Do you realise that the symbol used to represent pi….you know, that horrible 3.141….thing you had to learn about at school in maths for calculating the circumference or area of a circle….., originated in North Wales?

The first calculation of pi was made by Archimedes of Syracuse (287–212 BC), one of the greatest mathematicians of the ancient world, but it was a much less famous man called William Jones who introduced that symbol ‘π’ which until then was just a Greek letter.

William Jones was born sometime around 1675 on the island Anglesey in the parish of Llanfihangel Tre’r Beirdd, about four miles west of the town which is now Benllech. He had a humble up-bringing and was raised on a small farmstead by his parents Siôn Siôr (John George Jones) and Elizabeth Rowland. However his talent for mathematics quickly became apparent when he attended a charity school at Llanfechell. It was to be his only formal education. His aptitude for the subject ensured that he would not follow in the family footsteps. A local squire and landlord of the distinguished Bulkeley family, heard of his skill and took him under their patronage. They arranged for him to work in a merchant’s counting house in London.

It was only the first of many journeys. Between 1695 and 1702 he served in the Royal Navy, sailing to the West Indies during which time he taught mathematics on board a man-of-war, en-route learning about navigation. He was present at the battle of Vigo in October 1702 when the English successfully captured the Spanish treasure fleet as it was returning to the port in north-west Spain under French escort. Ignoring the obvious riches of silver to be had, he went in search of other booty according to an 1807 memoir by Baron Teignmouth, ‘... literary treasures were the sole plunder that he coveted.’

On his return he published A New Compendium of the Whole Art of Navigation which he dedicated to a benefactor John Harris, a writer, scientist and Anglican priest who had taken him under his wing. Back in the capital, his voyages over, he became a mathematics teacher in coffee houses and as a private tutor to the son of the future Earl of Macclesfield. He also became tutor to Philip Yorke, later 1st Earl of Hardwicke (1690-1764), who became Lord Chancellor and provided an invaluable source of introductions for his tutor.

In those circles, Isaac Newton had already mentioned to the Admiralty the benefit of sending mathematicians to sea. So inevitably it was only a matter of time before Jones came to the attention of Newton after reading “Jones’s Synopsis”, in which the younger man explained Newton’s methods for calculus as well as other mathematical innovations. It was in this book that Jones first used the Greek symbol ‘π’ to denote the pi. More significantly he used it as a constant number - 3.141...

Before Jones, approximations such as 22/7 and 355/113 had also been used to express the ratio. Explaining its use, he wrote: ‘... the exact proportion between the diameter and the circumference can never be expressed in numbers...’. Hence, a symbol was required to represent an ideal that can be approached but never reached. For this Jones recognised that only a pure platonic symbol would suffice.

In 1708 Jones was able to acquire an extensive library and archive, which contained several of Newton’s letters and papers written in the 1670s. The following year he applied for the mastership of Christ’s Hospital Mathematical School, despite references from Newton and Edmund Halley (the astronomer who calculated the orbit of the comet, now named after him) but he was turned down. Jones went back into private teaching but thanks to the papers he had acquired he was able to help his old mentor Newton resolving a dispute with German mathematician Gottfried Leibniz, over which of the men first invented calculus.

In 1712 Jones joined the committee set up by the Royal Society to determine which of them invented calculus. He was now firmly in the mathematical establishment.

He married twice, firstly the widow of his counting-house employer, whose property he inherited on her death.He remarried in 1731, to Mary, the 22-year-old daughter (30 years his junior) of cabinet-maker George Nix, with whom he had three children.

And therein lies the story of ‘π’ and it’s origins in North Wales. My photo is actually of part of some derelict structure of the Penmaenmawr quarry, the quarry that has removed the top one third of this granite mountain. But I thought it looked like ‘π’ standing high above the North Wales Expressway.

This represents a technical comparison between two developers: Karl Matthias' custom designed 2B-1 Divided developer, and PMK Pyro.

This image is from the 120 format Adox CHS 100 II negative developed in PMK Pyro for 9 minutes at standard dilution. The half of the roll developed in 2B-1 had about a stop more density in general than the PMK half of the roll, which was no surprise, as PMK is known for sucking up some of the exposure, and 2B-1 is stated as delivering a speed boost between 1/2 and 1 stop.

Even though the PMK negative had significantly less density overall (and less shadow information) it scanned very well and editing produced an excellent result. Overall, I prefer the PMK negative for its handling of tonality and its treatment of grain. If you look closely at the brightest sections of the Quince, you can see a conspicuous difference in the grain structure in this image VS the 2B-1 image: the latter has much more coarse grain visible. But these details are noticeable only upon close inspection - otherwise the results of both developers is fairly similar.

It just goes to show that 95% of the characteristics of a negative are inherent in the film type, and there's not a lot the photographer can do to significantly alter those traits through processing.

This represents me because it reflects the way I live—bold, intentional, and unapologetically authentic. I’ve never been one to follow the crowd. I believe in owning my space, making an impact, and allowing my presence to speak before I do. My style is a direct reflection of my mindset: confident, refined, and self-defined.

It’s shaped by my experiences, my values, and my drive to lead rather than follow. I move with purpose, and everything about how I present myself is intentional. There’s no need for approval—what I express is for me first.

My style speaks to who I am without needing explanation. It tells a story of strength, ambition, creativity, and resilience. It doesn’t change to fit the room—I let the room adjust to me.

This represents me because it is me—focused, fearless, and undeniably authentic. It’s not just a look. It’s the life I live and the energy I carry.

En montant sur le haut d'Etretat, tout près du monument dédié à Ningesser et Coli. Un jardin créatif...

Avec un texte de présentation à retrouver sur le site:

etretatgarden.fr/jardin-zen/

"Le jardin Zen représente l’harmonie de l’union de l’humanité et de la nature. Les végétaux choisis sont uniquement des plantes à floraison blanche. Le spectateur éprouve une sensation de pureté virginale et de communion avec la nature. L’installation sonore du jardin reflète l’idée d’éveil du bien. Elle fait découvrir de nouveaux moyens d’appréhender le monde à travers l’art."

Here is my completed image of the Eagle Nebula (M16) imaged with Sulphur, Hydrogen, and Oxygen narrowband filters. This false-color widefield image of the nebula represents the strong oxygen signal as cyan, hydrogen as yellow/orange, and the stronger sulphur signal as red. Naturally, this nebula is nearly all red in color, as hydrogen-alpha dominates the field. With selective filters and processing I have stretched the intensity of the Oiii and Sii to better represent where they lie in the nebula.

Equipment:

OTA: William Optics GT81 w/0.8x reducer (382mm fl at f/4.7)

Mount: Orion Sirius EQ-G (HEQ-5)

Guidescope: Orion 50mm guidescope

Guiding camera: Orion StarShoot Autoguider

Imaging camera: ZWO ASI1600MM-Cool

Accessories:

DeepSkyDad Autofocuser

QHYCCD PoleMaster

Software:

SGP

PHD2

CdC

PixInsight

Acquisition:

Location: Flower Mound, TX for Ha(Bortle 7), Atoka, OK and Ft. Griffin State Historic Park, TX for Oiii and Sii(Bortle 3)

Dates: 5/12/18, 5/26/18, 5/27/18, 6/29/18, 6/30/18, 8/2/18, 8/3/18, 8/6/18

Gain: 200 Offset: 50

Camera temp: -10C

Sii: 36x600" Astrodon 3nm

Ha: 160x300" Astrodon 5nm

Oiii: 37x600" Astrodon 3nm

Total integration time: 25hr 30min

64x darks per calibration (master from library)

30x flats per calibration

200x bias per calibration (master from library)

Preprocessing:

Batch PreProcessing script to generate calibrated images

StarAlignment

LocalNormalization

ImageIntegration

DrizzleIntegration

DynamicCrop each master

DBE each master

Luminance Processing:

Duplicated the master Ha to use as the luminance

Deconvolution

TGV & MMT noise reduction (via Jon Rista's method)

HistogramTransformation bring to non-linear

Duplicated the image to create a starless version, using a starmask and several iterations of MMT and MT. Then pushed the faint nebulosity in the starless version using PixelMath expression: "1-(1-$T)*(1-$T)"

Combined the starless version with the image using PixelMath expression "F=0.4; (1-(1-$T)*(1-s)*F)+($T*~F)" followed by the same function but with F=0.2, (s=starless photo).

HDRMultiscaleTransform to reveal core

MultiscaleLinearTransform for sharpening

LocalHistogramEqualization

MMT and MT for star size reduction

MMT for noise reduction of the darker areas

Preparing separate Sii, Ha, and Oiii linear masters for tonemapping (applied to each master individually):

TGV & MMT noise reduction (via Jon Rista's method)

Removed stars via a StarMask and a few iterations of MMT and MT

Further removed background artifacts with an unmasked MMT

HistogramTransformation to bring to non-linear

HDRMultiscaleTransform to reveal core

Combined prepared Sii, Ha, and Oiii masters with ChannelCombination:

R: Sii

G: Ha

B: Oiii

Tonemap Processing:

Invert>SCNR green>Invert to remove magenta

Several a/b channel CurvesTransformations using ColorMasks to alter the colors to an aesthetically pleasing palette

CurvesTransformation for saturation

DBE to remove color bias in the corners

Combined Tonemap with Luminance using LRGBCombination

HistogramTransformation to stretch image slightly

UnsharpMask with a StarMask to harden up the soft stars a tad

CurvesTransformation for slight saturation

ACDNR for final noise reduction

Resampled to 40% for web posting

Frescoes on the ground floor, painted in the first decades of the sixteenth century to recall the visit of 1444 of the King of Denmark Christian 1st, represent a formidable testimony of the life at the court of the warlord Bartolomeo Colleoni - Castle of Malpaga

Il Castello di Malpaga è certamente una delle costruzioni più tipiche della Lombardia, per l'interesse architettonico, per le vicende storiche che vi si collegano e per i richiami dell'antica vita di corte che evocano una grande figura del quattrocento: il condottiero bergamasco Bartolomeo Colleoni.

