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I'm stampolina and I love to take photos of stamps. Thanks for visiting this pages on flickr.
I'm neither a typical collector of stamps, nor a stamp dealer. I'm only a stamp photograph. I'm fascinated of the fine close-up structures which are hidden in this small stamp-pictures. Please don't ask of the worth of these stamps - the most ones have a worth of a few cents or still less.
By the way, I wanna say thank you to all flickr users who have sent me stamps! Great! Thank you! Someone sent me 3 or 5 stamps, another one sent me more than 20 stamps in a letter. It's everytime a great surprise for me and I'm everytime happy to get letters with stamps inside from you!
thx, stampolina
For the case you wanna send also stamps - it is possible. (...I'm pretty sure you'll see these stamps on this photostream on flickr :) thx!
stampolina68
Mühlenweg 3/2
3244 Ruprechtshofen
Austria - Europe
* * * * * * * * *
beautiful stamp GB 6p 6d Wilding Queen Elizabeth pink stamp Great Britain England QEII Queen Elisabeth United Kingdom UK timbre Grande-Bretagne postage revenue porto francobolli Elizabeth Gran Bretagna bollo sellos selo Gran Bretaña marke marka franco timbres Grossbritannien
more info about Queen Elizabeth II. on Wikipedia:
(deutsch): de.wikipedia.org/wiki/Elisabeth_II.
(english): en.wikipedia.org/wiki/Elizabeth_II
(español): es.wikipedia.org/wiki/Isabel_II_del_Reino_Unido
(portugués): pt.wikipedia.org/wiki/Isabel_II_do_Reino_Unido
(росси́йский ): ru.wikipedia.org/wiki/%D0%95%D0%BB%D0%B8%D0%B7%D0%B0%D0%B...
(中文): zh.wikipedia.org/wiki/%E4%BC%8A%E4%B8%BD%E8%8E%8E%E7%99%B...
(polski): pl.wikipedia.org/wiki/El%C5%BCbieta_II
(italiano): it.wikipedia.org/wiki/Elisabetta_II_del_Regno_Unito
الشيخ الروحاني لجلب الحبيب
جلب - محبة - تهييج - مخطوطات - علاج روحاني - كشف روحاني - تسخير علاج السحر - علاج المس - علاج العين -جن-خواتم مروحنة خاصة0020125888487
Postmarked: Myersville, MD, Jun 26, 2 PM, 1908
Address: Mrs. N. B. Weaver, Ellett, Montgomery Co., Va.
Reverse: “Mrs. Weaver, Douglas rec’d your lovely card & was delighted with it, so I thought I would like to send you one. This time we never have had any with reading one like you sent him and was pleased with it. Mama is anxiously looking for a letter from you. She thinks you have forgotten her. Did you get hers? Please answer soon lovingly. Mama says write soon. I would like to see you. Edward. Douglas will answer yours when I hear from you. He was pleased very much. From Edward McDonough. By by. How is Miss Mary? Tell her to write.”
This slightly inchoate message appears to come from a member of the family of Myersville, Maryland, native George David Routzahn (4 June, 1842, Middletown Valley, MD – 4 March, 1917, Myersville, MD). The sender was his son-in-law John Edward McDonough, Sr. (22 Dec, 1864, New York – 3 Nov., 1923, Enterprise, West Virginia), who was the son of Irish immigrants and a railroad worker. Routzahn’s daughter Lettie (or Letta) May (25 Nov., 1882, Frederick Co., MD – 16 Dec., 1954, Myersville, MD) was McDonough’s wife, whom he married at the Evangelical Reformed United Church of Christ in Frederick on 7 February, 1900, when she was 17 and he was 36. The McDonoughs had three sons: John Edward, Jr. (26 March, 1900, Myersville, MD – 7 Feb., 1971, Myersville, MD); David Floyd (27 Jan., 1905, Myersville, MD – 21 Nov., 1974, Myersville, MD); and Burnard (or Bernard) Douglas (12 Aug., 1901, Myersville, MD – 29 Jan., 1918, Enterprise, West Virginia), who is the “Douglas” mentioned in this postcard.
