ascension of Christ, then angels, Mary with lifted hands, then the Apostels depicted in pairs looking up, and second to the bottom the Harrowing of Hell; the lowermost relief shows King David. The tripartite form is conveyed in the arch with three retreating archivolts with the Twenty-Four Elders in medaillons and the Lamb as the keystone.
The architrave is divided in two tiers. The upper one is slightly tilted and shows Christ between the Mary and St. John the Baptist, flanked by angels and the evangelists. The lower tier depicts several episodes in the life of St. John the Baptist, the natural patron of the baptistery: his sermon, the baptism of Christ, his imprisonment on behalf of Herod, Salome dances before Herod, his subsequent beheading and his burial. The architraves are probably by the same artists who also did the foiled columns and the reliefs on the jambs.[2]
Only the north portal has also figurative decoration on its architrave, picturing the Annunciation to Zechariah and St. Elizabeth, the parents of St. John, flanked by two prophets and two angels in light armour with swords.
The interior
The interior is overwhelming and lacks decoration. The octagonal font at the centre dates from 1246 and was made by Guido Bigarelli da Como. The bronze sculpture of St. John the Baptist at the centre of the font is a work by Italo Griselli.
The famous pulpit was sculpted between 1255-1260 by Nicola Pisano, father of Giovanni, the artist who produced the pulpit in the Duomo. The scenes on the pulpit, and especially the classical form of the nude Hercules, show Nicola Pisano's qualities as the most important precursor of Italian Renaissance sculpture by reinstating antique representations: surveys of the Italian Renaissance often begin with the year 1260, the year that Nicola Pisano dated this pulpit.
Constructed on the same unstable sand as the tower and cathedral, the Baptistery leans 0.6 degrees toward the cathedral. Originally the shape of the Baptistery, according to the project by Diotisalvi, was different. It was perhaps similar to the church of Holy Sepulchre in Pisa, with its pyramidal roof. After the death of the architect, Nicola Pisano continued the work, changing the style to the more modern Gothic one. Also, an external roof was added giving the shape of a cupola. As a side effect of the two roofs, the pyramidal inner one and the domed external one, the interior is acoustically perfect, making of that space a resonating chamber.
The exterior of the dome is clad with lead sheets on its east side (facing the cathedral) and red tiles on its west side (facing the sea), giving a half grey and half red appearance from the south.
An inscription, currently undeciphered, is located to the left of the door jamb of the Baptistery.
(Wikipedia)
Pisa Cathedral (Italian: Cattedrale Metropolitana Primaziale di Santa Maria Assunta; Duomo di Pisa) is a medieval Roman Catholic cathedral dedicated to the Assumption of the Virgin Mary, in the Piazza dei Miracoli in Pisa, Italy, the oldest of the three structures in the plaza followed by the Pisa Baptistry and the Campanile known as the Leaning Tower of Pisa. The cathedral is a notable example of Romanesque architecture, in particular the style known as Pisan Romanesque. Consecrated in 1118, it is the seat of the Archbishop of Pisa. Construction began in 1063 and was completed in 1092. Additional enlargements and a new facade were built in the 12th century and the roof was replaced after damage from a fire in 1595.
History
Construction on the cathedral began in 1063 (1064 according to the Pisan calendar of the time) by the architect Buscheto, and expenses were paid using the spoils received fighting against the Muslims in Sicily in 1063. It includes various stylistic elements: classical, Lombard-Emilian, Byzantine, and Islamic, drawing upon the international presence of Pisan merchants at that time. In the same year, St. Mark's Basilica began its reconstruction in Venice, evidence of a strong rivalry between the two maritime republics to see which could create the most beautiful and luxurious place of worship.
The church was erected outside Pisa's early medieval walls, to show that Pisa had no fear of being attacked.[citation needed] The chosen area had already been used in the Lombard era as a necropolis and at the beginning of the 11th century a church had been erected here, but never finished, that was to be named Santa Maria.[citation needed] Buscheto's grand new church was initially called Santa Maria Maggiore until it was officially named Santa Maria Assunta.
In 1092 the cathedral was declared primatial church, archbishop Dagobert having been given the title of Primate by Pope Urban II. The cathedral was consecrated in 1118 by Pope Gelasius II, who belonged to the Caetani family which was powerful both in Pisa and in Rome.
In the early 12th century the cathedral was enlarged under the direction of architect Rainaldo, who increased the length of the nave by adding three bays consistent with the original style of Buscheto, enlarged the transept, and planned a new facade which was completed by workers under the direction of the sculptors Guglielmo and Biduino. The exact date of the work is unclear: according to some, the work was done right after the death of Buscheto about the year 1100, though others say it was done closer to 1140. In any case, work was finished in 1180, as documented by the date written on the bronze knockers made by Bonanno Pisano found on the main door.
The structure's present appearance is the result of numerous restoration campaigns that were carried out in different eras. The first radical interventions occurred after the fire of 1595, following which the roof was replaced and sculptors from the workshop of Giambologna, among whom were Gasparo Mola and Pietro Tacca, created the three bronze doors of the facade. In the early 18th century began the redecoration of the inside walls of the cathedral with large paintings, the "quadroni", depicting stories of the blesseds and saints of Pisa. These works were made by the principal artists of the era, and a group of citizens arranged for the special financing of the project. Successive interventions occurred in the 19th century and included both internal and external modifications; among the latter was the removal of the original facade statues (presently in the cathedral museum) and their replacement with copies.
Other notable interventions include: the dismantling of Giovanni Pisano's pulpit between 1599 and 1601 that only in 1926 was reassembled and returned to the cathedral (with some original pieces missing, including the staircase); and the dismantling of the monument to Henry VII made by Lupo di Francesco that was found in front of the door of San Ranieri and later substituted by a simpler, symbolic version.
Description
The original building plan was a Greek cross with a grand cupola at the crossing, but today the plan is a Latin cross with a central nave flanked by two side aisles on each side, with the apse and transepts having three naves. The inside offers a spatial effect similar to that of the great mosques thanks to the use of raised lancet arches, the alternating layers of black and white marble, and the elliptical dome, inspired by the Moors. The presence of two raised matronea in the nave, with their solid, monolithic columns of granite, is a clear sign of Byzantine influence. Buscheto welcomed Islamic and Armenian influence.
Exterior
The rich exterior decoration contains multicolored marble, mosaic, and numerous bronze objects from the spoils of war, among which is the griffin. The arrival of the griffin in Pisa has been attributed to numerous Pisan military victories of the 11th and 12th centuries, including the 1087 Mahdia Campaign and the 1113-1115 Balearic Expedition. The griffin was placed on a platform atop a column rising from the gable above the apse at the east end of the roof, probably as continuation of the original construction that started in 1064. In the early 19th century the original sculpture, which can now be seen in the cathedral museum, was removed from the roof and replaced with a copy. The high arches show Islamic and southern Italian influence.Ref? The blind arches with lozenge shapes recall similar structures in Armenia. The facade of grey and white marble, decorated with colored marble inserts, was built by Master Rainaldo. Above the three doorways are four levels of loggia divided by cornices with marble intarsia, behind which open single, double, and triple windows.
The cathedral was heavily damaged by a fire in 1595. The heavy bronze doors of the façade were newly designed, executed and completed in 1602 by sculptors around Giambologna on the expense of Ferdinando I de' Medici, the Grand Duke of Tuscany. At the top there is a Madonna and Child and, in the angles, the four evangelists. The tomb of Buscheto is found to the left of the north door of the facade.
Contrary to what might be thought, from the beginning the faithful entered the cathedral through the Gate of Saint Rainerius, found in the south transept of the same name, which faces the bell tower. For townsfolk approaching by via Santa Maria it was the shortest way to enter the cathedral. The door wings were cast about 1180 by Bonanno Pisano, and it is the only door not destroyed in 1595. The 24 bronze reliefs show stories of the New Testament. This bronze portal is one of the first produced in Italy during the Middle Ages, and is a forerunner of the bronze doors created by Andrea Pisano for the Baptistery in Florence (1329–1336).
Of further interest
At the end of the 10th century Pisa established March 25 as the beginning of its new year. This date was considered very important because it is both the Feast of the Annunciation (occurring nine months before Christ's birth on December 25) and it falls very close to the spring equinox. To mark the beginning of the Pisan new year a system was devised in the cathedral whereby a beam of light shines through a round window on the south side of the nave and, precisely at noon on March 25, lands on the same spot every year: on top of a shelf affixed to a pylon on the opposite side of the church. This shelf rests on a marble egg, a symbol of birth and new life. In 1750 the first day of the new year was officially changed to January 1, but this event is still celebrated every year accompanied by solemn religious and civic celebrations.
The lamp at the center of the nave is called Galileo's lamp, because a legend says that the great scientist formulated his theory of isochronism of the pendulum while watching its oscillations from the roof of the nave. The original, however, smaller and very different than this one, is found today in the Camposanto.
On the north side, to the left side of the facade in front of the Camposanto at about eye level, is an original piece of Roman marble (as testified to by its decoration that can still in part be seen), on which are a series of small black marks. Legend says that these marks were left by the devil when he climbed up to the dome attempting to stop its construction, and so they are referred to as the scratches of the devil. (The legend also says that out of spite the number of scratches always changes when counted.)
Legend has it that the amphora placed on a small column on the right side of the apse was used by Christ at the wedding feast of Cana when he turned water into wine.
Pope Gregory VIII is buried in the cathedral.
(Wikipedia)
The Leaning Tower of Pisa (Italian: torre pendente di Pisa), or simply, the Tower of Pisa (torre di Pisa [ˈtorre di ˈpiːza; ˈpiːsa], is the campanile, or freestanding bell tower, of Pisa Cathedral. It is known for its nearly four-degree lean, the result of an unstable foundation. The tower is one of three structures in the Pisa's Cathedral Square (Piazza del Duomo), which includes the cathedral and Pisa Baptistry.
The height of the tower is 55.86 metres (183 feet 3 inches) from the ground on the low side and 56.67 m (185 ft 11 in) on the high side. The width of the walls at the base is 2.44 m (8 ft 0 in). Its weight is estimated at 14,500 tonnes (16,000 short tons). The tower has 296 or 294 steps; the seventh floor has two fewer steps on the north-facing staircase.
The tower began to lean during construction in the 12th century, due to soft ground which could not properly support the structure's weight. It worsened through the completion of construction in the 14th century. By 1990, the tilt had reached 5.5 degrees. The structure was stabilized by remedial work between 1993 and 2001, which reduced the tilt to 3.97 degrees.
Architect
There has been controversy surrounding the identity of the architect of the Leaning Tower of Pisa. For many years, the design was attributed to Guglielmo and Bonanno Pisano, a well-known 12th-century resident artist of Pisa, known for his bronze casting, particularly in the Pisa Duomo.[citation needed] Pisano left Pisa in 1185 for Monreale, Sicily, only to come back and die in his home town. A piece of cast bearing his name was discovered at the foot of the tower in 1820, but this may be related to the bronze door in the façade of the cathedral that was destroyed in 1595. A 2001 study seems to indicate Diotisalvi was the original architect, due to the time of construction and affinity with other Diotisalvi works, notably the bell tower of San Nicola and the Baptistery, both in Pisa.
Construction
Construction of the tower occurred in three stages over 199 years. On 5 January 1172, Donna Berta di Bernardo, a widow and resident of the house of dell'Opera di Santa Maria, bequeathed sixty soldi to the Opera Campanilis petrarum Sancte Marie. The sum was then used toward the purchase of a few stones which still form the base of the bell tower. On 9 August 1173, the foundations of the tower were laid. Work on the ground floor of the white marble campanile began on 14 August of the same year during a period of military success and prosperity. This ground floor is a blind arcade articulated by engaged columns with classical Corinthian capitals. Nearly four centuries later Giorgio Vasari wrote: "Guglielmo, according to what is being said, in the year 1174, together with sculptor Bonanno, laid the foundations of the bell tower of the cathedral in Pisa".
The tower began to sink after construction had progressed to the second floor in 1178. This was due to a mere three-metre foundation, set in weak, unstable subsoil, a design that was flawed from the beginning. Construction was subsequently halted for the better part of a century, as the Republic of Pisa was almost continually engaged in battles with Genoa, Lucca, and Florence. This allowed time for the underlying soil to settle. Otherwise, the tower would almost certainly have toppled. On 27 December 1233, the worker Benenato, son of Gerardo Bottici, oversaw the continuation of the tower's construction.
On 23 February 1260, Guido Speziale, son of Giovanni Pisano, was elected to oversee the building of the tower. On 12 April 1264, the master builder Giovanni di Simone, architect of the Camposanto, and 23 workers went to the mountains close to Pisa to cut marble. The cut stones were given to Rainaldo Speziale, worker of St. Francesco. In 1272, construction resumed under Di Simone. In an effort to compensate for the tilt, the engineers built upper floors with one side taller than the other. Because of this, the tower is curved. Construction was halted again in 1284 when the Pisans were defeated by the Genoese in the Battle of Meloria.
The seventh floor was completed in 1319. The bell-chamber was finally added in 1372. It was built by Tommaso di Andrea Pisano, who succeeded in harmonizing the Gothic elements of the belfry with the Romanesque style of the tower. There are seven bells, one for each note of the musical major scale. The largest one was installed in 1655.
History following construction
Between 1589 and 1592, Galileo Galilei, who lived in Pisa at the time, is said to have dropped two cannonballs of different masses from the tower to demonstrate that their speed of descent was independent of their mass, in keeping with the law of free fall. The primary source for this is the biography Racconto istorico della vita di Galileo Galilei (Historical Account of the Life of Galileo Galilei), written by Galileo's pupil and secretary Vincenzo Viviani in 1654, but only published in 1717, long after his death.
