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Ugh! I could not access my Flickr at work. I could have uploaded this earlier. Anyways… here we go!
Integrity Toys is starting out with a bang this year and the first collection to be unveiled for 2017 is the much-awaited The Industry line featuring Poppy Parker’s granddaughter Tulabelle and her friends in the fashion industry. So without further ado here are my impressions of each doll in the collection.
Come Thru! Tulabelle True - So we finally know what her last name is and it is first unveiled in this collection. So Tulabelle True is a blogger and a fashion influencer, rightfully so she’s always on the front row of every fashion show. I personally adore this look. I am sold by the hair alone. Because she has the same face design as You Better Werk! Tulabelle and almost the same make-up palette that it’s turning people off. The new accessories make her great. The chunky jewelry, the cellphone and the purse with the “Dollface” written on it I think are must-have items. What I’m not a fan of is the sequined bomber jacket she comes with. I think I would have preferred a pink leather or a metallic jacket instead. Also the striped stockings add fun to her look but in a way it’s a little bit silly. I don’t think anyone would consider wearing that when attending a fashion show.
Style Savior Liu Liu Ling - Liu Liu is a fashion stylist. She is popular with designers and has collaborated with several of the big names in the industry. She is the first doll to have the articulated flat feet in the line which I’m guessing is just the same as Poppy’s. With that she comes with two pairs of shoes. Somehow I love the doll but not what she’s wearing. I think the dress is too big for her and it is over designed. You’ve got the sequins on her sleeves, a leather collar, you’ve got the lace overlay and sheer at the bottom and throw in a big hooded fur coat, I feel she is drowning. Her jewelry seems too formal for her street style look which could work depending on the styling but here I feel it doesn’t.
Zine Queen Binx Barone - She is a fashion editor for the top fashion publication “CLASS”. I love that she is racially ambiguous. I think it’s very important today that we see that on a character with a high position in the industry. I love the cut-out dress that she’s wearing. It reminds me of David Koma which is something I want to see from Fashion Royalty. The fabric chosen for the dress though paired with the blue jacquard print overcoat seems a bit confusing to me. The dress says “take me to the club” while the overcoat says “take me to church”. I find the styling a little off.
Believe the Hype Tate Tanaka - When I first saw his face I was like “OMG! He looks like Olivier Rousteing, designer/creative director of Balmain.” which makes me think he will also look good in a darker skin tone. True enough, like Olivier, he is also a fashion designer. He is the grandson of 60’s actress Tina Tanaka who is one of Poppy Parker’s friends. To me he is too put-together though. Like his entire look screams fashion model versus fashion designer. I wished he was more of a male Gigi Hadid. A fashion model first but then also a mogul and a brand who collaborates with designers and shows up in music videos and such. I don’t get the fashion designer vibe from him. I feel that he is too runway perfect. He needs a little bit of roughness. I wished his pants were distressed and I wished he was wearing a long sleeved v-neck shirt for a more laid back sense of style. Him being romantically paired with Tulabelle is what I like about his backstory.
Beauty Boss Cabot Clark - Cabot is a sought after hair and make-up artist. He is a designer’s go-to style guy. Some of you may not know but Cabot is using a modified version of Auden’s face sculpt which was first used from the okie_dokie_party/ Pinkie Pie doll from the <3 MLP line. He comes with this impressive miniature make-up case set which is the saving grace to this doll. It pains me to say and I hate being blunt but I feel his look is very outdated. The sheer shirt is very 90s and the metallic pants are so early 2000s. I don’t understand it. Pair it with a fur coat and it looks tackylicious. He looks like a middle aged man trying to fit in the fashion industry. He tried it but gurl he failed. I think the idea of his look can be a little bit more refined and can be more current. I wished he was a bit more playful in his own personal style. I think a preppy look would look great on him with a pair of glasses. The metallic pants could work had it been slimmer or tapered because that would bring it to a more updated silhouette. I’m also thinking of an oversized fur sweater (not a fur coat) that has an ombre or that has a black and white color blocking. Underneath the sweater is a shirt with the collar peeking out and possibly a neck tie with a pop of color. An addition of suspenders could possibly work for him. I’m looking for specific fashion pieces that I need in the doll closet and I feel that none of what he has on is a must-have piece.
