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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
This photo represents the first change to waste services for a Sydney council since amalgamations some months ago. Actually there aren’t really any changes, it’s still the same company servicing the same area, just with new trucks and the previous council name is no longer featured. A little while ago I heard that Cleanaway won back the Ashfield contract, but that didn’t make any sense when other councils were extending contracts, due to uncertainty about amalgamations and the need to streamline services once councils did merge. It is on the verge of being 7 years since the current Ashfield/Cleanaway contract started in Nov 2009, but I expected the partnership would extend for a few more years. However, a top bloke I know visited an Iveco dealership and spotted a few new Cleanaway trucks with Inner West Council printed on the side, confirming indeed a new contract had been signed with Cleanaway. These side loaders will likely start work in a couple of weeks, but this time joined by some rear loaders, to service the former Ashfield area under an altered collection regime. I’ve come to the conclusion that the newly formed council decided it wasn’t crucial to standardise waste services and the collection workforce across the former Ashfield, Leichhardt and Marrickville areas yet, so they’ve decided to essentially continue with business as usual for now. I also see the fact that Leichhardt and Marrickville have very young collection vehicles as another influence to put off any changes at this point in time. I’m sure in around 7 years the three separate council waste management systems will have transitioned into one big organisation - it will be a staged work in progress.
The Glasshouse is an international centre for musical education and concerts on the Gateshead bank of Quayside in northern England. Opened in 2004 as Sage Gateshead and occupied by North Music Trust The venue's original name honours a patron: the accountancy software company The Sage Group.
History
Planning for the centre began in the early 1990s, when the orchestra of Sage Gateshead, Royal Northern Sinfonia, with encouragement from Northern Arts, began working on plans for a new concert hall. They were soon joined by regional folk music development agency Folkworks, which ensured that the needs of the region's traditional music were taken into consideration and represented in Sage Gateshead's programme of concerts, alongside Rock, Pop, Dance, Hip Hop, classical, jazz, acoustic, indie, country and world, Practice spaces for professional musicians, students and amateurs were an important part of the provision.
The planning and construction process cost over £70 million, which was raised primarily through National Lottery grants. The contractor was Laing O'Rourke. The centre has a range of patrons, notably Sage Group which contributed a large sum of money to have the building named after it. Sage plc has helped support the charitable activities of Sage Gateshead since its conception. The venue opened over the weekend 17–19 December 2004.
Sage Gateshead was developed by Foster and Partners following an architectural design competition launched in 1997 and managed by RIBA Competitions. Over 100 architects registered their interest and 12 – a mixture of local, national and international talent – were invited to prepare concept designs. A shortlist of six was then interviewed with Foster and Partners unanimously selected as the winner. The Design has gone on to win a number of awards: the RIBA Inclusive Design Award, Civic Trust Award and The Journal North East Landmark of the Year Award.
As a conference venue, the building hosted the Labour Party's Spring conference in February 2005 and the Liberal Democrat Party conference in March 2012. On 18 August 2009, Sage Gateshead was selected to host the 2010 and 2011 National Union of Students annual conference. The 2010 Annual Conference took place 13–15 April 2010.
In 2022 The Sage Group announced that they were also sponsoring a new development that is being built next to Sage Gateshead which will be called The Sage. Sage Gateshead announced that they will be finding a new name for the venue prior to The Sage opening in 2024. On 13 September 2023 the venue announced its new name, The Glasshouse International Centre for Music.
Building
The centre occupies a curved glass and stainless steel building designed by Foster and Partners, Buro Happold (structural engineering), Mott MacDonald (engineering consultants) and Arup (acoustics), with views of Newcastle and Gateshead Quaysides, the Tyne Bridge and the Gateshead Millennium Bridge.
The Glasshouse contains three performance spaces; a 1,700-seater, a 450-seater, and a smaller rehearsal and performance hall, the Northern Rock Foundation Hall. The rest of the building was designed around these three spaces to allow for maximum attention to detail in their acoustic properties. Structurally it is three separate buildings, insulated from each other to prevent noise and vibration travelling between them. The gaps between them may be seen as one walks around inside. A special 'spongy' concrete mix was used in the construction, with a higher-than-usual air capacity to improve the acoustic. These three buildings are enclosed (but not touched) by the now-famous glass and steel shell. Sage One was intended as an acoustically perfect space, modelled on the Musikverein in Vienna. Its ceiling panels may be raised and lowered and curtains drawn across the ribbed wooden side walls, changing the sound profile of the room to suit any type of music. Sage Two is a smaller venue, possibly the world's only ten-sided performance space.
The building is open to the public throughout the day.
Concerts
The Glasshouse will host concerts from a wide range of internationally famous artists, and those who have played at the venue include Above and Beyond, Blondie, James Brown, Bonobo, Andy Cutting, De La Soul, Nick Cave, George Clinton, Bill Callahan, Crosby, Stills & Nash, Dillinger, Grace Jones, Gretchen Peters, Elbow, Explosions in the Sky, the Fall, Herbie Hancock, Mogwai, Morrissey, Mumford & Sons, Pet Shop Boys, Sunn O))), Nancy Sinatra, Snarky Puppy, Sting, Yellowman, Shane Filan of Westlife and others. In February 2015, it was one of the hosts of the second annual BBC Radio 6 Music Festival.
It is also home to Royal Northern Sinfonia, of which The Guardian wrote there is "no better chamber orchestra in Britain", and frequently hosts other visiting orchestras from around the world. The current music director for Royal Northern Sinfonia is the pianist and conductor Lars Vogt. In late 2014, Royal Northern Sinfonia collaborated with John Grant, performing at Sage Gateshead, and other venues throughout the UK. Recordings from this tour were made available as a limited edition CD and 12" record via Rough Trade Records in 2015.
Opinion
There has been popular debate surrounding what was Sage Gateshead. The venue is popular in the local area because of its concerts, and also its accessible learning courses for all ages and its constant interaction with local schools and academies through programmes such as Sing Up and the option of school visits.
Awards
2019: UK National Lottery 25th Birthday Award - Best Arts, Culture and Film
2019: Julie's Bicycle Creative Green 2 Star
2019: Gold Standard - Attitude is Everything
2018: Gold Award for Inclusive Tourism (North East Tourism Awards)
2018: Gold Award for Business Tourism (Visit England Awards for Excellence)
2005: Local Authority Building of the Year
2005: British Construction Industry Awards
2005: RIBA Award for Inclusive Design
Gateshead is a town in the Gateshead Metropolitan Borough of Tyne and Wear, England. It is on the River Tyne's southern bank. The town's attractions include the twenty metre tall Angel of the North sculpture on the town's southern outskirts, The Glasshouse International Centre for Music and the Baltic Centre for Contemporary Art. The town shares the Millennium Bridge, Tyne Bridge and multiple other bridges with Newcastle upon Tyne.
Historically part of County Durham, under the Local Government Act 1888 the town was made a county borough, meaning it was administered independently of the county council.
In the 2011 Census, the town had a population of 120,046 while the wider borough had 200,214.
History
Gateshead is first mentioned in Latin translation in Bede's Ecclesiastical History of the English People as ad caput caprae ("at the goat's head"). This interpretation is consistent with the later English attestations of the name, among them Gatesheued (c. 1190), literally "goat's head" but in the context of a place-name meaning 'headland or hill frequented by (wild) goats'. Although other derivations have been mooted, it is this that is given by the standard authorities.
A Brittonic predecessor, named with the element *gabro-, 'goat' (c.f. Welsh gafr), may underlie the name. Gateshead might have been the Roman-British fort of Gabrosentum.
Early
There has been a settlement on the Gateshead side of the River Tyne, around the old river crossing where the Swing Bridge now stands, since Roman times.
The first recorded mention of Gateshead is in the writings of the Venerable Bede who referred to an Abbot of Gateshead called Utta in 623. In 1068 William the Conqueror defeated the forces of Edgar the Ætheling and Malcolm king of Scotland (Shakespeare's Malcolm) on Gateshead Fell (now Low Fell and Sheriff Hill).
During medieval times Gateshead was under the jurisdiction of the Bishop of Durham. At this time the area was largely forest with some agricultural land. The forest was the subject of Gateshead's first charter, granted in the 12th century by Hugh du Puiset, Bishop of Durham. An alternative spelling may be "Gatishevede", as seen in a legal record, dated 1430.
Industrial revolution
Throughout the Industrial Revolution the population of Gateshead expanded rapidly; between 1801 and 1901 the increase was over 100,000. This expansion resulted in the spread southwards of the town.
In 1854, a catastrophic explosion on the quayside destroyed most of Gateshead's medieval heritage, and caused widespread damage on the Newcastle side of the river.
Sir Joseph Swan lived at Underhill, Low Fell, Gateshead from 1869 to 1883, where his experiments led to the invention of the electric light bulb. The house was the first in the world to be wired for domestic electric light.
In the 1889 one of the largest employers (Hawks, Crawshay and Company) closed down and unemployment has since been a burden. Up to the Second World War there were repeated newspaper reports of the unemployed sending deputations to the council to provide work. The depression years of the 1920s and 1930s created even more joblessness and the Team Valley Trading Estate was built in the mid-1930s to alleviate the situation.
Regeneration
In the late noughties, Gateshead Council started to regenerate the town, with the long-term aim of making Gateshead a city. The most extensive transformation occurred in the Quayside, with almost all the structures there being constructed or refurbished in this time.
In the early 2010s, regeneration refocused on the town centre. The £150 million Trinity Square development opened in May 2013, it incorporates student accommodation, a cinema, health centre and shops. It was nominated for the Carbuncle Cup in September 2014. The cup was however awarded to another development which involved Tesco, Woolwich Central.
Governance
In 1835, Gateshead was established as a municipal borough and in 1889 it was made a county borough, independent from Durham County Council.
In 1870, the Old Town Hall was built, designed by John Johnstone who also designed the previously built Newcastle Town Hall. The ornamental clock in front of the old town hall was presented to Gateshead in 1892 by the mayor, Walter de Lancey Willson, on the occasion of him being elected for a third time. He was also one of the founders of Walter Willson's, a chain of grocers in the North East and Cumbria. The old town hall also served as a magistrate's court and one of Gateshead's police stations.
Current
In 1974, following the Local Government Act 1972, the County Borough of Gateshead was merged with the urban districts of Felling, Whickham, Blaydon and Ryton and part of the rural district of Chester-le-Street to create the much larger Metropolitan Borough of Gateshead.
Geography
The town of Gateshead is in the North East of England in the ceremonial county of Tyne and Wear, and within the historic boundaries of County Durham. It is located on the southern bank of the River Tyne at a latitude of 54.57° N and a longitude of 1.35° W. Gateshead experiences a temperate climate which is considerably warmer than some other locations at similar latitudes as a result of the warming influence of the Gulf Stream (via the North Atlantic drift). It is located in the rain shadow of the North Pennines and is therefore in one of the driest regions of the United Kingdom.
One of the most distinguishing features of Gateshead is its topography. The land rises 230 feet from Gateshead Quays to the town centre and continues rising to a height of 525 feet at Queen Elizabeth Hospital in Sheriff Hill. This is in contrast to the flat and low lying Team Valley located on the western edges of town. The high elevations allow for impressive views over the Tyne valley into Newcastle and across Tyneside to Sunderland and the North Sea from lookouts in Windmill Hills and Windy Nook respectively.