During World War II, the Allies suspected that the Germans were using the tower as an observation post. Leon Weckstein, a U.S. Army sergeant sent to confirm the presence of German troops in the tower, was impressed by the beauty of the cathedral and its campanile, and thus refrained from ordering an artillery strike, sparing it from destruction.
Numerous efforts have been made to restore the tower to a vertical orientation or at least keep it from falling over. Most of these efforts failed; some worsened the tilt. On 27 February 1964, the government of Italy requested aid in preventing the tower from toppling. It was, however, considered important to retain the current tilt, due to the role that this element played in promoting the tourism industry of Pisa.
Starting in 1993, 870 tonnes of lead counterweights were added, which straightened the tower slightly.
The tower and the neighbouring cathedral, baptistery, and cemetery are included in the Piazza del Duomo UNESCO World Heritage Site, which was declared in 1987.
The tower was closed to the public on 7 January 1990, after more than two decades of stabilisation studies and spurred by the abrupt collapse of the Civic Tower of Pavia in 1989. The bells were removed to relieve some weight, and cables were cinched around the third level and anchored several hundred meters away. Apartments and houses in the path of a potential fall of the tower were vacated for safety. The selected method for preventing the collapse of the tower was to slightly reduce its tilt to a safer angle by removing 38 cubic metres (1,342 cubic feet) of soil from underneath the raised end. The tower's tilt was reduced by 45 centimetres (17+1⁄2 inches), returning to its 1838 position. After a decade of corrective reconstruction and stabilization efforts, the tower was reopened to the public on 15 December 2001, and was declared stable for at least another 300 years. In total, 70 metric tons (77 short tons) of soil were removed.
After a phase (1990–2001) of structural strengthening, the tower has been undergoing gradual surface restoration to repair visible damage, mostly corrosion and blackening. These are particularly pronounced due to the tower's age and its exposure to wind and rain. In May 2008, engineers announced that the tower had been stabilized such that it had stopped moving for the first time in its history. They stated that it would be stable for at least 200 years.
Earthquake survival
At least four strong earthquakes have hit the region since 1280, but the apparently vulnerable tower survived. The reason was not understood until a research group of 16 engineers investigated. The researchers concluded that the tower was able to withstand the tremors because of dynamic soil-structure interaction (DSSI): the height and stiffness of the tower, together with the softness of the foundation soil, influences the vibrational characteristics of the structure in such a way that the tower does not resonate with earthquake ground motion. The same soft soil that caused the leaning and brought the tower to the verge of collapse helped it survive.
Technical information
Elevation of Piazza del Duomo: about 2 metres (6 feet, DMS)
Height from the ground floor: 55.863 m (183 ft 3+5⁄16 in),[37] 8 stories
Height from the foundation floor: 58.36 m (191 ft 5+1⁄2 in)
Outer diameter of base: 15.484 m (50 ft 9+5⁄8 in)
Inner diameter of base: 7.368 m (24 ft 2+1⁄16 in)
Angle of slant: 3.97 degrees[40] or 3.9 m (12 ft 10 in) from the vertical
Weight: 14,700 metric tons (16,200 short tons)
Thickness of walls at the base: 2.44 m (8 ft 0 in)
Total number of bells: 7, tuned to musical scale, clockwise:
1st bell: L'Assunta, cast in 1654 by Giovanni Pietro Orlandi, weight 3,620 kg (7,981 lb)
2nd bell: Il Crocifisso, cast in 1572 by Vincenzo Possenti, weight 2,462 kg (5,428 lb)
3rd bell: San Ranieri, cast in 1719–1721 by Giovanni Andrea Moreni, weight 1,448 kg (3,192 lb)
4th bell: La Terza (1st small one), cast in 1473, weight 300 kg (661 lb)
5th bell: La Pasquereccia or La Giustizia, cast in 1262 by Lotteringo, weight 1,014 kg (2,235 lb)
6th bell: Il Vespruccio (2nd small one), cast in the 14th century and again in 1501 by Nicola di Jacopo, weight 1,000 kg (2,205 lb)
7th bell: Dal Pozzo, cast in 1606 and again in 2004, weight 652 kg (1,437 lb)
Number of steps to the top: 296
About the 5th bell: The name Pasquareccia comes from Easter, because it used to ring on Easter day. However, this bell is older than the bell-chamber itself, and comes from the tower Vergata in Palazzo Pretorio in Pisa, where it was called La Giustizia (The Justice). The bell was tolled to announce executions of criminals and traitors, including Count Ugolino in 1289. A new bell was installed in the bell tower at the end of the 18th century to replace the broken Pasquareccia.
The circular shape and great height of the campanile were unusual for their time, and the crowning belfry is stylistically distinct from the rest of the construction. This belfry incorporates a 14 cm (5+1⁄2 in) correction for the inclined axis below. The siting of the campanile within the Piazza del Duomo diverges from the axial alignment of the cathedral and baptistery of the Piazza del Duomo.
Guinness World Records
Two German churches have challenged the tower's status as the world's most lopsided building: the 15th-century square Leaning Tower of Suurhusen and the 14th-century bell tower in the town of Bad Frankenhausen. Guinness World Records measured the Pisa and Suurhusen towers, finding the former's tilt to be 3.97 degrees. In June 2010, Guinness World Records certified the Capital Gate building in Abu Dhabi, UAE as the "World's Furthest Leaning Man-made Tower"; it has an 18-degree slope, almost five times more than the Tower of Pisa, but was deliberately engineered to slant. The Leaning Tower of Wanaka in New Zealand, also deliberately built, leans at 53 degrees to the ground.
(Wikipedia)
Die Piazza dei Miracoli (italienisch Platz der Wunder), wie die Piazza del Duomo im Volksmund auch genannt wird, ist der Domplatz der toskanischen Stadt Pisa. Der Name stammt vom italienischen Dichter und Schriftsteller Gabriele D’Annunzio. Er beschrieb in seinem Buch Forse che sì forse che no den Platz als Wiese der Wunder. Die Piazza dei Miracoli ist eine Grünfläche nahe der Stadtbefestigung im nordwestlichen Teil der Altstadt. Die dezentrale Lage am Rande des Historischen Stadtkerns ist ungewöhnlich. Auf dem Platz steht das berühmte Ensemble, bestehend aus dem Baptisterium als größte Taufkirche der Welt, dem Friedhof Camposanto Monumentale und dem kreuzförmigen Dom Santa Maria Assunta mit seinem Campanile, dem Schiefen Turm. Sie gehören zu den Meisterwerken der mittelalterlichen Architektur und hatten einen großen Einfluss auf die monumentalen Kunst in Italien vom 11. bis zum 14. Jahrhundert. Seit 1987 gehört der Platz zum UNESCO-Welterbe.
(Wikipedia)
Der frei auf der Piazza dei Miracoli stehende Bau wurde 1152 von Diotisalvi als Ergänzung zum Dom im romanischen Stil auf kreisförmigem Grundriss nach dem Vorbild der Anastasis Rotunde des Heiligen Grabes in Jerusalem begonnen. Es ist die mit insgesamt 54 Meter Höhe und einem Umfang von 107 Meter größte Taufkirche in der christlichen Geschichte.
Architektur
Nach einem finanziell bedingten Baustopp am Ende des 12. Jahrhunderts wurde die Außenverkleidung erst 1270 von Niccolò Pisano und nach dessen Tod 1278 von seinem Sohn Giovanni Pisano fortgeführt. Während die Fassade der ersten Etage noch mit rundbogigen Blendarkaden im Stil des Doms ausgeführt wurde, gestaltete man die zweite Etage zwar auch mit einer Galerie, wie sie vielstöckig die Domfassade prägt, setzte dieser jedoch gotische Fialen und Ziergiebel, sogenannte Wimperge, aus Maßwerk auf und stattete diese mit einem bis dahin auf Außenwänden seltenen und erstmals so reichen Figurenprogramm aus. Je drei Bögen entsprechen dem Abstand zwischen zwei Säulen der Blendarkade. Wie am Dom liegt dem Kapitellkelch jeweils ein aus der Wand ragender Gebälkblock auf, auf dem wiederum ein kleiner Kämpfer den Brustteil für die kleinen Frauen- und Männerköpfe bildet, die zwischen den Bogenanfängern liegen, 60 an der Zahl und 45–50 cm groß. Die 60 Schlusssteine der Bögen sind mit etwas kleineren Männer- und Tiermasken verziert. Über jeweils zwei Säulen der Galerie stehen die Wimperge, die mit Krabbenkämmen dekoriert und von insgesamt 30 eineinhalb Meter hohen Skulpturen bekrönt werden, 27 ganzfigurigen Heiligen und über dem Hauptportal drei Halbfiguren von Christus, Maria und Johannes dem Täufer. Die Giebel fassen Dreipassbögen auf stilisierten ionischen Säulchen ein, die als Rahmen für die immensen, 160–180 cm großen, Halbfiguren dienen. Die Skulpturen stellen Heilige mit ihren Attributen dar und stehen, wie auch die viergliedrigen Fialen, auf dekorativen Konsolen. Der Stil der Halbfiguren ist heterogen. Zum Teil weisen sie starke klassische Züge auf, andere wirken französisch (speziell Reims). Man ist sich weitestgehend einig, dass die meisten Köpfe von Nicolà Pisano stammen, wenn auch nur teilweise von ihm ausgeführt, so doch zumindest im Entwurf. Auch John Pope-Hennessy sieht Nicolà als Autor mindestens der zentralen großen Halbfiguren der Jungfrau mit Kind, des Johannes und der sich ihm anschließenden vier Evangelisten. Allgemein jedoch werden die Halbfiguren in den Giebeln seinem Sohn Giovanni und dessen Werkstatt zugeschrieben und auf die Zeit datiert, nachdem dieser mit der Arbeit an der Fontana Maggiore in Perugia fertig war, also nach 1278.
Der Bau hat innen einen zweigeschossigen Stützenkranz aus 12 Pfeilern und Säulen, der einen kreuzgratgewölbten Umgang vom Mittelbereich unter der Innenkuppel trennt. Diese Innenkuppel besteht aus einem Kegelstumpf, der zunächst oben offen blieb. Die äußere Segmentkuppel, die die Innenkuppel teils überdeckt, wurde erst 1358 von Cellino di Nese und von Zibellinus, einem Baumeister aus Bologna, errichtet. Dabei fügte man dem Bau ein drittes Außengeschoss hinzu. 1394 schloss man die offene Mitte der alten Kegelkuppel mit einem kleinen Gewölbe, was den Bau auf seine heutige Gesamthöhe brachte.
Auf der Spitze der Kirche steht eine drei Meter hohe Bronzestatue von Johannes dem Täufer, die am Anfang des 15. Jahrhunderts dort befestigt wurde. Das Hauptportal ist von zwei mit Reliefs verzierten Säulen eingerahmt. Zwei Architrave liegen über dem Portal, das obere, leicht geneigte zeigt Jesus flankiert von Maria und Evangelisten alternierend mit Engeln. Der untere gibt Szenen aus der Lebensgeschichte von Johannes dem Täufer wieder. Im Giebelfeld steht eine Kopie der Maria mit Kind von Giovanni Pisano (um 1295).
Ausstattung im Innenraum
In der Mitte des Kirchenraums steht ein achteckiges Taufbecken, das von Guidobono Bigarelli da Como 1246 vollendet wurde. 1929 wurde eine Statue von Johannes dem Täufer durch Italo Griselli hinzugefügt.
Die Marmorkanzel Niccolò Pisanos
Die freistehende Marmorkanzel im Baptisterium stammt von Niccolò Pisano und ist von ihm mit dem Jahr 1260 signiert. Toskanischer Stil vereinigt sich hier erstmalig mit französischer Gotik und antiken Einflüssen aus Süditalien, wo Niccolò vermutlich herkam und am Hof Friedrichs II. mit französischer wie antiker Skulptur vertraut wurde. Die Kanzel gilt mit ihrer Verwendung dieser antiker Vorbilder in der Kunstgeschichte als früher Markstein auf dem Weg zur Renaissance (siehe auch Protorenaissance).
Sieben Säulen tragen das sechseckige Kanzelbecken, auf dem das Lesepult von einem Adler getragen wird. Die Kapitelle sind mit gotischem Blattwerk verziert, drei der Säulen sind verkürzt und werden von naturalistisch gehauenen Löwen getragen, während die Basis der Mittelsäule von grotesken Figuren und Tieren gesäumt wird. An der Brüstung der Kanzel befinden sich fünf Reliefs mit den neutestamentarischen Szenen Maria Verkündung/Geburt Jesu/Verkündung an die Schäfer, Anbetung der heiligen drei Könige, Darstellung im Tempel, Kreuzigung und Jüngstes Gericht. In den Zwickeln sind gepaart Propheten zu sehen, unter der Kreuzigung und dem Jüngsten Gericht sind es Evangelisten. Über den Kapitellen sind die fünf Tugenden und unter dem Pult Johannes der Täufer dargestellt. Die Stärke findet ihr Vorbild in einem nackten Herkules.
Über Treppen kann man sowohl auf den Emporen-Umgang als auch unter das Kuppeldach gelangen. Auf dem Umgang sind Skizzen der größtenteils zerstörten Fresken aus dem Camposanto ausgestellt.
Das Baptisterium hat durch seine zylindrische Bauweise ein besonderes Echoverhalten. Gelegentlich stimmt einer der Wächter mehrere verschiedene Gesangstöne an, die in Kombination miteinander durch das Echo im Gebäude zu einem Klangerlebnis werden.
