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Mi amor peludo, me has enseñado el valor del compromiso, me siento inmensamente feliz cuando estoy contigo; te quiero a mi lado porque mi vida es inconmesurablemente mejor, nuestro amor es incondicional, y porque cada día me enseñas algo nuevo y diferente.
Me muestras amorosamente y agradeces un paseo por corto que éste sea. Me has acostumbrado a vivir entre un caos de pelos y juguetes. La vida no sería lo mismo sin tí, preciosa!
Mon amour poilu, tu m'as appris la valeur de l'engagement, je me sens immensément heureux quand je suis avec toi; Je t'aime à mes côtés parce que ma vie est infiniment meilleure, notre amour est inconditionnel et que chaque jour tu m'apprends quelque chose de nouveau et de différent.
Tu me montres avec amour et merci pour cette petite promenade. Vous m'avez habitué à vivre au milieu d'un chaos de cheveux et de jouets. La vie ne serait pas la même sans vous, précieux!
My hairy love, you have taught me the value of commitment, I feel immensely happy when I am with you; I love you by my side because my life is immeasurably better, our love is unconditional, and because every day you teach me something new and different.
You show me lovingly and thank you for a short walk that it is. You have accustomed me to living amid a chaos of hair and toys. Life would not be the same without you, precious!
Mio amore peloso, mi hai insegnato il valore dell'impegno, mi sento immensamente felice quando sono con te; Ti amo al mio fianco perché la mia vita è incommensurabilmente migliore, il nostro amore è incondizionato, e perché ogni giorno mi insegni qualcosa di nuovo e diverso.
Mi fai vedere amorevolmente e ti ringrazio per una breve passeggiata che è. Mi hai abituato a vivere in mezzo a un caos di capelli e giocattoli. La vita non sarebbe la stessa senza di te, preziosa!
Dans un parc Quijorna. La communauté de Madrid. Espagne.
En un parque de Quijorna. Comunidad de Madrid. España.
Class68's 68021 'Tireless' & 68016 'Fearless' head away from Malvern Link station and towards Worcester on 28-9-16.
The working is the 1Q16 03.29 Landore TMD to Derby RTC. Test train. As far as I am aware these locos were not used again through Malvern.
Ref: IMG_1485 28-9-16
“Whether you approach your dreams on soft feet or in a breathless run,
just so long as you acknowledge that your dreams are valuable and worthy of pursuing,
then you’ve made it.” D Monk
Thank you everyone so much for sharing your quality photos which is a great way to see and keep in touch with the world from home. Also for your kind comments and favours which are much valued.I am not able to take on any more members to follow or to post to groups. I prefer not to receive invites to groups
Monumento histórico de Francia (PA24000029).
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🇪🇸 Bergerac
Tomada a 38 m.s.n.m.
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i love this place,tøyenbadet, where i go for my not so regular swim.
the place is practically stacked with 70-80's memorabilia,and has this inherent charm that is becoming to a place that has remained unchanged for the last 30 years.
the last time i went swimming, i ended up behind an old lady with a hairnet,who left this unmistakeable taste of hairspray in the water.
distasteful one might say, but i kinda just closed my eyes, and drifted behind her,
and suddenly all these half-gone memories of friendly neighbors with their tea and cupcakes re-entered my mind..
and i somehow had an instantaneous feeling of "home".
so after years of detachment i'm finally rediscovering the innocent feeling of childlike safety..in a swimming-pool. filled with aerosol..
my therapist is going to kill me for this..
The Formentor Lighthouse is located in the extreme north of Mallorca in the municipality of Pollensa. Built at 188 meters above sea level, it houses a tower 22 meters high and the range of the lighthouse is 44km.
On the way to the Formentor Lighthouse you will enjoy beautiful panoramic views. On the last stretch of road in the distance you will see the Cape of Formentor with its beautiful lighthouse.
The area where the Formentor Lighthouse is located is of great scenic value and forms part of the Sierra de Tramuntana declared by UNESCO as a World Heritage Site.
Old Provincial Museum built in (1892-1893) now Employment Centre located on Ductworth Street in the City of St. John's on the Avalon Peninsula in Newfoundland and Labrador Canada
The Old Provincial Museum is a large Classical Revival brick and sandstone building located at 285 Duckworth Street in downtown St. John’s, NL. The designation is confined to the footprint of the building.
The Old Provincial Museum was designated a municipal heritage structure by the City of St. John’s because it has aesthetic, historic and cultural values.
The Old Provincial Museum has aesthetic value because it is architecturally unique in St. John’s. Built in classical revival style, the front façade of the building bears a strong resemblance to the Roman triumphal arch. Two large brick end towers flank the central sandstone arch and frieze, and each tower is topped with a copper roof dome. Each end tower has a series of stone banding, with two bands near the top, one at the middle and one at the bottom. The towers are punctuated by a single window in each and they are decorated with a stone sill and a single stone keystone above each. More remarkably, the sandstone frieze that graces the front of the building features important icons of Newfoundland’s identity and history. Manufactured in England in 1907 the stone components are 8.5m by 2.1m, and occupy pride of place over the lintel of the main doorway. Above the arch and frieze are three side by side windows and above them is a balustrade. The whole effect is a balanced and symmetrical appearance. The main door has been modernized with glass and metal, but it encompasses the entire stone arch opening with a large half circle window at the top. The archway has a keystone and it features stone supports that span the opening: one horizontal and two vertical.
