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De Marrakech a Merzouga
La belleza del Atlas con su sistema montañoso e inmensidad, la dureza de su clima, su escasa o nula vegetación, la sobriedad de la existencia y la austeridad de medios para la población. La grandiosidad del desierto, sus dunas. La tradición de sus pueblos, mercados y vendedores en los zocos. Sus típicos regateos previos al cierre de un trato. La dignidad de sus gentes, sus típicos atuendos para protegerse del excesivo calor. Todo ello hace esta experiencia especial e inolvidable.
From Marrakech to Merzouga
The beauty of the Atlas mountain range and its immensity, the hardness of its climate, little or no vegetation, sobriety of life and austerity of means for the population. The grandeur of the desert dunes. The tradition of their peoples, markets and sellers in the souks. Its typical prior to the closing of a deal haggling. The dignity of its people, their traditional clothing to protect themselves from excessive heat. All this makes this special and unforgettable experience.
„Schlichtheit“ 😎 (ein originales Kiron 105mm Bokeh)
Melica uniflora
wood melick
Einblütiges Perlgras
species.wikimedia.org/wiki/Melica_uniflora
RAT3762, uncut, apart from raw development completely unedited
Ce remarquable édifice datant de 1050 est l'une des plus anciennes églises romanes du pays. C’est la seule à avoir conservé la pierre dédicatoire qui commémore la consécration de l’église le 20 juin 1050.
Le cadre extérieur est plaisant avec l’ancien cimetière qui entoure l’église et le tilleul séculaire tout proche. Le bâtiment est construit sur un plan très simple : une partie centrale et deux parties latérales moins élevées. L’église est conservée largement dans l’état originel des églises romanes primitives : petite taille, sobriété, simplicité de la construction, équilibre des proportions. Elle est classée patrimoine exceptionnel de Wallonie.
Elle contient un mobilier intéressant, notamment des œuvres du maître de Waha, des superbes statues de saints, la cuve baptismale, et, parmi les éléments contemporains, des vitraux réalisés par Louis-Marie Londot et ceux de Jean-Michel Folon qui rappellent le martyre de saint Etienne.
This remarkable building dating from 1050 is one of the oldest Romanesque churches in the country. It is the only one to have preserved the dedicatory stone which commemorates the consecration of the church on June 20, 1050.
The exterior setting is pleasant with the old cemetery which surrounds the church and the centuries-old lime tree nearby. The building is built on a very simple plan: a central part and two lower side parts. The church is largely preserved in the original state of primitive Romanesque churches: small size, sobriety, simplicity of construction, balanced proportions. It is classified as an exceptional heritage site in Wallonia.
It contains interesting furniture, notably works by the master of Waha, superb statues of saints, the baptismal font, and, among contemporary elements, stained glass windows made by Louis-Marie Londot and those of Jean-Michel Folon which recall the martyrdom of Saint Stephen.
Ce remarquable édifice datant de 1050 est l'une des plus anciennes églises romanes du pays. C’est la seule à avoir conservé la pierre dédicatoire qui commémore la consécration de l’église le 20 juin 1050.
Le cadre extérieur est plaisant avec l’ancien cimetière qui entoure l’église et le tilleul séculaire tout proche. Le bâtiment est construit sur un plan très simple : une partie centrale et deux parties latérales moins élevées. L’église est conservée largement dans l’état originel des églises romanes primitives : petite taille, sobriété, simplicité de la construction, équilibre des proportions. Elle est classée patrimoine exceptionnel de Wallonie.
Elle contient un mobilier intéressant, notamment des œuvres du maître de Waha, des superbes statues de saints, la cuve baptismale, et, parmi les éléments contemporains, des vitraux réalisés par Louis-Marie Londot et ceux de Jean-Michel Folon qui rappellent le martyre de saint Etienne.
This remarkable building dating from 1050 is one of the oldest Romanesque churches in the country. It is the only one to have preserved the dedicatory stone which commemorates the consecration of the church on June 20, 1050.
The exterior setting is pleasant with the old cemetery which surrounds the church and the centuries-old lime tree nearby. The building is built on a very simple plan: a central part and two lower side parts. The church is largely preserved in the original state of primitive Romanesque churches: small size, sobriety, simplicity of construction, balanced proportions. It is classified as an exceptional heritage site in Wallonia.
It contains interesting furniture, notably works by the master of Waha, superb statues of saints, the baptismal font, and, among contemporary elements, stained glass windows made by Louis-Marie Londot and those of Jean-Michel Folon which recall the martyrdom of Saint Stephen.
Depuis plus de 20 ans, le Musée de la Pierre, en collaboration avec les Carrières de Sprimont et les Carrières de la Préalle accueillent les Rencontres Internationales de Sculpture de Sprimont (RISS). Celles-ci se dérouleront du 03 au 31 août 2014
A cette occasion, 15 artistes seront sélectionnés par le jury. Pendant un mois les sculpteurs travailleront un bloc de petit granit de 1 m3. Cette pierre, fournie par les Carrières de Sprimont et les Carrières de la Préalle est reconnue pour ses qualités techniques et esthétiques.
Un des objectifs de ces Rencontres est la mise en valeur de la pierre et de ses débouchés tant sur plan artistique qu’industriel. Le Musée entend encourager une approche où la pierre garde tout son sens, sa sobriété, son caractère, sans être dénaturée.
De leur coté, les artistes y trouvent l’opportunité de confronter œuvres et pratiques de la taille. De plus, c’est une occasion pour eux de partager avec d’autres artistes, ainsi qu’avec le public, une émotion, un goût, une conception du beau.
De plus, le Musée de la Pierre offre l’opportunité à ces artistes d’exposer toiles, dessins, photographies, sculptures de petit format dans la salle principale du Musée de la Pierre.
For over 20 years, the Stone Museum, in collaboration with Careers Sprimont and Careers Préalle welcome the Rencontres Internationales Sculpture Sprimont (RISS). These will take place from 3 to 31 August 2014
On this occasion, 15 artists will be selected by the jury. For a month sculptors working a block of bluestone 1 m3. This stone provided by the Careers and Careers Sprimont of Préalle is known for its technical and aesthetic qualities.
One objective of these meetings is the development of the stone and its opportunities both artistic and industrial. The Museum aims to encourage an approach where the stone keeps its meaning, his sobriety, his character, without being distorted.
For their part, the artists will find the opportunity to compare works and practical size. In addition, it is an opportunity for them to share with other artists and with the public, an emotion, a taste, a beautiful design.
In addition, the Stone Museum provides an opportunity for these artists to exhibit paintings, drawings, photographs, small sculptures in the main hall of the Museum of Stone.
“The Department of Education spent over $1 Billion promoting DEI in America’s schools”
Why does this remind me of a certain little clown? Mao Zedong: On the Correct Handling of Contradictions Among the People.
DEI is a soft version of Maoism (Mao’s version of communism, which revolves around brainwashing the masses).
Romans 12:3 “For through the authority graciously given to me I warn every individual among you not to value himself unduly, but to cultivate sobriety of judgement in accordance with the amount of faith which God has allotted to each one.”
Située au nord de la Bourgogne, l’Abbaye de Fontenay a été fondée en 1118 par Saint Bernard de Clairvaux, un des plus grands saints français, et est la plus ancienne abbaye cistercienne conservée au monde.
Classée monument historique français dès 1862, elle a été inscrite au patrimoine mondial de l'Unesco en 1981. Elle a été l’un des premiers monuments français à figurer sur cette liste, qui a ainsi distingué la valeur exceptionnelle, tant de l’ensemble abbatial de Fontenay que de son environnement naturel.