Nel 1456 Bartolomeo Colleoni acquista il Castello di Malpaga dal Comune di Bergamo per 100 ducati d'oro. Ma il Castello, con l'invenzione della polvere da sparo non è più difendibile.

Da qui nasce il grande impegno profuso dal Colleoni per renderlo difendibile con una serie di interventi quali l'innalzamento delle mura, la costruzione di alloggi per le truppe e di un secondo fossato. Il castello viene circondato con abitazioni per i suoi armigeri, scuderie e porte fortificate, rendendo il complesso una cittadella altamente inaccessibile.

The Castle of Malpaga is certainly one of Lombardy's most typical buildings, for architectural interest, for historical events linked to it, and for the recalls of the ancient court life that evoke a great figure of the fourteenth century: the bergamasco warlord Bartolomeo Colleoni.

In 1456 Bartolomeo Colleoni bought the Castle of Malpaga from the City of Bergamo for 100 golden ducats. But Castle, with the invention of gunpowder, is no longer defensible.

Hence, the Colleoni's great commitment is born to make it defensible with a series of interventions such as raising the walls, building housing for troops and a second moat. The castle is surrounded by houses for its armed forces, stables and fortified gates, making the complex a highly inaccessible citadel.

If you look closely at stained glass, you can see all sorts of themes: religion, flowers, art, music and even fruit. When considering the theme of fruit, in ecclesiastical stained glass, a bunch of grapes may signify the sacrament of Holy Communion. Grapes and vines can also represent the church itself. Pomegranates have diverse cultural-religious significance, as a symbol of life and fertility owing to their many seeds but also as a symbol of power (imperial orb), blood and death. Pomegranates already symbolised fertility, beauty and eternal life, in Greek and Persian mythology. The apple of course is the forbidden fruit in the Book of Genesis that Adam and Eve ate from the forbidden tree in the Garden of Eden. With Art Nouveau being the predominant architectural and design influence between 1880 and the start of the Great war in 1914, there was a great interest in portraying both stylised flowers and fruit in stained glass.

This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.

This week the theme, “fruit” was chosen by Gary, Gazman_AU.

I thought a collage of some of the examples of fruit themed windows I have photographed in Churches and private houses over the years might be suitable.

Top row far left, second and third from left: Detail of the King David window of St John’s Church of England, Heidelberg, designed and manufactured by William Montgomery.

Top row right: Detail of the Suffer the Little Children window of Holy Trinity Church of England, Balaclava, attributed to I. A. Gibbs and Howard, London.

Middle row left: Detail of a dressing room window of “The Gables”, Malvern, painter and manufacturer unknown.

Middle row second from left: Detail of a shop window, corner Brunswick and Bell Streets, Collingwood, painter and manufacturer unknown.

Middle row third from left: Detail of a window from the former Sassafras Methodist Church, Sassafras, manufactured by Brooks Robinson and Company.

Middle row second from right: Detail of the “Lay of the Last Minstrel” window, “Warwilla” (formerly “Redholme”), St Kilda Road, painted and manufactured by William Montgomery.

Middle row right: Detail of the King David window of St John’s Church of England, Heidelberg, designed and manufactured by William Montgomery.

Bottom row far left: Detail of an entrance hall window of “The Gables”, Malvern, painter and manufacturer unknown.

Bottom row second from left: Detail of the Virgin Mary window of St Ambrose’s Catholic Church, Brunswick, manufactured by Brooks Robinson and Company.

Bottom row third from left: Detail of a dining room window of “The Gables”, Malvern, painter and manufacturer unknown.

Bottom row second from right: Detail of the “Lay of the Last Minstrel” window, “Warwilla” (formerly “Redholme”), St Kilda Road, painted and manufactured by William Montgomery.

Bottom row far left: Detail of an entrance hall window of “The Gables”, Malvern, painter and manufacturer unknown.

Built to the specifications of architect George Reilly Cox, Saint John\'s Church of England in Burgundy Street Heidelberg, is a fine example of simple Early English Gothic architecture. The building was completed by April 1851. Comprising of a gabled nave, without aisles, a narthex below the west tower and a sanctuary and vestry at the east end, Saint John\'s Church of England is simple, unpretentious and elegant in its design. The nave and chancel are constructed of handmade bricks laid on a bluestone rubble plinth. The church features lancet windows in Early English Gothic style. It has a square tower surmounted by four pinnacles and crenulations. The roof is slated and contains small gable vents, and the roof drains to galvanised steel quad section eaves gutters. The gable parapets are fitted with galvanised sheet steel cappings. The formal opening of Saint John\'s Church of England took place on the 26th of October 1861. The church was dedicated by Bishop Perry the first Bishop of Melbourne on the 30th of September 1861 and named the Church of Saint John the Evangelist. The roof was completely replaced around 1856 with slate after the original shingles had deteriorated. The interior was plastered and the exterior brickwork was covered with cement. Another renovation took place in 1965 at the cost of $56,000.00. The vestry, choir room, chapel and new entrance porch were added at the original back of the church. Interestingly, the congregation today no longer use the 1965 entrance and have reverted to the original entrance. The choir room now serves as a Sunday school for the children of the congregation, whilst the newer chapel is not generally used at all.

William Montgomery (1850 - 1927) was an artist who specialised in stained glass painting and design. He was born in England in 1850, and studied at the School of Art in Newcastle-on-Tyne. In his final year William was awarded one of only three National Art Scholarships that year to study at South Kensington School of Art (now the Royal College of Art). He was employed by the leading London stained glass firm, Clayton and Bell, before joining Franz Mayer and Company in Munich, Germany. Over the next seven years he not only designed windows he also trained others in the English style of glass painting. William arrived in Melbourne, Australia, in 1886 during the Boom Period provided by the Gold Rush. Melbourne was at the time one of the wealthiest cities in the world, and was in the throes of a building boom. He quickly set up his studio at 164 Flinders Street in the heart of Melbourne, bringing with him the latest in European style and design and achieving instant success amongst wealthy patrons. He worked equally for Catholic and Protestant denominations, his windows being found in many churches as well as in mansions, houses and other commercial buildings around the city. This extended to the country beyond as his reputation grew. A painter as well as stained glass window designer William was a founding member of the Victorian Art Society in Albert Street, Eastern Hill. William became President of its Council in 1912, a position he held until 1916. He was a trustee of the National Gallery of Victoria. His commissions included; stained glass windows at Christ Church, Hawthorn: St. John\'s, Heidelberg, St. Ignatius\', Richmond: Christ Church, St Kilda: Geelong Grammar School: the Bathurst Cathedral and private houses "Tay Creggan", Hawthorn (now Strathcona Baptist Girls Grammar), and "Earlsbrae Hall", Essendon (now Lowther Hall Anglican Grammar School). The success of William Montgomery made Melbourne the leading centre of stained glass in the Southern Hemisphere. William Montgomery died in 1927.

The first Church of England built on the triangular site in Balaclava bordered by Brighton Road and Dickens Street was opened by Bishop Perry on January 29, 1871. It was a timber building accommodating about three hundred people. It stood where the Parish Hall now stands. Its designer was the architect Francis Maloney White (1819-1888) who lived nearby in William Street. In 1882 the architects Reed and Barnes, soon to become Reed, Henderson and Smart, were commissioned to design a new church. The first service took place on December 6, 1883. Due to the Parish\'s efforts to reduce the large debt that had been incurred in the construction of the church and the vicarage, the building of the spire was delayed. Regrettably this was never to be built. However, it gives Holy Trinity the feeling of an English country parish church.

The firm of I. A. Gibbs and Howard was established in England in the 1870s. Isaac Alexander Gibbs (1849 - 1899) was the youngest son of Isaac Alexander Gibbs (senior) and brother of the stained glass artists Alexander and Charles Alexander Gibbs. His partnership with William Wallace Howard (born 1856) was established before 1879 in London. The firm continued after the death of Gibbs under Howard until about 1915.

Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, “The Gables” is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. “The Gables” remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted “The Gables” into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie “Squizzy” Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house\'s billiards room). “The Gables” became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, “The Gables” ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o\'clock at night. Throughout its history, “The Gables” has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of “The Gables” have been retained for the future generations.

The former Sassafras Methodist Church, perched on the upper side of the hill, overlooking the Sassafras township had its foundation stone laid on the 18th of October 1902. A plaque records: Sassafra Church - the original of - this block was laid - by - Mrs D Stones - on October 18th 1902 - John Storrie. A Gothic Carpenter church, it is made of wood and is of simple design with simple stained glass windows. The church ceased in the 1970s and was eventually sold. For many years it was “Brother John’s”, a restaurant and wedding venue. Today it is “Dine Divine” a café that specialises in light luncheons and Devonshire cream teas, the latter being quite delicious.