The Provincial Museum is historically valuable because of its age, having been constructed in 1907 – the same year that the colony of Newfoundland was conferred dominion status. The front facade features a frieze depicting icons of Newfoundland. The central section features the Royal Coat of Arms, sculpted figures and mottos taken from the Grand Seal of Newfoundland. The scene depicts Mercury, God of Trade and Merchandise, presenting to Britannia (representing Britain) a kneeling fisherman offering a catch of newly harvested fish. Britannia also carries a shield embossed with an image of the British flag and a trident. Mercury, in keeping with his role as messenger of the gods and protector of trade and merchants, carries a caduceus, a wand entwined with serpents, capped with wings. This symbolizes commerce, travel and communication. The mottos are highly significant, “Haec tibi dona fero” (I bring you these gifts), symbolizes the wealth of the fishery resource Newfoundland provided for the British Empire at that time. “Terrae Novae” (for or of Newfoundland) indicates the museum’s role of keeping important items of Newfoundland heritage for the benefit of Newfoundlanders. Scenes showing other aspects of Newfoundland’s resource wealth are featured on either side of the central section. To the left is a section devoted to the importance to the lumber industry, while on the right is shown a mining scene.
It is also historically valuable because it was once the provincial museum. The museum opened in 1911, under the directorship of James Howley – Newfoundland’s second director of the Geological Survey. Howley died on January 1, 1918, and the museum went without a director for some time. The Museum appears to have closed in the late 1920s, as a reopening was announced for May 1928. The Museum was closed to the public in October 1930 due to significant leaks in the roof. The Commission of Government years were the darkest in the Museum’s long history, as it was totally shut down for many years and its collections dispersed. In 1946, responsibility for the Museum was transferred to the Department of Home Affairs. The Public Libraries Board moved to the lower floors of the Museum building and the top floor served as exhibit space. In 1955, “An Act respecting the Preservation of Historic Objects” assured the Museum’s provincial status and it reopened in 1957. In 1971, the entire building was made available for exhibits. In 1976 the Museum closed for major reconstruction – reopening in 1979. In 2005, the provincial museum was moved to The Rooms.
Source: Heritage Foundation of Newfoundland and Labrador
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Value the person you love now.
Tomorrow, when you send a message, she may not be online anymore and it will hurt not to see her typing ...
You will comment "nostalgia" on the old photos, and she will not be there to answer;
You're going to knock on the door and she may not be able to open it;
You will want to call again to hear that voice and she will not be able to answer ...
Life is mysterious and full of "maybe", so be sure to show your feelings tomorrow; tell the person you love how important she is, maybe she just has to listen to you tonight.
The original houseboats are charmingly restored ships that hail from Amsterdam’s seafaring and trading legacy. Many of these are more than 100 years old and retain original features alongside modern amenities, such as electricity, heating and running water. In the 1960s and 1970s, an influx of more modern houseboats appeared as a solution to increasing demand for housing. This type of houseboat, known as a woonark (literally a house ark), is built on a floating pontoon and typically isn’t motorised. Luxuriously furnished houseboats, sometimes built over multiple floors and complete with adjoined terraces and gardens, can be seen all around Amsterdam’s most picturesque canals.
The houseboats in Amsterdam are permanently anchored to a specific address. A special permit called a ligplaats entitles a houseboat owner to moor their home in a certain spot. These permits are in high demand, and as with all properties, a prime location significantly increases the value of a houseboat.
An uchikatsugi is a long veiled headdress once worn by noble women to protect their anonymity. It was normal street wear for the nobility, and probably also protected them from mosquitoes.
Here, Mao (Geiko of Gion Kobu) peeks out from beneath her uchikatsugi as she portrays Madame Fujiwara Tamie (1280) in Kyoto's famous Festival of Ages. Also known as Abutsu Ni, she wrote the Izayo Nikki (Diary) in 1277.
Jidai Matsuri, Kyoto`s Festival of Ages, started as a way to revitalize Kyoto after Japan's capitol moved to Tokyo. It has now grown to include about 3 thousand participants (Kyoto residents, including Maiko and Geiko) dressed in authentic period costumes from throughout Japan`s history valued at over $25 million.
I am Aiansueto Kita Chojin! I come from-
Wait, what?
Non-sweat pita bread?
What did he say??
-the deadli... My name is Aiansueto Kita Chojin! I have-
Iron sweater what?
What does it say in the program?
...programs rustling...
-destr... LISTEN! I have told you my name is Aiansueto Kita Chojin! From this-
Ian Sweetman?
I don't think its 'Sweetman'.
moment I-
The program says, "Tonight on Tuesday Night Fights, meet a deadly new Chojin from the North!"
No name?
Was that exclamation yours or the program's?
The program's.
I HAVE TOLD YOU MY NAME!!!
Yeah... that didn't really help.
💪M💪U💪S💪C💪L💪E💪
A year of the shows and performers of the Bijou Planks Theater.
M.U.S.C.L.E.
# 106
"Aiansueto Kita Chojin"
Painted by Paprika, thus losing all collectible value forever.
A towel, The Hitchhiker's Guide to the Galaxy says, is about the most massively useful thing an interstellar hitchhiker can have. Partly it has great practical value. You can wrap it around you for warmth as you bound across the cold moons of Jaglan Beta; you can lie on it on the brilliant marble-sanded beaches of Santraginus V, inhaling the heady sea vapors; you can sleep under it beneath the stars which shine so redly on the desert world of Kakrafoon; use it to sail a miniraft down the slow heavy River Moth; wet it for use in hand-to-hand-combat; wrap it round your head to ward off noxious fumes or avoid the gaze of the Ravenous Bugblatter Beast of Traal (such a mind-boggingly stupid animal, it assumes that if you can't see it, it can't see you); you can wave your towel in emergencies as a distress signal, and of course dry yourself off with it if it still seems to be clean enough.
by Douglas Noal Adams
Taken at Warehouse 21
The temporary closure of Stamford's Town Bridge brings an unusually empty daytime state to High Street St. Martin's, in previous times part of the A1 / Great North Road.