The Office for National Statistics defines the town as an urban sub-division. The latest (2011) ONS urban sub-division of Gateshead contains the historical County Borough together with areas that the town has absorbed, including Dunston, Felling, Heworth, Pelaw and Bill Quay.
Given the proximity of Gateshead to Newcastle, just south of the River Tyne from the city centre, it is sometimes incorrectly referred to as being a part of Newcastle. Gateshead Council and Newcastle City Council teamed up in 2000 to create a unified marketing brand name, NewcastleGateshead, to better promote the whole of the Tyneside conurbation.
Economy
Gateshead is home to the MetroCentre, the largest shopping mall in the UK until 2008; and the Team Valley Trading Estate, once the largest and still one of the larger purpose-built commercial estates in the UK.
Arts
The Baltic Centre for Contemporary Art has been established in a converted flour mill. The Glasshouse International Centre for Music, previously The Sage, a Norman Foster-designed venue for music and the performing arts opened on 17 December 2004. Gateshead also hosted the Gateshead Garden Festival in 1990, rejuvenating 200 acres (0.81 km2) of derelict land (now mostly replaced with housing). The Angel of the North, a famous sculpture in nearby Lamesley, is visible from the A1 to the south of Gateshead, as well as from the East Coast Main Line. Other public art include works by Richard Deacon, Colin Rose, Sally Matthews, Andy Goldsworthy, Gordon Young and Michael Winstone.
Traditional and former
The earliest recorded coal mining in the Gateshead area is dated to 1344. As trade on the Tyne prospered there were several attempts by the burghers of Newcastle to annex Gateshead. In 1576 a small group of Newcastle merchants acquired the 'Grand Lease' of the manors of Gateshead and Whickham. In the hundred years from 1574 coal shipments from Newcastle increased elevenfold while the population of Gateshead doubled to approximately 5,500. However, the lease and the abundant coal supplies ended in 1680. The pits were shallow as problems of ventilation and flooding defeated attempts to mine coal from the deeper seams.
'William Cotesworth (1668-1726) was a prominent merchant based in Gateshead, where he was a leader in coal and international trade. Cotesworth began as the son of a yeoman and apprentice to a tallow - candler. He ended as an esquire, having been mayor, Justice of the Peace and sheriff of Northumberland. He collected tallow from all over England and sold it across the globe. He imported dyes from the Indies, as well as flax, wine, and grain. He sold tea, sugar, chocolate, and tobacco. He operated the largest coal mines in the area, and was a leading salt producer. As the government's principal agent in the North country, he was in contact with leading ministers.
William Hawks originally a blacksmith, started business in Gateshead in 1747, working with the iron brought to the Tyne as ballast by the Tyne colliers. Hawks and Co. eventually became one of the biggest iron businesses in the North, producing anchors, chains and so on to meet a growing demand. There was keen contemporary rivalry between 'Hawks' Blacks' and 'Crowley's Crew'. The famous 'Hawks' men' including Ned White, went on to be celebrated in Geordie song and story.
In 1831 a locomotive works was established by the Newcastle and Darlington Railway, later part of the York, Newcastle and Berwick Railway. In 1854 the works moved to the Greenesfield site and became the manufacturing headquarters of North Eastern Railway. In 1909, locomotive construction was moved to Darlington and the rest of the works were closed in 1932.
Robert Stirling Newall took out a patent on the manufacture of wire ropes in 1840 and in partnership with Messrs. Liddell and Gordon, set up his headquarters at Gateshead. A worldwide industry of wire-drawing resulted. The submarine telegraph cable received its definitive form through Newall's initiative, involving the use of gutta-percha surrounded by strong wires. The first successful Dover–Calais cable on 25 September 1851, was made in Newall's works. In 1853, he invented the brake-drum and cone for laying cable in deep seas. Half of the first Atlantic cable was manufactured in Gateshead. Newall was interested in astronomy, and his giant 25-inch (640 mm) telescope was set up in the garden at Ferndene, his Gateshead residence, in 1871.
Architecture
JB Priestley, writing of Gateshead in his 1934 travelogue English Journey, said that "no true civilisation could have produced such a town", adding that it appeared to have been designed "by an enemy of the human race".
Victorian
William Wailes the celebrated stained-glass maker, lived at South Dene from 1853 to 1860. In 1860, he designed Saltwell Towers as a fairy-tale palace for himself. It is an imposing Victorian mansion in its own park with a romantic skyline of turrets and battlements. It was originally furnished sumptuously by Gerrard Robinson. Some of the panelling installed by Robinson was later moved to the Shipley Art gallery. Wailes sold Saltwell Towers to the corporation in 1876 for use as a public park, provided he could use the house for the rest of his life. For many years the structure was essentially an empty shell but following a restoration programme it was reopened to the public in 2004.
Post millennium
The council sponsored the development of a Gateshead Quays cultural quarter. The development includes the Gateshead Millennium Bridge, erected in 2001, which won the prestigious Stirling Prize for Architecture in 2002.
Former brutalism
The brutalist Trinity Centre Car Park, which was designed by Owen Luder, dominated the town centre for many years until its demolition in 2010. A product of attempts to regenerate the area in the 1960s, the car park gained an iconic status due to its appearance in the 1971 film Get Carter, starring Michael Caine. An unsuccessful campaign to have the structure listed was backed by Sylvester Stallone, who played the main role in the 2000 remake of the film. The car park was scheduled for demolition in 2009, but this was delayed as a result of a disagreement between Tesco, who re-developed the site, and Gateshead Council. The council had not been given firm assurances that Tesco would build the previously envisioned town centre development which was to include a Tesco mega-store as well as shops, restaurants, cafes, bars, offices and student accommodation. The council effectively used the car park as a bargaining tool to ensure that the company adhered to the original proposals and blocked its demolition until they submitted a suitable planning application. Demolition finally took place in July–August 2010.
The Derwent Tower, another well known example of brutalist architecture, was also designed by Owen Luder and stood in the neighbourhood of Dunston. Like the Trinity Car Park it also failed in its bid to become a listed building and was demolished in 2012. Also located in this area are the Grade II listed Dunston Staithes which were built in 1890. Following the award of a Heritage Lottery Fund grant of almost £420,000 restoration of the structure is expected to begin in April 2014.
Sport
Gateshead International Stadium regularly holds international athletics meetings over the summer months, and is home of the Gateshead Harriers athletics club. It is also host to rugby league fixtures, and the home ground of Gateshead Football Club. Gateshead Thunder Rugby League Football Club played at Gateshead International Stadium until its purchase by Newcastle Rugby Limited and the subsequent rebranding as Newcastle Thunder. Both clubs have had their problems: Gateshead A.F.C. were controversially voted out of the Football League in 1960 in favour of Peterborough United, whilst Gateshead Thunder lost their place in Super League as a result of a takeover (officially termed a merger) by Hull F.C. Both Gateshead clubs continue to ply their trade at lower levels in their respective sports, thanks mainly to the efforts of their supporters. The Gateshead Senators American Football team also use the International Stadium, as well as this it was used in the 2006 Northern Conference champions in the British American Football League.
Gateshead Leisure Centre is home to the Gateshead Phoenix Basketball Team. The team currently plays in EBL League Division 4. Home games are usually on a Sunday afternoon during the season, which runs from September to March. The team was formed in 2013 and ended their initial season well placed to progress after defeating local rivals Newcastle Eagles II and promotion chasing Kingston Panthers.
In Low Fell there is a cricket club and a rugby club adjacent to each other on Eastwood Gardens. These are Gateshead Fell Cricket Club and Gateshead Rugby Club. Gateshead Rugby Club was formed in 1998 following the merger of Gateshead Fell Rugby Club and North Durham Rugby Club.
Transport
Gateshead is served by the following rail transport stations with some being operated by National Rail and some being Tyne & Wear Metro stations: Dunston, Felling, Gateshead Interchange, Gateshead Stadium, Heworth Interchange, MetroCentre and Pelaw.
Tyne & Wear Metro stations at Gateshead Interchange and Gateshead Stadium provide direct light-rail access to Newcastle Central, Newcastle Airport , Sunderland, Tynemouth and South Shields Interchange.
National Rail services are provided by Northern at Dunston and MetroCentre stations. The East Coast Main Line, which runs from London Kings Cross to Edinburgh Waverley, cuts directly through the town on its way between Newcastle Central and Chester-le-Street stations. There are presently no stations on this line within Gateshead, as Low Fell, Bensham and Gateshead West stations were closed in 1952, 1954 and 1965 respectively.
Road
Several major road links pass through Gateshead, including the A1 which links London to Edinburgh and the A184 which connects the town to Sunderland.
Gateshead Interchange is the busiest bus station in Tyne & Wear and was used by 3.9 million bus passengers in 2008.
Cycle routes
Various bicycle trails traverse the town; most notably is the recreational Keelmans Way (National Cycle Route 14), which is located on the south bank of the Tyne and takes riders along the entire Gateshead foreshore. Other prominent routes include the East Gateshead Cycleway, which connects to Felling, the West Gateshead Cycleway, which links the town centre to Dunston and the MetroCentre, and routes along both the old and new Durham roads, which take cyclists to Birtley, Wrekenton and the Angel of the North.
Religion
Christianity has been present in the town since at least the 7th century, when Bede mentioned a monastery in Gateshead. A church in the town was burned down in 1080 with the Bishop of Durham inside.[citation needed] St Mary's Church was built near to the site of that building, and was the only church in the town until the 1820s. Undoubtedly the oldest building on the Quayside, St Mary's has now re-opened to the public as the town's first heritage centre.
Many of the Anglican churches in the town date from the 19th century, when the population of the town grew dramatically and expanded into new areas. The town presently has a number of notable and large churches of many denominations.
Judaism
The Bensham district is home to a community of hundreds of Jewish families and used to be known as "Little Jerusalem". Within the community is the Gateshead Yeshiva, founded in 1929, and other Jewish educational institutions with international enrolments. These include two seminaries: Beis Medrash L'Morot and Beis Chaya Rochel seminary, colloquially known together as Gateshead "old" and "new" seminaries.
Many yeshivot and kollels also are active. Yeshivat Beer Hatorah, Sunderland Yeshiva, Nesivos Hatorah, Nezer Hatorah and Yeshiva Ketana make up some of the list.
Islam
Islam is practised by a large community of people in Gateshead and there are 2 mosques located in the Bensham area (in Ely Street and Villa Place).
Twinning
Gateshead is twinned with the town of Saint-Étienne-du-Rouvray near Rouen in France, and the city of Komatsu in Japan.
