The long blue days, for his head, for his side, and the little paths for his feet, and all the brightness to touch and gather. Through the grass the little mosspaths, bony with old roots, and the trees sticking up, and the flowers sticking up, and the fruit hanging down, and the white exhausted butterflies, and the birds never the same darting all day long into hiding. And all the sounds, meaning nothing. Then at night rest in the quiet house, there are no roads, no streets any more, you lie down by a window opening on refuge, the little sounds come that demand nothing, ordain nothing, explain nothing, propound nothing, and the short necessary night is soon ended, and the sky blue again all over the secret places where nobody ever comes, the secret places never the same, but always simple and indifferent, always mere places, sites of a stirring beyond coming and going, of a being so light and free that it is as the being of nothing.
The term "Archeometre" originates from the Greek and means "the measure of the principle". The system refers also to a series of symbols and meanings, which refer to the federal drawer.
'Archeometre' is it the measurement of the 'Archee' (Universal Cosmic Force) of which the Hermetists speaks. Is it a process, a 'key' which makes it possible to penetrate the Mysteries of the Word. It is a measuring instrument of the first (primary) principles of the manifested universe.
Alexandre Saint Yves d'Alveydre's Archeometre shows the original Atlantean alphabet translates into the material the word, form, color, smell, sound and taste, the key to all religions and the sciences of antiquity.
The Archeometre is represented by a circle, which has two scales from 0 to 360 degrees and 360 degrees to 0. It is divided into 12 ranges with 30 degrees each. In the individual ranges are drawn in the tierkreiszeichen, planet, colors, tones and the letters of different alphabets.
The Archeometre is a universal canon (guide), which wants to point the relationship out between the astrological indications, tones, smells, letters and colors. The musician finds therein the color of tones, the writer the toncharakter of letter etc. The Archeometre is to also point practical use out that the religions, arts and architecture a synthesis from different ranges to form.
ON the beach at night alone,
As the old mother sways her to and fro, singing her husky song,
As I watch the bright stars shining—I think a thought of the clef of the universes, and of the future.
A VAST SIMILITUDE interlocks all,
All spheres, grown, ungrown, small, large, suns, moons, planets, comets, asteroids, 5
All the substances of the same, and all that is spiritual upon the same,
All distances of place, however wide,
All distances of time—all inanimate forms,
All Souls—all living bodies, though they be ever so different, or in different worlds,
All gaseous, watery, vegetable, mineral processes—the fishes, the brutes, 10
All men and women—me also;
All nations, colors, barbarisms, civilizations, languages;
All identities that have existed, or may exist, on this globe, or any globe;
All lives and deaths—all of the past, present, future;
This vast similitude spans them, and always has spann’d, and shall forever span them, and compactly hold them, and enclose them. 15
The gallery and Cornwall county council, which owns the site, insist the creative centre is crucial to make Tate St Ives sustainable. They argue that the gallery has been so successful, attracting three times the expected number of visitors, that too great a strain is being put on the existing building.
But Pete Dale, campaigns officer for Keep St Ives Special, said the new development would ruin views across the ocean from St Ives and spoil a vista of the town as walkers approached it, as well as taking valuable parking spaces. Mr Dale, who runs a bed and breakfast close to the proposed site, said: "We're not against the Tate. But if they need to expand, there are alternative sites."
Edward Jenkyn, 72, a carpenter who has lived in St Ives all his life, said: "I think they are getting too big for their boots and have stopped listening to us."
In the 1920s an artists' colony was founded in the town, and at the start of the second world war the likes of Ben Nicholson and Barbara Hepworth settled in St Ives, establishing an outpost for the avant garde. After the war, a younger generation emerged there, including Terry Frost and Patrick Heron. The original idea of setting up a world class gallery was to house the work of the St Ives School. But as the project developed, it was decided that a wider range of work ought to be shown.
But Toni Carver, editor of the St Ives Times and Echo, said the artistic community had always had to work hard to keep the town on its side. "The Tate has stopped relating to the area," he said.
David Shalev, one of the architects who designed the original building, said: "I think the philosophy was to make it in scale with artists' studios. To double the size would make it out of scale."
Positioned obtrusively on the headland this house seems devoid of any historical or scientific reasons for marring an otherwise beautifully untouched headland, located on an unspoiled stretch of coast between Porthleven and Praa Sands; with views to the Lizard to the east and across to Lands End to the west. The house perches on the edge of Rinsey Head and sits in grounds of approximately 30 acres! Rinsey Head was built in the early twentieth century and is architecturally designed to maxmise the views in every direction (presumably when planning rules were even more opaque than contemporanously) alternatively depending on your perspective, one cannot be spared the constant reminder that yet another feature of Cornwalls natural history has been conquered and colonised.
Rinsey Head is advertised as a comfortably appointed, spacious holiday home and film location.