In 1983 paper still had much valued use.
Tourist, Dubrovnik August 1983.
Kodachrome 25.
I’m using my film scanner quite a lot being more or less “confined to barracks” due to the current crisis.
[...] The whole value of solitude depends upon one's self; it may be a sanctuary or a prison, a haven of repose or a place of punishment, a heaven or a hell, as we ourselves make it [...]
-- Quote by John Lubbock (English Biologist and Politician, 1834-1913)
Nikon D200, Samyang 8mm, f/3.5 fisheye, 8mm - f/8 - 1s - HDR 5xp +2/-2EV
Formello, Italy (October, 2016)
"from the family album: from right to left: the child is my grandmother Ninitta, then there is her mother and my great grandmother Anna, her sister Concetta, finally their mother and my great-great-grandmother Nina, respectively daughter, wife, sister-in-law, mother-in-law of the photographer Gaetano D'Agata, whom in a photograph of him (location Mazzarò-Taormina)"
“dall'album di famiglia: da destra verso sinistra: la bambina è mia nonna Ninitta, poi c'è la sua mamma e la mia bisnonna Anna, sua sorella Concetta, infine la loro mamma e mia trisavola Nina, rispettivamente figlia, moglie, cognata, suocera del fotografo Gaetano D'Agata, cui in una sua fotografia (location Mazzarò-Taormina)”
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or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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The photographer Baron Wilhelm von Gloeden: and some "secret stories” of Taormina ...
At the age of about 11-12, I made a very particular discovery, I found a fair number of ancient photographs (they had been well hidden by my grandmother) inside an ancient chest of drawers in our house in Taormina, for me it was a huge surprise, the a taste for the forbidden appeared in me for the first time, they were black and white photographs, they portrayed naked boys, or only partially dressed in drapes or sheets, they were posed to imitate certain statues (or drawings) of the Greco-Roman period; I was very intrigued by them, every now and then I went to look at them, without ever feeling discomfort, I did not consider them vulgar photographs. Some of the photos were the size of a postcard, others of various sizes increasingly larger, up to a format similar to A3; on the back there were stamps, there were also, inside small red cardboard boxes, glass plates, not large, looking at them against the light, they let us glimpse images of naked boys, or only partially dressed: they were photographic negatives made on glass plates. What was that particular photographic material hidden by my grandmother in the dresser of our house? Let's take a step back in time let's teleport to April 2, 1787 when the German poet, narrator, playwright Johan Wolfgang von Goethe (1749-1832) lands in Palermo, following his Grand Tour in Italy (the word "tourism" derives from it) he will say of Sicily that it is a place of splendor, beauty and harmony, but at the same time a place of poverty, suffering, misery and social injustice; Goethe wrote the book "Journey to Italy", revealing himself to be one of Italy's most passionate admirers, stating that "Sicily is the key to everything" (the incredible resemblance of thought with the great Sicilian writer and journalist Leonardo Sciascia (1921-1989) who published in 1979 the book entitled “Sicily as a metaphor”). At the time of Goethe (and for a long time to come) the knowledge of Sicily was made up of stereotyped ideas, it was considered a land of mysteries, a den of brigands, which aroused fear in travelers, tourism did not exist, very few knew a foreign language, journeys with carriages were slow, nothing strange therefore that Taormina was an unknown village at the time. Garibaldi, in the year 1860, frees Sicily from the domination of the Bourbons. In February 1863, Count Ottone (Otto) Geleng (1843-1939) arrives in Taormina from Germany, he is a landscape painter, he begins an intense pictorial activity, thus succeeding in making Taormina and its landscapes known in the various cultural circles of Germany and France. Count Otto thus invites the then painter (who later became a photographer) Baron Wilhelm von Gloeden (1856-1931) to come to Taormina to treat his "subtle ache", pulmonary tuberculosis, which would have benefited from the mild climate of Sicily. Von Gloeden, twenty-two, arrived in Taormina in 1878, became passionate about photography by taking lessons from the local engineer and photographer Giuseppe Bruno (1836-1904), perhaps also a teacher of Giovanni Crupi (1859-1925), landscape photographer friend of von Gloeden, Crupi himself could also have contributed to the training as a photographer of the young von Gloeden. Like Otto Geleng's paintings, the photographs of the young Wilhelm also began to entice the then bourgeoisie across the border to come to Sicily: in the last 20 years of the 1800s the foundations were being laid for tourism in Sicily. The photographs taken by von Gloeden had as their subject young Sicilian adolescents dressed in the old-fashioned way with drapes, or completely naked, at most adorned with wreaths of flowers or laurel leaves placed on their heads, the young models assumed well-studied poses under the directed by the photographer baron, designed to create scenes that wanted to reconstruct the atmosphere of the mythical Arcadia (bucolic landscape of ancient Greece). In his poetics we can find the interest in disguise and transvestism, the young fisherman is made ambiguous by making him wear a wig, made resembling a young Sicilian girl; the images are not produced for the sole and mere trade, they are works that will be published in various famous magazines (such as "The National Geographic Magazine" or "the photographic progress", A. Stieglitz publishes his nudes on “Camera Notes"), also participating in international photographic exhibitions. The young models are filmed among ancient ruins, in rocky environments, outdoors, eliciting a spiritual feeling full of nostalgia, which follows pictorial models of German romanticism. In the photographic book "Verga photographer" (created on the discovery of 