Two years later, the family was enumerated on the 1910 census of Myersville. Edward, Sr., was not there, but Lettie, Douglas, Floyd, and Edward, Jr., were at the home of George and Mary Elizabeth Routzhan, nee Cost (b. 3 April, 1842, Washington, Co., MD - 23 Jan., 1916, Myersville, MD). At that time, the Routzahns had been married for 48 years, placing their wedding in 1862, during the Civil War, when they were both in their early 20s. On 1 July, 1863, George registered for the draft. He eventually enlisted as a private on 23 February, 1865, and was mustered out on 8 April of that same year, transferring to Company I, MD 13th Infantry Regiment. George was mustered out for the final time on 29 May, 1865, at Baltimore.
George was the son of Middletown Valley farmer Enos Routzahn (1801 – 1850) and Lydia Schlosser (1805 – 1882). After his father’s death, his mother, Lydia, took over the farm and George labored on it as a career. Mary Elizabeth was the daughter of Ezra Cost (1816 – 1902) and Caroline Doub (1821 – 1891). After Mary married George Routzahn, the couple produced seven children (Harry and William—who appear to be twins who died in infancy or at birth), Amanda (1863 -1935), Emma (1865 – 1960), Louella (1869 – 1943), Jennie (1870 – 1930), and Lettie.
In 1920, the McDonough family lived in Enterprise, Harrison County, West Virginia, and were enumerated on the census there. John Edward, Sr., died before the next census in Enterprise.
George and Mary Elizabeth Routzahn and John Edward and Lettie McDonough and their sons are buried in St. Paul’s Evangelical Lutheran Church Yard, which is directly across the street from my home.
The house pictured on the postcard—known as the Hildebrandt House—still stands today—and is, in fact, across the street and three houses down from my own home. According to historian Robert P. Savitt, “John T. Hildebrand was a leading carriage maker in the northern Middletown Valley. He acquired the property for the home… on the south end of Main Street from his father-in-law, Joseph Brown, who operated Myersville’s first post office in his downtown store. Soon after it was built, this handsome home was featured in Ira Moser’s 1905 ‘History of Myersville.’”
Ellett, Montgomery County, Virginia, where this postcard was sent is an unincorporated community located at the junction of State Routes 603 and 723, about 4 miles southeast of Blacksburg. Montgomery County is rife with Weavers, but I cannot match any I have yet found to this missive.
Front with message: www.flickr.com/photos/60861613@N00/11595778084/in/photost...
This autograph album belonged to Ollie Hubbard. I uploaded 50 of the 100 autographs that I liked the best. I am not sure if Ollie was a boy or a girl. (Ollie short for Oliver or Ollie short for Olivia, Olive, Olwen). The dates range from 1879 to 1889. Most of the names are from Trenton or Princeton, New Jersey. This may be Princeton University. There are references to the following names:
Model School
State Normal School
Trenton College
Princeton College
C. C. C. C.
A complete list of all the names is in the "set" description here.
104 Cheyne Walk, Chelsea SW10. Along with GK Chesterton, he was one of the great Roman Catholic philosophers of his day.
Taken from www.catholicauthors.com/belloc.html
JOSEPH HILAIRE PIERRE BELLOC, ONE OF THE TRUE LORDS of the English language, was not an Englishman by birth. His father was French, his mother was Irish; and when he married, his bride was an American. But he looked more like the traditional figure of John Bull than any Englishman could. He wore a stand-up collar several sizes too large for him. His rotund head was crowned with a black hat-sometimes tall, sometimes of the pancake variety. He was big and stocky and red of face, and a typically British great-coat draped his beefy form except in the warmest weather.
Hilaire Belloc-he dropped the other appendages at an early age-was born at La Celle, near Paris, on July 20, 1870. His father, Louis Swanton Belloc, was well known as a barrister throughout France. Bessie Rayner Belloc, his mother, was of Irish extraction. Somewhere in his immediate background was an infusion of Pennsylvania Dutch blood. His mother, who lived into her nineties and died in 1914, was a remarkably intellectual woman, noted as one of the signers of the first petition ever presented for women's suffrage.