L’abbatiale de Fontenay est une des plus anciennes églises cisterciennes dans le monde. Construite entre 1139 et 1147, elle est aussi l’une des rares abbatiales cisterciennes du XIIe siècle parvenue intacte jusqu’à nos jours.
Selon la volonté de Saint Bernard et du chapitre général de l’Ordre de Cîteaux, rien dans l’église ne vient distraire l’œil afin que tout l’être soit tourné vers Dieu lors des offices quotidiens. C’est pourquoi cet édifice fut construit dans une grande simplicité et constitue un modèle typique d’architecture romane bourguignonne : plan en croix latine, façade dépouillée, chapiteaux sculptés de motifs simples de feuillage, rang unique de fenêtres latérales.
Cette simplicité cache de nombreux détails et une attention particulière des moines bâtisseurs pour l’harmonie et la symbolique, notamment en ce qui concerne les proportions ou le nombre de baies.
Le chœur est couvert de carreaux émaillés des XIIe et XIIIe siècles. On y trouve également un remarquable retable sculpté du XIIIe siècle, ainsi qu’un ensemble de pierres tombales dont celle de l’évêque anglais Ebrard de Norwich, qui finança la construction de l’abbatiale.
L’abbatiale impressionne par son remarquable état de conservation, ses dimensions, sa sobriété rigoureuse et sa luminosité particulière. Il y règne une atmosphère de calme et de sérénité invitant à une contemplation admirative et au recueillement.
Located in northern Burgundy, Fontenay Abbey was founded in 1118 by Saint Bernard of Clairvaux, one of the greatest French saints, and is the oldest preserved Cistercian abbey in the world.
Classified as a French historic monument in 1862, it was listed as a UNESCO world heritage site in 1981. It was one of the first French monuments to appear on this list, which thus distinguished the exceptional value of both the whole abbey of Fontenay as well as its natural environment.
The Fontenay abbey church is one of the oldest Cistercian churches in the world. Built between 1139 and 1147, it is also one of the rare Cistercian abbey churches from the 12th century that has survived intact to this day.
According to the will of Saint Bernard and the general chapter of the Order of Cîteaux, nothing in the church distracts the eye so that the whole being is turned towards God during daily services. This is why this building was built with great simplicity and constitutes a typical model of Burgundian Romanesque architecture: Latin cross plan, bare facade, capitals sculpted with simple foliage motifs, single row of side windows.
This simplicity hides many details and a particular attention of the building monks to harmony and symbolism, particularly with regard to proportions or the number of bays.
The choir is covered with enameled tiles from the 12th and 13th centuries. There is also a remarkable sculpted altarpiece from the 13th century, as well as a set of tombstones including that of the English bishop Ebrard of Norwich, who financed the construction of the abbey church.
The abbey church impresses with its remarkable state of conservation, its dimensions, its rigorous sobriety and its particular luminosity. There reigns an atmosphere of calm and serenity inviting admiring contemplation and meditation.
Le cloître est le cœur du monastère. Alors que beaucoup de cloîtres ont été détruits, celui de Fontenay est resté intact depuis le XIIe siècle.
Cette merveille de l’art roman a été conçue aussi bien comme espace de communication entre toutes les salles du monastère que comme lieu de méditation. Les galeries forment un rectangle de 36 m sur 38 m dégageant une grande impression d’homogénéité, malgré une variété de piliers, colonnettes et chapiteaux qui témoignent tous de la sobriété de l’architecture cistercienne.
À toute heure de la journée et tout au long de l’année, le cloître est baigné de lumière. C’est un lieu unique qui inspire dessinateurs et photographes, et invite le visiteur à la méditation
The cloister is the heart of the monastery. While many cloisters have been destroyed, that of Fontenay has remained intact since the 12th century.
This marvel of Romanesque art was designed both as a space for communication between all the rooms of the monastery and as a place for meditation. The galleries form a rectangle of 36 m by 38 m giving off a great impression of homogeneity, despite a variety of pillars, columns and capitals which all testify to the sobriety of Cistercian architecture.
At any time of the day and throughout the year, the cloister is bathed in light. It is a unique place that inspires designers and photographers, and invites the visitor to meditation.
Située au nord de la Bourgogne, l’Abbaye de Fontenay a été fondée en 1118 par Saint Bernard de Clairvaux, un des plus grands saints français, et est la plus ancienne abbaye cistercienne conservée au monde.
Classée monument historique français dès 1862, elle a été inscrite au patrimoine mondial de l'Unesco en 1981. Elle a été l’un des premiers monuments français à figurer sur cette liste, qui a ainsi distingué la valeur exceptionnelle, tant de l’ensemble abbatial de Fontenay que de son environnement naturel.
L’abbatiale de Fontenay est une des plus anciennes églises cisterciennes dans le monde. Construite entre 1139 et 1147, elle est aussi l’une des rares abbatiales cisterciennes du XIIe siècle parvenue intacte jusqu’à nos jours.
Selon la volonté de Saint Bernard et du chapitre général de l’Ordre de Cîteaux, rien dans l’église ne vient distraire l’œil afin que tout l’être soit tourné vers Dieu lors des offices quotidiens. C’est pourquoi cet édifice fut construit dans une grande simplicité et constitue un modèle typique d’architecture romane bourguignonne : plan en croix latine, façade dépouillée, chapiteaux sculptés de motifs simples de feuillage, rang unique de fenêtres latérales.
Cette simplicité cache de nombreux détails et une attention particulière des moines bâtisseurs pour l’harmonie et la symbolique, notamment en ce qui concerne les proportions ou le nombre de baies.
Le chœur est couvert de carreaux émaillés des XIIe et XIIIe siècles. On y trouve également un remarquable retable sculpté du XIIIe siècle, ainsi qu’un ensemble de pierres tombales dont celle de l’évêque anglais Ebrard de Norwich, qui finança la construction de l’abbatiale.
L’abbatiale impressionne par son remarquable état de conservation, ses dimensions, sa sobriété rigoureuse et sa luminosité particulière. Il y règne une atmosphère de calme et de sérénité invitant à une contemplation admirative et au recueillement.
Located in northern Burgundy, Fontenay Abbey was founded in 1118 by Saint Bernard of Clairvaux, one of the greatest French saints, and is the oldest preserved Cistercian abbey in the world.
Classified as a French historic monument in 1862, it was listed as a UNESCO world heritage site in 1981. It was one of the first French monuments to appear on this list, which thus distinguished the exceptional value of both the whole abbey of Fontenay as well as its natural environment.
The Fontenay abbey church is one of the oldest Cistercian churches in the world. Built between 1139 and 1147, it is also one of the rare Cistercian abbey churches from the 12th century that has survived intact to this day.
According to the will of Saint Bernard and the general chapter of the Order of Cîteaux, nothing in the church distracts the eye so that the whole being is turned towards God during daily services. This is why this building was built with great simplicity and constitutes a typical model of Burgundian Romanesque architecture: Latin cross plan, bare facade, capitals sculpted with simple foliage motifs, single row of side windows.
This simplicity hides many details and a particular attention of the building monks to harmony and symbolism, particularly with regard to proportions or the number of bays.
The choir is covered with enameled tiles from the 12th and 13th centuries. There is also a remarkable sculpted altarpiece from the 13th century, as well as a set of tombstones including that of the English bishop Ebrard of Norwich, who financed the construction of the abbey church.
The abbey church impresses with its remarkable state of conservation, its dimensions, its rigorous sobriety and its particular luminosity. There reigns an atmosphere of calm and serenity inviting admiring contemplation and meditation.
Le cloître est le cœur du monastère. Alors que beaucoup de cloîtres ont été détruits, celui de Fontenay est resté intact depuis le XIIe siècle.
