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When visiting here,I always feel something to close to awe that I can not express well...
In the middle is a famous maple tree 800 years old called "Kochidani maple tree"（古知谷楓） ,which has been designated a natural monument by Kyoto city. （京都市指定天然記念物に指定されています。）
location : Kyoto Kochidani (northern area of Ohara) Amidaji temple,Kyoto city .Kyoto prefecture,Japan
即身仏（ミイラ仏/ 京都で唯一ここのみ）弾誓上人のお寺
京都大原 古知谷 光明山法国院 阿弥陀寺
ja.wikipedia.org/wiki/%E9%98%BF%E5%BC%A5%E9%99%80%E5%AF%BA_( in Japanese)
The temple belongs to the Pure Land of Jodo-shu Sect of Buddhism,crowned with the mountain name of Kochidani-Komyozan古知谷光明山.
The high priest Tanzei 弾誓 established the temple in 1609 as a training hall for sutra chanting.The priest was born in present Aichi Prefecture and entered priesthood at age of 9. He journeyed during his training before he settled down here.
The priest "became a Buddha in his own body ( starved himself to death) " in 1613 in the age of 63.
His mummified remains ,now deified were placed in a coffin and enshrined even today in the founder's cave in the far back of main hall. The statue of priest Tanzei is said to be have been created by the priest himself using his own hair and it referred to as the "revered statue with hair" It is placed in the main hall as the principal deity. The sitting statue of Amitabha Tathagata (Important Cultural Asset) is enshrined in the temple's treasure house along with invaluable items donated by Imperial relatives.
A stone cavern called Chozen-kutsu澄禅窟 is located on the top of the mountain in the back ,where the high priest Chozen 澄禅 came to this temple as he deeply admired the virtuous late priest Tanzai.
- Amidaji temple
Canon EOS M5/ EF-M22mm f/2 STM/
ƒ/4.0 22.0 mm 1/30sec ISO400 /all manual /no crop
Gulfstream Park is a racetrack and county-approved casino in Hallandale Beach, Florida. During its annual meet, which spans December through October, it is one of the most important venues for horse racing in the United States.
Gulfstream Park was opened on Wednesday February 1, 1939 conducting a four-day meeting. The initial meeting had a crowd of 18,000. In 1944, the track was reopened by James Donn, Sr. for a 20-day meeting in December. The Gulfstream Park Handicap was first run in 1946 and the Florida Derby began in 1952. In that year the clubhouse was built and the Grandstand seating was expanded.
In 1952 the clubhouse was erected and a new addition was put on the grandstand. It also marked the first running of the Florida Derby. The following year, the Florida Derby became the first stakes in Florida with a $100,000 purse.
The 1955 Kentucky Derby winner and Horse of the Year Swaps set a then world-record of 1:39 3/5 for a mile and 70 yards while carrying 130 pounds in the Broward Handicap. The following year was just as exciting at Gulfstream when Gen. Duke equaled the world record of 1:46 4/5 in defeating Bold Ruler in the Florida Derby.
In 1959, a new era at Gulfstream began with the opening of its world-acclaimed turf course. In 1961, James Donn Jr. became president of Gulfstream. It also marked the construction of what was then the world's largest tote board.
Following the death of his father, James Donn Jr., Doug Donn was elected Gulfstream Park's president.
In 1961, James Donn Jr. succeeded his father as president of Gulfstream Park. In this year the Clubhouse was enlarged and the then-world's largest totalisator board was installed in the infield. A big break for Gulfstream Park came in 1972, when the track was awarded "middle dates" for a 40-day January through April meet.
In 1980, Hall of Fame rider Angel Cordero Jr. set a meeting record with 60 winners.
In 1982, the Grandstand was renovated with new architecture and in 1984 the renovation of the clubhouse was completed. In 1986, the renovation of the track was completed with the new Gulfdome, a domed dining terrace. In 1989 Gulfstream Park hosted the Breeders Cup for the first time (which it did again in 1992 and 1999).
Gulfstream played host its first Breeders' Cup World Championships in 1989, highlighted by the Classic match-up between Kentucky Derby and Preakness winner Sunday Silence and Belmont Stakes winner Easy Goer. Gulfstream would host the Breeders' Cup again in 1992.
In 1990, the track was purchased by Bertram R. Firestone.
Jockey Julie Krone took the jockey's title in 1993 with 98 winners. In 1994, Holy Bull won the Florida Derby while, in 1995, Cigar won the Donn Handicap and Gulfstream Park Handicap on his way to a perfect season. Meanwhile, '95 Florida Derby winner Thunder Gulch would go on to win the Kentucky Derby. Monarchos would repeat Thunder Gulch's feat in 2001.
In 1994, a half interest in the track was sold to Nigashi Nihon.
The track was purchased by Magna Entertainment Corporation, in 1999 for $95 million. In 2010, the ownership of the track was taken over by Magna parent MI Developments Inc. (MID). The track is currently owned by The Stronach Group since July 3, 2011.
Hal's Hope, winner of the 2000 Florida Derby, would return in 2002 to win the Gulfstream Park Handicap. The 2002 season was also highlighted by the first running of the popular Sunshine Millions, pitting Florida-breds vs. California-breds for purses totaling $3.6 million. Palm Meadows, Gulfstream's state-of-the-art training facility in Palm Beach County, was opened on Nov. 29, 2002.
Trainer Todd Pletcher started his unprecedented run of nine consecutive training titles in 2004.
The track began a $130 million renovation of the grandstand and clubhouse in 2004 and slot machines were approved for the track in 2004. It now hosts all of the races in the series of races known as the Sunshine Millions. The series now consists of the:
Sunshine Millions Classic
Sunshine Millions Turf Stakes
Sunshine Millions Distaff
Sunshine Millions Filly & Mare Turf
Sunshine Millions Sprint
In 2006, Hall of Fame jockey Jerry Bailey rode his last race aboard Silver Tree in the Sunshine Millions and the great Barbaro would win the Florida Derby before making headlines with his victory in the Kentucky Derby.
The renovation, first effective for the 2006 spring meeting, was heavily criticized by racegoers and commentators, who felt that the new racino laid its emphasis entirely on the casino part, destroying the racetrack's atmosphere.
In June, 2011, Tim Ritvo was named President and General Manager of Gulfstream Park Racing & Casino. He was a prominent jockey and racing official at Suffolk Downs in the 1980s before establishing himself in the 1990s as a leading Florida trainer. Ritvo has also served as Vice President and Director of the Florida Horsemen's Benevolent & Protective Association.
In April, 2012, Javier Castellano, who collected his first Gulfstream title by riding a record 112 winners, scored his 3000th career success aboard Virtuously on Feb. 24 and Todd Pletcher, who claimed an unprecedented ninth consecutive training title at Gulfstream with 72 trips to the winner's circle, recorded his 3,000 career victory when he saddled Spring Hill Farm for a winning performance on Feb. 11.
In 2012, Stronach Group named Tim Ritvo, Chief Operating Officer of its Racing Division.
March 2, 2020 Tim Ritvo stepped down as COO of Stronach Group operated tracks, which include the troubled Santa Anita racetrack in California. He left to “pursue other opportunities.”
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Gulfstream_Park
www.gulfstreampark.com/shopping
© All Rights Reserved - you may not use this image in any form without my prior permission.
NEW @ QUEENZ
Virtuous Outfit & Sandals
Visit QUEENZ Facebook page and enter the giveaway for a chance to win this fatpack for free!!
-8 Separate colors
-4 Bonus outfit colors (FATPACK ONLY)
-2 style options for the top
- Sandals sold in fatpack ONLY
100% Original Mesh
Sizes : Freya, Isis, Hourglass, Maitreya, eBody-Curvy, BBL, Katena-Regular
Sandal Size: Belleza, Slink, Maitreya, eBody
location : Rakuhoku Renge-ji temple Kyoto city,Kyoto prefecture,Japan
京都 洛北 蓮華寺
Rakuhoku Renge-ji temple :
This temple belongs to the Tendai sect of Buddhism cowned with the mountain name of Kinyozan.
Shigenao imaeda( 今枝重直),a retainer of the Maeda Clan in Kaga,present Ishikawa pref.,entered the priesthood around period from 1661 to 1673. He built a residence here and spent his later years associating with such people as Jozan Ishikawa 石川丈山and Tanyu Kano狩野探幽.His groundson Chikayoshi今枝民部近義,who admire the virtuous Shigenao, transfered a temple from Hachijo-Shiokoji(元西八条塩小路附近)to this place in order to pray for the repose of his grandfather. He made it as a sub-temple of the Enryakuji Jitsuzobo Temple延暦寺実蔵坊.
The principal statue enshrined in main hall is of Shakamuni Tothagata.Unique Rengeji temple-style tone lanterns with hexagonal shades and a monument commemorating Shigenao inscribed Tehsho-style calligraphy written by Jozan Ishikawa on top and passage composed by Jun-an Kinoshita are found on the grounds beautifully covered with moss.
The garden woth crane stone and turtle islands in the lake,an excellent example from Edo period(1603-1867) -Kyoto city
Gulfstream Park is a racetrack and county-approved casino in Hallandale Beach, Florida. During its annual meet, which spans December through October, it is one of the most important venues for horse racing in the United States.
Gulfstream Park was opened on Wednesday February 1, 1939 conducting a four-day meeting. The initial meeting had a crowd of 18,000. In 1944, the track was reopened by James Donn, Sr. for a 20-day meeting in December. The Gulfstream Park Handicap was first run in 1946 and the Florida Derby began in 1952. In that year the clubhouse was built and the Grandstand seating was expanded.
In 1952 the clubhouse was erected and a new addition was put on the grandstand. It also marked the first running of the Florida Derby. The following year, the Florida Derby became the first stakes in Florida with a $100,000 purse.
The 1955 Kentucky Derby winner and Horse of the Year Swaps set a then world-record of 1:39 3/5 for a mile and 70 yards while carrying 130 pounds in the Broward Handicap. The following year was just as exciting at Gulfstream when Gen. Duke equaled the world record of 1:46 4/5 in defeating Bold Ruler in the Florida Derby.
In 1959, a new era at Gulfstream began with the opening of its world-acclaimed turf course. In 1961, James Donn Jr. became president of Gulfstream. It also marked the construction of what was then the world's largest tote board.
Following the death of his father, James Donn Jr., Doug Donn was elected Gulfstream Park's president.
In 1961, James Donn Jr. succeeded his father as president of Gulfstream Park. In this year the Clubhouse was enlarged and the then-world's largest totalisator board was installed in the infield. A big break for Gulfstream Park came in 1972, when the track was awarded "middle dates" for a 40-day January through April meet.
In 1980, Hall of Fame rider Angel Cordero Jr. set a meeting record with 60 winners.
In 1982, the Grandstand was renovated with new architecture and in 1984 the renovation of the clubhouse was completed. In 1986, the renovation of the track was completed with the new Gulfdome, a domed dining terrace. In 1989 Gulfstream Park hosted the Breeders Cup for the first time (which it did again in 1992 and 1999).
Gulfstream played host its first Breeders' Cup World Championships in 1989, highlighted by the Classic match-up between Kentucky Derby and Preakness winner Sunday Silence and Belmont Stakes winner Easy Goer. Gulfstream would host the Breeders' Cup again in 1992.
In 1990, the track was purchased by Bertram R. Firestone.
Jockey Julie Krone took the jockey's title in 1993 with 98 winners. In 1994, Holy Bull won the Florida Derby while, in 1995, Cigar won the Donn Handicap and Gulfstream Park Handicap on his way to a perfect season. Meanwhile, '95 Florida Derby winner Thunder Gulch would go on to win the Kentucky Derby. Monarchos would repeat Thunder Gulch's feat in 2001.
In 1994, a half interest in the track was sold to Nigashi Nihon.
The track was purchased by Magna Entertainment Corporation, in 1999 for $95 million. In 2010, the ownership of the track was taken over by Magna parent MI Developments Inc. (MID). The track is currently owned by The Stronach Group since July 3, 2011.
Hal's Hope, winner of the 2000 Florida Derby, would return in 2002 to win the Gulfstream Park Handicap. The 2002 season was also highlighted by the first running of the popular Sunshine Millions, pitting Florida-breds vs. California-breds for purses totaling $3.6 million. Palm Meadows, Gulfstream's state-of-the-art training facility in Palm Beach County, was opened on Nov. 29, 2002.
Trainer Todd Pletcher started his unprecedented run of nine consecutive training titles in 2004.
The track began a $130 million renovation of the grandstand and clubhouse in 2004 and slot machines were approved for the track in 2004. It now hosts all of the races in the series of races known as the Sunshine Millions. The series now consists of the:
Sunshine Millions Classic
Sunshine Millions Turf Stakes
Sunshine Millions Distaff
Sunshine Millions Filly & Mare Turf
Sunshine Millions Sprint
In 2006, Hall of Fame jockey Jerry Bailey rode his last race aboard Silver Tree in the Sunshine Millions and the great Barbaro would win the Florida Derby before making headlines with his victory in the Kentucky Derby.
The renovation, first effective for the 2006 spring meeting, was heavily criticized by racegoers and commentators, who felt that the new racino laid its emphasis entirely on the casino part, destroying the racetrack's atmosphere.
