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my parents are being sooooo stubborn. They aren't leaving Houston even after my begging and pleading. They some how seem to think that Ike won't really affect them......they are CRAZY. Please keep them in your thoughts.......
I've been waiting on the sun to come around. Tracking slowly in a sleepy sky, if I stand still in the shine a while, I might start to believe it's spring. Still ankle deep in snow, and waking with daydreams I can't shake, getting vitamins back in my body. I'm drenched in rays and restless while they filter through my skin. I've kept to myself all winter, much like the rooms in these walls. This home has been abandoned so long that her memories are out of reach. The current neighbours only know it like now – a vacant, improbable beauty. We can't believe she's still standing, and maybe when I'm old myself, I'll have lived long enough to earn the same sentiment. Worn around the edges, wrinkled deep but standing steady, hoping for someone to look in my eyes like peeking through windows. You just might see the secrets I'm keeping.
March 1, 2022
Annapolis County, Nova Scotia
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Decided to make a card without a sentiment for a rainy day. The details are on my blog:
infinite-possibilities.blogspot.com/2013/08/no-sentiment-...
TFL!
.I switched out the bird for the butterfy on this stamp because the sentiment says "daisies butterflies...".
Background newspaper stamp by Hero Arts. The daffodils are Simon Says Stamp. Sentiment is from "recollections", sold at Michaels.
I'm playing along with the SSS Flickr Challenge 38.
The theme is: Lots of Love.
SSS Products:
-Artful Flowers Stamp Set
-Big Hugs Die
-Stitched Rectangle Die
Thanks, Barb and SSS, for the fun theme.
My blog.
sentiment from CL129 Anytime Messages
Using Hero Arts August Contest Sketch here:
heroarts.com/blogs/club/august-2012-contest-details/
Faux Letterpress Technique blogged hère:
waffleflower.com/2012/08/tutorial-faux-letterpress-with-e...
Stamps: PTI - Sentiment Staples: Christmas
Dies: Simon Says Stamp - Village, Essentials by Ellen - Home & Hearth, Pinkfresh Studio - Skiing By
Other: Distress Oxide inks
Full details can be found here: koolkittymusings.typepad.com/kool_kitty_musings/2019/11/d...
The cold came back all over again. The chill made no pretenses and nibbled where it hurts most. My reality was ruffled soon after as memories glowed and waned like blinking annoyance. I felt the urge to seek a shelter. So I closed my eyes. I closed my eyes and saw a majestic mountain in front of me. The air was cold but there was warmth in the imposing presence of the mighty grandeur whose snowcapped peak was being relentlessly caressed by a psychedelic gale that refused to die. The almighty peak occasionally loosened its grip on veracity and let silly snow grains climb the hush of clouds. The clouds and the snow heard murmurs of a distant reed flute in the wind and melted into one another. All the while up in the sky, leaving behind a glowing trail of promises, busy stars rushed to meet the horizon before the night could quit on them. Down on earth, close to where I was, a lone birch stood tall as the record-keeper of pilgrims who have passed by this monastery of spirits.
The cold came back all over again. But now, it did not hurt as much.
São coisas velhas, que agiram de fora para dentro e assim também de dentro para fora, são sentimentos antigos, o lápis já está sem ponta, não quero mais nada, a não ser paz, amor? não brinque com isso como quem brinca de rabiscar os cadernos (...)
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are old things, all acting from outside and thus also from the inside out, old feelings are , the pencil is already blunt, do not want anything else, unless peace, love? do not mess with it like someone who jokes scribbling notebooks (...)
ps: foto velha e sem sentido rs, estou sem fotos, então, vai essa mesmo.
Imagem feita com a camera: Kodak EasyShare C813
Tratamento da imagem: Photoscape.
A spinning card that reveals different messages. Multiple stamps were used to create the flower image, HA stamp (Long Sterm Blossom) was used for the raised flower parts.
Yes guys I know I'm a bit early for Valentine but this weekend was COLD- 20 degrees here in the South is cold almost an 80 degree temperature difference from true summer time!!!The girls and I were bored and locked inside so we made Valentine cards and I took pictures,working on some indoor lighting techniques practice, practice, practice.This is my youngest grand-daughter Rowan who is PAINFULLY shy!!