I think these characters need some personality, a bit of exaggeration and playfulness in the way they carry themselves. They need personal style that is memorable and that leaves a lasting impression on the collectors’ minds. When I look back at the “16 inch Tulabelles from Trend Spotted, Yeti to Wear, Pomp and Circumstance, Front Row, Touch of Grace, Fashion Saga, Sweet Tartan and many more I feel like The Industry line was designed by a different person. Those “16 versions of Tulabelle were impeccable designed and were styled to perfection. I don’t feel the fun and the creativity in what has been presented in this collection. If these are supposed to be “basic” dolls then I feel they are not worth $125. The doll that stood out in this collection is Tate Tanaka who I thought had the best over-all look. There are accessories like the phones, the tablet and the jewelry sets that I think are really cool but I feel that giving each character personality through style is what they need to work on. So far I’m not impressed.
"You offer hope when our hearts
have
Hopelessly lost our way
Oh, we've hopelessly lost the
way" - Wonderful Merciful Savior
by Sounds Like Reign
Russia. Moscow. Cathedral of Christ the Savior and the Patriarchal Bridge at sunset.
Россия. Москва. Храм Христа Спасителя и Патриарший мост на закате солнца.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles but ending up costing over 4.6 million. The walls and ceilings inside the church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
The Church of the Savior on Spilled Blood is one of the many sights in St. Petersburg, Russia. The church is also called Church on Spilt Blood.
No matter what you call it - - its spectacular - - and there was lousy light when I took this shot.
I'm so behind in my processing - - I took 2 spectacular trips in the spring - - and none of those pictures have seen the light of day except for this one which we did last night - - this years Christmas card.
SO MANY OCs! Also, this will be a really long post, so just sit tight and relax.
Left-Right:
Goop:
Real Name: Unknown
Powers/Abilities, Can shapeshift into any shape at will and power absorption.
Weaknesses: Weighs one pound and a small gust of wind can easily blow him away.
Equipment: Rainboots
Backstory: A cosmic rock hit Earth's surface causing a hunk of goop to explode out. The goop would soon get into a school and mutated into a child's art project making Goop. Goop would soon go into the Saviors' Headquarters by accident and gets recruited by showing his powers.
-----------------------------------
Botanist:
Real Name: Jerry Cruz
Powers/Abilities: Plant Empowerment (gives strength and durability after getting some life force from plants.) and Plant Growth
Weaknesses: Has a soft side for animals.
Equipment: Uniform and fertilizer.
Backstory: Jerry's parents were botanists. They converted their garage and backyard to plant research facilities and Jerry was tired of unable to be in certain rooms, so he decided to start destroying the plants. However, he accidentally broke a shelf and an experimental plant fell and hit his head causing a concussion. A few years later, Jerry learned about his powers and joined the Saviors. Soon after the Saviors hired Goop, Jerry took care of Goop and even decided to adopt it.
-----------------------------------
Firestarter:
Real Name: Robby Hildebrant
Powers/Abilities: Fire Generation, Temperature Manipulation, and is Fireproof
Weaknesses: Water can extinguish his fires, needs to drink water in order to stay hydrated in the heat, and is heavy due to his Flamethrower.
Equipment: Flamethrower, uniform, grapple hook, and foldable hatchet
Backstory: Robby had an average childhood and life. Nothing really happened until his family’s home started burning with flames. Robby was the only one home and he knew he had to do something to stop it. He tried all of the things expected to stop a fire, but it kept burning. It was only until he stepped in the fire that he learnt that he had superpowers. After turning 18, he set out to become the superhero he thought of as Firestarter.
-----------------------------------
Blackhawk
Real Name: Frank Willis
Powers/Abilities: Smart Engineer with Superhuman Strength and Durability.
Weaknesses: Frank is an alcoholic.
Equipment: A specially designed pistol (Taser and grapple-hook), a lasso, and a variety of grenades.
Backstory: A former professional pilot and actor that needed to have some fun. Life was boring for him so Frank decided to start stopping small crimes. Apparently he got praise from it and decided to fight more. The people also agreed, so Frank started the Saviors group. After a few superheroes joined, Frank bought out a small area of an office building and converted it into a tourist attraction and the Saviors' Headquarters. Sadly, during the first phases of the Saviors Group, the superheroes that joined were killed during a mission causing Willis to become an alcoholic. He would have the same charm during a mission, but he ain't what he was after. A few years later, he reopened the Saviors group and he hired 6 heroes, Firestarter, Phaser, Streak, Titan, Botanist and Goop.