Notable people
Eliezer Adler – founder of Jewish Community
Marcus Bentley – narrator of Big Brother
Catherine Booth – wife of William Booth, known as the Mother of The Salvation Army
William Booth – founder of the Salvation Army
Mary Bowes – the Unhappy Countess, author and celebrity
Ian Branfoot – footballer and manager (Sheffield Wednesday and Southampton)
Andy Carroll – footballer (Newcastle United, Liverpool and West Ham United)
Frank Clark – footballer and manager (Newcastle United and Nottingham Forest)
David Clelland – Labour politician and MP
Derek Conway – former Conservative politician and MP
Joseph Cowen – Radical politician
Steve Cram – athlete (middle-distance runner)
Emily Davies – educational reformer and feminist, founder of Girton College, Cambridge
Daniel Defoe – writer and government agent
Ruth Dodds – politician, writer and co-founder of the Little Theatre
Jonathan Edwards – athlete (triple jumper) and television presenter
Sammy Johnson – actor (Spender)
George Elliot – industrialist and MP
Paul Gascoigne – footballer (Newcastle United, Tottenham Hotspur, Lazio, Rangers and Middlesbrough)
Alex Glasgow – singer/songwriter
Avrohom Gurwicz – rabbi, Dean of Gateshead Yeshiva
Leib Gurwicz – rabbi, Dean of Gateshead Yeshiva
Jill Halfpenny – actress (Coronation Street and EastEnders)
Chelsea Halfpenny – actress (Emmerdale)
David Hodgson – footballer and manager (Middlesbrough, Liverpool and Sunderland)
Sharon Hodgson – Labour politician and MP
Norman Hunter – footballer (Leeds United and member of 1966 World Cup-winning England squad)
Don Hutchison – footballer (Liverpool, West Ham United, Everton and Sunderland)
Brian Johnson – AC/DC frontman
Tommy Johnson – footballer (Aston Villa and Celtic)
Riley Jones - actor
Howard Kendall – footballer and manager (Preston North End and Everton)
J. Thomas Looney – Shakespeare scholar
Gary Madine – footballer (Sheffield Wednesday)
Justin McDonald – actor (Distant Shores)
Lawrie McMenemy – football manager (Southampton and Northern Ireland) and pundit
Thomas Mein – professional cyclist (Canyon DHB p/b Soreen)
Robert Stirling Newall – industrialist
Bezalel Rakow – communal rabbi
John William Rayner – flying ace and war hero
James Renforth – oarsman
Mariam Rezaei – musician and artist
Sir Tom Shakespeare - baronet, sociologist and disability rights campaigner
William Shield – Master of the King's Musick
Christina Stead – Australian novelist
John Steel – drummer (The Animals)
Henry Spencer Stephenson – chaplain to King George VI and Queen Elizabeth II
Steve Stone – footballer (Nottingham Forest, Aston Villa and Portsmouth)
Chris Swailes – footballer (Ipswich Town)
Sir Joseph Swan – inventor of the incandescent light bulb
Nicholas Trainor – cricketer (Gloucestershire)
Chris Waddle – footballer (Newcastle United, Tottenham Hotspur and Sheffield Wednesday)
William Wailes – stained glass maker
Taylor Wane – adult entertainer
Robert Spence Watson – public benefactor
Sylvia Waugh – author of The Mennyms series for children
Chris Wilkie – guitarist (Dubstar)
John Wilson - orchestral conductor
Peter Wilson – footballer (Gateshead, captain of Australia)
Thomas Wilson – poet/school founder
Robert Wood – Australian politician
Representing a more modern version of the number 1 bus route is Daimler Fleetline 3780 KOX 780F. The bus is taking part in Wythall Transport Museum's celebration of 100 years of the Birmingham number one bus route. The bus is seen at Westbourne Crescent in Edgbaston.
Copyright Geoff Dowling; all rights reserved
Representing Moving People's Megadecker. Finished in the usual Cherry enamels - the black being an absolute pig to do. This is the result of no less than SEVEN attempts to get a smooth, solid black!!!
The MP prototype can be seen at www.flickr.com/photos/37632849@N04/8161986570/in/faves-79...
Peinture murale réalisée par C215 représentant Jules Verne sur une bâtisse classée construction remarquable où vivait la famille de l’oncle de Jules Verne.
This pic really represents how I've been feeling lately. I though I was alone in the middle of the dark, but I've discovered you can always do something to change it. It's like s bit of light in the middle of the darkness. I like the result, that's what I expected to get.Don't forget visiting my Facebook page: www.facebook.com/BAriasPhotography
The Lion of Saint Mark, representing the evangelist St Mark, pictured in the form of a winged lion is the symbol of the city of Venice and formerly of the Republic of Venice. It appears also in both merchant and military naval flags of the Italian Republic. The Lion of Saint Mark is also the symbol of the award of the Venice Film Festival, the "Golden Lion", and of the insurance company Assicurazioni Generali.
Other elements often included in depictions of the lion include a halo over his head, a book, and a sword in its paws.
Venetian tradition states that when St. Mark was traveling through Europe, he arrived at a lagoon in Venice, where an angel appeared to him and said "Pax tibi Marce, evangelista meus. Hic requiescet corpus tuum." (May Peace be with you, Mark, my evangelist. Here your body will rest.) This (possibly apocryphal) tradition was used as justification by Rustico da Torcello and Bon da Malamocco in 828 for stealing the remains of St. Mark from his grave in Alexandria, and moving them to Venice, where they were eventually interred in the Basilica of St. Mark.
St Mark, represented as a lion, is a typical Christian iconography derived from the prophetic visions contained in the verse of the Apocalypse of St John 4:7. The lion is one of the four living creatures described in the book as a place around the throne of the Almighty and they are chosen as symbols of the four evangelists. These "beings" were previously described by the prophet Ezekiel.
"Behold, I send my messenger ahead of you, he will prepare your way."
The voice of the one who cries in the wilderness: "Prepare Ye the way of the Lord, make straight his paths." (Gospel according to Mark 1:1–3)
The lion also symbolizes the power of the Evangelist's word, the wings symbolize the spiritual elevation, while the halo is the traditional Christian symbol of holiness.
However, the lion symbols express also the significance of majesty and power (drawn especially from the upward feline tail), while the book expresses the concepts of wisdom and peace and the halo gives an image of religious piety.
There are many symbolic interpretations with the possible combination of sword and book:
An open book is a symbol of the state's sovereignty (many depictions are of doges kneeling before such representation);
A closed book, however, is considered as a symbol of a delegated sovereignty, and hence the public courts;
An open book (and the sword on the ground is not visible) is popularly considered as a symbol of peace for the state of Venice, but this is not corroborated by any historical source;
A closed book and a drawn sword are popular but mistakenly considered as a symbol of the state in war;
Finally, an open book and a sword are considered as a symbol of public justice.
However, these interpretations are not universally accepted as the Republic of Venice (La Serenissima) never codified its symbols. Rare, but are presented, are also depictions of the lion without a book or a sword and sometimes without the halo (especially in a representation of a statue).
In some depictions the lion rests his front paws on the ground, often in cities with rivers or in ones close to water, indicating the Venetian balanced power on land and sea
The Venetian lion appears in two distinct forms. One is as a winged animal resting on water, to symbolise dominance over the seas, holding St. Mark’s Gospel under a front paw. You can see these mighty animals all round the Mediterranean, usually on top of a classical stone column.
The other form is known as the lion “in moleca”, in the form of a crab. Here the lion is depicted full-faced with its wings circled around the head resembling the claws of a crustacean. It is emerging from water, so that the lion “in moleca” is associated with the lagoon and the city, whereas the standing winged lion is thought to be more associated with Venetian territory around the Mediterranean.
Photographed at the Sacred Heart Catholic Church
Elmwood Wisconsin
An abstract photo, without representing anything identifiable, can communicate a feeling to the viewer. If I am being honest, I don't know if my abstract photos achieve that goal. Typically, my intent in making the photo is to memorialize and share something cool I found out in nature. Maybe it's a weakness in my work, that I don't start out intending to convey a larger message. Maybe it doesn't matter. Maybe in the digital age, communicating excitement about the natural world is the message itself. It's a big topic and I will leave it for another day.
Rather, today I want to talk about another aspect of abstract nature photography: the detective game. When I see an abstract photo, one of the first things that comes to mind is "what is it?" Is the subject really big, like braided rivers photographed from a plane? Or really tiny, like a marco image of lichen on a rock? Could it be upside down? I think we all do this. It's one of the fun parts of looking at an abstract photo and it can be really satisfying when you solve the puzzle.
It's like breaking a code. The difficulty for the photographer is making a puzzle that is solvable, but not so obvious that it isn't challenging. I remember listening to a podcast where a photographer described all images as falling on a spectrum between obvious and cryptic. After that, I looked at my own photos and placed them on that spectrum. I determined that I like photos that are cryptic, but ultimately decipherable with some effort. I'm not sure there's a golden rule of how long it should take, but if it takes you 5 or 10 seconds to figure it out, I think that's pretty good.
I made this photo here the day I hiked Black Mountain and Blueberry Mountain. I did them as two separate hikes, but the trailheads are so close together they pair very nicely. I call the combo a "Black and Blue". Maybe someone already came up with that. Everyone has walked past a scene like this. It's a photo of direct sunlight dancing on the surface of a little stream. It's a 1/30 second exposure, which allows the twinkling light on the surface enough time to travel and leave a trail. I dropped the black point and darkened the shadow to eliminate any distraction below the surface water. Not sure if it conveys a larger feeling, but I liked it and felt compelled to make an image.
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I was definitely inspired by the work of T.J. Thorne and James Rodewald when I made this image; I wouldn't have even looked for a photo like this had I not seen their work. Also, the podcast I reference is an episode of the F-Stop Collaborate and Listen podcast with guest Michael Rubin.
pastel on paper.
vu a l'exposition au Ranson Center ,"Frank Reaugh: Landscapes of Texas and the American West"
Representing 1/3 of the remaining operation AEM-7 fleet, #946 rolls under the Pennsy signals at Levittown, PA. After logging millions of miles up and down the Northeast Corridor, this motor's days are rapidly coming to an end, and could very possible be in the single digits.
Tony Agar’s Mosquito HJ711 at East Kirkby Airshow…
The Mosquito is a composite production and represents Mosquito HJ711 (Mk.II) which was one of 17 aircraft built by de Havilland at their Hatfield works, Hertfordshire under Contract No. 555/C.23(a) and delivered to No.60 O.T.U with Merlin 21 engines for training aircrew to fly the Mosquito on Thursday 20th May 1943. On Tuesday 19thOctober 1943, the aircraft was taken on charge by No.141 Squadron for operational duty. Wednesday 1stDecember 1943 Mosquito HJ711 was transferred and taken on charge by No.169 Squadron. The aircraft involved in an incident was repaired on site at RAF Station Little Snoring, No.100 (Bomber Support) Bomber Group on Thursday 13thJanuary 1944 and was returned to the Squadron two days later. The aircraft assigned to F/L W.W. Foster RCAF for a Bomber Support role on the night of Wednesday 15th March 1944. Having taken off at 22:10 hours Mosquito HJ711 failed to return, flying near Eupen (Liège) Belgium the aircraft was hit by flak and shot down, crashing at Neu-Moresnet, 10 km NNW of Eupen becoming the 4th aircraft from the Squadron to become non effective and struck off charge, the 21st Squadron aircraft flying out of Little Snoring, Norfolk, the 7th aircraft assigned to a Bomber Support sortie and the 10th aircraft from No.100 (Bomber Support) Bomber Group to become non effective and struck off charge…
Crew of Mosquito HJ711
F/L (J/8788) William Wells Foster RCAF – P.O.W. No. 5283 P.O.W. Camp, having spent time in Fresnes prison in Paris and in a prison at Toulouse after being captured at Tarbes, (Hautes-Pyrénées) France was incarcerated in (L1) Stalag Luft - Bart Vogelsang,
F/O (138364) Jack Howard Grantham RAF(VR), aged 34, the son of Ernest and Flora Grantham; husband of E. M. Valda Grantham, of Bitterne Park, Southampton. M.P.S., F.B.O.A. and rests in Plot 6. A. 16. In Rheinberg War Cemetery Germany which is Reference No.17 in German Churchyards and cemeteries.