In June, 2011, Tim Ritvo was named President and General Manager of Gulfstream Park Racing & Casino. He was a prominent jockey and racing official at Suffolk Downs in the 1980s before establishing himself in the 1990s as a leading Florida trainer. Ritvo has also served as Vice President and Director of the Florida Horsemen's Benevolent & Protective Association.
In April, 2012, Javier Castellano, who collected his first Gulfstream title by riding a record 112 winners, scored his 3000th career success aboard Virtuously on Feb. 24 and Todd Pletcher, who claimed an unprecedented ninth consecutive training title at Gulfstream with 72 trips to the winner's circle, recorded his 3,000 career victory when he saddled Spring Hill Farm for a winning performance on Feb. 11.
In 2012, Stronach Group named Tim Ritvo, Chief Operating Officer of its Racing Division.
March 2, 2020 Tim Ritvo stepped down as COO of Stronach Group operated tracks, which include the troubled Santa Anita racetrack in California. He left to “pursue other opportunities.”
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Gulfstream_Park
www.gulfstreampark.com/shopping
© All Rights Reserved - you may not use this image in any form without my prior permission.
La ópera china es el nombre que recibe el teatro tradicional en China. El director Wang Yida, definió el teatro chino como "arte que sintetiza actuación, acrobacia, artes marciales, bellas artes, música y poesía".1
Se remonta a la dinastía Tang con el Emperador Xuanzong (712-755), fundador del "Jardín de los Perales" (梨园), la primera compañía documentada en China, y casi exclusivamente al servicio de los emperadores.nota 1 Durante la dinastía Yuan (1279-1368), se introdujeron en la ópera las variedades como el Zaju (杂剧), con actuaciones basadas en esquemas de rima y personajes tipo: "Dan" (旦, femenino), "Sheng" (生, masculino) y "Chou" (丑, payaso). En el siglo XXI, las profesiones de la ópera son todavía llamadas Disciplinas del Jardín de los Perales (梨园子弟).
es.wikipedia.org/wiki/Ópera_china
La Ópera de Pekín (en chino: 京剧 jīngjù o 京戏 jīngxì), es una clase de Ópera China que se inició a mediados del siglo XIX y que se hizo extremadamente popular entre la corte de la dinastía Qing. Está considerada como una de las máximas expresiones de la cultura de China.
El 16 de noviembre de 2010, la Unesco declaró la Ópera de Pekín como Patrimonio Cultural Inmaterial de la Humanidad1
La ópera de Pekín tiene cuatro tipos diferentes de personajes, tres masculinos y uno femenino:
Jing: Personaje masculino dotado de una gran fuerza de voluntad. Se le reconoce con facilidad ya que
siempre lleva un maquillaje excesivo.
Sheng: Personaje masculino que presenta tres variantes diferentes; el Sheng Guerrero, el Sheng joven y el Sheng mayor.
Ch’ou: Personaje masculino. Es el bufón de la obra.
Tan: Personaje femenino. Este personaje tiene también distintas variantes: Tan mayor, Tan flor (una joven alegre y un tanto descarada), Tan verde (mujer joven y de gran rectitud) y Tan del caballo y la espada (una mujer que domina tan bien la caligrafía como el arte de la guerra).
Es importante también el color del vestuario que utilizan los actores. Así el color negro representa un carácter atrevido; el blanco sirve para representar a una persona mentirosa; el azul indica a un personaje frío y calculador; y el rojo se utiliza para personajes valientes y leales. Los colores dorados y plateados se utilizan para representar a dioses.
Los argumentos de la ópera de Pekín son muy variados y van desde las intrigas de la corte hasta hazañas militares. Importa tanto la música como los gestos, las acrobacias y los cantos. Algunas representaciones pueden durar hasta seis horas.
es.wikipedia.org/wiki/Ópera_de_Pekín
Yueju Opera (Chinese: 越剧),is a Chinese opera popular in China. It originated in Shengxian County(namely Shengzhou). The word "Yue" in Chinese means Zhejiang province and the regions around it. "ju" means (Chinese) opera. At present, Yueju Opera is the second most popular opera in China, after the Beijing Opera.
simple.wikipedia.org/wiki/Yueju_Opera
Traditional Chinese opera (Chinese: 戲曲; pinyin: xìqǔ; Jyutping: hei3 kuk1), or Xiqu, is a popular form of drama and musical theatre in China with roots going back to the early periods in China. It is a composite performance art that is an amalgamation of various art forms that existed in ancient China, and evolved gradually over more than a thousand years, reaching its mature form in the 13th century during the Song Dynasty. Early forms of Chinese theater are simple, but over time they incorporated various art forms, such as music, song and dance, martial arts, acrobatics, as well as literary art forms to become traditional Chinese opera.[1]
There are numerous regional branches of traditional Chinese opera, including the Beijing opera, Shaoxing opera, Cantonese opera and kunqu and Lvju.
en.wikipedia.org/wiki/Chinese_opera
Peking opera, or Beijing opera (Chinese: 京剧; pinyin: Jīngjù), is a form of Chinese opera which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century.[1] The form was extremely popular in the Qing dynasty court and has come to be regarded as one of the cultural treasures of China.[2] Major performance troupes are based in Beijing and Tianjin in the north and Shanghai in the south.[3] The art form is also preserved in Taiwan (Republic of China), where it is known as Guójù (traditional Chinese: 國劇; simplified Chinese: 国剧; "National theatre"). It has also spread to other countries such as the United States and Japan.[4]
The roles on the Peking Opera stage fall into four major roles-Sheng (生), Dan (旦), Jing (净), Chou (丑).[44]
Sheng (生): refer to men, divided into Laosheng (老生)，Xiaosheng (小生)，Wusheng (武生)
Dan (旦): refer to women, divided into Zhengdan (正旦), Laodan (老旦), Huadan (花旦), Wudan (武旦), Daomadan (刀马旦)
Jing (净): refer to painted-face role, know popularly as Hualian, divided into Zhengjing (正净), Fujing (副净), Wujing (武净), Maojing (毛净)
Chou (丑): refer to painted-face role, know popularly as Xiao hualian, divided into Wenchou (文丑), Wuchou (武丑), Nüchou (女丑)
The Dan (旦) refers to any female role in Peking opera. Dan roles were originally divided into five subtypes. Old women were played by laodan, martial women were wudan, young female warriors were daomadan, virtuous and elite women were qingyi, and vivacious and unmarried women were huadan. One of Mei Lanfang's most important contributions to Peking opera was in pioneering a sixth type of role, the huashan. This role type combines the status of the qingyi with the sensuality of the huadan.[54] A troupe will have a young Dan to play main roles, as well as an older Dan for secondary parts.[49] Four examples of famous Dans are Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Xun Huisheng.[55] In the early years of Peking opera, all Dan roles were played by men. Wei Changsheng, a male Dan performer in the Qing court, developed the cai qiao, or "false foot" technique, to simulate the bound feet of women and the characteristic gait that resulted from the practice. The ban on female performers also led to a controversial form of brothel, known as the xianggong tangzi, in which men paid to have sex with young boys dressed as females. Ironically, the performing skills taught to the youths employed in these brothels led many of them to become professional Dan later in life.[56]
Grail Knight - the most virtuous of men who devote their lives to defend the innocent and fighting evil become Knights of the Grail.
La ópera china es el nombre que recibe el teatro tradicional en China. El director Wang Yida, definió el teatro chino como "arte que sintetiza actuación, acrobacia, artes marciales, bellas artes, música y poesía".1
Se remonta a la dinastía Tang con el Emperador Xuanzong (712-755), fundador del "Jardín de los Perales" (梨园), la primera compañía documentada en China, y casi exclusivamente al servicio de los emperadores.nota 1 Durante la dinastía Yuan (1279-1368), se introdujeron en la ópera las variedades como el Zaju (杂剧), con actuaciones basadas en esquemas de rima y personajes tipo: "Dan" (旦, femenino), "Sheng" (生, masculino) y "Chou" (丑, payaso). En el siglo XXI, las profesiones de la ópera son todavía llamadas Disciplinas del Jardín de los Perales (梨园子弟).
es.wikipedia.org/wiki/Ópera_china
La Ópera de Pekín (en chino: 京剧 jīngjù o 京戏 jīngxì), es una clase de Ópera China que se inició a mediados del siglo XIX y que se hizo extremadamente popular entre la corte de la dinastía Qing. Está considerada como una de las máximas expresiones de la cultura de China.
El 16 de noviembre de 2010, la Unesco declaró la Ópera de Pekín como Patrimonio Cultural Inmaterial de la Humanidad1
La ópera de Pekín tiene cuatro tipos diferentes de personajes, tres masculinos y uno femenino:
Jing: Personaje masculino dotado de una gran fuerza de voluntad. Se le reconoce con facilidad ya que
siempre lleva un maquillaje excesivo.
Sheng: Personaje masculino que presenta tres variantes diferentes; el Sheng Guerrero, el Sheng joven y el Sheng mayor.
Ch’ou: Personaje masculino. Es el bufón de la obra.
Tan: Personaje femenino. Este personaje tiene también distintas variantes: Tan mayor, Tan flor (una joven alegre y un tanto descarada), Tan verde (mujer joven y de gran rectitud) y Tan del caballo y la espada (una mujer que domina tan bien la caligrafía como el arte de la guerra).
Es importante también el color del vestuario que utilizan los actores. Así el color negro representa un carácter atrevido; el blanco sirve para representar a una persona mentirosa; el azul indica a un personaje frío y calculador; y el rojo se utiliza para personajes valientes y leales. Los colores dorados y plateados se utilizan para representar a dioses.
Los argumentos de la ópera de Pekín son muy variados y van desde las intrigas de la corte hasta hazañas militares. Importa tanto la música como los gestos, las acrobacias y los cantos. Algunas representaciones pueden durar hasta seis horas.
es.wikipedia.org/wiki/Ópera_de_Pekín
Yueju Opera (Chinese: 越剧),is a Chinese opera popular in China. It originated in Shengxian County(namely Shengzhou). The word "Yue" in Chinese means Zhejiang province and the regions around it. "ju" means (Chinese) opera. At present, Yueju Opera is the second most popular opera in China, after the Beijing Opera.
simple.wikipedia.org/wiki/Yueju_Opera
Traditional Chinese opera (Chinese: 戲曲; pinyin: xìqǔ; Jyutping: hei3 kuk1), or Xiqu, is a popular form of drama and musical theatre in China with roots going back to the early periods in China. It is a composite performance art that is an amalgamation of various art forms that existed in ancient China, and evolved gradually over more than a thousand years, reaching its mature form in the 13th century during the Song Dynasty. Early forms of Chinese theater are simple, but over time they incorporated various art forms, such as music, song and dance, martial arts, acrobatics, as well as literary art forms to become traditional Chinese opera.[1]
There are numerous regional branches of traditional Chinese opera, including the Beijing opera, Shaoxing opera, Cantonese opera and kunqu and Lvju.
en.wikipedia.org/wiki/Chinese_opera
Peking opera, or Beijing opera (Chinese: 京剧; pinyin: Jīngjù), is a form of Chinese opera which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century.[1] The form was extremely popular in the Qing dynasty court and has come to be regarded as one of the cultural treasures of China.[2] Major performance troupes are based in Beijing and Tianjin in the north and Shanghai in the south.[3] The art form is also preserved in Taiwan (Republic of China), where it is known as Guójù (traditional Chinese: 國劇; simplified Chinese: 国剧; "National theatre"). It has also spread to other countries such as the United States and Japan.[4]
The roles on the Peking Opera stage fall into four major roles-Sheng (生), Dan (旦), Jing (净), Chou (丑).[44]
Sheng (生): refer to men, divided into Laosheng (老生)，Xiaosheng (小生)，Wusheng (武生)
Dan (旦): refer to women, divided into Zhengdan (正旦), Laodan (老旦), Huadan (花旦), Wudan (武旦), Daomadan (刀马旦)
Jing (净): refer to painted-face role, know popularly as Hualian, divided into Zhengjing (正净), Fujing (副净), Wujing (武净), Maojing (毛净)
Chou (丑): refer to painted-face role, know popularly as Xiao hualian, divided into Wenchou (文丑), Wuchou (武丑), Nüchou (女丑)
The Dan (旦) refers to any female role in Peking opera. Dan roles were originally divided into five subtypes. Old women were played by laodan, martial women were wudan, young female warriors were daomadan, virtuous and elite women were qingyi, and vivacious and unmarried women were huadan. One of Mei Lanfang's most important contributions to Peking opera was in pioneering a sixth type of role, the huashan. This role type combines the status of the qingyi with the sensuality of the huadan.[54] A troupe will have a young Dan to play main roles, as well as an older Dan for secondary parts.[49] Four examples of famous Dans are Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Xun Huisheng.[55] In the early years of Peking opera, all Dan roles were played by men. Wei Changsheng, a male Dan performer in the Qing court, developed the cai qiao, or "false foot" technique, to simulate the bound feet of women and the characteristic gait that resulted from the practice. The ban on female performers also led to a controversial form of brothel, known as the xianggong tangzi, in which men paid to have sex with young boys dressed as females. Ironically, the performing skills taught to the youths employed in these brothels led many of them to become professional Dan later in life.[56]
When you look upon a tomb stone, all most people see is just that, an empty grave site. But if you can look closer perhaps another story can unfold. So was the case of a distant relative of mine.