Her son studied at the Oratory School at Edgebaston, England, and at Balliol College, Oxford, where he matriculated in 1893. In his third year he was Blackenbury History Scholar and an honor student in the history schools.
Between Oratory School and his matriculation at Oxford, Belloc served in the French Army, where as a driver in the Eighth Regiment of Artillery, he was stationed at Toul. It was from this spot that, years later, he was to set forth on the pilgrimage afoot to St. Peter's that furnished material for the book that many critics consider his best,- The Path to Rome.
In 1903 Belloc became a British subject and in 1906 was returned to Parliament by the South Salford constituency. He was a member of the Liberal party in the brilliant House of Commons created by the Tory debacle of the preceding year. He made his maiden speech in the House early in 1906 and it won him an immediate reputation as a brilliant orator. He had already attracted considerable attention during his campaign. In the year of his return to Parliament he was also the nominee of the British Bishops to the Catholic Education Council.
Belloc's literary career began immediately after Balliol. He rapidly achieved success as a newspaper and magazine writer and as a light versifier. His first book, published in the year of his graduation, was Verses and Sonnets, and this was followed within a year by The Bad Child's Book of Beasts, in which his reputation as a master of whimsy was fully established. One of the most famous in this category starts out thus:
The nicest child I ever knew
Was Charles Augustus Fortesque;
He never lost his cap or tore
His stockings or his pinafore;
In eating bread he made no crumbs.
He was extremely fond of sums.
Another, more dire, ballad about an untruthful maiden named Mathilde was a famous forerunner to the Ogden Nash style of rhyming:
It happened that a few weeks later
Her aunt was off to the theatre
To see that entertaining play
The Second Mrs. Tanqueray.
Belloc sat in the House of Commons from 1906 to 1910, but refused to serve a second term because, in his own words, he was "weary of the party system," and thought he could attack politics better from without Parliament than from within. From that time on he devoted his entire efforts to writing and lecturing.
Belloc's wife, the former Elodie Agnes Hogan of Napa, California, whom he married in 1896, died in 1914. He never remarried. His eldest son, Louis, was killed while serving as a flier in World War I, and his youngest, Peter, a captain of the Royal Marines, died during World War-II. Belloc made his home with his elder daughter, Mrs. Eleanor Jebb, wife of a member of Parliament, in Horsham, Sussex. Besides Eleanor, he had another daughter, Elizabeth, a poet, as-well as another son, Hilary, who lives in Canada. Belloc's sister, Mrs. Marie Belloc Lowndes, also a noted British writer, died in 1947.
By Pope Pius XI, Belloc was decorated with the Grand Cross of the Order of St. Gregory the Great in 1934 for his services to Catholicism as a writer. In the same year, his alma- mater, Oxford, conferred upon him the honorary degree of Master of Arts. He shared with the then British Prime Minister, Sir Winston Churchill, the distinction of being the only persons to have their portraits hung in the National Portrait Gallery while they were alive.
Mr. Belloc visited the United States on many occasions. In 1937 he served as a visiting Professor of History at the Graduate School of Fordham University in New York. From the matter of these lectures came his book, The Crisis of Civilization.
A prolific writer, he was the author of 153 books of essays, fiction, history, biography, poetry and light verse as well as a vast amount of periodical literature. He was largely responsible for G. K. Chesterton's conversion to Catholicism, and the two of them became ranked as not only among England's greatest writers but as the most brilliant lay expounders of Catholic doctrine. The two were also close friends and frequent collaborators, especially on the magazine which came to be known as G. K's. Weekly, and in which they came to wage many a valiant crusade together. As a critic noted: "To Hilaire Belloc this generation owes big glimpses of the Homeric spirit. His mission is to flay alive the humbugs and hypocrites and the pedants and to chant robust folk-songs to the naked stars of the English world to a rousing obligato of clinking flagons."
