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Rug Glossary
In this post, you can find a brief glossary about rugs. These words are most used terms during classifing and describing a rug;
ABRASH Variation and striation of colors throughout the rug.
ANTIQUE Rugs over 60 years old.
BORDER A design that surrounds the field in an Oriental rug
CAUCASIAN Rugs were mainly woven in Azerbaijan, which is part of the Caucasus region.
CHEMICAL DYES Modern synthetic dyes used in rugs woven after 1935.
CHROME DYED Modern synthetic dyes.
COMBING Process for preparing wool's in the same direction, before they are spun.
DOBAG A Turkish Acronym meaning Natural Dye Research and Development Project. In the late 1970s the government of Turkey began this program to improve the quality and profitability of the rug industry. The program reintroduced the use of natural dyes and traditional weaving methods.
FIELD The part of the rug lying between the border.
FLAT-WEAVE Describes a rug that has a flat pile which includes Dhurrie, Kilim and Soumak.
FRINGE Extension of the warp threads on two opposite sides of a rug.
INDIGO Any of various shrubs or herbs of the genus Indigofera in the pea family, having odd-pinnate leaves and usually red or purple flowers in axillary racemes. A blue dye obtained from these plants or produced synthetically.
KILIM A flat rug with no pile.
KNOT The process of wrapping yarn around the warps to form a pile is known as knotting. There are two basic types of knot commonly used in areas where rugs are woven. The symmetrical knot (also referred to as the Turkish knot or Gördes knot) is used in Turkey, the Caucasus, Northwestern Iran, and by some Turkmen groups. The asymmetrical knot (also referred as the Persian or Senneh knot) is used in most of Iran, in the majority of Turkmen rugs, and in China.
KNOT COUNT The number of knots per square inch or square decimeter describes the fineness of the rug. The total is obtained my multiplying the vertical by the horizontal knot count.
KNOTS PER SQUARE INCH Number of knots per square inch rates the knot quality.
LAYOUT The overall arrangement of motifs or objects woven into a rug.
LOOM Normally a wood structure that the carpet is woven on.
MIHRAB A niche design in the middle of a Muslim prayer rug, pointed toward Mecca during worship.
NATURAL DYES See vegetable dyes.
NAP Face of the rug where the knot ends are cut, normally made of wool or silk.
PILE The cut ends of the pile knots, which Project from the rug. Rugs without pile are known as the flat waves.
PLY The manner in which single strands of yarn are twisted together to form a thicker, stronger yarn. The ply is also described as either S or Z, but with rare exceptions the ply is in the opposite direction from the spin.
RE-FRINGE Repair fringe of rug using the selvedge or part of the rug.
RUNNER A very long and narrow rectangular carpet. They are used as coverings for hallways, stairways, and entrances. For this reason, they are also called Corridor rugs.
SAFFRON A corm-producing plant (Crocus sativus) native to the Old World, having purple or white flowers with orange stigmas
SELVAGE A woven edge finish formed either from the wefts as they turn back to recross the rug, or from additional yarns incorporated to protect the expose wefts.
SENNEH KNOT Persian knot
SIDING Edging on non-fringed sides of a rug.
SILK A fine lustrous fiber composed mainly of fibroin and produced by certain insect larvae to form cocoons, especially the strong, elastic, fibrous secretion of silkworms used to make thread and fabric.
SOUMAK A flat-piled rug using a special weaving technique known as weft wrapping.
SPIN The manner in which fibers are twisted together to form a yarn. Yarns may be spun either clockwise or counter-clockwise, and they may be described as Z- or S- spun, depending upon whether the fibers are inclined in the direction of the diagonal stroke of the S or the Z.
VEGETABLE DYES Dyes derived from insects or from the earth, which includes madder root, indigo, milkweed, pomegranate, osage, cutch and cochineal.
WARP The threads that run from one end to the loom to the other, usually in the long dimension of the fabric, around which the pile knots are tied. The warps are held taut by the beams of the loom and, when cut, the loose warp ends from the fringe.
WEFT The threads that run across the width of the loom, perpendicular to the warps, with which they interlace. The weft is not attached directly to the loom. Each passage of the weft is referred to as a "shoot," and there may be a number of shoots after each row of knots. The weft usually runs across short dimension of the fabric.