************************
Arthur LeClair was Murdered Dec. 22, in 1907 in Neche, North Dakota and was a distant family member of mine. He was murdered by his best friend. It made headlines in the surrounding towns. A very interesting story to read with a "surprise ending".
***************************
The Pink Paper
Bathgate, Pembina Co, North Dakota
December 25, 1907
HORRIBLE MURDER
ARTHUR LECLAIR OF NECHE
KILLED WITH A HATCHET
Suspect arrested at Bathgate on Monday
Coroner’s inquest to be held today.
On Monday morning this city was greatly stirred up over a phone message to the effect that Arthur LeClair, well known to our young people, had been murdered the previous evening at Neche.
Inquiry at the chronotype office brought the following information. Arthur had been about town on Sunday evening until about 11:15 p.m. when he started home along.
That was the last seen as he did not go home, that night, his father became some what worried over his absence. He called the residence of Robert Faulker, a neighbor, and the two started to look for him. They thought he might have gone to the ice rink on the river near the Great Northern Railroad crossing and perhaps had fallen in some way and injured himself. When within a few hundred feet of the dam they came across a pool of blood but were not especially alarmed, thinking it, that of some animal. They followed the bloody trail and shortly came on a small axe or hatchet covered with blood and as they approached the dam they saw Arthur’s hat at the head of it. By this time they were fully aroused to the seriousness of the situation. There was blood down the apron of the dam and a small opening consequent on the flow of water but the body could not be seen. Mr. Faulker went to his residence near by and secured an axe and enlarged the opening a few feet when they saw the body of Arthur under the water and the remains were quickly recovered and taken to the residence of his parents. His face was not disfigured but there was a large gash in the back of his head through which his blood flowed.
The Lampman family and others of Neche people heard screams the previous evening about the hour Arthur must have started for home but thought it was probably some late roysters from across the line and paid no particular attention to it. At this hour of going to press nothing definite seems to have developed regarding the murderer or the cause of the crime.
As is usual in such cases the air is full of rumors, the most authentic of which connects the name of a Negro transient with the crime. The Negro is said to have been seen in Arthur’s company on Sunday and later in the day was evidently under the influence of liquor. He was in Neche until Monday morning when he left afoot in a southerly direction and stopped at the Vospers, Hicks, Messacres and other places and reach Bathgate shortly after noon. Marshall O’Harra received notice that the Negro was probably in this place and was wanted as a suspect. O’Harra soon rounded him up and he was taken back to Neche by officers. So far as we are able to learn the evidence against the suspect is purely circumstantial. The inquest will probably develop farther facts.
Arthur LeClair resided at Neche since his birth, with his parents and was 21 years of age. He has been engaged for some time past as fireman on the Neche and Walhalla branches of the Great Northern Railroad. He was at home to spend the holidays. The Neche people are aroused and will see that the matter is sifted to the bottom and the murderer brought to justice. It was evidently the most cold blooded and shocking murders ever committed in this county and no expense should be spared on the part of the county officials to make the investigation most thorough.
Coroner Bour of St. Thomas has been notified but not in time to get to the scene of the crime on Monday.
The Pink Paper
Bathgate, Pembina Co, North Dakota
January 1, 1907
The funeral of Arthur LeClair took place on Thursday. The body was taken from the LeClair home to the R. C. church, where a very brief and simple service was said by Rev Fr. Fobes. The casket was covered with floral tributes, and the hearse was followed by a large delegation of the Brotherhood of Locomotive Fireman, of which Arthur was a member, with whom marched a number of other friends of the dead boy, forming quite a procession. Interment was made in the Catholic cemetery here.
The Pink Paper
****Jan. 1, 1907****
Mr. Eli Roy, father of Mrs. Fred LeClair, and Mrs. J. Roy, sister-in-law of same, of St. Jean, Manitoba, arrived on Tuesday, calied by the death of Arthur LeClair.
The Pink Paper
Jan. 8, 1908
NECHE MURDER
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WAS ONE OF THE MOST LAMENTABLE
CRIMES EVER COMMITTED IN
PEMBINA COUNTY
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James O’Brien, of Neche made a complete confession of the murder of Arthur LeClair, the Great Northern Fireman, Sunday. The 16 year old slayer gave up the details of his crime to J. C. Crawford a Pinkerton detective, who had been working on the case.The confession came after he had been confronted with his bloody clothing, hatchet with which the crime had been committed a bloody scarf and other evidences of his guilt. When the news was broken to the father of O’Brien, for years a resident of Neche and Customs Officer there, he broke down completely. Fred LeClair the father of the murdered boy called on him in an endeavor to console him.
Detective Crawford, 18 years in the business, had quite a time getting the murderer to confess. He worked various schemes and was finally successful, after picturing to the boy, the certainty of his conviction, and calling his attention to the great expense with which his father would be burdened, in case he fought the case in District Court.
The following is the complete confession of young O’Brien: To J.C. Crawford Pinkerton Detective.
On Sunday December 22, 1907, LeClair and I went to Gretna twice and drank each time. Coming back the second time both of us were quarreling as to who was the Best Man and LeClair said he could lick three O’Brien’s and I got mad. When we left Cook’s shop, I made an excuse to go out to the closet and I got a hatchet and we started for the rink. When we got down there he made some remarks about fighting me and he put one foot behind me and threw me over. I got up and he hit me and I hit him with a hatchet and after I saw what I had done, I hit him again and took his pocketbook and threw it in the river. I got the hatchet from behind the house where the ice is kept. I threw the body over the bank and followed the body down the bank, I think I had hold of him by the collar and dropped him right at the head of the dam, in the river. James O’Brien-
Witness (to Confession)
J.H. Anderson
J.C. Fielding
George Roadhouse
I James O’Brien, do voluntarily make a statement in my own handwriting and of my own free will before witness, J.C. Fielding and Geo. Roadhouse, that the contents and page no. 2 is a true statement of how I, James O’Brien, killed Arthur LeClair on Sunday, December 22, 1907. I have written this statement for the purpose of telling the truth on my part and have not shield anyone, as there was nobody implicated but myself.
_James O’Brien
Dated Sunday, December 22, 1907
Witness- Geo. Roadhouse
-J.C. Fielding
An effort was made yesterday to locate the money claimed by O’Brien to have been thrown in the Pembina River. Ice was broken but the money was not found. It is thought probable that O’Brien had not told the truth about the quarrel with LeClair and the disposition of the money. LeClair was not of a quarrelsome disposition and it is the general opinion, that he was killed in Cold Blood.
Although the above confession has been since shown by the boy murderer himself to have been in part a lie, it contains at least one horrible truth-James O’Brien foully murdered his friend. Whether he committed the crime as he relates it or whether he stepped behind LeClair and dealt the blow that felled him to the ground-interrupting perhaps a friendly conversation to do this deep most dark and damnable-will perhaps never be known except to him who has forever quitted god’s good sunshine for the light of a felon’s cell, who has forever breathed his last of the sweet air of liberty.
To return to the proceedings of the Saturday session of the coroner’s inquest. James O’Brien was the principal witness. He did not waver as he told states attorney Brynjolfson lie for lie; he did not change color when his gray haired father was forced to undergo the ordeal of accounting for his son’s movements the night of the murder; he did not blush for shame when his sorrow stricken mother was called upon to tell of the hatchet with which he had slain his chum; he did not even shudder when confronted with his own garments in which he knew was dried the blood of Arthur LeClair yet the meshes of the law were already about the boy, and he felt them tighten when he was place under arrest by sheriff Roadhouse Saturday evening. He must have realized that his guilt was known when he was taken to Pembina and place in a cell, in the county jail, but never, do we think, has he realized the enormity of his crime. He sang and whistled in his cell, and managing to lift the window, called to his acquaintances and held converse with them.
Pinkerton detective Crawford was admitted to O’Brien cell on Sunday afternoon, he told the boy that his guilt was known and that the proofs were positive He told him that one or two fates surely awaited him-hanging or life imprisonment. He told him that his crime was of a nature that merited hanging, and that the law had so inexorably provided. O’Brien still maintained his innocence. The detective told him that if the case came to trail and the prisoner entered a pea of not guilty, his guilt would surely be proven to the jury, and the Judge would undoubtedly be obligated, in view of the conclusive evidence submitted, to give him to the gallows. He told the boy that if he plead not guilty his father would, beggar himself in his defense, and all to no end-the result would be the same- a verdict of guilt. Still the boy protested that he had nothing to do with the murder of Arthur LeClair. Then the Pinkerton man told Jimmie that there were others suspected of complicity, and that a confession from him would not only cause sympathy as could be extended a murderer for himself, but would accelerate the ends of justice, while on the contrary if he, the prisoner, remained silent he could expect no mercy if found guilty, and a stigma of doubt would forever attach to the names of some perhaps innocent people. Already, the detective urges, the prisoner’s parents had suffered the pangs and pains of heartbreak, and by maintaining his innocence to the end, they would be further humiliated and their shame and sorrow held up to the gaze of all men, O’Brien was still obdurate. Then, after the detective had presented all these arguments in every light-and sympathy for the unfortunate boy perhaps made him eloquent-Jimmie at last burst into tears, and laying his head on Mr. Crawford knee’s confessed that he “did it alone.” Both the prisoner and the detective were now weeping. The confession followed which the boy-murderer has since himself proven to be a lie with the exception of the one all important fact-his hand, and his alone, dealt the blows that drove the life from the body of Arthur LeClair.
States-attorney Brynjolfson was called at once. O’Brien wrote with a lead pencil the confession which appears foregoing, in the presence of the witnesses whose names are there unto, subscribed. On Monday morning detective Crawford drove to Neche with the confession in his pocket, and proceeded to publish it to the townspeople. Everyone-even the family of the murderer-experience a feeling of great relief. Everyone had been morally certain-as certain as men can be before a trail by judge and jury-that James O’Brien had been the main actor in the hideous drama enacted on the night of December 22, but the demeanor of the murderer and the peculiar character of the trail made by dragging the body from the river bank to the hole below the dam-which indicated to those whose good judgment was recognized and respected that two had dragged the corpse, one at the head and one at the feet-led may to a belief that O’Brien had at least one accomplice. When it was learned that no one else had been in any way concerned in the commission of the crime everyone breathed freer, and to some the knowledge came as a relief from doubt and suspense.
*
*
After the inquest the prisoner made a request that he be allowed to see his parents before he was taken back to jail. The request was granted. In the intervening time, before his father could come to see him, he managed to communicate with one of the town boys to the effect that he would “find something, if he look under the rocks at the dam”. The officers were at once apprised of this statement, and a thorough search was made of the place mentions, which revealed nothing but three lead pencils found hidden under a stone. When the prisoner was allowed to see his father the latter on his knees begged his son to tell what had been done with the money. “I burned it,” was the reply. The search for the money by cutting ice below the dam was now discontinued. Shortly the prisoner left his parents, he told the detective that if he would allow, the place where the money was hidden would be revealed. The officer went with the boy to his father barn, and in the loft from under a handful of twine on a beam the boy took seventy dollars six five and four ten dollar bills. This O’Brien vowed was all the money he had taken from LeClair, the pocketbook he said he had burned in the kitchen stove. Sheriff Roadhouse took his prisoner back to Pembina Tuesday evening. Since then he has further amended his original confession by admitting that he had no quarrel with LeClair. This marks every vestige of the original confession as untruth, with the exception of the bare fact of the murder.
Detective Crawford on Wednesday secured a sworn affidavit from a seventeen year old boy who was a eye witness to the murder. The boy was
going home from Giadue’s rink that night about 11:15, and when coming up the road that runs along the river bank he saw figures ahead of him, and by their conversation recognized them as Arthur LeClair and James O’Brien. He was at this time standing about 60 feet from the spot where the murder occurred. As the boy relates it in his affidavit a conversation like this ensued between O’Brien; O’Brien-”Come on, Goose, let’s go down to the rink.” LeClair-”No, I'm sick; I’m going home and to bed.” O’Brien-”If you’re sick, lets walk to the woods-walk off your jag.” LeClair-”No, “I’m going home to bed.” O’Brien-”What you afraid of the wolves?” LeClair-Not afraid of anything, but I’m going home to bed.” The boy who had over heard this conversation saw the murder done. He ran home in terror, told his father what he had heard and seen, and begged him not to tell for fear “they might do something to him for it .” The affidavit was given on condition that the boy’s name would not be disclosed. It proves that there was nothing like a quarrel or a scuffle just before the murder. The thing was done in cold blood-a murder most foul.
O’Brien was given a preliminary hearing at Pembina Thursday. He plead guilty and was bound over to the session of the District court for sentence. It is believed he will receive a sentence of life imprisonment. The character of his crime would indicate that he can receive nothing less than this-If indeed, he escapes the hangman.
The Pink Paper
Jan. 15, 1908
CRIMINAL CALENDER
James O’Brien, aged 16 years, was sentenced at Pembina to life imprisonment for the murder of Arthur LeClair the Great Northern Fireman at Neche on Dec. 22th.
O’BRIEN PLEADED GUILTY
An appeal for clemency was made by John F. Conmy, attorney for the prisoner. Attorney Conmy pointed to the youth of the prisoner and the fact that he had become intoxicated as a result of saloons being kept open illegally at Gretna (Canada) on Sunday. As attorney Conmy pleaded for him O’Brien broke down and wept.