A total of 16 Navigators have been identified as becoming casualties, of those that died they rest in 10 cemeteries in four countries, only W/O D.A.T. Young RAF(VR) has no known grave, and he is remembered on Panel 270 on the Runnymede Memorial Surrey. The average age of the Navigators that died on the Squadron was 26 years 29 days. Of all those that died on the Squadron the average age was 25 years 299 days…
Of the all the 7,781 Mosquitoes built of which 6,710 were built during the war. A total of 4,898 were built by three de Haviland factories in this country, and three more factories in this country built a further 1,433 Mosquitoes. In the de Havilland factories in Canada a total of 1,076 were built and in Australia a total of 212 were built. Bomber Command front line Squadrons had a total of 735 Mosquito aircraft become non effective and struck off charge, flying in 20 Squadrons and a single Flight which were operating in five Bomber Groups. From these 518 (identified) aircraft a total of 735 airmen became casualties; 566 airmen died, 62 injured, 76 airmen became Prisoners of War, 25 evaded capture and 10 were interned in a neutral country.
Lest we forget…
Pattadakal, in Karnataka, represents the high point of an eclectic art which, in the 7th and 8th centuries under the Chalukya dynasty, achieved a harmonious blend of architectural forms from northern and southern India. An impressive series of nine Hindu temples, as well as a Jain sanctuary, can be seen there. One masterpiece from the group stands out – the Temple of Virupaksha, built c. 740 by Queen Lokamahadevi to commemorate her husband's victory over the kings from the South.
Pattadakal represents the high point of an eclectic art which, in the 7th and 8th centuries under the Chalukya dynasty, achieved a harmonious blend of architectural forms from northern and southern India. An impressive series of nine Hindu temples, as well as a Jain sanctuary, can be seen there.
Three very closely located sites in the State of Karnataka provide a remarkable concentration of religious monuments dating from the great dynasty of the Chalukya (c. 543-757). There are the two successive capital cities - Aihole (ancient Aryapura), Badami, and Pattadakal, the 'City of the Crown Rubies' (Pattada Kisuvolal). The latter was, moreover, for a brief time the third capital city of the Chalukya kingdom; at the time the Pallava occupied Badami (642-55). While Aihole is traditionally considered the 'laboratory' of Chalukya architecture, with such monuments as the Temple of Ladkhan (c. 450) which antedate the dynasty's political successes during the reign of King Pulakeshin I, the city of Pattadakal illustrates the apogee of an eclectic art which, in the 7th and 8th centuries, achieved a harmonious blend of architectural forms from the north and south of India.
Situated between the Malaprabha River to the north, and a minuscule village to the south, Pattadakal possesses a sort of holy city comprised of an impressive series of eight Hindu temples dedicated to Siva. Somewhat off to the side, towards the village, is the ninth Sivaite sanctuary, the Temple of Papanatha, as well as a Jain temple. In the monumental complex of the central zone are structures whose design was strongly influenced by the architecture of northern India: the temples of Galaganatha and of Kashi Vishveshvara, which are noteworthy for their square-shaped shikharas with curved edges. They stand along with other temples of a pure Dravidian style - Sangameshvara, built between 696 and 733, and Mallikarjuna, built consecutively from 733-44. Cornices decorate the walls of these temples and the roofs are the complex, storeyed type found in southern architecture.
The unexpected and yet harmonious mixture of these styles provided the inspiration for the masterpiece of Chalukya art, the temple of Virupaksha. This Sivaite sanctuary was erected around 740 by Queen Lokamahadevi to commemorate the victory in 731 of her husband, King Vikramaditya II, over the Pallava and other sovereigns of southern India. The king's admiration for the art of his conquered enemies is borne out by two inscriptions that offer proof that he brought in from the south an architect and a team of sculptors.
Prominently jutting out from the cruciform temple are three porches, a typical Chalukyan feature. They blend perfectly with the majestic three-storey tower and the walls with their overhanging cornices punctuated by narrow pilasters that separate niches filled with marvellous statuary. An overall concept dictated the choice of statues which illustrate the great themes of Siva theology and mythology.
The evocative ruins of the numerous abandoned sanctuaries within the enclosure may be reached, on the west and east sides, through two monumental gates. In the axis of the courtyard, in front of the temple, is a beautiful pavilion containing a colossal black stone statue of Siva's sacred bull, Nandi. The puja, the ritual washing of the bull, takes place there every morning. Enhanced by its relative isolation south of the principal zone, the temple of Papanatha illustrates once again the aesthetic achievement resulting from the incorporation of two different styles. Papanatha has two rooms where the faithful can worship.
On the west is the principal sanctuary, which is covered with a powerful tower in the northern style; to the east is a more modest room, whose roof is crowned with miniature reproductions of buildings in the purest Dravidian style. Experts have found in the detail of the niches, the pediments and the arcature, many contradictory architectural references. The plastic unity of this great monument, however, comes from the remarkable sculptured decoration illustrating the popular epic of the Ramayana, dedicated to Prince Rama, incarnation of Vishnu.
Representing the new order of vehicles for the Schwebebahn is 07, pictured arriving into Pestalozzistraße with an east bound service for Oberbarmen
"1850–55. Artist: Severin Roesen. Medium: Oil on canvas. This exceptionally large still life represents Roesen at his best. It is undated but was probably painted between 1850 and 1855, when the artist was living in New York. The elaborate and crowded composition is characteristic, as are the brilliant color, technical virtuosity, and meticulous attention to detail expected of someone who was trained as a porcelain painter. The picture is a fine example of the excess that underlies much of Victorian design." - info from the Met.
"The Metropolitan Museum of Art of New York City, colloquially "the Met", is the largest art museum in the Americas. Its permanent collection contains over two million works, divided among 17 curatorial departments. The main building at 1000 Fifth Avenue, along the Museum Mile on the eastern edge of Central Park on Manhattan's Upper East Side, is by area one of the world's largest art museums. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from medieval Europe.
The Metropolitan Museum of Art was founded in 1870 with its mission to bring art and art education to the American people. The museum's permanent collection consists of works of art from classical antiquity and ancient Egypt, paintings, and sculptures from nearly all the European masters, and an extensive collection of American and modern art. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, and Islamic art. The museum is home to encyclopedic collections of musical instruments, costumes, and accessories, as well as antique weapons and armor from around the world. Several notable interiors, ranging from 1st-century Rome through modern American design, are installed in its galleries.
The Fifth Avenue building opened on March 30, 1880. In 2021, despite the COVID-19 pandemic in New York City, the museum attracted 1,958,000 visitors, ranking fourth on the list of most-visited art museums in the world.
New York, often called New York City or NYC, is the most populous city in the United States. With a 2020 population of 8,804,190 distributed over 300.46 square miles (778.2 km2), New York City is also the most densely populated major city in the United States. The city is within the southern tip of New York State, and constitutes the geographical and demographic center of both the Northeast megalopolis and the New York metropolitan area – the largest metropolitan area in the world by urban landmass. With over 20.1 million people in its metropolitan statistical area and 23.5 million in its combined statistical area as of 2020, New York is one of the world's most populous megacities, and over 58 million people live within 250 mi (400 km) of the city. New York City is a global cultural, financial, and media center with a significant influence on commerce, health care and life sciences, entertainment, research, technology, education, politics, tourism, dining, art, fashion, and sports. New York is the most photographed city in the world. Home to the headquarters of the United Nations, New York is an important center for international diplomacy, an established safe haven for global investors, and is sometimes described as the capital of the world." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
Become a patron to my photography on Patreon.
Metamorphoses Book I: Zeus and Io
The painting represents the themes of the imprisonment and the liberation of Io. The young woman is represented on the left, seated on a stool. Her face is characterized by two small horns on the forehead: they identify Io metamorphosed in a heifer. Even the cow painted behind her confirms her identity. Hermes is standing in the middle of the scene, with his left foot resting on a rock. The god is portrayed in the act of offering a "syrinx" - panpipes - to Argos. Here the naked giant is seated and holds a “pedum”. This attribute characterizes Argos as a shepherd.
Hermes, disguised as a shepherd, complete with panpipes, strikes up a conversation with Argus and entertains him with stories, during which more and more of the guard ’ s eyes close in sleepiness. When Argos wants to know the origin of the panpipes, Mercury starts to tell the story of Syrinx and her metamorphosis into reeds – halfway through which Argus falls asleep completely and has his head cut off by Mercury. In Ovid's account Ovid, Met. I, 713-722, the syrinx is the fulcrum of the narration because, this musical instrument is used by Hermes to sent to sleep and then behead the guardian of Io. Hera transferred Argos’s eyes to the tail of the peacock, her favorite bird.
… talia dicturus vidit Cyllenius omnes
subcubuisse oculos adopertaque lumina somno ;
supprimit extemplo vocem firmatque soporem 715
languida permuleens medieata lumina virga.
nee mora, faleato nutantem vulnerat ense,
qua collo est confine caput, saxoque cruentum
deieit et maculat praeruptam sanguine rupem.
Arge, iaees, quodque in tot lumina lumen habebas, 720
exstinetum est, centumque oculos nox occupat una.
Excipit hos volucrisque suae Saturnia pennis
collocat et gemmis caudam stellantibus inplet.
“When Hermes was going on to tell this story, he saw that all those eyes had yielded and were closed in sleep. Straightway he checks his words, and deepens Argos’ slumber by passing his magic wand over those sleep-faint eyes. And forthwith he smites with his hooked sword the nodding head just where it joins the neck, and sends it bleeding down the rocks, defiling the rugged cliff with blood. Argus, thou liest low; the light which thou hadst within thy many fires is all put out ; and one darkness fills thy hundred eyes.
Saturnia [Hera] took these eyes and set them on the feathers of her bird, filling his tail with star-like jewels.”
Translation: Frank Justus Miller, “Ovid - Metamorphoses”
Source: exhibition note
Fresco From Pompeii, Isis Temple
AD 60 – 79 (4th style)
Naples, “Museo Archeologico Nazionale”
Exhibition: “Ovidio: Loves, Myths & Other Stories”
Scuderie del Quirinale, Rome
These images represent a sample of galaxy clusters that are part of the largest and most complete study to learn what triggers stars to form in the universe’s biggest galaxies. Clusters of galaxies are the largest objects in the universe held together by gravity and contain huge amounts of hot gas seen in X-rays. This research, made using Chandra and other telescopes, showed that the conditions for stellar conception in these exceptionally massive galaxies have not changed over the last 10 billion years. In these images, X-rays from Chandra are shown along with optical data from Hubble.