Posted July 1st, 2013. Add a comment
Floral Motifs In Tiles
An important cultural center during the reign of Suleyman the Magnificent, the rural town of Iznik (ancient Nicea) nestles on a lakeside in Northwest Turkey. Here in the early 16th century an "Imperial ware," now called Iznik, was made for the Istanbul court of the Ottoman Sultan–the richest, most powerful monarch in Europe. Originally inspired by Chinese pottery, Imperial ware was so exquisite that European collectors in the mid 19th century thought it came from Persia. Only in the 1920s did scholars accept that Iznik ceramics were Ottoman, giving due recognition at last to Turkish potters for some of the world´s most beautiful and striking designs. Iznik ware has survived to the present day in all its splendor. Iznik tiles adorn palaces and mosques; the largest collection of ceramic vessels is in the British Museum. Handpainted. Classical iznik Design
During the production process of traditional Turkish ceramics, pattern selection is most important part of it. Most of the time, inspiration comes from the tile history. Floral patterns-motifs were especially favored for the decoration of interiors in Ottoman architecture and the most important area of their application was wall tiles. Tiles manufactured in Iznik between the 16th and late 17th centuries embellished the walls of not only mosques and tombs but also of place buildings and daily used structures.
It is easy to see lots of successful applications of tiles at which flowers are dominant main pattern. At the pictures above, you can see those examples.
You can see related products at:Iznik Ceramic Tiles
Posted June 16th, 2013. Add a comment
Washing and Care of the Rugs
A dirty or stained carpet should be washed with soft soap, without delay, rinsed with clean water and dried. A Turkish carpet is made to last and, therefore, requires certain care. The worst enemy of a carpet is damp. Therefore, it should not be left in a damp environment over a long period. There is no harm in washing and immediately drying a carpet. However, it should not be laid on the floor before it is well dry, and it should never he kept damp on the floor.
Carpet naturally collects dust when laid on the floor for a long time. Therefore, it should frequently be vacuum cleaned. In spite of this, when laid on the floor over a long time, dust may collect at the bottom of its knots, and the carpet should be laid on the floor face down for several days in each year, walking on it frequently, pal1 to get rid of the accumulated dust. This action causes the dust accumulated at the bottom of the knots to fall off. Later the carpet should be laid face up again and vacuum cleaned.
Nomads use a more practical method. They lay the carpet face down on snow and cover it with a layer of snow. During this process the melting snow removes the accumulated dust like a filter and polishes the carpet.
Fading colors may be shined with vinegar: adding a glass of vinegar into a bucket of water, the pile of carpet is wiped with a sponge in the direction of the weave, and the carpets is left to dry. As a result, the carpet regains its shine.
As removing stains may not always be easy, carpet needs good care. A specialist should be consulted for stubborn stains. The following points should be remembered for good carpet care:
During cleaning refrain from rubbing the carpet knots in the reverse direction. Take care not to wet the whole carpet. Never use any chemicals, including ammonia, to clean silk carpets.
ANY ALCOHOLIC DRINK: Lightly wet with warm water and use 90 % alcohol to clean
MUD: Dry well and vacuum clean.
CHOCOLATE: Use a sponge damped with ammonia to wipe.
SWEETS: Lightly wipe with warm water.
INK: Damp sponge with a mixture of water, soap and alcohol, and wipe. Take care to prevent the cleaning mixture from dripping down to the reverse of the carpet.
FRUIT: Damp sponge with a mixture containing 3 parts white vinegar or lemon juice and 1 part ammonia, and wipe.
EGG: Never use hot water. Wipe with an ammonia and water mixture, failing that, use an alcohol and water mixture.
BLOOD: Never use hot water. After cleaning the stain well with a damp sponge, wipe with cold salty water. If unsuccessful, wipe again with pure white wine. If the stain is dry, brush it and clean with water containing a small amount of ammonia.
MAKE-UP MATERIALS AND PERFORMERY: Wipe with alcohol.
PET URINE: Wipe with a sponge while the stain is damp, and leave to dry. Later wipe with white wine vinegar. If unsuccessful, wipe again with a mixture of 3 parts alcohol and 1 part ammonia.
RED WINE: Clean with white wine, wipe with water.
These instructions are to be used as a reference only. EnjoyIstanbul.com is not responsible for any damage, fading, and or changes in your rugs or carpets due to following these instructions. Please call a professional for assistance prior to using these instructions. By using this reference, it is understood that EnjoyIstanbul.com relinquishes all responsibility.
Also, please do not hesitate to ask us any further assistance for the care of your rugs via comments form below!
Oriental Carpets' Name
Rugs are named generally by the regions they are weave.