Judge W. J. Kneeshaw spoke for about 15 minutes to the prisoner and his remarks were intended as much for the great crowd assembled in the court room. He pictured O’Brien as one who had given away to his baser feelings and who was not about to pay the penalty. Bad habit, disregard for the law and the rights of others finally ended in the murder of a friend for a paltry sum of money.
A foul murder has been committed in Neche, by a boy of tender years, only sixteen years of age. He comes of a good family but had previous to
committing this crime built up an unsavory reputation. We do not know why. Whether improper administration of the parent is responsible for the acts of a boy so young can not always be determined. But waywardness and evil tendencies manifest themselves in a character at premature age and then is the time to apply or administer the remedy. Keep track of the boy and try and see that he does not frequent places of questionable demeanor that fill the atmosphere with the fumes of moral perversion. See to it that he selects
Good and Virtuous companions and guide him along the pathway of youth in
such manner that no one can point a finger of scorn at you for delinquency in parental duties. The church, the Sunday school, the home and the Public school have that boy in their care and his future is molded by the influences and environments of youth. “As the twig is bent, the tree is inclined”, if you deem yourself a good father or mother keep your eye on your boy.
O’Brien father was present in the court room with the boy. The old man is over come with sorrow and the disgrace the boy had brought upon him.
O’Brien was taken to the penitentiary Saturday evening.
Before passing sentence Judge Kneeshaw said;
“You are accused of murder in the first degree for the murder of Arthur LeClair, aforethought, with premeditated design to effect the death of Arthur LeClair; then and there assaulted and beat him with a hatchet from which he died. Have you any reason why the court should not sentence you?”
PLEA FOR O’BRIEN
J. P. Conmy, counsel for the defendant, in reply said:
“At this time, before sentence is pronounced, we wish to say a few words. We know just the position in which the court is placed in this case according to the law. However, we throw our self upon the mercy of the court and ask for clemency. Consider the character of the accused. He is not a hardened and unfeeling criminal. We do not mean that there should be no punishment for crime, on account of the tender age-but we do feel that in this case where a boy has confessed. In such a case, your honor, we believe that there is due clemency from this court. However, now that matters have been placed before you in their true light, that the accused stands before you readily, bear in mind the youthfulness of the lad-life is sweet to him-and the heartrending of his parents. Extend to him all the clemency in your power. This confession was not given to obtain the mercy of the court. It was given by James O’Brien with the purpose of removing the doubt, if there was any, from others and to prevent any further torture to his parents. On the circumstances surrounding the crime let me dwell. Let me introduce to you the surrounding which have assailed the life of the accused, the bars, and saloons of Grenta, the one necessary qualification being the price. How easy to pass from one station to the other. Think of the temptations which surrounded your life, of the temptations of any boy at the age of 16. How easy then it was to fall into temptations, which robbed him of his senses from unlawful administration of others. While we ask clemency we know the position in which the court is placed. His confession was made to free all others on whom the shadow of doubt might rest.”
COURT TO THE ACCUSED
Judge Kneeshaw said to James O’Brien:
“The law of this state when a defendant pleads guilty to a charge of murder provides that if he pleads guilty to murder in the second degree it then devolves into murder and the court may then examine witnesses in order to inquire into the enormity of the crime, or he may call in a jury to pass on the punishment, or he may refuse to pass on the plea and submit the case to a jury. In this case I have decided to receive the plea of guilty in the first degree and I will say that by so doing I have been placed in a very trying position. You, James O’Brien, I have known since you were a baby, and I have known your father and mother for 30 years. They are some of the old settlers in the county, and when I say old settlers of the Red River valley I mean they consist of the best people that ever lived. I have known your father when I was a young man, and learned to like him as a brother, and it is indeed, a trying thing for me to pass sentence upon you. I have no doubt that the bars of Gretna are largely responsible for the death of LeClair. No person can realize that a boy your age could ever commit a crime as been developed in this case. No more dastardly deed has ever been committed in this county.
JUDICIAL MURDER
“The penalty provided for such crime is death or imprisonment for life. In this case I will say and I feel proud to be able to say that I consciously do not believe that capital punishment is justifiable. Hanging is nothing but judicial murder. There is no excuse for a state to take a man out in cold blood and hang him by the neck. Most people of the present day believe hanging is a relic of barbarism. Now, Jimmie, you can see what whisky, and bad company have brought upon you. You can realize that in cold blood, you killed your chum and brought him before God and his maker. You can see what trouble rests upon your parents and all on account of whisky and bad company. I have noticed that during the proceedings you have shed many tears. I am glad of that. I believe that when a boy is able to shed tears and show that he is penitent that there is some hope that he may repent. This is indeed not only to you and boys of this country of the bad effects of whisky and I hope that everyone in my hearing will take this home with them. Now, Jimmie, I will have to sentence you. I hope that god’s holy spirit may be with you and help you and guide you in your future life. I think I have expressed to you all I can on this line.
“The sentence of the court is that you James O’Brien, shall be confined in the state penitentiary in the county of Burleigh, state of North Dakota, at hard labor for the rest of your natural life, commencing at 12 o’clock noon today.”
****************************
Epilogue:
When World War I broke out the army needed bodies and promised any one in prison who would serve in the army, and survived, would be offered a pardon when the war ended. As luck would have it O’Brien served throughout the war without a scratch. After the war he returned to Neche. However, the local people would have nothing to do with him and shunned him. After a short time he left and was never seen or heard from again.
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A fresco of the Virtuous Ladder appears on the north wall of Sucevita Monastery in Bukovina, Romania. The ladder has 30 steps from hell to paradise, one for each year of Christ's life.
When visiting here,I always feel something to close to awe that I can not express well...
location : Kyoto Kochidani (northern area of Ohara) Amidaji temple,Kyoto city .Kyoto prefecture,Japan
即身仏（ミイラ仏/ 京都で唯一ここのみ）弾誓上人のお寺
京都大原 古知谷 光明山法国院 阿弥陀寺
ja.wikipedia.org/wiki/%E9%98%BF%E5%BC%A5%E9%99%80%E5%AF%BA_( in Japanese)
The temple belongs to the Pure Land of Jodo-shu Sect of Buddhism,crowned with the mountain name of Kochidani-Komyozan古知谷光明山.
The high priest Tanzei 弾誓 established the temple in 1609 as a training hall for sutra chanting.The priest was born in present Aichi Prefecture and entered priesthood at age of 9. He journeyed during his training before he settled down here.
The priest "became a Buddha in his own body ( starved himself to death) " in 1613 in the age of 63.
His mummified remains ,now deified were placed in a coffin and enshrined even today in the founder's cave in the far back of main hall. The statue of priest Tanzei is said to be have been created by the priest himself using his own hair and it referred to as the "revered statue with hair" It is placed in the main hall as the principal deity. The sitting statue of Amitabha Tathagata (Important Cultural Asset) is enshrined in the temple's treasure house along with invaluable items donated by Imperial relatives.
A stone cavern called Chozen-kutsu澄禅窟 is located on the top of the mountain in the back ,where the high priest Chozen 澄禅 came to this temple as he deeply admired the virtuous late priest Tanzai.
- Amidaji temple
Canon EOS M5/ K＆F Concept FD-EOSM/FD28mm/2.8
/f8.0 28mm 1/50sec hand-held ISO 100/ all manual /no crop
During my last day of shooting in Le Puy-en-Velay (March 9, 2023), I managed to complete all the subjects that required additional photography, and to extensively shoot the last item on my bucket list, i.e., the spectacular Saint-Michel d’Aiguilhe chapel which I will show in a few days.
My first goal was to photograph the “inner” statuary in the canons’ cloister, i.e. the items that are only visible from the central space (préau in French), as opposed to the galleries. In monasteries, that space was often used as an herb garden, particularly when safe space was at a premium elsewhere. However, in the case of Le Puy and its secular canons, very often the offspring from the wealthiest families, there were other sources of supply, should herbs be needed, and aside from framing the central well, the purpose assigned to that space was most probably very similar to what it is now: a pleasure garden.
Bearing that in mind (and, no doubt, the designers of the cloister did), it is not surprising that we should find, on this inner side, one of the wildest collections of monsters, devils and sinners ever devised by the fertile imagination of Mediæval sculptors: while meditation in the galleries took place among virtuous and God-pleasing representations, the canons (or those who cared, at least) were reminded by that gallery of monsters and vices that basking leisurely in the sun in the garden wasn’t too good for their karma, if I dare say.
One of the iconic arches in the cloister with its decorative stones and mix of period and rebuilt capitals. The latter are generally the most exposed to bad weather. In the background, you may notice a door that has retained its Mediæval ironworks, although the wood has been replaced. Also notice the little face on the keystone.
During my last day of shooting in Le Puy-en-Velay (March 9, 2023), I managed to complete all the subjects that required additional photography, and to extensively shoot the last item on my bucket list, i.e., the spectacular Saint-Michel d’Aiguilhe chapel which I will show in a few days.
My first goal was to photograph the “inner” statuary in the canons’ cloister, i.e. the items that are only visible from the central space (préau in French), as opposed to the galleries. In monasteries, that space was often used as an herb garden, particularly when safe space was at a premium elsewhere. However, in the case of Le Puy and its secular canons, very often the offspring from the wealthiest families, there were other sources of supply, should herbs be needed, and aside from framing the central well, the purpose assigned to that space was most probably very similar to what it is now: a pleasure garden.
Bearing that in mind (and, no doubt, the designers of the cloister did), it is not surprising that we should find, on this inner side, one of the wildest collections of monsters, devils and sinners ever devised by the fertile imagination of Mediæval sculptors: while meditation in the galleries took place among virtuous and God-pleasing representations, the canons (or those who cared, at least) were reminded by that gallery of monsters and vices that basking leisurely in the sun in the garden wasn’t too good for their karma, if I dare say.
According to some authors infinitely more knowledgeable than myself (among which Olivier Beigbeder, author of the Zodiaque book on Forez & Velay romans, page 85), this historied capital is the best of the whole cloister, and of the whole cathedral compound, as the capitals in the cloister surpass by far those in the cathedral.
I am not far from sharing that opinion. There is of course a lot of craftsmanship and artistry here. However, I may still have a preference for some in the baptistry, which I will upload soon.
Anyway, this one shows a female Centaur fleeing from a male Centaur. Successfully? Some say so because she flees to the right, the side of Good —yes, that is how precise symbolism was in the Romanesque age. The female Centaur seems to give a blessing with her right hand, while the male one holds onto an item which I cannot readily identify but which looks like a torch.
Gulfstream Park is a racetrack and county-approved casino in Hallandale Beach, Florida. During its annual meet, which spans December through October, it is one of the most important venues for horse racing in the United States.
Gulfstream Park was opened on Wednesday February 1, 1939 conducting a four-day meeting. The initial meeting had a crowd of 18,000. In 1944, the track was reopened by James Donn, Sr. for a 20-day meeting in December. The Gulfstream Park Handicap was first run in 1946 and the Florida Derby began in 1952. In that year the clubhouse was built and the Grandstand seating was expanded.
In 1952 the clubhouse was erected and a new addition was put on the grandstand. It also marked the first running of the Florida Derby. The following year, the Florida Derby became the first stakes in Florida with a $100,000 purse.
The 1955 Kentucky Derby winner and Horse of the Year Swaps set a then world-record of 1:39 3/5 for a mile and 70 yards while carrying 130 pounds in the Broward Handicap. The following year was just as exciting at Gulfstream when Gen. Duke equaled the world record of 1:46 4/5 in defeating Bold Ruler in the Florida Derby.
In 1959, a new era at Gulfstream began with the opening of its world-acclaimed turf course. In 1961, James Donn Jr. became president of Gulfstream. It also marked the construction of what was then the world's largest tote board.
Following the death of his father, James Donn Jr., Doug Donn was elected Gulfstream Park's president.
In 1961, James Donn Jr. succeeded his father as president of Gulfstream Park. In this year the Clubhouse was enlarged and the then-world's largest totalisator board was installed in the infield. A big break for Gulfstream Park came in 1972, when the track was awarded "middle dates" for a 40-day January through April meet.
In 1980, Hall of Fame rider Angel Cordero Jr. set a meeting record with 60 winners.
In 1982, the Grandstand was renovated with new architecture and in 1984 the renovation of the clubhouse was completed. In 1986, the renovation of the track was completed with the new Gulfdome, a domed dining terrace. In 1989 Gulfstream Park hosted the Breeders Cup for the first time (which it did again in 1992 and 1999).
Gulfstream played host its first Breeders' Cup World Championships in 1989, highlighted by the Classic match-up between Kentucky Derby and Preakness winner Sunday Silence and Belmont Stakes winner Easy Goer. Gulfstream would host the Breeders' Cup again in 1992.
In 1990, the track was purchased by Bertram R. Firestone.
Jockey Julie Krone took the jockey's title in 1993 with 98 winners. In 1994, Holy Bull won the Florida Derby while, in 1995, Cigar won the Donn Handicap and Gulfstream Park Handicap on his way to a perfect season. Meanwhile, '95 Florida Derby winner Thunder Gulch would go on to win the Kentucky Derby. Monarchos would repeat Thunder Gulch's feat in 2001.
In 1994, a half interest in the track was sold to Nigashi Nihon.