Surrounded by modern office and apartment blocks the grand red brick mansion “Warwillah”, built on the corner of Beatrice Street and St Kilda Road, is one of the few remaining examples of a time Melbourne’s St Kilda Road was still a grand boulevard of elegant residences. In March 1875 the government announced that the land on the western side of St Kilda Road would be alienated from parkland and that the land would be sold for residential purposes. Following the subdivision, a gentleman of means named Rudolph D. Benjamin purchased the land on which he planned to build an elegant residence as befitting his station. Designed by well known Melbourne architect John Beswicke, “Redholme” was a sixteen-roomed brick mansion built on Mr. Benjamin’s block in 1896 by the builder James Downie. Although not in the Benjamin family, “Redholme” survived the death taxes that came after the Great War and the Great Depression of 1929. It was still a privately owned home in its entirety in 1939 when it was owned by Mr. and Mrs. C. J. Reddish. Sadly, after the Second World War, “Redholme” changed ownership, usage and even name. From the early 1950s, the red brick building became the “Warwilla Guest House”. The name “Warwilla” is what the house has been known as ever since. “Warwilla” is an unusual mansion as it is an early example of a transition from Modern Gothic to Queen Anne design. The red brick tuckpointed facade is asymmetrical with picturesque massing, but the larger half-timbered gable and cantilevered banked window on the south side is balanced by the octagonal corner tower and ‘candle snuffer’ roof on the north. The Modern Gothic is suggested by the depressed pointed arches to main openings, and engaged colonettes at the porch entrance, whilst the half-timbered gable, octagonal tower with ‘candle snuffer’ roof and Art Nouveau stained glass windows are very much stylistic elements of Queen Anne architecture. These elements were to remain popular for at least another decade. The tall banded brick chimneys (done in the style of Henry Kemp) dominate the terracotta tile roof, as do the decorative finials which include a dragon.

In 1869 the foundation stone was laid for Saint Ambrose\'s Church at 287 Sydney Road, Brunswick. The land for the church was donated by Mr. Michael Dawson, a resident of the neighbourhood. In 1873 the church was completed at a cost of £6,000.00. Parishioners Sebastian Danielli and his wife Harriet Bagatti, who had arrived in Brunswick in 1859 after being married in Milan the previous year, suggested the name Saint Ambrose\'s as the name for the church because St Ambrose was a much loved bishop in Milan in the 4th Century. All their children were born in Brunswick and baptised at Saint Ambrose’s. In 1888 Brunswick was proclaimed a town and it had a population of 14,792. In 1890, Saint Ambrose\'s became a parish in its own right, being made independent from the Coburg parish. With the need for a larger church, the present church was extended in 1899 when the transepts, with the sanctuary and the two chapels, the porch and the baptistry were added. The memorial stone was laid near the door of the northern transepts on 19 February, 1899. The parish church building is of a late Gothic style and is one of the finer churches of Melbourne, built in bluestone, with a timber supported ceiling, a 19th century organ and high quality stained glass windows.

Brooks, Robinson and Company first opened their doors on Elizabeth Street in Melbourne in 1854 as importers of window and table glass and also specialised in interior decorating supplies. Once established the company moved into glazing and were commonly contracted to do shopfronts around inner Melbourne. In the 1880s they commenced producing stained glass on a small scale. Their first big opportunity occurred in the 1890s when they were engaged to install Melbourne\'s St Paul\'s Cathedral\'s stained-glass windows. Their notoriety grew and as a result their stained glass studio flourished, particularly after the closure of their main competitor, Ferguson and Urie. They dominated the stained glass market in Melbourne in the early 20th Century, and many Australian glass artists of worked in their studio. Their work may be found in the Princess Theatre on Melbourne\'s Spring Street, in St John\'s Church in Toorak, and throughout churches in Melbourne. Brooks, Robinson and Company was taken over by Email Pty Ltd in 1963, and as a result they closed their stained glass studio.

The dragon represents wisdom, power and wealth. Like the lion dance it is most often seen in festive celebrations. It is believed that performing the dragon dance scares away evil spirits and all the bad luck associated with them, and brings in good luck and wealth instead.

"The architect represents neither a Dionysian nor an Apollinian state: here it is the great act of will, the will that moves mountains, the rapture of the great will which aspires to art. The mightiest men have always inspired architects; the architect has always been under the spell of power. In his buildings, pride, the victory over gravity, and the will to power strive to become visible; architecture is a species of the rhetoric of power in forms, now persuading, even flattering, now simply commanding. The highest feeling of power and sureness finds expression in that which possesses grand style."

- Friedrich Nietzsche

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This shot was taken in Fengdu Ghost City that is a large complex of shrines, temples and monasteries dedicated to the afterlife located on the Ming mountain, in Fengdu County, Chongqing municipality, China.

The city consists of buildings, structures, dioramas, and statues that are related to Diyu, the concept of the underworld and hell (or Naraka) in Chinese mythology and Buddhism. It is modeled to resemble Youdu, the capital of Diyu.

Read more - en.wikipedia.org/wiki/Fengdu_Ghost_City

Cette série de douze tableaux représentant les douze apôtres accompagnés d'un tableau du Christ fut composé dans les dernières années de vie du peintre.

Author's Note: The contents of this chapter include very sensitive subject matter and may be triggering to some individuals. Scenes of abuse of various forms are represented as not only for storytelling, but to raise awareness of what this behavior looks like. Abusive behavior in this story includes, but is not limited to: physical abuse, mental abuse, verbal abuse, gaslighting, manipulation, intentional triggering of another's PTSD, and trauma. In no way are these scenes intended to purposely trigger or harm anyone.

...

"...Vincent, it's me! Open the door! I need to talk to you now!"

After such an exciting (though socially exhausting) day, hearing Damien's persistent tone on the other side of the door caused him to tense as if he'd been doused with cold water. This was not how he would have liked to end his day! He really didn't want to deal with Damien right now, but he couldn't pretend he wasn't home anymore. He'd hoped Damien would have let him know before coming over. Vincent already felt a stress-headache coming on. He put the safety back on his pistol and gave a soft sigh. He could do this.

But as Vincent reached for the lock so he could let Damien in, the door was knocked on again! Vincent stared at the door and scowled. Well, that was rude of him, he thought sourly. He was sorely tempted to leave Damien out there even longer but then Damien called through the door again, "Come on, Vincent! Don't leave me out here like this. I thought you said you wanted to talk this out!"

Inhaling sharply through his nose, Vincent grit his teeth. Damien didn't need to make such a loud commotion for the whole building to hear! Deciding just to get this over with he let out some tension as he exhaled. Then he reached for the door, unlocked it, and pulled the door open to stare stoically up at his best friend of six years with his pistol resting at his side defenselessly.

Damien stared back at him with a look Vincent had seen many times; just never directed at him. In his interrogation mode, Damien's brows furrowed deeply and eyes darkened a certain way that could send chills down the spine of almost anyone who received it. His arms were folded over his chest and, in Vincent's opinion, he looked more impatient than he'd ever seen him. Vincent, however, was not like most people, and he maintained his stoic exterior. But oh, he was offended! Who the Hell did Damien think he was?! He opened his mouth to put Damien in his place but Damien cut in just a tiny bit faster.

"Are you alone?" Damien demanded quietly. Vincent blinked at him with just a hint of surprise at this question. He barely had a chance to utter, "Yes?" before Damien nodded and brushed past him to enter the flat. He grunted, "Good. We have much to discuss and I don't want any interruptions this time."

"What is the meaning of this?" Vincent asked incredulously as he pushed the door closed with a groan. "I was expecting you to let me know when you were coming over first. You always let me know first." And when he turned to look at Damien, he found Damien standing nearly an arm's length away and glowering at him.

"Well, I was expecting a bit more loyalty from YOU!"

"Loyalty?!"

"Yes! Why should I do what you want me to do when you won't do what 'I' want? All I wanted to do was to talk this out....just you and me. And all anyone else can do is put their nose in where it doesn't belong."

"It had nothing to do with Aiden!"

But at the mention of their engineer's name, Damien's nostrils flared and he spat out, "See how quickly you think of 'him?' You are proving my point. No, Vincent, it has EVERYTHING to do with YOU!" He pointed his finger right at Vincent's chest and accused, "You are throwing me to the side like a discarded, rotted apple core on the side of the road for the rats! I didn't even mention anyone in particular and already your mind went to him! Aiden this! Aiden that! Why does he even matter anyway?" Damien pressed his hands to his own chest and his expression implored Vincent to see his side as he pleaded, "Don't you care about me at all, Vincent?"

Fleetingly, Vincent was amazed that Damien had the courage to behave and speak to him like this when Vincent was armed. Despite his calm exterior, he was growing more confused and upset at Damien's onslaught of unexpected feelings. However, it was as Aiden was brought up that it shifted into anger. Vincent was done. He was going to put him in his place once and for all! But damn it all Damien asked him if he cared about him at all and Vincent felt like the wind had been knocked out of him! He felt as if he couldn't focus on what he was upset about anymore as he grappled with the unexpected, emotional question.

Of course he cared about Damien! Damien was like a brother to him! He loved him as much despite their current situation. It was what made it hurt so much worse as each second of this whole interaction passed. Had....he been unfair to Damien somehow? He did want to work things out! After all, he'd gone to Damien's temporary residence as Damien had told him before many times to do if he ever needed anything. Unlike Vincent, Damien didn't care if anyone simply dropped in. Damien's sister had insisted once before that it was fine if he stopped in anytime. Honestly, he'd wondered if Damien had nudged her into it but he was grateful to be able to see his friend all the same.

"Of course, I care about you," Vincent relented as his stoic expression faded and a small, sad frown pulled at his lips. Was that how Damien felt about him? About their friendship? "That's not fair, Damien. How can you even say that after everything we've been through?"

"I can say the same about you," Damien responded with just a touch of edge in his voice as he reached out with his metallic arm and pressed his mechanical hand to the door behind Vincent and leaned in slightly; almost a touch dangerously. It made Vincent tense involuntarily as he stared back up at him. However, Damien's voice softened and he sounded and looked hurt.

