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Editor's Note: Thanks Benji!
On the tribulations of an expatriate in Europe
Saturday, March 22, 2008
WHAT BABY ARE YOU?
Editor's Note: Thanks Benji!
Saturday, March 15, 2008
Friday, March 07, 2008
HOW SO SWEET AND TENDER!
She is pregnant. He had just saved her from a fire in her house, rescuing her by carrying her out of the house into her front yard, then he continued to fight the fire.
When he finally got done putting the fire out, he sat down to catch his breath and rest. A photographer from the
Charlotte, North Carolina newspaper, noticed her in the distance looking at the fireman.He saw her walking straight toward the fireman and wondered what she was going to do.
As he raised his camera, she came up to the tired man who had just saved her life and the lives of her babies and kissed him just as the photographer snapped this photograph.
Friday, February 29, 2008
Wednesday, February 27, 2008
THE ATELIER OF THE OPERA DE LA MONNAIE, BRUSSELS
Atelier is a French word literally translated as "workshop". In English, it is used to refer to an artist's working studio, typically a fashion studio for Haute couture.
The Koninklijke Muntschouwburg (de Munt) (Dutch), or la Théâtre Royal de la Monnaie (la Monnaie) (French) is a theatre in Brussels, Belgium.
Today the National Opera of Belgium, a federal institution, takes the name of the theatre in which it is housed. Therefore, "de Munt/la Monnaie" refers both to the structure as well as the opera company.
As Belgium's leading opera house it is one of the few cultural institutions which receives financial support from the federal government of Belgium. Other opera houses in Belgium, such as the Vlaamse Opera and the Opéra Royal de Wallonie, are funded by regional governments.
In the last three decades de Munt/la Monnaie, has regained its place amongst the foremost opera houses in Europe thanks to the efforts of the successive directors Gérard Mortier and Bernard Foccroulle and music director Antonio Pappano.
The current edifice is the third theatre on the site. The façade dates from 1818 with major alterations made in 1856 and 1986. The foyer and auditorium date from 1856, but almost every other element of the present building was extensively renovated in the 1980s.
More on Wikipedia: http://en.wikipedia.org/wiki/La_Monnaie
Tuesday, February 26, 2008
STAND UP TO FACE YOUR...
You find out how much power you give to your convictions
With the weight of your convictions on your shoulders you feel
That you must stand up and face your enemy
As you stand up to face your enemy, you feel that you have to act as if
You are invincible so that there is no sacrifice
When you know that you there is no sacrifice you find that your
Strength in your convictions shows through more which allows you
To stand up and face your fears when you need to do what is right
As you stand up you find that the strength of your convictions ensures
That you stand up for those who would be an innocent so that they
Are not sacrificed while facing your enemy
After you have won the day while trying to look like you are invincible
You show those who would be an innocent that you are far from
Invincible by showing, a strength that is faltering from giving it all
That you can in the time of need
With the kind courtesy and permission of Sean Davis
http://seanspoemsandstories.blogspot.com/
Saturday, February 23, 2008
Wednesday, February 20, 2008
STRESS MANAGEMENT
Answers called out ranged from 8oz. to 20oz.
The lecturer replied, "The absolute weight doesn't matter. It depends on how long you try to hold it. If I hold it for a minute, that's not a problem. If I hold it for an hour, I'll have an ache in my right arm. If I hold it for a day, you'll have to call an ambulance."
"In each case, it's the same weight, but the longer I hold it, the heavier it becomes."
He continued, "And that's the way it is with stress management. If we carry our burdens all the time, sooner or later, as the burden becomes increasingly heavy, we won't be able to carry on."
"As with the glass of water, you have to put it down for a while and rest before holding it again. When we're refreshed, we can carry on with the burden."
"So, before you return home tonight, put the burden of work/life down. Don't carry it home. You can pick it up tomorrow."
"Whatever burdens you're carrying now, let them down for a moment if you can. Relax; pick them up later after you've rested. Life is short. Enjoy! "
And then he shared some ways of dealing with the burdens of life:
1* Accept that some days you're the pigeon, and some days you're the statue.
2* Always keep your words soft and sweet, just in case you have to eat them.
3* Always read stuff that will make you look good if you die in the middle of it.
4* Drive carefully. It's not only cars that can be recalled by their Maker.
5* If you can't be kind, at least have the decency to be vague.
6* If you lend someone $20 and never see that person again, it was probably worth it.
7* It may be that your sole purpose in life is simply to serve as a warning to others.
8* Never buy a car you can't push.
9* Never put both feet in your mouth at the same time, because then you won't have a leg to stand on.
10* Nobody cares if you can't dance well. Just get up and dance.
11* Since it's the early worm that gets eaten by the bird, sleep late.
12* The second mouse gets the cheese.
13* When everything's coming your way, you're in the wrong lane.
14* Birthdays are good for you. The more you have, the longer you live.
15* You may be only one person in the world, but you may also be the world to one person.
16* Some mistakes are too much fun to only make once.
17* We could learn a lot from crayons. Some are sharp, some are pretty and some are dull. Some have weird names and all are different colors, but they all have to live in the same box.
18* A truly happy person is one who can enjoy the scenery on a detour.
Monday, February 18, 2008
GIGGLING IN THE GRAVEYARD
Harry Edsel Smith of Albany, New York :
Born 1903--Died 1942.
Looked up the elevator shaft to see if the car was on the way down.
It was.
=============================
In a Thurmont, Maryland, cemetery:
Here lies an Atheist, all dressed up and no place to go.
=============================
On the grave of Ezekial Aikle in East Dalhousie Cemetery , Nova Scotia :
Here lies Ezekial Aikle, Age 102.