Cette merveille de l’art roman a été conçue aussi bien comme espace de communication entre toutes les salles du monastère que comme lieu de méditation. Les galeries forment un rectangle de 36 m sur 38 m dégageant une grande impression d’homogénéité, malgré une variété de piliers, colonnettes et chapiteaux qui témoignent tous de la sobriété de l’architecture cistercienne.
À toute heure de la journée et tout au long de l’année, le cloître est baigné de lumière. C’est un lieu unique qui inspire dessinateurs et photographes, et invite le visiteur à la méditation
The cloister is the heart of the monastery. While many cloisters have been destroyed, that of Fontenay has remained intact since the 12th century.
This marvel of Romanesque art was designed both as a space for communication between all the rooms of the monastery and as a place for meditation. The galleries form a rectangle of 36 m by 38 m giving off a great impression of homogeneity, despite a variety of pillars, columns and capitals which all testify to the sobriety of Cistercian architecture.
At any time of the day and throughout the year, the cloister is bathed in light. It is a unique place that inspires designers and photographers, and invites the visitor to meditation.
Iglesia de Santa María, Aínsa, Sobrarbe, Aragón, España.
La colegiata de Santa María también conocida como iglesia de la Asunción es un templo católico situado en la localidad oscense de Ainsa en la comunidad autónoma de Aragón en España.
Es una iglesia de estilo románico de un importante valor artístico siendo uno de los elementos arquitectónicos más importantes de su rico patrimonio. De gran magnitud y sobriedad, se trata de uno de los ejemplos más destacados del románico aragonés sobrarbense.
Está declarada Bien de Interés Cultural (BIC).
La torre es el elemento más representativo por su tamaño y sobriedad. Está construida igualmente con sillar irregular y presenta tres cuerpos desiguales. La planta baja actúa como pórtico o lonja formado por dos arcos de descarga, dando acceso tanto a la iglesia como al claustro. El contrafuerte que se aprecia desde el exterior, es la ampliación que esconde la escalera que sube por el interior del muro.
En las dos primeras plantas hay observatorios y saeteros. La primera realiza una función de tribuna, ya que da acceso al templo desde lo alto, mientras que la tercera corresponde al cuerpo de campanas.
Destaca especialmente su último piso, con una cúpula sobre trompas y cuatro nervios de sección rectangular, desde donde puede observarse una magnífica vista panorámica.
The collegiate church of Santa María, also known as Iglesia de la Asunción, is a Catholic church located in the Huesca town of Ainsa in the autonomous community of Aragon in Spain.
It is a Romanesque-style church of important artistic value, being one of the most important architectural elements of its rich heritage. Of great magnitude and sobriety, it is one of the most outstanding examples of Aragonese Romanesque from Sobrar.
It has been declared an Asset of Cultural Interest (BIC).
The tower is the most representative element due to its size and sobriety. It is also built with irregular ashlar and has three unequal bodies. The ground floor acts as a portico or fish market formed by two discharge arches, giving access to both the church and the cloister. The buttress that can be seen from the outside is the extension that hides the staircase that goes up inside the wall.
On the first two floors there are observatories and arrows. The first performs a tribune function, since it gives access to the temple from above, while the third corresponds to the body of bells.
Its top floor is particularly noteworthy, with a cupola over horns and four rectangular section ribs, from where a magnificent panoramic view can be observed.
AGRADECIMIENTOS / ACKNOWLEDGEMENTS
A todos los que habéis tenido la generosidad de vuestra visita y comentario os quedo muy agradecido.
To all who have had the generosity of your visit and comment I am very grateful to you.
De Marrakech a Merzouga
La belleza del Atlas con su sistema montañoso e inmensidad, la dureza de su clima, su escasa o nula vegetación, la sobriedad de la existencia y la austeridad de medios para la población. La grandiosidad del desierto, sus dunas. La tradición de sus pueblos, mercados y vendedores en los zocos. Sus típicos regateos previos al cierre de un trato. La dignidad de sus gentes, sus típicos atuendos para protegerse del excesivo calor. Todo ello hace esta experiencia especial e inolvidable.
From Marrakech to Merzouga
The beauty of the Atlas mountain range and its immensity, the hardness of its climate, little or no vegetation, sobriety of life and austerity of means for the population. The grandeur of the desert dunes. The tradition of their peoples, markets and sellers in the souks. Its typical prior to the closing of a deal haggling. The dignity of its people, their traditional clothing to protect themselves from excessive heat. All this makes this special and unforgettable experience.
Walter Schrempf's blueprint of the building was the winner of an architecture competition in the year 1963. Then, he invited Otto Herbert Hajek to reshape his draft artificially to overcome the comtemporary paradigmatic sobriety of the 1960's. The realisation of the building started in 1966, after Hajek had presented his version to the commission of the university.
The result of the architect’s and sculptor’s collaboration is a functional modern architecture, which opens up to the technical age and uses new materials, and is also a space sculpture at the same time. Naked concrete contrasts with a vivid coloration through yellow, red and blue surfaces. Geometric elements, which are arranged like a box, determine the spatial effect. The interior is divided by plastic concrete elements in various large levels and units.
The building has been built as a "Student House" in which all services for the students are included: dining hall, administration for the students services like financial support, recreational facility, theatre hall, café, event room. All these functions are still existing today.
The building is a historical monument.
© All rights reserved - Don't use my images on websites, blogs or other media without my explicit permission
( Welcome ..... nice to have you here. )
Walter Schrempf's blueprint of the building was the winner of an architecture competition in the year 1963. Then, he invited Otto Herbert Hajek to reshape his draft artificially to overcome the comtemporary paradigmatic sobriety of the 1960's. The realisation of the building started in 1966, after Hajek had presented his version to the commission of the university.
The result of the architect’s and sculptor’s collaboration is a functional modern architecture, which opens up to the technical age and uses new materials, and is also a space sculpture at the same time. Naked concrete contrasts with a vivid coloration through yellow, red and blue surfaces. Geometric elements, which are arranged like a box, determine the spatial effect. The interior is divided by plastic concrete elements in various large levels and units.
The building has been built as a "Student House" in which all services for the students are included: dining hall, administration for the students services like financial support, recreational facility, theatre hall, café, event room. All these functions are still existing today.
The building is a historical monument.
© All rights reserved - Don't use my images on websites, blogs or other media without my explicit permission
By the end of the nineteenth century, new buildings on Raadhuisstraat had to meet strict criteria so that this street would become a fully-fledged entrance to the center of Amsterdam.
In 1897 architect Hendrik Berlage was asked to design a block of houses on the corner of Herengracht and Raadhuisstraat. The ground floor was to accommodate four luxury stores.
Berlage, also called the father of modern Dutch architecture, was a socialist at heart, an idealist who wanted to elevate the people with his designs. According to him, art had to express what was going on in society. He wanted to make luxury accessible to ordinary people.
His architectural style is characterized by stylish sobriety. When designing, Berlage approached a new building as a sculpture. In the case of this building at the intersection of Herengracht and Raadhuisstraat, he designed rounded corners, oddly placed windows and a tower as decoration.
Berlage's work has been of great influence on modern architecture. With his designs he helped lay the foundation for the Amsterdam School, a style that combined architecture with socialist ideals.
izi.travel/nl/ac85-klm-huisjes-amsterdam-en-zijn-architec...
IL CHIOSTRO PICCOLO DELLA CERTOSA DI SANTA MARIA DEGLI ANGELI NEL MUSEO NAZIONALE-TERME DI DIOCLEZIANO
La realizzazione del chiostro ebbe però una vita lunga e travagliata: la sua storia inizia nella seconda metà del Cinquecento, quando Pio IV Medici (1559-65) stabilisce la trasformazione del nucleo centrale delle Terme nella Chiesa di Santa Maria degli Angeli, e i lavori si protrassero fino a tutto il Seicento e anche oltre.