-----------------------------------
Titan:
Real Name: Chandler Timberland
Powers/Abilities: Size Manipulation (Strength and Durability when he grows)
Weaknesses: Slower the bigger he gets, also, Chad has a tendency of not planning ahead.
Equipment: Uniform
Backstory: Chandler used to be a bully at school. He would get people to do his homework until one day, the bully victims decided to teach him a lesson. They made him a pill that would supposedly make him fat, instead it made Chandler grow in size. Realizing what happened, Chandler tried to say sorry, instead he crushed 5 people. He ran off into an alleyway and got help from a fellow student, Autumn Hendricks. Chandler soon joined the Saviors with his new girlfriend, Autumn Hendricks and they are known as Titan and Streak.
-----------------------------------
Streak:
Real Name: Autumn Hendricks
Powers/Abilities: Super-Human Speed and Durability
Weaknesses: Motion Sickness while running at fast speeds
Equipment: Uniform
Backstory: Autumn who was born in a family with lots of health issues. She was the only lucky one with an issue that would be useful. She was born with superhuman speed. Autumn would grow up always knowing that she had powers and she is extremely skilled with them. During her high-school years, she met someone in an alleyway. His name was Chandler (Titan). She taught him how to use his powers for good. Chandler and Autumn soon joined the Saviors as Titan and Streak.
-----------------------------------
Phaser:
Real Name: Clark Jenkins
Powers/Abilities: Can phase through any object
Weaknesses: Often works alone and has no super-human strength whatsoever.
Equipment: Uniform and Pepper-Spray
Backstory: Clark has been lifelong friends to another hero, Firestarter (Robby Hildebrante). When Clark was a little boy, his parents were desperate for money and needed to feed Clark. They got a job from a scientist and Clark’s parents were supposed to make a formula that would grant the powers of Jesus Christ. Unfortunately, Clark as a young child accidentally drank the formula. Clark had no idea that he had powers until a fight happened at school where Clark phased through a bully’s punch and threw him (Buckshot) through a window injuring his arm and messing up his face. Clark would soon be expelled from school and spend some time in jail. After being released, he realized he needed to use his powers for good. Clark would go back to his parents’ home and ask them to make a costume for him that was made of unstable molecules so he can stay in his costume and phase through objects at the same time (his parents lost the science job and got money from buying stocks.) Clark finally knowing his powers would go out into the world fighting small crimes as Phaser.
-----------------------------------
Clicked@Pondicherry.
“In each individual the spirit is made flesh, in each one the whole of creation suffers, in each one a Savior is crucified.”
He protects his brother like the same pose for every big wave, hope it continuous in life..........
Somehow my flickr site is stuck in a different language and I cannot read ANYTHING. I DID NOT do this...and cannot get it out.
EDIT: I did get this out of a foreign language..thanks to Kelly ( alight ) for instantly seeing this. To the others who tried to help, thanks. If this ever happens to anyone...scroll clear down to the bottom of the page...that is where you change this. If you have no reason to look down there, you'd never know.
If ANY of my flickr friends can read this.....
PLEASE oh PLEASE pray for my cat, my special boy, Savior.
He is dying....
He is sick....
He will not eat or drink...
A quick trip to a vet yesterday confirmed so....I have medicine and the next 36 hours will go either way.
He cannot get better...but it is possible for him to come out of this weak state.
PLEASE PRAY FOR MY SPECIAL BOY...he has been with me through thick and thin and NEVER left my side.
Thank you.