Regions in Anatolia
Bergama is a little town in northwest part of the country; here there are approximately eighty villages which weave Bergama carpets. This ancient city was one of the most powerful and richest region in Anatolia. The history of carpet waving in this region has a very old background. Bergama carpets have always been woven as wool on wool material combination while wefts are all red. Knotting density of these rugs is about 12 knots per square cm. and mostly come in three – four square meter sizes. Those woven in Canakkale are slightly larger. Motifs can be divided by two main groups: as Kozak type and Turkish type. Kozak type rugs have big geometrical designs, these ones remind Kozak – Gendje region rugs. In Turkish type usually designs are very floral and embroidered with leaves of the pine trees. They consist mainly of two colours, the dark reds and blues. In these rugs red color, which is used for dyeing the wool yarns, makes the pile less thick than the rest of the surface after a certain time, so blue motifs appear higher. The evil eyes that you see at the edges give them an exceptionally unusual appearance.
These carpets are made by Yoruk's semi-nomadic tribes who leave near the ocean on the warm plains during the winter months. The villages are around Antalya, on the Mediterranean cost, are the main producing centers of this type of carpets are made with wool and dyes produced by the nomads themselves. The predominant colors are always bright red and dark blue, with a smaller amount of white. Distinctive patterns in the borders are the sheep's eye and knife tip and the "hands on hips" motif, an age old symbol denoting female fertility which dates back to the time when the tribes worshipped mother goddesses. The field are usually are taken up by a large red double mihrab, edged in ram's horn motif. Often the shape of the double mihrap is cut into by two triangles on either side. Ears of grain representing fertility and carnations are frequently seen. If there is a tree of life it's generally made up of carnations, "the flowers of the people". Some times one can see a strange motif, a stylized representation of the human figure which is used to guard against evil. The number of knots in these carpets is equal to 160,000 knots per square meter.
A wide variety of types of carpets are produced in Turkey with widely varying degrees of quality. For the discerning buyer or collector there are twelve recognized types of carpets, each type produced in different geographical districts and each having distinctive designs, colors and quality. They are easily noted. Once one learns to "read" or recognize the patterns or designs and colors associated with the geographical area in which produced. The finest contemporary and highest quality of silk and wool carpets currently made in Turkey are produced in town near Istanbul, called Hereke. The Hereke carpets are either woven in pure silk or cotton and wool. The pure silk carpet uses silk from Bursa. In wool and cotton carpets the warps and wefts are cotton and the best quality of wool is used for knots in the pile. The silk Hereke carpets have from 1.0 to 1.2 million knots per square meter. The knot density in the highest quality wool carpets is any where between 360,000 to 400,000 knots per square meter. In second quality wool carpets the knots are around 250,000 to 300,000 per square meter. The dominant colors in Hereke carpets are dark blue, cream and cinnamon and occasionally yellow and green are used. The traditional floral designs are common and each design has its own name, such as : Seljuk Star, Seven Mountain Flowers, Ploneise, 101 Flowers, and Tulip. The flowers in the design and the harmony of colors add warmth to a home.
Kars located near the Russian border in Turkey, produces carpets designed in the Caucasian style. The main motif used is the large cruciform. The quiet olive-green combined with a dull red-brown and lighter beige tones give the piece enormous warmth. The eight stylized trees of life in the corners are surrounded by a Caucasian calyx-and-leaf border and the guard stripes are called 'running dogs." The extremely valuable hand-spun mountain wool is used in the hand weaving and is especially prized by acknowledged buyers. Natural dyed wool is used with the dominate colors navy blue, red and cream. There are 200.000 knots per square meter in Kars carpet's and for this reason Kars carpets are so noted fine works of art.
The town of Kayseri, situated in central Turkey, has been famous as a carpet making center for centuries. Carpets and Kilims of Kayseri are of various types. Silk carpets and wool ,natural wool (no dyes), and Bunyan carpets are the major categories produced. Kayseri carpets are woven both at the workshops and in the homes. Weavers usually buy yarn from shops and after finishing their carpet would sell it to the same shop in order to buy more yarn. The sizes, designs and number of knots are the same as Bunyan carpets, but the large sizes are rather rare. Cotton is used as warp and weft. These carpets are considered the masterpieces of Kayseri and as such are sought out by dealers to sell to the foreign trade. Kayseri carpets are woven entirely in silk as well and will have 600,000 to 700,000 knots per square meter. Bunyan carpets are often in floral designs of a typical Oriental carpet. The yarn is cotton and wool dyed with vegetable dyes, and about 120,000 to 150,000 knots per square meter. The Kayseri Bunyan carpets are made in different sizes; from pillow sizes of 62 by 100 cm. to the large 16 square meters carpet. Kayseri natural wool carpets have all the properties of Bunyan carpets except there are not as many colors used as in the Bunyan carpets. Colors of white, cream, light and dark brown and sometimes black are used in this types of carpets with the same number knots as in the Bunyan carpets.