"I just wanted to talk. And you sent me away."

"I-I just..."

"You just what, Vincent?"

Vincent shrank back slightly against the door and gazed up at his best friend before sighing. Finally he replied, "I'm sorry. I didn't mean to make you feel like you don't matter." At his words, Damien's aggression dissipated as he smiled more. "I knew you would understand. I forgive you," Damien responded as his hand slid to squeeze Vincent's shoulder before resting there. Vincent glanced at his hand then gave a small nod before turning and brushing past Damien to head towards the veranda to get some air. As he walked past a bookshelf, he set down his gun then proceeded to run his hands through his hair. Bloody Hell...

Damien let his hand fall to his side as he turned slowly in place to visually follow Vincent's figure as he made to step outside. His eyes narrowed before he began to follow him out. Was something else wrong?

Out on the veranda, Vincent inhaled slowly and deeply through his nostrils before slowly exhaling as he glanced up at the evening sky. While he didn't mean to make Damien feel like he didn't matter, Damien's behavior as of late was....not okay. He really needed to talk to him about it. He needed to get to the bottom of it once and for all. Vincent could hear Damien following him out onto the veranda behind him. This was his chance to talk it out....just the two of them.

"Look... Damien..." Vincent turned to face Damien and he spoke sincerely as he tried to reason and understand. "I don't know what's been going on lately. I don't like this contention going on between us. I want you to talk to me. Tell me what's going on."

"There's nothing to talk about. You already apologized."

"Yes but that's not what I'm talking about."

"Then what ARE you talking about?"

"The contention going on between us lately; 'before' just the day before. Surely, you've felt it too?"

"Contention?"

"Yes. That's what I said."

"I don't know what you mean."

Damien looked genuinely confused! Vincent just couldn't understand why Damien didn't see what he was talking about. If he was being honest with himself, he had only noticed it during the last few weeks. Prior to that, they'd gotten on well enough and had always been able to work things out. It only seemed to be getting worse....and for some reason it felt like it was only around Aiden. He couldn't quite figure it out. Surely, that couldn't be it, he thought. Surely, Damien would tell him if he had a problem with Aiden! Up until the day before yesterday, the two seemed to have worked out whatever problem they had. But apparently they hadn't and something still seemed off between them even the other day. But...hadn't it always? Vincent had not forgotten what Bernadette had told him about Damien and Aiden's quarrel while he was still abed with high fever. He trusted she would never lie to him; especially about something like that. Therefore, he had taken her word that they had worked it. After all, Aiden hadn't come to him about Damien's misconduct. Was there not as big of a problem as he believed it was? Or was it just worse under the surface?

"Well," Vincent cleared his throat and began calmly, "that aside, I wanted to talk to you about something else. Just...I want to have a heart to heart, okay? Two days ago-"

"But you-"

"Don't interrupt me. Please let me finish."

Damien scowled but he closed his mouth and folded his arms over his chest defensively. However he did keep his mouth closed as he quirked his brow at Vincent and waited for whatever he was going to tell him. Opposite him, Vincent stared up at him calmly and waited for him. Once he saw Damien was actually going to listen he continued.

"Two days ago when you and I were speaking, some of the things you said to me were out of line." Vincent watched Damien's jaw tighten as his jaw clenched. Vincent felt a sinking feeling in the pit of his stomach but tried to explain how he felt anyway. "You really hurt my feelings; especially when you accused me of being too intoxicated." And, sure enough, he'd barely had a chance to utter the last word of his sentence before Damien cut in defensively, "Well YOU hurt MY feelings!"

"I know, and I already apologized. But I still want to talk about what you-"

"You know I can't help what I say when I get angry!"

"Damien, don't you see?! THIS is what I'm talking about! We never argue like this!"

"You are just mad that I called you out on it!" He took a step closer and poked Vincent's chest which caused him to gasp in surprise! "It's not MY fault you like to overindulge in alcohol and herbs! Damn it, Vincent! You know what? Sometimes it's hard to tell if it's 'you' I'm talking to, or your addictions!"

Vincent's face fell, and for the second time this week he very nearly broke down completely. He bit his lower lip and gave a small nod before turning and facing away from Damien. He defensively folded his arms over his chest as his shoulders sank depressingly. That had hurt. It had hurt a lot. Was that really how Damien felt?

Damien sighed. He ran his hands over his face then peeked at Vincent through his fingers. Vincent still wasn't looking at him. He was just...standing there dejectedly and hurt. Frowning slightly, Damien stepped closer and placed his hand on Vincent's shoulder. At his touch, however, Vincent turned away more; clearly not wanting to be touched.

"What do you want me to say, Vincent? I'm sorry, okay?"

After several seconds of no response, Damien huffed and leaned around him and peered at the side of his face. Still nothing. In fact, Vincent turned his head away from him even more! 'Damn it all!' Damien thought. He groaned softly and leaned his forearms against the railing and leaned against it. He hung his head down slightly before glancing back at Vincent.

"Come on. You know I didn't mean that," he tried again, his voice softening. This time he sounded more sincere. "I really am sorry, Vincent. You know sometimes I say things I don't mean. Don't let this silly misunderstanding ruin what we have." At this, Vincent took a deep breath and slowly let it out before turning to glance over his shoulder at Damien, his gaze lifting towards his face but unable to meet his eyes.

"Is that what you really think of me?"

"I just said I didn't. Look, why don't we just start over and put all this behind us? We agree there have been misunderstandings and things done and said that we don't mean."

Vincent licked his lips as he considered that. Maybe Damien was right and it would be best to put it behind them and move on from it. While things had never escalated this much, they had done the same thing in the past once they reached an understanding. It always seemed to work out and they were fine again. Though, this time Aiden was a third party in this. Would things be okay with Aiden too?

"What about Aiden?"

"He will be fine! And if he can't work this out with me, it's not a big deal. He can leave just like the others did and go back to that little garage you plucked him out of." Damien gave a noncommittal shrug then confidently slid his arm around Vincent's shoulders and drew him to his side with an encouraging grin. Much to his delight he watched as Vincent lifted his gaze to finally look at him and gave a small smile and replied, "I suppose you're right."

"Of course I am!" Damien tightened his arm around Vincent's shoulders and jostled him gently with a chuckle. "You and me against the world, right?"

Vincent smiled a bit more and nodded. "Yeah, you and me against the world." Damien grinned and looked up at the sky and continued to ramble on about how he couldn't wait to get back up into the air. Beside him, Vincent's gaze lowered and he looked down at the railing. He could feel his mood sinking more and more. He couldn't help feeling like he hadn't really had a chance to get out what he wanted to say. It felt unfinished on Vincent's end but they HAD agreed it was a misunderstanding and to just move on from it. He decided to push it down and just...tuck it away. Perhaps things would just get better after all; just like Damien was saying. However, there was still something he couldn't seem to shake.

While he had voiced his agreement, the idea of Aiden leaving because he couldn't work things out with Damien made him feel even worse; somehow even worse than this unfinished business with Damien. Aiden was NOT like the handful of others who had departed from Leon's Claw. Aiden was special...important. He didn't want to see him go!

"...and in a few weeks your ribs will be healed! Guh...I'm so bored. I can't wait to get back in the air again," Damien was saying beside him. He appeared not to notice Vincent's quick-sinking depression. Perhaps it was better that way, Vincent figured. He really didn't want to upset Damien even more tonight. He was tired and growing more and more exhausted. Honestly, he just wanted to be done. He wanted to be alone. More than anything, he just wanted to escape. However, Vincent noticed Damien didn't seem ready to leave anytime soon. He'd have to do something about that.

"You're right!" Vincent replied with a small smirk, nudging Damien gently with his elbow as an idea had suddenly come to him. All he had to do was play along to keep Damien in a good enough mood. "Just a few more weeks. You're worried about being bored right? So why don't you keep yourself entertained by going to your family's gathering?" Damien opened his mouth and was about to interrupt but Vincent turned in Damien's arm and quickly added, "I know you want to stay here with me but all I'm going to be doing is sitting around. Boring. I'm boring."

"Are you trying to get rid of me?"

"I am pointing out the benefits if you go...such as the amazing food you KNOW will be there and you can share all your new adventures with everyone. It's been a long while since you've been there. You know everyone loves to hear when you tell a story! It would be fun!"

Damien gave a smug smirk and shrug as Vincent stroked his ego. He was right: everyone DID enjoy a good story and Damien had plenty to share now. The younger generations of his family all seemed to look up to him. It never failed to boost his ego.

"Honestly," Vincent continued, "you won't miss a thing. I intend to spend the next few weeks with my nose in a book."

"You'd rather choose a book over my company? How nice."

"Hmph! I keep telling you I'm not nice!"

Damien laughed and lifted his arm off of Vincent's shoulder so he could turn and face him properly as he leaned against the railing. Vincent turned fully to face him and gave him a small, amused smirk. "There are no plans except to sit and rest. Honest. No more adventures for me for a while. I am going to be resting. Bernadette's orders. Go with your sister. Go enjoy your vacation away and just have fun! You deserve it! You'll be back in three weeks from now, yes? By then my ribs should be good enough to go sailing! You and I can go together and then you can tell me all about your trip. It will give us both something to look forward to!"

"Fine," Damien finally agreed with a small chuckle. "I suppose you're right." He chuckled before he reached over his head and stretched and felt his back pop where he needed it and let himself drift off with thoughts of going to his family reunion after all.

