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Clifford’s Tower
Image by vgm8383
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"On the night of Friday 16 March 1190 some 150 Jewish folks of York, getting sought protection in the Royal Castle on this website from a mob incited by Richard Malebisse and other people, chose to die at every other’s hands rather than renounce their faith."
York Castle is a fortification in the city of York, England. The principal remains of the 13th-14th century castle are the preserve, which is identified as Clifford’s Tower, and some of the curtain wall. From its start off in 1068 via the English Civil War, the castle had a particularly noteworthy history.
the wooden tower of York Castle was the last refuge of the 150 Jewish residents in York. Richard de Malbis (Richard Malebisse) was a debtor of Aaron of Lincoln, an influential Jewish banker of the late 12th century. When a fire broke out in the city of York, de Malbis used the opportunity to incite a mob to attack the property of a lately deceased agent of Aaron of Lincoln named Benedict of York, killing his widow and young children and burning the property. Joce (Joseph), the leader of the Jewish community of York, obtained the permission of the warden of York Castle to remove his wife and youngsters and the rest of the Jews into the castle, where they possibly took refuge in a tower that stood where Clifford’s Tower now stands. The mob surrounded the castle, and when the warden left the castle the Jews, fearing the entry of the mob, would not readmit him. The warden appealed to the sheriff, who named out the county militia. The militia lay siege to the tower for a number of days till on 16 March 1190 the tower caught fire. Numerous Jews either perished in the flames or took their own lives rather give themselves up to the mob these who did surrender have been killed. In all around 150 Jews died. A plaque on the hill on which the tower stands reads:
“ On the night of Friday 16 March 1190 some 150 Jewish folks of York, getting sought protection in the Royal Castle on this website from a mob incited by Richard Malebisse and other people, chose to die at each and every other’s hands rather than renounce their faith."
The castle of 1068 was initially developed as a motte and bailey fortification. The main campaign of operate from 1245 to the 1270s resulted in the crescent shaped bailey region getting enclosed by a higher stone wall with routinely spaced cylindrical towers. There was a gate on the town side, adjacent to the motte. Yet another gate on the opposite side of the bailey, the foundations of which one can nonetheless see, gave access to the open nation south of the castle. Historians believe the bailey incorporated two halls, a chapel, a kitchen and a prison.
Clifford’s Tower is a keep of uncommon design and style. The structure is a quatrefoil plan, significantly like a four-leafed clover, and consisted of two stories. A central stone pillar, of which traces stay, supported the first floor. A square turret on the south side in between two of the lobes protected the entrance. There are defensive turrets among the other lobes. The tower is believed to be an experiment in improving flanking fire by minimizing dead ground visible from the summit of the hold. Historians suspect that the builders of Clifford’s Tower primarily based it on a French model, as one can uncover a almost identical instance to York at Étampes, France. Really few examples of this multilobed variety of castle tower exist 1 local example is the maintain of Pontefract Castle (now badly broken).
For the construction, King Henry III employed master mason Henry de Rayns, who organized the perform, and chief carpenter Simon of Northampton, each of whom had had significant roles in the constructing of Windsor Castle. (Interestingly, Master Henry had worked at Paris, which is close to Etampes Castle.)
Courtesy of Wikipedia
“馬鞍山運動場 Ma On Shan Sports Ground” / 香港體育建築全景之形 Hong Kong Sports Architecture Panoramic Types / SML.20130326.7D.36333-SML.20130326.7D.36359-Pano.Cylindrical-360×78
Image by See-ming Lee 李思明 SML
I was wrong—it seems that you do still need to have a pano head even with modern technology.
Previously I produced the opinion that modern computer software need to be in a position to stitch these pictures shot using standard pan heads [1] and that the pano head is largely a luxury things. But when I in fact worked on the image it appears that I was very incorrect about it.
As you see here the seams a hugely problematic at the close to end of the lens. The far end is always going got be ok, but he close to finish poses challenge for Hugin it would seem.
SML Apologies—but I by no means mentioned that I am constantly proper.
This 360-degree pano is stitched using 24 complete-resoltion 7D RAW files. Trust that when I get a pano head I will revisit this.
# SML Information
+ Date: 2013-03-26T13:21:50+0800
+ Dimensions: 17742 x 3342
+ Exposure: 1/60 – 1/80 sec at f/8.