Kozak carpets are woven by semi-nomadic shepherds who live in the highland regions of the Caucasus Mountains and their environment is reflected in their products. The distinctive designs in Kozak Carpets can be easily recognized. The warp and weft threads are wool with the weft threads always in red or brown colors. The wool pile in these carpets is fairly deep and the yarn used is always of excellent quality. The Kozak carpet has approximately 50 to 100 Turkish knots per square inch. The motifs used in these carpets are, formal, geometric, central medallion, repeated pattern and "Eagle." True Kozak carpets are mostly antique pieces and were produced in the Caucasus Mountains. Currently a limited number of Kozak carpets are produced and are much prized by dealers.
Kula is the name of a town in Western Anatolia where these wool carpets are made. The village carpets of Kula are woven on a woolen warp and weft and for the most part have strong geometric designs. The colors are rich but soft with earth tones of rust, green, gold, and blue being common, however, the dominant colors are pastel. The most important characteristics of these carpets are that they are woven with 100% wool yarn and have varying patterns, colors and sizes. Kula carpets contain 160,000 knots per square meter. Along with all Kula patterns various Anatolian patterns are frequently seen in Kula carpet. Kula carpets resemble those of other Western Anatolian products like, Ushak and Gordes, with their wide borders restrained colors. They also tend to have a short and somewhat lusty pile. Borders usually consist of a number of stripes of about equal width decorated with little stars and flowers. The earliest patterns of Kula carpets were either geometrical or composed of highly stylised nomadic forms. In the last century Kula carpets often had richer and more imaginative floral designs. At the end of the 19th century they were exported to Europe by the thousands, often under the name of Ushak and Gordes carpets. The typical features were a light grey or cream background with floral patterns in pink and blue. Kula carpets which have furnished many homes are very elegant. They were particularly favored for the dining room and libraries.
Kulluce carpets are produced in a town between Afyon and Denizli. The people of this area are mostly Caucasian immigrants who have been weaving their geometric and Caucasian designs for years. Undyed natural color of shop wool used creates tones such as: Beige, dark brown, cream, light brown, black and grey. The number of knots in Kulluce carpets is approximately 140.000 to 160.000 per square meter. These carpets are made in workshops and they are very precise.
Ladik is a town located north of Konya in the hearth of Anatolia. The main sources of income in this area are animal husbandry, agriculture and carpet production. Konya and Ladik are the oldest carpet making centers in Turkey. Even during the 15th. center the art of carpet weaving flourished in Konya because it was the capital of the Seljuk Empire and a very important communication and political center. There are many notable at works in Konya and perhaps the most famous in the Green Mosque. From Arabia, Iran and other countries many artists came to Konya to practice their crafts. The surviving carpets of this era offer ample evidence of the Turkish character. During this same period carpet weaving skill spread from Konya to other parts of Anatolia. The colors in Ladik carpets are very vivid and well matched. After Kula carpets, Ladik carpets, with their 250,000 knots per square meter, are considered just as fine.
Milas is the center of a weaving area in Western Turkey near Izmir. It gives its name to all the carpets produced in the region. Those made in the immediate area of Milas are different in style to those made in the South-west Peninsula, around the center of Karaova. There are four sub-types which constitute the Milas family,' the prayer carpet with the lozenge shaped niche, the bright red medallion Milas, the antique Milas which is woven in shades of red-brown and yellow and the Ada Milas which is quite restrained in design. The prayer rugs are the most important sub-type, with their unusual shaped Mihrab, elongated, terminating in a lozenge, representing the immortality of the soul. Carpets from no other region have Mihrabs in this shape. There are approximately 160.000 knots per square meter in the Milas carpets.
Milas colors mostly include earth shades of rust red, brick red, and tawny yellow and Brown, along with a characteristic subdued mauve. The range of major and minor border stripes is narrow, with the same elements remaining unchanged for the last 100 years more.
With its pastel colors, it is a quite decorative rug.
Taspinar is a small hamlet in the carpet weaving areas of the Nigde. Nigde is one of the main roads that cross the Taurus Mountains. Taspinar produces excellent carpet of a thick pile, knotted in high quality wool. They have a predominantly blue and red field enlivened by delicate motifs in lighter shades. The yarn is dyed with natural vegitable dyes by the Caucasian methods. Taspinar carpets are among the most beautiful of all Anatolian carpets. In the old Taspinar's carpets the Persian influence can be seen which are plant figures and geometric designs used simultaneously. However, the rich colors and beautifully proportioned somewhat formal design prevent this unusual mixture from this pleasing the eye. Well cared for, old Taspinars have a wonderful silk like quality. As the lanolin in the wool rises to the surface it gives the pile a soft rich velvety sheen. New Taspinars are made in the same rich colors as old ones, but the designs are becoming more varied. Caucasian and nomadic pattern have become more regular in recent years. The knot density of Taspinar carpets are 140,000 per square meter.