The backdrop was a roll of Hallmark wrapping paper taped to the kitchen door and a roll of wired ribbon for the girls headbands left over from the holidays...
This card uses a Memory Box Deer Trio die and the snowflake is by My Favorite Things.
The beautiful sentiment is from the Hero Arts clear set: Merry Christmas Tree CL459 and was stamped with Versamark Watermark ink and heat-embossed with silver embossing powder.
More in-depth info at my blog Instead of Ironing Blogspot at this direct link here: www.instead-of-ironing.blogspot.com.au/2013/09/memory-box...
Thanks for having a peek at my card :-)
A luz da vida sempre está bem aí na nossa frente... o problema são as nuvens que insistimos de soprar e que acabam encobrindo nossa luz.
Fall is upon the midwest in earnest now, and as prior uploads have stated, I find myself most nostalgic at this point on the calendar.
As a young whipper snapper that used to walk the power at WC's New Brighton outpost, the familiar smell of bearing grease in summer and the pound of the compressor resonating off the piles of telephone poles of the adjacent Bell Pole are still very vivid. Work used to spike some of these familiar memories prior to the arrival of Dash 9's for RCO jobs, and now the whir of the turbocharged 16-645 has become more of a treat than ever.
A few weeks back, I noticed the T Yard had accumulated some more power. Two of the stand outs were the MRL 264 here, and the 261 behind it. Of course investigation was in order, and I found no tags hanging off the wall or any other defects. Cool. The ole 264, like the 261, was a friend from another time. Long before I ever called Northtown Yard "home", I had shot it at the diesel shop in the fall of 2006 in the much nicer OLS scheme. Some time later, the 261 was lensed at Hastings on the CP after mom gave in to my demands. That was the summer of 2008.
Now with 2025's calendar growing thinner, I took a few frames of a living, breathing machine that has persevered for almost 60 years. My own memories of it not-withstanding, this same unit, whether CNW 877 or MRL 264, can evoke personal stories from my friends just the same, making it a lot more than some welded steel and lube oil. It has been a steady constant in a life filled with changes, and a similar connection for so many.
The sound of the two stroke, notched to Run 3 to warm up, brings me back to so many points of my life. The squeek of the throttle between notches, the solid 26L handle, the beautiful non-LED glow of the gauge cluster, the rattle of window panes, all an immediate shock to the lucid memory of days gone by.
Man and Machine.
A reject from a recent PC submission, details blogged, TFL
ceciliacards.blogspot.com.au/2012/10/more-wcmd2012-cards....
This was one of those conversations that get you to sink your teeth into this idea we call 'reality'. My buddy Newton said to me over a nice cup o joe,
"I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing on the seashore, and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, whilst the great ocean of truth lay undiscovered before me.
Taking a long sip, nodding in agreement, I said,
"Then my friend, it's time to leave the cafe."
Someday, someone's gonna love me
The way, i want you to need me
Someday, someone's gonna take your place
One day I'll forget about you
You'll see, i won't even miss you
Someday, someday...
.. my sentiments as I gazed at the beautiful light of a new dawn over the sea.
I hope you enjoy this little bit of celebration ;-)
View On Black (you might need to scroll but I think it's worth it!)
For centuries, the former royal abbey of Saint-Denis illuminated the artistic, political and spiritual history of the Frankish world.
The abbey-church was designated a "basilica" in Merovingian times. In the 12th century the abbot of Saint-Denis, Suger, still qualified it in his works as a "basilica". This qualifier was applied from the 4th century to churches whose floor plans were the same as those of Roman civic buildings with three naves, used for trade and the administration of justice. They were often erected outside towns and over the tomb of a saint. They were the site of a major pilgrimage and often the cause for the development of a neighbourhood or borough, like the town of Saint-Denis, which developed around the abbey and its economic potential.
Basilica is also an honorary title given to all kinds of churches, of all eras, that were the seat of a major pilgrimage. Only a cathedral is of superior rank. In 1966, the basilica was elevated to cathedral status, a name derived from "cathedra", meaning the seat of the bishop, the head of the diocese located there. A copy of the throne of Dagobert, the original of which is in the Cabinet des Médailles of the Bibliothèque Nationale, is currently used by the bishop as an episcopal see.