Only the Good Die Young.
=============================
In a London, England cemetery:
Here lies Ann Mann, who lived an old maid but died an old Mann. Dec. 8, 1767
=============================
In a Ribbesford, England , cemetery:
Anna Wallace
The children of Israel wanted bread, and the Lord sent them manna.
Clark Wallace wanted a wife, and the Devil sent him Anna.
===============================
In a Ruidoso, New Mexico, cemetery:
Here lies Johnny Yeast. Pardon me for not rising.
================================
A lawyer's epitaph in England:
Sir John Strange.
Here lies an honest lawyer,
and that is Strange.
===============================
In a Uniontown, Pennsylvania, cemetery:
Here lies the body of Jonathan Blake.
Stepped on the gas instead of the brake.
==============================
In a Silver City , Nevada , cemetery:
Here lays The Kid.
We planted him raw.
He was quick on the trigger
But slow on the draw.
=================================
John Penny's epitaph in the Wimborne, England cemetery:
Reader, if cash thou art in want of any,
dig six feet deep and thou wilt find a Penny.
=============================
In a Hartscombe, England cemetery:
On the 22nd of June, Jonathan Fiddle went out of tune.
==================================
Anna Hopewell's grave in Enosburg Falls, Vermont:
Here lies the body of our Anna,
Done to death by a banana.
It wasn't the fruit that laid her low,
But the skin of the thing that made her go.
==================================
On a grave from the 1880s in Nantucket, Massachusetts:
Under the sod and under the trees,
lies the body of Jonathan Pease.
He is not here, there's only the pod.
Pease shelled out and went to God.
==================================
In a cemetery in England :
Remember man, as you walk by,
as you are now, so once was I.
As I am now, so shall you be.
Remember this and follow me.
To which someone replied by writing on the tombstone:
To follow you, I'll not consent
until I know which way you went.
Wednesday, February 13, 2008
EXQUISITE THAI CARVINGS
Carvings on fruits and vegetables shown at the Thai booth during the 50th Salon des Vacances held at the Heysel International Expo in Brussels, Belgium on 7-11 Febuary 2008.
Tuesday, February 12, 2008
THE ART OF FRIENDSHIP
I have heard so many people tell me it’s so hard to make friends. In our culture today we tend to want things fast and now but friendships mark a series of sharing stages that develop over time slowly. Two or more individuals can develop a loyalty and closeness by creating a common history and nurturing common interests. Friendships can become a force that generates mutual respect, self esteem and empathy. Friendships call us out of ourselves into a broader perspective of life. However, in the stresses of career and the routines of daily living, the task of developing a friendship can be a real challenge in the even expanding demands of today’s world.Persons from vastly different backgrounds and lifestyles can become friends but none of this comes instantaneously. Friendship takes work and like a garden, even the best of friendships need tending in order to produce fruit and lasting fulfillment.
For thousands of years humans have engaged in the basic social bond called friendship. These bonds eventually gathered humans into larger and larger social groups. If humans had been solitary creatures rather than gregarious, civilization would not exist today. Friendships and alliances provided the foundation of cultural growth and development. Friendship expressed the fundamental realization, “I need others”. So how do we make deep lasting friends?
The first step in founding a friendship is extending ourselves into another’s life. That can be as simple as starting a conversation in a cafe or lending someone a pen at work. Offering to help a neighbor move a piece of furniture and talking about gardening over the fence are ways I have started the ball rolling. Keep the gestures simple and sincere as you reach out. Present yourself in a warm casual manner that suggests respect and congeniality. Lofty cool attitudes are poor calling cards. Don’t expect instant success and remember, the best and deepest bonds develop slowly.
Once we extend ourselves a little and have introduced ourselves, how do we set the stage for further contact? Begin to evaluate common interests and goals that both of you share. Build a sense of fellowship from common causes, music and hobbies. Some people like to talk about themselves and you may be one of them but don’t always do all the talking. Listen to what they are saying, not what you want to say next.
A friend should express a genuine interest in the life and ongoing development of others. Asking questions and truly listening can uncover interesting details about someone that makes them unique. The art of listening must be nurtured if a friendship is to prosper and grow. At this stage we begin to share ideas and dreams and the bonds deepen.
As you develop a friendship you will encounter differences of opinion and tastes. Learn to accept them and enjoy them, these differences bring a pungency to the relationship and challenge our own views without threatening us.
Keep in mind special dates by sending a card or a small gift. Over and over I have found this small gesture a real bond builder.
In today’s hectic schedules plan an occasional special outing: a trip to the local conservatory, shopping, breakfast out or a museum. Learn to have fun too. Don’t be stingy, money is for spending. Live generously.
Look around their house, make note of what they talk about in conversation. Listen! If you do you’ll find out what makes your friend click. Remember a special occasion with a special gift that reflects what you have learned about them. They will love you for it. If you really like some one this will come easy. Take a few simple steps and discover the magic of friendship.
Dano Ray Pierce, 1997/2007
Sunday, February 10, 2008
CROSSING THE LOCK
Two barrage bridges straddle the Nile at this point: one built by the British in 1906, and the "Electricity Bridge" built in the 1990s. Navigation – particularly, Nile cruisers ferrying tourists from Luxor to Aswan, 155 km further upstream – can be held up for hours while vessels negotiate their way through the lock system.
The two main points of interest in Esna are its lively tourist-oriented souk, which fills a couple of streets leading inland from the corniche. The other is the temple of Esna. The temple, which has only been partially excavated, is about 200 meters from the river and some 9 meters below street level.