Il chiostro della Certosa della Chiesa di Santa Maria degli Angeli e dei Martiri è tradizionalmente attribuito a Michelangelo perché fu a lui che venne affidato il compito di trasformare il frigidarium delle Terme di Diocleziano nella chiesa. Chiesa e Certosa appartengono a un progetto unitario, però è più probabile che Michelangelo (morto nel 1564) abbia soltanto proposto la planimetria generale e affidato, invece, il compito all’allievo Giacomo del Duca, che partecipò ai lavori almeno nella fase iniziale. Questi iniziarono nel 1565 e si conclusero all’inizio del 1600.
Parte integrante del grande complesso della Certosa, edificata sul monumento romano, il piccolo chiostro rischiò la demolizione all’inizio del Novecento, in nome del recupero archeologico delle strutture delle antiche Terme. L’impianto del chiostro è di forma quadrata con il lato di circa 40 metri ed è articolato su due livelli: un piano terra loggiato con pilastri di ordine tuscanico e ambulacri scanditi da 6 campate coperte da volte a crociera e il primo piano chiuso che appare ritmato da esili paraste poco sporgenti.
Tutto qui rimanda agli schemi compositivi e stilistici del tardo Cinquecento romano: la sobrietà, la semplificazione dell’ordine architettonico e il trattamento degli elementi in finto travertino.
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AT THE BATHS OF DIOCLEZIAN IN ROME THE SMALL CLOISTER OF THE CHARTEHOUSE SANTA MARIA DEGLI ANGELI
The cloister’s long and difficult construction began in the second half of the 16th century, when pope Pio IV Medici (1559-65) ordered the transformation of the central part of the Baths to create the Basilica of Santa Maria degli Angeli. Work on its construction continued throughtout the 17th century and beyond. The cloister has a square plan with sides of circa 40 metres. Divided into two levels, its ground floor has porticoes marked by columns of the Tuscan order, and ambulatories with 6 bays covered by cross vaulting. The closed upper floor, meanwhile, is punctuated with slender, subtly projecting pilasters.
The sobriety and simplification of the architectural order, such as the treatment of elements in imitation of travertine, place the cloister’s design within the typical compositional and stylistic schemes of late 16th century Rome.
The small Cloister of the Charterhouse of Santa Maria degli Angeli, or theclaustrino as it was called in the 16th century chronicle by Matteo Catalani, occupies almost a third of the large uncovered pool (natatio) of the Baths of Diocletian.
Holiday 2023
Viseu - Portugal
This rococo church, dating from the 18TH century, stands out, inside, the neoclassical, with sobriety and polychrome carving without gold. On the throne the chancel altar you can admire a statue of our Lady of mercy, 18TH century work.
In contrast to the austerity of the Sé cathedral and the Paço dos Três Escalões, the Rococo façade of the Church of Misericórdia with its rich decorations - a fine baroque portico topped by an exquisite balcony veranda, windows decorated with frontons and balustrades and two towers decorated with large windows - confers a note of joy within the overall severity of the courtyard.
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My Flickr stream photos best to see on Portfolio | Fluidr
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This is my phantom...my depression, my anguish...my other. The proverbial monkey on my back. Always haunting me...always taunting me. As much as I love shadow play and seeking light to draw out the lengthy darkness, there is always the notion that just underneath it all is the pain. And every now and again, he pops up to remind me that he is always near. For years now I have been the casual observer of scenes like this street image, but lately I have been noticing how much I need to put this figure into them. How compelled I am to look for him.
After seven years of sobriety, I am constantly challenged to discover the reasons for what it is I do. And lately, I am looking harder than ever before.
If you are interested in cooperation please contact me at ewitsoe@gmail.com
Join me on my personal websiteErik Witsoe or on Facebook
La chapelle Notre-Dame de Monserato ou chapelle de la Scala Santa (le « Saint Escalier ») a été construite au XVIe, sa façade de style néo-classique, a été restaurée au XIXe siècle.
Outre son parvis de galets, cet oratoire abrite un très bel intérieur dont la décoration est l’œuvre de maîtres ligures. Elle cache derrière une façade d’une très grande sobriété des boiseries, dorures, murs recouverts de velours écarlates.
Scala Sancta (en italien) est dans la tradition chrétienne, celui du prétoire de Jérusalem gravi par Jésus lors de son jugement par Ponce Pilate qui décida de sa crucifixion. Seulement quelques lieux abritent cette précieuse relique de la Passion dont le plus célèbre est le sanctuaire de la Scala Santa situé à proximité de la Basilique Saint-Jean-de-Latran à Rome.
The Chapel of Our Lady of Monserato or chapel of the Scala Santa (the "Holy Stairs") was built in the sixteenth, the facade of neoclassical style, was restored in the nineteenth century.
Besides its square wheels, this oratory has a very nice interior decoration which is the work of Ligurian masters. He hides behind a facade of great sobriety woodwork, gilding, walls covered with scarlet velvet.
Scala Sancta (in Italian) is in the Christian tradition, that of the court of Jerusalem climbed by Jesus during his trial by Pontius Pilate who decided his crucifixion. Only a few places are home to this precious relic of the Passion, the most famous is the Sanctuary of the Scala Santa located near the Basilica of St. John Lateran in Rome.
Open range land in the high desert of the State of Nevada. Along old Highway 50, the Lincoln Highway, often called the Loneliest Highway in America...
For those who imbibe in alcohol to celebrate New Years' Eve, I hope you do so in moderation and don't drink and drive. Happy New Year!
Wall art (graffitti) spotted on the Lakeshore, south Etobicoke, Toronto, Ontario, Canada.
Tanita Tikaram -Twisted My Sobriety
The Best ABBA Song - The Winner Takes It All
riprendo a pubblicare Rob, ma con tutto il rispetto per chi sta male
Settimana dal 17 al 23 aprile
AQUARIUS FOR renquedochan
I actually kind of hope that your brain is in major overload right now. I hope that you're feeling a bit overwhelmed by all the new information you've absorbed, and that your imagination is a blur of wheels within wheels within wheels spinning at top speeds. In fact I'll go so far as to say that if this is the case, you're definitely on the right track. You're doing what's necessary to prepare for rebuilding your foundation in May. And if for some reason there are no wheels within wheels within wheels spinning at top speeds -- if your mind is as empty and clear as a cloudless blue sky in Montana -- then you're probably doing something wrong. So get out there and start stuffing it with new ideas, radical theories, crazy speculations, wild guesses, and raw perceptions.
Ariete (21 marzo - 19 aprile)
Una delle vittime della crisi economica è stata la cura maniacale del corpo. La gente dedica meno tempo e denaro al proprio aspetto fisico. Si vendono meno cosmetici e ultimamente la gente è più trasandata del solito. Se pensi di ridurre le spese in questo settore, Ariete, è il momento giusto per farlo. In questi giorni il tuo fascino naturale è più forte che mai. E poi stai entrando in una fase in cui avrai meno bisogno dell'approvazione degli altri. Senza contare che tutto quello che farai per semplificarti la vita sarà un toccasana per la tua salute mentale.
Toro (20 aprile - 20 maggio)
La pittrice Amy Marx dipinge splendide immagini di tornado. Ispirati a lei nelle prossime settimane, Toro, per sfruttare in modo produttivo il tuo caos interiore e per usare l'energia primordiale come materia prima nei tuoi tentativi di abbellire il mondo. Ti senti all'altezza di questo compito? Io credo di sì, ma prima dovrai cambiare atteggiamento nei confronti di certi fenomeni che ti sembrano incontrollabili.