Because of his antagonism to many British sacred cows and his free and caustic criticism of them, he was not a wholly popular man in England. Nor did his espousal of the Franco cause against the Communists during the Spanish civil war add to his popularity there. But Belloc had never been a man to purchase popularity at the price of integrity.
Just four days before his eighty-third birthday, while dozing before the fireplace in his daughter's home, he fell into the flames and was so badly burned that he died in hospital at Guildford, Surrey, soon afterward on July 16, 1953.
Despite his own prediction to the contrary, his place in English letters is forever secure, primarily as a poet and as the author of The Path to Rome.
Me and my friend(who is also an avid reader) were just discussing intently the other day that there is nothing new left to enjoy in reading. In words of T. Cavendish " Dull, dull, dull! The memoirs are bad enough, but all that ruddy fiction! Hero goes on a journey, stranger comes to town, somebody wants something, they get it or they don't, will is pitted against will". It's like when we were kids and we read R. Ludlum or J. Higgins - after a while it gets tiring - same old, same old. Until. Until I read these two gentlemen.
1. I read J. Fowles first - The French Lieutenant's Woman. And it had three very interesting concepts. First was the multiple (three) endings. The author doesn't want to give a solid unshakeable ending to the story of Charles and Sarah. He says - you decide which ending is more plausible and more acceptable to you: you as a reader with your own experiences, both in the real and fictional world. Second, the narrator suddenly saying "I do not know". I was taken aback when I read the first sentence of Chapter 13. The story was going along well when suddenly the narrator starts saying he does not know who the characters are, he is unsure of what to do with the story now :). I sat up - what is this odd thing here? The narrator(the author) says - these are all imaginary characters, this is not real, it's a game of deception :), I cannot say who will do what now, "it is only when our characters begin to disobey us that they begin to live". Wow. Chapter 13 is my favorite in the whole book. Third, the author/narrator is clearly a person from present day yet he is telling the story set in Victorian times. He colors his narrative with his observations and his predictions. Stunning concepts. A remarkable book.
2. I next read J. Barnes - The Sense of an Ending.
The narrator is an old man, Tony. He tells the reader what happens in his youth, regarding a particular friend Adrian. Then he starts reflecting on what he has just told us - when he receives a letter that he has been left Adrian's diary. In the process of getting hold of that diary, he meets his ex girl, his old friends and the things they tell of the past do not match his version of the past. He questions the authenticity of everything - himself(an old man whose memory is fading), his perception of events both past and present, the people in his life, what they say and do. Basically, what the reader has on her/his hands is a very very unreliable narrator. Even when the story ended, there is nothing clear as to what actually happened. According to the reader's guessing (and whether the reader "ever really got it" :)), a "version" of the story lives. Finally, the big twist in the end in the book is that Adrian was with Veronica's mother and they had a child and so he committed suicide. Comparing to the extreme situations we read everyday in books, this seems to be no big shocker. Yet, from the viewpoint of the narrator , it is a HUGE revelation. This is where the reader has to judge whether he truly can get in the shoes of another. If the reader feels no shock or despair, it is because she/he did not really see it from Tony's viewpoint.
Many people say that the ending was a let down, the book is average , it did not deserve the Man Booker Award, it was unnecessarily made suspenseful by Veronica's actions, etc. But here is the explanation and the clincher - J. Barnes has written the story from the view, and in the character of, Tony completely. So if the reader feels lost and unsure of what is going on exactly and why people are behaving so secretively and what is the point of this big story - it's good. This is EXACTLY how the character of Tony is. The story ends unsatisfactorily - as I'm sure it did for Tony. He blames himself in the end. Reviewers and critics of the book have said - there is no need to blame him, he is not responsible. But the point of the book is not whether it is right or wrong - the point of the book is the character of Tony. In the end he WOULD blame himself (a sort of self guilt to make some penance for his cruel words) and that is just what J. Barnes has written. Overall, an "unsatisfactory" book but it makes you wonder what a hell of a job J. Barnes has done in writing it so. In the first few pages itself, this is written "History is that certainity produced at the point where the imperfections of memory meet the inadequacies of documentation." So nothing is reliable. Another sort of freedom - the freedom to interpret, like from J. Fowles. Can the normal reader, accustomed to definite story-lines, digest that ?
