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PictionID:43924954 - Catalog:17.S_000946 - Title:LTV A-7K 80-0290 152TFTS AZ AZ-ANG 1989 RJF - Filename:17.S_000946.tif - -----Image from the René Francillon Photo Archive. Having had his interest in aviation sparked by being at the receiving end of B-24s bombing occupied France when he was 7-yr old, René Francillon turned aviation into both his vocation and avocation. Most of his professional career was in the United States, working for major aircraft manufacturers and airport planning/design companies. All along, he kept developing a second career as an aviation historian, an activity that led him to author more than 50 books and 400 articles published in the United States, the United Kingdom, France, and elsewhere. Far from “hanging on his spurs,” he plans to remain active as an author well into his eighties.-------PLEASE TAG this image with any information you know about it, so that we can permanently store this data with the original image file in our Digital Asset Management System.--------------SOURCE INSTITUTION: San Diego Air and Space Museum Archive
This one of the many surprises you get in the Chapada... this image has no treatment (ok, ok... some levels...) the water is so blue because of the magnesiums.
Tourists always visited that picturesque church surrounded by snow. From time to time, the priest would come out of the sacristy, clear his voice and, from the altar, start saying mass. Out of respect, and because the rector's words sounded powerful and solemn like an organ, everyone would stand in the pews and listen to him carefully. There was never, among the people, any indigenous person.
The priest was aware that the time of retirement was approaching. That's why, after the ceremony, he would talk to the tourists, sometimes with the excuse of recommending a park, a museum or a square. As he did so, he remembered the day he had arrived in that foreign country, the visit in the church, the conversation with the previous rector.
Vocaciones
Los turistas siempre visitaban aquella iglesia pintoresca rodeada de nieve. De vez en cuando, el cura salía de la sacristía, se aclaraba la voz y, desde el altar, empezaba a decir misa. Por respeto, y porque las palabras del rector sonaban potentes y solemnes como un órgano, todos se situaban en los bancos y lo escuchaban con atención. Nunca había, entre la gente, ninguna persona autóctona.
El cura era consciente que el momento de la jubilación se acercaba. Por eso, al acabar la ceremonia, hablaba con los turistas, a veces con la excusa de recomendar un parque, un museo, alguna plaza. Mientras lo hacía, recordaba el día en qué había llegado a aquel país extranjero, la visita en la iglesia, la conversación con el anterior rector.
Vocacions
Els turistes sempre visitaven aquella església pintoresca envoltada de neu. De tant en tant, el capellà eixia de la sagristia, s'aclaria la veu i, des de l'altar, començava a dir missa. Per respecte, i perquè les paraules del rector sonaven potents i solemnes com un orgue, tots se situaven als bancs i l'escoltaven amb atenció. Mai no hi havia, entre la gent, cap persona autòctona.
El capellà era conscient que el moment de la jubilació s'apropava. Per això, en acabar la cerimònia, parlava amb els turistes, de vegades amb l'excusa de recomanar un parc, un museu, alguna plaça. Mentre ho feia, recordava el dia en què havia arribat a aquell país estranger, la visita a l'església, la conversa amb l'anterior rector.
* white chiffon blouse from Ratchada night market
* floral chiffon scarf from Chatuchak market (for 4 years ogo)
* short denim from thrift market
* green stripes bag '5cm'
Vocation of the Apostles [1481-82]
Domenico Ghirlandaio
Vatican, Sistine chapel, north wall
en.wikipedia.org/wiki/Vocation_of_the_Apostles
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Description
In the background left, the fishermen Peter and Andrew are called by Jesus. The two can also be seen in the background right, behind Jesus, who calls James and John, who are restoring the nets on their father Zebedee's boat.
In the foreground are Peter and Andrew, dressed in cloaks with their traditional colors (yellow-orange for Peter and green for Andrew). They are kneeling beside Christ, who blesses them. A unique element of the fresco is the inclusion of a multitude portrayed in contemporary clothes. Their faces were those of the Florentine community in Rome,[1] who resided near the church of Santa Maria sopra Minerva.