"Good! It's decided!" Vincent agreed before Damien could change his mind. He had to fight to actually sigh with relief. While he truly did enjoy Damien's friendship, right now he really needed time away from him. It was best just to let him be happy and just...get past this for now. Maybe one day they could actually talk this out like he wanted to. He also figured that this time apart might be just what Damien and Aiden needed as well.

"Well since I'm here why don't we have dinner at The Fat Lady's? We can celebrate getting past all this messy business!" Damien was saying, but already Vincent felt his stomach lurch at the idea; especially at the mention of the tavern where Thorn and Micah had accused him of gambling. He smiled weakly and shook his head. "I appreciate the offer, but I think I will need to postpone. Why don't we celebrate tomorrow instead?"

"How come?"

"How come? Because I am not ready to go out tonight. I have a headache brewing, my ribs are aching, and I was not prepared for company let alone ready to go out in public tonight." Vincent pleaded exhaustedly. He just wanted to be left alone! And indeed, Damien finally began to see how tired Vincent looked. He did look a bit pale, didn't he? His brow furrowed in concern and asked, "Vincent, why didn't you say so? I could have just come back another time!"

Vincent fought back the knee-jerk reaction of angrily calling Damien a rather creative, colorful name. Instead, he sighed and just snorted at the irony of the situation and went to head back inside. Damien could have started with that when he first arrived! he thought.

Finally Vincent managed in a convincing voice as he paused at the door: "It's fine. Don't worry about it. Come on. I'll see you out."

NEXT PART:

www.flickr.com/photos/153660805@N05/52966552948/in/datepo...

To read the rest of the story, here's the album link:

www.flickr.com/photos/153660805@N05/albums/72157717075565127

***Please note this is a BOY LOVE (BL/yaoi/gay) series. It is a slow burn and rated PG13!***

Special thank you to my husband Vin (Be My Mannequin? Pose Store) for collaborating with me on this series and co-starring as The Captain!

DISCORD SERVER: That's right! The Captain and The Engineer has a Discord Server! If you wanna join and chat with other crewmates and see what's new and happening before it gets posted to Flickr, click the link!

discord.gg/qBa769TAC4

***NEW!!!!***

The Captain and the Engineer now has a FACEBOOK PAGE! Please come Like, Follow, and join the crew! Thank you so much for all your support!

FACEBOOK PAGE:

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This photo represents a couple of first for me. For example, this is the first photo that I’ve taken with a model and using remote controlled flash to capture the stars and the model in one shot. Also, it marks the first time I drive 1,400 miles, driving over 22 hours roundtrip in one weekend, just to get some shots.

The elegant skull (or La Catrina by it’s name in Spanish) is an iconic image from the Day of the Death Mexican celebration. It seemed very fitting to do this shot at the Terlingua ghost town cemetery.

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Esta foto representa un par de cosas nuevas para mi. Por ejemplo, esta es la primera foto que tomo con una modelo usando flashes con control remoto para poder capturar las estrellas y la modelo en una sola foto. También representa la primera vez que manejo 1,400 millas (mas de 2,250 kilómetros), por mas de 22 horas de manejo viaje redondo en un fin de semana solo para tomar unas fotos.

La Catrina se ha vuelto una imagen icónica de la celebración del día de muertos en Mexico, por lo que me pareció adecuado el tomar esta foto en el cementerio del pueblo fantasma de Terlingua.

Do you know that the Passion Flower has Christian symbolism?

The blue rays represent the crown of thorns, the three stigmas look like three nails of the crucifixion, the five anthers represent the five wounds and the sharp leaves represent whips and spears. That is why it is called Passion flower.

Thank you to Hornbeam Arts for the information.

Thank you for your favourites. :O)

Détail d'une mosaïque représentant Jésus, Basilique Sainte Sophie

A ‘Mass’ demonstration by ‘The Extinction Rebellion’ group taking place along Deansgate, Manchester, UK.

Joe public are up in arms with the police and the local council as they allowed the 4 day demonstration to take place along Deansgate, the main route through the City centre; chosen by the demonstrators as they say it is the most polluted street in the City. In defence of the police they maintained that allowing the closure of the road would result in less trouble and fewer arrests; I don’t know if there were any. This young lady was the sole person on view, representing the City of Hull, in their encampment; she looked extremely cold. Looking in the other direction, (behind me), the scene wasn’t much better; in other words not a great turnout. This had nothing like the impact the demonstration had in London a few weeks back. The weather wasn’t great but I still think the turnout would have been poor.

SVRA Spring Vintage Road America 2019

representing toontown

Myanmar represents a complete departure from any destination I've ever photographed before. It is a cultural destination, and traveling around the country with two local photographers for nearly three weeks, we were fully immersed.

Low-light portrait of praying novice monk, Maing Thauk, Lake Inle, Shan State, Myanmar.

This is a copyrighted image with all rights reserved. Please don't use this image on websites, blogs, facebook, or other media without my explicit permission. I will stop posting again if these images turn up in places I did not allow them to. See profile page for information on prints and licensing.

© Tom Schwabel, All rights reserved

Description: Planetary Nebulae represent the late evolutionary stage of low to intermediate mass stars. As these stars reach the final stage of their existence they enter the AGB (asymptotic giant branch) phase. As early AGB stars they begin to lose mass through dense but slow winds. This phase is followed by more profound mass lose through tenuous fast winds or superwind phase. The dynamic interaction between fast and slow winds ultimately forms the complex shell structure of Planetary Nebulae.

M97, more popularly known as the "Owl Nebula" is an older planetary nebula (PN) with a circular morphology and a bland inner structure. It is one of about 1600 planetary nebulae discovered in the Milky Way. The Milky Way has an estimated population of about 10,000 planetary nebulae. The low number is due to the brief time they exist, less than 50,000 years. M97 is at a fairly advanced stage as the superwind from the central star has long since ceased. M97 has a triple shell structure consisting of a round double shell comprising the main optical nebula and a faint bow-shaped outer shell which is very faint. The outer halo formed from material ejected thousands of years ago during the dying stars red giant phase. It continues to interact with the surrounding interstellar medium as the PN moves through space. The central star is a hot dead cinder of about 0.6 solar masses which produces abundant radiation from its 110,000 degree surface temperature.

Astronomers have had increasing success at building three dimensional models of planetary nebulae from two dimensional data. The models are based however on three assumptions: 1) material in the nebula moves exclusively in radial directions 2) each shell is ejected at different time epochs 3) each shell is composed of sub-shells that expand with velocities proportional to their distance from the center. The double shell of the main nebula is about 1.3 light years in diameter and has an expansion velocity of 40 kilometers/second. The inner shell is slightly elongated and the outer shell is round. The outer halo is bow shaped and has no measurable expansion velocity.

There are two distinguishing features of the Owl Nebula. The first is the presence of a central bipolar cavity excavated by the superwind of the central star. The second peculiar feature is the lack of a bright rim. The superwind that carved out the central cavity has since ceased allowing nebula material to backfill the cavity and smear out any bright rim that previously existed. The higher density of the material along the rim of the cavity is responsible for producing the forehead and beak of the owl. The bipolar cavity forms the characteristic eyes of the owl.

A reasonable conjecture regarding the evolutionary history of M97 begins in the early ABG phase of the dying star. The first event was the early slow wind which plowed into the interstellar medium forming the outer halo. During later stages of the ABG phase high mass loss occurred in the superwind phase which formed the main body of the planetary nebula. (Text: www.robgendlerastropics.com/M97text.html)

This picture was photographed March 17-18 2013 in Khlepcha observatory, Ukraine.

Equipment: reflector S&D 254 mm. f/4.7

Mount WhiteSwan-180, camera QSI-583wsg, Tevevue Paracorr-2. Off-axis guidecamera Orion SSAG.

LRGB filter set Baader Planetarium.

L=20*600 sec., bin.1 RGB: 10*450-600 sec. each channel, bin.2 Total 7.5 hours.

Processed Pixinsight 1.7 and Photoshop CS5.

Representing Peruvian probably thanking Simón Bolívar to get Independence from Spain in 1825 after the Battle of Ayacucho ?

Anyway the city 'Wamanga' was renamed 'Ayacucho'

"The name Ayacucho is derived from the Quechua words aya ("death" or "soul") and kuchu ("corner") in honor of the battle's casualties.

Ayacucho is famous for its 33 churches, which represent one for each year of Jesus' life... source Wikipedia

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My videos on youtube www.youtube.com/user/sofarsogut/videos

representing adventureland

ENGLISH :

The blue building is the Agora, the icon of the City of Arts and Sciences. the Agora seems to represent two hands intertwined. It represents an area of ​​5000m ² and reaches a height of 80m.

Il bacio is an 1859 painting by the Italian artist Francesco Hayez. It is possibly his best known work. This painting conveys the main features of Italian Romanticism and has come to represent the spirit of the Risorgimento. It was commissioned by Alfonso Maria Visconti di Saliceto, who donated it to the Pinacoteca di Brera after his death.

After the defeat of Napoleonic France in the 19th century, the Congress of Vienna was held in 1815 to redraw the map of Europe. Italy had a very marginal role compared to other European countries and was slated to be divided into several states. Every state was either ruled directly, or strongly influenced, by the Habsburgs of the Austrian Empire. That fragmentation went against the growing nationalist sentiment for Italy's unification, and caused the creation of secret societies with democratic-radical orientations, such as the Carboneria and Young Italy. Although those associations were unsuccessful, their role was fundamental in shaping public opinion.

The first war of Italian independence (1848) was a failure but, by 1859, the secret agreement between Napoleon III and Camillo Benso, Count of Cavour stipulated the formation of an anti-Austrian alliance. The contribution of France was considered crucial, because the Austrian armies were defeated by the alliance in the Kingdom of Lombardy–Venetia. That victory initiated the unification process, and the Kingdom of Italy was proclaimed a few years later, in 1861.