34. In the Bible it says, “this same Jesus … shall so come in like manner as you have seen him go into heaven.” When the Lord returns, it shall be with Him riding on a white cloud, why would He become flesh? (Gospel Music Videos)
www.holyspiritspeaks.org/how-can-he-be-incarnated-again/
The Answer from God’s Word:
Since Jesus departed, the disciples who followed Him, and all of the saints who were saved thanks to His name, have been desperately pining for Him and awaiting Him. All those who were saved by the grace of Jesus Christ during the Age of Grace have been longing for that joyful day during the last days, when Jesus the Savior arrives on a white cloud and appears among man. Of course, this is also the collective wish of all those who accept the name of Jesus the Savior today. Throughout the universe, all those who know of the salvation of Jesus the Savior have been desperately yearning for the sudden arrival of Jesus Christ, to fulfill the words of Jesus when on earth: “I shall arrive just as I departed.” Man believes that, following the crucifixion and resurrection, Jesus went back to heaven upon a white cloud, and took His place at the Most High’s right hand. Similarly, man conceives that Jesus shall descend, again upon a white cloud (this cloud refers to the cloud that Jesus rode upon when He returned to heaven), among those who have desperately yearned for Him for thousands of years, and that He shall bear the image and clothes of the Jews. After appearing to man, He shall bestow food upon them, and cause living water to gush forth for them, and shall live among man, full of grace and love, living and real. And so on. Yet Jesus the Savior did not do this; He did the opposite of what man conceived. He did not arrive among those who had yearned for His return, and did not appear to all men while riding upon the white cloud. He has already arrived, but man does not know Him, and remains ignorant of His arrival. Man is only aimlessly awaiting Him, unaware that He has already descended upon a white cloud (the cloud which is His Spirit, His words, and His entire disposition and all that He is), and is now among a group of overcomers that He will make during the last days.
from “The Savior Has Already Returned Upon a ‘White Cloud’” in The Word Appears in the Flesh
(....)
… Many people may not care what I say, but I still want to tell every so-called saint who follows Jesus that, when you see Jesus descend from the heaven upon a white cloud with your own eyes, this will be the public appearance of the Sun of righteousness. Perhaps that will be a time of great excitement for you, yet you should know that the time when you witness Jesus descend from the heaven is also the time when you go down to hell to be punished. It will herald the end of God’s management plan, and will be when God rewards the good and punishes the wicked. For the judgment of God will have ended before man sees signs, when there is only the expression of truth. Those who accept the truth and do not seek signs, and thus have been purified, shall have returned before the throne of God and entered the Creator’s embrace. Only those who persist in the belief that “The Jesus who does not ride upon a white cloud is a false Christ” shall be subjected to everlasting punishment, for they only believe in the Jesus who exhibits signs, but do not acknowledge the Jesus who proclaims severe judgment and releases the true way of life. And so it can only be that Jesus deals with them when He openly returns upon a white cloud.
from “When You Behold the Spiritual Body of Jesus Will Be When God Has Made Anew Heaven and Earth” in The Word Appears in the Flesh
(Signs of the End Times | Christian Short Film "The Days of Noah Have Come") (Eastern Lightning）
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Oh the joy come over me
When you came into my life
Sweet love that you bring me
Cut through my darkness like a knife
And when I thought my life was almost at an end
You gave me the strength to start it over again
I want you to know I'm so thankful
For the sweet love that you bring
I want you to know
You've become my everything
There is no denying
What you've done for me
For you opened up my eyes
And you made me see
I never knew the meaning of true love
Until you came into my life
I never knew the meaning of true love
Until you came into my life
From: Ann Peebles
"Until You Came Into My Life"
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of St. Petersburg, Russia. It is also variously called the Church on Spilt Blood (Russian: Церковь на Крови, Tserkov’ na Krovi) and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova), its official name.
"The preferred Russian name for this great church is Храм Спаса на Крови (Khram Spasa na Krovi), but each English-language tourist publication seems to list it under a different name. The moniker of "Spilled Blood" is most popular in preference to the likes of the Church of the Resurrection, Church of our Savior on the Blood, Cathedral of the Ascension, Resurrection of the Christ, or Assumption, Church of the Redeemer, or any permutation of the above."
This Church was built on the site where Tsar Alexander II was assassinated and was dedicated in his memory.
Construction began in 1883 under Alexander III, as a memorial to his father, Alexander II. Work progressed slowly and was finally completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The Church is prominently situated along the Griboedov Canal. The embankment at that point runs along either side of a canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace where he died a few hours later.