At the left is a white bearded man, perhaps a literate from Constantinople who was also used as a model for St. Jerome in His Study in the church of Ognissanti in Florence. At the center, just behind Jesus, is the portrait of Diotisalvi Neroni, who had taken refuge in Rome after plotting against Piero di Cosimo de' Medici. Another exile from Constantinople is John Argyropoulos, who appears on the right. Other characters on the right are members of the Tornabuoni family. The white-haired, bareheaded man in the foreground on the right and the boy in the black doublet in front of him are identified as the banker Giovanni Tornabuoni and his son Lorenzo.
PictionID:43923098 - Catalog:17.S_000800 - Title:LTV A-7D 70-0944 112TFG PA-ANG 17Jun90 RJF - Filename:17.S_000800.tif - --------Image from the René Francillon Photo Archive. Having had his interest in aviation sparked by being at the receiving end of B-24s bombing occupied France when he was 7-yr old, René Francillon turned aviation into both his vocation and avocation. Most of his professional career was in the United States, working for major aircraft manufacturers and airport planning/design companies. All along, he kept developing a second career as an aviation historian, an activity that led him to author more than 50 books and 400 articles published in the United States, the United Kingdom, France, and elsewhere. Far from “hanging on his spurs,” he plans to remain active as an author well into his eighties.-------PLEASE TAG this image with any information you know about it, so that we can permanently store this data with the original image file in our Digital Asset Management System.--------------SOURCE INSTITUTION: San Diego Air and Space Museum Archive
"“Lord Jesus Christ, Good Shepherd of our souls, you who know your sheep and know how to reach the human heart: Stir the hearts of those young people who would follow you but who cannot overcome doubts and fears. You who are the Word of the Father, the Word which enlightens and sustains hearts, conquer with your Spirit the resistance and delays of indecisive hearts. Arouse in those whom you call the courage of Love’s answer: “Here I am, send me”."
– Prayer for Vocations inspired by the writings of Pope Blessed John Paul II.
Today, the 4th Sunday of Easter, is Vocations Sunday. My sermon for today can be read here.
This prayer was used in the prayer card produced by the National Vocations Office of England & Wales
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P/S: Vui lòng không xóa watermark và credit khi sử dụng ảnh bìa, không thay tên vào ảnh bìa, 1 số quote và hình ảnh trong quá trình tìm kiếm không rõ nguồn, nếu tác giả hoặc bạn xem ghé ngang xem có thể góp ý để mình ghi chú nhằm tôn trọng tác giả :)
2048 x 2048 pixel image for the iPad’s 2048 x 1536 pixel retina display.
Designed to complement the iPad iOS 7 lock screen, also works on an iPhone, simply centre the image horizontally after selecting it.
image source: www.pexels.com/photo/1221/
Typeface: Neutraface
Reflections 3rd year project, 2007
I am using a mind mapping technique to gather my thoughts and make connnections about my own vocation to write my paper.
Khaju Bridge is arguably the finest bridge in the province of Isfahan, Iran. It was built by the Persian Safavid king, Shah Abbas II around 1650 C.E., on the foundations of an older bridge. From Wikipedia.
2048 x 2048 pixel image for the iPad’s 2048 x 1536 pixel retina display.
image source: www.pexels.com/photo/1221/
Cathedral Church of St Barnabas (RC), Nottingham, 1841-44.
By Augustus Welby Northmore Pugin (1812-1852).
For John Talbot, 16th Earl of Shrewsbury (1791-1852).
Grade ll* listed.
Cathedral History
The Cathedral Church of St. Barnabas was opened in 1844. It was an event of undoubted importance as witnessed by this engraving reproduced from the London Illustrated News of 31st August that year.