It was during that period that Francesco Hayez painted The Kiss. Mindful of the bloody repression of the nationalist movement, the artist decided to disguise the ideals of conspiracy and the struggle against the invaders under a representation of past events. The use of ambiguous, opaque metaphors allowed the artist to avoid censorship by the authorities.

The first version of The Kiss was commissioned by Count Alfonso Maria Visconti of Saliceto. Hayez, who was very well known amongst Milanese patriots, was asked by the Count to depict the hopes associated with the alliance between France and the Kingdom of Sardinia.

The artwork was created in 1859 and presented at the Pinacoteca di Brera on 9 September. It was hung as a decoration in the luxurious residence of the Visconti family for more than twenty-five years. It was only in 1886, a year before his death, that the Count presented the canvas to the Pinacoteca di Brera, where it is still exhibited today, in Room XXXVII.

Although the oil version is the most famous, Hayez produced two other versions of the painting, one in oil and one watercolor. The second version was painted in 1861 for the Mylius family, and was sent to Paris to be exhibited in the Exposition Universelle in 1867. In 2008, that version was sold at Sotheby's for 780,450 pounds. The difference between the second painting and the previous one is that the woman’s dress is colored white. The third version is the only one to have been rendered in watercolor on paper. Painted in 1859, it has an oval shape, and was donated by Hayez to Carolina Zucchi. It is now exhibited at the Pinacoteca Ambrosiana in Milan.

The last painting differs from the original because of the addition of a white cloth lying on the steps beside the couple, and the bright green paint used for the man's mantle.

The painting represents a couple from the Middle Ages, embracing while they kiss each other. It is among the most passionate and intense representations of a kiss in the history of Western art. The girl leans backwards, while the man bends his left leg so as to support her, simultaneously placing a foot on the step next to him as though poised to go at any moment. The couple, though at the center of the painting, are not recognizable, as Hayez wanted the action of the kissing to be at the center of the composition. In the left part of the canvas shadowy forms lurk in the corner to give an impression of conspiracy and danger.

The geometric and perspective scheme of the Kiss is set on a series of diagonals which follow the course of the steps and converge to the vanishing point, placed to the left of the two lovers. These lines represent the framework of the painting and brings the observer’s attention to the couple.

The chromatism of the painting is inherited from the Renaissance schools of the Venetian masters where Hayez conducted his first studies. The brown of the cloak and the red of the boy's tights blend harmoniously with the light blue in the dress of the girl, while the neutral shades of the background help the couple stand out. A light, coming from an external source placed to the left of the picture, hits the whole scene homogeneously: its reflections enhances the silky dress of the girl, emphasizing also the pavement and the bricks on the wall.

This painting has been regarded as a symbol of Italian Romanticism, of which it encompasses many features. On a more superficial level, the painting is the representation of a passionate kiss, which puts itself in accordance with the principles of Romanticism. Therefore, it emphasizes deep feelings rather than rational thought, and presents a reinterpretation and reevaluation of the Middle Ages in a patriotic and nostalgic tone. Some art historians also suggest that one of the political meanings that Il Bacio can carry is that a young Italian soldier, going off to fight for Italy against the Austro-Hungarian Empire, says goodbye to his love kissing her for one last time.

On a deeper level, the painting symbolizes the romantic, nationalist and patriotic ideals of the Risorgimento; this interpretation is endorsed by several iconographic elements.

The imminent farewell between the lovers is suggested by the man’s foot temporarily resting on the step and the tight grasp with which his beloved is holding him. This represents both the necessity that he must leave whilst showing the danger of being a patriot. Other elements are the dagger hidden in the mantle, a sign of the imminent rebellion against the Habsburg invader, and the date of the painting (1859), the year of the second war of independence. However the most obvious allegory in the painting is its chromatic range, which summarizes the political changes that involved Italy in the 19th century. In the Brera version, the blue of the woman's dress and the bright red of the young man's tights allude to the colors in the French flag.

Hayez intended to pay tribute to the French nation, now allied with Italy. In the three subsequent versions the allegorical-patriotic connotations became even more obvious: in the 1861 version, the dress of the girl assumed a neutral white tone, as a tribute to the proclamation of the Kingdom of Italy. In the fourth version, Italy manifests itself instead in the clothes of the man, who now wears a green cloak, symbolizing the Italian national banner.

The Kiss has enjoyed extensive popularity from its exhibition onward, especially in Italy, and has been the subject of much commentary. In the 1920s the art director of Perugina, one of Italy's leading chocolate manufacturers, revised the image of the painting and created the typical blue box of the popular "Baci" chocolates with the picture of two lovers. In 1954 the great Italian director Luchino Visconti took inspiration from the painting for one of the leading scenes of his masterpiece movie, Senso.

This photo represents so much about why I love nature and photography. I often get up early in the dark, crawl out of my tent and gather myself before hiking up a mountain for a sunrise, always hoping for some amazing light to happen. Sometimes it does and most times it doesn't. This particular morning, I did just that and hiked to the location I wanted and began taking photos in the windy and cold conditions. It was a back and forth between dense fog and some breaks here and there giving me a glimpse of the mountains. The time for sunrise came and went...still nothing but grey foggy conditions. Meanwhile my lens fogged up every 5 seconds from all of the moisture in the air…which is very irritating. Then I get a glimpse of the sun through all of the fog and the thick cloud bank on the horizon. Still only a sliver of a red sun struggling to fight through the blue and grey tones before it disappears again. Just as I had decided nothing was going to come of this venture. Realizing how numb my fingers are, how cold my face is and how ready I am for a warm cup of coffee...I get ready to pack up. But then I see it!

All of the sudden the sun finds its way and breaks through. The most beautiful golden light fills the valleys and illuminates the light fog in the air. I rush to get back into position and start shooting. It is in this moment that the hours of driving, sleeping on the ground, hiking in the dark with heavy equipment and standing in the wind and cold waiting are all worth it. You get a moment of pure beauty when all the elements just fall into place and leave you speechless. This is why I love photography. Not only because it pushes me to experience these moment and appreciate them but I get to share them with all of you wonderful people!

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Natural light illuminates the church from the stunning 51.8 meter high (170 feet) cupola that represents a lily.

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Basilica of the Annunciation is a church in Nazareth, built on the traditional site of the annunciation by the Angel Gabriel of the birth of Jesus.

The first shrine was probably built sometime in the middle of the 4th century.

This basilica was built during the years 1960-69. It is the largest Christian sanctuary in the Middle East.

Castelo medieval, artística e arquitetonicamente representativo das diversas fases de construção e reconstrução desde a sua fundação até ao século XX.

Estruturas que compõem o conjunto arquitetónico: Palácio Real quatrocentista, Torre de Menagem, Igreja de Stª Maria da Pena, espaço da antiga Colegiada, celeiros medievais e muralhas exteriores.

Conquistado aos mouros por D. Afonso Henriques, em 1135, o Castelo viria a ser reconquistado pelos muçulmanos, cinco anos depois, voltando para a mão dos cristãos, novamente, em 1142. Mas as lutas pela sua posse estavam longe de terminar tendo sofrido novo ataque islâmico. Devido a tantas lutas, D. Sancho I resolve reedificá-lo, corria o ano de 1190.

Em 1325 D. Dinis manda edificar a Torre de Menagem, que após algumas reformulações é agora um núcleo museológico.

Pensa-se que a Igreja de Nossa Senhora da Pena e os Paços Episcopais tenham também sido construídos por ordem de D. Dinis. Este terá sido o rei que mais tempo passou em Leiria, juntamente com a sua esposa, a Rainha Santa Isabel. Graças a estes reis nasceram muitas das histórias e das lendas que envolvem Leiria.

Vários séculos depois, o Castelo, bem como a cidade, viriam ainda a sofrer danos, com as invasões francesas, ficando quase ao abandono. Valeu o esforço da Liga dos Amigos do Castelo e do famoso arquiteto suíço, Ernesto Korrodi, que ali realizaram obras de recuperação.

Numa visita ao Castelo não pode deixar de observar a magnifica vista sobre a cidade de Leiria, a partir da Alcáçova, uma das salas mais bonitas do Castelo de Leiria.

Núcleo Museológico da Torre de Menagem

A musealização do Castelo de Leiria, recorrendo ao objeto, à imagem, ao multimedia e ao texto, tem como objetivo principal “situar o lugar e a função da cidade de Leiria na história de Portugal: mostrar o que ela representa em termos nacionais, para melhor poder medir o significado dos acontecimentos que lhe dizem respeito e que escalonam a sua vida local através dos séculos”. www.cm-leiria.pt/pages/229

On Explore, March 20th, #42. Thank you all :))

(Please see the notes above and the previous photo's description)

This is the "Christmas Tree" of the Persian New Year! With the year coming to an end and another year approaching (starting March 21or 20), Iranians get their tables ready with the seven items that symbolise the triumph of good over evil. The belief dates back to antiquity but the practice is still very much alive.

The seven items used are vinegar (Serkeh - represents old age and patience), apple (Seeb - symbolises health and beauty ), garlic (Seer - considered medicinal, represents health ), wild olive/ the dried fruit of lotus tree (Senjed - for love ), sumac (Somaq - represents the color of sun and the victory of good over evil), a creamy pudding made from juice of germinating wheat or malt mixed with flour and brought to a consistency (Samanu - signifies sweetness and fertility) and a dish of specially raised wheat or other seed spour (Sabzeh - represents rebirth and renewal). Note that all articles begin with the Persian “S “sound. Along with the seven S's, there are other things you can place on the table which may not begin with letter 's' but have significance. For instance, a book, symbolising wisdom.