Ushak is a small city located in west-central Anatolia. Since the 15Th century it has been an important carpet weaving center. Its importance comes from the revolutionary change on the design of the carpets. Normally most Anatolian carpets have classical tribal motifs which are generally geometric but on Ushak carpets it had shift to curvilinear and decorative motifs. This happened due to demand of Ottoman Palace. Unlike tribal carpet they were produced on workshops and special designers made the designs. That resulted on wider range of design and size. At the beginning, they were woven wool on wool foundation but as the sizes increased , wool on cotton foundation production started because on oversize carpets wool foundation is not strong enough.
These carpets, made in the vicinity of Kayseri are of a very fine quality and are considered very attractive. A rich red with indigo colored blue is used throughout the field with a border of brilliant shades of yellow and gold. This carpets are very popular, because of the traditional flawless workmanship of the Yahyali weavers. The main ornamental motif of a contemporary and antique Yahyali is the hexagon which is similar to those of the Yoruk carpets, but they are more linear in execution. A double hexagon encloses a light blue centerpiece. The hexagon may be single, double or triple. Most Yahyali carpets have these common characteristics. A main border with stylized flowers and an "old gold" ground, surrounded by two lesser borders with a dark blue ground. The main field is nearly always red, with a blue medallion and corner pieces, which have stepped edges. The warm color harmony and beautiful designs along with good quality make the Yahyali carpets one of the most popular carpets of Anatolia. The number of knots in Yahyali carpets are equal to the number of Milas carpets (140,000 knots per square meter).
Yagcibedir carpets are produced in the mountainous areas of the Aegean regions, in the nomad inhabited villages of Mazilar, Islamlar, Karakecili, Yenikoy, Karaoba and Kocaoba (the oba ending means 'nomad tent"). According to the legend Yagcibedir was a butter seller from Kayseri who made excellent quality carpets to supplement his income. He shared his skills with the people of the villages he visited, so when they started to produce, they named their carpets after him. The warp, weft and knots are made of pure lamb's wool, and the pile is clipped short to allow the pattern to be clearly seen. The dominant colors are dark indigo blue and rich madder red, sometimes with the inclusion of cream, brown, softer shades of red and pinks. As the carpets age they become more and more lovely, as the dark reds fade to a beautiful soft red-brown. The colors and patterns of Yagcibedir carpets have remained the same for countless generations. They are very distinctive and easy to recognize. The dark blue ground is patterned with geometric forms: stars, flowers, stylized birds and numerous stars of Suleyman.
The field is framed by a border of five or seven bands. The double ended prayer niche, which indicates that the weavers were Shi-ite Moslems, is very distinctive with an edge of three stepped lines, ending in a ram's horn motif. These carpets are often the favorites of male carpet lovers, due to the masculine colors and simple geometric designs. The knots density in these carets are 160.000 per square meter.
Regions in Caucasus
The unique beauty and grandeur of Shakdag and Tufandag, the snow-capped peaks of spurts of the Greater Caucasus Range, spreading out into the Caspian…
The forests running right down to the golden sands of the Caspian shores the orchards spreading out beyond the horizon, the rich soil of the valleys, the Samur – Divinchinska lowland…
The country spreading westward of the Apsheron peninsula, from the ancient Shemakha up to the Derbent barrage, for centuries waging the struggle, repulsing the foreign invasions…
The legendary Derbent of Beireklers and Banuchichens, Dede Korkud and Fatali Khan… The beautiful country of Kuba is lying here. Sheer rocks, rapid mountain streams, multicolored valleys, all these gifts of Kuba were handed over in the wealth of their unique hues to the popular arts – i. e. carpet-making, poetry and metalwork(copper items).
Shirvan means high mountains, boundless forests, ancient strongholds, the voice whispering thousands of legends… The name Gyulistan, which means "flower garden" can be given not only to the capital of Shirvanshaks but to the whole Shirvan region. In truth , Shirvan is the flower garden of Azerbaijan. Not only Diri Baba and Djavanshir strongholds, but every cemetery keeps still unread stone pages of the chronicle of the history of our Motherland. From Kobystan preserving the traces of great art of our people for ten thousand years up the eyes of Shirvan, which are piercing the sky, through the Pirkuli observatory, along the old caravan route passing through ancient towns and villages disappeared in the past, up to now, as it was many centuries ago, numerous springs gust out from the rocks, like Goch-bulag, as an embodiment of the inexhaustible source of people's inspirations. Home country of Djavanshir and Khagani Shirvani. Imadedin Nasimi, and Rasul Riza… In the daytime and at night one can hear the tapping sound of the copper-smiths of Lagich. The flowers give their colors Shemakha Kelagais, the crimson blood of the pomegranate is mingled with a pure song of the green trees, tipping out onto the silks of Shirvan, onto its carpets and articles of its jewelers.
