View allAll Photos Tagged supervisor
Not really. Just keeping me company while I hang laundry, and keeping me company is of course a big part of Grant's job.
Sole would never try to get outside but he is interested in everything that goes on out there. Here he's keeping tabs on my evening garden care routine. Bless 'im.
Thought I would post a sign (for Daves amusement)
The Movements Supervisor - Sounds like a sh1t job to me...
In September 2009 a large grass fire was sparked on Communication Hill in San Jose following a Transformer explosion. San Jose Fire department called for a Tier 3 Wildland Response plus a County wildland task force plus a CalFire high response.
As is common on larger fires the AMR Field Supervisor was also on scene, in addition to a transport ambulance in case there is an injury.
This unit is a Ford F350 chassis with a custom built body.
Well when your finished and are helping out the night supervisor your then able to help with the yard plan. Can anyone spot our bus parked up
DDC-Take Your Dog To Work Day
Since I'm a Domestic Engineer and work at home this is one of the jobs I do every day. I make the bed. Today Shizandra was supervising me as I was doing the job. Good Job Shizandra!
Barrington Court is a Tudor manor house begun c. 1538 and completed in the late 1550s, with a vernacular seventeenth-century stable court (1675), situated in Barrington, near Ilminster, Somerset, England. It was the first house acquired by the National Trust, in 1907, on the recommendation of the antiquarian Canon Hardwicke Rawnsley.
Barrington Court, once dated 1514 and considered an early example of a symmetrical front, was completed in the late 1550s for William Clifton, a London merchant who had been assembling a Somerset estate. Its central entry porch leads into a screens passage with the Hall on the left and, an innovation, a service passage leading to the kitchen wing that occupies the right wing. A symmetrically sited gatehouse (rebuilt) was set far forward of the house, to permit a full view of its symmetrical facade.
The interior of the house suffered from its demotion to a tenant farm, and from a fire in the early nineteenth century; after being almost derelict it was repaired under the supervision of Alfred Hoare Powell. Barrington Court was acquired by the National Trust for Places of Historic Interest or Natural Beauty in 1907 and was leased to Col. Lyle of Tate & Lyle in the 1920s. He and his wife turned the house around and refurbished the court house and renovated Strode House (built by William Strode in the 1600s) which was originally a stable and coach block. It was at this time that the Lyles contracted Gertrude Jekyll to design the three formal gardens on the property that are kept in beautiful condition by the head gardener.
Texture by pareeerica:
Grunge Chocolate:
www.flickr.com/photos/8078381@N03/3173423766/
Explored 23.07.09 - #177
As usual The Robin hopped along to supervise the weeding of his garden this afternoon.
CroftGlenImages.blogspot.co.uk
Photos © George Crawford.
I Quattro Canti, o piazza Villena, o Ottagono del Sole, o Teatro del Sole, è il nome di una piazza ottagonale all'incrocio dei due principali assi viari di Palermo: la via Maqueda e il Cassaro, oggi Via Vittorio Emanuele (antica via di origine fenicia, collegante l'acropoli e il Palazzo dei Normanni al mare), a metà circa della loro lunghezza.
Il nome esatto della piazza è Piazza Villena (in omaggio al Viceré il cui nome completo era marchese don Juan Fernandez Pacheco de Villena y Ascalon), ma le fonti antiche la ricordano come Ottangolo o Teatro del Sole perché durante le ore del giorno almeno una delle quinte architettoniche è illuminata dal sole.
I Quattro Canti propriamente detti sono i quattro apparati decorativi che delimitano lo spazio dell'incrocio. Realizzati tra il 1609 e il 1620[3] e sormontati dagli stemmi (in marmo bianco) reale senatorio e viceregio, i quattro prospetti presentano un'articolazione su più livelli, con una decorazione basata sull'uso degli ordini architettonici e di inserimenti figurativi che, dal basso in alto, si susseguono secondo un principio di ascensione dal mondo della natura a quello del cielo. I quattro piani di facciata risultano così decorati: al piano inferiore, fontane che rappresentano i fiumi della città antica (Oreto, Kemonia, Pannaria, Papireto); quindi, un ordine in stile dorico, contenente le allegorie dalle quattro stagioni (rappresentate da Eolo, Venere, Cerere e Bacco); l'ordine successivo, in stile ionico, ospita le statue di Carlo V, Filippo II, Filippo III e Filippo IV; infine, nell'ordine superiore, le quattro sante palermitane, Agata, Ninfa, Oliva e Cristina, patrone della città già prima dell'avvento di Santa Rosalia (1624) e di san Benedetto da San Fratello (1652).
Un antico detto che celebrava nei Quattro canti il centro virtuale di Palermo recitava "feste e forche a Piazza Villena" (pubbliche feste ed esecuzioni capitali). Assunto nel 1606 il governo della città e dell'isola, il viceré, due anni dopo, affidò all'architetto fiorentino Giulio Lasso la sistemazione urbanistica della piazza, alla quale si lavorò per molti anni. Il progetto era ispirato al crocevia delle Quattro Fontane di Roma, disegnato dagli urbanisti di Papa Sisto V in forme molto più dimesse della successiva versione palermitana.
Nel 1609 doveva già essere terminata la parte strutturale dei due cantoni poi detti di Santa Ninfa e di Sant'Agata, che portano gli stemmi del viceré Vigliena. Nel 1612 era completo il cantone di Santa Cristina, aderente a San Giuseppe, promosso dal viceré Ossuna. Nel 1615 Giulio Lasso è già morto e dal 1617 è direttore dei lavori Mariano Smiriglio, ingegnere del Senato e già sorvegliante del cantiere durante la direzione del Lasso.
