View allAll Photos Tagged three
Three of the trapeze artists performing at Circus Circus in Las Vegas; purple colouring on people from curtain that was in front of those watching
Camera Used: Canon E0S Rebel T1i
Lens Used: Canon EF-S 18-55mm f/3.5-5.6 IS lens
be good this weekend!
trying to do something besides flowers
a little outside of my comfort zone
bear with me
lovely frame care of borealnz
lovely texture found here: www.flickr.com/photos/dianna1966/3297190749/in/set-721576...
Watercolor on Arches paper, 20"X14".
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Es ist nicht wirklich einfach, die drei unter einen Hut zu bringen. Nurt gut, dass ich sie nicht analog versucht habe zu fotografieren.
Wenigstens sehen sie hier alle mal in eine Richtung. Wer weiß, was sie da gerade beim Nachbarn gesehen haben ;)
It's not really easy to bring the three under one hat. Just as well, I didn't try to photograph them analog.
At least they look here all in one direction. Who knows what they have seen just at the neighbors
At three meters, Briskeby bench is the longest single bench in our collection. It works brilliantly as a generous and sociable meeting place with room for many. The bench has a timeless Scandinavian look with expansive steel and wooden surfaces and is elegant and comfortable. It comes in linseed oil-treated Nordic pine as standard. It also comes in painted Accoya.
Design: Andreas Engesvik
Hot dip galvanized steel,
linseed oil-treated pine
Photographer: Einar Aslaksen
This is a model of a Russian mobile engagement radar.
Missile guidance in fact involves two functions; target detection and missile guidance. As very long range missile systems require very powerful, and very large radars. some systems take advantage of this to split the Radars up into targeting and detection systems.
Madrid, Spain
Please, do not use this photo without permission
Por Favor no usar esta fotografía sin permiso
Random views in Porto, Portugal. I liked how the umbrellas echoed the colors in the windows and tiled roofs.
Tunnels for: sheep, the creek and cars.
Almost a grade separated junction, except that the tunnels are not connected, they are indeed designed for incompatible traffic.
None are for walking humans - the sheep tunnel is fittingly the one they could try without much danger or difficulty.
One of the three newspaper boxes accepting credit card payments in front of The Birmingham News' headquarters in downtown Birmingham, AL in June 2011.
bhamterminal.com/blog/2011/06/28/birmingham-news-box-take...
The church of the holy Trinity of the minorits in Vienna
8 Vienna, Alserstraße 17
History
The Minorit order was founded by Saint Francis of Assisi in 1209 and is as the oldest branch of the Seraphic Order the guardian of the Franciscan sanctuaries in Assisi and Padua. Even during the lifetime of St. Francis, the Friars Minor in 1224 by Margrave Leopold VI, the Glorious, were summoned to Vienna, where they in 1247 founded monastery and church of the Holy Cross. It is the Minoritenkirche (Minorits church) near the Hofburg Imperial Palace on the Minoritenplatz. It is as beautiful, Gothic building a landmark of the city. From 1559 to 1620, the Minoritenkirche was used in part by Protestant preachers. 1748, the foundation stone was laid for a new building of the monastery in the city, but on 21th November in 1783 befell the monastery the abolition decree of Emperor Joseph II, the church was closed, demolished the monastery and the Franciscans on imperial order in 1784 moved into the monastery of the Trinitarians on the Alser road. There, they took over the pastoral care at the General Hospital and later also the by the Emperor Joseph II in 1783 Alservorstadt (suburb) built parish. The Order of Friars Minor is the second oldest in Vienna and they have been working here 760 years without interruption.