The track was purchased by Magna Entertainment Corporation, in 1999 for $95 million. In 2010, the ownership of the track was taken over by Magna parent MI Developments Inc. (MID). The track is currently owned by The Stronach Group since July 3, 2011.
Hal's Hope, winner of the 2000 Florida Derby, would return in 2002 to win the Gulfstream Park Handicap. The 2002 season was also highlighted by the first running of the popular Sunshine Millions, pitting Florida-breds vs. California-breds for purses totaling $3.6 million. Palm Meadows, Gulfstream's state-of-the-art training facility in Palm Beach County, was opened on Nov. 29, 2002.
Trainer Todd Pletcher started his unprecedented run of nine consecutive training titles in 2004.
The track began a $130 million renovation of the grandstand and clubhouse in 2004 and slot machines were approved for the track in 2004. It now hosts all of the races in the series of races known as the Sunshine Millions. The series now consists of the:
Sunshine Millions Classic
Sunshine Millions Turf Stakes
Sunshine Millions Distaff
Sunshine Millions Filly & Mare Turf
Sunshine Millions Sprint
In 2006, Hall of Fame jockey Jerry Bailey rode his last race aboard Silver Tree in the Sunshine Millions and the great Barbaro would win the Florida Derby before making headlines with his victory in the Kentucky Derby.
The renovation, first effective for the 2006 spring meeting, was heavily criticized by racegoers and commentators, who felt that the new racino laid its emphasis entirely on the casino part, destroying the racetrack's atmosphere.
In June, 2011, Tim Ritvo was named President and General Manager of Gulfstream Park Racing & Casino. He was a prominent jockey and racing official at Suffolk Downs in the 1980s before establishing himself in the 1990s as a leading Florida trainer. Ritvo has also served as Vice President and Director of the Florida Horsemen's Benevolent & Protective Association.
In April, 2012, Javier Castellano, who collected his first Gulfstream title by riding a record 112 winners, scored his 3000th career success aboard Virtuously on Feb. 24 and Todd Pletcher, who claimed an unprecedented ninth consecutive training title at Gulfstream with 72 trips to the winner's circle, recorded his 3,000 career victory when he saddled Spring Hill Farm for a winning performance on Feb. 11.
In 2012, Stronach Group named Tim Ritvo, Chief Operating Officer of its Racing Division.
March 2, 2020 Tim Ritvo stepped down as COO of Stronach Group operated tracks, which include the troubled Santa Anita racetrack in California. He left to “pursue other opportunities.”
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Gulfstream_Park
www.gulfstreampark.com/shopping
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Having shut himself off from access to Heaven and having several times repeated—within ever narrower limits—his initial fall, man has ended by losing his intuition of everything that transcends himself, and he has thereby sunk below his own nature, for one cannot be fully man except through God, and the earth is beautiful only through its link with Heaven. Even when a man still believes, he forgets more and more what religion really demands: he is astonished at the calamities of this world, without its occurring to him that they may be acts of grace since—like death—they rend the veil of earthly illusion and thus allow man “to die before dying”, hence to conquer death.
Many people imagine that purgatory or hell are for those who
have killed, stolen, lied, committed fornication, and so on and that it suffices to have abstained from these actions to merit Heaven; in reality the soul is consigned to the flames for not having loved God or for not having loved Him enough; this can be understood if we recall the supreme Law of the Bible: to love God with all our faculties and all our being. The absence of this love does not necessarily involve murder or lying or some other transgression, but it does necessarily involve indifference; and indifference, which is the most generally widespread of faults, is the very hallmark of the fall.
It is possible for the indifferent not to be criminals, but it is
impossible for them to be saints; it is they who go in by the “wide gate” and follow the “broad way”, and it is of them that Revelation says, “So then because thou art lukewarm, and neither cold nor hot, I will spew thee out of my mouth” (3:16).
Indifference toward truth and toward God borders on pride and is not free from hypocrisy; its seeming harmlessness is full of complacency and arrogance; in this state of soul the individual is content with himself even if he accuses himself of minor faults and appears modest, which in fact commits him to nothing but on the contrary reinforces his illusion of being virtuous. It is this criterion of indifference that makes it possible for the “average man” to be so to speak “caught in the act”, for the most surreptitious and insidious of vices to be as it were taken by the throat, and for every man to have his poverty and distress proven to him; in short it is indifference that is “original sin” or its most general manifestation.
Indifference is diametrically opposed to spiritual impassibility
or contempt of vanities as well as to humility. True humility is to know that we can add nothing to God and that, even if we possessed all possible perfections and had accomplished
the most extraordinary works, our disappearance would take nothing away from the Eternal.
Even believers themselves are for the most part too indifferent to feel concretely that God is not only “above” us “in Heaven”, but also “ahead” of us, at the end of the world or even simply at the end of our life; that we are drawn through life by an inexorable force and that at the end of the course God awaits us; that the world will be submerged and swallowed up one day by an unimaginable irruption of the purely miraculous—unimaginable because surpassing all human experiences and standards of measurement. Man cannot possibly draw on his experience to bear witness to anything of the kind any more than a mayfly can expatiate on the alternation of the seasons; for a creature that is born at midnight and whose life will last but a day, the rising of the sun can in no way enter into the series of its habitual sensations; the sudden appearance of the solar disk, unforeseeable by reference to any analogous phenomenon that had occurred during the long hours of darkness, would seem like an unheard of and apocalyptic prodigy. Now it is thus that God will come. There will be nothing but this one advent, this one presence, and by it the world of experiences will be shattered.
---
Frithjof Schuon: Light on The Ancient Worlds
“Give people license to mistreat people while under the guise of being virtuous. And you have the recipe for Nazism, Stalinism and now medical tyranny.” It was blatantly wrong, but hey, they felt virtuous! What about the holocaust of the unborn—the genocide of those in the womb? If they commit these atrocities against their own offspring, what’s next? They dehumanize the unborn, like they did the Jews, and then kill them without conscience. Planned Parenthood was even busted for selling baby body parts! Now they are segregating the unvaxxed more and more. What will the end result be for them? No vax no job? No money for food or mortgage or rent? Homelessness? Then round up the useless eaters? Then kill them too?
“Throughout the 1930s, many Germans assisted the Nazi regime’s efforts to remove Jews from Germany’s political, social, economic, and cultural life.” Did the Holocaust happen in a day? No it did not! Indeed, segregation is a slippery slope, just as history has proven. Where will all this end? Will the unvaxxed be labelled as domestic terrorists and eventfully rounded up? Washington State Governor Jay Inslee likened the unvaxxed to domestic terrorists. They are using fear, hysteria, and propaganda to stir up the masses against a certain group of people. Let’s also add ignorance to the mix. Fear and ignorance, which overtake logic and reason, will in the end equal blindness and destruction.
Tribalism, group mind, mob mentality, herd mentality, mass psychosis, mass hysteria. Don’t think; Conform; follow the majority; follow the herd; follow the popular group; enjoy the virtues of persecuting those outside the group. Don’t you dare have a different opinion than the official narrative. Don’t you even dare question the narrative. Follow the pseudoscience without debate. Censor the other side of the debate even though real science is about debate. But who cares about debate or free speech, right? Who cares about democracy, right? Who cares about freedom, right? It’s not about a virus or science but the Great Reset—global fascism (Does the Book of Revelation ring a bell?).
The Bible tells us that a vast number of Christians will be beheaded in the Tribulation period (the Antichrist will also turn against the God fearing Jews). This is the sad truth: good people can quickly turn bad and end up on the wrong side of history. They don’t even see the consequences to their thoughts and actions, and so they just keep justifying them all the way to the end. Willful ignorance is bliss!
Jeremiah 17:9-10 “The heart is deceitful above all things, and desperately wicked; who can know it? I, the LORD, search the heart, I test the mind, and reward each person according to their deeds, according to what their actions deserve.”
Now if you do not understand that Auschwitz did not begin with Auschwitz or that the Holocaust did not start with the Holocaust, then watch Holocaust survivor Vera Sherav (founder and president of the Alliance for Human Research Protection) compare covid-19 measures to 1930s Germany. If we don’t wake up, another holocaust may be coming down the pike!
Vera Sherav: And I, absolutely as a survivor, I am very troubled by those who are the self anointed, you know, gatekeepers of what you are allowed and not allowed to say about the Holocaust.
Israeli Holocaust Survivor Vera Sharav and Dr. Reiner Fuellmich Talk 'Global Genocide':
www.youtube.com/watch?v=PdlWhuUFuKs&t=4s
Vera Sharav: When the State is enemy to thee:
www.youtube.com/watch?v=4trbmCY504k
Nazism, COVID-19 and the destruction of modern medicine: An interview with Holocaust survivor Vera Sharav, Part One:
www.youtube.com/watch?v=h_EDV_7s7Dc
Nazism, COVID-19 and the destruction of modern medicine: An interview with Holocaust survivor Vera Sharav, Part Two:
www.youtube.com/watch?v=cRW-Ld9J3VY&t=273s
Auschwitz, 75 years on: "Do not be indifferent", says death camp survivor Marian Turski:
www.youtube.com/watch?v=VaPF_g0jHxk
Hospital humiliation 'like wearing a yellow star all over again':
rumble.com/vslsn2-hospital-humiliation-like-wearing-a-yel...
Stanley Milgram's study of obedience:
La ópera china es el nombre que recibe el teatro tradicional en China. El director Wang Yida, definió el teatro chino como "arte que sintetiza actuación, acrobacia, artes marciales, bellas artes, música y poesía".1
Se remonta a la dinastía Tang con el Emperador Xuanzong (712-755), fundador del "Jardín de los Perales" (梨园), la primera compañía documentada en China, y casi exclusivamente al servicio de los emperadores.nota 1 Durante la dinastía Yuan (1279-1368), se introdujeron en la ópera las variedades como el Zaju (杂剧), con actuaciones basadas en esquemas de rima y personajes tipo: "Dan" (旦, femenino), "Sheng" (生, masculino) y "Chou" (丑, payaso). En el siglo XXI, las profesiones de la ópera son todavía llamadas Disciplinas del Jardín de los Perales (梨园子弟).
es.wikipedia.org/wiki/Ópera_china
La Ópera de Pekín (en chino: 京剧 jīngjù o 京戏 jīngxì), es una clase de Ópera China que se inició a mediados del siglo XIX y que se hizo extremadamente popular entre la corte de la dinastía Qing. Está considerada como una de las máximas expresiones de la cultura de China.
El 16 de noviembre de 2010, la Unesco declaró la Ópera de Pekín como Patrimonio Cultural Inmaterial de la Humanidad1
La ópera de Pekín tiene cuatro tipos diferentes de personajes, tres masculinos y uno femenino:
Jing: Personaje masculino dotado de una gran fuerza de voluntad. Se le reconoce con facilidad ya que
siempre lleva un maquillaje excesivo.
Sheng: Personaje masculino que presenta tres variantes diferentes; el Sheng Guerrero, el Sheng joven y el Sheng mayor.
Ch’ou: Personaje masculino. Es el bufón de la obra.
Tan: Personaje femenino. Este personaje tiene también distintas variantes: Tan mayor, Tan flor (una joven alegre y un tanto descarada), Tan verde (mujer joven y de gran rectitud) y Tan del caballo y la espada (una mujer que domina tan bien la caligrafía como el arte de la guerra).
Es importante también el color del vestuario que utilizan los actores. Así el color negro representa un carácter atrevido; el blanco sirve para representar a una persona mentirosa; el azul indica a un personaje frío y calculador; y el rojo se utiliza para personajes valientes y leales. Los colores dorados y plateados se utilizan para representar a dioses.