Prior to that, the Church of St. John the Evangelist, on George Street, had been the home to Nottingham's ever growing band of Catholics. This growth in the population, prompted the then Parish Priest, Fr. Robert Willson, to set out to raise funds for a larger Church.
Lord Shrewsbury, a champion of the Gothic Revival, stepped forward with financial support and employed A.W.N. Pugin as architect.
The Blessed Sacrament Chapel is considered by many to be the 'jewel in the crown' of St. Barnabas Cathedral. It is richly decorated as Pugin had originally intended and is the very heart of the Cathedral. In addition to being used for private prayer, the Chapel is also the centrepiece for more organised group prayer, such as that for Vocations on a Saturday morning.
www.stbarnabascathedral.org.uk/02_Barnabas/History.html
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The Cathedral Church of St. Barnabas in the city of Nottingham, England, is a cathedral of the Roman Catholic church. It is the mother church of the Diocese of Nottingham and seat of the Bishop of Nottingham.
Location
It is located on the corner of Derby Road and North Circus Street, on the opposite side of which are the Albert Hall and the Nottingham Playhouse (Wellington Circus).
History
It was built between 1841 and 1844, costing £15,000 (equivalent to £1,510,000 in 2019), and was first consecrated in 1844, fifteen years after the Catholic Relief Act ended most restrictions on Catholicism in the United Kingdom. A substantial amount of the cost was paid by the important Catholic Lord Shrewsbury. The architect was Augustus Welby Northmore Pugin who also designed the interior of The Houses of Parliament. It was built in the Early English Plain Gothic style, although in contrast, the Blessed Sacrament Chapel was richly decorated and Pugin's later churches were built in that Decorated Gothic style throughout. Pugin was retained as architect by Rev Robert William Willson, then priest in charge of Nottingham. In 1842 he was named as Bishop-Elect of Hobart, Tasmania, and had to leave the work in Nottingham before completion.
Following the establishment of a new Catholic hierarchy in England and Wales in 1850 by the decree of Pope Pius IX, it was raised to cathedral status in 1852, becoming one of the first four Catholic cathedrals in England and Wales since the English Reformation. It is the seat of the Bishop of Nottingham.
The cathedral is a Grade II* listed building of the lancet style of architecture, and is considered to be one of the best specimens of Pugin's work. Most of Pugin's decorative scheme was destroyed in the upheaval that surrounded the Second Vatican Council, when the old high altar was discarded, and most of the painted decoration smothered and painted plain. Other fittings removed at this time include the old cathedra, as well as the figures of St Mary and St John from the rood screen (the figures were reinstated in 1993). Buildings of England wrote: ‘The whole effect could hardly be further from the richness of decoration and atmosphere that Pugin intended’. A fragment of the scheme is preserved in the Blessed Sacrament chapel, and is the highlight of the interior. The replacement high altar from the 1960s was replaced again in 1993 with one in a more sympathetic style. Fragments of Pugin's decoration, such as the roundels in the nave, were uncovered and restored, but most remains lost.
The clergy of the Cathedral also serve the church of St. Augustine on Woodborough Road.
en.wikipedia.org/wiki/Nottingham_Cathedral
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CATHEDRAL CHURCH OF ST BARNABAS AND ATTACHED BOUNDARY WALL, DERBY ROAD, NOTTINGHAM
Heritage Category: Listed Building
Grade: II*
List Entry Number: 1247533
Date first listed: 11-Aug-1952
Details
NOTTINGHAM
SK5640SE DERBY ROAD 646-1/13/187 (South side) 11/08/52 Cathedral Church of St Barnabas and attached boundary wall (Formerly Listed as: DERBY ROAD Roman Catholic Cathedral of St Barnabas)
GV II*
Roman Catholic church, created a cathedral in 1851. 1841-44. By Augustus Welby Northmore Pugin for John Talbot, 16th Earl of Shrewsbury, and Ambrose Philipps de Lisle. Altered late C19, 1927, 1962. Restored 1933 and c1990. Ashlar with slate roofs. Gothic Revival style.