327 glass plates and 121 celluloid frames), in Giovanni Verga (1840-1922) great Sicilian narrator, it is possible to observe his photographs interwoven with "realism", while in the photographs of von Gloeden the symbolism andthe spiritualism predominate, however Wilhelm will also produce documentary-type photographs, photographing the terrible earthquake (and tsunami) of Messina (and Reggio Calabria) of 1908. Von Gloeden seems fully integrated into the Taormina society , nevertheless suffers heavy homophobic attacks from the local press and from important characters from Taormina, including Otto Geleng himself, who will be sued by the baron, which will then be withdrawn upon payment of 896 lire, and a restorative declaration published in the "Gazzetta di Messina" . Von Gloeden worked in his house-studio in front of the Hotel San Domenico Palace, with him lived his sister Sofia Raabe (1847-1930), daughter of his mother's first husband, who helped him manage the house-studio, and in the to receive the illustrious guests who visited him (such as Oscar Wilde, FA Krupp, Richard Strauss, the German emperor Wilhelm II, Eleonora Duse). Von Gloeden died on February 16, 1931 at the age of 74, he was buried in the non-Catholic cemetery of Taormina, his heir was his all-around assistant Pancrazio Buciunì known as "il moro" (1879-1963) ("u 'moru", family nickname), which continues the activity, selling the prints: he undergoes two searches in full fascist regime with partial seizure and destruction of the photographic material that belonged to von Gloeden (fascism persecuted homosexuals, the repression of homosexuality was entrusted to the fascist police, which confined many homosexuals to the islands of the Mediterranean, Lipari was one of these, see the beautiful film by Ettore Scola "a special day"), Buciunì undergoes two trials for detention of obscene material, and, despite an adverse appraisal by the appointed expert prof. Stefano Bottari, holder of the chair of history of medieval and modern art at the University of Messina, who declares much of the seized material obscene, the Court of Messina, demonstrating tolerance and open-mindedness, acquits Buciunì. At this point in the story we return to my grandmother's dresser and reveal the little mystery: the hidden photographs belonged to my great-grandfather Don Gaetano D'Agata (1883-1949), von Gloeden's assistant photographer, also on the baron's teaching, he made nude photographs, as well as landscape or portrait photographs; Don Gaetano was a globetrotter, in our family album he is portrayed in various parts of the world, always in the company of beautiful women: but I will never know if those "forbidden photos" were taken by my great-grandfather Gaetano or by Von Gloeden himself, because my grandmother, having understood that I was going to peek at them in secret, made them disappear permanently, and I never heard anymore of that photographic material. For my part, it is only right to mention other figures who contributed to making Taormina the current destination for international tourism. Lady Florence Trevelyan (1852-1907), was Queen Victoria's lady-in-waiting, she was then sent into exile in various parts of the world by Queen herself, she arrived in Taormina and stayed there forever, she was a woman of exceptional gifts, endowed with great sensitivity and humanity, animal rights activist, philanthropist, passionate about esotericism, she was married to the then mayor and doctor of Taormina dr. Salvatore Cacciola, she were one of the first women admitted to world Freemasonry (her husband Cacciola also belonged to Freemasonry): I have already talked about it previously in one of my photographic stories. On the occasion of the XXI festival of the two worlds in Spoleto, in 1978, the essayist and literary critic Roland Barthes (1915-1980) curated an exhibition entitled "Wilhelm von Gloeden", with interventions by artists such as Andy Warhol, M. Pistoletto and J. Beuys. Finally, Raffaella Perna, Researcher in History of Contemporary Art at the University of Catania, underlines in her book on "Wilhelm von Gloeden, disguises, portraits, tableaux vivants", of how LaChapelle, Witkin, Mapplethorpe are the contemporary artists who they are indicated as heirs of von Gloeden's poetics.
P.S. Von Gloeden's photographs were made by photographing both the large panels with gigantographic reproductions of von Gloeden's works, which are located at the entrance of the Mocambo bar in Taormina, and in the shop-bazaar of the photographer from Taormina, my late friend, Nino Malmbrì (owner of the baron's original photographic material). The photographs of Gaetano D’Agata, were taken from my family album: in a photo a little damaged, but exceptional for its historical and emotional value, my great-grandfather, the photographer Gaetano D'Agata, here very young, holds his daughter "Ninitta" (a of the four children, had by three wives), she is my paternal grandmother; in another photo, the photographer Gaetano D'Agata poses next to her a few years later, with my grandmother already a young girl; always made by great-grandfather D'Agata there is both a portrait photo, a close-up, of my very young grandmother "Ninitta", and there is a photo of her posing as a peasant girl, with a painted backdrop behind her, as if used in studio photos; finally I put two photos taken by my great-grandfather Gaetano "en plein air" of bathers, "the location" is the beach of Mazzarò (Taormina). The photographs of the tombstones of the characters mentioned in the story were taken in the Catholic and non-Catholic cemetery of Taormina; the monumental funerary complex of Count Otto Geleng at the top presents the bust of his son Ermanno, the presence of symbolisms such as the hourglass, the rooster, the book (the Holy Bible) and the god mercury, makes me believe that Count Otto was part of the Masonic lodge of Taormina, at the time the mayor of Taormina was also part of it, dr. Cacciola and his wife Lady Florence Trevelyan: in his palace, Dr. Cacciola, built a temple, which became the first Masonic lodge in Taormina: the "Renaissance" (1904).