rchitecturally, the Cathedral differs from St. Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The Church contains over 7500 square metres of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in St. Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the Church's construction ran well over budget, having been estimated at 3.6 million roubles but ending up costing over 4.6 million. The walls and ceilings inside the Church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
Detail of the richly decorated façade and onion domes
A temporary shrine was erected on the site of the attack while the project for a more permanent memorial was undertaken. It was decided that the section of the street where the assassination had taken place was to be enclosed within the walls of a church. The embankment was therefore extended out into the canal to allow the shrine to fit comfortably within the building and to provide space on the exterior wall for a memorial marking the spot where the assassination took place. Inside, an elaborate shrine was constructed on the exact place of Alexander's death, garnished with topaz, lazurite and other semi-precious stones. Amid such rich decoration, the simple cobblestones on which the tsar's blood was spilled and which are exposed in the floor of the shrine provide a striking contrast.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles but ending up costing over 4.6 million. The walls and ceilings inside the church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
The Vank Cathedral (also known as the Church of the Saintly Sisters and the Holy Savior Cathedral) is a magnificently beautiful Armenian Apostolic Church in the heart of Isfahan, first constructed at the beginning of the 17th century. The Cathedral's exterior is plain, but the interior is elaborate, containing many beautiful frescoes.
Photo taken on September 07, 2015 in Isfahan, Iran.
www.lonelyplanet.com/spain/andalucia/ubeda
Úbeda es una ciudad española y un municipio de la provincia de Jaén, capital de la comarca de La Loma de Úbeda, en la comunidad autónoma de Andalucía. La ciudad, junto a la cercana Baeza, fue declarada Patrimonio Cultural de la Humanidad por la Unesco el 3 de julio de 2003, debido a la calidad y buena conservación de sus numerosos edificios renacentistas y de su singular entorno urbanístico.
Llamada «la ciudad de los cerros», constituye un importante centro de atracción, cuenta con hospital comarcal, centros educativos y escuelas universitarias (UNED y SAFA), delegaciones de Hacienda y de la seguridad social, juzgados, capitanía de zona, Centro del Profesorado (CEP), etc., derivando en uno de los índices de centralidad más altos de toda Andalucía. Según el anuario de La Caixa, se trata de la capital de una de las provincias económicas de España, con una zona de influencia de más de 200 000 habitantes que acude habitualmente a comprar en ella., datos que resaltan su centralidad comercial.
Su riqueza de hoy corresponde a su esplendor antiguo. Úbeda vive principalmente del sector terciario, el comercio y la administración, que ocupan el 49% de la población activa. Pero además el peso de la agricultura ocupa a más de un 50% de la población, siendo el centro neurálgico del olivar y de la producción aceitera, siendo uno de los mayores productores y envasadores de la provincia de Jaén de aceite de oliva, piedra angular de toda su economía. De hecho, la comarca de La Loma viene siendo la mayor productora mundial, con un 15% de toda la producción aceitera mundial. Otras actividades complementarias son la industria, la ganadería y un incipiente turismo cultural.
Úbeda (Spanish pronunciation: [ˈuβeða]; from Arabic Ubbada al-`Arab and this from Iberian Ibiut) is a town in the province of Jaén in Spain's autonomous community of Andalusia, with 34,733 (data 2017) inhabitants. Both this city and the neighbouring city of Baeza benefited from extensive patronage in the early 16th century resulting in the construction of a series of Renaissance style palaces and churches, which have been preserved ever since. In 2003, UNESCO declared the historic cores and monuments of these two towns a World Heritage Site.
The most outstanding feature of the city is the monumental Vázquez de Molina Square, surrounded with imposing Renaissance buildings such as the Palacio de las Cadenas (so named for the decorative chains which once hung from the façade) and the Basílica de Santa María de los Reales Alcázares. The Chapel of the Savior or Capilla del Salvador was constructed to house the tombs of local nobility. Both the interior and exterior are decorated; for example, interior has an elaborate metawork screen by the ironworker Bartolomé de Jaen. The Hospital de Santiago, designed by Vandelvira in the late 16th century, with its square bell towers and graceful Renaissance courtyard, is now the home of the town's Conference Hall. Ubeda has a Parador hotel, housed in a 16th-century palace which was the residence of a high-ranking churchman of that period.
The town lends its name to a common figure of speech in Spanish, andar por los cerros de Úbeda (literally 'to walk around the hills of Úbeda'), meaning 'to go off at a tangent'.
The city possesses 48 monuments, and more of another hundred of buildings of interest, almost all of them of Renaissance style. Though to the romantic travelers of the 18th and 19th centuries it impressed more the Muslim flavor of its streets than this Renaissance brilliance. All this patrimony led Úbeda to being the second city of renowned Spain Historical – artistic Set, in the year 1955. In the year 1975 it received the appointment of the Council of Europe as Exemplary City of the Renaissance. Finally, in 2003 it was named a World Heritage Site, together with Baeza, by UNESCO.