Church and Monastery
Popularly the church is know as "Alser Church", before it was also called "to The White Spaniards". Thus, the Trinitarians were meant in contrast to the neighboring Black Spaniards. Those were an order to the salvation of captived Christians, which was summoned from Spain via Lviv to Vienna. Leopold l gave in 1688 the Trinitarians permission "to choose a comfortable place to a church and a monastery outside the city". After the friars had acquired the grounds, arised initially a modest chapel with the altarpiece of the Holy Trinity. This original chapel is still used as a sacristy. Also the first altarpiece is kept by the Franciscans. It now hangs in the "Neunkirchner" library. 1689, the chapel was consecrated and the first Holy Sacrifices of the Mass by the bishops Count of Trautsohn and Count of Kollonitsch celebrated. As the chapel soon did not provide enough space for the numerous attended church services, it was expanded to a small church. This church had three altars and a wooden tower with two bells. Meanwhile the friars were also occupied with the plan to build a monastery. The foundation stone laid Bishop Count Trautsohn in 1690. This flat stone has got on the upper side a cross-shaped recess in which cavity a cross of ore is cast. The foundation stone of the monastery is located near the Cardinal stairs, so of the large staircase in the cloister next to the confessional. 1691 the Trinitarians solemnly moved into the new monastery, which was completed in 1694 for the most part. Now the Trinitarians proceeded to build the present Alser church Alser. 1695 Emperor Leopold I. laid with great pomp the foundation stone. In 1702 the church together with the towers and the beautiful facade was completed. The Trinitarians had served 95 years (1688-1783) in honor of the Holy Trinity in Vienna. On 21th November 1783, Emperor Joseph II disposed the abolition of the order. Instead of the Trinitarians were on 1st May 1784 the Franciscans from their monastery in the inner city summoned here. They transferred their church utensils and vestments, three altars and the miraculous image of St. Anthony from the old Minoritenkirche. They also moved the rich archive and library of the monastery in the present parish Alservorstadt. This emerged on 20th April 1783 according to the by Emperor Joseph II taken new parish division. It comprised 130 houses during its formation. Today it counts about 500 houses and extends from the Florianigasse in the Josefstadt (8th district) to Währingerstraße on Alsergrund (9th district). Due to the many hospitals and the former poor and foundling hospital, the parish has currently the largest Matrikenarchiv (register book) of Europe. Until the Second World War, the Matrikenämter (register book offices) exercised the function of the registry offices (effective date 1.1. 1939). Each change of civil status was registered in the competent minister's office (Pfarramt). In the parish Alservorstadt there are especially birth and death registrations. This very day, these books are kept in the relevant Taufpfarre (baptism parish) for religious purposes.
Sights and monuments of the church
The church is a classic building of the early Baroque. The beautiful facade has two towers with high domed roofs. The interior is cruciform and vaulted by a dome, on both sides are longitudinal chapels. The Baroque facade is considered the oldest example of a concave shape in Vienna. So the main portal lies in the line of flight behind the towers. The facade is dominated by a Trinity group over the main portal also to the outside world showing to whom this church is consecrated. At the time of the Trinitarians was at this point a stone replica of the ears cross. The high altarpiece, a work of Joseph Ritter von Hempel from 1826, shows the Holy Trinity. The image above the tabernacle is made by Hans Veit from the year 1949 and is a copy of the famous Madonna of Cignani (1628-1719).
Noteworthy are mainly the altars in the aisles. On your left, the artistically valuable altar of Mary with the image of the "Immaculate Conception" of the Biedermeier painter Leopold Kuppelwieser (1796-1862) and a picture of St. Maximilian Kolbe from 1982.
The counterpart forms the Francis altar with the image "Stigmatization of the St. Francis of Assisi" 1746 painted by the Minorite Innocent Moscherosch. On both altars there are stylish wooden carved and gilded reliquary shrines in pyramid form containing the Gebeinpartikeln (skeleton particles) of Roman martyrs. In the aisles are also statues of the Saints John Nepomuk, Sebastian, Florian and Anthony of Padua.
In the first alcove on the right is the cross altar, which is also called "relics altar". In the sarcophagus-like refectory of black marble rest the remains of a Roman Katakombenmärtyrer (martyr of catacombs) named Viktor. These relics stem from the Zömeterium (coemeterium) of the St. Priscilla. The coronation of the altar constitutes the huge crucifix which is located since November 30, 1708 in the church and stems from the circle of the famous sculptor Veit Stoss (1445-1533). It was given here by the Duchess Elisabeth Dorothea of Schleswig-Holstein after her husband, Earl Rabutin, General and commander in Transylvania, it had discovered in the device chamber of a Lutheran, formerly Catholic Church. This cross became well known in common parlance as Cross of ears and was highly revered because beside the plastic was located in the manner of an ear of corn braided palm branch which also gave occasion to the realm of legend. Answers to prayers and graces reinforced the pilgrimage influx and copies of this venerated Cross were set up in many churches. Only in the Josephine era the Cross of ears fell more and more into oblivion and the St. Anthony of Padua took after moving from the inner city to the Alser church the first place of worship. A detailed description of this Cross of ears is laid out in the Provincial Library .
The other side altars are on the right side the Sacred Heart altar with a Head-Christ-image and the St. John of Nepomuk altar with an image of St. Anne. In the longitudinal chapels of the left side are standing the altar of the Virgin Mother, the Joseph altar and the altar with the image of the Adoration of the Magi.