Gemelli (21 maggio - 20 giugno)
"Sto passando una bellissima crisi", ha dichiarato il finanziere George Soros. Il disastro dell'economia mondiale ha rovinato la vita di molte persone, ma lui ci ha guadagnato milioni di dollari. E non è un caso: un paio di anni fa, Soros ne aveva previsto l'arrivo e aveva preso una serie di accorgimenti per ridurne l'impatto. Prevedo che nelle prossime settimane anche tu passerai una bellissima crisi, Gemelli, soprattutto se ora dedicherai un po' del tuo tempo a studiare il modo per approfittare delle difficoltà in arrivo.
Cancro (21 giugno - 22 luglio)
Nelle prossime settimane mi piacerebbe che ti divertissi di più e in modo più intelligente del solito. Dal mio punto di vista astrologico, ti sarà più facile ottenere il massimo dalla vita se ti libererai di alcune inibizioni e coltiverai il piacere di stare insieme agli altri senza condizioni. Credimi, so quanto sono importanti per te le barriere che ti permettono di non farti influenzare dagli altri e di rimanere in stretto contatto con il tuo intuito. Ma nel prossimo futuro, se ti abbandonerai all'intelligenza della folla potrai provare gioie inaspettate.
Leone (23 luglio - 22 agosto)
Alcune celebrità pagano dei ghostwriter che scrivono su Twitter al posto loro. In uno dei suoi ultimi tweet, il rapper 50 Cent – o meglio, il suo alter ego Chris Romero – ha rivelato ai fan: "L'ambizione mi spinge in un tunnel senza fine". Spero che nelle prossime settimane non seguirai il suo esempio, Leone: non assumere nessuno che scriva al tuo posto su Twitter e non imboccare il tunnel senza fine dell'ambizione. Elimina, invece, ogni intermediario e insegui la tua ambizione su campi assolati che elevano il tuo spirito.
Vergine (23 agosto - 22 settembre)
Un mio vicino parcheggia sempre il suo pick-up Chevrolet del 1967 ammaccato e arrugginito sulla strada di casa mia. E per questo lo ringrazio: il fascino sgangherato della sua macchina mi aiuta a tornare con i piedi per terra quando il perfezionismo mi toglie l'anima, o quando certi oggetti luccicanti e patinati cercano di ipnotizzarmi per farmi credere che solo loro possono essere considerati attraenti. Nella tua vita ci sono icone del genere, Vergine? Oggetti strani, ingombranti e anomali, ma a modo loro sublimi? Penso che nei prossimi giorni ricaverai molti più vantaggi del solito dal loro influsso.
Bilancia (23 settembre - 22 ottobre)
Il sito cracked.com ha pubblicato un articolo sulle "Cinque cose che secondo te ti farebbero felice (ma non è vero)". Secondo l'autore sono fama, ricchezza, bellezza, genio e potere. Anche se non sei d'accordo con lui, le sue riflessioni dovrebbero aiutarti ad avere idee più realistiche su quello che fa aumentare il tuo benessere. In questa fase del tuo ciclo astrale potrai scoprire alcune verità sorprendenti su quello che ti fa sentire a casa su questo pianeta.
Scorpione (23 ottobre - 21 novembre)
Nel romanzo di Salman Rushdie L'incantatrice di Firenze, un amico di Niccolò Machiavelli gli dice: "La tua disgrazia è che vedi il mondo con troppa maledetta chiarezza, e senza un filo di benevolenza". Ad alcuni di voi Scorpioni è capitata la stessa disgrazia – anche se in forma più blanda – e, a giudicare dai presagi astrali, direi che in questo periodo siete particolarmente vulnerabili nei confronti dei problemi che può creare. C'è, però, un modo per trasformare questa disgrazia in una benedizione: guardare il mondo con tutta la chiarezza possibile, ma aggiungendo un pizzico di compassione. In questo modo la vostra sensibilità vi guarirà e vi darà energia. Potreste perfino riuscire a fare dei piccoli miracoli scoprendo le verità sfuggenti nascoste dietro le apparenze.
Sagittario (22 novembre - 21 dicembre)
Se un gruppo di extraterrestri intelligenti arrivasse sulla Terra e chiedesse di incontrare qualcuno, chi dovremmo mandargli come nostro ambasciatore? Secondo un sondaggio su internet la maggior parte delle persone sceglierebbe il musicista heavy metal Ozzy Osbourne. Io non lo avrei indicato come prima scelta, ma mi rendo conto che sarebbe giusto mandare un pioniere del Sagittario, come Osbourne. In questo periodo, la tua tribù ha la capacità di creare combinazioni insolite. Se c'è qualcuno che può far stare bene i cavoli a merenda, quello sei tu. Se c'è qualcuno che può spiegare a un antropologo di Marte perché tanta gente s'interessa a Paris Hilton o perché il governo statunitense ha comprato tutti quei titoli tossici, sei proprio tu.
Capricorno (22 dicembre - 19 gennaio)
A rischio di mettere in pericolo la sua sicurezza personale, una donna del Capricorno è intervenuta per difendere la sua vicina adolescente dal padre che la voleva picchiare. Un'altra mia amica del Capricorno ha detto al suo capo che considerava immorali alcuni affari in cui era coinvolta l'azienda. Forse la prossima settimana non riuscirai a essere così coraggioso, ma scommetto che ci andrai vicino. Per te è cominciata la stagione dell'Accanita integrità, un periodo in cui potrai scavare più a fondo dentro te stesso e dimostrare quanto tieni a certi valori fondamentali.
Acquario (20 gennaio - 18 febbraio)
Spero che in questo momento il tuo cervello sia sovraccarico. Mi auguro che tu ti stia sentendo leggermente sopraffatto da tutte le nuove informazioni che hai assorbito, e che la tua mente sia un turbinio di rotelle che girano ad altissima velocità. Anzi, vorrei dirti che se le cose stanno così sei decisamente sulla strada giusta. Stai facendo quello che serve per prepararti a ricostruire le tue fondamenta nel mese di maggio. E se per caso le rotelle non stanno girando alla massima velocità, se la tua mente è vuota e limpida come un cielo senza nuvole nel Montana, forse c'è qualcosa che non va. Perciò comincia subito a riempirla di idee nuove, teorie radicali, ipotesi folli, congetture azzardate e intuizioni allo stato grezzo.
Pesci (19 febbraio - 20 marzo)
"Sto cominciando a capire me stesso", ha dichiarato il pianista jazz Dave Brubeck. "Ma avrei preferito riuscirci quando avevo vent'anni e non a 82". Questa affermazione può sembrare scoraggiante, ma in realtà nasconde un'ottima notizia: in questo periodo hai lo straordinario potere di approfondire la conoscenza di te stesso. Da oggi al 20 maggio, potresti intuire alcuni misteri che normalmente si capiscono solo a 82 anni.
Okaaaay, this is like the cutest picture in the world. Josh's clueless face, Ian's surprised face, Mike's priceless face and Matt.. wow, that smile is even cute when he makes it looks creepy. ;] Anyways, the lyrics are from their song "acadia". I hope you all like it. :]
"Ran out of gas on the highway, we walked there and i gave drunked speeches on sobriety."