A lock is a device for raising and lowering boats between stretches of water of different levels on river and canal waterways. The distinguishing feature of a lock is a fixed chamber whose water level can be varied; whereas in a caisson lock, a boat lift, or on a canal inclined plane, it is the chamber itself (usually then called a caisson) that rises and falls.
Locks are used to make a river more easily navigable, or to allow a canal to take a reasonably direct line across country that is not level.
The term airlock was coined for a similar device used to allow persons to pass to and from a location in which a particular atmosphere is maintained, such as underwater, in space, or in a clean room.
A lock is required when a stretch of river is made navigable by bypassing an obstruction such as a rapid, dam, or mill weir — because of the change in river level across the obstacle.
The lowest lock on a navigable river separates the tidal and non-tidal stretches. Sometimes a river is made entirely non-tidal by constructing a sea lock directly into the estuary.
In more advanced river navigations, more locks are required.
Where a longer cut bypasses a circuitous stretch of river, the upstream end of the cut will often be protected by a flood lock.
The longer the cut, the greater the difference in river level between start and end of the cut, so that a very long cut will need additional locks along its length. At this point, the cut is, in effect, a canal.
Early completely artificial canals, across fairly flat countryside, would get round a small hill or depression by simply detouring (contouring) around it. As engineers became more ambitious in the types of country they felt they could overcome, locks became essential to effect the necessary changes in water level without detours that would be completely uneconomic both in building costs and journey time. Later still, as construction techniques improved, engineers became more willing to barge directly through and across obstacles by constructing long tunnels, cuttings, aqueducts or embankments, or to construct even more technical devices such as inclined planes or boat lifts. However, locks continued to be built to supplement these solutions, and are an essential part of even the most modern navigable waterways.
Thursday, February 07, 2008
HAPPY CHINESE NEW YEAR!
The Rat (Chinese:鼠) was welcomed in ancient times as a protector and bringer of material prosperity. It is the first of the 12-year cycle of animals which appear in the Chinese zodiac related to the Chinese calendar. Rat is associated with aggression, wealth, charm, and order, yet also associated with death, war, the occult, pestilence, and atrocities. The Year of the Rat is associated with the earthly branch symbol 子.In Chinese, the word 鼠 may refer to either the rat or the mouse. Therefore, in this context, Year of the Mouse and Year of the Rat are interchangeable terms.
Behind the smiles and charm, rats can be terribly obstinate and controlling, insisting on having things their way no matter what the cost. These people tend to have immense control of their emotions, which they may use as a tool to manipulate and exploit others, both emotionally and mentally. Rats are masters of mind games and can be very dangerous, calculative and downright cruel if the need arises. Quick-tempered and aggressive, they will not think twice about exacting revenge on those that hurt them in any way. Rats need to learn to relax sometimes, as they can be quite obsessed with detail, intolerant and strict, demanding order, obedience, and perfection.
According to tradition, Rats often carry heavy karma and at some point in life may face an identity crisis or some kind of feeling of guilt. Rats are said to often have to work very long and hard for everything they may earn or have in life. However, a Rat born during the day is said to have things a bit easier than those who are born at night. Traditionally, Rats born during the night may face extreme hardships and suffering throughout life. Rats in general should guard themselves against hedonism, as it may lead to self-destruction. Gambling, alcohol and drugs tend to be great temptations to Rat natives.
Professions include espionage, psychiatry, psychology, writing, politics, law, engineering, accounting, detective work, acting, and pathology.
(Wikipedia; http://en.wikipedia.org/wiki/Rat_%28zodiac%29)
Gung Hay Fat Choy!
Tuesday, February 05, 2008
LANCE ARMSTRONG - THE INSPIRATION
THE AMERICAN ITALIANS...
Italians have a $40,000. Kitchen, but use the $259 stove from Sears in the basement to cook.
There is some sort of religious statue in the hallway, living room, bedroom, front porch and backyard.
The living room is filled with old wedding favors with poofy net bows and stale almonds (they are too pretty to open).
A portrait of the Pope and Frank Sinatra in the dining room.
God forbid if anyone EVER attempted to eat Chef Boy-are-dee, Franco American, Ragu, Prego or anything else in a jar or can (tomato paste is the exception).
Meatballs are made with Pork, Veal and Beef. We are Italians, we don't care about cholesterol.
Turkey is served on Thanksgiving, AFTER the manicotti, gnocchi, lasagna and soup.
If anyone EVER says ES-CAROLE, slap 'em in the face -- it's SHCAROLE.
If they ever say ITALIAN WEDDING SOUP, let the idiot know that there is no wedding, nor is there an Italian in the soup. Also, the tiny meatballs must be made by hand.
No matter how hard you know you were going to get smacked, you still came home from church after communion, you stuck half a loaf of bread in the sauce pot, snuck out a fried meatball and chowed down you'll make up for it next week at confession.
Sunday dinner was at 2:00. The meal went like this...
Table is set with everyday dishes...doesn't matter if they don't match...they're clean, What more do you want?
All the utensils go on the right side of the plate and the napkin goes on the left. Put a clean kitchen towel at Nonno & Papa's plate because they won't use napkins.
Homemade wine and bottles of 7up are on the table.
First course, Antipasto...change plates.
Next, Macaroni (Nonna called all pasta Macaroni)...change plates.
After that, Roasted Meats, Roasted Potatoes, Over-cooked Vegetables...change plates.
THEN and only then (NEVER AT THE BEGINNING OF THE MEAL) would you eat the salad (HOMEMADE OIL & VINEGAR DRESSING ONLY)...change plates.
Next, Fruit & Nuts - in the shell (on paper plates because you ran out of the other ones).
Coffee with Anisette (Espresso for Nonno, 'Merican' coffee for the rest) with hard Cookies to dip in the coffee.