In a glassed niche in the Nepomuk altar stands a in the Trinitarians much revered image of Mary, the bust of the "weeping mother of God", a work of Spanish origin by Pedro de Mena (1628-1688). It dates from the years 1662/63 and falls both stylistically and in material from the familiar framework of in Austria existing Baroque sculptures. The bust is carved from mahogany and pine wood and painted extremely naturalistic. The existence of this sculpture, which was brought by the Trinitarians from Spain to Vienna, is not only as testimony of the manifold connection between Spain and Austria significant, but also because sculptures outside Spain of this artist are extremely rare. The "weeping Madonna" is highly revered by the faithful people. The Alser church is also famous for its relationship with two of the greatest Viennese composers: Here was on the 29th March 1827 the body of Ludwig van Beethoven consecrated. His death is in the local Sterbematrik (registered dying book) under the date 26th March 1827 with the words stated:
"Ludwig van Beethoven, unmarried composer (Tonsetzer), born in Bonn in the kingdom, 57 years old, died of dropsy, buried at 29 March at the God's acre of the village Waehring".
On 2nd September 1828 Schubert wrote a few weeks before his death for the bell consecration of this church the hymn "Faith, hope and love". Thereto remember two bronze reliefs of Tautenhayn that had the Vienna Schubertbund in honor of the Musicians at the church front in 1927/28 installed. Another treasure possesses the Alser Church in Schlösselgasse. Beside the left tower a small chapel is added. There stays still the second of seven once erected stations of the Cross. Built in 1639 by the chapter of St. Stephen by P. Corotus Mussaid SJ under Emperor Ferdinand II, they were a station of the way of the Cross leading from the St. Stephen's Church to Calvary. Priest P. Norbert Kalcher had the four-figures group in the years 1983/84 renovated. As last preserved document of the former Calvary, this station is a historical and Christian landmark of Vienna.
St. Anthony chapel and Anthony worship
Through the with simple stained glass from the life of St. Anthony decorated cloister - the right of the church door - you get to the Anthony Chapel with the by the people highly revered, holy image of the saint. The Vienna miraculous image of the great wonder-worker of Padua dates from the time of Emperor Ferdinand II. A commander of the emperor, Count Rambaldus Collalto, a native of Mantua, who was in the Austrian service, it has 1630 donated and brought from his native Italy to Vienna. When the Franciscans in 1784 were made by Joseph II to move to the repealed Trinitarian they took the picture of grace. It shows, in contrast to the usual representations, the saint not with the child Jesus in his arms but with book and lily. The cultic line of the image leads directly to the Paduan representation. Serious facial expression, peace and security characterize the painting that comes from the Baroque period, but already shows the distinctive features of the classical conception of art. The saint is crowned with a gold halo, which bears the inscription:. ."Sancte Antonio de Padua, ora pro nobis, Anno 1656". After the moving of the Franciscans from their city monastery the brought along rich silver altar with the miraculous image of St. Anthony was in a chapel erected. These first Anthony's Chapel in the Alser church emerged in the vault of a walled monastery portal. At this point now is situated the memorial of the Holy Maximilian Kolbe. The silver of the Anthony's altar had, among other gold and silver devices of the Church, in the course of the Napoleonic Wars to be delivered to the Mint and the altar obtained the figure as it shows now. A renovation of the sanctuary was made in 1825 by Joachim Landi, a Ehrenhofkaplan (Court of honour chaplain) who had for this purpose gathered from benefactors donations.
Since the devotees of St. Anthony more and more numerous pilgrimaged to the miraculous image of the saint and the small chapel was not capable to incorporate the visitors it was decided in 1928 to build a larger chapel. On 24th July was began with the work. The plan for the building comes from Hans Prutscher. The new Anthony's Chapel was on 11th November 1928 by Cardinal Friedrich Gustav PiffI, the Archbishop of Vienna, with great participation of the clergy and faithful people under the priest father Hyazinth Grimm consecrated. In 1956 the chapel was under the priest father Wolfgang Klein according to plans of architect Hans Petermair on the inside rebuilt and redesigned in order to achieve a harmonious and unified image in architecture and layout of the line. The architectural parts of the chapel were formed in red stone, the altar niche in Stukkolustro (stucco lustro) designed, the ceiling with a relief "Anthony and the people seeking help" provided, the altar new gilded. The stained glasses of the four windows of the chapel are representing the four cardinal virtues: prudence, justice, fortitude and temperance. 1980 was under the priest father Norbert Kalcher the chancel of the Antony's chapel transformed and renovated the whole Anthony's Chapel.