Wie in vielen mittelalterlichen Sakralgebäuden wird auch im Pisaner Baptisterium der Zahlensymbolik bezüglich der Zahl von Architekturelementen (zum Beispiel Säulen, Stützen usw.) eine besondere Bedeutung beigemessen und ihre Anzahl mit Zahlen, die in der Bibel vorkommen, in Zusammenhang gebracht. Im Baptisterium sind besonders die Vier, die Acht und die Zwölf vertreten.
(Wikipedia)
Der Dom Santa Maria Assunta (italienisch Cattedrale Metropolitana Primaziale di Santa Maria Assunta) ist eine Kirche in Pisa, zu der der weltweit berühmte Schiefe Turm von Pisa gehört. Sie ist die Kathedrale des Erzbistums Pisa.
Der Dom steht auf dem weitläufigen Rasenplatz der Piazza del Duomo, auf dem sich auch die drei dazugehörenden Bauwerke Baptisterium, Camposanto Monumentale und der Campanile („Der Schiefe Turm von Pisa“) befinden. Dieser Platz wurde vom Dichter D’Annunzio als Piazza dei Miracoli (Platz der Wunder) bezeichnet und wird noch heute so genannt. Trotz einer Bauzeit von über 200 Jahren wurde durch den gleichbleibenden Baustoff Carrara-Marmor und die einheitliche Fassadengestaltung ein zusammenhängendes Bild geschaffen. Der Dom wurde zum Vorbild für spätere Dombauten wie z. B. in Florenz und Siena und galt jahrhundertelang als monumentalster Bau der christlichen Geschichte.
Papst Gelasius II. weihte 1118 den damals noch unvollendeten Dom ein. Er trägt das Patrozinium der Himmelfahrt Mariens.
Baugeschichte
Buscheto di Giovanni Giudice begann mit dem Bau des Doms im Jahre 1063 auf dem Schwemmboden vor der alten Stadtmauer. Finanziert wurde das Bauwerk mit den im gleichen Jahr von den Sarazenen vor Palermo eroberten Schätzen. Durch den weichen Untergrund sank auch der Dom im Osten leicht ein. Die kreuzförmige Grundfläche des Doms war zu diesem Zeitpunkt in Italien neu. Über der Vierung der fünfschiffigen Basilika mit dem dreischiffigen Querhaus erhebt sich eine elliptische Kuppel mit einem oktogonalen Ansatz. Sie wurde erst 1380 durch Lupo di Gante und Puccio di Gadduccio im gotischen Stil nachträglich hinzugefügt.
Die Fassade wurde am Ende des 12. Jahrhunderts von Rainaldo geschaffen und wurde als Pisaner Romanik in der gesamten Toskana zum Vorbild. Bei der westlichen Fassade erheben sich über den sieben Blendarkadenbögen im Erdgeschoss mit seinen drei Portalen vier Galerien mit insgesamt 52 Säulen. Auf dem Giebel der 35,5 m breiten und 34,2 m hohen Fassade steht eine Madonna mit Kind von Andrea Pisano. An ihrer Seite stehen Engel, die zusammen mit den beiden Evangelisten auf der ersten Galerie durch Schüler von Giovanni Pisano entstanden. Das mittlere Portal ist dem Leben Marias gewidmet. Im linken Bogen der Fassade ist das Grab des ersten Dombaumeisters Buscheto mit einer antiken Sarkophagspolie und einer langen Huldigung in die Wand eingefasst.
Die drei Bronzetore aus dem 17. Jahrhundert ersetzen die von Bonanno Pisano geschaffenen Tore von 1180, die bei einem schweren Feuer 1595 zerstört wurden. Die neuen Türen mit umfangreichen Reliefszenen wurden bis 1602 durch Schüler Giambolognas, Francavilla, Mocchi und Tacca, in loser Anlehnung an das alte Vorbild gegossen. Die Porta di San Ranieri am südlichen Seitenschiff ist dem Campanile zugewandt. Hier ist das restaurierte Original des Meisters Bonanno Pisano von 1186 noch erhalten. Es ist nach dem Schutzpatron Pisas benannt und stellt u. a. Szenen aus dem Leben Christi dar.
Am gesamten Gebäude findet man vielfach zusammenhanglose Zeichen auf den Außenwänden. Der Grund dafür liegt darin, dass man antike Baumaterialien wiederverwendete oder Materialien aus eroberten Städten holte.
Datierungsprobleme
Im Hinblick auf die Datierung des Baus und die historische Herleitung ihrer einzelnen Bauformen gibt es in der Forschung seit langem unterschiedliche Ansichten. Eine verbreitete Theorie nennt konkrete Zahlen und die Namen verschiedener Baumeister. Andere Kunsthistoriker halten diese Geschichten für bereits im Mittelalter erfundene Legenden.
Nach der ersten Theorie war der Seesieg bei Palermo über die damals im Mittelmeer herrschenden Sarazenen im Jahr 1063 Anlass zum Bau der Gesamtanlage. In Venedig spielten diese sarazenischen Seeräuber ebenfalls eine Rolle. Auch dort war die Abwendung dieser Gefahr Anlass gewesen, den Markusdom neu zu bauen, und zwar im selben Jahr 1063, in dem die Anlage in Pisa möglicherweise begonnen wurde. Auch die Pisaner hatten durch diesen Seesieg reiche Beute gemacht und den Ertrag zur Glorifizierung ihrer Stadt genutzt; Pisa war im 11. Jahrhundert die mächtigste Stadt der Toskana.
Nach der zweiten Ansicht ist lediglich erwiesen, dass im Jahr 1118 die Kathedrale im Bau befindlich war. Das sei das einzige zuverlässige Datum. Man habe damals die eher zufällige Anwesenheit des Papstes Gelasius II. genutzt, um eine angemessene Weihe zu vollziehen. Der Bau musste für diesen Fall schon weit genug fortgeschritten gewesen sein, so dass sich die angesetzten Entstehungszeiten der beiden Theorien nicht wesentlich unterscheiden.
Die Kathedrale gehört zusammen mit dem Markusdom in Venedig zu den ersten Monumentalbauten des mittelalterlichen Italiens. Daher stellt sich die Frage, auf wen die entscheidenden Bauideen zurückgehen. Die Stadt Pisa popularisierte schon sehr früh eine eigene lokalpatriotische Version, die dem Baumeister die gesamte Anlage als geniale, völlig eigenständige Idee zuschrieb, ohne dass fremde Einflüsse eine Rolle spielten. Demzufolge soll der erste Baumeister der Kathedrale Buscheto gewesen sein, über den nur sehr wenig bekannt ist. Vasari berichtet in seinen Vite, "Busketos" sei griechischer Herkunft gewesen – also kein geborener Pisaner. Dies wird mancherorts bestritten und vor allem lokal dadurch unterstrichen, dass man ihn „Buscheto Pisano“ nennt. Belegt ist seine Eigenschaft als Prokurator der Pfarre und als Mitglied der Dombauhütte.
Keine Einigkeit besteht in der Forschung, wer die Idee zu der Kathedrale hatte und was seine stilistischen Vorbilder waren. Pisa hatte – wie Venedig – als Seemacht intensive Handelsbeziehungen im östlichen Mittelmeer. Deshalb liegt es nahe, dass die östliche Baukunst hier Einfluss ausüben konnte. Auf jeden Fall war der Baumeister mit dem byzantinischen Kulturraum vertraut. Seine Baukunst nimmt Anleihen auf bei persischen Moscheen und bei frühchristlichen Kirchen in Armenien und Georgien. Zudem vereint sie Elemente der italienischen Romanik mit Motiven aus der Stadtmauer von Kairouan. Inschriften im Dom belegen die Mitarbeit von Heiden: Türken, Afrikanern, Persern und Chaldäern.
Auch wenn sich die Bauzeit des Pisaner Doms lange hinzog, ist der Gesamteindruck einheitlich. Der ersten Theorie zufolge verlief die weitere Entwicklung folgendermaßen: Vor Fertigstellung des Doms habe der neue Baumeister Rainaldus um 1100 den ursprünglichen Grundriss geändert. Er ließ das Langhaus verlängern, den Obergaden erhöhen – die ursprüngliche Höhe ist noch am Querhaus erkennbar – und das untere Geschoss der Fassade errichten. Vollendet worden soll der Bau bis 1160 durch den Innsbrucker Meister Wilhelm gen. Guglielmus (auch Guilielmus)., der um diese Zeit auch die erste Kanzel für den Dom schuf.
Rechts über dem mittleren Portal der Westfassade sind zwei Inschriften in die Wand eingelassen, deren erste Rainaldo als Bauherrn rühmen. Als demütige Replik folgt ein Bibelzitat aus der Vulgata (Psalm 21, Vers 22):
Hoc opus eximium tam mirum tam pretiosum
Rainaldus prudens operator et ipse magister
constituit mire sollerter et ingeniose
De ore leonis libera me domine et
a cornibus unicornium humilitatem meam
Dieses hervorragende Werk, ebenso wunderbar wie kostspielig,
errichtete Rainald, der kluge Erbauer und selbst [Bau]meister,
in wundervoller, kunstvoller und erfinderischer Weise.
Aus dem Rachen des Löwen befreie mich, o Herr,
und von den Hörnern der Einhörner meine Niedrigkeit.
Bedeutung der Fassade für die Datierung
Die Westfassade des Doms stellt für die abendländische Architekturgeschichte eine entscheidende Neuerung dar, den Übergang von der glatten Wand zur plastisch gestalteten Schaufläche. Daher ist auch die Frage ihrer genauen Datierung wichtig, denn ähnlich gestaltete Fassaden wurden auch andernorts gebaut, etwa in Lucca an der Kathedrale San Martino, dessen Baumeister Guidetto da Como, der auch in Pisa tätig war, auf der Fassade mit dem Datum 1204 verewigt wurde.
Die kritischere zweite Theorie akzeptiert lediglich, dass in der zweiten Hälfte des 12. Jahrhunderts im Westen des Hauptschiffes drei Joche angefügt und die heutige Fassade begonnen wurden. Namen werden in dieser Theorie nicht genannt. Demnach könnte die gesamte Fassade auch erst um 1200 fertig und möglicherweise von Anfang an in ihrer heutigen Form geplant gewesen sein. Andere Schätzungen nehmen sogar erst die Mitte des 13. Jahrhunderts an – also hundert Jahre nach dem Datierungszeitraum der ersten Theorie.
Trotzdem spricht viel dafür, dass man zwei verschiedene Phasen in der Entwicklung des Dekorationssystems unterscheiden kann. Die ursprüngliche Konzeption hätte demnach vorgesehen, die Außenmauern im Erdgeschoss durch folgende Elemente zu gliedern: erstens durch Blendbögen, sodann durch waagerechte Streifen aus farbigem Marmor – nach dem Vorbild des Baptisteriums in Florenz – und durch eingelegte Ornamente und Medaillons. Dieses Schema gilt für das ganze Kathedraläußere, an den Seitenwänden auch für die oberen Geschosse. Doch in den über dem Erdgeschoß liegenden Etagen der Westfassade übertraf man diesen Formenreichtum noch um ein Vielfaches. Statt flächiger Aufblendung ließ man in vier Galerien übereinander eine plastische Dekorationsschicht aus Säulen und verzierten Bögen vor der eigentlichen Kirchenmauer deutlich hervortreten.
Legenden
Im Hauptschiff hängt ein bronzener Leuchter von Vincenzo Possenti aus dem Jahre 1587, der Entwurf stammt aber von Giovanni Battista Lorenzi. Es gibt die Geschichte, dass an dem Leuchter Galileo Galilei die Gesetze der Pendelschwingung gefunden haben soll. Sollte es ein Leuchter in dieser Kirche gewesen sein, der ihn auf das Gesetz brachte, kann es allerdings nicht dieser Leuchter gewesen sein, da Galileo Galilei das Gesetz um 1584 veröffentlicht hat.
Zwischen dem nördlichen Seitenschiff und der westlichen Fassade findet man an der Außenwand des Doms an einem Pfeiler einen Stein mit vielen schwarzen Punkten. Von diesem Stein erzählt man sich, dass er vom Teufel sei. Zählt man zweimal hintereinander die Punkte nach, so kommt man jeweils auf ein anderes Ergebnis.
(Wikipedia)
Der Schiefe Turm von Pisa (italienisch Torre pendente di Pisa) ist das wohl bekannteste geneigte Gebäude der Welt und Wahrzeichen der Stadt Pisa in Italien.
Der Turm war als freistehender Glockenturm (Campanile) für den Dom in Pisa geplant. 12 Jahre nach der Grundsteinlegung am 9. August 1173, im Jahr 1185, als der Bau bei der dritten Etage angelangt war, begann sich der Turmstumpf in Richtung Südosten zu neigen. Daraufhin ruhte der Bau rund 100 Jahre. Die nächsten vier Stockwerke wurden dann mit einem geringeren Neigungswinkel als dem bereits bestehenden gebaut, um die Schieflage auszugleichen. Danach musste der Bau nochmals unterbrochen werden, bis 1372 auch die Glockenstube vollendet war.
Der Grund für seine Schieflage liegt in dem Untergrund aus lehmigem Morast und Sand, der sich unter dem Gewicht verformt. Neuesten Ausgrabungen zufolge steht der Turm am Rande einer ehemaligen Insel direkt neben einem antiken, zur Bauzeit bereits versandeten Hafenbecken. Die Schieflage des Turms beträgt nach dem Ende der Sanierungsarbeiten rund vier Grad, entsprechend einer Auslenkung an der Spitze von 3,9 m (bei rund 55,8 m Höhe). Im Inneren des Turmes hängt ein Pendel, das oben in der Mitte befestigt ist und durch die Schieflage unten beinahe die Seitenwand berührt.