PLAN: cruciform plan, nearly symmetrical, with crossing tower and spire.
EXTERIOR: plinth, coped gables with crosses. Windows are mainly plain lancets. Choir with eastern chapel and side chapels, crossing and transepts, nave with aisles and 3 porches. East end has a projecting central gable with 3 graduated lancets. Side chapels have single lancets to east and 2 lancets to the returns. Choir has a round east window with plate tracery, and 3 pairs of lancets to the clerestory. Side chapels have buttresses to east, and 3 lancets. Transepts have buttresses to east, and very tall triple lancets with quatrefoils above, all with hood moulds. Organ chamber, to north-east, has 2 lancets. Blessed Sacrament chapel, to south east, has 3 lancets. sacristy corridor, to south east, linked to adjoining presbytery. Square crossing tower, 2 stages, has a recessed bell stage with two 2-light pointed arched openings with moulded surrounds. Octagonal broach spire with diagonal buttresses containing niches. Between them, single lucarnes. Nave has 5 pairs of clerestory lancets. West end has clasping buttresses and a moulded doorcase with hood mould and triple shafts. Above it, a triple lancet and quatrefoils. Aisles have 4 side lancets and single west windows. Off-centre porches with moulded pointed arched doorways.
INTERIOR: Pugin's decorative scheme was never completed, and was further reduced late C19 and 1962. The Blessed Sacrament (SE) chapel was restored to Pugin's design by Alphege Pippet in 1933. Redecorated 1971-74. Double chamfered arches throughout. Choir has arch braced roof, and arcades with quatrefoil piers, 3 bays, with wooden screens. East end has a moulded double arch with octagonal pier. West arch, flanked by figures in niches, has a hanging crucifix by Pugin. Crypt, 3 bays, has segmental pointed arches on round piers, and contains the tombs of 5 bishops. Blessed Sacrament chapel has elaborate stencilled decoration. North arcade, 3 bays, with wooden screen. Arch braced roof with wall shafts and angel corbels. East end has a baldacchino with marble pillars and cusped arch, under a gable. Windows have stained glass, that to south designed by Pugin and made by Wailes. Central east chapel has arch and screen on each side, aumbry, piscina and sedilia to east, and ashlar blind arcade at east end. North and south chapels are similar, without sedilia. All have scissor braced roofs. Ambulatory, 3 bays, has shrine with figure on bracket, and door to Presbytery at south end. Crossing has an arcaded corbel table with 4 pointed arched openings above it, and cross beam ceiling. Transepts have stained glass windows. On the east sides, pointed arches into the organ chamber and south-east chapel. Nave has arcades, 5 bays, with octagonal piers, double clerestory windows and strutted king post roof with collar purlins. Aisles have lean to roofs and eastern arches. Fittings include C19 square font on round columns. Other fittings mid and late C20. Aisle windows have stained glass by Pugin. Transepts have stained glass, mid C20, by Nuttgens. No memorials of special interest. Attached boundary wall, ashlar with gabled coping, bordering Derby Road and North Circus Street. Approx 60m x 40m. (The Buildings of England: Pevsner N: Nottinghamshire: London: 1979-: 241-242; Nottingham Cathedral: a history of Catholic Nottingham: Mgr. M Cummins: Nottingham: 1977-1985: PASSIM).
Listing NGR: SK5672040028
Sources
Books and journals
Monsignor Cummins, M , Nottingham Cathedral a History of Catholic Nottingham, (1985)
Williamson, E, The Buildings of England: Nottinghamshire, (1979), 241-242
公婆沙丘is a famouse vocation place of Vietnan,after a rain day, then the secand day morning , the weather became very good , all the sky and cloud was so color
and changeable, and the local people walking inside that made the pictures more wonderful