La Sacra Capilla del Salvador del Mundo es un templo construido bajo patrocinio de Francisco de los Cobos como panteón anexo a su palacio de Úbeda (provincia de Jaén), en la actualmente llamada Plaza Vázquez de Molina.
Mandada construir en 1536, formaba parte de un extenso programa artístico (del que formaban parte su Palacio, una Universidad y un Hospital)1 destinado a encumbrar la fama, la fortuna y la gloria personal que había alcanzado el secretario personal de Carlos V; para lo que recurrió a artistas de primer nivel. El proyecto inicial se encargó a Diego de Siloé, mientras que la realización corrió a cargo de Andrés de Vandelvira a partir de 1540. El templo fue consagrado en 1559. Su primer capellán fue el Deán Ortega, para quien se construyó el gran palacio que hay a la izquierda de la fachada principal de la capilla.
El Salvador fue la empresa más ambiciosa de toda la arquitectura religiosa privada del Renacimiento español. Declarado monumento histórico-artístico en 1931, se ha convertido, a su vez, en uno de los más divulgados símbolos de esta ciudad cuyo conjunto monumental renacentista, que junto con el de Baeza, fue declarado Patrimonio de la Humanidad por la Unesco en 2003.2
es.wikipedia.org/wiki/Sacra_Capilla_del_Salvador
This famous chapel, built between 1536 and 1559, is the flagship of Úbeda Renaissance architecture. Commissioned by Francisco de los Cobos y Molina as his family's funerary chapel, it presents a marked contrast between the relatively sober proportions of the interior (by Diego de Siloé, architect of Granada's cathedral) and the more decorative western facade. The facade, a pre-eminent example of plateresque style, was designed by Andrés de Vandelvira, one of Siloé's stonemasons, who took over the project in 1540.
The chapel thus represents the first architectural commission obtained by Vandelvira, who went on to endow Úbeda, Baeza and Jaén with most of their outstanding Renaissance buildings. He worked in tandem with the French sculptor Esteban Jamete, who carved an orgy of classical sculpture depicting Greek gods on the underside of the facade arch, and scattered numerous skulls among the facade's decoration in a reminder that the building is a funerary chapel. Classical figures are also prominent in the sacristy (accessed from the northeast corner of the interior), another Vandelvira creation, but are absent from the main body of the chapel – where the Capilla Mayor sits beneath a stately dome painted in gold, blue and red, and features a grand 1560s altarpiece sculpture of the transfiguration by Alonso de Berruguete.
The Cobos family tombs lie beneath the floor of the chapel and aren't open to visitors. The chapel is still privately owned by the Seville-based Medinaceli ducal family, descendants of the Cobos. The audio guide is full of interesting information and anecdotes and well worth listening to as you go round the chapel.
Next to the chapel stands what was originally its chaplain's residence, the Palacio del Deán Ortega – another Vandelvira creation. The mansion is now Úbeda’s luxurious parador hotel.
www.lonelyplanet.com/spain/ubeda/attractions/sacra-capill...
This shot was taken when I took Mimi with me to Chicora where the goats, horse and chickens live. She was looking out the passenger window and could see the cats coming down the path from being up on the goat hill.
She thinks that ALL cats are my cat, Savior. I don't think she realizes that ALL cats would not let her crawl all over them.....while he gets licked madly.....while she whines with such excitement.......and not even once does my cat, Savior, try to hurt her. He just "takes it" while she does her thing....then she whines some more and slowly like a pup in "combat" slinks away....slowly crawling like a little snake off of poor Savior.
Oh my Savior is such a good kitty......
Savior just joined us for Mother's Day next door at my brother's house. We ate on John's deck at the table. Savior stayed under my chair at the table. He was such a good boy. My daughter even said to her fiance..."If I could ever get a cat as nice as Savior, I would in a minute if I could have pets".....She said he's the nicest cat she's ever seen.
If I walk next door to my brother's house....Savior always follows me when he is outside. He stays on their deck railing the entire time I am inside my brother's house. When I leave....he leaves.
Just wanted to share.....Mimi, the pup, is not this little anymore.....but honestly...she is not much bigger. I hope by being the runt, she stays small. She is small....but VERY MIGHTY.