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Il barone fotografo Wilhelm von Gloeden: ed alcune “storie segrete” di Taormina …
Io, all’età di circa 11-12 anni, feci una scoperta molto particolare, trovai un discreto numero di antiche fotografie (erano state ben nascoste da mia nonna) dentro un antico comò in casa nostra a Taormina, per me fu una enorme sorpresa, il gusto del proibito si affacciò in me per la prima volta, erano fotografie in bianco e nero, ritraevano ragazzi nudi, o solo in parte vestiti con drappi o lenzuoli, messi in posa imitavano certe statue (o disegni) del periodo greco-romano; io ne ero rimasto molto incuriosito, ogni tanto le andavo a riguardare, senza mai provare disagio, non le consideravo fotografie volgari. Alcune foto erano della grandezza di una cartolina, altre di varie dimensioni sempre più grandi, fino ad arrivare ad un formato assimilabile all’A3; sul retro c’erano impressi dei timbri, c’erano anche, dentro dei piccoli scatoli in cartoncino di colore rosso, delle lastrine in vetro, non grandi, guardandole in controluce, lasciavano intravedere immagini di ragazzi nudi, o poco vestiti: erano i negativi fotografici realizzati su vetro. Cosa ci faceva quel materiale fotografico, così particolare, nascosto da mia nonna nel comò di casa nostra? Facciamo un salto indietro nel tempo teletrasportiamoci al 2 aprile 1787 quando a Palermo sbarca il poeta, narratore, drammaturgo tedesco Johan Wolfgang von Goethe (1749-1832), in seguito al suo Grand Tour in Italia (turismo deriva da esso) dirà della Sicilia che essa è luogo di splendore, bellezza ed armonia, ma al tempo stesso luogo di povertà, sofferenza, miseria ed ingiustizia sociale; Goethe scrive il libro “Viaggio in Italia”, rivelandosi uno dei più appassionati ammiratori dell’Italia, affermando che “la Sicilia è la chiave di tutto” (incredibile la rassomiglianza di pensiero col grande scrittore e giornalista siciliano Leonardo Sciascia (1921-1989) che pubblica nel 1979 il libro dal titolo “la Sicilia come metafora”). Ai tempi di Goethe (e per molto tempo ancora) la conoscenza della Sicilia era fatta di idee stereotipate, era considerata terra di misteri, covo di briganti, il che incuteva timore nei viaggiatori, il turismo non esisteva, pochissimi conoscevano una lingua straniera, i viaggi con carrozze ertano lenti, nulla di strano quindi che Taormina fosse all’epoca un villaggio sconosciuto. Garibaldi, nell’anno 1860, libera la Sicilia dalla dominazione dei Borboni. Nel febbraio del 1863, dalla Germania giunge a Taormina il conte Ottone (Otto) Geleng (1843-1939), egli è un pittore paesaggista, inizia una intensa attività pittorica, riuscendo in tal modo a far conoscere Taormina ed i suoi paesaggi nei vari circoli culturali della Germania e della Francia. Il conte Otto invita così l’allora pittore (poi divenuto fotografo) barone Wilhelm von Gloeden (1856-1931) a venire a Taormina per curare il suo “mal sottile”, la tubercolosi polmonare, che avrebbe tratto giovamento dal clima mite della Sicilia. Von Gloeden, ventiduenne, nel 1878 giunge a Taormina, si appassiona alla fotografia prendendo lezioni dall’ingegnere e fotografo locale Giuseppe Bruno (1836-1904), forse anche insegnante di Giovanni Crupi (1859-1925), fotografo paesaggista amico di von Gloeden, il quale Crupi stesso potrebbe anche aver contribuito alla formazione come fotografo del giovane von Gloeden. Così come i dipinti di Otto Geleng, anche le fotografie del giovane Wilhelm incominciarono ad invogliare l’allora borghesia d’oltre confine, a venire in Sicilia: negli ultimi 20 anni dell’800 si stavano gettando le basi per il turismo in Sicilia. Le fotografie realizzate da von Gloeden avevano come soggetto giovani adolescenti siciliani vestiti all’antica con drappi, o completamente nudi, tutt’al più adornati da coroncine di fiorellini o foglie d’alloro messi sul capo, i giovani modelli assumevano pose ben studiate sotto la regia del barone fotografo, atte a realizzare scene che volevano ricostruire l’atmosfera della mitica Arcadia (paesaggio bucolico dell’antica Grecia). Nella sua poetica possiamo riscontrare l’interesse per il travestimento ed il travestitismo, il giovane pescatore viene reso ambiguo facendogli indossare una parrucca, reso somigliante ad una giovane ragazza siciliana; le immagini non vengono prodotte per il solo e mero commercio, sono opere che verranno pubblicate su varie riviste famose (come “The National Geographic Magazine” o “Il Progresso fotografico”, A. Stieglitz pubblica i suoi nudi su “Camera Notes”), partecipando anche ad esposizioni fotografiche internazionali. I giovani modelli sono ripresi tra antichi ruderi, in ambienti rupestri, all’aperto, elicitando un sentimento spirituale carico di nostalgia, il che ricalca modelli pittorici del romanticismo tedesco. Nel libro fotografico “Verga fotografo” (realizzato su ritrovamento di 327 lastre in vetro e 121 fotogrammi in celluloide), in Giovanni Verga (1840-1922) grande narratore siciliano, è possibile osservare le sue fotografie intessute di “verismo”, mentre nelle fotografie