The kids go play...the men go to lay down. They slept so soundly you could perform brain surgery on them without anesthesia..the women clean the kitchen.
Getting screamed at by Mom or Nonna - half the sentence was English, the other half Italian.
Italian mothers never threw a baseball in their life, but can nail you in the head with a shoe thrown from the kitchen while you're in the living room.
Prom Dress that Zia Ceserina made you...$20.00 for material. Prom hair-do from Cousin Angela...$Free. Turning around at prom to see your entire family (including Godparents) standing in the back of the gym... PRICELESS!
The true Italians will love this, those of you who are married to Italians will understand this, and those of you who are friends with Italians will remember and will forward it to their Italian friends!
DISCOVER YOUR SOUL
Saturday, February 02, 2008
Friday, February 01, 2008
Monday, January 28, 2008
Friday, January 25, 2008
Wednesday, January 23, 2008
ABU SIMBEL
Abu Simbel (Arabic أبو سنبل or أبو سمبل) is an archaeological site comprising two massive rock temples in southern Egypt on the western bank of Lake Nasser about 290 km southwest of Aswan. It is part of the UNESCO World Heritage Site known as the "Nubian Monuments", which run from Abu Simbel downriver to Philae (near Aswan).
The twin temples were originally carved out of the mountainside during the reign of Pharaoh Ramesses II in the 13th century BC, as a lasting monument to himself and his queen Nefertari, to commemorate his alleged victory at the Battle of Kadesh, and to intimidate his Nubian neighbors. However, the complex was relocated in its entirety in the 1960s, on an artificial hill made from a domed structure, high above the Aswan dam reservoir.
The relocation of the temples was necessary to avoid being submerged during the creation of Lake Nasser, the massive artificial water reservoir formed after the building of the Aswan dam on the Nile River. Abu Simbel remains one of Egypt's top tourist attractions.
Construction of the temple complex started in approximately 1284 BC and lasted for circa 20 years, until 1264 BC. Known as the "Temple of Ramses, beloved by Amun", it was one of six rock temples erected in Nubia during the long reign of Ramses II. Their purpose was to impress Egypt's southern neighbours, and also to reinforce the status of Egyptian religion in the region.
With the passage of time, the temples fell into disuse and eventually became covered by sand. Already in the 6th century BC, the sand covered the statues of the main temple up to their knees. The temple was forgotten until 1813, when Swiss orientalist JL Burckhardt found the top frieze of the main temple. Burckhardt talked about his discovery with Italian explorer Giovanni Belzoni, who travelled to the site, but was unable to dig out an entry to the temple. Belzoni returned in 1817, this time succeeding in his attempt to enter the complex. He took everything valuable and portable with him. Tour guides at the site relate the legend that "Abu Simbel" was a young local boy who guided these early re-discoverers to the site of the buried temple which he had seen from time to time in the shifting sands. Eventually, they named the complex after him: Abu Simbel.
In 1959 an international donations campaign to save the monuments of Nubia began: the southernmost relics of this ancient human civilization were under threat from the rising waters of the Nile that were about to result from the construction of the Aswan High Dam.
The salvage of the Abu Simbel temples began in 1964, and cost some USD $40 million. Between 1964 and 1968, the entire site was cut into large blocks, dismantled and reassembled in a new location – 65 m higher and 200 m back from the river, in what many consider one of the greatest feats of archaeological engineering. Today, thousands of tourists visit the temples daily. Guarded convoys of buses and cars depart twice a day from Aswan, the nearest city. Many visitors also arrive by plane, at an airfield that was specially constructed for the temple complex.
The complex consists of two temples. The larger one is dedicated to Ra-Harakhty, Ptah and Amun, Egypt's three state deities of the time, and features four large statues of Ramesses II in the facade. The smaller temple is dedicated to the goddess Hathor, personified by Nefertari, Ramesses's most beloved wife (in total, the pharaoh had some 200 wives and concubines).
The Great Temple at Abu Simbel, which took about twenty years to build was completed around year 24 of the reign of Ramesses the Great (which corresponds to 1265 BC). It was dedicated to the gods Amun Ra, Ra-Horakhty, and Ptah, as well as to the deified Ramesses himself.[1] It is generally considered the grandest and most beautiful of the temples commissioned during the reign of Ramesses II, and one of the most beautiful in Egypt.
The entrance itself is crowned by a bas-relief representing two images of the king worshiping the falcon-headed Ra Harakhti, whose statue stands in a large niche.[1] This god is holding the hieroglyph user in his right hand and a feather while Ma'at, the goddess of truth and justice) in on his left; this is nothing less than a gigantic cryptogram for Ramesses II's throne name, User-Maat-Re. The facade is topped by a row of 22 baboons, their arms raised in the air, supposedly worshipping the rising sun. Another notable feature of the facade is a stele which records the marriage of Ramesses with a daughter of king Hattusili III, which sealed the peace between Egypt and the Hittites.
The temple of Hathor and Nefertari, also known as the Small Temple, was built about one hundred meters northeast of the temple of Ramesses II and was dedicated to the goddess Hathor and Ramesses II's chief consort, Nefertari. This was in fact the second time in ancient Egyptian history that a temple was dedicated to a queen. The first time, Akhenaten dedicated a temple to his great royal wife, Nefertiti. [1] The rock-cut facade is decorated with two groups of colossi that are separated by the large gateway. The statues, slightly more than ten meters high, are of the king and his queen. On the other side of the portal are two statues of the king, wearing the white crown of Upper Egypt (south colossus) and the double crown (north colossus); these are flanked by statues of the queen and the king. What is truly surprising is that for the only time in Egyptian art, the statues of the king and his consort are equal in size.