Der Legende nach hat der aus Pisa stammende Galileo Galilei bei Fallversuchen vom Turm die Fallgesetze entdeckt.
Im Jahre 1987 wurde das Ensemble auf der Piazza del Duomo aus dem Turm, dem Dom, dem Baptisterium und dem Camposanto von der UNESCO zum Weltkulturerbe erklärt.
Architektur
Der 56 Meter hohe und 12 Meter durchmessende Campanile besteht aus 14.500 Tonnen weißen Carrara-Marmors und hat sieben Glocken, die aber längere Zeit wegen der Einsturzgefahr nicht läuten durften. Er sollte der Höhepunkt der ganzen Anlage der Piazza dei Miracoli sein. Er unterscheidet sich von den üblichen quadratischen Türmen Mittelitaliens und steht in einem großen Gegensatz zu den spitz zulaufenden Türmen des nördlichen Europa. Er ruht auf einem spiralförmigen Fundament aus 700 m³ Bruchstein und Mörtel. Neben dem Eingang sind Monat und Jahr des Baubeginns eingemeißelt: August 1173. In Urkunden wird jedoch stets 1174 genannt, denn für die Pisaner begann nach damaligem Kalender das neue Jahr bereits am 25. März. Giorgio Vasari bezeichnete Bonanno Pisano und einen gewissen Guglielmo als ursprüngliche Architekten des Turms.
Der Campanile hatte – außer dass er die Glocken tragen sollte – noch eine andere Funktion. Bei äußerer Gefahr flüchtete damals der Klerus in den Turm. Maueröffnungen und -vorsprünge im Zylinderschacht machten es möglich, bei Bedarf in jedem Stockwerk Gebälk und Fußböden einzuziehen.
Jedes Stockwerk hat eine Tür hinaus auf die Säulengalerie, die aus jeweils 30 Säulen besteht. Auf der Südseite führen oben sechs Stufen zur Glockenstube hinauf, auf der Nordseite nur vier. Die Treppe zur obersten Aussichtsterrasse soll Brunelleschi inspiriert haben, einen ähnlichen Aufgang zur Laterne auf der Kuppel des Doms in Florenz zu bauen.
Vom 7. Januar 1990 an musste der 14.500 Tonnen schwere Turm für Besucher gesperrt werden, da die Schräglage zu gefährlich wurde. Es gab eine weltweite Aufforderung an Baustatiker, die besten Lösungen zur Stabilisierung auszuarbeiten und einzureichen.
Nach 13-jährigen Sanierungsmaßnahmen, bei denen der Turm wieder um 44 Zentimeter aufgerichtet wurde, ist er seit Dezember 2001 wieder für Touristen geöffnet. Besucher können gegen Entgelt den Turm in Gruppen von maximal 40 Besuchern für eine Dauer von 15 Minuten besteigen.
Der Schiefe Turm von Pisa ist nicht das schiefste Gebäude bzw. der schiefste Turm der Welt, wie häufig vermutet wird. Dennoch gehört er zu den schiefsten Bauwerken, die – aufrecht geplant – unabsichtlich in eine Schieflage geraten sind.
Glocken
Die sieben Kirchenglocken des Domes werden aus statischer Vorsicht nur noch mittels innenliegender elektromagnetischer Schlaghämmer angeschlagen, und zwar mittags um 12 Uhr und jeweils vor den Messen.
Zuvor wurden die Glocken entsprechend ihrer Namen liturgisch eingesetzt, so etwa die Terza zur Terz, der dritten Stunde des liturgischen Tages, also um 9 Uhr vormittags, oder die Vespruccio zur Vesper, 18 Uhr. Das Läuten erfolgte von Hand; an Festtagen wurden die Glocken voll – a slancio – ausgeschwungen.
Die kleinste Glocke von 1501, Vespruccio genannt, hat eine sehr schlanke, zuckerhutartige Form. Die Glocke Del Pozzo ist ein originalgetreuer Nachguss der Vorgängerin, 1606 von Nicolaus Castellum gegossen.
Sanierungsmaßnahmen
Versuche im Mittelalter, den Bau durch besondere Baumaßnahmen wie geneigte Böden sowie dünnere und leichtere Mauern auf der überhängenden Seite zu retten, zeigten keine ausreichende Wirkung, so dass von den ursprünglich geplanten 100 Metern Höhe nur 54 Meter gebaut wurden.
Seit dem Beginn exakter Messungen 1911 nahm die Neigung stetig zu, und die Rate der Zunahme verdoppelte sich von den 1930er-Jahren bis 1990. In diesem Jahr betrug die jährliche Zunahme der Neigung 6 Bogensekunden. Außerdem zeigte die Vermessung, dass es sich um eine Rotationsbewegung handelte, wobei das Zentrum des Kreises in Höhe des Bodens der ersten Galerie senkrecht über dem Mittelpunkt des Turms auf Bodenebene liegt, der selbst keine vertikale Bewegung ausführte. Bei zwei heftigen Starkregenereignissen konnte 1995 eine Neigungszunahme in der Größenordnung einer Bogensekunde in wenigen Stunden festgestellt werden. Daraus wurde geschlossen, dass die Ursache nicht – wie üblicherweise angenommen – im Kriechen der weichen marinen Tonschicht (Horizont B ab einer Tiefe von etwa 10 m bis zu einer Tiefe von 40 m, wo Horizont C mit dichtem marinen Sand beginnt) lag, sondern an dem darüberliegenden Horizont A (Sand, sandige und tonige Schluffe), in der regelmäßig im September bis Dezember auftretende Unwetter mit heftigen Niederschlägen eine verstärkte Rotationsbewegung auslösten.
Seit der vorübergehenden Schließung 1990 waren diverse Sanierungsmaßnahmen unternommen worden. Im Mai 1992 wurde der Campanile mit Stahlreifen im zweiten Geschoss gesichert, da sich dort gefährliche Risse im tragenden Marmor gezeigt hatten. Insgesamt wurden 18 dieser Reifen angebracht. Zusätzlich wurden im Juli 1993 im Fundament 600 Tonnen Bleibarren als Gegengewicht auf der Nordseite eingelagert. Dadurch konnte die Schieflage des Turmes 1993 um eine Bogenminute verringert werden. 1995 wurden weitere Sanierungsmaßnahmen (Bodenvereisung und Stahlkabel-Verankerung) durchgeführt, da man die Bleigewichte als störend empfand. In der Folge erhöhte sich dabei allerdings die Neigung. Daraufhin wurde die höhere Seite des Fundaments an seinem Vorsprung außen am Turm im September 1995 erneut, diesmal mit 900 Tonnen Bleibarren, beschwert (siehe Bild), was die Neigung stoppte.
Ein Komitee internationaler Fachleute, das über die Sanierungsmaßnahmen des Turmes befinden sollte (1990 bis 2001 unter Leitung von Michele Jamiolkowski), konnte sich auf keine bestimmten Maßnahmen festlegen und wurde deshalb zum Ende 1996 von der italienischen Regierung aufgelöst. Nach dem großen Erdbeben vom September 1997 wurde das Komitee jedoch wieder eingesetzt. Man einigte sich im Herbst 1998 mehrheitlich auf eine neue Maßnahme zur Sanierung des Campanile, die sogenannte Bodenextraktions-Methode (geplant von John Burland nach einer Idee des Ingenieurs Fernando Terracina aus dem Jahr 1962). Dazu wurden im folgenden Jahr schräge Löcher in den Boden (Tiefe rund 4 bis 5 m, innerhalb von Horizont A) unter dem nördlichen Teil des Turmes gebohrt, so dass etwa 50 m³ Material entfernt wurde. Das Erdreich sackte langsam nach, schließlich auch der Boden des Turmes, und der ganze Turm richtete sich zunehmend nach Norden auf. Die Gesamtneigung des Turmes wurde von 5,5 Grad vor dem Beginn der Sanierungsarbeiten (um 1990) auf etwa vier Grad verringert. Damit ist der Turm voraussichtlich für die nächsten 300 Jahre gesichert. Nach dem Abschluss der Sanierungsmaßnahmen wurde der Turm am 15. Dezember 2001 wieder zur Besichtigung freigegeben.
Zur Sicherung während dieser Arbeiten wurde der Turm 1998 mit zwei starken Stahlseilen von 103 Metern Länge so befestigt, dass er nicht durch unerwartete Bewegungen einstürzen konnte.
Bei Bauarbeiten zur Sicherung des Gebäudes ist eine alte Römerstraße entdeckt worden, die noch in alten Plänen verzeichnet war, außerdem ein mittelalterliches Grab samt vollständigem Skelett.
(Wikipedia)
This project replaced two small culverts with a 55-foot pre-stressed concrete girder bridge. Traffic has been restored to two lanes.
Royal town Beroun, the gate to Český kras and Křivoklát region, lies near Prague at the crossroad of our capital, west part of the republic and Germany. The old mercantile road is replaced by D5 highway and railway tracks connecting Beroun with Prague, Plzeň and Rakovník. Present Beroun town with nearly 18 thousand inhabitants, is a cultural, administrative and industrial centre of the region. Town Information Centre in Husovo square can give you information about sights, cultural and sport events, train and bus time tables, tickets and so on.
Royal town Beroun lies on the confluence of Berounka and Litavka rivers and it is attractive for its historical sights and rich cultural and sport events and splendid surrounding. It is the gate to two protected landscape areas-Český kras and Křivoklát region. The settlement was found at the ford over Mže river in prehistory in the 13th century. Important mercantile path from Prague to Plzeň and Bavory in Germany went through it. The first written report about the town is in the document of Přemysl Otakar the IInd from 1265. Latin name Verona was translated as Bern into German language and as Berona, Berún, Beroun into Czech language. But the town run wild soon and had to be built again during the reign of Václav the IInd. New rampart and galleries and a new cloister of Dominicans were built. The ruler awarded a majesty to Beroun in 1303, which allowed to use the administrative rules of the Old Prague Town.
The period of the reign of Charles the IVth braught prosperity of the town and crafts. Our ancestors were famous potters, clothmakers, malt makers, vintners and brewery workers. Also german people lived here. They were concentrated around Dominikans cloister and support Zikmund, an emperor during the Hussite wars. But Žižka conquered the town in 1421, pulled down the Dominicans cloister and enemies of chalice let burn. After the town came down on Hussite brotherhood. Beroun citizens support a new king, Jiří from Poděbrady and they helped him as soldiers. During the reign of Vladislav Jagellonský, the town reached the biggest prosperity. Conflagrations disrupted the development of the town, especially houses. Also floods, epidemies and war plunders hit Beroun. But people thanks to their toughness revived and renewed the town again and again.
Only from the half of the 18th century the town is revitalizing and developing to present face. Beroun is becoming the centre of the region, a school and new associations are found, important personalities go through the town, railway track from Prague to Plzeň is open in 1862. Also industry typical for Beroun is developing-iron works, cementworks, limekilns.
Present Beroun has 17 476 inhabitants. Town hall in Husovo square is the dominant feature. Its pseudo-rennaissance style comes from 1903. Prague and Pilsner gate are very popular among tourists, as well as rests of rampart, moat and bulwarks from the 14th century. The town is famous for its ceramics fair, which has been inviting potters and ceramic masters from the whole country for 7 years. Just potters belonged to the most appreciated and respected craftsmen in the Medieval Age. Also Town Hill with a lookout and a bear-home is a big attraction. There have been living 3 little bears, heroes of the evening fairy tale Matěj, Vojta and Kuba since 2000 (see picture on the left above). Beroun town has a bear in his emblem and in his flag and now it is proud of live bears.
Beroun is an important centre of light and middle-heavy industry. Some companies began to build an industrial zone in the beginning of 90s. They belong to the biggest employers in the town and they are- Cembrit CZ, a.s.(producer of roof tiles), Linde Frigera s.r.o. (producer of refrigerating technics), PAI s.r.o. (producer of car components), Českomoravský cement as a member of HeidelbergCement Group.
A real explosion is in the field of individual and group flat constructions. There are built many new flats and family houses, new shopping centres, restaurants and hinterlands for drivers.
Beroun citizens have cooperated with some partner towns for many years-dutch Rijswijk, german Goslar, polish Brzeg. Construction of housing complex in Havlíčkova street in the centre (see picture on the left) by dutch company Bouwfonds is a sample of mutual cooperation. All partner towns supported Beroun in the hardest time, after the destructive flood in August 2002.
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Královské město Beroun ležící na soutoku řek Berounky a Litavky láká k návštěvě nejen svými historickými památkami a bohatou kulturní a sportovní nabídkou, nýbrž i svým překrásným okolím. Je východiskem do dvou chráněných krajinných oblastí - Českého krasu a Křivoklátska. V oblasti, která byla osídlena již od pravěku, vznikla ve třináctém století při brodu přes řeku Mži (Berounku) osada. Procházela jí významná obchodní stezka vedoucí z Prahy do Plzně a dále do Bavor. První písemnou zprávu o městě nacházíme v listině Přemysla Otakara II. z roku 1265. Latinský název Verona byl do němčiny překládán jako Bern, do češtiny jako Berona, Berún a Beroun. Město však brzy zpustlo a musilo být znovu vybudováno za vlády Václava II. Byly založeny nové hradby a ochozy a byl založen i klášter dominikánů. V roce 1303 udělil panovník Berounu majestát, podle něhož se město mohlo spravovat právem Starého Města pražského.