Credit: X-ray: NASA/CXC/MIT/M. Calzadilla el al.; Optical: NASA/ESA/STScI; Image Processing: NASA/CXC/SAO/N. Wolk & J. Major
#NASAMarshall #NASA #astrophysics #NASAChandra #NASA #galaxy #NASAWebb #Hubble #NASAHubble
2021 represents a significant milestone in the history of the Phoenix Railway-Photographic Circle with the celebration of our 50th anniversary. Phoenix was set up in spring 1971 and was created to promote an alternative approach to railway photography. Why not take a look at the PRPC web site at www.phoenix-rpc.co.uk/index.html.
Photograph courtesy of Nigel Capelle
Strange represents the Found Family; he will dominate my account for the remainder of SL Fandom Con.
Monthly court in Realm of Rosehaven is where we announce next month's events.
Mingqi représentant un chameau de Bactriane assis
Un Mingqi est un objet funéraire
Chine du nord
Dynastie des Wei du Nord
premier quart du 6è siècle.
Terre cuite
Paris, musée national des arts asiatiques - Guimet (MNAAG)
Notice complète
www.photo.rmn.fr/CS.aspx?VP3=SearchResult&VBID=2CMFCI...
Oeuvre présentée dans l'exposition : "Tadjikistan. Au pays des Fleuves d'or", Musée national des arts asiatiques - Guimet (MNAAG), Paris
www.guimet.fr/event/nepal-art-de-la-vallee-de-katmandou/
Le Musée national des arts asiatiques – Guimet propose la plus grande exposition jamais consacrée en occident au Tadjikistan. Elle révèle la richesse
culturelle de ce pays méconnu, resté dans l’ombre de ses voisins davantage médiatisés que sont l’Afghanistan et l’Ouzbékistan, avec des pièces exceptionnelles et rares. Par sa situation stratégique sur les voies de passage et de conquête entre Moyen-Orient, ancien monde des steppes, sous-continent indien et oasis de l’Asie centrale chinoise, le Tadjikistan est au cœur des réseaux d’échanges depuis la plus haute antiquité. Extrait du site de l'exposition
Christmas Eve represents the preparation for marking the happiest Orthodox holiday, Christmas, the birth of Jesus Christ. Most of the customs in Serbia are related to the Christmas Eve and Christmas, which depict the event of the birth in Bethlehem.
At dawn, on the day of Christmas Eve, men from the house go to “badnjaks”. Badnjak is the young oak tree and it represents a symbol of the tree which was, according to the stories, brought to Joseph and Mary by the shepherds, to start the fire and heat the cave in which Jesus was born.
According to the custom, badnjak is lit just before the holiday and it burns until Christmas, when the joy of Christ’s birth is announced. After burning badnjak is a symbol of separation with the ancient beliefs and acceptation of the new light which comes with the faith in newly born Christ.
Liturgies and burning of badnjak are organized around Serbia on the Christmas Eve in front of numerous temples. The largest number of people is traditionally gathered in front of the St Sava Church in Vračar, where a number of believers merrily await for the happiest Orthodox holiday.
All the customs have the meaning of Orthodox togetherness, so it is considered that people gathered around badnjak get warm by the love and concord, and they enter its light to the darkness of ignorance and superstition.
The Hubble Legacy Field represents the largest, most comprehensive "history book" of galaxies in the universe.
The image, a combination of nearly 7,500 separate Hubble exposures, represents 16 years of observations gathered together into a unified whole, giving the image its uneven shape. It includes Hubble deep-field surveys, such as the 2012 eXtreme Deep Field (XDF) and the 2004 Hubble Ultra Deep Field (HUDF), as well as the 2003 Great Observatories Origins Deep Survey (GOODS).
The wavelength range stretches from ultraviolet to near-infrared light.
The image presents a wide portrait of the distant universe and contains roughly 265,000 galaxies. They stretch back through 13.3 billion years of time to just 500 million years after the universe's birth in the Big Bang. The tiny, faint, most distant galaxies in the image are similar to the seedling villages from which today's great galaxy star-cities grew. The faintest and farthest galaxies are just one ten-billionth the brightness of what the human eye can see.
The wider view contains 100 times as many galaxies as in the Hubble Ultra Deep Field. The new portrait, a mosaic of multiple snapshots, covers almost the width of the full Moon. Lying in this region is the XDF, which penetrated deeper into space than this legacy field view. However, the XDF field covers less than one-tenth of the full Moon's diameter.
The Hubble Legacy Field is located in the constellation Fornax.
Credit: NASA, ESA, and G. Illingworth (University of California, Santa Cruz; UCO/Lick Observatory)
For more information, visit: hubblesite.org/contents/news-releases/2019/news-2019-17.html
“The most important thing is to enjoy your life—to be happy—it's all that matters.”
― Audrey Hepburn
112 Pictures in 2012~ #69 ~ Represent the title of a film in your image
Explored~ thanks you to all who visit xx
okay I know happiness is spelled wrong and it's driving me crazy~ but that's the name of the movie
Esta mujer Tauro está representada por las astas del toro.Su pecho y el cuerpo lo forman las astas y se corona con otra.Tauro simboliza el empuje,arranque y decisión,por eso no se me ocurría mejor modo de señalarlo que de esta manera.
Esta mujer Tauro está representada por las astas del toro.Su pecho y el cuerpo lo forman las astas y se corona con otra.Tauro simboliza el empuje,arranque y decisión,por eso no se me ocurrría mejor modo de señalarlo que de esta manera.
Características de Tauro
Fechas Tauro 21/4 - 21/5
Cómo es un Tauro
Un tauro es paciente, persistente, decidido y fiable. A un tauro le encanta sentirse seguro, tiene buen corazón y es muy cariñoso. Les gusta la estabilidad, las cosas naturales, el placer y la comodidad. Los tauro disfrutan con tiempo para reflexionar y les encanta sentirse atraído hacía alguien.
Características de Tauro
Tauro puede ser celoso y posesivo y tiene tendencia a ser inflexible y resentido. A veces los Tauro pecan de ser codiciosos y de permitírselo todo. No les gustan las interrupciones ni las prisas. Tampoco les gustan las cosas sintéticas o falsas. No les gusta sentirse presionados y no soportan estar demasiado tiempo en casa.
Descripción de Tauro
Un Tauro suele ser práctico, decidido y tener una gran fuerza de voluntad. Los tauro son personas estables y conservadores, y seguirán de forma leal un líder en el que tienen confianza. Les encanta la paz y tranquilidad y son muy respetuosos con las leyes y las reglas. Respetan los valores materiales y evitan las deudas. Son un poco reacios al cambio.
Son más prácticos que intelectuales, y como les gusta la continuidad y la rutina, suelen ser de ideas fijas. Los Tauro son prudentes, estables y tienen un gran sentido de la justicia. No suelen hundirse ante las dificultades sino que siguen adelante hasta salir.
A veces los Tauro pueden ser demasiado rígidos, argumentativos, egocentrísticos y tercos.
A los tauros les gustan las cosas bellas y suelen ser aficionados al arte y la música. Algunos tauros tienen una fe religiosa poco convencional y muy fuerte. Les encantan los placeres de la vida, el lujo y la buena comida y bebida. De hecho los tauro deben esforzarse para no dejarse llevar por la tentación de satisfacer en exceso estos gustos.
Tauro en el amor y las relaciones personales
Los tauro son amigos fieles y generosos. Tienen una gran capacidad para ser cariñosos aunque rara vez hagan amigos con personas fuera de su entorno social. Evitan los conflictos y los disgustos y prefieren el buen humor y la estabilidad. No obstante, si pierden los nervios son capaces de tener un genio tan furioso que sorprende a todos.
Los tauro son sensuales pero prácticos, y en este sentido son parejas fieles y considerados. Son buenos padres y no existen demasiado de su pareja ni tampoco de sus hijos. Tienen bastante amor propio y tienden a ser posesivos pero si su pareja intenta hacer las paces y comprenderles, hacen un esfuerzo para olvidar su enfado.
En el trabajo los tauros son trabajadores y no se les caen los anillos con ningún tipo de trabajo manual. Son fiables, prácticos, metódicos y ambiciosos. Asumen autoridad sobre los demás, y rinden más en puestos rutinarios de confianza y responsabilidad.
Son creativos y emprendedores. Pueden triunfar en profesiones como la banca, la arquitectura, la construcción, la administración, la agricultura, la medicina, la química y la industria.
También triunfan en la educación, las artes y la cocina. Pueden ser excelentes músicos y artistas.
Postal representativa de este sitio turístico. El valle del Elqui se caracteriza por la producción de vinos y piscos, además de otras frutas como las paltas. El lugar también tiene ciertos toques esotéricos o mágicos.
Representative postcard of this tourist site. The Elqui Valley is characterized by the production of wines and pisco, and other fruits like avocados. The place also has certain esoteric or magical touches.
A estátua representa Laocoonte e seus dois filhos, Antífantes e Timbreu, sendo estrangulados por duas serpentes marinhas, uma lenda da Guerra de Troia também relatada na Eneida de Virgílio.[carece de fontes] Laocoonte, um sacerdote de Apolo, teria irritado o deus, ou por ter se casado e tido filhos, ou por ter arremessado uma lança contra o cavalo de Troia. Em vingança, o próprio Apolo teria enviado os répteis (no caso como na escultura, serpentes) para matar seus filhos, e Laocoonte foi morto ao tentar salvá-los. (Wikipédia)
Representing BR’s smart and business-like Inter-City brand of the 1970s and ‘80s, Gateshead-allocated 47518 was captured speeding south along the East Coast Main Line between Brookman’s Park and Potter's Bar in the summer of 1979. The passenger accommodation is all air-conditioned Mk 2s apart from a pair of Mk 1 catering vehicles near the centre. New to York Depot as D1101 in 1966, the locomotive worked mainly from Eastern and North Eastern Region sheds before a spell in Scotland from 1988 to 1991, prior to withdrawal at the end of that year. It was scrapped in 1994.
For ABCs and 123s group, Letter M for Me, My doll that represents Me, and Masks.
(20201225_135834ME&MyDollDarkbutSomeTUresamInitMirCorFlickr122520)
Also representing the MCSm Mk2 is a revamped fire support unit for the Oberon Tvier Self Defense Force. The frame itself is unchanged from the version I posted several months ago, but the systems are (mostly) different.
Loadout: WWRaRaGB +SSR
Long Rifle w/ Targeting Sensor Pod, Shoulder-Mounted Shield, Multi-directional Vernier Pack.
Astronaut Christina Koch captured these photos of a Webb pin and sticker while on the International Space Station. The social media accounts released these to celebrate our launch.
twitter.com/Space_Station/status/1474822751915589641
Credit: NASA/Christina Koch
St Albans Cathedral, also known as the Cathedral and Abbey Church of St Alban, is a Church of England cathedral church within St Albans, England. At 84 metres (276 ft), its nave is the longest of any cathedral in England. With much of its present architecture dating from Norman times, it was formerly known as St Albans Abbey before it became a cathedral in 1877. It is the second longest cathedral in the United Kingdom (after Winchester). Local residents often call it "the abbey", although the present cathedral represents only the church of the old Benedictine abbey.