These two writers show that books need not have fixed story-lines - Free will in books. Yay.
Polished, nickel-plated trim. Smooth plastic for smooth handling. Really. Make a gun out of the things, just like in 4th grade. Square deal.(From Field Notes Website)
This is part of my 'issues set'. i will be taking pictures of the issues i have had to watch people go through!
DISRUPT J20 THIS INAUGURATION RESIST TRUMP sticker at escalator construction site at the WMATA Shaw - Howard University Station on 7th at S Street, NW, Washington DC on Thursday afternoon, 5 January 2017 by Elvert Barnes Photography
Follow DISRUPT J20 at www.facebook.com/disruptj20
Visit DISRUPT J20 THIS INAUGURATION RESIST TRUMP website at www.disruptj20.org/
Published at rightsanddissent.org/news/disruptj20-website-warrant/
Published at popularresistance.org/press-freedom-groups-join-defending...
1940, 2 cents Mufti tied by FPO Canada Militia Petawawa Camp Ont cds on exaggerated postcard ‘’this is the life – Petawawa Camp’’
Postcard sent from: / FIELD POST OFFICE / CANADA MILITIA / PETAWAWA CAMP - ONT. / 13 / JUL 19 / 40 / - cds cancel (Toop # M3-42 - Hammer # 2 / 29.0 mm)
Robert James Maveety writes: Hello Pal / See how big the Flies are up here / Dad / xx
Sent to his son: Edward Maveety / Laurentian View P.O. / Via Ottawa, Ontario.
After his training at Camp Petawawa Robert Maveety spent time at Debert, Nova Scotia (MPO / Military Post Office 604) and was the postmaster there from 3 September 1941 to the 25 September 1941 before going overseas.
Here is the link to his WWI CEF Attestation papers: www.bac-lac.gc.ca/eng/discover/military-heritage/first-wo...
Robert James Maveety, Veteran of Two World Wars, (b: 1898 - Ottawa, Ontario, Canada - d: August 1959 - Rockland, Ontario, Canada, 61 years old, a veteran of two world wars, died of a heart attack at his home in Rockland. He had lived in Rockland since he retired eight years ago from the Army Postal Corps.
Born in Ottawa, he was the son of the late Robert Henry Maveety and the former Sarah Keegan, who came here from Ireland.
At the outbreak of the First World War he enlisted as a sapper in the Canadian Engineers, serving in England and France. Between the wars he served 14 years in the militia with the Third Divisional Signals.
He joined the Post Office Department as a letter carrier in 1937, and soon after the start of the Second World War he enlisted in the Postal Corps. He was discharged with the rank of sergeant.
After the war he returned to his letter carrier's job with the Post Office Department, but was transferred back to the Postal Corps in 1946.
He was married in Chicago in 1926 to the former Bertha Taylor.
Fantasia 1985 Press Release Kit . Fantasia 45th Anniversary . The press kit cover is in good shape some wrinkles and creases . The press kit itself inside is in like new condition .
About Fantasia:
Fantasia is a 1940 American animated film produced by Walt Disney and released by Walt Disney Productions. With story direction by Joe Grant and Dick Huemer, and production supervision by Ben Sharpsteen, it is the third feature in the Disney animated features canon. The film consists of eight animated segments set to pieces of classical music conducted by Leopold Stokowski, seven of which are performed by the Philadelphia Orchestra. Music critic and composer Deems Taylor acts as the film's Master of Ceremonies, providing a live-action introduction to each animated segment.
Disney settled on the film's concept as work neared completion on The Sorcerer's Apprentice, an elaborate Silly Symphonies short designed as a comeback role for Mickey Mouse, who had declined in popularity. As production costs grew higher than what it could earn, he decided to include the short in a feature-length film with other segments set to classical pieces. The soundtrack was recorded using multiple audio channels and reproduced with Fantasound, a pioneering sound reproduction system that made Fantasia the first commercial film shown in stereophonic sound.