The first building rises from the tomb of Saint Denis, a missionary bishop who died under the yoke of Roman rule in the second part of the 3rd century. The body of the saint attracted many princely burials around him from the late 4th century. Besides a partly Carolingian crypt, the remains of the building consecrated in the presence of Charlemagne in 775, the basilica preserves the testimony of buildings that were decisive for the evolution of religious architecture: the façade (1135-1140) and the apse (1140 -1144), the work of abbot Suger, which constitute a hymn to light, a manifesto of new early Gothic art; other parts of the present church built in the time of Saint Louis from 1230 to 1280 are a testimony of the heyday of Gothic art, known as "Rayonnant", such as the exceptionally vast transept accommodating the royal tombs.
A place of remembrance from the early Middle Ages, the Dionysian monastery was able to link its fate to that of the monarchy, gradually asserting itself as the privileged tomb of the royal dynasties, taking advantage of the cult of Saint Denis. Forty-two kings, thirty-two queens, sixty-three princes and princesses and ten men of the kingdom rest in peace there. With over seventy recumbent effigies and monumental tombs, the royal necropolis of the basilica is today the most significant group of funerary sculptures from the 12th to the 16th century in Europe.
But the basilica of Saint-Denis was not the "graveyard of the kings" from the beginning of the Frankish kingdom as qualified by a chronicler of the 13th century. Until the 10th century, the abbey was in fierce competition with many other cemeteries, especially with Saint-Germain-des-Prés. At the accession of the Capetians in 987, its role as a royal necropolis gradually became confirmed and most sovereigns were buried there until the 19th century; although, for political, religious or personal reasons, some kings, like Philip I in 1108, Louis VII in 1180, Louis XI in 1483, Charles X in 1836 and Louis-Philippe in 1850, would be buried in other places. Louis XVIII, who died in 1824, was the last king to be buried in the basilica.
Throughout history the Frankish kings were always in search of legitimacy, which partly explains their will to be buried with the relics of Saint Denis, Rusticus and Eleutherius (all three having been martyred together). By way of their powers, the kings thought they had acquired power and protection during their life, particularly for their battles, and for going directly to Paradise.
The rallying cry of the knights on the battlefield in the 12th and 13th centuries, "Montjoie Saint Denis!", inscribed on the scarlet banner, interspersed with the golden flames of the famous oriflamme of Saint-Denis, became the motto of the kingdom of France, which was thus placed under the protection of the titular saint of the kingdom, Saint Denis. This standard is a beautiful image of the personal union between the abbey, the patron saint and the king. This ensign was always raised in time of war by the rulers who came to collect it from the hands of the abbot on the altar of the holy martyrs. It is one of the major objects of the mediaeval epic around which a first national sentiment formed. A 1913 copy, little conform to the original, remains in the basilica.
The Hundred Years' War, the Wars of Religion and political unrest contributed to the decline of the royal abbey of Saint-Denis long before the Revolution precipitated matters. In 1793, revolutionaries attacked the symbols of the monarchy, but the basilica escaped total destruction. In 1806, Napoleon Bonaparte ordered the restoration of the building. Then Louis XVIII restored the role of necropolis to the abbey. The restoration work continued throughout the 19th century and was conducted, in particular, by architects François Debret and Eugène Viollet-le-Duc from 1846.
2 - A royal monument
Burials before the 13th century
The rich and influential Parisian noblewoman, Saint Geneviève, showed special devotion to Saint Denis. She undoubtedly had the tomb of Saint Denis expanded or had a building built around it in 475. The development of a vast necropolis, which extended well beyond the church, in the 6th and 7th centuries, led to expanding the church.
Many high-ranking figures, mostly women, were then buried "ad sanctos" as close to the saint as possible. The discovery in 1959 of the sarcophagus of Queen Arnegunde, daughter-in-law of Clovis, who died around 580, shows the power of attraction of the sanctuary in this early period. The jewellery associated with her burial is kept in the Musée d'archéologie nationale du Domaine de Saint-Germain-en-Laye.
Fifty years later, in 639, King Dagobert was the first Frankish king to be buried in the basilica of Saint-Denis. Some Merovingians and Carolingians were buried there, such as Charles Martel, Pepin the Short and Emperor Charles the Bald.