Visit this website for more info.: www.persianmirror.com/celebrations/noruz/noruz.cfm

يا مقلب القلوب والابصار, يا مدبر الليل و النهار, يا محول الحول و الاحوال, حول حالنا الي احسن الحال

سلام دوستان. نوروزتون پيروز، انشا الّله سالی پر از سلامتی، خوشحالی، عشق، و برکت داشته باشيد

امسال سفره هفت سين ما خيلی خوب از آب در اومد، گفتم حتماً عکس هاش رو بگزارم روی فليکر، خوشگل شدن

اگه دوست داشتيد عکس های مربوط به نوروزتون رو اينجا بفرستيد

نوروز نماد جاودان نوشدن است ........................ تجديد جوانی جهان كهن است

زينها همه خوبتر كه هر نو شدنش ................... باز آور ِ نام پاك ايران من است

شعر از نعمت آزرم

Mandarin Ducks represent a life-time couple, unlike many other species of ducks. They are regarded as a symbol of conjugal affection and fidelity.

Unlike other species of ducks, Mandarin drakes reunite with the ducks they mated, along with their offsprings after the eggs have hatched and even share scout duties in watching the ducklings closely. However, even with both parents securing the ducklings, most of them do not survive to adulthood.

The Beach Club Hallandale represents the oceanfront lifestyle you are looking for. From the 50,000-square-foot spa and fitness center to the endless infinity-edge resort-style pools, onsite restaurants, and services found at 5-Star resorts, the Beach Club Hallandale is easy to call home.

The Beach Club Hallandale features some of the most dynamic and technological advancements in fitness, our skilled staff is dedicated to making you look and feel your best. Consulting trainers will make your experience the most efficient and effortless workout you have had. Your physical aspirations will soon become manifestations.

The Beach Club Spa is certain to change your life. “Desires” will become realities when they are part of your “home”. You can have a massage or get a facial...workout or relax...swim or just sit by the pool. Life here is about options and our spa and fitness center are no different.

Yes. We are the first living “experience” that is designed for people just like you...those who want more than most but think that they are worth it. Residents at The Beach Club Hallandale Spa and Fitness Center will finally realize what it was they were missing in life. While The Beach Club is going to redefine your lifestyle, our Spa and Fitness Center is going to make you look and feel better than ever before.

As if that wasn’t enough, the Beach Club Hallandale also features Azure, a poolside Bar & Café offering a wide variety of fare from a classic burger to grilled Mahi-Mahi or perhaps a Salad Nicoise while you sip on a Pina Colada. Holiday parties and weekend music with friends & fellow residents, imagine that.

For those that like to explore the ocean life, the Beach Club is also adjacent to a limestone reef, approximately 650 offshore from the towers which is enjoyed by both divers & snorkelers alike.

A 9-Acre Site with Over 500 Feet of Magnificent Ocean Frontage

Oversized Heated Swimming Pool and Spa Overlooking the Atlantic Ocean

Snack Bar with Pool-Side Services

Lushly Landscaped Grounds

Magnificent 2-Story Lobby Entrance

Spectacular Porte-Cochere

24-Hour Valet Parking

Multi-Level Covered Parking

Full-Time Concierge

Mail and Package Receiving Desk

24-Hour Security

Credit for the data above is given to the following websites:

www.emporis.com/complex/109540/the-beach-club-hallandale-...

www.yourbeachclub.com/

© All Rights Reserved - you may not use this image in any form without my prior permission.

The Kiss (Le Baiser) originally represented Paolo and Francesca, two characters borrowed, once again, from Dante’s Divine Comedy: slain by Francesca’s husband who surprised them as they exchanged their first kiss, the two lovers were condemned to wander eternally through Hell. This group, designed in the early stages of the elaboration of The Gates, was given a prominent position on the lower left door, opposite Ugolino, until 1886, when Rodin decided that this depiction of happiness and sensuality was incongruous with the theme of his vast project.

He therefore transformed the group into an independent work and exhibited it in 1887. The fluid, smooth modelling, the very dynamic composition and the charming theme made this group an instant success. Since no anecdotal detail identified the lovers, the public called it The Kiss, an abstract title that expressed its universal character very well. The French state commissioned an enlarged version in marble, which Rodin took nearly ten years to deliver. Not until 1898 did he agree to exhibit what he called his “huge knick-knack” as a companion piece to his audacious Balzac , as if The Kiss would make it easier for the public to accept his portrait of the writer.

This is a reduced size version of the larger sculpture.

Auguste Rodin (French, 1840 - 1917), 1881-82, France.

23 1/4 x 14 1/4 x 14 15/16 in. (59.1 x 36.2 x 37.9 cm)

Fine Arts Museums of San Francisco, Legion of Honor (1941.34.8)

La Transfiguration du Christ

Évangile selon Marc, 9:2-13 (La tête de Lion représente Marc)

fr.wikipedia.org/wiki/Transfiguration_(christianisme)

Au centre, entre les pattes du Lion ailé de Saint Marc, l'apparition de Jésus entre Moïse et Élie

Au sol, face à terre les trois futurs Apôtres: Pierre, Jacques et Jean, entendant une voix venant du ciel (ET VENIT VOX DE NUBE) disant "Celui-ci est mon fils bien-aimé"

Œuvre du peintre Marcel Imbs (1882-1935)

fr.wikipedia.org/wiki/Marcel_Imbs

Réalisation en émaux de Venise par le mosaïste Félix Gaudin (1851-1930)

fr.wikipedia.org/wiki/F%C3%A9lix_Gaudin

Pendentif de la coupole, à droite, face à l'autel

------------

L'Eglise du Saint-Esprit, à Paris (12ème), a été achevée en 1935 par l’architecte Paul Tournon (réalisation : entreprise F. Hennebique) et décorée par 70 artistes, dont Maurice Denis pour la peinture de la chapelle de la Vierge et George Desvallières pour le chemin de Croix (Ateliers d'Art Sacré). L'architecte s'est inspiré des églises byzantines et de l'ancienne basilique Sainte-Sophie de Constantinople. Le bâtiment est en béton armé. Il est considérée aujourd’hui comme la plus représentative de l’art des années trente en France. (Extrait du site officiel)

www.st-esprit.org/notre-paroisse/#histoire

L'église sur Wikipedia

fr.wikipedia.org/wiki/%C3%89glise_du_Saint-Esprit_de_Paris#

Dans les "monuments de Paris"

www.patrimoine-histoire.fr/Patrimoine/Paris/Paris-Saint-E...

Dans la base des Monuments Historiques (église classée MH en 2016)

pop.culture.gouv.fr/notice/merimee/PA00086569

Figs representing different subgenres of synthwave. By no means am I an expert on the subject it's just my interpretation. any suggestions or corrections are most welcome! So from left we have:

♫ Seapunk. Grab a dolphin and let's get wet!

♫ Darksynth. Demonic entities within the grid. Upload your weapon and save the cyberlands!

♫ Ѕоѵіетшдѵе. Nostalgic bliss from a utopia that never was.

♫ Synthpop. Chill vocals and neon vibes.

♫ Outrun. Forever driving into the sunset.

♫ Sweatwave. Time for a sexy workout.

♫ Vapourwave/爪卂ㄥㄥ丂ㄖ千ㄒ. White goods, second floor. Apparel and sporting, third floor. Have a nice day.

REPRESENT: YHULA -by ENYA aka CLETHCLETH-

Antonio Canova's statue Psyche Revived by Cupid's Kiss, first commissioned in 1787, exemplifies the Neoclassical devotion to love and emotion. It represents the god Cupid in the height of love and tenderness, immediately after awakening the lifeless Psyche with a kiss.

Once upon a time there was a king with three daughters. They were all beautiful, but the most beautiful was the youngest, Psyche. So beautiful, in fact, that people began to worship her instead of Venus, the goddess of love and beauty. This made Venus very jealous, so she asked her son, Cupid, to make Psyche fall in love with a horrible monster. However, when Cupid saw how beautiful she was, he dropped the arrow meant for Psyche and pricked himself with it, falling in love with her.

Despite Psyche's beauty, her parents feared no one wanted to marry her. They were told by an oracle that she was destined to marry a monster, and they were to take her to the top of a mountain and leave her there. Instead, the wind kicked up and swept her away to a magnificent palace where she was taken care of by invisible servants. Every night, a visitor (her new husband) came to her. He told her he would only visit her at night and she must never try to see him.

While her invisible husband was very good to her and the invisible servants saw to her every desire, Psyche was homesick. She gained permission from her new husband to allow her sisters to visit. When they did, they became very jealous of her lavish lifestyle. The sisters coaxed Psyche into peeking at her husband by saying he was a monster who was fattening her up to be eaten and that she must kill him if she wanted to survive.

That night, armed with a lamp and a knife, Psyche visited her husband while he slept. She was so surprised to learn that he was Cupid that she dripped hot wax from the lamp onto his shoulder, waking him. When Cupid made sense of the situation, he immediately left Psyche, hurt by her quickness to think so badly of him.

Still angry, Venus set about in getting revenge by forcing Psyche to complete some extremely difficult tasks. Cupid, now recovered from his physical and emotional wounds, began to miss his beloved Psyche. He soon learned of his mother's shenanigans and convinced Jupiter to order Venus to stop her persecution of Psyche. That day, Psyche was delivered to Jupiter where he gave her a cup of ambrosia to drink, making her immortal. He then ordered the nuptials between the two lovers to be perpetual.