Fantasia was first released in theatrical roadshow engagements held in thirteen U.S. cities from November 13, 1940. It received mixed critical reaction and was unable to make a profit due to World War II cutting off the profitable European market, the film's high production costs, and the expense of leasing theatres and installing the Fantasound equipment for the roadshow presentations. The film was subsequently reissued multiple times with its original footage and audio being deleted, modified, or restored in each version. As of 2012, Fantasia has grossed $76.4 million in domestic revenue and is the 22nd highest-grossing film of all time in the U.S. when adjusted for inflation. Fantasia, as a franchise, has grown to include video games, Disneyland attractions, a live concert, and a theatrically released sequel (Fantasia 2000) co-produced by Walt's nephew Roy E. Disney in 1999. Fantasia is widely acclaimed, and in 1998 the American Film Institute ranked it as the 58th greatest American film in their 100 Years...100 Movies and the fifth greatest animated film in their 10 Top 10 list.
In 1936, Walt Disney felt that the Disney studio's star character Mickey Mouse needed a boost in popularity. He decided to feature the mouse in The Sorcerer's Apprentice, a deluxe cartoon short based on the poem written by Johann Wolfgang von Goethe and set to the orchestral piece by Paul Dukas inspired by the original tale. The concept of matching animation to classical music was used as early as 1928 in Disney's cartoon series, the Silly Symphonies, but he wanted to go beyond the usual slapstick, and produce shorts where "sheer fantasy unfolds ... action controlled by a musical pattern has great charm in the realm of unreality." Upon receiving the rights to use the music by the end of July 1937, Disney considered using a well-known conductor to record the music for added prestige. He happened to meet Leopold Stokowski, conductor of the Philadelphia Orchestra since 1912, at Chasen's restaurant in Hollywood, and talked about his plans for the short. Stokowski recalled that he did "like the music"; was happy to collaborate on the project, and offered to conduct the piece at no cost.
Following their meeting, Disney's New York representative ran into Stokowski on a train headed for the East Coast. In writing to Disney, he reported that Stokowski was "really serious in his offer to do the music for nothing. He had some very interesting ideas on instrumental coloring, which would be perfect for an animation medium". In his excited response dated October 26, 1937, Disney wrote that he felt "all steamed up over the idea of Stokowski working with us ... The union of Stokowski and his music, together with the best of our medium, would be the means of a success and should lead to a new style of motion picture presentation." He had already begun working on a story outline, and wished to use "the finest men ... from color ... down to animators" on the short. The Sorcerer's Apprentice was to be promoted as a "special" and rented to theatres as a unique film, outside of the Mickey Mouse cartoon series.
Deems Taylor was the film's Master of Ceremonies, who introduced each segment in live action interstitial scenes.An agreement signed by Disney and Stokowski on December 16, 1937, allowed the conductor to "select and employ a complete symphony orchestra" for the recording.Disney hired a stage at the Culver Studios in California for the session. It began at midnight on January 9, 1938, and lasted for three hours using eighty-five Hollywood musicians. As production costs of The Sorcerer's Apprentice climbed to $125,000, it became clearer to Disney and his brother Roy, who managed the studio's finances, that the short could never earn such a sum back on its own. Roy wanted his brother to keep any additional costs on the film to a minimum. He said, "because of its very experimental and unprecedented nature ... we have no idea what can be expected from such a production." Ben Sharpsteen, a production supervisor on Fantasia, noted that its budget was three to four times greater than the usual Silly Symphony, but Disney "saw this trouble in the form of an opportunity. This was the birth of a new concept, a group of separate numbers—regardless of their running time—put together in a single presentation. It turned out to be a concert—something novel and of high quality."