Historians cannot give the exact age of the old Ganja. But about a thousand years ago Ganja was the largest town in Transcaucasia, its population being a half million people.
For many years old Ganja was the capital of Northern Azerbaijan. Now Ganja is one of the largest centers of culture and arts in this country. It carefully preserves the fine ancient architectural monuments of the past… The indelible traces of Ganja's wisdom will live in the Ganja carpets forever.
Kazak occupies an honorable place in the economic and cultural life of the republic due the famous horses of the Dilboz stock and the flocks of sheep, the saz and poetry, the ashug (popular bards) and the carpets.
Every inch of the land is the history alive, and those who live on the land of Kazak now, the heirs of this history, preserve and further promote the creative work of people, thorough whose efforts Kazakh has acquired its frame.
On the plains of Karabagh the herds of horses are prancing, the stocks of Karabagh horses being world renown; on the Karabagh Mountains the flocks of famous sheep is indispensable in making carpet woolen yarn.
The carpets woven in Karabagh in the 16th-17th centuries are now on display in the Berlin Arts Museum, the New York Metropoliten Museum and other museums of the world, as many a time these carpets decorated the exhibitions of art works in Paris, Vienna, Berlin, Petersburg and Moscow.
You can see related products at: Oriental Carpets
Musical Instruments
The musical instruments used by Turks are of three main groups: stringed, wind and percussion instruments. Turkish musical instruments were produced by the master-apprentice method in the Ottoman period. Traditional Turkish music is monophonic. Even though many instruments are used, they all play the same melody. The music reflects different emotions, mainly unrequited love and when it is sad it may sound depressing, but when expressing joy, happiness or pleasure you will find yourself dancing to the rhythm. The main instruments used in Turkish music show a great diversity. In classical Turkish music the zither, tambur, lute, tef (tambourine), darbuka and ney (reed flute) are some of the instruments used, besides the well-known ones also used in the west, including the piano, violin, viola and clarinet.
The zither is called 'kanun' in Turkish. It is a stringed instrument played on the lap and the strings are stretched across the upper surface of a wooden box. Skilled craftsmen may use seven kinds of wood in making one zither. The upper surface is made of sycamore wood, the lower surface of pinewood, the bridge is of maple. The design on the sides and the upper surface is cut out of rose wood and white pine. The soundboard is completed by using calf leather giving the zither its rich resonance. The tuning pegs and the peg locks are made of hardwood, either rose or ebony. The small tuning levers or tuning keys, are called 'mandal'. It is played with the help of a plectrum, one fastened to each index finger by an adjustable metal ring.
It would not be wrong to say that if a single instrument were to represent Turkish folk music it would have to be the baglama. The baglama was developed from another instrument called the kopuz, which is also used today. There are different kinds of baglama, like the çögür, cura, divan, tambura and kopuz. The kopuz, also a stringed instrument, was used in Central Asia by Turkish tribes about two thousand years ago and is mentioned in the tales of Dede Korkut (a sage, the mentor of the Turkish Oguz tribe who narrates moralistic epic tales to a chieftain of the tribes). We come across the belief among the shamanist Turks that a warrior with a kopuz at his waist was protected in battle from injury at enemy hands. Turkish strolling minstrels brought the baglama to Anatolia and in fact, everyone knew how to play this instrument. The baglama is so-to-say a friend of the minstrels who at certain times of the year gather at contests and song festivals. Accompanied by music, repartee between the contestants is sometimes satirical, sometimes filled with irony but never insulting and is fun to listen to.
Then we have the lute which is a little different to those seen in Europe. The lute is called 'ud' in Turkish. Lutes, also stringed instruments, have a sound box terminating in a neck which serves both as a handle and a device for extending the strings beyond the sound box. The masters of the lute were revered by those interested in music. Today there are various trends in Turkish pop music and the lute is one of the main instruments accompanying the soloist both in classical Turkish music, popular mainstream music and folk songs. In Turkey there are singers who use the lute, just as their counterparts in the West use the guitar.