Traditionally, the statues of the queens stood next to those of the pharaoh, but were never taller than his knees. This exception to such a long standing rule bears witness to the special importance attached to Nefertari by Ramesses, who went to Abu Simbel with his beloved wife in the 24th year of his reign. As the Great temple of the king, there are small statues of princes and princesses next to their parents. In this case they are positioned symmetrically: on the south side (at left as you face the gateway) are, from left to right, princes Meryatum and Meryre, princesses Meritamen and Henuttawy, and princes Rahirwenemef and Amun-her-khepeshef, while on the north side the same figures are in reverse order. The plan of the Small Temple is a simplified version of that of the Great Temple.
As the larger temple dedicated to the king, the hypostyle hall or pronaos is supported by six pillars; in this case, however, they are not Osirid pillars depicting the king, but are decorated with scenes with the queen playing the sinistrum (an instrument sacred to the goddess Hathor), together with the gods Horus, Khnum, Khonsu, and Thoth, and the goddesses Hathor, Isis, Maat, Mut of Asher, Satis and Taweret; in one scene Ramesses is presenting flowers or burning incense. The capitals of the pillars bear the face of the goddess Hathor; this type of column is known as Hathoric. The bas-reliefs in the pillared hall illustrate the deification of the king, the destruction of his enemies in the north and south (in this scenes the king is accompanied by his wife), and the queen making offerings to the goddess Hathor and Mut. The hypostyle hall is followed by a vestibule, access to which is given by three large doors. On the south and the north walls of this chamber there are two graceful and poetic bes-reliefs of the king and his consort presenting papyrus plants to Hathor, who is depicted as a cow on a boat sailing in a thicket of papyri. On the west wall, Ramesses II and Nefertari are depicted making offerings to god Horus and the divinities of the Cataracts - Satis, Anubis and Khnum.
The rock cut sanctuary and the two side chambers are connected to the transverse vestibule and are aligned with the axis of the temple. The bas-reliefs on the side walls of the small sanctuary represent scenes of offerings to various gods made either by the pharaoh or the queen. On the back wall, which lies to the west along the axis of the temple, there is a niche in which Hathor, as a divine cow, seems to be coming out of the mountain: the goddess is depicted as the Mistress of the temple dedicated to her and to queen Nefertari, who is intimately linked to the goddess. More on Wikipedia: http://en.wikipedia.org/wiki/Abu_Simbel
Monday, January 21, 2008
Sunday, January 20, 2008
THE UNFINISHED OBELISK
The unfinished obelisk is the largest known ancient obelisk, located in the northern region of the ancient quarries in Aswan (Assuan), Egypt. It is nearly one third (Thutmos obelisk in Lateran, Rome 105 ft) larger than any Egyptian obelisk ever erected. If finished it would measure around 41 m (which is 90 cubits), or 137 feet, in length (it was recently measured from base to tip, its exact length is 41.88 m). Its weight is estimated at around 1,150 metric tons. Scientists speculate that it was intended to complement the so-called Lateran Obelisk which was originally at Karnak and is now outside the Lateran Palace in Rome.
The obelisk's creators began to carve it directly out of bedrock, but cracks appeared in the granite and the project was abandoned. The bottom side of the obelisk is still attached to the bedrock. The unfinished obelisk offers unusual insights into ancient Egyptian stone-working techniques, with marks from workmen's tools still clearly visible.
Besides the unfinished obelisk, an unfinished partly worked obelisk base was discovered in 2005 at the quarries of Aswan.[1] Also discovered were some rock carvings and remains that may correspond to the site where most of the famous obelisks were worked. All these quarries in Aswan and the unfinished objects are an open-air museum and are officially protected by the Egyptian government as an archeological site.
The quarries of Aswan. The quarries are located along the Nile in the city of Aswan. There are a number of well-known sites: Shellal, the northern and southern quarries within an area of about 20 km² in the west bank and the islands of Elephantine and Seheil. One of the known directors of these Aswan sites was Hori during the times of Ramses III. In the present days, the quarry area is to become an open-air museum.
Typical minerals known from this site:
•Red, grey and black Granite
Some of the monuments known to come from this site are:
•Cleopatra's Needles
•The unfinished obelisk still on site, at the northern quarry.
•The unfinished partly-worked obelisk base, discovered in 2005
•The sarcophagus made from granite at the burial chambers of Djoser and Sneferu at Saqqara
•Many burial chambers, sarcophagus, columns etc. in the pyramids of Khufu, Khafre and Menkaure at Giza
More on Wikipedia:
http://en.wikipedia.org/wiki/Unfinished_obelisk
http://en.wikipedia.org/wiki/Stone_quarries_of_ancient_Egypt
Also check out: http://www.cheops-pyramide.ch/khufu-pyramid/stone-quarries.html
Saturday, January 19, 2008
TEMPLE OF PHILAE
Philae proper, although the smaller island, is, from the numerous and picturesque ruins formerly there, the more interesting of the two. Prior to the inundation, it was not more than 1250 English feet, or rather less than a quarter of a mile, long, and about 400 feet broad. It is composed of Syenite stone: its sides are steep and perhaps escarped by the hand of man, and on their summits was built a lofty wall encompassing the island.