For the 1982 and 1985 releases Disney presented Fantasia with a completely new soundtrack recorded in Dolby Stereo. First released on April 2, 1982, this version of the film marked the first time a film's soundtrack had been digitally re-recorded in its entirety. To replace Stokowski's recordings, the noted film conductor Irwin Kostal was engaged. He directed a 121-piece orchestra and 50-voice choir for the recording that took place over eighteen sessions and cost $1 million. To maintain continuity with the animation Kostal based his performance on the tempos and pacing of the Stokowski recordings, including the cuts and revisions to The Rite of Spring. However, for Night on Bald Mountain he used Mussorgsky's original orchestration instead of Leopold Stokowski's own edition that was part of the original soundtrack. The new recording also corrected a two-frame lag in projection caused by the old recording techniques used in the 1930s. Deems Taylor's scenes were deleted and a much briefer voiceover narration was recorded by Hugh Douglas as the studio felt the modern audience "is more sophisticated and knowledgeable about music." This version returned to around 400 theaters in 1985, this time with actor Tim Matheson providing the narration.
Trying to get a feel for the limits of what I can do with these light abstracts before they cross the line into light-writing.
Nikon D90 / 16-85mm / Single exposure, no post
PARIS STREET ART - 2012 ! ~ photographed by ADDA DADA ! ( safe photo )
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Language Arts Classroom Poster.
Created by The Writing Doctor.
Visit "The Write Prescription" dot com.
Basilique romane Saint-Martin d’Ainay ; commune de Lyon, Rhône 70, Rhône-Alpes, France
La basilique Saint-Martin d'Ainay est une ancienne église abbatiale de style roman (XIIe siècle) située dans le quartier d'Ainay, sur la presqu'île de Lyon. Elle est élevée au rang de basilique en 1905. La basilique fait l’objet d’un classement au titre des monuments historiques par la liste de 1840. Tous les styles architecturaux se retrouvent dans la basilique d'Ainay : pré-roman dans la chapelle Sainte-Blandine, roman pour toute sa structure principale, la chapelle Saint-Michel est gothique, l'ensemble a été restauré et agrandie au XIXe siècle par des adjonctions néo-romanes. La basilique garde, malgré son histoire mouvementée, une réelle unité de style. La nef mesure 17 mètres de large tandis que l'édifice est long de 37 m. Les quatre colonnes massives qui soutiennent la coupole devant le chœur sont en granite gris d'Egypte (syénite), et ont été récupérées sur les ruines d'un monument romain. Selon la tradition lyonnaise, elles proviendraient des colonnes de l'autel de Rome et d'Auguste qui faisait partie du Sanctuaire fédéral des Trois Gaules, et qui auraient été sciées en deux.
(extrait de : fr.wikipedia.org/wiki/Basilique_Saint-Martin_d%27Ainay)
Un monument exceptionnel au sud de Lyon, entre Rhône et Saône , original par son transept non débordant et sa coupole, par des archaïsmes comme ses absidioles empâtées dans des murs plats, par son clocher porche doublé d’une tour-lanterne à l’est et surtout par la double colonnade de sa nef, qui rappelle les basiliques paléochrétiennes. Construit à la fin du XIe siècle à l’instigation de l’abbé Gaucerand, cet ancien monastère bénédictin fut consacré par le pape Pascal II en 1107. A cette époque, l'abbatiale se trouve dans une île de sable et de verdure; aujourd'hui, elle est enserrée de toute part de constructions plus ou moins modernes qui lui font perdre de son charme. Au XIIe siècle, sous le règne de Saint-Louis, le pape Innocent IV réunit à Lyon le concile qui excommunie l’empereur Frédéric II. Après six ans passés à Ainay, il reconnaît à l’abbaye 71 églises, abbayes et prieurés dispersés de la Bourgogne à la Provence, ce qui aida son essor. A la renaissance, le monastère possède un port sur le fleuve, son abbé habite un palais, les moines disposent d’importants bâtiments conventuels, de deux cloîtres, d’un jardin, d’une vigne. En 1562, les troupes réformées du baron des Adrets détruisent de nombreux bâtiments. En 1600, Henry IV y séjourne à l’occasion de son mariage avec Catherine de Médicis. Louis XIII y passe quatre fois avec son ministre Richelieu, puis Louis XIV quelques années plus tard. La Révolution lui est fatale : palais des abbés rasé, bâtiments et terres vendues, église transformée en grenier. Ses deux clochers sont caractéristiques de l’art roman. Le plus haut, au-dessus de la façade, contient les cloches. L’autre est un clocher lanterne qui éclaire la croisée du transept. La porte du rez-de-chaussée est surmontée d’un arc brisé couvert d’un riche décor de rinceaux. Au premier étage, les murs sont garnis d’arcatures aveugles très hautes et décorées de briques. Au deuxième étage, l’appareil est le même avec des arcatures plus petites encadrées par des colonnettes et des chapiteaux. Entre les fenêtres des 2e et 3e étages, la surface de la pierre est occupée par une croix de briques qui semble suspendue à un collier d’émail rouge et blanc (chanoine Chagny). Sous ce collier d’émail, on distingue une frise comportant une quinzaine de sujets taillés en méplat et représentant des animaux symboliques. Au-dessus du troisième étage, se dressent la pyramide et les pyramidions d’angles.