di von Gloeden predomina il simbolismo e lo spiritualismo, purtuttavia Wilhelm produrrà anch’egli fotografie di tipo documentaristico, andando a fotografare il terribile terremoto (e maremoto) di Messina (e di Reggio Calabria) del 1908. Von Gloeden sembra pienamente integrato nella società taorminese, ciononostante subisce pesanti attacchi omofobi dalla stampa locale e da importanti personaggi taorminesi, incluso lo stesso Otto Geleng, i quali verranno querelati dal barone, querela che verrà poi ritirata dietro pagamento di 896 lire, ed una dichiarazione riparatoria pubblicata sulla “Gazzetta di Messina”. Von Gloeden lavorava nella sua casa-studio di fronte l’Hotel San Domenico Palace, con lui viveva sua sorella Sofia Raabe (1847-1930), figlia del primo marito di sua madre, che lo aiutava a governare la casa-studio, e nel ricevere gli illustri ospiti che lo andavano a trovare ( come Oscar Wilde, F.A. Krupp, Richard Strauss, l’imperatore tedesco Guglielmo II, Eleonora Duse). Von Gloeden muore il 16 febbraio 1931 all’età di 74 anni, viene sepolto nel cimitero acattolico di Taormina, il suo erede è il suo assistente tutto fare Pancrazio Buciunì detto “il moro” (1879-1963) (“u’ moru”, soprannome di famiglia), che ne prosegue l’attività, vendendone le stampe: il quale subisce in pieno regime fascista due perquisizioni con parziale sequestro e distruzione del materiale fotografico che apparteneva a von Gloeden (il fascismo perseguitò gli omosessuali, la repressione dell’omosessualità fu affidata alla polizia fascista, che confinò molti omosessuali nelle isole del mediterraneo, Lipari fu una di queste, vedi il bellissimo film di Ettore Scola “una giornata particolare”), Buciunì subisce due processi per detenzione di materiale osceno, e, nonostante una perizia avversa da parte del nominato perito prof. Stefano Bottari, titolare della cattedra di storia dell’arte medioevale e moderna dell’Università di Messina, che dichiara osceno gran parte del materiale sequestrato, il Tribunale di Messina dimostrando tolleranza ed apertura mentale, assolve il Buciunì. A questo punto del racconto ritorniamo al comò di mia nonna e sveliamo il piccolo mistero: le fotografie nascoste appartenevano al mio bisnonno don Gaetano D’Agata (1883-1949), assistente fotografo di von Gloeden, anch’egli sull’insegnamento del barone, realizzò fotografie di nudo, oltre che di paesaggio o ritratto; don Gaetano era un giramondo, nel nostro album di famiglia lui è ritratto in varie parti del mondo, sempre in compagnia di belle donne: ma io non saprò mai se quelle “foto proibite” erano realizzate dal mio bisnonno Gaetano o da Von Gloeden stesso, perché mia nonna, avendo capito che le andavo a sbirciare di nascosto, le fece sparire definitivamente, e di quel materiale fotografico non ne seppi più nulla. Da parte mia, è doveroso citare altre figure che contribuirono a rendere Taormina l’attuale meta del turismo internazionale. Lady Florence Trevelyan (1852-1907), era dama di corte della regina Vittoria, dalla stessa regina Lady Florence fu poi mandata in esilio in varie parti del mondo, giunse a Taormina e qui vi restò per sempre, era una donna dalle doti eccezionali, dotata di grande sensibilità ed umanità, animalista, filantropa, appassionata di esoterismo, fu sposa dell’allora sindaco e medico di Taormina dott. Salvatore Cacciola, fu una delle prime donne ammesse alla massoneria mondiale (apparteneva alla massoneria anche il marito Cacciola): ne ho già parlato in precedenza in un mio racconto fotografico. Robert Hawthorn Kitson (1873-1947) era un pittore britannico omosessuale, egli lasciò l’Inghilterra a causa dell’emendamento Labouchere, che rendeva illegale qualsiasi atto omosessuale nel Regno Unito (1885), giunse a Taormina e qui si stabilì, costruendo nel 1905 Casa Cusani, una villa con vista sull’Etna, oggi casa museo; nella sua sala da pranzo si trovano gli affreschi “proibiti” realizzati da Frank Brangwyn, essi narrano dell’amore omosessuale tra Kitson ed il suo compagno Carlo Siligato: nel 1908 in seguito al terremoto che distrusse Messina (e Reggio Calabria), essi adottarono un bambino che era rimasto orfano, divenendo di fatto una famiglia omosessuale, all’epoca assolutamente proibita; gli affreschi di Casa Cuseni sono ispirati alle fotografie di von Gloeden, così come nella villa, si trova una “autocromia a colori” del 1910, realizzata da von Gloeden, documento eccezionale che testimonia la volontà del barone di sperimentare nuove tecniche. In occasione del XXI festival dei due mondi di Spoleto, nel 1978, il saggista e critico letterario Roland Barthes (1915-1980) cura una mostra intitolata “Wilhelm von Gloeden”, con interventi di artisti quali Andy Warhol, M. Pistoletto e J. Beuys. Infine, Raffaella Perna, Ricercatrice in Storia dell'arte contemporanea all'Università degli Studi di Catania, sottolinea nel suo libro su “Wilhelm von Gloeden, travestimenti, ritratti, tableaux vivants”, di come LaChapelle, Witkin, Mapplethorpe siano gli artisti contemporanei che vengono indicati come eredi della poetica di von Gloeden.