Dnešní Beroun má 17 648 obyvatel. Jeho dominantou je budova radnice na Husově náměstí, jejíž pseudorenesanční podoba pochází z roku 1903. Z velmi zachovalého městského opevnění z 1. poloviny 14. století se těší zájmu turistů Pražská a Plzeňská brána, zbytky hradeb, hradebního příkopu a bašt. Město proslulo i svými hrnčířskými trhy, na které se už sedm let sjíždějí nejlepší hrnčíři a keramici z celé republiky. Právě hrnčíři patřili ve středověku k váženým a uznávaným řemeslníkům. Velkou atrakcí je také berounská Městská hora s rozhlednou a medvědáriem, kde žijí od roku 2000 hrdinové televizního Večerníčku Méďové Matěj, Vojta a Kuba. Město Beroun má ve znaku a na svém praporu medvěda a nyní se může pochlubit i medvědy živými.
Beroun je významným centrem lehkého a středního průmyslu. Svou průmyslovou zónu začal budovat už na počátku 90. let a zdejší podniky - Cembrit CZ, a.s. (výrobce střešní krytiny), Linde Frigera s.r.o. (výrobce chladírenské techniky) či PAI s.r.o. (výrobce automobilových součástek) patří společně s akciovou společností Českomoravský cement, člena skupiny HeidelbergCement Group v České republice mezi nejvýznamnější zaměstnavatele ve městě.
Skutečnou explozi zaznamenala v posledním období hromadná i individuální bytová výstavba. V letech 2004 a 2005 bylo v severozápadní části města, v lokalitě Palouček dokončeno dvanáct bytových domů s 323 novými byty, další bytové jednotky se začnou v blízké době stavět v jejich těsném sousedství. V centru města naproti Grandhotelu Beroun byla v roce 2005 dokončena výstavba polyfunkčního komplexu s obchodními plochami i bytovými jednotkami, v areálu bývalých kasáren staví město 50 malometrážních bytů pro sociálně slabé občany a bytová výstavba se plánuje i v bývalém pivovaru u řeky Berounky.
Berounští už řadu let spolupracují s několika partnerskými městy - holandským Rijswijkem, německým Goslarem a nově také s polským Brzegem. Ukázkou vzájemné spolupráce může být například výstavba obytného souboru v Havlíčkově ulici v centru města dceřinou společností významné holandské firmy na poli bytové výstavby Bouwfonds. Všechna partnerská města pak Beroun podpořila i v době nejtěžší, když se vzpamatovával z rozsáhlých škod způsobených ničivou povodní v srpnu 2002.
I also decided to convert a lot of Amazon Prime trucks into ice cream trucks with electric swing arm stop signs like on school buses and the current yellow trapezoid Children Slow Crossing warning blades that word "CHILDREN SLOW CROSSING" to replace all of the older ice cream trucks that still have the old red trapezoid Children Slow Crossing warning blades that word "IF-SAFE STOP THEN-GO". All of the older ice cream trucks that still have the old former red trapezoid children slow crossing warning blade that word "IF-SAFE STOP THEN-GO" will all be torn apart and have their pieces be used as new McDonald's PlayPlace play equipments replacing the dangerous crawl tubes and ball pits since McDonald's also has been making safety improvements to their PlayPlaces by using better play equipments seen athttps://playtime.com/showcases/towers/mcdonalds-playplace-solutions/ replacing the nasty dangerous crawl tubes and ball pits and some of the newer McDonald's PlayPlaces like the epic one in Orlando has arcade games. The Amazon Prime Trucks that are converted into Ice Cream Trucks will go to Mister Softee, Wholesale Clubs such as Costco and BJ's, and other ice cream truck service on safety updates on ice cream trucks. But there will always be brick and mortar stores in real life and Due to that New Jersey was the slowest on phasing out the bad old outdated red trapezoid Children slow crossing warning blades that word IF-SAFE STOP THEN-GO because of some mean teachers at school forcing some ice cream trucks to keep their red trapezoid and made a bad and mean-spirited law of ice cream trucks requiring those bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which is extremely confusing to people who are death, color blind, can't read or don't speak English in some of New Jersey, I hereby MOST Amazon warehouses in New Jersey to all be converted into Blue's Clues Handy Dandy Notebook prop replica manufacturing plants and convert most Amazon prime trucks in New Jersey into better and safe updated ice cream trucks with the good awesome current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and School bus stop signs which are octagon shape for the state of New Jersey to also include disabled people in the future too and tear apart the last remaining of the ice cream trucks with the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO and recycle all of them into brand new Blue's Clues Handy Dandy notebook prop replicas and reuse the arm the bad old outdated red trapezoid Children Slow crossing warning blades that word IF-SAFE STOP THEN-GO for the brand new stop signs of the new school buses of the future.
Replaced in 1985, Hutton Mill Bridge, carry's this local road from Foulden to Paxton over Whiteadder Water
Cherry Blossom. Washington, DC. USA. Mar/2016
A cherry blossom is the flower of any of several trees of genus Prunus, particularly the Japanese cherry, Prunus serrulata, which is called sakura after the Japanese (桜 or 櫻; さくら).
Cherry blossom is speculated to be native to the Himalayas.[4] Currently it is widely distributed, especially in the temperate zone of theNorthern Hemisphere including Europe, West Siberia, India, China, Japan, Korea, Canada, and the United States. The cherry blossom is considered the national flower of Japan.
Japan gave 3,020 cherry blossom trees as a gift to the United States in 1912 to celebrate the nations' then-growing friendship, replacing an earlier gift of 2000 trees which had to be destroyed due to disease in 1910. These trees were planted in Sakura Park in Manhattan and line the shore of the Tidal Basin and the roadway in East Potomac Park in Washington, D.C. The first two original trees were planted by first ladyHelen Taft and Viscountess Chinda on the bank of the Tidal Basin. The gift was renewed with another 3,800 trees in 1965.In Washington, D.C. the cherry blossom trees continue to be a popular tourist attraction (and the subject of the annual National Cherry Blossom Festival) when they reach full bloom in early spring
Todos os anos o Festival Nacional das Cerejeiras celebra a floração das cerejeiras dadas à cidade de Washington, em 1912, pelo prefeito de Tóquio. O presente foi uma homenagem do prefeito à longa história de amizade entre Estados Unidos e Japão. As cerejeiras floridas marcam a chegada da primavera na cidade e proporcionam uma das vistas mais apreciadas da região. Um dos lugares mais bonitos para observação é ao redor do Tidal Basin, espelho d’água no centro de Washington próximo ao Washington Monument, ao Lincoln Memorial, ao Jefferson Memorial e ao Franklin Delano Roosevelt Memorial. O pico da florada é definido como o dia em que 70% das flores do Tidal Basin estão abertas
Houve a coordenação de muitas pessoas para assegurar a chegada das cerejeiras. Um primeiro lote de 2.000 árvores chegou doente em 1910, mas isso não impediu as partes envolvidas de envidarem todos os esforços para a concretização do intento. Entre os governos dos dois países, com as coordenações do Dr. Jokichi Takamine, um químico famoso mundialmente e fundador da Sankyo Co., Ltd. (hoje conhecida como Daiichi Sankyo), Dr. David Fairchild, do Departamento de Agricultura dos Estados Unidos, de Eliza Scidmore, primeiro membro da diretoria feminina da National Geographic Society e da primeira-dama Helen Herron Taft, mais de 3.000 árvores chegaram a Washington, D.C. em 1912. Em uma cerimônia simples, em 27 de março de 1912, a primeira-dama Helen Herron Taft e a Viscondessa Chinda, esposa do embaixador do Japão, plantaram as duas primeiras árvores do Japão na margem norte do Tidal Basin em West Potomac Park. Ao longo dos anos, os presentes foram trocados entre os dois países. Em 1915, o Governo dos Estados Unidos retribuiu com um presente de árvores chamadas “dogwood” (que também tem belas florações) para o povo do Japão. (tradução:nationalcherryblossom)
Cherry Blossom. Washington, DC. USA. Mar/2016
A cherry blossom is the flower of any of several trees of genus Prunus, particularly the Japanese cherry, Prunus serrulata, which is called sakura after the Japanese (桜 or 櫻; さくら).
Cherry blossom is speculated to be native to the Himalayas.[4] Currently it is widely distributed, especially in the temperate zone of theNorthern Hemisphere including Europe, West Siberia, India, China, Japan, Korea, Canada, and the United States. The cherry blossom is considered the national flower of Japan.
Japan gave 3,020 cherry blossom trees as a gift to the United States in 1912 to celebrate the nations' then-growing friendship, replacing an earlier gift of 2000 trees which had to be destroyed due to disease in 1910. These trees were planted in Sakura Park in Manhattan and line the shore of the Tidal Basin and the roadway in East Potomac Park in Washington, D.C. The first two original trees were planted by first ladyHelen Taft and Viscountess Chinda on the bank of the Tidal Basin. The gift was renewed with another 3,800 trees in 1965.In Washington, D.C. the cherry blossom trees continue to be a popular tourist attraction (and the subject of the annual National Cherry Blossom Festival) when they reach full bloom in early spring
Todos os anos o Festival Nacional das Cerejeiras celebra a floração das cerejeiras dadas à cidade de Washington, em 1912, pelo prefeito de Tóquio. O presente foi uma homenagem do prefeito à longa história de amizade entre Estados Unidos e Japão. As cerejeiras floridas marcam a chegada da primavera na cidade e proporcionam uma das vistas mais apreciadas da região. Um dos lugares mais bonitos para observação é ao redor do Tidal Basin, espelho d’água no centro de Washington próximo ao Washington Monument, ao Lincoln Memorial, ao Jefferson Memorial e ao Franklin Delano Roosevelt Memorial. O pico da florada é definido como o dia em que 70% das flores do Tidal Basin estão abertas
Houve a coordenação de muitas pessoas para assegurar a chegada das cerejeiras. Um primeiro lote de 2.000 árvores chegou doente em 1910, mas isso não impediu as partes envolvidas de envidarem todos os esforços para a concretização do intento. Entre os governos dos dois países, com as coordenações do Dr. Jokichi Takamine, um químico famoso mundialmente e fundador da Sankyo Co., Ltd. (hoje conhecida como Daiichi Sankyo), Dr. David Fairchild, do Departamento de Agricultura dos Estados Unidos, de Eliza Scidmore, primeiro membro da diretoria feminina da National Geographic Society e da primeira-dama Helen Herron Taft, mais de 3.000 árvores chegaram a Washington, D.C. em 1912. Em uma cerimônia simples, em 27 de março de 1912, a primeira-dama Helen Herron Taft e a Viscondessa Chinda, esposa do embaixador do Japão, plantaram as duas primeiras árvores do Japão na margem norte do Tidal Basin em West Potomac Park. Ao longo dos anos, os presentes foram trocados entre os dois países. Em 1915, o Governo dos Estados Unidos retribuiu com um presente de árvores chamadas “dogwood” (que também tem belas florações) para o povo do Japão. (tradução:nationalcherryblossom)
these three were once my most popular mocs (on mocpages) but as time goes on, and mocers become better, they eventually decide to replace their old models, so these Lamborghini Gallardos will be replaced with new ones (hopefully better ones)
ps. wips coming soon! :D
Midtown Manhattan, New York City, New York, United States
The Joseph B. and Josephine H. Bissell House was originally constructed as one of five Italianate style brownstone row houses designed by architect Thomas Thomas and built in 1869 by owner and builder John W. Stevens. When the Bissell House was initially constructed, many row houses were being built on the side streets in the area below Central Park while larger mansions were being constructed along Fifth Avenue. By the early 20 century this area was the city’s most prestigious residential neighborhood and was known as Vanderbilt’s Row because of that family’s involvement in maintaining the elite character of the neighborhood. The house was purchased by Josephine H. Bissell in 1903 and she hired prominent architect Edward L. Tilton to alter the house by removing the traditional Italianate style brownstone facade and its high stoop and replacing it with a more fashionable neo-Classical style brick and limestone facade with an American basement plan.
The Bissell House facade is a rare example of a private residential commission by Tilton, who is particularly associated with the design of libraries. The facade features a bowed front, red and black brick laid in a Flemish bond pattern and limestone details including two prominent cornices with block modillions and scroll brackets. Mrs. Bissell lived in the house with her husband, Dr. Joseph B. Bissell, and their children and sold it shortly after his death. Dr. Bissell was a surgeon who did pioneering research in the treatment of cancer with radium. Several prominent physicians lived in the house in the first half of the 20century. The next owner was Dr. James Ramsay Hunt who lived and maintained an office in the house. Dr. Hunt was a preeminent neurologist who is known today because several neurological disorders bear his name. In 1943, Drs. Harry Sidney Newcomer and Marian Anastasia Staats Newcomer purchased the house. Dr. H. Sidney Newcomer was an inventor as well as a physician and his wife, Dr. Marian Newcomer, was the author of a book that provided medical advice to laypersons. Gradually the house went from residential to non-residential use and it is currently owned by a clothing manufacturer based in Italy.
Early History of the Site and House
The site of the Bissell house was part of the common land of New York City until 1851 when the Mayor, Aldermen and Commonality of the City of New York sold it to Stephen V. Albro,a grocer who had his business and residence at 328 Bowery at the time.The land remained vacant until 1869, when owner and builder John W. Stevens constructed five Italianate style brownstone row houses designed by architect Thomas Thomas at 44-52 West 55Street.The first owners of No. 46 were Felicia S. Lowndes and Louise A. Alker,who appear to be related,although it appears from the Trow’s City Directories that Lowndes did not live in the house. Members of the Alker and Lowndes families lived in the house until 1886.By 1900 subsequent owners, who do not appear to have lived in the house, rented the house to Maria L. Grouard and her sister Elizabeth P. Grouard. The Grouard sisters lived and ran a school for girls in the building.Blondelle Malone, an artist from South Carolina, was also living in the house in 1899-1900.