The abbey church, although legally a cathedral church, differs in certain particulars from most of the other cathedrals in England: it is also used as a parish church, of which the dean is rector. He has the same powers, responsibilities and duties as the rector of any other parish.
Alban was a pagan living in the Roman city of Verulamium, now Verulamium Park, in St Albans, in Hertfordshire, England, about 22 miles (35 km) north of London along Watling Street. Before Christianity became the official religion of the Roman Empire, local Christians were being persecuted by the Romans. Alban sheltered their priest, Saint Amphibalus, in his home and was converted to the Christian faith by him. When the soldiers came to Alban's house looking for the priest, Alban exchanged cloaks with the priest and let himself be arrested in his place. Alban was taken before the magistrate, where he avowed his new Christian faith and was condemned for it. He was beheaded, according to legend, on the spot where the cathedral named after him now stands. The site is on a steep hill and legend has it that his head rolled down the hill after being cut off and that a well sprang up at the point where it stopped.
A well certainly exists today and the road up to the cathedral is named Holywell Hill. However the current well structure is no older than the late 19th century and it is thought that the name of the street derives from the "Halywell" river and "Halywell Bridge", not from the well.
The date of Alban's execution is a matter of some debate and is generally given as "circa 250"—scholars generally suggest dates of 209, 254 or 304.
History of the abbey and cathedral
A memoria over the execution point and holding the remains of Alban existed at the site from the mid-4th century (possibly earlier); Bedementions a church and Gildas a shrine. Bishop Germanus of Auxerre visited in 429 and took a portion of the apparently still bloody earth away. The style of this structure is unknown; the 13th century chronicler Matthew Paris (see below) claimed that the Saxons destroyed the building in 586.
Saxon buildings
Offa II of Mercia, who ruled in the 8th century, is said to have founded the Benedictine abbey and monastery at St Albans. All later religious structures are dated from the foundation of Offa's abbey in 793. The abbey was built on Holmhurst Hill—now Holywell Hill—across the River Ver from the ruins of Verulamium. Again there is no information to the form of the first abbey. The abbey was probably sacked by the Danes around 890 and, despite Paris's claims, the office of abbot remained empty from around 920 until the 970s when the efforts of Dunstanreached the town.
There was an intention to rebuild the abbey in 1005 when Abbot Ealdred was licensed to remove building material from Verulamium. With the town resting on clay and chalk the only tough stone is flint. This was used with a lime mortar and then either plastered over or left bare. With the great quantities of brick, tile and other stone in Verulamium the Roman site became a prime source of building material for the abbeys, and other projects in the area, up to the 18th century. Sections demanding worked stone used Lincolnshire limestone (Barnack stone) from Verulamium, later worked stones include Totternhoe freestone from Bedfordshire, Purbeck marble, and different limestones (Ancaster, Chilmark, Clipsham, etc.).
Renewed Viking raids from 1016 stalled the Saxon efforts and very little from the Saxon abbey was incorporated in the later forms.
The nave. The north wall (left) features a mix of Norman arches dating back to 1077 and arches in the Early English style of 1200.
Norman abbey
Much of the current layout and proportions of the structure date from the first Norman abbot, Paul of Caen (1077–1093). The 14th abbot, he was appointed by the new Archbishop of Canterbury, Lanfranc.
Building work started in the year of Abbot Paul's arrival. The design and construction was overseen by the Norman Robert the Mason. The plan has very limited Anglo-Saxon elements and is clearly influenced by the French work at Cluny, Bernay, and Caen and shares a similar floor plan to Saint-Étienne and Lanfranc's Canterbury—although the poorer quality building material was a new challenge for Robert and he clearly borrowed some Roman techniques, learned while gathering material in Verulamium. To take maximum use of the hilltop the abbey was oriented to the south-east. The cruciform abbey was the largest built in England at that time, it had a chancel of four bays, a transept containing seven apses, and a nave of ten bays—fifteen bays long overall. Robert gave particular attention to solid foundations, running a continuous wall of layered bricks, flints and mortar below and pushing the foundations down to twelve feet to hit bedrock. Below the crossing tower special large stones were used.
The tower was a particular triumph—it is the only 11th century great crossing tower still standing in England. Robert began with special thick supporting walls and four massive brick piers. The four-level tower tapers at each stage with clasping buttresses on the three lower levels and circular buttresses on the fourth stage. The entire structure masses 5,000 tons and is 144 feet high. The tower was probably topped with a Norman pyramidal roof; the current roof is flat. The original ringing chamber had five bells—two paid for by the Abbot, two by a wealthy townsman, and one donated by the rector of Hoddesdon. None of these bells has survived.
There was a widespread belief that the abbey had two additional, smaller towers at the west end. No remains have been found.
The monastic abbey was completed in 1089 but not consecrated until Holy Innocents' Day, 1115, (28 Dec) by the Archbishop of Rouen. King Henry I attended as did many bishops and nobles.
A nunnery (Sopwell Priory) was founded nearby in 1140.
Internally the abbey was bare of sculpture, almost stark. The plaster walls were coloured and patterned in parts, with extensive tapestries adding colour. Sculptural decoration was added, mainly ornaments, as it became more fashionable in the 12th century—especially after the Gothic style arrived in England around 1170.
In the current structure the original Norman arches survive principally under the central tower and on the north side of the nave. The arches in the rest of the building are Gothic, following medieval rebuilding and extensions, and Victorian era restoration.
The abbey was extended in the 1190s by Abbot John de Cella (also known as John of Wallingford) (1195–1214); as the number of monks grew from fifty to over a hundred, the abbey was extended westwards with three bays added to the nave. The severe Norman west front was also rebuilt by Hugh de Goldclif—although how is uncertain, it was very costly but its 'rapid' weathering and later alterations have erased all but fragments. A more prominent shrine and altar to Saint Amphibalus were also added. The work was very slow under de Cella and was not completed until the time of Abbot William de Trumpington (1214–35). The low Norman tower roof was demolished and a new, much higher, broached spire was raised, sheathed in lead.
The St Albans Psalter (ca. 1130–45) is the best known of a number of important Romanesque illuminated manuscripts produced in the Abbey scriptorium. Later, Matthew Paris, a monk at St Albans from 1217 until his death in 1259, was important both as a chronicler and an artist. Eighteen of his manuscripts survive and are a rich source of contemporary information for historians.
Nicholas Breakspear was born near St Albans and applied to be admitted to the abbey as a novice, but he was turned down. He eventually managed to be accepted into an abbey in France. In 1154 he was elected Pope Adrian IV, the only English Pope there has ever been. The head of the abbey was confirmed as the premier abbot in England also in 1154.
13th to 15th centuries
An earthquake shook the abbey in 1250 and damaged the eastern end of the church. In 1257 the dangerously cracked sections were knocked down—three apses and two bays. The thick Presbytery wall supporting the tower was left. The rebuilding and updating was completed during the rule of Abbot Roger de Norton (1263–90).
On 10 October 1323 two piers on the south side of the nave collapsed dragging down much of the roof and wrecking five bays. Mason Henry Wy undertook the rebuilding, matching the Early English style of the rest of the bays but adding distinctly 14th century detailing and ornaments. The shrine to St Amphibalus had also been damaged and was remade.
Abbey Gateway, now part of St. Albans School.
Richard of Wallingford, abbot from 1297 to 1336 and a mathematician and astronomer, designed a celebrated clock, which was completed by William of Walsham after his death, but apparently destroyed during the reformation.
A new gateway, now called the Abbey Gateway, was built to the abbey grounds in 1365, which was the only part of the monastery buildings (besides the church) to survive the dissolution, later being used as a prison and now part of St Albans School. The other monastic buildings were located to the south of the gateway and church.
In the 15th century a large west window of nine main lights and a deep traced head was commissioned by John of Wheathampstead. The spire was reduced to a 'Hertfordshire spike', the roof pitch greatly reduced and battlements liberally added. Further new windows, at £50 each, were put in the transept by Abbot Wallingford (also known as William of Wallingford), who also had a new high altar screen made.
Dissolution and after
After the death of Abbot Ramryge in 1521 the abbey fell into debt and slow decay under three weak abbots. At the time of the Dissolution of the Monasteries and its surrender on 5 December 1539 the income was £2,100 annually. The abbot and remaining forty monks were pensioned off and then the buildings were looted. All gold, silver and gilt objects were carted away with all other valuables; stonework was broken and defaced and graves opened to burn the contents.
The abbey became part of the diocese of Lincoln in 1542 and was moved to the diocese of London in 1550. The buildings suffered—neglect, second-rate repairs, even active damage. Richard Lee purchased all the buildings, except the church and chapel and some other Crown premises, in 1550. Lee then began the systematic demolition for building material to improve Lee Hall at Sopwell. In 1551, with the stone removed, Lee returned the land to the abbot. The area was named Abbey Ruins for the next 200 years or so.
In 1553 the Lady chapel became a school, the Great Gatehouse a town jail, some other buildings passed to the Crown, and the Abbey Church was sold to the town for £400 in 1553 by King Edward VI to be the church of the parish.
The cost of upkeep fell upon the town, although in 1596 and at irregular intervals later the Archdeacon was allowed to collect money for repairs by Brief in the diocese. After James I visited in 1612 he authorised another Brief, which collected around £2,000—most of which went on roof repairs. The English Civil War slashed the monies spent on repairs, while the abbey was used to hold prisoners of war and suffered from their vandalism, as well as that of their guards. Most of the metal objects that had survived the Dissolution were also removed and other ornamental parts were damaged in Puritan sternness. Another round of fund-raising in 1681–84 was again spent on the roof, repairing the Presbytery vault. A royal grant from William and Mary in 1689 went on general maintenance, 'repairs' to conceal some of the unfashionable Gothic features, and on new internal fittings. There was a second royal grant from William in 1698.
By the end of the 17th century the dilapidation was sufficient for a number of writers to comment upon it.
In 1703, from 26 November to 1 December, the Great Storm raged across southern England; the abbey lost the south transept window which was replaced in wood at a cost of £40. The window was clear glass with five lights and three transoms in an early Gothic Revival style by John Hawgood. Other windows, although not damaged in the storm, were a constant drain on the abbey budget in the 18th century.
A brief in 1723–24, seeking £5,775, notes a great crack in the south wall, that the north wall was eighteen inches from vertical, and that the roof timbers were decayed to the point of danger. The money raised was spent on the nave roof over ten bays.
Another brief was not issued until 1764. Again the roof was rotting, as was the south transept window, walls were cracked or shattered in part and the south wall had subsided and now leant outwards. Despite a target of £2,500 a mere £600 was raised.
In the 1770s the abbey came close to demolition; the expense of repairs meant a scheme to destroy the abbey and erect a smaller church almost succeeded.
A storm in 1797 caused some subsidence, cracking open graves, scattering pavement tiles, flooding the church interior and leaving a few more arches off-vertical.