Le volume intérieur est ample (34 m de long sur 17 m de large, bas-côtés compris). Remaniée de nombreuses fois au cours des siècles, la charpente primitive de la nef a été remplacée au XIXe siècle par une voûte. A cette même époque, les murs latéraux ont été percés d’arcs ouvrant sur des chapelles.
Les colonnades de la nef rappellent les églises de 4e siècle. On devine pourquoi : Lyon avait été une capitale antique dont les ruines étaient loin d’avoir disparu. Pour construire une nef, il était tout simple de réutiliser les colonnes romaines qu’on avait sous la main. Même s’il fallait, en raison de leur relative faiblesse, se contenter d’une charpente, plus légère qu’une voûte. C’est ce qui explique l’originalité de cette église, peut-être unique en France. Les quatre monolithes qui supporte le clocher lanterne à la croisée du transept proviennent des restes du sanctuaire des Trois-Gaules dont l’autel était encadré par deux colonnes gigantesques que les gallo-romains avoir jadis fait venir d’Egypte. Ces deux colonnes furent sciées en deux, embarquées sur la Saône et hissées sur le chantier de Saint-Martin d’Ainay.
Chœur et abside. Ce sont les parties les plus remarquables de la basilique. Un berceau plein-cintre couvre l’espace central alors que des voûtes d’arêtes sont utilisées pour les espaces latéraux. A l’Est, de part et d’autre du chœur des dosserets supportent des bas-reliefs historiés. L’abside semi-circulaire est pourvue d’un riche décor d’arcatures et de pilastres. Trois ouvertures cantonnées de colonnettes de marbre éclairent l’abside alors que deux arcs aveugles occupent l’extrémité de l’hémicycle. Les deux chapiteaux qui coiffent les pilastres de part et d’autre de l’autel prennent place parmi les plus remarquables de l’art roman à côté de la Fuite d’Egypte d’Autun, du Moulin mystique de Vezelay ou de l’Eucharistie d’Issoire. Ils évoquent la Tentation d’Adam et Eve et le Meurtre d’Abel par Caïn. Le carré de la croisée du transept porte 20 petites colonnes, dont 16, accolées deux par deux, soutiennent 8 arcades de même taille dessinant l’octogone qui supporte la coupole. Les quatre placées sur le sommet des arcs, c’est à dire dans les axes de la nef et du transept, contiennent les fenêtres, les quatre autres, aux angles, de petites voûtes « en cul de four ». Les fresques des plafonds sont du XIXe siècle. Au Sud-Est de la basilique, des passages ouverts au XIXe siècle donnent accès à la chapelle Sainte-Blandine qui date du XIe siècle. Un petit chœur domine une nef dont la voûte en berceau plein-cintre repose sur de solides piliers adossés aux murs latéraux. Le chœur, surélevé au-dessus d’une crypte de quelques mètres carrés, est couvert d’une demi-coupole pourvue de deux trompes et décorée de colonnettes et de chapiteaux à entrelacs.
(extrait de : www.edelo.net/roman/images/rhone/lyon/ainay/photos.htm)
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