+ Focal Length: 17 mm
+ ISO: one hundred
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 17-40 f/4L USM
+ Accessories: Canon TC-80N3, Manfrotto tripod
+ Panorama FOV: 360 degree horizontal, 78 degree vertical
+ Panoramic Projection: Rectilinear
+ GPS: 22°25’17" N 114°13’42" E
+ Altitude: 11.1 m
+ Location: 中國香港馬鞍山恆康街1號馬鞍山運動場 中国香港马鞍山恒康街1号马鞍山运动场 Ma On Shan Sports Ground, 1 Hang Hong Road, Ma On Shan, Hong Kong, China
+ Workflow: Hugin 2012, Lightroom four
+ Serial: SML.20130326.7D.36333-SML.20130326.7D.36359-Pano.Cylindrical-360×78
+ Series: 體育 Sports, 建築 Architecture, 形 Types, 全景攝影 Panoramic Photography
# Notes
1. “Panorama Setup: Canon EOS 7D + Canon EF 17-40 f/4L USM + Canon TC-80N3 + Manfrotto tripod” / 20130326.IPH5.11158: www.flickr.com/photographs/seeminglee/8591178305/
# Media Licensing
Inventive Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Restricted
“馬鞍山運動場 Ma On Shan Sports Ground” / 香港體育建築全景之形 Hong Kong Sports Architecture Panoramic Types / SML.20130326.7D.36333-SML.20130326.7D.36359-Pano.Cylindrical-360×78
/ #體育 #Sports #建築 #建筑 #Architecture #形 #Forms #SMLForms #全景 #Pano #SMLPano #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects #SMLApologies
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #城市 #Urban
Xerxes tomb at Naqsh-e Rostam: upper register
Image by dynamosquito
En: Rock Tomb attributed to Xerxes Ist in the royal Achaemenid necropolis of Naqsh-e Rostam, vicinity of Marvdshat, Fars province, Iran, April 2008.
Naqsh-e Rostam, a listed World Heritage Internet site by the UNESCO, has always been a sacred and symbolic spot for the ancient civilizations of the Iranian plateau. Apart from the remnants of a rock relief of the Elamite period (2nd millennium BCE), and other reliefs dating from the Persian Sassanid era (3rd to 7th century CE) plus a fire altar from the identical period, it consists of several elements from the first Persian empire, the Achaemenid Empire. Such elements are a Zoroastrian temple (Kaaba ye Zartosht) and 4 royal rock cut tombs all created on an identical plan. Such style reflects an official royal art whose canons have been set by Darius the Fantastic. Breaking with the tradition of the 1st Achaemenid kings that saw at least Cyrus the Great buried in a mausoleum in Pasargadae, Darius, who had already built Persepolis at the foot of the neighbor Kuh-e Rahmat mountain, ordered his grave to be cut in the rock of a nearby cliff. Darius is the only king whose grave is attributed with certainty, simply because of a long inscription in 3 languages. The three other tombs are those of the successors of Darius whose reigns have been substantial: Xerxes I, Darius II (Codomanus), and Artaxerxes I (Makrocheir or "long hand").
The program of each and every tomb is invariant: the cross-shaped tombs are divided into 3 registers. The reduce register is flat and smooth,with no element carved or engraved. The midrange register is remarkable because it offers an accurate image of the Achaemenid royal palaces as they had been at Persepolis and Susa. A huge portico surrounds a door whose style is clearly Egyptian ( getting decorated by grooves), which leads to the actual tomb, carved in the depth of the cliff. The roof of the portico lay on the top of high thin cylindrical columns, nearly identical to these of a Ionian style at the palaces. Some differences are certainly observed indicating a desire for simplification: lack of stylized palm trees at the upper parts, and lack of grooves characterizing this Greek style. At the best every single column is an animal-type capital, in this case, two divergent bulls amongst each lay the primary beams. The tertiary and secondary beams are upper, perpendiculars, forming the roof. The upper register shows a scene which is emblematic of how royalty desires to be noticed. The monarch is represented in an attitude comparable to that of Darius in his founding relief at Behistun: a hand raised up and the other holding a bow whose downer finish is placed on the ground. Ahead of him is a fire altar, above him is the god Ahuramazda. A moon disk is visible at the best correct of the stage. Altar and king lay on a platform resting on horned lions shaped pillars. The platform is supported by a lot of men and women whose ethnic characters and clothing clearly recognize the nations subjected to the empire, a recurrent theme of this art. On both sides of the register, immortal guards, heralds, or Persian nobles are represented. The significance of the relief is quite clear: the king of kings is at the prime of the imperial hierarchy, by the will of Ahuramazda, which is the only entity superior to the king. The king of kings requires his energy and legitimacy by the strength of his army but also by the help of nations and peoples of the empire, such evidence is imposed by itself to all, even to the nobles.