For Philae, being accounted one of the burying-places of Osiris, was held in high reverence both by the Egyptians to the north and the Ethiopians (Aethopians in Greek) to the south, and it was deemed profane for any but priests to dwell therein, and was accordingly sequestered and denominated the unapproachable (̓́αβατος, Plut. Is. et Osir. p, 359; Diod. i. 22). It was reported too that neither birds flew over it nor fish approached its shores. (Senec. Quaest. Nat. iv. 2.) These indeed were the traditions of a remote period; since in the time of the Macedonian kings of Egypt, Philae was so much resorted to, partly by pilgrims to the tomb of Osiris, partly by persons on secular errands, that the priests petitioned Ptolemy Physcon (170-117 BC) to prohibit public functionaries at least from coming thither and living at their expense. The obelisk on which this petition was engraved was brought into England by Mr. Bankes, and its hieroglyphics, compared with those of the Rosetta stone, threw great light upon the Egyptian phonetic alphabet.
The islands of Philae were not, however, merely sacerdotal abodes; they were the centres of commerce also between Meroë and Memphis. For the rapids of the cataracts were at most seasons impracticable, and the commodities exchanged between Egypt and Ethiopia were reciprocally landed and re-embarked at Syene and Philae.
The neighbouring granite-quarries attracted hither also a numerous population of miners and stonemasons; and, for the convenience of this traffic, a gallery or road was formed in the rocks along the east bank of the Nile, portions of which are still extant.
The most conspicuous feature of both islands was their architectural wealth. Monuments of very various eras, extending from the Pharaohs to the Caesars, occupy nearly their whole area. The principal structures, however, lay at the south end of the smaller island.
The most ancient were the remains of a temple for Hathor built in the reign of Nectanebo I during 380-362 BCE, was approached from the river through a double colonnade. Nekhtnebef is his Homen and he became the founding pharaoh of the thirtieth and last dynasty of native rulers when he deposed and killed Nefaarud II. Hathor is named alternatively, Athor, and was associated with their goddess, Aphrodite, by the Greeks.
For the most part, the other ruins date from the Ptolemaic times, more especially with the reigns of Ptolemy Philadelphus, Ptolemy Epiphanes, and Ptolemy Philometor (282-145 BC), with many traces of Roman work in Philae dedicated to Ammon-Osiris.
In front of the propyla were two colossal lions in granite, behind which stood a pair of obelisks, each 44 feet high. The propyla were pyramidal in form and colossal in dimensions. One stood between the dromos and pronaos, another between the pronaos and the portico, while a smaller one led into the sekos or adytum. At each corner of the adyturn stood a monolithal shrine, the cage of a sacred hawk. Of these shrines one is now in the Louvre, the other in the Museum at Florence.
Beyond the entrance into the principal court are small temples or rather chapels, one of which, dedicated to Hathor (Athor), is covered with sculptures representing the birth of Ptolemy Philometor, under the figure of the god Horus. The story of Osiris is everywhere represented on the walls of this temple, and two of its inner chambers are particularly rich in symbolic imagery. Upon the two great propyla are Greek inscriptions intersected and partially destroyed by Egyptian figures cut across them.
The inscriptions belong to the Macedonian era, and are of earlier date than the sculptures, which were probably inserted during that interval of renaissance for the native religion which followed the extinction of the Greek dynasty in Egypt in 30 BC by the Romans.
The monuments in both islands indeed attested, beyond any others in the Nile-valley, the survival of pure Egyptian art centuries after the last of the Pharaohs had ceased to reign. Great pains have been taken to mutilate the sculptures of this temple. The work of demolition is attributable, in the first instance, to the zeal of the early Christians, and afterward, to the policy of the Iconoclasts, who curried favour for themselves with the Byzantine court by the destruction of heathen images as well as Christian ones.
The soil of Philae had been prepared carefully for the reception of its buildings–being levelled where it was uneven, and supported by masonry where it was crumbling or insecure. For example, the western wall of the Great Temple, and the corresponding wall of the dromos, were supported by very strong foundations, built below the pre-inundation level of the water, and rested on the granite which in this region forms the bed of the Nile. Here and there steps were hewn out from the wall to facilitate the communication between the temple and the river.
At the southern extremity of the dromos of the Great Temple was a smaller temple, apparently dedicated to Isis; at least the few columns that remained of it are surmounted with the head of that goddess. Its portico consisted of twelve columns, four in front and three deep. Their capitals represented various forms and combinations of the palm branch, the dhoum-leaf, and the lotus-flower. These, as well as the sculptures on the columns, the ceilings, and the walls were painted with the most vivid colors, which, owing to the dryness of the climate, have lost little of their original brilliance. (More on Wikipedia: http://en.wikipedia.org/wiki/Philae)
Thursday, January 17, 2008
NUBIAN ADVENTURE
Nubia (Nu•BiaH) was the name for the region to the south of Egypt, along the Nile and in what is now northern Sudan. Most of Nubia was situated in Sudan with about a quarter of its territory in Egypt. In ancient times it was an independent kingdom.
Many Egyptian Nubians were forcibly resettled to make room for Lake Nasser after the construction of the dams at Aswan. Nubian villages can now be found north of Aswan on the west bank of the Nile and on Elephantine Island, and many Nubians live in large cities such as Cairo. Egyptian Nubians tend to be far more socio-economically disadvantaged within Egypt, as to Sudanese Nubians in Sudan.
Wednesday, January 16, 2008
KOM OMBO SLIDESHOW
In antiquity the city was in the Thebaid, the capital of the Nomos Ombites, upon the east bank of the Nile; latitude 24° 6'north. Ombos was a garrison town under every dynasty of Egypt, Pharaonic, Macedonian, and Roman, and was celebrated for the magnificence of its temples and its hereditary feud with the people of.