19th century
The Wallingford Screen of c. 1480—the statues are Victorian replacements (1884–89) of the originals, destroyed in the Dissolution of the Monasteries, when the screen itself was also damaged. Statues of St Alban and St Amphibalus stand on either side of the altar.
This century was marked with a number of repair schemes. The abbey received some money from the 1818 "Million Act", and in 1820 £450 was raised to buy an organ—a second-hand example made in 1670.
The major efforts to revive the abbey church came under four men—L. N. Cottingham, Rector H. J. B. Nicholson, and, especially, George Gilbert Scott and Edmund Beckett, first Baron Grimthorpe.
In February 1832 a portion of the clerestory wall fell through the roof of the south aisle, leaving a hole almost thirty feet long. With the need for serious repair work evident the architect Lewis Nockalls Cottingham was called in to survey the building. His Survey was presented in 1832 and was worrying reading: everywhere mortar was in a wretched condition and wooden beams were rotting and twisting. Cottingham recommended new beams throughout the roof and a new steeper pitch, removal of the spire and new timbers in the tower, new paving, ironwork to hold the west transept wall up, a new stone south transept window, new buttresses, a new drainage system for the roof, new ironwork on almost all the windows, and on and on. He estimated a cost of £14,000. A public subscription of £4,000 was raised, of which £1,700 vanished in expenses. With the limited funds the clerestory wall was rebuilt, the nave roof re-leaded, the tower spike removed, some forty blocked windows reopened and glazed, and the south window remade in stone.
Henry Nicholson, rector from 1835 to 1866, was also active in repairing the abbey church—as far as he could, and in uncovering lost or neglected Gothic features.
In 1856 repair efforts began again; £4,000 was raised and slow moves started to gain the abbey the status of cathedral. George Gilbert Scottwas appointed the project architect and oversaw a number of works from 1860 until his death in 1878.
Scott began by having the medieval floor restored, necessitating the removal of tons of earth, and fixing the north aisle roof. From 1872–77 the restored floors were re-tiled in matching stone and copies of old tile designs. A further 2,000 tons of earth were shifted in 1863 during work on the foundation and a new drainage system. In 1870 the tower piers were found to be badly weakened with many cracks and cavities. Huge timbers were inserted and the arches filled with brick as an emergency measure. Repair work took until May 1871 and cost over £2,000. The south wall of the nave was now far from straight; Scott reinforced the north wall and put in scaffolding to take the weight of the roof off the wall, then had it jacked straight in under three hours. The wall was then buttressed with five huge new masses and set right. Scott was lauded as "saviour of the Abbey." From 1870–75 around £20,000 was spent on the abbey.
In 1845 St Albans was transferred from the Diocese of Lincoln to the Diocese of Rochester. Then, in 1875, the Bishopric of St Albans Act was passed and on 30 April 1877 the See of St Albans was created, which comprises about 300 churches in the counties of Hertfordshire and Bedfordshire. The then Bishop of Rochester, the Right Revd Dr Thomas Legh Claughton, elected to take the northern division of his old diocese and on 12 June 1877 was enthroned first Bishop of St Albans, a position he held until 1890. He is buried in the churchyard on the north side of the nave.
George Gilbert Scott was working on the nave roof, vaulting and west bay when he died on 27 March 1878. His plans were partially completed by his son, John Oldrid Scott, but the remaining work fell into the hands of Lord Grimthorpe, whose efforts have attracted much controversy—Nikolaus Pevsner calling him a "pompous, righteous bully." However, he donated much of the immense sum of £130,000 the work cost.
Whereas Scott's work had clearly been in sympathy with the existing building, Grimthorpe's plans reflected the Victorian ideal. Indeed, he spent considerable time dismissing and criticising the work of Scott and the efforts of his son.
Grimthorpe first reinstated the original pitch of the roof, although the battlements added for the lower roof were retained. Completed in 1879, the roof was leaded, following on Scott's desires.
1805 engraving of the west front of the abbey showing the lost Wheathampstead window.
His second major project was the most controversial. The west front, with the great Wheathampstead window, was cracked and leaning, and Grimthorpe, never more than an amateur architect, designed the new front himself—attacked as dense, misproportioned and unsympathetic: "His impoverishment as a designer ... [is] evident"; "this man, so practical and ingenious, was utterly devoid of taste ... his great qualities were marred by arrogance ... and a lack of historic sense". Counter proposals were deliberately substituted by Grimthorpe for poorly drawn versions and Grimthorpe's design was accepted?. During building it was considerably reworked in order to fit the actual frontage and is not improved by the poor quality sculpture. Work began in 1880 and was completed in April 1883, having cost £20,000.
The Lady Chapel at the east end of the cathedral.
Grimthorpe was noted for his aversion to the Perpendicular—to the extent that he would have sections he disliked demolished as "too rotten" rather than remade. In his reconstruction, especially of windows, he commonly mixed architectural styles carelessly (see the south aisle, the south choir screen and vaulting). He spent £50,000 remaking the nave. Elsewhere he completely rebuilt the south wall cloisters, with new heavy buttresses, and removed the arcading of the east cloisters during rebuilding the south transept walls. In the south transept he completely remade the south face, completed in 1885, including the huge lancet window group—his proudest achievement—and the flanking turrets; a weighty new tiled roof was also made. In the north transept Grimthorpe had the Perpendicular window demolished and his design inserted—a rose window of circles, cusped circles and lozenges arrayed in five rings around the central light, sixty-four lights in total, each circle with a different glazing pattern.
Grimthorpe continued through the Presbytery in his own style, adapting the antechapel for Consistory Courts, and into the Lady Chapel. After a pointed lawsuit with Henry Hucks Gibbs, first Baron Aldenham over who should direct the restoration, Grimthorpe had the vault remade and reproportioned in stone, made the floor in black and white marble (1893), and had new Victorian arcading and sculpture put below the canopy work. Externally the buttresses were expanded to support the new roof, and the walls were refaced.
As early as 1897, Grimthorpe was having to return to previously renovated sections to make repairs. His use of over-strong cement led to cracking, while his fondness for ironwork in windows led to corrosion and damage to the surrounding stone.
Grimthorpe died in 1905 and was interred in the churchyard. He left a bequest for continuing work on the buildings.
During this century the name St Albans Abbey was given to one of the town's railway stations.
20th century
John Oldrid Scott (died 1913) (George Gilbert Scott's son), despite frequent clashes with Grimthorpe, had continued working within the cathedral. Scott was a steadfast supporter of the Gothic revival and designed the tomb of the first bishop; he had a new bishop's throne built (1903), together with commemorative stalls for Bishop Festing and two Archdeacons, and new choir stalls. He also repositioned and rebuilt the organ (1907). Further work was interrupted by the war.
A number of memorials to the war were added to the cathedral, notably the painting The Passing of Eleanor by Frank Salisbury (stolen 1973) and the reglazing of the main west window, dedicated in 1925.
Following the Enabling Act of 1919 control of the buildings passed to a Parochial Church Council (replaced by the Cathedral Council in 1968), who appointed the woodwork specialist John Rogers as Architect and Surveyor of the Fabric. He uncovered extensive death watch beetledamage in the presbytery vault and oversaw the repair (1930–31). He had four tons of rubbish removed from the crossing tower and the main timbers reinforced (1931–32), and invested in the extensive use of insecticide throughout the wood structures. In 1934, the eight bells were overhauled and four new bells added to be used in the celebration of George V's jubilee.
Cecil Brown was architect and surveyor from 1939 to 1962. At first he merely oversaw the lowering of the bells for the war and established a fire watch, with the pump in the slype. After the war, in the 1950s, the organ was removed, rebuilt and reinstalled and new pews added. His major work was on the crossing tower. Grimthorpe's cement was found to be damaging the Roman bricks: every brick in the tower was replaced as needed and reset in proper mortar by one man, Walter Barrett. The tower ceiling was renovated as were the nave murals. Brown established the Muniments Room to gather and hold all the church documents.
In 1972, to encourage a closer link between celebrant and congregation, the massive nine-ton pulpit along with the choir stalls and permanent pews was dismantled and removed. The altar space was enlarged and improved. New 'lighter' wood (limed oak) choir stalls were put in, and chairs replaced the pews. A new wooden pulpit was acquired from a Norfolk church and installed in 1974. External floodlighting was added in 1975.
A major survey in 1974 revealed new leaks, decay and other deterioration, and a ten-year restoration plan was agreed. Again the roofing required much work. The nave and clerestory roofs were repaired in four stages with new leading. The nave project was completed in 1984 at a total cost of £1.75 million. The clerestory windows were repaired with the corroded iron replaced with delta bronze and other Grimthorpe work on the clerestory was replaced. Seventy-two new heads for the corbel table were made. Grimthorpe's west front was cracking, again due to the use originally of too strong a mortar, and was repaired.
A new visitors' centre was proposed in 1970. Planning permission was sought in 1973; there was a public inquiry and approval was granted in 1977. Constructed to the south side of the cathedral close to the site of the original chapter house of the abbey, the new 'Chapter House' cost around £1 million and was officially opened on 8 June 1982 by Queen Elizabeth. The main building material was 500,000 replica Roman bricks.
Other late 20th-century works include the restoration of Alban's shrine, with a new embroidered canopy, and the stained glass designed by Alan Younger for Grimthorpe's north transept rose window, unveiled in 1989 by Diana, Princess of Wales.
Modern times
The Bishop is the Right Reverend Alan Smith, installed in September 2009. The Venerable Jonathan Smith is Archdeacon of St Albans, installed in October 2008. On 2 July 2004, the Very Reverend Canon Dr Jeffrey John became the ninth Dean of the Cathedral.
Robert Runcie, later Archbishop of Canterbury, was bishop of St Albans from 1970 to 1980 and returned to live in the city after his retirement; he is commemorated by a gargoyle on the Cathedral as well as being buried in the graveyard. Colin Slee, former Dean of Southwark Cathedral, was sub-dean at St Albans under Runcie and then Dean, Peter Moore. The bishop's house is in Abbey Mill Lane, St Albans, as is the house of the Bishop of Hertford. The Reverend Canon Eric James, Chaplain Extraordinary to HM the Queen, was Canon at St Albans for many years.
Sarcophagus Representing a Dionysiac Vintage Festival
Roman Empire - A.D. 290-300
Marble
A lively pastoral scene decorates this oval-shaped sarcophagus. It lacks a lid, but is carved on three sides in high relief. Two lions' heads with rings in their mouths flank the central panel depicting a mythological representation of the Vindemia, a rural Roman wine festival. An assortment of Erotes, or putti--chubby, naked infants with and without wings--harvest grapes from vines overhead. At right, they stomp on grapes in a lenos, or large wine pressing trough. The sarcophagus itself imitates the shape of the container with grapes.
Description from the Getty Villa website
This photo was taken by a Kowa/SIX medium format film camera with a KOWA 1:3.5/55mm lens using Ilford Delta 3200 film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop.
Montage représentant quatre dinosaures centrosaurinés qui vivaient ensemble.
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Lokiceratops rangiformis était une bête massive qui a vécu sur Terre il y a environ 78 millions d'années.