There are also reed instruments pipes equipped with a double reed or with a single reed. To name a few, we can give the examples of the zurna, ney, and shepherd's pipe. Among them the ney is mostly used in mystic and religious music. Drums and the zurna go together and are mostly used in folk music and they are an indispensable part of wedding or circumcision festivities. In Turkish music rhythm is of utmost importance. Therefore percussion instruments used for this purpose apart from drums, include 'kudüm' (small double drums used in mystic religious music) and the darbuka. Percussion instruments were first brought to Europe after being seen in the Mehterband of the Turkish army around the sixteenth century. At first only a king or high nobleman was allowed to have one. For many years drums were "aristocratic" instruments, primarily used with trumpets to sound fanfares as the king entered a theatre or throne room. The def (tambourine), is also a popular instrument used for rhythms. It is like a handheld frame that usually has rattles attached to the side. It is both struck and shaken and sometimes used by young ladies dancing to a melody, in addition to its place in the orchestra.
You can see related products at: Music & Instruments
Turkish Coffee
From the days of the Ottoman Empire through to the present, coffee has played an important role in Turkish lifestyle and culture. The serving and drinking of coffee has had a profound effect on betrothal and gender customs, political and social interaction, prayer, and hospitality traditions throughout the centuries. Although many of the coffee rituals are not prevalent in today's society, coffee has remained an integral part of Turkish culture. First brought to Istanbul in 1555 by two Syrian traders, coffee became known as the "milk of chess players and thinkers." By the mid-17th century, Turkish coffee became part of elaborate ceremonies involving the Ottoman court. Coffee makers with the help of over forty assistants, ceremoniously prepared and served coffee for the sultan. Marriage customs and gender roles also became defined through coffee rituals. In ancient times, women received intensive training in the harem on the proper technique of preparing Turkish coffee. Prospective husbands would judge a woman's merits based on the taste of her coffee. Even today, when a young man's family calls to ask a girl's parents for her hand in marriage, a formal coffee is served even in the most modern households. For both men and women, coffee has been at the center of political and social interaction. During the Ottoman period, women socialized with each other over coffee and sweets. Men socialized in coffee houses to discuss politics and to play backgammon. In the early 16th century, these coffee houses played host to a new form of satirical political and social criticism called "shadow theatre" in which puppets were the main characters. Over the years, Turkish coffee houses have become social institutions providing a place to meet and talk. Today, Turkish coffee houses continue their role in society as a meeting place for both the cultured citizen and the inquisitive traveler. Istanbul offers many new and delightful cafe-restaurants where friends and family meet to discuss topics of the day over a cup of traditional Turkish coffee. Derived from the Arabica bean, Turkish coffee is a very fine, powder-like grind. An aromatic spice called cardamom is sometimes added to the coffee while it is being ground. One can also boil whole seeds with the coffee and let them float to the top when served. Turkish coffee has various levels of sweetness ranging from bitter to very sweet. Because sugar is not added to the coffee after it is served, spoons are not needed. As the coffee begins to heat, it begins to foam. A rule of the Turkish coffee ceremony dictates that if the foam is absent from the surface of the coffee, the host loses face. Turkish coffee is served hot from a special coffee pot called a cezve. Tradition states that after the guest has consumed the coffee and the cup is turned upside down on the saucer and allowed to cool, the hostess then performs a fortune reading from the coffee grounds remaining in the cup. Rich in tradition and flavour, Turkish coffee remains a favourite today, not only in Turkey, but also among discriminating coffee drinkers around the world
You can see related products at: Turkish Coffee, Tea & Spice Sets
Copper Art
Turkish metal artwork dates as early as the 2nd and 3rd century BC in central Asia. In Anatolia, the oldest existing Seljuk piece of metalwork is a silver tray with the inscription "Alp Arslan is the Greatest Sultan" and a silver candle stick dated 1137. Both pieces are at the Boston Museum of Fine Arts. Metal artwork reached its pinacle in the Ottoman Empire with the making of weaponry, such as swords, helmets, armour, dagger and knives. For domestic ware, copper or copper/zinc (tombac)was the material of choice although bronze, silver and gold were also used. A mass of copper would be beaten with a hammer (dogme) and turned into a slab, which would then be shaped by an artizan to the desired form. The choicest specimens of Seljuk and Ottoman metalwork can be seen at the Museum of Turkish and Islamic Art. Like the other branches of art, the Ottoman art of metal at the outset took over the Seljuk cultural heritage, with the result that it became a melting pot for a variety of trends as befits an empire that combined many lands and peoples. The widespread implementation in the 14th century of the art of repoussé, familiar to us from Seljuk metalwork, is one of the outstanding features of the period The 15th century, when the Ottomans embarked on the path towards becoming a world power, and