Ombos was the first city below Syene at which any remarkable remains of antiquity occur. The Nile, indeed, at this portion of its course, was ill-suited to a dense population in antiquity. It runs between steep and narrow banks of sandstone, and deposits but little of its fertilizing slime upon the dreary and barren shores. There are two temples at Ombos, constructed of the stone obtained from the neighboring quarries of Hadjar-selseleh. The more magnificent of two stands upon the top of a sandy hill, and appears to have been a species of Pantheon, since, according to extant inscriptions, it was dedicated to Aroeres (Apollo) and the other deities of the Ombite nome by the soldiers quartered there. The smaller temple to the northwest was sacred to Isis. Both, indeed, are of an imposing architecture, and still retain the brilliant colors with which their builders adorned them. They are, however, of the Ptolemaic age, with the exception of a doorway of sandstone, built into a wall of brick. This was part of a temple built by Tuthmosis III in honor of the crocodile-headed god Sobek. The monarch is represented on tress, the door-jambs, holding the measuring reed and chisel, the emblems of construction, and in the act of dedicating the temple. The portions of the larger temple present an exception to an almost universal rule in Egyptian architecture. It has no propylon or dromos in front of it, and the portico has an uneven number of columns, in all fifteen, arranged in a triple row. Of these columns thirteen are still erect. As there are two principal entrances, the temple would seem to be two united in one, strengthening the supposition that it was the Pantheon of the Ombite nome. On a cornice above the doorway of one of the adyta is a Greek inscription, recording the erection, or perhaps the restoration of the sekos by Ptolemy VI Philometor and his sister-wife Cleopatra II, 180-145 BC. The hill on which the Ombite temples stand has been considerably excavated at its base by the river, which here strongly inclines to the Arabian bank.
The crocodile was held in especial honor by the people of Ombos; and in the adjacent catacombs are occasionally found mummies of the sacred animal. Juvenal, in his 15th satire, has given a lively description of a fight, of which he was an eye-witness, between the Ombitae and the inhabitants of Tentyra, who were hunters of the crocodile. On this occasion the men of Ombos had the worst of it; and one of their number, having stumbled in his flight, was caught and eaten by the Tentyrites. The satirist, however, has represented Ombos as nearer to Tentyra than it actually is, these towns, in fact, being nearly 100 miles from each other. The Roman coins of the Ombite nome exhibit the crocodile and the effigy of the crocodile-headed god Sobek.
In Kom Ombo there is a rare engraved image of Cleopatra VII in the walls of the main temple and also the engraving of what is though to be the first representation of medical instruments for performing surgery, including scalpels, curettes, forceps, dilator, scissors and medicine bottles dating from the days of the Roman Egypt.
At this site there is another Nilometer used to measure the level of the river waters.
(More on Wikipedia: http://en.wikipedia.org/wiki/Kom_Ombo)
Tuesday, January 15, 2008
TEMPLE OF EDFU - PART 1
Edfu was one of several temples built during the Ptolemaic period, including Dendera, Esna, Kom Ombo and Philae. Its size reflects the relative prosperity of the time. Construction began in 237 BCE during the reign of Ptolemy III and completed in 57 BCE under Ptolemy XII.[2] It was built on the site of an earlier, smaller temple also dedicated to Horus, although the previous structure was oriented east-west rather than north-south as in the present site. A ruined pylon lies just to the east of the current temple; inscriptional evidence has been found indicating a building program under New Kingdom rulers Ramesses I, Seti I and Ramesses II.
The temple of Edfu fell into disuse as a religious monument following Theodosius I's edict banning non-Christian worship within the Roman Empire in 391 CE. As elsewhere, many of the temple's carved reliefs were razed by followers of the Christian faith which came to dominate Egypt. The blackened ceiling of the hypostyle hall, visible today, is believed to be the result of arson intended to destroy religious imagery that was now considered pagan.
Over the centuries the temple became buried to a depth of 12 meters (39 ft) beneath drifting desert sand and layers of river silt deposited by the Nile. Local inhabitants built homes directly over the former temple grounds. Only the upper reaches of the temple pylons were visible by 1798, when the temple was identified by a French expedition. In 1860 Auguste Mariette, a French egyptologist, began the work of freeing Edfu temple from the sands.
Today Edfu is nearly intact; its centuries-long slumber beneath the desert sand has left it remarkably well-preserved. The Temple of Edfu's archaeological significance and state of preservation has made it a center for tourism in Egypt and a frequent stop for the many riverboats that cruise the Nile. In 2005, access to the temple was revamped with the addition of a visitor center and paved carpark. A sophisticated lighting system was added in late 2006 to allow night visits.
The temple of Edfu is the largest temple dedicated to Horus and was the center of several festivals sacred to the god.
Edfu (also spelt Idfu or in modern French as Edfou and known in antiquity as Behdet) is an Egyptian city, located on the west bank of the Nile River between Esna and Aswan, with a population of approximately sixty thousand people. For the ancient history of the city, see below. Edfu is the site of the Ptolemaic Temple of Horus and an ancient settlement, Tell Edfu (described below). About 5 km (3 miles) north of Edfu are remains of ancient pyramids. (More on Wikipedia)
Sunday, January 13, 2008
KARNAK SLIDESHOW - PART 2
The complex is a vast open-air museum and the largest ancient religious site in the world. It is probably the second most visited historical site in Egypt, second only to the Giza Pyramids near Cairo. It consists of four main parts (precincts) of which only one is accessible for tourists and the general public. This is the Precinct of Amun-Re, and this it is also the main part of the complex and by far the largest part. The term Karnak is often understood as being the Precinct of Amun-Re only, as this is the only part most visitors normally see. The three other parts, the Precinct of Montu, the Precinct of Mut and the Temple of Amenhotep IV (dismantled), are closed to the public. There also are a few smaller temples and sanctuaries located outside the enclosing walls of the four main parts, as well as several avenues of human and ram-headed sphinxes connecting the Precinct of Mut, the Precinct of Amon-Re, and Luxor Temple.