Fr: Tombe rupestre attribuée à Xerxès Ier dans la nécropole royale achéménide de Naqsh-e Rostam, alentours de Marvdshat, province de Fars, Iran, Avril 2008.
Le internet site de Naqsh-e Rostam classé patrimoine mondial par l’Unesco a toujours revêtu un caractère sacré et emblématique pour les civilisations antiques du plateau iranien. En effet, outre les traces d’un relief rupestre d’époque Elamite (2ème millénaire BCE) et d’autres reliefs datant de l’ère Perse Sassanide (3ème au 7ème siècle CE) auquel s’ajoute un autel du feu de la même période, il abrite plusieurs éléments datant du premier empire Perse, l’empire Achéménide. Il s’agit d’un temple zoroastrien Achéménide (Kaaba ye Zartosht) et de four tombes royales rupestres toutes réalisées selon un strategy identique, dont le style témoigne d’un art royal officiel dont les canons ont été fixés par Darius le Grand. Rompant avec la tradition des rois achéménides précédents qui a vu au moins Cyrus le Grand être enterré dans un mausolée à Pasargades, Darius, qui avait déjà fait construire Persépolis au pied de la montagne voisine du Kuh-e Rahmat, fait ainsi sculpter sa tombe dans le roc d’une falaise voisine. Il est également le seul dont la tombe est attribuée avec certitude, du fait d’une longue inscription trilingue. Les three autres tombes seraient celles des successeurs de Darius dont les règnes ont été significatifs: Xerxès Ier, Darius II (Codoman), et Artaxerxès Ier (Makrocheir ou « longue principal »).
Le strategy de chaque tombe est invariant, cruciforme, divisé en 3 registres. Le registre inférieur est strategy et lisse, ne comportant aucun élément sculpté ni gravé. Le registre moyen est remarquable car il fournit un aperçu précis de l’architecture des palais royaux achéménides tels qu’ils étaient à Persépolis et Suse : Un grand portique entoure une porte dont le style est clairement égyptien, orné par des cannelures, qui mène à la tombe proprement dite, taillée dans la profondeur de la falaise. Porté par des colonnes cylindriques fines et hautes, presque identiques à celles, ioniennes, des palais. Quelques différences sont en effet observées témoignant d’une volonté de simplification : absence de palmiers stylisés aux parties supérieures, et absence des fameuses cannelures propres à ce style grec. Chaque colonne porte un chapiteau à protomé animal, en l’occurrence, 2 taureaux divergents forment une mortaise dans laquelle s’insère des poutres principales. Des poutres secondaires perpendiculaires puis tertiaires constituent ensuite le toit. Le registre supérieur montre une scène emblématique de la royauté telle qu’elle veut se montrer : le monarque est représenté dans une attitude similaire à celle de Darius sur le relief fondateur de Behistun : une primary tendue vers le haut et l’autre tenant un arc dont un bout est posé au sol. Devant lui se trouve un autel du feu, au dessus de lui se trouve le dieu Ahuramazda. Un disque lunaire est visible à la partie supérieure droite de la scène. Autel et souverain sont situés sur une estrade reposant aux angles sur des piliers représentant des lions cornus. L’estrade est portée par de nombreux sujets dont les caractéristiques ethniques et vestimentaires identifient clairement les nations assujetties à l’empire, thème récurent de cet art. De component et d’autre du registre, gardes immortels, héraults ou nobles perses sont représentés. La signification du relief est claire : le roi des rois est au sommet de la hiérarchie impériale, il est souverain par la volonté d’Ahuramazda qui seul, lui est supérieur, son pouvoir et sa légitimité s’imposent à tous, y compris aux nobles par la force de son armée mais aussi par le assistance des nations et peuples de l’empire.