Représentation artistique de la nuée ardente s'abattant sur la ville de Saint Pierre lors de l'éruption de 1902.

Toile de moustiquaire et filets de pêche

A group representing Thoth as an ibis standing before the goddess Maat who is squatting on a chair, flanked by two other small ibises. The upper part of the tripartite headdress of the goddess has a hole in which was probably fixed the ostrich feather, her symbol.

By the Middle Kingdom, Thoth was connected with Maat, the personification of rightness and world order. Coffin texts, dating back to the same period, associate him with divine justice. Instructions and other tales regularly use Thoth as a metaphor for justice and, in funerary autobiographies, officials demonstrate their impartiality by claiming to be "truly precise as Thoth". Furthermore, New Kingdom didactic literature, such as the Instructions of Amenemope, also refers to Thoth as a symbol of justice.

Bronze

Late Period

Provenance Minya

BAAM 622

Antiquities Museum of Bibliotheca Alexandrina

Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century.

The Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect.[13] Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works.

Mounted dragoons representing Lieutenant Colonel Charles Mawhood's dragoons at the Battle of Princeton 249th anniversary living history/reenactment.

*note - Dragoons are not cavalry.

"Dragoons were originally a class of mounted infantry, who used horses for mobility, but dismounted to fight on foot. From the early 17th century onward, dragoons were increasingly also employed as conventional cavalry and trained for combat with swords and firearms from horseback. While their use goes back to the late 16th century, dragoon regiments were established in most European armies during the 17th and early 18th centuries; they provided greater mobility than regular infantry but were far less expensive than cavalry.

The name reputedly derives from a type of firearm, called a dragon, which was a handgun version of a blunderbuss, carried by dragoons of the French Army. The title has been retained in modern times by a number of armored or ceremonial mounted regiments.

The establishment of dragoons evolved from the practice of sometimes transporting infantry by horse when speed of movement was needed. During the Spanish conquest of the Inca Empire in the 16th century, Spanish conquistadors fought on horse with arquebuses, prefiguring the origin of European dragoons. In the Spanish army, dragoons were initially mounted infantry, trained to fight both on horseback and dismounted. They were a type of cavalry that could perform a variety of roles, including scouting, raiding, and direct combat. Dragoons played a significant role in the Spanish army where they were known for their versatile combat capabilities and distinctive yellow uniforms.

In 1552, Alexander Farnese, Duke of Parma, mounted several companies of infantry on pack horses to achieve surprise, another example being that used by Louis of Nassau in 1572 during operations near Mons in Hainaut, when 500 infantry were transported this way. It is also suggested the first dragoons were raised by the Marshal de Brissac in 1600. According to old German literature, dragoons were invented by Count Ernst von Mansfeld, one of the greatest German military commanders, in the early 1620s. There are other instances of mounted infantry predating this. However Mansfeld, who had learned his profession in Hungary and the Netherlands, often used horses to make his foot troops more mobile, creating what was called an armée volante (French for 'flying army')." (Wikipedia)

PLEASE, NO GRAPHICS, BADGES, OR AWARDS IN COMMENTS. They will be deleted.

2021 represents a significant milestone in the history of the Phoenix Railway-Photographic Circle with the celebration of our 50th anniversary by publishing a book to showcase some of the members work, past and present, from 1971 to the present day. The book contains 14 chapters and 144 pages of photographs depicting the work of over 50 accomplished railway photographers with many differing styles and approaches. It takes an alternative view on photographing the railway scene over the past 50 years. The book, called 50 Years of Phoenix will be published on 14th May 2021 with pre-orders now being taken – click on this link to order your copy: www.mortonsbooks.co.uk/product/view/productCode/15554

Why not take a look at the PRPC web site at www.phoenix-rpc.co.uk/index.html.

CREDITS/ dinami.wordpress.com/2014/12/20/represent/

The Type 21 "Habu" APC represents the latest in domestic Japanese APC design. The Type 21, named after an indigenous pit viper, was designed with a wider wheelbase than most other 8x8 APCs to give greater stability at higher speeds. The vehicle is optimized for extremely rapid deployment along paved surfaces (a valuable asset for defending the long nation), as well as a powerful cross-country capability. The Type 21 is powered by the latest generation of hybrid-electric engine, to reduce fuel consumption (and thus, dependence on foreign oil), and in its base configuration is armed with a standard .50 caliber RWS. The Type 21 is also a highly modular vehicle, with the entire section aft of the engine and driver's compartment able to be taken off and replaced with various modules in less than two hours. Other versions under development are an MLRS, recovery vehicle, mortar, and even a howitzer variant.

I've been planning on making a "wide and low" APC for a long time now, nearly 3 years, actually. However, I finally got my act together and decided on an 11-stud wide design which I felt accommodated the look I was looking for without being as wide as an MBT. I do certainly intend on making those other variants in the future too, and it is high on my list of things to build. Lastly, thanks for being patient with me between uploads - I actually have two other projects that I am waiting to build before posting, too, so stay on the lookout for those coming in mid-late December.

Representing long-standing independent E&M of Horsburgh at last year's SVBM Open Weekend is ex-Lothian Transbus Trident SN53 AVV (ex-Lothian 658, a former Airport Shuttle machine by dint of the luggage rack and bonded glass windows).

Caught here being enthusiastically driven out of the easternmost turning circle while covering the site's Internal Shuttle.

Photo Date: 19th August 2023

Elementals represent an evolution divergent from that of humans. They are the metaphysical forces behind nature which assist earth’s ecology to function better. Their realms are harmonized into the earth but are not composed of the gross matter that constitutes humans. Because of the different vibrations of their composition, nature spirits can sometimes be seen by humans whose ajna, or third-eye chakra has been enhanced through recitations of specific prayers or mantras. Such mantras increase the harmony of consciousness and telepathy. Elementals are the archetypal spiritual intelligence behind all species. Contact with the plant kingdom is in fact contact with a more universal being.

denniscordell.zenfolio.com

also:

www.elephantjournal.com/2020/12/some-notes-on-nature-spir...

Representing mini mozzarelas. Buttery idiazabal cheese gnocci in salted iberian pork bouillon. Contrasting vegetables.

how many MC's

Nel breve tratto delle Mura Aureliane a destra di Porta del Popolo, su piazzale Flaminio, sopra la Fontana di piazzale Flaminio, c’è un’imponente lapide sovrastata da uno stemma monumentale. E’ la grande Lapide della Legnara. La lapide, sormontata dallo stemma di papa Pio VI Braschi, rammenta al passante che il papa nel 1780, conoscendo la situazione di pericolo del grande deposito di legname dovuto ai ladri, ai frequenti incendi e al forte vento che spirava sul fiume, ed esaudendo benignamente le richieste di mercanti, fabbri e falegnami, fa acquistare una vigna adiacente all’area fatta sistemare da papa Clemente XII per conservare la legna, e ordina al Cardinale Gugliemo Pallotta proprefetto dell’Erario Apostolico (corrispondente all’attuale Ministro delle Finanze e dei Lavori Pubblici), di proteggere l’area, circondandola con un muro di mattoni.

In the short stretch of the Aurelian Walls to the right of Porta del Popolo, on Piazzale Flaminio, above the Piazzale Flaminio Fountain, there is an imposing plaque surmounted by a monumental coat of arms. It is the large Lapide della Legnara. The plaque, surmounted by the coat of arms of Pope Pius VI Braschi, reminds passersby that in 1780, aware of the dangers posed to the large timber depot by thieves, frequent fires, and the strong winds blowing on the river, and kindly granting the requests of merchants, blacksmiths, and carpenters, the pope purchased a vineyard adjacent to the area established by Pope Clement XII to store the wood. He also ordered Cardinal Guglielmo Pallotta, Pro-Prefect of the Apostolic Treasury (corresponding to the current Minister of Finance and Public Works), to protect the area by surrounding it with a brick wall.

Sur le court tronçon des murs d'Aurélien, à droite de la Porta del Popolo, sur la Piazzale Flaminio, au-dessus de la fontaine du même nom, se dresse une imposante plaque surmontée d'armoiries monumentales. Il s'agit du grand Lapide della Legnara. Cette plaque, ornée des armoiries du pape Pie VI Braschi, rappelle aux passants qu'en 1780, conscient des dangers que représentaient les vols, les incendies fréquents et les vents violents soufflant sur le fleuve pour le vaste dépôt de bois, et accédant favorablement aux requêtes des marchands, forgerons et charpentiers, le pape fit l'acquisition d'un vignoble jouxtant la zone aménagée par le pape Clément XII pour le stockage du bois. Il ordonna également au cardinal Guglielmo Pallotta, pro-préfet du Trésor apostolique (correspondant à l'actuel ministre des Finances et des Travaux publics), de protéger le site en l'entourant d'un mur de briques.

Photo chosen to represent all women of India at the Exhibition I AM in the garden of Indirah Ghandi's former residence in New Delhi Nov 2008 for her birthday celebration.

Poem by Suryakanthi Tripathi

What I mean

I bring the faraway horizon near

because I summon it

I am proud and erect

Feet on the ground

unafraid of effort and distance

I am free

I am here for you to understand

what a woman means

I am laughter. I am music

I am youth, I am experience

I am grace, I am endurance

I am the striving, I am the goal

I am hunger, I am nourishment

I am the devotee, I am the devotion

I am Shakti.

I am she

From Lopamudra to Indira

From Kasturba to Teejan Bai

From she to she

From Chandbibi to Bhikaji

I am stone-breaker and star-gazer

I am she, I am she

The child , the mother, the leader

I am the woman of India from eternity to eternity

I am here

For you to understand

what a woman means

I am freedom

I AM.