+up next, one of my drawings. :)
The Humber Keel sailing barge 'Sobriety', built 1910 at Beverley. Now operating out of Goole for residential trips with disabled access
The Wanderings of Consensus©
Farewell, the dulling meteorological effect didn't work as the rain teems down
And out are my powers of healthy deduction, un-policed defences remain lawless
With rioting pain open till late in the build-up to the run-in of final quest
That which presents a vaccinated gift of brightness, vigour and a sequined night sky
Illuminating the foundations of a new year hope that resolves hopefully at mercy's behest
For now though it's too dark to find the definitions for the words of encouragement
Those far away are so needed while close at hand are the lines of life cut
Shorter and shorter like December daylight, every second counts on the one hand
It instils an immediacy together with an intimacy on the other hand of fate
If thumbs are the peers for the palms that sway with thoughts at their command
Then let them press upon the need of the temples with eyes closed may it help
Soon the nauseating rain becomes the soothing sound we were born to love
From the womb of learning the comforting tones that never quit our deeper sense
The revelling of warmth, safety and love so often missing from practice
Do we remain what we are to sacrifice it all for the sake of society's pretence
Selling our Soul to the devil is the ultimate crime against the salvation of life
Those gratuitous decadent's who roam the lands bringing rich tears to the poor's fears
Do they have a conscience at all? If not, then different worlds we do walk
One day will dawn a dampening mirror to reveal the human sickness
Then they shall see all they can be is servant to their own perversions of which judge and jury talk
The promise of inhalation is conceived, but is it not enough to live in the present?
Broken time and again according to legend and sin is ill-afforded
It's debt mounted by clueless expense upon the hunt for overfed habit
Now grossly obese is this pallid list of heavy emotional calories
Stolen from the starving children of today, the bones of tomorrow's world graves will inhabit
So speak in hope, sound a soothing victory cry of one in the eye in the fight for good
Climb the mountain reach out across the valleys, watch your step and look over the edge
Mass hysteria is no more our nauseous threat as we touch the sobriety of our true world
Distance measured according to feeling, effort judged by heart, love recorded universally
With a conscientious spirit, as one of Nature, to a perfect sleep we accordingly curled.
by anglia24
10h20: 11/12/2008
©2008anglia24
La iglesia de Santiago Apóstol es un templo parroquial católico de la ciudad de Valladolid (Castilla y León, España). Sita en la calle vallisoletana del mismo nombre, fue construida en diferentes etapas y estilos entre los siglos XV y XVII. Es sede de la Cofradía de las Siete Palabras.
La iglesia se construyó sobre una pequeña ermita de comienzos del siglo XII, que hacia 1400 sería elevada a la categoría de iglesia parroquial. Como consecuencia del desarrollo de la zona del centro urbano de Valladolid, motivada por la actividad comercial de la cercana Plaza Mayor, a finales del siglo XV la iglesia se había quedado pequeña para acoger a la creciente feligresía. Además, la cabecera presentaba un estado ruinoso. El rico mercader y banquero D. Luis de la Serna se convirtió en el patrono del templo, acordando con la autoridad eclesiástica costear su completa reedificación a cambio de permitírsele utilizar la Capilla Mayor como panteón familiar.
La obra se contrató con el arquitecto guipuzcoano Juan de Arandia, quien desde 1499 había dirigido la construcción de la Iglesia del monasterio de San Benito el Real. Concluida la cabecera en 1500, cuatro años después, Juan de Arandia y García de Olave comenzaron a levantar, adosada al ábside, la torre de sección cuadrada, a la que se añadió un remate octogonal en 1610. A principios del siglo XVII se arruinó parte de la nave, por lo que en 1615 el arquitecto Francisco de Praves trazó una nueva estructura de bóveda y capillas de aires protobarrocos que fue ejecutada por los maestros de obras Martín de Répide, Juan del Valle y Juan Alonso Ballesteros.
En 1941 la Cofradía de las Siete Palabras trasladó aquí su sede desde la iglesia de San Miguel y San Julián.
Todo el exterior del templo presenta un aspecto austero, sin apenas concesiones decorativas, además de estar parcialmente enmascarado, en su lado del mediodía, por una edificación moderna que hace la función de pórtico de acceso y que acoge las dependencias de la parroquia y la confradía. La sobriedad de la portada occidental, compuesta con aparejo mixto de sillería y ladrillo, es apenas rota por un óculo vidriado. En el paño central del ábside se halla empotrado un relieve gótico de Santiago Matamoros, protegido por arco alfiz. El único elemento verdaderamente característico de la fábrica exterior es la torre, formada por cinco cuerpos separados por cordones, un elemento decorativo preservado del arte gótico hispano-flamenco. El chapitel octogonal que lo corona tiene sabor escurialense.
El interior presenta una sola y espaciosa nave, con cortas capillas laterales situadas entre los contrafuertes. La reforma integral ejecutada a principios del siglo XVII produjo un abovedamiento de cañón con lunetos sobre arcos fajones que apean en pilastras fasciculadas, una reminiscencia del gótico original del templo, y cuyos plementos están decorados con sencillas yeserías barrocas. La anterior cubierta era de madera y estaba sustentada por arcos diafragma. A los pies se sitúa el coro alto, alzado sobre un pequeño pórtico cubierto con un artesonado de comienzos del siglo XVI, en cuyos casetones se distinguen veneras con la cruz de la Orden de Santiago.
En la Capilla de las Siete Palabras se venera el espléndido Santo Cristo de las Mercedes, acompañado por los Dos Ladrones. El Crucificado es obra realizada entre 1550 y 1560 por el círculo de Pompeyo Leoni, quien talló un cuerpo de bastante mayor tamaño que el natural, muy anatómico y robusto, con marcadas articulaciones y musculatura. Concebida originalmente como pieza de retablo, este Cristo se atribuyó erróneamente durante mucho tiempo al discípulo de Juan de Juni Francisco de la Maza.
Las figuras de los ladrones son reproducciones de los del paso de La Sexta Angustia, que se encuentra en el Museo Nacional de Escultura. Cabe señalar que el Buen Ladrón lleva el rostro del Duque de Lerma porque éste le adeudaba al artista una suma por su trabajo en el retablo de la Colegiata de Lerma. Las tres esculturas forman un paso procesional de la Semana Santa vallisoletana conocido como En tus manos encomiendo mi Espíritu, que representa la séptima palabra, perteneciente a la Cofradía de las Siete Palabras, que preside el Sermón de las Siete Palabras en la Plaza Mayor en la mañana de Viernes Santo.
es.wikipedia.org/wiki/Iglesia_de_Santiago_Ap%C3%B3stol_(Valladolid)
The church of Santiago Apóstol is a Catholic parish church in the city of Valladolid (Castilla y León, Spain). Located on the Valladolid street of the same name, it was built in different stages and styles between the 15th and 17th centuries. It is the headquarters of the Brotherhood of the Seven Words.
The church was built on a small hermitage from the beginning of the 12th century, which by 1400 would be elevated to the category of parish church. As a consequence of the development of the downtown area of Valladolid, motivated by the commercial activity of the nearby Plaza Mayor, at the end of the 15th century the church had become too small to accommodate the growing membership. In addition, the head presented a dilapidated state. The rich merchant and banker D. Luis de la Serna became the patron of the temple, agreeing with the ecclesiastical authority to pay for its complete rebuilding in exchange for being allowed to use the Main Chapel as a family pantheon.
The work was contracted with the Gipuzkoan architect Juan de Arandia, who since 1499 had directed the construction of the Church of the monastery of San Benito el Real. Completed the head in 1500, four years later, Juan de Arandia and García de Olave began to build, attached to the apse, the tower with a square section, to which an octagonal finish was added in 1610. At the beginning of the 17th century part of of the nave, so in 1615 the architect Francisco de Praves drew up a new structure of vault and chapels with a proto-Baroque air that was executed by the master builders Martín de Répide, Juan del Valle and Juan Alonso Ballesteros.
In 1941 the Brotherhood of the Seven Words moved its headquarters here from the church of San Miguel and San Julián.