300 years ago at the old Minorites church the first Brotherhood of St. Anthony was established in Vienna and equipped with special indulgences. Many members of the imperial family belonged to it. Every year on the 13th June visited the Court the church to pay homage to St. Anthony. This already existing veneration of Anthony was the prerequisite for the special adoration which was established during the heyday of the Austrian Baroque and continues to this day in the faithful people. On the walls of the Anthony Chapel and the cloister about 4300 votive tablets are attached, donated by grateful people who gave the saint being heard their pleas. From early morning to late evening, Bittsuchende (pilgrims) come to the miraculous image of St. Anthony.
Father Maximilian Kolbe Memorial
Before the entrance into the Anthony Chapel there is a by Professor Ernst Degasperi designed sgraffito in black, white and red, it is the memorial for the 10th October 1982 by Pope John Paul II canonized Minorite father Maximilian Kolbe from Poland.
Father Maximilian Kolbe on 14th August 1941 in Auschwitz sacrificed himself for a family man and has gone to his death. This impressive and iconic work of art was made under the Priest father Albert Duke in 1972 and shows the martyrdom of our time in the parable of the Passion of Christ. Five emerging nails from the track system, an urn containing human ashes as well as a crown of thorns from the barbed wire of Auschwitz emphasize the exhortation to love against the horrors of our world. In addition to the worship of St. Anthony, more and more people seeking refuge come to the monument of St. Maximilian Kolbe.
Crypt
In the church to the left of the main entrance a few steps lead down to the crypt, which at the time served as a burial place for the Trinitarians and benefactors of the church. The crypt also contains the tombs of several high-ranking personalities from ancient times, such as the tomb of Count Carossa (died 1693), Princess Maria Leopoldine of Hohenzollern, the Count de Rabutin Boussy and other nobles. To 3 April 1782, 241 dead were buried under the church. Under the high altar in the crypt stands the Allerseelenaltar (All Soul's altar) with a Holy Trinity group of stone. Besides the religious function, the crypt of the parish Alservorstadt also had an important function as a refuge. Testimony of it give a series of wall drawings and inscriptions from wars of this and the last century. One of the most recent with pencil written inscriptions reads:
As the planes roared above we learned this vault praise! In Flakgebrüll (flak bellowing) and Bombennot (distress of bombs) we us hided here in front of death! 1.II.45 1943-45
At this protective function reminds the on the spot remaining air safety regulations. In addition, from this room a number of passages run out. One of them, which also in the second World War II was used, led to the General Hospital. Thus the ministry was possible in times of war, too. In 1973, the crypt was renovated under the minister P. Hilarius Breitinger and dedicated as the burial place of the Friars Minor.
Provincial Library
The Monastery of the Friars Minor is home to a very rich library. The original part of the so-called "Wiener Library" was brought here on the occasion of the transfer of the Friars Minor from the Inner City. The Franciscans stood ever since it can remembered primarily in the service of science and in close relationship with the university. Prior to the founding of the university in 1365 were Franciscans as editors of theology active. More than 50 Franciscans worked as professors at the University of Vienna. In 1621 was founded by the Franciscans an own religious high school from which emerged very deserved monks. Yet the storming of the monasteries, Emperor Joseph II and the relocation of the Friars Minor in the Alservorstadt put an end to this development. In favor of the pastoral work in the parish and the hospitals the scientific work of the Order had to drift into the background.
In 1969, this library was opened to the public for the first time. In addition to the "Wiener Library" was already the library of the convent of Neunkirchen (Lower Austria) brought here. Subsequently took place other exhibitions in the library area. The great order anniversary "750 years Franciscans in Austria" in 1974 was already the "Asparner library" in the Alservorstadt. 1977 was finally the library of Graz Mariahilf been brought here, too. The librarian father Landulf Honickel and the provincial and pastor father Clemens Breineder thus creating a central library of the Austrian Minoritenprovinz succeeded. The inventories include certificates and manuscripts of the four convents as well of church music of the 17th and 18th century.
Three apples, taken on glass over black velvet background in natural available light from side window.
4083.
365 Days in Colour: January colour: Pale Blue: #13.
Macro Mondays: 1/14/2013: Rule of thirds with three things.
Another shot of what has quickly become one of my favorite abandoned farmsteads. It is a very complete abandonment, with the farmhouse, outhouse, two large sheds, and two barns across the road. It sits on a nice sandy ridge, left over from when this was the Mississippi River bottom after the Ice Age receded.
This time a profile shot of one of "my" wild vixens.
I've recently seen two fox cubs, but I'm not sure to which of the vixens they belong. They seem to act as a pack... three adult vixens and the two new cubs.
A favourite grouping of trees that I revisit periodically. Flat light and a blank sky gave a certain effect which I've accentuated slightly by tweaking the midtone contrast.
Image copyright © Michéla Griffith www.longnorlandscapes.co.uk. All rights reserved. Please contact me if you would like to use this image.