The key difference between Karnak and most of the other temples and sites in Egypt is the length of time over which it was developed and used. Construction work began in the 16th century BC. Approximately thirty pharaohs contributed to the buildings, enabling it to reach a size, complexity, and diversity not seen elsewhere. Few of the individual features of Karnak are unique, but the size and number of features are overwhelming. Construction of temples started in the Middle Kingdom and continued through to Ptolemaic times.
The Karnak temple complex is first described by an unknown Venetian in 1589, though his account relates no name for the complex. This account, housed in the Biblioteca Nazionale Centrale di Firenze, is unique, in that it is the first known European mention, since the ancient Greek and Roman writers, of a whole range of monuments in Upper Egypt and Nubian, including Karnak, Luxor temple, Colossi of Memnon, Esna, Edfu, Kom Ombo, Philae and others. Karnak ("Carnac") as a village name, and name of the complex, is first attested in 1668, when two capuchin missionary brothers Protais and Charles François d'Orléans travelled though the area. Protais’ writing about their travel was published by Melchisédech Thévenot (Relations de divers voyages curieux, 1670s-1696 editions) and Johann Michael Vansleb (The Present State of Egypt, 1678). The first drawing of Karnak, rather inaccurate and can be quite confusing when viewed with modern eyes, is found in Paul Lucas' travel account of 1704. Paul Lucas travelled in Egypt during 1699-1703. The drawing shows a mixture of the Precinct of Amun-Re and the Precinct of Montu, based on a complex confined by the tree huge Ptolemaic gateways of Ptolemy III Euergetes / Ptolemy IV Philopator, and the massive 113m long, 43m high and 15m thick, first Pylon of the Precinct of Amun-Re.
Karnak was visited and described in succession by Claude Sicard and his travel companion Pierre Laurent Pincia (1718 and 1720-21), Ganger (1731), Frederick Louis Norden (1737-38), Richard Pococke (1738), James Bruce (1769), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1777), William George Browne (1792-93), and finally by a number of scientists of the Napoleon expedition, including Vivant Denon, during 1798-1799. Claude-Étienne Savary describes the complex rather detailed in his work of 1785; especially in light that it is a fictional account of a pretended journey to Upper Egypt, composed out of information from other travellers. Savary did visit Lower Egypt in 1777-78, and published a work about that too. (More on Wikipedia)
KARNAK SLIDESHOW - PART 1
The complex is a vast open-air museum and the largest ancient religious site in the world. It is probably the second most visited historical site in Egypt, second only to the Giza Pyramids near Cairo. It consists of four main parts (precincts) of which only one is accessible for tourists and the general public. This is the Precinct of Amun-Re, and this it is also the main part of the complex and by far the largest part. The term Karnak is often understood as being the Precinct of Amun-Re only, as this is the only part most visitors normally see. The three other parts, the Precinct of Montu, the Precinct of Mut and the Temple of Amenhotep IV (dismantled), are closed to the public. There also are a few smaller temples and sanctuaries located outside the enclosing walls of the four main parts, as well as several avenues of human and ram-headed sphinxes connecting the Precinct of Mut, the Precinct of Amon-Re, and Luxor Temple.
The key difference between Karnak and most of the other temples and sites in Egypt is the length of time over which it was developed and used. Construction work began in the 16th century BC. Approximately thirty pharaohs contributed to the buildings, enabling it to reach a size, complexity, and diversity not seen elsewhere. Few of the individual features of Karnak are unique, but the size and number of features are overwhelming. Construction of temples started in the Middle Kingdom and continued through to Ptolemaic times.
The Karnak temple complex is first described by an unknown Venetian in 1589, though his account relates no name for the complex. This account, housed in the Biblioteca Nazionale Centrale di Firenze, is unique, in that it is the first known European mention, since the ancient Greek and Roman writers, of a whole range of monuments in Upper Egypt and Nubian, including Karnak, Luxor temple, Colossi of Memnon, Esna, Edfu, Kom Ombo, Philae and others. Karnak ("Carnac") as a village name, and name of the complex, is first attested in 1668, when two capuchin missionary brothers Protais and Charles François d'Orléans travelled though the area. Protais’ writing about their travel was published by Melchisédech Thévenot (Relations de divers voyages curieux, 1670s-1696 editions) and Johann Michael Vansleb (The Present State of Egypt, 1678). The first drawing of Karnak, rather inaccurate and can be quite confusing when viewed with modern eyes, is found in Paul Lucas' travel account of 1704. Paul Lucas travelled in Egypt during 1699-1703. The drawing shows a mixture of the Precinct of Amun-Re and the Precinct of Montu, based on a complex confined by the tree huge Ptolemaic gateways of Ptolemy III Euergetes / Ptolemy IV Philopator, and the massive 113m long, 43m high and 15m thick, first Pylon of the Precinct of Amun-Re.
Karnak was visited and described in succession by Claude Sicard and his travel companion Pierre Laurent Pincia (1718 and 1720-21), Ganger (1731), Frederick Louis Norden (1737-38), Richard Pococke (1738), James Bruce (1769), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1777), William George Browne (1792-93), and finally by a number of scientists of the Napoleon expedition, including Vivant Denon, during 1798-1799. Claude-Étienne Savary describes the complex rather detailed in his work of 1785; especially in light that it is a fictional account of a pretended journey to Upper Egypt, composed out of information from other travellers. Savary did visit Lower Egypt in 1777-78, and published a work about that too. (More on Wikipedia)