P.S. le fotografie di Von Gloeden sono state realizzate fotografando sia i grandi pannelli con gigantografiche riproduzioni delle opere di von Gloeden, che si trovano all’ingresso del bar Mocambo di Taormina, sia nel negozio-bazar del fotografo taorminese, compianto mio amico, Nino Malmbrì (possessore di materiale fotografico originale del barone). Le fotografie di Gaetano D’Agata, sono state prese dal mio album di famiglia: in una foto un pò rovinata, ma eccezionale per il suo valore storico e per me affettivo, il mio bisnonno, il fotografo Gaetano D'Agata, qui molto giovane, tiene in braccio sua figlia "Ninitta" (una dei quattro figli, avuti da tre mogli), lei è la mia nonna paterna; in un'altra foto, il fotografo Gaetano D'Agata posa accanto a lei qualche anno dopo, con mia nonna già ragazzina; sempre realizzate dal bisnonno D'Agata c'è sia un foto-ritratto, un primo piano, di mia nonna "Ninitta" molto giovane, e c'è la foto di lei mentre posa come contadinella, con dietro un fondale dipinto, come si usava nelle foto da studio; infine ho messo, due foto realizzate dal mio bisnonno Gaetano "en plein air" a delle bagnanti, "la location" è la spiaggia di Mazzarò (Taormina). Le fotografie delle tombe dei personaggi menzionati nel racconto, sono state fatte nel cimitero cattolico ed acattolico di Taormina; il complesso monumentale funerario del conte Otto Geleng in alto presenta il mezzobusto del figlio Ermanno, la presenza di simbolismi come la clessidra, il gallo, il libro (la Sacra Bibbia) ed il dio mercurio, mi fa ritenere che il conte Otto facesse parte della loggia massonica di Taormina, all’epoca ne faceva parte anche il sindaco di Taormina, dott. Cacciola e sua moglie Lady Florence Trevelyan: nel suo palazzo il dott. Cacciola, realizzò un tempio, che divenne la prima loggia massonica di Taormina : la "Rinascimento"(1904).
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I'm stampolina and I love to take photos of stamps. Thanks for visiting this pages on flickr.
I'm neither a typical collector of stamps, nor a stamp dealer. I'm only a stamp photograph. I'm fascinated of the fine close-up structures which are hidden in this small stamp-pictures. Please don't ask of the worth of these stamps - the most ones have a worth of a few cents or still less.
By the way, I wanna say thank you to all flickr users who have sent me stamps! Great! Thank you! Someone sent me 3 or 5 stamps, another one sent me more than 20 stamps in a letter. It's everytime a great surprise for me and I'm everytime happy to get letters with stamps inside from you!
thx, stampolina
For the case you wanna send also stamps - it is possible. (...I'm pretty sure you'll see these stamps on this photostream on flickr :) thx!
stampolina68
Mühlenweg 3/2
3244 Ruprechtshofen
Austria - Europe
Note: If you wish to send me a letter by post from a non-EU country (e.g., Great Britain, USA, etc.), please declare it as a "gift" and state a low value (e.g., under $5 / under £5 / etc.). Otherwise, the Austrian postal service will charge more than €30 per undeclared letter upon delivery.
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great stamp Germany 95c (100th anniversary of Berlin Cathedral, 100 Jahre Berliner Dom; Cathédrale de Berlin, Catedral de Berlim, Берлинский кафедральный собор) stamp timbres Allemagne 우표 독일 유럽 sellos Alemania selos Alemanha γραμματόσημα Γερμανία frimerker Tyskland markica Njemačka pullari Almanya 郵便切手 切手 スタンプ ドイツの ヨーロッパ postzegels duitsland francobolli Germany sellos selos
Lost when Flickr ate 124 of my 148 photos last year...they found them after three days and a team of 6 searching...but all the text...the journaling was gone...
All I have left is the images, but for this one I was thinking of a special friend who I love very much. For this one "Little Girl", I remembered the song that was in my head for you...it speaks enough for me through it's lyrics and they are as true now as they were in fall of 2022. If I told you.....oh how I want to tell you...the saddest part is you will never see this post...or know how I feel...I hope you are ok wherever you are...
I love you Little One....
- Your Katie Kat
"It's a full moon, L.A
And we're alone for the first time
On Venice beach under the palm trees
Tell me your dreams and I'll tell you mine
What would you say if I told you
You're my last thought at the end of each night?
Would you believe me
Or would you even reply?
Would you?
Would you?
Would you?
Would you?
I am a loner, I am stubborn
Can you handle this world I live in?
I know I can't change, but for you I'd compromise
I'd be on your side if you'd be on mine
Yes, you're anxious and you're stubborn too
But I'd learn to love the worst parts of you
Could be the full moon or this cheap wine
But I'm hoping you'll reply
Would you?
Would you?
Would you?
Would you?
Is it in the stars or some age old truth?
Why did the universe draw me to you?
You're so magnetic, I am hypnotized
Feels like I've known you since before this life
I hope I always see you this way
Here's to wondering if you feel the same
But I can tell when your eyes meet mine
That the truth isn't your reply
You do
You do
You do
You do"
"If I Told You" by Courtney Marie Andrews
When existence starts, life provides us all with an empty bag - just waiting to be filled. We value it with a great sense of duty when we carry it around because unconsciously, we understand the importance of its content. And so, over time, it begins to define who we are and who everyone thinks to be.