The entire exterior of the temple presents an austere aspect, with hardly any decorative concessions, in addition to being partially masked, on its midday side, by a modern building that functions as an access portico and which houses the parish and confraternity buildings. . The sobriety of the western façade, made up of a mixed masonry and brick rig, is hardly broken by a glazed oculus. A gothic relief of Santiago Matamoros, protected by an alfiz arch, is embedded in the central cloth of the apse. The only truly characteristic element of the exterior factory is the tower, made up of five bodies separated by cords, a preserved decorative element of Spanish-Flemish Gothic art. The octagonal spire that crowns it has an escurialense flavor.
The interior features a single and spacious nave, with short side chapels located between the buttresses. The comprehensive reform carried out in the early seventeenth century produced a barrel vaulting with lunettes on scalloped arches that stand in fasciculated pilasters, reminiscent of the original Gothic temple, and whose accessories are decorated with simple baroque plasterwork. The previous cover was made of wood and was supported by diaphragm arches. At the foot is the high choir, raised on a small portico covered with a coffered ceiling from the beginning of the 16th century, where the veneers with the cross of the Order of Santiago are distinguished.
In the Chapel of the Seven Words the splendid Santo Cristo de las Mercedes is venerated, accompanied by the Two Thieves. The Crucified is a work carried out between 1550 and 1560 by the circle of Pompey Leoni, who carved a body much larger than the natural, very anatomical and robust, with marked joints and muscles. Originally conceived as an altarpiece, this Christ was long mistakenly attributed to the disciple of Juan de Juni Francisco de la Maza.
The figures of the thieves are reproductions of those from the passage of La Sexta Angustia, which is in the National Museum of Sculpture. It should be noted that the Good Thief bears the face of the Duke of Lerma because he owed the artist a sum for his work on the altarpiece of the Collegiate Church of Lerma. The three sculptures form a processional passage of the Valladolid Holy Week known as In your hands I entrust my Spirit, which represents the seventh word, belonging to the Brotherhood of the Seven Words, which presides over the Sermon of the Seven Words in the Plaza Mayor in the Good Friday morning.
enlace a video: vimeo.com/306676940
Recuerdos
A lo largo del tiempo, acumulamos recuerdos y emociones, con los que se va construyendo un proyecto de vida. Con la caída de la hoja, hay que actualizar agenda, unos se van y otros llegan. También ocurre en la música, la fotografía o cualquier tipo de arte, unos se caen y otros permanecen en nuestras preferencias.
People de Barbra Streisand, me sigue pareciendo formidable. Para acompañarla, he elegido algunos de los sitios visitados, que valen la pena.
Amaneceres en Andalucía. El ponte vechio en Florencia. Puente la Reina del siglo XI y el romano de Alcántara del siglo 103 y paisajes de Extremadura. Cascadas en Croacia. Las aguas tranquilas del rio Danubio, a su paso por Budapest.
Anochecer en los campos de lavanda. Escaleras para un sueño: como la del Casino de Madrid, Loewe, o el Palacio de Longoria. Esculturas: el David, la Madomna, Felipe IV, el pensador, la puerta del infierno y otros de Auguste Rodin. La Victoria alada de Samotracia en el Louvre. El sonido a trinos del agua, bajando, por los ríos del pirineo aragonés. La simpar Venecia con sus gondoleros y el arte en sus calles de agua. Pompas de jabón y otros paisajes marineros de Cantabria. Los jardines de Aranjuez. Asturias, la belleza de sus calles, empapadas por el orbayu, la sobriedad de sus monumentos y paisajes, un lugar al que siempre hay que volver.
Un abrazo a todos y que tengáis unas tranquilas y felices fiestas.
agustin ruiz morilla
Memories
Throughout time, we accumulate memories and emotions, with which a life project is being built. With the fall of the leaf, it is necessary to update the agenda, some leave and others arrive. It also happens in music, photography or any type of art, some fall and others remain in our preferences.
People of Barbra Streisand, I still look formidable. To accompany it, I have chosen some of the sites visited, which are worthwhile.
Sunrises in Andalusia. The ponte vechio in Florence. Puente la Reina of the 11th century and the Roman one of Alcántara of the 103rd century and landscapes of Extremadura. Waterfalls in Croatia. The calm waters of the Danube river, passing through Budapest.
Dusk in the lavender fields. Stairs for a dream: like the Casino de Madrid, Loewe, or the Palace of Longoria. Sculptures: the David, the Madomna, Philip IV, the thinker, the gate of hell and others by Auguste Rodin. The Winged Victory of Samothrace in the Louvre. The sound trills the water, down, by the rivers of the Aragonese Pyrenees. The simpar Venice with its gondoliers and art in its streets of water. Soap bubbles and other seascapes of Cantabria. The gardens of Aranjuez. Asturias, the beauty of its streets, soaked by the orbayu, the sobriety of its monuments and landscapes, a place you always have to return to.
All the best, and have a quiet and happy holidays.
agustin ruiz morilla
With just a pinch and a dash
instilled silence beyond the Ash
Parus caeruleus play the tune
recalling a twilight's tribune
a mood so completely overthrown
by operatives as yet unknown
handle me with care I know-
not what the future will bestow
in it's subtitled timelessness;
driven to distraction and numbness
a cold raining down of sobriety
revamps the shivers so sharply
this tingling, sensationally borderline
from morbidity and a life divine
give in or give up is optically offered
at the end of a needle, nothing bettered
in the hours upon days I await
for it is still the weeks I cannot translate
into the simplified language of today
words to fit the here and now please say
something to ease and allay my fears
paralyses keep me walking in mind
only Iberian chillouts, music enshrined
keep me going as the athlete of hope
for I'm a surgical-citizen 'walking' a tightrope
in time that isn't on my side, nor in my presence
so it's to Nature that I seek Her finest treatments.
by anglia24
18h35: 04/02/2008
©2008anglia24
(Sting, Englishman in New York)
.. Modesty, propriety can lead to notoriety
You could end up as the only one
Gentleness, sobriety are rare in this society
At night a candle's brighter than the sun
Takes more than combat gear to make a man
Takes more than license for a gun
Confront your enemies, avoid them when you can
A gentleman will walk but never run..
Tellaro.
Dicembre 2014.
Ce remarquable édifice datant de 1050 est l'une des plus anciennes églises romanes du pays. C’est la seule à avoir conservé la pierre dédicatoire qui commémore la consécration de l’église le 20 juin 1050.
Le cadre extérieur est plaisant avec l’ancien cimetière qui entoure l’église et le tilleul séculaire tout proche. Le bâtiment est construit sur un plan très simple : une partie centrale et deux parties latérales moins élevées. L’église est conservée largement dans l’état originel des églises romanes primitives : petite taille, sobriété, simplicité de la construction, équilibre des proportions. Elle est classée patrimoine exceptionnel de Wallonie.
Elle contient un mobilier intéressant, notamment des œuvres du maître de Waha, des superbes statues de saints, la cuve baptismale, et, parmi les éléments contemporains, des vitraux réalisés par Louis-Marie Londot et ceux de Jean-Michel Folon qui rappellent le martyre de saint Etienne.
This remarkable building dating from 1050 is one of the oldest Romanesque churches in the country. It is the only one to have preserved the dedicatory stone which commemorates the consecration of the church on June 20, 1050.
The exterior setting is pleasant with the old cemetery which surrounds the church and the centuries-old lime tree nearby. The building is built on a very simple plan: a central part and two lower side parts. The church is largely preserved in the original state of primitive Romanesque churches: small size, sobriety, simplicity of construction, balanced proportions. It is classified as an exceptional heritage site in Wallonia.