Los argumentos de la ópera de Pekín son muy variados y van desde las intrigas de la corte hasta hazañas militares. Importa tanto la música como los gestos, las acrobacias y los cantos. Algunas representaciones pueden durar hasta seis horas.
es.wikipedia.org/wiki/Ópera_de_Pekín
Yueju Opera (Chinese: 越剧),is a Chinese opera popular in China. It originated in Shengxian County(namely Shengzhou). The word "Yue" in Chinese means Zhejiang province and the regions around it. "ju" means (Chinese) opera. At present, Yueju Opera is the second most popular opera in China, after the Beijing Opera.
simple.wikipedia.org/wiki/Yueju_Opera
Traditional Chinese opera (Chinese: 戲曲; pinyin: xìqǔ; Jyutping: hei3 kuk1), or Xiqu, is a popular form of drama and musical theatre in China with roots going back to the early periods in China. It is a composite performance art that is an amalgamation of various art forms that existed in ancient China, and evolved gradually over more than a thousand years, reaching its mature form in the 13th century during the Song Dynasty. Early forms of Chinese theater are simple, but over time they incorporated various art forms, such as music, song and dance, martial arts, acrobatics, as well as literary art forms to become traditional Chinese opera.[1]
There are numerous regional branches of traditional Chinese opera, including the Beijing opera, Shaoxing opera, Cantonese opera and kunqu and Lvju.
en.wikipedia.org/wiki/Chinese_opera
Peking opera, or Beijing opera (Chinese: 京剧; pinyin: Jīngjù), is a form of Chinese opera which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century.[1] The form was extremely popular in the Qing dynasty court and has come to be regarded as one of the cultural treasures of China.[2] Major performance troupes are based in Beijing and Tianjin in the north and Shanghai in the south.[3] The art form is also preserved in Taiwan (Republic of China), where it is known as Guójù (traditional Chinese: 國劇; simplified Chinese: 国剧; "National theatre"). It has also spread to other countries such as the United States and Japan.[4]
The roles on the Peking Opera stage fall into four major roles-Sheng (生), Dan (旦), Jing (净), Chou (丑).[44]
Sheng (生): refer to men, divided into Laosheng (老生)，Xiaosheng (小生)，Wusheng (武生)
Dan (旦): refer to women, divided into Zhengdan (正旦), Laodan (老旦), Huadan (花旦), Wudan (武旦), Daomadan (刀马旦)
Jing (净): refer to painted-face role, know popularly as Hualian, divided into Zhengjing (正净), Fujing (副净), Wujing (武净), Maojing (毛净)
Chou (丑): refer to painted-face role, know popularly as Xiao hualian, divided into Wenchou (文丑), Wuchou (武丑), Nüchou (女丑)
The Dan (旦) refers to any female role in Peking opera. Dan roles were originally divided into five subtypes. Old women were played by laodan, martial women were wudan, young female warriors were daomadan, virtuous and elite women were qingyi, and vivacious and unmarried women were huadan. One of Mei Lanfang's most important contributions to Peking opera was in pioneering a sixth type of role, the huashan. This role type combines the status of the qingyi with the sensuality of the huadan.[54] A troupe will have a young Dan to play main roles, as well as an older Dan for secondary parts.[49] Four examples of famous Dans are Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Xun Huisheng.[55] In the early years of Peking opera, all Dan roles were played by men. Wei Changsheng, a male Dan performer in the Qing court, developed the cai qiao, or "false foot" technique, to simulate the bound feet of women and the characteristic gait that resulted from the practice. The ban on female performers also led to a controversial form of brothel, known as the xianggong tangzi, in which men paid to have sex with young boys dressed as females. Ironically, the performing skills taught to the youths employed in these brothels led many of them to become professional Dan later in life.[56]
NEW ARTICLE:
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marketplace.secondlife.com/p/Agatha-Broken-Automata-Dress...
One of the many sculptures found in the Mirabell Gardens of Salzburg. The modern building next to the gardens is part of the Mozarteum University.
photo rights reserved by B℮n
Wat Si Phan Ton is known for its beautiful architecture and the use of gold-colored sheet metal to cover the buildings and structures. This gives the temple its distinctive shiny golden appearance, which contributed to its nickname Golden Temple. Buddhist monks live in Wat Si Phan Ton, including the venerable monk Chao Abbot. In Thai temples such as Wat Si Phan Ton, monks perform several roles: Prayer and Meditation, Buddha's Teachings, Community Service, and Almsgiving. Monks may be involved in community service, such as providing spiritual guidance to those in need, attending ceremonial events, and providing moral support. They follow a strict set of precepts and devote their lives to the pursuit of spiritual development, meditation and spreading the Buddha's teachings. Monks spend a significant portion of their time in prayer and meditation. This enables them to achieve inner peace and gain profound insights. Monks can be involved in community service, such as providing spiritual guidance to those in need, attending ceremonial events, and providing moral support. In Buddhism, it is considered virtuous to give food and donations to monks. Monks often enter the community early in the morning to receive alms as a way to promote spiritual connection. Monks lead a simple lifestyle and have minimal material possessions. They wear traditional orange robes and shave their heads as a sign of renunciation of worldly vanity. Wat Si Phan Ton is not only a place of worship, but also a cultural and historical site.
Wat Si Phan Ton is a striking Buddhist temple located in Nan, Thailand, and it is sometimes affectionately referred to as the Golden Temple because of its dazzling golden appearance. At the entrance of the temple you will find two impressive 6-headed statues of golden dragons, which play an important role in the local culture and symbolism. Also called "nagas", these golden dragons are mythical creatures that feature prominently in Southeast Asian mythology and religion. They are often associated with water and fertility and are considered to have protective powers. Nagas can be found in many Buddhist temples and shrines, often in the form of statues, paintings or reliefs. The golden dragons at the entrance of Wat Si Phan Ton in Nan serve as symbols of protection and prosperity for those who visit the temple. The temple is an important spiritual and cultural site in Nan. It is not only a place of worship and meditation, but also a symbol of the region's rich Buddhist tradition and cultural heritage.
Wat Si Phan Ton staat bekend om zijn prachtige architectuur en het gebruik van goudkleurige bladmetaal om de gebouwen en structuren te bedekken. Dit geeft de tempel zijn opvallende glanzende gouden uiterlijk, wat heeft bijgedragen aan zijn bijnaam Golden Temple. Bij de ingang van de tempel vind je twee indrukwekkende 6 koppige beelden van gouden draken, die een belangrijke rol spelen in de lokale cultuur en symboliek. Deze gouden draken, ook wel naga's genoemd, zijn mythische wezens die een prominente plaats innemen in de Zuidoost-Aziatische mythologie en religie. Ze worden vaak geassocieerd met water en vruchtbaarheid en worden beschouwd als beschermende krachten. In veel boeddhistische tempels en heiligdommen zijn naga's te vinden, vaak in de vorm van beelden, schilderingen of reliëfs. De gouden draken bij de ingang van Wat Si Phan Ton in Nan dienen als symbolen van bescherming en voorspoed voor degenen die de tempel bezoeken. Er wonen boeddhistische monniken in Wat Si Phan Ton. In het Boeddhisme wordt het als deugdzaam beschouwd om voedsel en donaties te schenken aan monniken. Monniken gaan vaak in de vroege ochtend de gemeenschap in om aalmoezen te ontvangen als een manier om spirituele verbondenheid te bevorderen. Monniken leiden een eenvoudige levensstijl en hebben minimale materiële bezittingen. Ze dragen traditionele oranje gewaden en scheren hun hoofd als teken van verzaking van wereldse ijdelheid. Wat Si Phan Ton is niet alleen een plek van aanbidding, maar ook een culturele en historische plek.
Guido Reni (Bologna, November 4, 1575 - Bologna, August 18, 1642) - Atalanta e Hyppomenes (1620-25) oil on canvas 192×264 cm - Museo e Real Bosco di Capodimonte
Atalanta, per accontentare il padre, sicura dei propri mezzi, promise di sposarsi solo con chi l'avesse battuta in una gara di corsa. La posta era altissima: ciascun pretendente che non ne fosse uscito vincitore, sarebbe stato ucciso.
Nessuno riuscì a batterla finché non arrivò Ippomene che, profondamente innamorato, volle cimentarsi nella rischiosissima impresa chiedendo aiuto ad Afrodite. La dea diede allora a Ippomene tre mele d'oro tratte dal Giardino delle Esperidi ed egli, seguendone il consiglio, lasciò che cadessero a una a una durante la corsa. Atalanta ne risultò irresistibilmente attratta e si fermò ogni volta a raccoglierle, perdendo così terreno prezioso e, infine, la gara stessa.
Atalanta viene descritta come provocante, ma fermamente virtuosa. Cacciatrice infaticabile, venne talvolta assimilata ad Artemide.
Atalanta, in order to satisfy her father, sure of her own means, promised to marry only the one who had beaten her in a running race. The stakes were very high: each suitor who did not win would be killed.
No one was able to beat her until Hippomenes arrived and, deeply in love, wanted to engage in the risky business by asking for help from Aphrodite. The goddess then gave Hippomenes three golden apples taken from the Garden of the Hesperides and he, following her advice, let them fall one by one during the race. Atalanta was irresistibly attracted by them and stopped every time to pick them up, thus losing precious ground and, finally, the race itself.
Atalanta is described as provocative, but firmly virtuous. Tireless hunter, she was sometimes assimilated to Artemis.
St Peter's obviously had two heydays - one in the 12th century when it was built and the other in the 19th century when it was modernised by being made more Gothic. This memorial, with its two grieving angels, is to Mary Shortgrave, a virtuous and good wife, a tender mother, a sincere friend and a 'generous reliever of the poor'. She died in 1732, aged about 70.
Christian Movie | God Is the Way, the Truth, and the Life | "The Mystery of Godliness: The Sequel"
www.holyspiritspeaks.org/videos/the-mystery-of-godliness-...
Introduction
Lin Bo'en is an old preacher who has believed in the Lord for many decades. Since accepting Almighty God, Christ of the last days, he was convicted, excluded, and expelled from the religious community by the pastors and elders, the antichrist forces. But even though Lin Bo'en was attacked, convicted, and framed, he did not shrink back in fear. Rather, his faith became more resolute than ever, and this led him to finally understand that the pastors and elders of the religious world were faking a virtuous appearance. At the same time, he came to know that only Christ is the truth, the way, and the life, and only Christ can save and purify and perfect man. Because of this, he was resolved to follow Christ, bear witness for Christ, and do his utmost to pursue the truth, to seek to transform his disposition so that he could become a true witness for God. Once the Chinese Communist Party discovered that Lin Bo'en was released from prison and had not changed, that he had not renounced his faith in the slightest bit and even believed in the Eastern Lightning, that he went everywhere to testify that the Lord Jesus has come again and that He is Almighty God, the CCP listed him as wanted and went everywhere to arrest him. Lin Bo'en was forced to leave his family, and in each place he testified to Almighty God's Work in the last days, he was able to lead a lot of sincere, good-natured believers to God's side. This video gives an account of Lin Bo'en's true story of spreading the gospel and testifying for God
Recommended for You ：God's words
Image Source: The Church of Almighty God
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the global literacy rate for all males is 90.0% and the rate for all females is 82.7%. over 75% of the world's 781 million illiterate adults are found in south asia, west asia and sub-saharan africa and women represent almost two-thirds of all illiterate adults globally. (source: UNESCO)
this picture represents the gap between men's and women's access to education.
latvia has the highest literacy rate in the world: 99,9%, with no gender difference. yemen has the highest gender difference: 30,1%.
as i couldn't include dozens of countries in my graphic, i've chosen to include the most and the least virtuous plus some random countries, in order to give a general idea.
november the 25th is the international day for the elimination of violence against women. to me, it is a pointless and cosmetic initiative, which will never ever achieve any effect unltil the day that every boy and girl in the world have access to education.
354/365
Bartolomeo Cincani called "il Montagna" (Orzinuovi, 1449/1450 - Vicenza, 1523) - Cassone (1492) - walnut wood (gilded, carved, tempera painting) height 70 cm; length 208 cm; depth 79 cm; (round diameter 29 cm); - Museo Poldi Pezzoli, Milan
Acquistati nel1884 per 1000 lire, questi due tondi lignei sono inseriti sul fronte di un nobile cassone rinascimentale alla veneziana che porta al centro un'arma raffigurante un orso rampante su fondo d'oro. Essa è stata identificata con quella della famiglia Buri di Verona. I due dipinti illustrano antichi esempi di virtuosa continenza femminile: a sinistra l'episodio di DuiIio e Bilia, a destra quello della Vestale Tuccia. La scena con Duilio e Bilia, tratta dalla storia antica, è qui interpretata secondo la lezione che ne diede San Gerolamo nel Adversus Jovinianum: il console Gaio Duilio, vincitore della battaglia navale presso Milazzo contro i Cartaginesi (260 a.C.), aveva sposato una donna dal leggendario pudore. Ormai vecchio e tremolante (rementi corpore), il console si vide rinfacciare, durante un'altercazione in pubblico, il tremendo fetore del proprio alito. Rientrato afflitto a casa, chiese alla moglie per quale ragione costei non si fosse mai lamentata di tale difetto. Lo avrei fatto - rispose la donna - se non fossi convinta che la bocca di ogni uomo puzza in tal modo. Nel dipinto, il testo latino della replica proverbiale appare riprodotto sulla base del pilastro che regge un arcone, al centro della composizione: “DIXISSEM / TIBI NISI / PUTASSEM / OMNIBUS / VIRIS OS / SIC/ OLERE”.
La vicenda della vestale Tuccia, ingiustamente accusata di avere infranto il voto di castità, è invece desunta da Valerio Massimo (Dictorum et factorum memorabiIium exempla, VIII, 1,5); da Plinio il Vecchio (Naturalis Historia, XXVIII, 12: Pigler, Il [1956], 1974, p. 346): la giovane donna provò la propria innocenza trasportando al tempio di Vesta acqua raccolta nel Tevere con un setaccio. I soggetti indicano chiaramente che questo cassone fu eseguito in occasione di un matrimonio, per celebrare le virtù della sposa. La straordinaria sapienza prospettica di Bartolomeo Montagna.
Purchased in1884 for 1,000 lire, these two wooden tondos are inserted in the front of a noble Renaissance Venetian caisson that bears in the center a coat of arms depicting a rampant bear on a gold background. It has been identified as that of the Buri family of Verona. The two paintings illustrate ancient examples of virtuous female continence: on the left the episode of Duilio and Bilia, on the right that of the Vestal Tuccia. The scene with Duilio and Bilia, taken from ancient history, is here interpreted according to the lesson given by Saint Jerome in Adversus Jovinianum: the consul Gaius Duilio, winner of the naval battle at Milazzo against the Carthaginians (260 B.C.), had married a woman of legendary modesty. By now old and trembling (rementi corpore), the consul was held up to ridicule, during an altercation in public, the terrible stench of his breath. Returning home afflicted, he asked his wife why she had never complained of this defect. I would have done so - the woman answered - if I were not convinced that every man's mouth stinks in this way. In the painting, the Latin text of the proverbial reply appears reproduced on the base of the pillar supporting an archway, in the center of the composition: "DIXISSEM / TIBI NISI / PUTASSEM / OMNIBUS / VIRIS OS / SIC/ OLERE".