Con Mariano Smiriglio si assiste ad un cambiamento del programma decorativo iniziale: nell'ordine superiore, che in origine avrebbe dovuto ospitare le statue dei sovrani, vengono sistemate le statue delle quattro sante vergini palermitane: Santa Cristina, Santa Ninfa, Sant'Oliva e Sant'Agata. Dei quattro simulacri regali, previsti originariamente in bronzo, da Scipione Li Volsi, vengono eseguiti soltanto quelli di Carlo V d'Asburgo, poi collocato in piazza dei Bologna e quello di Filippo IV, un tempo posto sopra una macchina marmorea nel piano del Palazzo dei Normanni e poi distrutto. Le attuali statue in marmo presenti ai Quattro Canti furono scolpite fra il 1661 ed il 1663 da Carlo D'Aprile.
Il 2 agosto 1630 vennero appaltati i lavori per la fabbrica delle quattro fontane con le statue delle Quattro Stagioni, anch'esse previste in bronzo e poi realizzate in marmo: la Primavera e l'Estate furono realizzate da Gregorio Tedeschi; l'Autunno e l'Inverno da Nunzio La Mattina. Le attuali conche inferiori delle quattro fontane sono ottocentesche e furono realizzate per compensare il dislivello creatosi nel piano di calpestio della piazza che era stato ribassato a causa del livellamento della via. Il "Quinto Canto" che si vede su via Vittorio Emanuele ed è parte della facciata destra della Chiesa di San Giuseppe dei Teatini fu decorato nel 1844.https://it.wikipedia.org/wiki/Wikipedia_in_italiano
The Quattro Canti, or piazza Villena, or Ottagono del Sole, or Teatro del Sole, is the name of an octagonal square at the intersection of the two main roads of Palermo: the Via Maqueda and the Cassaro, now Via Vittorio Emanuele (ancient via of Phoenician origin, connecting the acropolis and the Palazzo dei Normanni to the sea), about half of their length.
The exact name of the square is Piazza Villena (in homage to the Viceroy whose full name was Marquis don Juan Fernandez Pacheco de Villena y Ascalon), but the ancient sources remember it as Ottangolo or Teatro del Sole because during the hours of the day at least one of the architectural scenes is illuminated by the sun.
The Four Canti properly so-called are the four decorative apparatuses that delimit the space of the intersection. Created between 1609 and 1620 [3] and surmounted by the royal and white coat of arms (in white marble), the four façades present an articulation on several levels, with a decoration based on the use of architectural orders and figurative insertions , from bottom to top, follow one another according to a principle of ascension from the world of nature to that of heaven. The four floors of the façade are thus decorated: on the lower floor, fountains representing the rivers of the ancient city (Oreto, Kemonia, Pannaria, Papireto); therefore, a Doric style order, containing allegories from the four seasons (represented by Aeolus, Venus, Ceres and Bacchus); the next order, in Ionic style, houses the statues of Charles V, Philip II, Philip III and Philip IV; finally, in the higher order, the four saints of Palermo, Agata, Ninfa, Oliva and Cristina, patron of the city even before the advent of Santa Rosalia (1624) and of Saint Benedict of San Fratello (1652).
An ancient saying that celebrated the virtual center of Palermo in the Quattro cant recited "parties and forks in Piazza Villena" (public holidays and capital executions). Hired in 1606 the government of the city and the island, the viceroy, two years later, entrusted the Florentine architect Giulio Lasso with the urban layout of the square, which was worked on for many years. The project was inspired by the crossroads of the Four Fountains of Rome, designed by the urbanists of Pope Sixtus V in much slighter forms of the subsequent version of Palermo.
In 1609 the structural part of the two later cantons of Santa Ninfa and Sant'Agata had to be finished, bearing the coats of arms of the Viceroy Vigliena. In 1612 it was complete the canton of Santa Cristina, adherent to St. Joseph, promoted by the viceroy Ossuna. In 1615 Giulio Lasso is already dead and from 1617 is the director of the works Mariano Smiriglio, engineer of the Senate and former supervisor of the yard during the direction of Lasso.
With Mariano Smiriglio there is a change in the initial decorative program: in the higher order, which originally had to host the statues of the sovereigns, the statues of the four holy virgins of Palermo are placed: Santa Cristina, Santa Ninfa, Sant'Oliva and Sant 'Agate. Of the four regal simulacra, originally planned in bronze, by Scipio Li Volsi, only those of Charles V of Habsburg are executed, then placed in Piazza dei Bologna and that of Filippo IV, once placed on a marble machine in the floor of the Palazzo dei Normans and then destroyed. The current marble statues present at the Quattro Canti were carved between 1661 and 1663 by Carlo D'Aprile.
On August 2, 1630, works were commissioned for the factory of the four fountains with the statues of the Four Seasons, also provided in bronze and then made of marble: the Spring and Summer were made by Gregorio Tedeschi; Autumn and Winter by Nunzio La Mattina. The present lower basins of the four fountains date back to the nineteenth century and were built to compensate for the difference in height created by the level of the square which had been lowered due to the leveling of the road. The "Quinto Canto", which can be seen on Via Vittorio Emanuele and is part of the right façade of the Church of San Giuseppe dei Teatini, was decorated in 1844