Dagobert distinguished himself by making generous donations to the abbey and legend has it that he created the Saint-Denis fair that was held each October and was a great source of wealth for the monastery.
Charles Martel died in 741. Even though he was only the Mayor of the Palace he was given a prestigious burial, opposite the great King Dagobert. He thus enabled his family, the Pippinids, future Carolingians, to rise to the ranks of the greatest noblemen. His recumbent effigy, created in the 13th century, shows him crowned as the Capetians considered him as the ancestor of the great Carolingian dynasty.
Pepin the Short, the son of Charles Martel, was anointed by Pope Stephen II at Saint-Denis in July 754, thus sealing the alliance between the Frankish kings and the papacy. He was the first Frankish sovereign to be crowned as the image of God on earth in the image of king David. On this occasion he had the church rebuilt along the lines of the Roman buildings known as basilicas. Featuring a wooden ceiling, dozens of marble columns and decorated with thousands of oil lamps, for the first time it was combined with a crypt that housed the relics of Saint Denis until the 12th century. A few remains of this Roman-style martyrium, decorated with paintwork imitating marble, can still be seen.
Recumbent effigies said to be commissioned by Saint Louis
Louis IX (Saint Louis), who was canonised in 1297, was called a "superman" by the pope. A man of great faith, this king was particularly attached to Saint-Denis. He continuously strengthened the basilica’s role as a royal necropolis. The series of 16 recumbent effigies, said to be commissioned by Saint Louis in around 1265, is the largest funerary sculpture series of the European Middle Ages. Today 14 of the original sculptures remain. They are placed in both arms of the transept, virtually in their old locations evidenced by 18th-century engravings.
The mediaeval effigies, said to be commissioned by Saint Louis, are designed on the model of the statue-columns that decorate church portals. In the 13th century, they were among the first funerary sculptures made for the abbey of Saint-Denis. Previously, only the engraved stone slabs arranged on the floor near the altar marked the location of the royal tombs. The reorganisation of the necropolis, launched by the Capetian rulers, led to the discovery and transfer of the remains of the 16 sovereigns, buried between the 7th and 12th centuries. Their bones were then placed in boxes above which 16 recumbent figures with idealised faces were installed, a majestic expression of the royal function. The mode of representation of these sculptures is relatively uniform. The sovereigns wear a crown and carry a sceptre. These recumbent effigies, which were originally painted in bright colours, are dressed in the fashion of the 13th century. They are not represented dead; they have their eyes open to the eternal light. They assert belief in the Resurrection. They are turned towards the east, towards the sunrise, the image of Christ whose return they await.
But the layout desired by the Capetian rulers was also political. Through this grandiose setting, Louis IX developed the myth of monarchical continuity between the Merovingians, Carolingians and Capetians and aimed to link his family to Charlemagne, the most impressive figure in mediaeval monarchical ideology.
The inscriptions on the new tombs identify the kings and queens and clarify the genealogies. In the Middle Ages, in the centre of the transept, the gilded silver tombs of Louis VIII and Philip Augustus, the grandfather of Saint Louis, victor of the Battle of Bouvines in 1214, had the places of honour. The central tomb of the series is that of Louis VIII, the father of Louis IX. Indeed, according to the Dominican Vincent of Beauvais, an intimate of Saint Louis, the mixed blood of the Carolingians and Capetians flowed in the veins of Louis VIII as his mother, Isabella of Hainaut, was of Carolingian ancestry. It thus symbolises, in the Capetian family, "the return to the throne of the race of Charlemagne". Indeed, in the 11th century, Saint Valery had prophesied that the Capetian kingdom could only be maintained up to the seventh king, which was precisely Philip Augustus, father of Louis VIII.
This series was completed in around 1280 by erecting a magnificent tomb of goldsmithery in honour of Saint Louis, "the most beautiful tomb in the world" according to his chronicler Guillaume de Nangis. It was destroyed, as well as the other goldsmithery tombs, during the Hundred Years' War.
Thus the accomplishment of this sculpted series ensured the title of royal necropolis to Saint Denis, to which its abbots had long aspired, and offered the Capetian dynasty a legitimacy and prestige that it had hitherto been lacking.