The story of the vestal Tuccia, unjustly accused of having broken her vow of chastity, is instead inferred by Valerius Maximus (Dictorum et factorum memorabiIium exempla, VIII, 1,5); by Pliny the Elder (Naturalis Historia, XXVIII, 12: Pigler, Il [1956], 1974, p. 346): the young woman proved her innocence by transporting to the temple of Vesta water collected in the Tiber with a sieve. The subjects clearly indicate that this chest was made on the occasion of a wedding, to celebrate the virtues of the bride. The extraordinary perspective wisdom of Bartolomeo Montagna.
“Undisturbed calmness of mind is attained by cultivating friendliness toward the happy, compassion for the unhappy, delight in the virtuous, and indifference toward the wicked.” ~ Yoga Sutras
I know it looks unreal, but absolutely no photoshop here...
Sigi Kolbe Photography website
Please don't use any of my images on websites, blogs or other media without my explicit written permission. © All rights reserved.
A feedback loop with favorable results. As opposed of course, to a "Viscous Circle", which works to one's detriment.
In other words, the more I immerse Daisy in day to day feminine public experience and exposure (and she is accepted, admired, and complimented...), the more she will want to repeat it. The more she will crave it even. Just as with each shopping trip, she acquires and accumulates more clothing, shoes, and other accessories to enhance her appearance and enjoyment....thereby making her want and crave even more new experiences and challenges. Round and round she goes....and where will she stop? Well I seriously doubt she could even imagine stopping at this point. The very notion would likely be too horrific to contemplate. 😨
Hmmm....dare I say all my plans are falling right into place?? Oh yeah, I dare! 😍💖
Muchas gracias por vuestra visita ☆
Thank you for your interest and seeing my photo :)
location : Rakuhoku Renge-ji temple Kyoto city,Kyoto prefecture,Japan
京都 洛北 蓮華寺
Rakuhoku Renge-ji temple :
I can not describe it well but ,I think,this place has a kind mystic /grand beauty .. Especially in winter ,standing in this desolate wintry garden,I feel delicacy and dynamism , - which has complete opposite concepts /meaning of the word "delicacy" though...
うまく言えませんが、なにかしらこの場所には畏怖の念のようなものを起こさせるものがあり、またそのそれだからこそ その中に優雅な美しさを感じるのかもしれません。特に冬は、この冬枯れた庭に繊細さとダイナミズムを同時に感じるのです、それらは往々にして相いれない概念であるかもしれませんが。
www.flickr.com/photos/100016856@N08/albums/72157686910633716
This temple belongs to the Tendai sect of Buddhism cowned with the mountain name of Kinyozan.
Shigenao imaeda( 今枝重直),a retainer of the Maeda Clan in Kaga,present Ishikawa pref.,entered the priesthood around period from 1661 to 1673. He built a residence here and spent his later years associating with such people as Jozan Ishikawa 石川丈山and Tanyu Kano狩野探幽.His groundson Chikayoshi今枝民部近義,who admire the virtuous Shigenao, transfered a temple from Hachijo-Shiokoji(元西八条塩小路附近)to this place in order to pray for the repose of his grandfather. He made it as a sub-temple of the Enryakuji Jitsuzobo Temple延暦寺実蔵坊.
The principal statue enshrined in main hall is of Shakamuni Tothagata.Unique Rengeji temple-style tone lanterns with hexagonal shades and a monument commemorating Shigenao inscribed Tehsho-style calligraphy written by Jozan Ishikawa on top and passage composed by Jun-an Kinoshita are found on the grounds beautifully covered with moss.
The garden woth crane stone and turtle islands in the lake,an excellent example from Edo period(1603-1867) -Kyoto city
Canon EOS M5 /EF-M18-150mm f/3.5-6.3 IS STM
ƒ/11.0 18.0 mm 1/8sec ISO100 handheld
I think I definitely chose the right time in a day perhaps,but unfortunately ,when I reached there ,the sky began to covered with very thick clouds again.So I had to take photos with limited light source created by snow reflecting lights at that time.So at first I chose the shutter speed at 1/8 sec(I could get smooth water face ,also perhaps )and next ,in order to maintain the sharpness and get greater deep Dof in this image I I set the aperture of 11 on my camera.
I might have a sharpness in this way .but I wanted more,so using expanding function,I rotated my lens's focusing ring to bring the rocks in the right side of the pond into sharp focus .Because the rocks can be regarded as a main subject which represent a crane and a turtle.
And then set ISO100 - the low ISO setting is my style in such situations as always to avoiding noise in my images.- it might be an old way witout an image processing ,though :)
manual exposure/focus
This temple has an explicit no-tripod policy, so tripods, including monopods, are usually prohibited.
Dans la culture amérindienne Pueblos, la Kiva représente à la fois un lieu hautement spirituel et social. C’est un lieu de communication avec les morts, le ciel et les esprits, et par ailleurs un point de ralliement du village pour les cérémonies et les rituels.
Dans ce jardin dominé par le blanc, les promeneurs sont d’abord invités à cheminer dans trois abris symbolisant chacun une part fondamentale de l’Homme : le corps, l’esprit et l’âme.
C’est en se dirigeant vers la “maison de l’âme” que le dôme de la Kiva, resté caché jusque-là, apparaît comme flottant sur un nuage. L’intérieur offre un espace dépouillé et plongé dans la pénombre, ceint d’un unique banc circulaire, d’où les promeneurs contemplent ensemble la voûte céleste créée par un puits de lumière.
Ce jardin vise une expérience collective de reconnexion à la Nature et à soi-même. Sa structure, entre matériaux de récupération et végétal vivant, invite à porter un regard vertueux sur notre société et notre mode de vie à venir. Il nous parle aussi de cette part insaisissable de l’esprit humain, de cette nécessité de croire à un au-delà transcendantal, que l’on nomme spiritualité.
In the Pueblo Native American culture, the Kiva represents both a highly spiritual and social place. It is a place of communication with the dead, the sky and the spirits, and also a rallying point of the village for ceremonies and rituals.
In this garden dominated by the white, the walkers are first invited to walk in three shelters symbolizing each one a fundamental part of the Man: the body, the spirit and the soul.
It is while heading towards the "house of the soul" that the dome of the Kiva, remained hidden until then, appears as floating on a cloud. The interior offers a space stripped and plunged into the dark, surrounded by a single circular bench, from which walkers contemplate together the sky created by a skylight.
This garden is a collective experience of reconnection to Nature and to oneself. Its structure, between recycled materials and living plant, invites us to take a virtuous look at our society and our way of life to come. He also speaks to us of this elusive part of the human mind, of the need to believe in a transcendental beyond, which is called spirituality.
During my last day of shooting in Le Puy-en-Velay (March 9, 2023), I managed to complete all the subjects that required additional photography, and to extensively shoot the last item on my bucket list, i.e., the spectacular Saint-Michel d’Aiguilhe chapel which I will show in a few days.
My first goal was to photograph the “inner” statuary in the canons’ cloister, i.e. the items that are only visible from the central space (préau in French), as opposed to the galleries. In monasteries, that space was often used as an herb garden, particularly when safe space was at a premium elsewhere. However, in the case of Le Puy and its secular canons, very often the offspring from the wealthiest families, there were other sources of supply, should herbs be needed, and aside from framing the central well, the purpose assigned to that space was most probably very similar to what it is now: a pleasure garden.
Bearing that in mind (and, no doubt, the designers of the cloister did), it is not surprising that we should find, on this inner side, one of the wildest collections of monsters, devils and sinners ever devised by the fertile imagination of Mediæval sculptors: while meditation in the galleries took place among virtuous and God-pleasing representations, the canons (or those who cared, at least) were reminded by that gallery of monsters and vices that basking leisurely in the sun in the garden wasn’t too good for their karma, if I dare say.
One of the square pillars, surrounded by four small columns, that give its rhythm to the cloister. This one is interesting because it allows me to show you the difference between genuine and not-so-genuine: the two capitals on each side are Mediæval, darker and worn; they’re the real thing. The center one is 19th century. It was made with better, more precise tools, is more detailed and has retained all of its features.
Wishing you all have a great week ahead!
“Happiness does not consist in pastimes and amusements but in virtuous activities.” - Aristotle
Kyoto Ohara Amida-ji Temple, Teahouse Zuiunkaku
懸崖造りの茶室 瑞雲閣
location : Kyoto Kochidani (northern area of Ohara) Amidaji temple,Kyoto city .Kyoto prefecture,Japan
www.jnto.go.jp/eng/location/regional/kyoto/ohara.html
即身仏（ミイラ仏/ 京都で唯一ここのみ）弾誓上人のお寺
京都大原 古知谷 光明山法国院 阿弥陀寺
ja.wikipedia.org/wiki/阿弥陀寺_(京都市左京区)( in Japanese)
When visiting this mountain Kochidani ,I always feel something to close to awe that I can not express well...
The wooden house is the tea house named "Zuiunkaku" 瑞雲閣(Please refer to my comments/photos below ) ,which looks as if it’s floating in the air when climbing up to the main hall.
Thank you for your interest and seeing my photo :)
Masako Idshida (maco-nonch★R)
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The temple belongs to the Pure Land of Jodo-shu Sect of Buddhism,crowned with the mountain name of Kochidani-Komyozan古知谷光明山.
The high priest Tanzei 弾誓 established the temple in 1609 as a training hall for sutra chanting.The priest was born in present Aichi Prefecture and entered priesthood at age of 9. He journeyed during his training before he settled down here.
The priest "became a Buddha in his own body ( starved himself to death) " in 1613 in the age of 63.
His mummified remains ,now deified were placed in a coffin and enshrined even today in the founder's cave in the far back of main hall.
The statue of priest Tanzei is said to be have been created by the priest himself using his own hair and it referred to as the "revered statue with hair" It is placed in the main hall as the principal deity. The sitting statue of Amitabha Tathagata (Important Cultural Asset) is enshrined in the temple's treasure house along with invaluable items donated by Imperial relatives.
A stone cavern called Chozen-kutsu澄禅窟 is located on the top of the mountain in the back ,where the high priest Chozen 澄禅 came to this temple as he deeply admired the virtuous late priest Tanzai.
- Amidaji temple
EF-M11-22mm f/4-5.6 IS STM/ƒ/5.6 19.0 mm 1/60 sec ISO320 /manual exposure/auto white balance/ one-shot AF/no editing
Pieter Paul Rubens (Siegen, 28 giugno 1577 – Anversa, 30 maggio 1640) - The coronation of the virtuous hero - Die Krönung des Tugendhelden (1613-14) Dimensioni 221,5 x 200,2 cm - Alte Pinakothek Monaco di Baviera(1613-14) Dimensioni 221,5 x 200,2 cm - Old Pinacotheca Monaco di Baviera
During my last day of shooting in Le Puy-en-Velay (March 9, 2023), I managed to complete all the subjects that required additional photography, and to extensively shoot the last item on my bucket list, i.e., the spectacular Saint-Michel d’Aiguilhe chapel which I will show in a few days.
My first goal was to photograph the “inner” statuary in the canons’ cloister, i.e. the items that are only visible from the central space (préau in French), as opposed to the galleries. In monasteries, that space was often used as an herb garden, particularly when safe space was at a premium elsewhere. However, in the case of Le Puy and its secular canons, very often the offspring from the wealthiest families, there were other sources of supply, should herbs be needed, and aside from framing the central well, the purpose assigned to that space was most probably very similar to what it is now: a pleasure garden.
Bearing that in mind (and, no doubt, the designers of the cloister did), it is not surprising that we should find, on this inner side, one of the wildest collections of monsters, devils and sinners ever devised by the fertile imagination of Mediæval sculptors: while meditation in the galleries took place among virtuous and God-pleasing representations, the canons (or those who cared, at least) were reminded by that gallery of monsters and vices that basking leisurely in the sun in the garden wasn’t too good for their karma, if I dare say.
From another angle, another view of the nun or abbess sculpture in the cloister. Looking more closely at its amazingly vivid expression, I must admit that I am seized by doubt about its authenticity: I have not found anything one way or the other, but this could possibly not be authentic, and could have been re-made in the 19th century. All opinions are welcome in the comments below.
Flowers, Lightning and Ghosts
"War’s Lament: The Tragedy of Victims"
Tragedy seeks out vulnerability and inherent worth.
And kindness attracts those positioned to self-consume.
It is in fields of conflict where the virtuous can temporarily inflict dominion.
Whilst claiming righteousness as the essential prize.
And satiate struggle of the empowered over the objectified is given grace.
Advocates of justice and equality are silenced.
Decision-makers entangle themselves in the interconnected web of power and corruption.
Until ethical decisions become inoperable.
And the profound sense of loss and injustice engulfs all victims.
Then calls for action against the objectification and mistreatment of victims fall away.
So that righteousness of victory is systemically ritualised.
And the well-positioned can claim generational status.