June 6th 2012 is the date of the second recent transit of Venus, metalurgically Venus is represented by the metal Copper found in large quantities around Perranuthnoe. Many forecasts and revelations are linked to this astronomical phenomena and chief among these is the Mayan calender; In the finest of the early Mayan books, the Dresden Codex, the beginning of the Great Cycle in August, 3114 BC is referred to as the "Birth of Venus". As well, several of the surviving Mayan manuscripts also refer to Venus as a Sister Planet of Earth. And Mayan prophecy states that the renewed world of new consciousness will be born on the occasion of the Venus Passage across the Sun of 6th June 2012. The Mayans had also been able to determine the exact timing between Venus passages to the number - 583.92 days. Without fine optical observation instruments, how were Mayan astrologers able to discern such an exact timing? There has to be a reason why they put so much into this cycle.
They also knew there was a link between the time Venus takes to revolve on its axis, Earth timing and the years between Venus passages across the face of the Sun. There are 243 years between a pair of passages and thus the Earth will have revolved 243 times around the Sun, while Venus has revolved on its own axis 365 times - which is the length of time in days that the Earth revolves around the Sun. The cross-links are amazing and known to the Mayans for several thousand years.
The eight years that pass between each occultation are fecund processing moments for new ideas and world change. Previous cycles show that global communications and a shift in consciousness regarding the scope and nature of the world are all part of these transits. The other focus is Venus's role as female entity and ruler of the feminine, the creative and as an artistic channel for new breakthroughs.
The plural of "tessera", a name given to piece used in a mosaic. Originally tesserae were the cubes of stone used in ancient classical mosaics, but now the term is used for pieces of any kind of mosaic material, whether they are ceramic, stone, pebbles, glass or some other substance.
The statue portrays a young man mounted on a horse: he is shown heroically naked except for his military cloak (paludamentum). The statue was found in or near Rome in the sixteenth century, was then restored by Giacomo della Porta, and from 1652 stood in the Palazzo Farnese. Restorations include the youth's arms and three of the horse's legs.
Statues of mounted individuals (equestrian statues) such as this were not common in antiquity, so the subject was clearly a person of some importance. The boy's facial features and hairstyle resemble those of members of the Julio-Claudian dynasty of Roman emperors, in particular the emperors and princes of the first half of the first century AD. When the sculpture first entered the Museum it was identified as a portrait of the emperor Caligula or Gaius (AD 37-41) in his youth. Later it was thought that the head might not belong to the body, and that the body itself dated to the mid-later second century, representing, perhaps, one of the imperial princes of that period. During recent cleaning, however, it was observed that the marble of the head of the youth and the unrestored parts of the horse were the same. This has raised once more the possibility that horse and rider belong and indeed represent a Julio-Claudian prince.
A former local inhabitant, John Trehearne and his wife, are shown on a Flemish-style monument within the North Choir Aisle. The coat of arms bearing three herons is a pun on the name of Trehearne. He was one of the 'Bargainers' helping to buy the church from King James I.
The earliest feasts that relate to Mary grew out of the cycle of feasts that celebrated the Nativity of Jesus. Given that according to the Gospel of Luke (Luke 2:22-40), forty days after the birth of Jesus, along with the Presentation of Jesus at the Temple Mary was purified according to Jewish customs, the Feast of the Purification began to be celebrated by the 5th century, and became the "Feast of Simeon" in Byzantium.
Village decorations during the Feast of the Assumption in Għaxaq, Malta.
In the 7th and 8th centuries four more Marian feasts were established in the Eastern Church. In the Western Church a feast dedicated to Mary, just before Christmas was celebrated in the Churches of Milan and Ravenna in Italy in the 7th century. The four Roman Marian feasts of Purification, Annunciation, Assumption and Nativity of Mary were gradually and sporadically introduced into England by the 11th century.
Over time, the number and nature of feasts (and the associated Titles of Mary) and the venerative practices that accompany them have varied a great deal among diverse Christian traditions. Overall, there are significantly more titles, feasts and venerative Marian practices among Roman Catholics than any other Christians traditions. Some such feasts relate to specific events, e.g. the Feast of Our Lady of Victory was based on the 1571 victory of the Papal States in the Battle of Lepanto.
Differences in feasts may also originate from doctrinal issues – the Feast of the Assumption is such an example. Given that there is no agreement among all Christians on the circumstances of the death, Dormition or Assumption of Mary, the feast of assumption is celebrated among some denominations and not others. While the Catholic Church celebrates the Feast of the Assumption on August 15, some Eastern Catholics celebrate it as Dormition of the Theotokos, and may do so on August 28, if they follow the Julian calendar. The Eastern Orthodox also celebrate it as the Dormition of the Theotokos, one of their 12 Great Feasts. Protestants do not celebrate this, or any other Marian feasts.