Mesurant 6,7 mètres de long et pesant 5 000 kilos, ce dinosaure marchait sur quatre pattes. Son régime alimentaire était à base de plantes. En tant que cératopside, un type de dinosaure à cornes, son crâne témoigne de sa structure crânienne unique. Il possède deux cornes « régulières » sur son front.
Au-dessus se trouve une grande collerette osseuse qui s'étend derrière la tête. Au-dessus de cette collerette se trouvent deux cornes enroulées uniques avec de minuscules pointes adjacentes, l'une plus petite que l'autre.
D'où le nom donné à la nouvelle espèce, qui rend hommage au casque à cornes du dieu nordique et à la nature inégale des bois de caribou.
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Lokiceratops rangiformis was a massive beast that roamed Earth about 78 million years ago. Stretching 22 feet long and weighing 11,000 pounds, the dinosaur walked on four legs. It had a plant-based diet.
As a ceratopsid, a type of horned dinosaur, its skull evidences its unique cranial structure. It boasts two “regular” horns on its forehead. Above that is a large bone frill that fans out behind the head. Atop this frill are two unique curling horns with tiny adjoining points, one smaller than the other.
Hence the name given the new species, which honors the Norse god's horned helmet and the uneven nature of caribou antlers.
Crédit : Fabrizio Lavezzi ©
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Polyxena Sarcophagus is a remarkable object as it is one of the earliest stone sarcophagi with figural scenes ever to have been found in Asia Minor. It represents the early example of the Proconnesian marble workshops. It has impressive dimensions of 3.32 meters in length, 1.60 meters in width, and 1.78 meters in height. A whole in the cover of the sarcophagus indicates that it had been robbed in antiquity. Moreover, fragments of a wheeled cart that transported the corpse to the tumulus were discovered beneath the terracotta tiles that surrounded the sarcophagus. Although the figures of the reliefs depict mainly women, the person buried was a 40-year-old man.
The reliefs on the sarcophagus show a funerary celebration on three sides, and on the back what is believed to be the sacrifice of Polyxena by Neuptolemos in front of the tomb of his father Achilles. Although not mentioned by Homer, Polyxena was a well-known figure of Greek mythology. She was tee youngest daughter of King Priam of Troy and his wife, Hecuba. An oracle prophesied that Troy would not be defeated if Polyxena's brother, Prince Troilus, reached the age of twenty. The siblings were ambushed when they were attempting to fetch water from a fountain, and Troilus was killed by Achilles, who soon became interested in Polyxena. He seemed to trust Polyxena, and he told her of his only vulnerability: his heel.
Polyxena revealed this secret to her brothers, Paris and Deiphobus, who ambushed Achilles and shot him in the heel with an arrow. At the end of the Trojan War, Achilles' ghost came back to the Greeks to demand the human sacrifice of Polyxena to appease the wind needed to set sail back to Greece. She was to be killed at the foot of Achilles' grave. Polyxena was eager to die as a sacrifice to Achilles rather than live as a slave. She refused to beg for mercy and died bravely as the son of Achilles, Neoptolemus, slit her throat.
Troy has tempted the travellers for thousands of years. Troy Museum situated 700 meters to the east of Troy archaeological site.
Over the centuries, the epic Trojan wars from Homer’s Iliad have been tempted the travellers for thousands of years to come to visit Troy. Situated 700 meters to the east of Troy archaeological site. The Troy Museum attracted visitors to Troy now have a possibility to gain much more information about this archaeological site and put its history into a much broader perspective. Most of the artefacts displayed in the museum had been previously exhibited in the Archaeological Museum in the centre of Çanakkale, far away from the site of Troy. The new arrangement makes it much easier to see these objects, and the visit to the museum is an excellent introduction to the tour of Troy..
It is true that the story of mighty Troy has fascinated travelers for thousands of years. With my wife Kathy, who is very interested in history, we wanted to see the Trojan stories and the conditions of that day once again. There were very few visitors as the tourist season just started and it was important for us that it wasn't crowded. Amongst the exhibites, the small section of golden crowns made of very small and thin leaves of gold and the small medical instruments used in the conditions in those days caught my attention, small bottles with different colors and incredibly beautiful shapes. The techniques of how to set the sail in different seasons at sea used by ships are among the techniques that still using by the seafarers nowadays.
Visit the museum 3rd floor inviting you to meet the emperors. Statues of Hadrian and Augustos and one of the oldest example of sacophagus with figurative narration discovered in Anatoria so far. I also recommend the terrace view. It's a bit windy but plenty of oxygen feels great... The museum exhibits around 2,000 artifacts in total and awaits its visitors with more than 40,000 artifacts in its warehouse.
Text description provided by the architects. The archeological site of Troy has been inscribed as a UNESCO World Heritage Site in 1998 because of its outstanding universal value as a site that has witnessed various civilizations for over 4000 years and has been a significant influence on the development of the European civilization, arts, and literature over two millennia. Museum of Troy, located 800 meters from the site, is honoring this heritage and is a medium to tell the rich history of Troy in relation to its natural, cultural, artistic and archeological context. The museum building was acquired as a result of a national architectural design contest held by the Ministry of Culture and Tourism of Turkey in 2011. The museum was opened to visitors in October 2018 as a result of 7 years of work.
The building of the Troy Museum stands out in the barren landscape of the Trojan plain, attracting the visitors' attention from afar. If the effect it makes on the visitors is the one that its designers aimed at, remains an open question, to be answered by the guests themselves.The entrance to the Troy Museum entrance is accessed by a large ramp lined with concrete walls with niches holing small exhibits. The ramp leads the visitors to the subterranean floor, with an entrance hall. This level also houses exhibition spaces, a cafe, a restaurant, and a museum shop. There are also conservation laboratories and storage space for the museum's collection, inaccessible to the visitors.The exhibition is divided into four levels, starting at the lowest one: Cities of Troad, Layers of Troy, Ancient World, and Troy Excavation History. Above them, there is a terrace offering the views of the site of Troy and the whole region of the Troad. These four levels provide an overview of Troy and the Troad, divided into seven sections: Troad Region Archaeology, Bronze Age of Troy, Iliad and the Trojan War, Troad and Ilion in Ancient History, Eastern Rome and Ottoman Period, History of Archaeology, and Traces of Troy.The exhibition presents these stories along a chronological timeline highlighting technological changes, social organization, political and economic relations, urban development, daily life, arts, and craftsmanship. The visitors can explore, read, watch, contemplate, and interact with the exhibition at their own pace. Moreover, a special storyline has been prepared within the exhibition for the younger visitors, to evoke their curiosity and facilitate engagement with the artefacts.
Thank you so much for visiting my stream, whether you comments , favorites or just have a look. I appreciate it very much, wishing the best of luck and good light.
© All rights reserved R.Ertug Please do not use this image without my explicit written permission. Contact me by Flickr mail if you want to buy or use Your comments and critiques are very well appreciated.
Thanks for stopping and looking :)
PS - After 2 parts of my 22 year old Nikon 28-70 mm f/2.8 lens were replaced by the award-winning Nikon master 'Ata', it was fully serviced and renewed. After many years, I happily started to use my very heavy lens, which had fallen asleep in my drawer with my camera and accessories.
Metro Express 15
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Operator: MetroExpress Connect Inc.
Fleet No.: 15
Type of Service: Premium Point-to-Point (P2P) Bus Service
Route: Starmall Alabang - Dasmariñas
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ENGINE
Maker: Volvo Bus Corporation
Model: D7E
CHASSIS
Maker: Volvo Bus Corporation
Model: B7RLE
COACH
Coachbuilder: Autodelta Coach Builders Inc.
Model: Volvo 8900/Sunwin SWB6128 (repl.)
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captured at Daang Hari, Muntinlupa City
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NOTE: Errors may be evident with this description. Corrections will be done once verified.
"Each friend represents a world in us, a world possibly not born until they arrive, and it is only by this meeting that a new world is born."
- Anais Nin
Explore 04/21/11 #233. Thank you so much for your nice comments - they mean a lot to me!
Deux représentantes de sous-séries de 151T 95 stationne dans le petit dépôt-musée de Rübeland. Si celle de gauche est en attente de restauration, celle de droite est bien active les dimanches d'été : www.flickr.com/photos/48107847@N08/29127534161/in/album-7...
Thousands of figurines of worshippers were left in shrines as gifts to the gods. Some of these represent female figures singing, playing musical instrument or dancing. Others hold fruit, flowers or sacrificial animals, or raise their arms in prayer or adoration. Even relatively poor worshippers could afford to leave simple pottery figurines, which they believed would show their piety for eternity. From left four terracotta female figurines of votary:
A) Woman breastfeeding a child [Museum number 1900,0903.06]. The woman is elaborately dressed: an ankle-length tunic beneath which the feet are visible; a shorter, waist-length over garment; triangular face with slightly indicated features; her hair falls Egyptian-style at each side of the face. The woman holds a large child who is clutching her chest with both hands while feeding from her left breast; traces of red-orange paint on the clothing; smudges of black paint on the neck may show jewellery, but she is otherwise unadorned; made of fine buff clay.
B) Woman holding a ram with right hand [Museum number 1900,0903.15]. The anatomical details are exaggerated; the left hand is raised is a ritual gesture, the right holds a horned quadruped, perhaps a goat. The woman is elaborated dressed, with a red tunic, over which is a cloak draped diagonally across the body; prominent nose and chin, with red lips and black-fringed eyes; on her head is a thick, turban-like headdress, behind which her hair falls in a single mass along the neck; around her neck is a necklace composed of two rows of large links (or sea shells?) supporting a central disc; another necklace, with an incised chain, is partly covered by the cloak, but is probably similar to the large pendants worn by other examples of this type.
C) Votive female figurine holding a dish of cakes [Museum number 1900,0903.16]. The left hand is raised in the air in a devotional gesture; the right bears an oval dish with cakes; large nose, slight lip and chin, very large painted eyes; she wears a long robe splaying outwards at the feet; around the head is a large turban or head-dress, behind which falls what appears to be a mass of spreading hair; from her neck hang two elaborate necklaces, one supporting a large circular pendant with a central knob, the other extending to the navel behind the mantle; pink-buff clay with traces of red and black paint on the lower part of the body.
D) Votive female figurine holding a dove [Museum number 1900,0903.12]. The right hand is raised in the air in a devotional gesture; the left holds a large dove at her waist; large nose, slight lip and chin, eyes not indicated; around the head is a large, plain turban, behind which falls what appears to be a mass of spreading hair, or else very large ear-caps, details indicated by parallel incisions; round the neck are two elaborate necklaces, one supporting a pendant with a projecting knob, the other extending to the navel behind the bird and supporting a cylindrical shaped pendant.
A) Height: 18.0 cm
B) Height: 20.0 cm
C) Height: 20.5 cm
D) Height: 14.2 cm
600 / 550 BC
Period Cypro-Archaic II
From Cyprus, Lapithos.
London, The British Museum
Objectively, the true function of sacred images is to represent symbolically and sacramentally a transcendent Reality, and subjectively, to permit the fixing of the mind upon this symbol in view of obtaining habitual concentration upon the Reality contemplated, something which can be conceived in devotional as well as in intellectual mode, or in both manners at once.
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Frithjof Schuon - Quoted in : Art from the Sacred to the Profane, East and West