Joseph B. and Josephine H. Bissell
The house had a number of owners before Josephine H. Bissell purchased it from Sadie S. Dearborn in early 1903. Mrs. Bissell hired architect Edward L. Tilton to completely alter the front facade of the house by replacing the Italianate style brownstone facade and its high stoop with a more fashionable neo-Classical style facade with an American basement plan. The alteration was carried out between May 21, 1903 and June 27, 1904.Josephine H. Bissell and her husband, Dr. Joseph B. Bissell lived there with their four children and two female servants.Joseph B. Bissell was a surgeon who did pioneering research in the treatment of cancer with radium and was visiting surgeon for many years at Bellevue and St. Vincent’s Hospitals. He graduated from Yale University and the College of Physicians and Surgeons at Columbia University. In July 1915, he opened the Radium Sanatorium of New York at 203 West 70Street.
Earlier that same year, the Bissell’s eldest daughter Eugenie married Lawrence Millet, son of the late American artist Francis D. Millet, in the drawing room of the house.Dr. Bissell, a major in the U.S. Army during World War I, died in December 1918 while working as chief surgeon at Fort McHenry near Baltimore, Maryland. In the following year, Josephine Bissell sold the house to Dr. J. Ramsay Hunt.She later moved to Great Neck, Long Island and married William Bradford Merrill, general manager of the Hearst newspapers and the uncle of her son-in-law Lawrence Millet.
The Bissell house is a rare example of a private residential commission by Tilton. There is one other known example of a row house that was altered with a new front by Boring & Tilton. The house at 132 West 72 Street (within the Upper West Side/Central Park West Historic District) was one of five Renaissance Revival style brownstone row houses built in 1883-84 and designed by Gilbert A. Schellenger. In 1901-02, the front was replaced by Boring & Tilton’s design for a new brick and ashlar facade that featured a bowed front at the third and fourth storiesand stone details such as quoins and keystones.
Subsequent History
James Ramsay Hunt bought the house from Josephine Bissell a few months after being discharged from the military in 1919, and lived in the house with his wife Alice St. John Nolan Hunt and their two children until his death in 1937. He was a preeminent neurologist who is known today because several neurological disorders bear his name.Dr. Hunt was educated at the University of Pennsylvania and was stationed in France in the medical corps of the U.S. Army during World War I. The Hunts hosted dinner parties each week in their home that were attended by others within the medical profession and wealthy members of the business world, according to their daughter, Alice Hunt Sokoloff.During this time, he was a professor of neurology at Columbia University and had consulting privileges at several hospitals. He eventually moved his office to the ground floor of the house. He recorded his experiences with private patients from 1903 to 1937 in what are known as the James Ramsey Hunt Casebooks. The Hunt family continued to live in the house after his death; however, the house was foreclosed by the Bowery Savings Bank in 1940 and then sold by the bank to Drs. H. (Harry) Sidney Newcomer and Marian Anastasia Staats Newcomer in 1943.
Dr. Marian Newcomer was educated at the Syracuse University Medical School and was best known as the founder of the Mater Christi Guild, a Catholic guidance center for the assistance of young people in family difficulties, and as the author of a 1936 book, Bewildered Patient, which provided medical advice for laypersons. She maintained an office in the house.Her husband, Dr. H. Sidney Newcomer, developed a three-stage amplifier using thermionic valves that amplified nerve action currents with fellow Johns Hopkins School of Medicine student Herbert S. Glasser in 1921.Newcomer also invented and received several U.S. patents for optical devices. In 1930 he exhibited an anamorphic lens that was used as a projection device. Similar research was being done in France by Henri Chretien at the same time. This technology developed into Cinemascope in the 1950s.Newcomer was associate medical director of the pharmaceutical company, E. R. Squibb and Sons, when they lived in the house. According to a Certificate of Occupancy issued in 1944and the New York Telephone Company Address Directories, there were non-residential uses in the building while the Newcomers lived there; these included Marian Newcomer’s Mater Christi Guild, Dioptric Instrument Corp., a manufacturer of precision lenses, and Reach Yates Matton Inc., an advertising firm.
In 1954, H. Sidney Newcomer sold the house to Edward A. Viner and it served as the main office of Edward A. Viner & Co., Inc., an investment firm. In addition to offices, a Certificate of Occupancy dated 1954 indicates that there was a laboratory in the cellar and a duplex apartment at the fourth and fifth stories.After the building was sold by the Estate of Edward A. Viner in 1956 it housed a variety of commercial firms, mostly in the garment industry.The owner Jean Robert Ltd., a clothing retailer, altered the building by replacing the windows and enlarging the door opening in 1987 and received a new Certificate of Occupancy that did not include any residential use.Les Copains, a manufacturer of women’s clothing based in Italy has occupied the premises as its U.S. headquarters since purchasing the building in 2001.
Design and Construction
In the late 19 century, the New York City row house began to be transformed by architects and housing developers interested in moving beyond the traditional form to achieve a more “scientific division of space,” while at the same time effecting an “artistic disposition” on the interior as well as the exterior.One of the most notable solutions was what came to be called the American basement plan. According to architectural historian Russell Sturgis, the American basement plan was first introduced around 1880. It gained widespread popularity during the 1890s and first few years of the 1900s, when it was promoted in the architecture and real estate press as a practical, stylistic, and even social improvement over the speculatively built brownstone row houses that had predominated into the latter half of the 19century. In the traditional row house plan, the main entrance was reached by a tall flight of stairs—the stoop, from the Dutch for “step”—which was set to one side of the facade. The main reception hall shared the first floor with the parlor, beyond which was usually another parlor, a library, or sometimes a dining room. More often the dining room was located in the front of the raised basement, which was entered via a short flight of stairs sunk beneath the stoop; visitors to the house would therefore enter on the level of the family’s main living space. The Bissell house, when constructed in 1869, was a traditional row house.
The entrance to an American basement plan row house was instead lowered virtually to street level, and was often centered on the facade. The resulting changes in the interior arrangement of space were quite dramatic; the main entrance hall and stair now occupied the front of the ground story with the kitchen behind, and on the first floor the parlor now occupied the entire building frontage, separated from the rear dining room by a stair hall that functioned as a secondary reception hall. Moving the entrance to the center of the ground floor created the possibility of a generous foyer leading to a grand main stairway, and a larger, better lit parlor occupying the entire building frontage on the first floor.Architecture critic Montgomery Schuyler summed up the innovations embodied by the “New New York House,” writing in 1906 for Architectural Record that “…there is a practical consensus to the effect that the “American basement,” with the full frontage available on the second floor, is the most convenient arrangement, and the most economical in reality in spite of the ‘waste’ of the entrance hall. And the narrower the front, the more desirable it is, practically and especially architecturally, that the entrance be at the centre.”
The introduction of this new row house type coincided with increased stylistic experimentation by architects and developers seeking to create distinguished facades that would be readily marketable as private, upper-class residences. Fostered in part by the classical styles used at the Chicago World’s Columbian Exposition of 1893, many of the row houses employing the American basement plan were given facades in a variety of architectural styles including Renaissance Revival, Modern French, Beaux-Arts, and Georgian Revival.
After the turn of the century, brownstone row houses throughout the city were remodeled by the removal of the stoops, rearranged of the interior floors layouts and, sometimes, the replacement of the whole front facade. In 1903 architectural critic Herbert Croly observed that high-stooped brownstone dwellings had become “extremely unfashionable, both in design and plan” and described a new movement “gradually gathering momentum toward the substitution of reconstructed American basement dwelling for old brownstone fronts.”There was also an increasing desire for individualized designs. Reacting against “the monotony of the once fashionable … brownstone-front, in blocks of a dozen of more houses exactly alike,”architects and developers entered into “a persistent and deliberate striving after individuality” using a variety of different styles, designs, and materials to create distinctive facades that would be readily marketable as private upper-class residences.
The facade alteration by Edward L. Tilton in 1903-04 for the Bissells altered the house from a traditional row house plan to an American basement plan row house and removed the Italianate style brownstone facade and replaced it with a then-fashionable neo-Classical style brick and limestone facade. Tilton employed red and black brick laid in a Flemish bond pattern with limestone details and a bowed front at the first through fourth stories. The house has two prominent limestone cornices above the first and fourth stories with block modillions and scroll brackets. The triple windows at the second and third stories have continuous limestone surrounds with pilasters between the windows and a paneled spandrel between the second and third stories. The Bissell house is a distinguished example of the fashionable townhouses that once characterized the neighborhood.
Description
The Bissell House is a five-story building that is situated on a rectangular lot measuring 20 feet by 100.5 feet. The front facade is constructed of red stretcher and black header bricks laid in a Flemish bond pattern above the first story; except that at the eastern and western lot lines, where the facade is slightly recessed, it is constructed of red brick and projects above the cornice forming side parapet walls that are capped by stone. There are two wide granite steps that lead to the front door. The first four stories have a bowed front. The first story is constructed of limestone with a wide molded door surround having the building number (“46”) at the center above the door and is surmounted by a prominent cornice with large block modillions and scroll brackets. The door and window openings at the first story were altered in 1987 to accommodate an enlarged door opening that has four paneled wood doors set within a wood return. Non-historic light fixtures and bronze plaques (“Les Copains”) are located on either side of the doors and there is a Siamese connection, two remote utility meters with exposed conduit and a metal plate to the east of the door. There is an intercom and card entry panel on the eastern end of door return.
A two-story molded limestone window surround at the second and third stories has square pilaster mullions with simple capitals, inset panels between the second and third stories and above the third story windows and is surmounted by a molded cornice. There is a molded limestone band between the third and fourth stories behind the cornice that forms a continuous sill for the fourth story windows. The second and third stories have triple windows with multi-pane wood casements and multi-pane wood transoms. A flagpole was attached to the sill of the center third story window after 1939. The fourth story has three multi-pane wood casement windows, above the windows is a prominent limestone cornice with block modillions and scroll brackets and a molded band beneath the brackets that form a continuous lintel for the fourth story windows. The fifth story is set-back from the bowed front of the lower stories and has three single windows with splayed red brick lintels and one-over-one double-hung windows that appear to be wood sash. The windows were replaced in 1987. The molded roof cornice is partially constructed of bronze and has four roundels. There is a non-historic metal rooftop railing and a metal leader at the western end of the facade.
The visible part of the western facade, which projects beyond the adjacent setback row house, is constructed of red stretcher and black header bricks laid in a Flemish bond pattern.
- From the 2010 NYCLPC Landmark Designation Report
Some yeas ago, I replaced my dying D300, which I loved by a D7100. While it is supposzed to be superior, thank to more pixels, higher isos and ability to make movies, I never was entirely happy with the new camera. It felt fiddly, and I never took that much pleasure using it. In the end, i bought an old D700, just to see. And there it was. It is like I was reunited with my D300 and I understood what was missing. It is not the so much the light and plastiquy feel of the D7100 that was putting me off, is the fact that it is so much more difficult to use. On the D700, evrything is there, easily accessible, fast to use, well thought. I am now selling my D7100. I was kind of thinking upgrading it to a D610 or maybe a D750, I know now that I will have to wait until I can afford a D800 or D810...
The Grumman EA-6B Prowler was developed primarily to replace older electronic warfare aircraft in US Navy service, namely the EKA-3B Skywarrior, as well as a response to the growing lethality of Eastern Bloc electronic threats. Initially, the ALQ-99 electronics suite was installed in a standard A-6 Intruder airframe as the EA-6A, but the aircraft was somewhat limited and workload was heavier for a two-man crew, especially in combat. EA-6As did see combat in Vietnam with the US Marine Corps, but something better was clearly needed. The result was the lengthened EA-6B Prowler, which upgraded the electronics suite considerably and also added two more crewmembers to reduce workload and increase effectiveness. The EA-6B first flew in May 1968, and entered US Navy and Marine service in 1971.
The ALQ-99 system is divided between several antennae on the aircraft, including the distinctive “football” antenna at the top of the tail. Most of the noise jammers are in the three or five underwing pods the Prowler almost always carries, though in the case of a three-pod arrangement, often antiradar missiles such as the AGM-88 HARM. It can also be used as an electronics intelligence (Elint) aircraft.
Continually updated over its life, the EA-6B has also seen action in both Gulf Wars, Afghanistan, Bosnia, and Kosovo; in service over the Middle East, the Prowler has proven effective in jamming IED detonation signals. With the retirement of the USAF’s EF-111 Ravens, the EA-6B was the sole ECM aircraft in US service, further contributing to the overwork of the aircraft, and has often been the only ECM aircraft available in NATO operations as well. The last of the A-6 family in service, the Prowler has almost been completely replaced by the EF-18G Growler, beginning in 2009.
Known as the "Frankenprowler," this EA-6B is 158542--most of it, anyway. 158542 was originally built in 1972 and served with several Pacific Fleet ECM squadrons at NAS Whidbey Island. In 1989, it was one of three testbeds for testing the Advanced Capability (ADVCAP) upgrade; this would add new flaps, slats and ailerons for better handling at higher gross weights, two more wing hardpoints, improved engines, and a completely new "glass" cockpit. Though ADVCAP showed great promise, it was cancelled in 1995 due to budget cuts. All three ADVCAP aircraft were placed in storage.
In need of attrition replacements in 1998, the three ADVCAP aircraft were dismantled, and parts from all three were reassembled into a single EA-6B. Now dubbed "Frankenprowler," 158542 returned to service with VAQ-141 ("Shadowhawks") in 2005 and saw service over Iraq. It would end its career with Marine VMAQ-3 ("Moon Dogs") in 2015, and was donated for display to the Pima Air and Space Museum, to preserve the most unique of a unique aircraft.
"Frankenprowler" is looking a bit faded; unfortunately, I wasn't aware of its status when I took the picture, or I might have gotten its nose art into the picture (a small painting of Frankenstein is on the nose, unseen from this angle). What looks to be a faded American flag is actually the names of everyone in VMAQ-3 at the time the aircraft was retired.