It contains interesting furniture, notably works by the master of Waha, superb statues of saints, the baptismal font, and, among contemporary elements, stained glass windows made by Louis-Marie Londot and those of Jean-Michel Folon which recall the martyrdom of Saint Stephen.
Située au nord de la Bourgogne, l’Abbaye de Fontenay a été fondée en 1118 par Saint Bernard de Clairvaux, un des plus grands saints français, et est la plus ancienne abbaye cistercienne conservée au monde.
Classée monument historique français dès 1862, elle a été inscrite au patrimoine mondial de l'Unesco en 1981. Elle a été l’un des premiers monuments français à figurer sur cette liste, qui a ainsi distingué la valeur exceptionnelle, tant de l’ensemble abbatial de Fontenay que de son environnement naturel.
L’abbatiale de Fontenay est une des plus anciennes églises cisterciennes dans le monde. Construite entre 1139 et 1147, elle est aussi l’une des rares abbatiales cisterciennes du XIIe siècle parvenue intacte jusqu’à nos jours.
Selon la volonté de Saint Bernard et du chapitre général de l’Ordre de Cîteaux, rien dans l’église ne vient distraire l’œil afin que tout l’être soit tourné vers Dieu lors des offices quotidiens. C’est pourquoi cet édifice fut construit dans une grande simplicité et constitue un modèle typique d’architecture romane bourguignonne : plan en croix latine, façade dépouillée, chapiteaux sculptés de motifs simples de feuillage, rang unique de fenêtres latérales.
Cette simplicité cache de nombreux détails et une attention particulière des moines bâtisseurs pour l’harmonie et la symbolique, notamment en ce qui concerne les proportions ou le nombre de baies.
Le chœur est couvert de carreaux émaillés des XIIe et XIIIe siècles. On y trouve également un remarquable retable sculpté du XIIIe siècle, ainsi qu’un ensemble de pierres tombales dont celle de l’évêque anglais Ebrard de Norwich, qui finança la construction de l’abbatiale.
L’abbatiale impressionne par son remarquable état de conservation, ses dimensions, sa sobriété rigoureuse et sa luminosité particulière. Il y règne une atmosphère de calme et de sérénité invitant à une contemplation admirative et au recueillement.
Located in northern Burgundy, Fontenay Abbey was founded in 1118 by Saint Bernard of Clairvaux, one of the greatest French saints, and is the oldest preserved Cistercian abbey in the world.
Classified as a French historic monument in 1862, it was listed as a UNESCO world heritage site in 1981. It was one of the first French monuments to appear on this list, which thus distinguished the exceptional value of both the whole abbey of Fontenay as well as its natural environment.
The Fontenay abbey church is one of the oldest Cistercian churches in the world. Built between 1139 and 1147, it is also one of the rare Cistercian abbey churches from the 12th century that has survived intact to this day.
According to the will of Saint Bernard and the general chapter of the Order of Cîteaux, nothing in the church distracts the eye so that the whole being is turned towards God during daily services. This is why this building was built with great simplicity and constitutes a typical model of Burgundian Romanesque architecture: Latin cross plan, bare facade, capitals sculpted with simple foliage motifs, single row of side windows.
This simplicity hides many details and a particular attention of the building monks to harmony and symbolism, particularly with regard to proportions or the number of bays.
The choir is covered with enameled tiles from the 12th and 13th centuries. There is also a remarkable sculpted altarpiece from the 13th century, as well as a set of tombstones including that of the English bishop Ebrard of Norwich, who financed the construction of the abbey church.
The abbey church impresses with its remarkable state of conservation, its dimensions, its rigorous sobriety and its particular luminosity. There reigns an atmosphere of calm and serenity inviting admiring contemplation and meditation.
There's a fire in the sky tonight
and it's venomous
exhilarating death-defying passion
from the flame of those clouds floating onymous
exploding the senses in a strike of fear
hitting the deeper chord of forever
a timeless instance of the never never
as if we care to ride with anymore of such endeavour
I'll run if I want to, and fall where I wish
for I can't stand being placed here, there and nowhere
which is like renting a windowless hovel
forever in the shade of light's compere
yesterday chairs today's staging of tomorrow
seasons may change like stars in life
running drunk from a time that sobriety forgot
is there anything left at the end of the day and a life?
when a milliard emotions spark a revolution in the sky
acting as if never before seen,
but a climate of change doesn't happen overnight
only the impossible can prove what has ever been
before it's forgotten under the expressiveness of storm
that mutation of emotional munition fires us up alright
with all guns blazing we are the cumuloniminy-piminy
right up there in hell or high water we come to invite-
the war of nerves summoning the people's we know
what matters most in desperation and need
is a heraldic shield of protection and defence
the knight of the sky hammers the anvil stampede
reawaken the desire, instil the pressure feed
touch and tame, blow the cobwebs away
the mind is a herbarium under thundered weathering flights
the expression of Nature always has right of way!
by anglia24
19h00: 11/04/2008
©2008anglia24
Please ENLARGE
Viseu - Portugal
Holiday 2023
This rococo church, dating from the 18TH century, stands out, inside, the neoclassical, with sobriety and polychrome carving without gold. On the throne the chancel altar you can admire a statue of our Lady of mercy, 18TH century work.
In contrast to the austerity of the Sé cathedral and the Paço dos Três Escalões, the Rococo façade of the Church of Misericórdia with its rich decorations - a fine baroque portico topped by an exquisite balcony veranda, windows decorated with frontons and balustrades and two towers decorated with large windows - confers a note of joy within the overall severity of the courtyard.
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My Flickr stream photos best to see on Portfolio | Fluidr
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I have decided during December to Post 2 Pics a day that have not been seen on Flickr for at least 5 years. That allows me to have an "Easy Month"......it also gives some of the "Older Stuff" a bit of an "airing"...…..Hope you like them.
At the moment...….there are some pics that are already accessible "for the public" posted here...…...but the majority are still marked "Private" and will be released when the time comes
So here I was............?
Sober.
And in my sobriety I decided to do a bit of Bird watching.
No patient reader, I wasn't watching the "birds" I used to watch as a younger man....but the variety that has wings (and that can get away from me just as quickly...I might add)
So where was I?.
Oh yes..so I was doing a little vogel watching in the Albufera(don't ask!!!!)....and how bloody boring is that ?...I can tell you....!!!!
Now the little bastards are not that stupid, they knew I was there before I did.......!!!!
Anyway......the squadrons all took off at the same time(what a racket they made I can tell you too......
So I waited and waited and waited in this little shed for the little buggers to return.......but only the stupid ones returned.
So I took this snap quickly and made a quick retreat to the pub.
Hope?
is the surprise of reality
given in dreams
from the deepest realms of sobriety
in the qualm of hidden fear
the pulse?
has no finger to sanctify;
only acting on impulse
this time,
eradiating results of Spring
not for the first time,
nor the last rite it may bring
all the unsaved work,
of which, what becomes?
this quandary of ills
beget the forgotten heartbeaten drums
and is help at hand?
the same one
with a finger on the pulse
of coincidence undone
I'm pining away the good health
in adrenalin rushes
of forgiven co-insurance
that of life and the other side it brushes
I hear it all now
chanting in melodious trance
taking me further...away
a somewhat reflective glance
it is to be sure
the reign of health
that sovereign of "today"
exacts revenge upon lost "wealth"
those riches we plundered
reserves of yesterday they were
used up earlier leaving nothing
but a dry, empty tank to confer
can it really be so?
the relic of surviving the past
is but a ghost of tomorrow -
a premonition as yet unsurpassed.
by anglia24
08h45: 29/04/2008
©2008anglia24
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Sorry for being absent my dear flickr friends, I have problems with my heart. Still awaiting MIBI and other cardiology results.
Have a fine day all~~!!