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www.jjfbbennett.com/2023/07/wars-lament-tragedy-of-victim...
JJFBbennett Art Directory
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It is about being creative and innovative with knowledge
This is a very virtuous dragonfly that had the decency to pose for the group participating in a dragonfly photography workshop put on by Steve Cirone and Elena Jones at Santee Lakes. Dragonflies are most active in the heat, and when the workshop started, it was fairly cool, with not much activity, so this dragonfly was really appreciated and documented. I don't know what kind of dragonfly it is
Other pictures that I've taken over the years of dragonflies are in my cleverly titled Butterflies & Dragonflies Album.
www.flickr.com/photos/9422878@N08/albums/72157626745277518
Other pictures that I've taken at Santee Lakes are in my creatively named Santee Lakes album. www.flickr.com/photos/9422878@N08/sets/72157627547766547
Graffitiwear - Dress with HUD of 6 textures. 4 design styles available. Only 99L each.
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maps.secondlife.com/secondlife/Sheol/132/226/131
marketplace.secondlife.com/p/Graffitiwear-Virtuous-DEMO/2...
Sweet stream that winds through yonder glade,
Apt emblem of a virtuous maid
Silent and chaste she steals along,
Far from the world's gay busy throng:
With gentle yet prevailing force,
Intent upon her destined course;
Graceful and useful all she does,
Blessing and blest where'er she goes;
Pure-bosom'd as that watery glass,
And Heaven reflected in her face.
~William Cowper (1731 – 1800)
Makeup and styling by the talented Kelayla of www.transvista.co.uk/
DSC05061
9 Feb 18
In God We Trust…buhahaha!
The cryptocracy (illuminati) are manipulating the minds of the masses. They use Revelation of the Method to program the group mind—the collective consciousness. Indeed, humanity must be prepared for the New Luciferian Age. They initiate you into group think—mass formation psychosis. It is a rite of passage in which you acceptance their plans for humanity. Welcome to the group! They use open and subliminal messages in order to condition society. They use their esoteric knowledge (the so-called deep secrets of Satan; Revelation 2:24 NIV) to move you toward their goals. They push society into every nook and cranny of immorality and filth. In the end this immorality dehumanizes society, thus breaking it down. They have dehumanized and killed millions of the unborn. In Canada they have been pushing Medically Assisted Suicides for ever expanding reasons, as they continually decrease the legal age and time limits. The value of life continually decreases. That’s why, when speaking about the (soon coming) Tribulation Period, the Bible says: “I saw the souls of those who had been beheaded because of their testimony about Jesus and because of the word of God.”
The transhumanist tiptoe, the luciferian tiptoe—both will come to fruition under the Antichrist. You will be able to become a super human (a god) when transhumanism is normalized and openly accepted. You will be able to openly live out your lusts when luciferianism is normalized and openly practiced. At that time ritualistic orgies, rape, and human sacrifice will be done out in the public square.
Revelation 9:21 “Furthermore, they did not repent of their murder, sorcery, sexual immorality, and theft.”
Many people will take the Mark of the Beast (like many took the jab), because they have been demoralized. This ritualistic programming leads the public down a predetermined road, with a predetermined outcome; this not only dehumanizes us, but it also demoralizes us. Demoralized people end up being weak cowards. These people try to stay center of the road, as the road moves farther and farther down the road of depravity. This means: center also moves farther down the road—dragging you along with it. These people try to be virtuously nonjudgmental, yet they are immoral. They won’t stand up and speak for the truth, because they might get called a bad name. They don’t want to sacrifice their comfort or reputation to fight for the truth.
James 4:17 “So then, if we do not do the good we know we should do, we are guilty of sin.”
All such people have been unknowingly programmed into these symbolic ritual ceremonies. Yes, indeed! Satan, through the esoteric cryptocracy, has planted his seed, and his harvest is soon ripe.
Matthew 13:25 “But while everyone was sleeping, his enemy came and sowed WEEDS among the wheat, and went away.”
“We can differentiate between types of initiations in two ways: types and functions.”
This is one of the reasons for/functions of initiations:
“It reveals a world open to the trans-human, a world that, in our philosophical terminology, we should call transcendental.” (Wikipedia: Initiation; read what it says under the subtitle: Psychological)
One day you will be initiated (baptized) into transhumanism (the Beast—666).
When Jesus Christ returns, He will say, “Collect the WEEDS and tie them in bundles to be burned; then gather the wheat and bring it into my barn.”
BTW Covid was an initiation into the Great Reset, and the Great Reset (Build Back Better) is a transitioning into the New World Order—2030: you’ll own nothing, and you’ll be happy (Just think: a nuclear war would fast track their Great Reset agenda). Do you see how covid has charged society thus far? The authoritarian tiptoe! Look at what’s currently happening in China. Do you get it? Do you choose to see it, or do you turn a blind eye and willfully fall into the trap of ritualistic cognitive dissonance (evil)?
Evil gains more of a foothold as wickedness increases, thus normalizing it.
Truth and freedom go hand in hand: if you lose one, you lose the other.
Authoritarianism thrives on lies and control.
If we trust in God, we will walk in His light.
John 8:12 “Then Jesus spoke to them again, saying, ‘I am the light of the world! The one who follows me will never walk in darkness, but will have the light of life.’”
In God we trust?
"Even death is not to be feared by one who has lived wisely." "On life's journey faith is nourishment, virtuous deeds are a shelter, wisdom is the light by day and right mindfulness is the protection by night. If a man lives a pure life, nothing can destroy him."
DSCN2877
In the Wood
by Guy de Maupassant (1850-1893)
Approximate Word Count: 1862
As the mayor was about to sit down to breakfast, word was brought to him that the rural policeman, with two prisoners, was awaiting him at the Hotel de Ville. He went there at once and found old Hochedur standing guard before a middle-class couple whom he was regarding with a severe expression on his face.
The man, a fat old fellow with a red nose and white hair, seemed utterly dejected; while the woman, a little roundabout individual with shining cheeks, looked at the official who had arrested them, with defiant eyes.
"What is it? What is it, Hochedur?"
The rural policeman made his deposition: He had gone out that morning at his usual time, in order to patrol his beat from the forest of Champioux as far as the boundaries of Argenteuil. He had not noticed anything unusual in the country except that it was a fine day, and that the wheat was doing well, when the son of old Bredel, who was going over his vines, called out to him: "Here, Daddy Hochedur, go and have a look at the outskirts of the wood. In the first thicket you will find a pair of pigeons who must be a hundred and thirty years old between them!"
He went in the direction indicated, entered the thicket, and there he heard words which made him suspect a flagrant breach of morality. Advancing, therefore, on his hands and knees as if to surprise a poacher, he had arrested the couple whom he found there.
The mayor looked at the culprits in astonishment, for the man was certainly sixty, and the woman fifty-five at least, and he began to question them, beginning with the man, who replied in such a weak voice that he could scarcely be heard.
"What is your name?"
"Nicholas Beaurain."
"Your occupation?"
"Haberdasher, in the Rue des Martyrs, in Paris."
"What were you doing in the wood?"
The haberdasher remained silent, with his eyes on his fat paunch, and his hands hanging at his sides, and the mayor continued:
"Do you deny what the officer of the municipal authorities states?"
"No, monsieur."
"So you confess it?"
"Yes, monsieur."
"What have you to say in your defence?"
"Nothing, monsieur."
"Where did you meet the partner in your misdemeanor?"
"She is my wife, monsieur."
"Your wife?"
"Yes, monsieur."
"Then--then--you do not live together-in Paris?"
"I beg your pardon, monsieur, but we are living together!"
"But in that case--you must be mad, altogether mad, my dear sir, to get caught playing lovers in the country at ten o'clock in the morning."
The haberdasher seemed ready to cry with shame, and he muttered: "It was she who enticed me! I told her it was very stupid, but when a woman once gets a thing into her head--you know--you cannot get it out."
The mayor, who liked a joke, smiled and replied: "In your case, the contrary ought to have happened. You would not be here, if she had had the idea only in her head."
Then Monsieur Beauain was seized with rage and turning to his wife, he said: "Do you see to what you have brought us with your poetry? And now we shall have to go before the courts at our age, for a breach of morals! And we shall have to shut up the shop, sell our good will, and go to some other neighborhood! That's what it has come to."
Madame Beaurain got up, and without looking at her husband, she explained herself without embarrassment, without useless modesty, and almost without hesitation.
"Of course, monsieur, I know that we have made ourselves ridiculous. Will you allow me to plead my cause like an advocate, or rather like a poor woman? And I hope that you will be kind enough to send us home, and to spare us the disgrace of a prosecution.
"Years ago, when I was young, I made Monsieur Beaurain's acquaintance one Sunday in this neighborhood. He was employed in a draper's shop, and I was a saleswoman in a ready-made clothing establishment. I remember it as if it were yesterday. I used to come and spend Sundays here occasionally with a friend of mine, Rose Leveque, with whom I lived in the Rue Pigalle, and Rose had a sweetheart, while I had none. He used to bring us here, and one Saturday he told me laughing that he should bring a friend with him the next day. I quite understood what he meant, but I replied that it would be no good; for I was virtuous, monsieur.
"The next day we met Monsieur Beaurain at the railway station, and in those days he was good-looking, but I had made up my mind not to encourage him, and I did not. Well, we arrived at Bezons. It was a lovely day, the sort of day that touches your heart. When it is fine even now, just as it used to be formerly, I grow quite foolish, and when I am in the country I utterly lose my head. The green grass, the swallows flying so swiftly, the smell of the grass, the scarlet poppies, the daisies, all that makes me crazy. It is like champagne when one is not accustomed to it!
"Well, it was lovely weather, warm and bright, and it seemed to penetrate your body through your eyes when you looked and through your mouth when you breathed. Rose and Simon hugged and kissed each other every minute, and that gave me a queer feeling! Monsieur Beaurain and I walked behind them, without speaking much, for when people do not know each other, they do not find anything to talk about. He looked timid, and I liked to see his embarrassment. At last we got to the little wood; it was as cool as in a bath there, and we four sat down. Rose and her lover teased me because I looked rather stern, but you will understand that I could not be otherwise. And then they began to kiss and hug again, without putting any more restraint upon themselves than if we had not been there; and then they whispered together, and got up and went off among the trees, without saying a word. You may fancy what I looked like, alone with this young fellow whom I saw for the first time. I felt so confused at seeing them go that it gave me courage, and I began to talk. I asked him what his business was, and he said he was a linen draper's assistant, as I told you just now. We talked for a few minutes, and that made him bold, and he wanted to take liberties with me, but I told him sharply to keep his place. Is not that true, Monsieur Beaurain?"
Monsieur Beaurain, who was looking at his feet in confusion, did not reply, and she continued: "Then he saw that I was virtuous, and he began to make love to me nicely, like an honorable man, and from that time he came every Sunday, for he was very much in love with me. I was very fond of him also, very fond of him! He was a good-looking fellow, formerly, and in short he married me the next September, and we started in business in the Rue des Martyrs.
"It was a hard struggle for some years, monsieur. Business did not prosper, and we could not afford many country excursions, and, besides, we had got out of the way of them. One has other things in one's head, and thinks more of the cash box than of pretty speeches, when one is in business. We were growing old by degrees without perceiving it, like quiet people who do not think much about love. One does not regret anything as long as one does not notice what one has lost.
"And then, monsieur, business became better, and we were tranquil as to the future! Then, you see, I do not exactly know what went on in my mind, no, I really do not know, but I began to dream like a little boarding-school girl. The sight of the little carts full of flowers which are drawn about the streets made me cry; the smell of violets sought me out in my easy-chair, behind my cash box, and made my heart beat! Then I would get up and go out on the doorstep to look at the blue sky between the roofs. When one looks up at the sky from the street, it looks like a river which is descending on Paris, winding as it flows, and the swallows pass to and fro in it like fish. These ideas are very stupid at my age! But how can one help it, monsieur, when one has worked all one's life? A moment comes in which one perceives that one could have done something else, and that one regrets, oh! yes, one feels intense regret! Just think, for twenty years I might have gone and had kisses in the woods, like other women. I used to think how delightful it would be to lie under the trees and be in love with some one! And I thought of it every day and every night! I dreamed of the moonlight on the water, until I felt inclined to drown myself.
"I did not venture to speak to Monsieur Beaurain about this at first. I knew that he would make fun of me, and send me back to sell my needles and cotton! And then, to speak the truth, Monsieur Beaurain never said much to me, but when I looked in the glass, I also understood quite well that I no longer appealed to any one!
"Well, I made up my mind, and I proposed to him an excursion into the country, to the place where we had first become acquainted. He agreed without mistrusting anything, and we arrived here this morning, about nine o'clock.
"I felt quite young again when I got among the wheat, for a woman's heart never grows old! And really, I no longer saw my husband as he is at present, but just as he was formerly! That I will swear to you, monsieur. As true as I am standing here I was crazy. I began to kiss him, and he was more surprised than if I had tried to murder him. He kept saying to me: 'Why, you must be mad! You are mad this morning! What is the matter with you?' I did not listen to him, I only listened to my own heart, and I made him come into the wood with me. That is all. I have spoken the truth, Monsieur le Maire, the whole truth."
The mayor was a sensible man. He rose from his chair, smiled, and said: "Go in peace, madame, and when you again visit our forests, be more discreet."