Whiteford Lighthouse is an unusual cast-iron lighthouse built in 1865 to a design by John Bowen (1825-1873) of Llanelli, by the Llanelli Harbour and Burry Navigation Commissioners to mark the shoals of Whiteford Point, replacing an earlier piled structure of 1854, of which nothing remains. It is the only wave-swept cast-iron tower of this size in Britain. The tower is 44 feet (13 m) high and stands just above low-water level. The base is about 24 feet (7.3 m) in diameter and rises gracefully to a diameter of 11 feet 6 inches (3.51 m) at lantern level. A pitched stone apron surrounds the base of the lighthouse.
Construction and maintenance
The lighthouse sits on 88 wooden piles driven into glacial moraine which is any glacially formed accumulation of unconsolidated glacial debris (soil and rock) that occurs in currently glaciated and formerly glaciated regions on Earth these are linked horizontally by walling pieces, using 500 cast-iron plants and bolts. These would have formed a box, probably square or octagonal, which would have been excavated and partially filled with concrete. The materials were delivered by boat and work undertaken during low tide. The structure of the shell is formed from 105 bent and tapered cast-iron plates, each about 32 millimetres (1.3 in) thick, with an upstand flange on each side, and bolted with cast-iron bolts, each weighing 2 pounds (0.91 kg). There are eight levels of panel tapering to the sixth 'course'. The first three horizontal joints are covered by iron bands supported on brackets and topped with fillets of concrete. During the 1870s vertical cracks developed in the plates of the lowest three rings. A local blacksmith called Powell made wrought-iron straps which were bolted to the flanges on each side of the cracked plates. At the time, the cracks were put down to lateral pressures arising from the settlement of the inner masonry, being composed of rough beach stones and 'bad' mortar. By 1884, 150 straps had been fitted. The compaction of the fill may have been compounded by movement (swaying) of the tower, reported in 1884 by the lighthouse keeper to have been 'several inches'. In 1885, the ground around the tower was strengthened with the addition of a concrete skirt 18 inches (46 cm) deep, bound by a 2-inch (5.1 cm) wide iron band, effectively anchoring the skirt to the base of the tower. The equipment for the lighthouse is listed in an inventory of 1888 and indicates that provision was made for two lighthouse keepers, although each of the census returns of 1871, 1881, 1891, and 1901 names one keeper. The working pattern was two weeks at Whitford Lighthouse alternating with two weeks at Llanelli Harbour Lighthouse.
The lamp
Three Argand lamps and reflectors were fitted, one towards the Lynch Pool or south channel, one towards Burry Port, and one towards Llanelli. In 1876, the Harbour Master set a fourth lamp to shine west along the north channel. The Admiralty chart of 1887 shows the "Arc of Visibility" of the lights from slightly west of south, through north, to slightly south of east. The lighthouse was discontinued in 1920, when responsibility for the light was transferred to Trinity House, who decided to establish a new beacon at Burry Holms. However, after pleas from local yachtsmen, the light was relit in the 1980s. This gave an additional point of reference when navigating the waters between the Gower Peninsula and Burry Port: on dark nights, boat crews often found themselves on top of Whiteford Point before realizing the fact. The cost was £1,300, with £1,000 being funded by the Harbour Commissioners and the balance by Burry Port Yacht Club. The new light was fully automatic and switched on when daylight faded to a pre-determined level. Two nautical almanacs published in 1987, Reeds, and Macmillan and Silk Cut, listed Whiteford Lighthouse as flashing every five seconds. After a failure of the solar unit, the light was removed and not replaced. However, the lighthouse still has navigational value in daylight. It is now owned by Carmarthenshire County Council.
Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.
The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.
On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.
The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.
Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.
To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.
The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.
To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.
The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.
In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.
Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.
Hurst Green station dates from the 1960s and replaced a halt immediately to the south; on 19 September 1987 205001 stops on the 1436 Victoria - East Grinstead. Electric services are only two weeks away.
SHANLING ヘッドホンアンプ UA2.
元々ついていたハイレゾロゴのシールを剥がしたら、その下にレーザー加工で刻印されていました。
・・・シール必要なかったな。
ハイレゾのロゴステッカーが剥がれてきたので、AliExpressで購入。
さすがパチモンだけあって微妙にフォントが違う。
No equality - Nellie McKay
There's no equality here
There's no equality anywhere
And every fear you can face
Is quickly replaced
By one you can't loose
It's an illusion
That's never meant to occur
Won't happen to her
Won't happen to you
And you let me down slowly
Let me down slow and you turn me around
Let me down easy
Let yourself go, now you're going to town
Baby, baby, can't you see
What this hypocrisy is doing to me
We should’ve kicked over the ladder from the start
You used to be my lover
You used to be my soul soul brother
I used to believe
That you could conceive
Conceive of my love
But you let me down slowly
You let me down slow and you turn me around
Let me down easy
Let yourself go, now you're going to town
Baby, baby, can't you see
What this absurdity is doing to me
We should’ve kicked over the ladder from the start
There’s no equality
Nobody knows the trouble I’ve seen
No one supposes just how mean I can be
I play the victim, but I’m really a cad
And all I’ve ever wanted ‘s everything I’m gonna have
There’s no equality here
There’s no equality on Earth I fear
There are so many (incomprehensible)
It’s me or it’s you
That’s why I let you down slowly
Let you down slow and I turn you around
Let you down easy
Let myself go, now we’re both set to drown
No equality presented by Nellie McKay this song show the plot of story, that people get indignant about inequality in Council of Vocations, and the Council of Scholars. They view any inequalities, whether in educational attainment, as a sign of injustice. Because they are all different, inequalities are the natural result of living in a free society. This song connects to the people in the story they had no concept of individuality, they could not have individual names, only had the number. The patterned the numbering like telephone numbers. They try to hide their intelligence, or they will be punished more than anyone else.
Freewill - Rush
There are those who think that life is nothing left to chance,
A host of holy horrors to direct our aimless dance.
A planet of playthings,
We dance on the strings
Of powers we cannot perceive.
"The stars aren't aligned
Or the gods are malign"-
Blame is better to give than receive.
You can choose a ready guide in some celestial voice.
If you choose not to decide, you still have made a choice.
You can choose from phantom fears and kindness that can kill;
I will choose a path that's clear-
I will choose Free Will.
There are those who think that they were dealt a losing hand,
The cards were stacked against them- they weren't born in lotus-land.
All preordained-
A prisoner in chains-
A victim of venomous fate.
Kicked in the face,
You can't pray for a place
In heaven's unearthly estate.
You can choose a ready guide in some celestial voice.
If you choose not to decide, you still have made a choice.
You can choose from phantom fears and kindness that can kill;
I will choose a path that's clear-
I will choose Free Will.
Freewill presented by Rush, the song shows the plot in the story is about freewill and belief of freedom of choice not fate. Some people believe that things happen for a reason that are out of their control like puppets. They believe that everything is controlled by fate. He believes that he can make his own choices and thinks about the possible uses of his discovery. He decides that he must present his light to the World Council of Scholars. Others who can join him in a society based on individual freedom. And one day, they will fight to free all those enslaved by collectivism.
Heart - These Heart
Spare a little candle
Save some light for me
Figures up ahead
Moving in the trees
White skin in linen
Perfume on my wrist
And the full moon that hangs over
These dreams in the mist
Darkness on the edge
Shadows where I stand
I search for the time
On a watch with no hands
I want to see you clearly
Come closer than this
But all I remember
Are the dreams in the mist
These dreams go on when I close my eyes
Every second of the night I live another life
These dreams that sleep when it's cold outside
Every moment I'm awake the further I'm away
Is it cloak n dagger
Could it be spring or fall
I walk without a cut
Through a stained glass wall
Weaker in my eyesight
The candle in my grip
And words that have no form
Are falling from my lips
These dreams go on when I close my eyes
Every second of the night I live another life
These dreams that sleep when it's cold outside
Every moment I'm awake the further I'm away
There's something out there
I can't resist
I need to hide away from the pain
There's something out there
I can't resist
The sweetest song is silence
That I've ever heard
Funny how your feet
In dreams never touch the earth
In a wood full of princes
Freedom is a kiss
But the prince hides his face
From dreams in the mist
These dreams go on when I close my eyes
Every second of the night I live another life
These dreams that sleep when it's cold outside
Every moment I'm awake the further I'm away
These dreams go on when I close my eyes
Every second of the night I live another life
These dreams that sleep when it's cold outside
Every moment I'm awake the further I'm away
Heart presented by These Dream shows the theme of Anthem. It is tells about "every second of the night, I live another life." He want hides away from the pain, but it is unclear whether he wants to live in the dream world to hide away from the pain of the real world, or wants to go back to the real world to hide from the pain of the dream world. This song continues to the mood of Anthem when he is assigned to a menial job cleaning the streets, Equality 7-2521 rebels against collectivism by conducting secret scientific research, which eventually leads him to re-create electric light.
Give a Little Love - Aswad
Living in this crazy world, so caught up in the confusion
Nothing is-a making sense for me and you
But maybe if we find a way, there is got to be the solution
How to make a brighter day? What do we do?
We've got to give a little love, have a little hope
Let's make this world a little better
Try a little more, harder than before
Let's do what we can do together
Only we can make it better...
Only if we try...
Got the words on our minds, got the troubles on our shoulders
Sometimes it just seems so much what we go through
But maybe if we take the time, time to understand each other
We can learn to make it right. What do we do?
We've got to give a little love, have a little hope
Let's make this world a little better
Try a little more, harder than before
Let's do what we can do together
Only we can make it better...
Only if we try...
Only we can make it better...
Only if we try...
If everybody took somebody by the hand
Then maybe everyone could learn to love and understand
Give a little love...
Give a little love...
Give a little love...
Give a little love...
Give A Little Love present by Aswad shows the mood of the story. This song connects with the part in the story when he is noticed there by his love, a girl called Liberty 5-3000. They come across an ancient house, a relic of the Unmentionable times. There they rediscover the lost language of the self. They rename themselves Prometheus and Gaea, and Prometheus vows to use his new knowledge to build a society based on individual freedom.
Electric Light Orchestra – Livin' Thing
Sailin' away on the crest of a wave
It's like magic
Rollin' and ridin' and slippin' & slidin'
It's magic
And you, and your sweet desire,
You took me, higher and higher
It's a livin' thing,
It's a terrible thing to lose
It's a given thing
What a terrible thing to lose
Making believe this is what you conceived
From your worst day,
Moving in line then you look back in time
To your first day
Takin' a dive 'cos you can't halt the slide
Floating downstream,
So let her go don't start spoiling the show
It's a bad dream.
Electric Light Orchestra present by Livin' Thing that song show the plot of the story. In carrying out experiments in the underground tunnel, Equality 7-2521 has discovered the power of electricity. He first stumbled on it accidentally two years ago, while the use of copper wires hanging from the tunnel to the frog for biological experiments. He made the main object of his experiments. The knowledge he learned afraid because he can be punished discovered secrets unknown to the Council of Scholars. Finally He re-create electric light.
Replacing an earlier scanned photo with a better version 27-Aug-18.
Named: "Innsbruck".
This aircraft was delivered to Austrian Airlines as OE-LMM in Mar-90. It was sold to a lessor in Jul-01 and immediately leased to Vanguard Airlines (USA) as N136NJ. Vanguard ceased operations at the end of Jul-02. It was returned to the lessor and initially stored at Kansas City, MO, USA before being moved to Tucson, AZ, USA in Oct-02 for further storage. The aircraft was leased to AeroMexico XA-TXH in May-03 and returned to the lessor in Feb-09. It was sold to Allegiant Air for spares as N399NV the following week and ferried to Mojave, CA, USA where it was permanently retired. The aircraft was last noted at Mojave in Apr-10 with both sides of the fuselage cut out.
Note: The registration OE-LMM was used again by Austrian charter airline MAP Jet between Dec-06/Sep-08. That aircraft, an MD-83, had previously been operated by Austrian Airlines as OE-LME.
We're taking a new approach to how we perform critical inspection and maintenance of subway components that are necessary to providing reliable service -- FASTRACK. The third implementation of FASTRACK is taking place on the Sixth Avenue B/D/F/M Line from 57 Street to W 4 Street from Feb. 27 to March 2, 2012. Because a section of the subway is closed to trains for seven consecutive hours, FASTRACK is a safer and more efficient way to maintain and clean New York City's sprawling subway — a system that never closes.
With no trains running along Sixth Avenue, 800 MTA employees are able to inspect signals, replace rails and cross ties, scrape track floors, clean stations and paint areas that are not reachable during normal train operation. Workers also took the opportunity to clean lighting fixtures, change bulbs and repair platform edges while performing high-intensity station cleaning.
Photo by Metropolitan Transportation Authority / Leonard Wiggins.