While we are creating the plot of this customized story, we already assess its value.
We treat it with the utmost caution as we are aware of the risk we take when revealing its content. But living frequently means that one day the concealing is doomed to failure. And eventually, a reflection of this fragile inside - what forms us, you and me - sees the light of day.
Often, it is this exposure that we fear the most. We tend to uglify the experiences that made us who we are. But in the course of a lifetime, no one is safe from getting scratched. Yet we feel ashamed for parts of our identity.
And though it is our unique narrative, we like to sell it at less than fair value.
In the end, the extraordinary beauty of life consistently lies in the unexpected. Hence, it might be that the value of our imperfection caused us to find common ground in the first place.
Die lebensgroßen Stifterfiguren sind ein Meisterwerk des Naumburger Meisters, dessen Name nicht überliefert ist, geschaffen um die Mitte des 13. Jahrhunderts. Zu diesem Zeitpunkt waren die Stifter jedoch schon 200 Jahre tot. Es handelt sich also trotz aller individuellen Züge der Skulpturen nicht um reale Porträts der dargestellten Personen.
The life-size statues of the founders are a masterpiece by the Naumburg master, whose name has not been handed down, created around the middle of the 13th century. At that time, however, the founders had already been dead for 200 years. So despite all the individual features of the sculptures, they are not real portraits of the persons depicted.
Der heute evangelische Naumburger Dom St. Peter und Paul in Naumburg (Saale) ist die ehemalige Kathedrale des Bistums Naumburg und stammt größtenteils aus der ersten Hälfte des 13. Jahrhunderts. Er gehört zu den bedeutendsten Bauwerken der Spätromanik in Sachsen-Anhalt und ist seit 2018 UNESCO-Weltkulturerbe.
Der Naumburger Dom ist eine Doppelchoranlage – d. h. mit je einem Chor an beiden Schmalseiten. Der berühmte Westchor entstand in der zweiten Hälfte des 13. Jahrhunderts und ist mit dem West-Lettner und den Stifterfiguren aus der Werkstatt des Naumburger Meisters eines der wichtigsten Bauwerke der Frühgotik. Der Ostchor entstand um 1330, als die spätromanische Apsis durch ein hochgotisches, querrechteckiges Chorjoch ersetzt wurde. Auf den Strebepfeilern am Chorscheitel und südlich daneben wurden die seither mehrfach restaurierten bzw. erneuerten überlebensgroßen Figuren der Patrone des Domes aufgestellt. Von hohem künstlerischem Wert sind die Glasmalereien in den Fenstern, die zum Teil aus der Bauzeit des Chores stammen. Sie zeigen die klugen und törichten Jungfrauen, die Tugenden und Propheten, während die Passion, Marienszenen, Apostel und Propheten auf ebenfalls sehr qualitätsvollen Scheiben aus dem ersten Drittel des 15. Jahrhunderts dargestellt sind.
Eine Kuriosität ist die Darstellung zweier schachspielender Affen in einem Kapitell an der Nordwand des Ostchores Der Ost-Lettner ist das älteste erhaltene Beispiel eines Hallenlettners. Er wurde im Zuge des spätromanischen Domneubaus um 1230 errichtet. Im mittleren Joch der Lettnerhalle steht ein Altar aus dem 19. Jahrhundert, seitlich führen steile Treppen durch zwei kleine Pforten zum Chor hinauf. Das Bistum Naumburg wurde 1564 aufgelöst. Seither ist der Dom kein Bischofssitz mehr.
de.wikipedia.org/wiki/Naumburger_Dom
The Cathedral of SS Peter and Paul, nowadays a protestant church, is the former Cathedral of the Catholic Diocese of Naumburg and dates mainly from the first half of the 13th century. It counts among the most importante late Romanesquie building in Saxony-Anhalt and has been a UNESCO World Heritage Site since 2018.
Naumburg Cathedral has a twin choir layout, meaning that it has a choir at both ends of the nave. The famous West Choir was built in the second half of the 13th century, counting among the most important early Gothic buildings with the west rood screen and the founder statues created in the workshop of the Naumburg Master whose name is not known. The East Choir was built arouund 1330, when the late Romanesque apse was substituted by a high Gothic transverse rectangular choir vault. The greater-than-life sculptures of the Cathedral’s patrons were place on the inner side of the buttresses in the vertex of the choir and south of it. In the course of time they have been restored or substituted more than once. The stained glass paintings of the windows, some of which dating from the time when the choir was built are of immense artistic value. They show the wise and foolish virgins, the virtues and the prophets. The passion of Christ, marianic scenes, apostles and prophets can be seen in stained glass window panes from the first third of the 15th century. A capital at the east choir’s north wall offers a very special curiositiy showing two chess playing monkeys. The east rood screen is the oldest preserved specimen of a hall rood screen. It was erected in the course of the construction of the new late Romanesque Cathedral around 1230. An altar from the 19th century stands in the centre vault of the hall rood screen. At the side, steep stairs lead up to the choir through two small gates. The bishopric of Naumburg was dissolved in 1564. Since then, the cathedral has no longer been a bishop's seat.
Translated from the German Wikipedia text.
For 122 Pictures in 2022 #77 "Playing cards", this is a poker deck with images licensed from NASA, mostly from the Hubble Telescope. Each value has its own image, with each suite card of that value having the same (all 2s have the same image, etc). I do like the back of the cards with a design taken from 1930s science fiction rockets (at least that's what they remind me of). I would have added poker chips to the image, but mine disappeared in our last move.