Built in 1929, this 17-story Art Deco-style former passenger railroad station was designed by Fellheimer & Wagner to replace the multiple previous train stations and termini in Buffalo, which were scattered throughout the city and belonged to different railroads. The structure stands on the site of the old Union Depot built in 1874, which closed in the early 1920s. The station began construction in 1925 when the New York Central Railroad settled on building their new union terminal in Buffalo at the site, with the station being built to accommodate the expected growth of Buffalo from a city of about 550,000 people to one with 1.5 million people, and to accommodate continued growth in passenger numbers. However, both of these projections never materialized, with the city’s population growth and the railroad’s passenger numbers growth, already slowing in the 1920s, slowing further due to the Great Depression during the 1930s, and then beginning a long, steady decline, only being briefly buoyed by World War II before falling out of favor as automobile travel proved more flexible and air travel more swift than train travel. Due to these circumstances, the terminal was overbuilt and never reached its full capacity during its operations, only coming close during World War II due to resource shortages and mass mobilization of the United States during wartime. The terminal was offered for sale by the New York Central Railroad for one million dollars in 1956, but found no buyers, with continuing declines in passenger numbers, coupled with the decline in the population of Buffalo itself, leading to several services being ended during the 1950s and 1960s. In 1966, the railroad, in an effort to save costs and downsize their facilities, demolished several outbuildings in the complex, and in 1968, the once powerful New York Central Railroad, a husk of its former self, merged with the Pennsylvania Railroad in an attempt to consolidate their expenses and save both companies, but this merger proved unsuccessful, leading to their bankruptcy in 1976, with both railroads absorbed into the public-private partnership known as Conrail.
In the meantime, Amtrak was formed in 1971 to provide passenger rail service in the United States, operating out of the terminal until 1979, with the agency facing budgetary limitations that did not allow them to renovate the aging structure, which, when coupled with the massive expenses of keeping the building comfortable, dry, and well-lit, led to the agency building two smaller stations in Buffalo during the 1970s to replace it. The terminal was subsequently purchased by Anthony T. Fedele, whom managed to maintain the building in decent condition, but was unable to find any interested developers to reuse the building, and eventually fell behind on taxes, leading to the building being seized at foreclosure so the taxes could be recouped by the government. During the time it was owned by Fedele, the building was vacated by Conrail’s offices between 1980 and 1984, and was listed on the National Register of Historic Places in 1984, with the final operations at the terminal, the interlocking towers that once signaled trains arriving at the station, being shut down in 1985. In 1986, the building was purchased at auction by Thomas Telesco, whom did not maintain the building, selling off many artifacts and fixtures from its interior, and proposing grandiose and unrealistic schemes of what he would do with the building, including being a stop on a high-speed rail line between New York and Toronto. The building was then sold to Bernie Tuchman and Samuel Tuchman, with the building seeing further elements removed and sold, and the building continuing to decay.
In 1997, the terminal, then in poor condition, was purchased by Scott Field of the Preservation Coalition of Erie County, whom paid for the building’s back taxes, and shortly thereafter, formed the Central Terminal Restoration Corporation, transferring ownership of the building to the organization. The building was stabilized and secured under the stewardship of the Central Terminal Restoration Corporation, which opened the building for public tours in 2003, and holds many fundraising events at the station every year. The building has been preserved, but a restoration or adaptive reuse of the structure has so far remained elusive.
The building features a brown brick exterior with an octagonal corner tower, with a large barrel-roofed main concourse structure wrapping around the tower to the south and east. The facade of the tower features multiple setbacks, chamfered corners, corner clock faces at the roofline above the twelfth floor, a rotunda with large archways and buttresses atop the tower with a decorative trim crown at the parapet, vertical window bays that stretch from the building’s base to the roofline, large entrances with metal canopies, large transoms, and stone surrounds, pilasters, and stone trim and caps atop the parapets. The main concourse portion of the building features large arched curtain walls at the ends of its barrel vaulted roof, a cavernous barrel vaulted interior, large metal canopies over the entrances, and a tunnel underneath that once allowed traffic on Curtiss Street to run beneath the building, though this has been closed since the 1980s due to the building’s decay, with a light court between the waiting room and a low-rise office block in the front, which sits just east of the tower and presents a similar facade treatment to that of the tower, with vertically accentuated window bays and pilasters. The rear of the building is more spartan in appearance, with a scar from the former location of the entrance to the train concourse to the rear, with the connecting structure having been removed following the discontinuation of railroad services at the building in 1979. The train concourse features multiple platforms with Art Deco-style aluminum canopies with sleek columns, thin-profile roofs, and rounded ends, with the train concourse featuring arched clerestory windows and a gabled roof, and being in a rather advanced state of deterioration with vegetation having grown throughout the structure and the surrounding abandoned tracks between the platforms. Attached to the southwest corner of the main building is the baggage building, a simpler six-story Art Deco-style structure with a buff brick exterior, a penthouse above the main entrance to the building, pilasters, vertically accentuated window bays, steel windows, stone spandrel panels, stone trim, and stone parapet caps, with long canopies along the base of the front and rear of the building that protected incoming and outgoing mail and baggage from inclement weather. To the west of the baggage building is the one-story mail processing building, which features a similar facade treatment, with the main difference besides height being the rooftop monitor windows in the middle of the building’s roof. Southwest of the baggage and mail processing building, sitting close to Memorial Drive, is a structure that formerly housed the Railway Express Agency, which is more utilitarian than the rest of the surviving complex, and is in an advanced state of decay, with the demolition of the structure being planned to take place sometime this decade. The structure features large window bays with steel windows, stucco cladding on the brick structure, and the remnants of canopies on the north and south facades of the first floor, with a long and low one-story wing to the rear.
The complex is one of the largest designed by Fellheimer & Wagner, and has maintained a remarkable state of preservation in its original form with few changes since its construction, besides some damage from the years of decay and neglect in the 1980s and 1990s. Another notable structure by the firm, and one of the most well-known railroad stations in the world, is Grand Central Terminal in New York City, which was also built for the New York Central Railroad. In addition to Grand Central Terminal, the firm also designed terminals that are more similar in appearance to the Buffalo Central Terminal, including Union Station in South Bend, Indiana, and Cincinnati Union Terminal, with Grand Central Terminal, Buffalo Central Terminal, and Cincinnati Union Terminal being among the largest, most impressive, and most significant railroad stations ever built in the United States. The station, though unrestored, is still impressive, and hopefully will be eventually adaptively reused for an economically sustainable function.
The Palatine Hill
Rome has its origins on the Palatine. Excavations show that people have lived in the area since the 10th century BC. Excavations performed on the hill in 1907 and again in 1948 unearthed a collection of huts believed to have been used for funerary purposes between the 9th and 7th century BC approximating the time period when the city of Rome was founded.
Pallantium (Ancient Greek: Παλλάντιον) was an ancient city near the Tiber river on the Italian peninsula. Roman mythology, as recounted in Virgil's Aeneid for example, states that the city was founded by Evander of Pallene and other ancient Greeks sometime previous to the Trojan War. In addition, Dionysius of Halicarnassus writes that Romans say that the city was founded by Greeks from Pallantium of Arcadia, about sixty years before the Trojan war and the leader was Evander. The myth of the city's origin was significant in ancient Roman mythology because Pallantium became one of the cities that was merged later into ancient Rome, thereby tying Rome's origins to the ancient Greek heroes. Other cities in the area were founded by various Italic tribes.
Virgil states that Evander named the city in honor of his ancestor, Pallas, although Pausanias as well as Dionysius of Halicarnassus say that Evander's birth city was Pallantium, and thus he named the new city after the one in Arcadia. Dionysius of Halicarnassus also mention that some writers, including Polybius of Megalopolis, say that the town was named after Pallas, who was the son of Heracles and Lavinia, the daughter of Evander, and when he died his grandfather raised a tomb to him on the hill and called the place Pallantium, after him.
According to Livy, after the immigration of the Sabines and the Albans to Rome, the original Romans lived on the Palatine. The Palatne Hill was also the site of the ancient festival of the Lupercalia.
Many affluent Romans of the Republican period (c.509 BC – 44 BC) had their residences there.
From the start of the Empire (27 BC) Augustus built his palace there and the hill gradually became the exclusive domain of emperors; the ruins of the palaces of at least Augustus (27 BC – 14 AD), Tiberius (14 – 37 AD) and Domitian (81 – 96 AD) can still be seen.
Augustus also built a temple to Apollo here.
The great fire of 64 AD destroyed Nero's palace, the Domus Transitoria, but he replaced it by 69 AD with the even larger Domus Aurea over which was eventually built Domitian's Palace
From the 16th century, the hill was owned by the Farnese family and was occupied by the Farnese Gardens, still partially preserved above the remains of the Domus Tiberiana.
At the top of the hill, between the Domus Flavia and the Domus Augustana, the Villa Mattei was built in the 16th century, then purchased around 1830 by the Scot Charles Mills who turned it into an elaborate neo-Gothic villa. At the end of the 19th century the villa was converted into a convent. This was partially demolished from 1928 to allow excavations and in the surviving part of the building the Palatine Museum has been installed.
The Roman Forum
The Roman Forum, also known by its Latin name Forum Romanum (Italian: Foro Romano), is a rectangular forum (plaza) surrounded by the ruins of several important ancient government buildings at the center of the city of Rome. Citizens of the ancient city referred to this space, originally a marketplace, as the Forum Magnum, or simply the Forum.
For centuries the Forum was the center of day-to-day life in Rome: the site of triumphal processions and elections; the venue for public speeches, criminal trials, and gladiatorial matches; and the nucleus of commercial affairs. Here statues and monuments commemorated the city's great men. The teeming heart of ancient Rome, it has been called the most celebrated meeting place in the world, and in all history. Located in the small valley between the Palatine and Capitoline Hills, the Forum today is a sprawling ruin of architectural fragments and intermittent archaeological excavations attracting 4.5 million or more sightseers yearly.
Many of the oldest and most important structures of the ancient city were located on or near the Forum. The Roman Kingdom's earliest shrines and temples were located on the southeastern edge. These included the ancient former royal residence, the Regia (8th century BC), and the Temple of Vesta (7th century BC), as well as the surrounding complex of the Vestal Virgins, all of which were rebuilt after the rise of imperial Rome.
Other archaic shrines to the northwest, such as the Umbilicus Urbis and the Vulcanal (Shrine of Vulcan), developed into the Republic's formal Comitium (assembly area). This is where the Senate—as well as Republican government itself—began. The Senate House, government offices, tribunals, temples, memorials and statues gradually cluttered the area.
Over time the archaic Comitium was replaced by the larger adjacent Forum and the focus of judicial activity moved to the new Basilica Aemilia (179 BC). Some 130 years later, Julius Caesar built the Basilica Julia, along with the new Curia Julia, refocusing both the judicial offices and the Senate itself. This new Forum, in what proved to be its final form, then served as a revitalized city square where the people of Rome could gather for commercial, political, judicial and religious pursuits in ever greater numbers.
Eventually much economic and judicial business would transfer away from the Forum Romanum to the larger and more extravagant structures (Trajan's Forum and the Basilica Ulpia) to the north. The reign of Constantine the Great saw the construction of the last major expansion of the Forum complex—the Basilica of Maxentius (312 AD). This returned the political center to the Forum until the fall of the Western Roman Empire almost two centuries later.
As some of my collaborations as of when I revive the 2000 Nelvana TV series Corduroy with the premiere of Two Buttons again and Forever and all new episodes in the original character designs and animation style, As an addition to bringing back green chalkboards and electric mechanical wall bells and making all schools be by law mandated to be set up like Middleborough, Hilltop school from Timothy Goes to School, and or my DeVry building in North Brunswick, NJ and all with green chalkboards and electric mechanical wall bells and Corbeil School buses and all other school buses with electric stop arms and only kind spirited stuff like Disney Snow White and Pinocchio stuff and Corduroy the Bear in his Nelvana character design and two buttons on his green corduroy overalls and Steve Notebooks and Little Golden Books and Raggedy Ann and Andy etc and no mean spirited stuff like mean scary inappropriate angers and Bogen Multicom 2000 and that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends which MUST BE CENSORED, I am having all schools have their cafeterias have customizable deli subs like at Little King Sandwich Shop in Hamilton, NJ replace Chicken Patty Sandwiches to save Corduroy's button from touching saliva because the funky taste of school chicken patty sandwiches reminds me of the original upsetting ending to Cute as a Button where they forgot to show that they got Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and having an upsetting oh-well attitude and the mean lie Jessie Burris told me of an alligator eating Corduroy's button and having it on its saliva and the horrible low waisted overalls goof they used to have on Mickey Mouse with Mickey Mouse's iconic red short overalls with yellow buttons and no shoulder straps being low waisted and looking like a loincloth and athletic shorts with the buttons marking the human penises which is very gross and inappropriate. And all of this will save Nelvana.
Replacing a photo taken at PAE 27-Jul-15 with a better version without obstructions 29-Jul-15.
Prototype KC-46A Tanker with boom and underwing 'probe & drogue' pods.
Teenager Jamie Knott was left devastated after his prized iPad was stolen following treatment for his kidneys at the Royal Manchester Childrens’ Hospital.
On Tuesday 27 September 2011, the 14-year old who suffers from a debilitating illness and is slowly losing his sight had been attending the hospital for treatment following a kidney transplant when the device was stolen from his room.
The hi-tech gadget had been donated to him from the Make a Wish charity after a wish he made for the tablet before his sight is permanently lost.
Touched by Jamie’s circumstances, officers from the Metropolitan Division who have been investigating the crime raised funds for a new iPad for the youngster.
PC Carl Kelly said: “When we heard about what had happened we wanted to be able to help replace the gadget, as I know his parents would have struggled to afford a new one. We are grateful to Tesco in Gorton who were kind enough to donate the new iPad for free. Jamie is a brave young man and an inspiration to us all.
“Having your personal property stolen is a devastating crime for anyone, but to have something stolen when you are recovering in hospital is heartless and takes real cowardice. We will try our hardest to see that justice is served following this crime and inquiries are ongoing.”
Mum, Tracey Knott from Driffield, West Yorkshire said: “What happened right under Jamie’s nose was a horrible thing and I think it’s wonderful what everyone has done for him.
“Jamie was really surprised and over the moon for what they have done. I’ve never known anyone show such generosity and I am very grateful.”
The Division will present Jamie with accessories for his iPad and are donating the £100 to the Make a Wish charity.
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