the conquest of Istanbul in 1453 especially, constituted a turning point in the art of metal as in many other fields. With the conquest especially of the Balkan lands, which were rich in gold and silver, the Ottomans acquired metalworking artists who possessed not only the raw material resources but also a long-standing tradition. Mamluk influence is observed in the oil lamps in the shape of hexagonal pyramids in a group of works typical of the period. The countless examples of such lamps, decorated with openwork, repoussé and intaglio and adorned with rumî and hatayî motifs, that have survived to our day show that they were produced abundantly in the second half of the 15th century. Candlesticks also occupy an important place among the metal work of this period. Among the Ottoman metal work that has survived to our day, a plethora of objects dating to the period of Sultan Bayezid II stand out. Although Bayezid II's passion for valuable objects has been viewed by historians as prodigal, its impact on art was positive, and it is a fact that the creation of new works was a compelling force in the encouragement and patronage of artists. The Ehli Hiref or craftsmen's organization, which served as a school for every branch of Ottoman art, was established in this period. Subsumed under it were the coppersmiths ('kazganciyan'), who made metal objects; the goldsmiths ('zergeran'), who produced jewelry of all kinds including gold; the gold inlayers ('kûftgeran' or 'zernisan'), who produced gold inlay and other decorations, and the 'hakkâk' who cut and set precious stones. All these divisions of the Ehli Hiref had a role to play due to the great diversity of decorative techniques employed in the art of metalwork. As a result of the cooperation and work of the masters who brought diverse traditions and concepts of art to Istanbul from various parts of the Empire following the conquest of Tabriz and Egypt in particular, the Ottoman art of metal was purged of manifest influences in the mid-16th century and found its own unique style.
A number of decorative techniques were generally employed on the decorative objects made in this century including intaglio, repoussé, filigree, chasing, niello, embossing and metal plating. But the group that best represents the overall character of the period is without doubt that of the metal objects known as 'murassa' (studded with precious stones). It became fashionable in this period to embed precious stones in metal surfaces such as swords, daggers, book covers, slabs of emerald, natural crystal and even porcelain by using the technique of stone inlay. In contrast with the ostentatious style of the 16th century, there are also plain examples which stand out simply for their harmonious proportions and fine workmanship. Flowers also begin to appear alongside the classical 16th century styles in the decorative motifs of the 17th century. Emerging under Western influence, these are composed of floral motifs worked in Turkish style. Besides the traditional motifs such as the plaited frieze, tree of life, Seal of Solomon and fish observed on copper objects of the period decorated mostly using the intaglio technique, naturalistic designs such as tulips and pomegranate blossoms, familiar from silver objects of the period, are also encountered. The Ottoman art of metalwork, which is observed to have remained bound, in part at least, to the traditional forms at the beginning of the 18th century, continued the naturalistic style of the 17th century as well. Besides the western-oriented quest for form and motif, there was also a tendency to maintain the classical tradition. Late 18th century and 19th century metalwork in contrast appears to reflect entirely western taste. The classical Ottoman shapes and motifs of the 16th and 17th centuries eventually gave way to Baroque and Rococo forms and designs imported from Europe. The Ottoman art of metal, which was attempting to emulate Western products in this period, is observed to have been particularly successful in the technique of intaglio, of which it created fine examples in pieces such as the coffee sets, ewers, trays, jugs and mirrors that were so popular during the period. When examining the 'Turkish Rococo' products of the Ottoman art of metal, we see a transformation in taste. Pearls and cut diamonds supplant colored stones such as the ruby, emerald and garnet of the classical period in jewelry and inlaid work, and enamelling also becomes popular. Similarly, embossing with a mould replaces the more demanding technique of repoussé using a graver, which requires skill. As for the floral compositions, which are still used, these now take the form of sumptuous baskets with enormous bows and garlands made in keeping with contemporary fashions. The changing political and economic fortunes of the 19th century Ottoman world naturally affected Ottoman art as well. The gradual weakening of the Ehli Hiref organization in the palace and its complete disappearance in the 19th century spelled the end of the brilliant evolution of Ottoman art. As the state, with increasing frequency, sent the gold, silver and even copper objects in the Treasury to the Mint to be melted down, the extant specimens of the Ottoman art of metal, which had been based on the recycling of materials for re-use, began more and more to belie the richness cited in the sources. The objects that were able to be preserved in the Palace Treasury and other extant specimens, most of which survive only because they were donated to tombs and mosques.
You can see related products at: Turkish Copper & Bras
Turkish Music
Turkey—rich in musical heritage—has developed this art in two areas, Turkish classical and Turkish folk music. When describing Turkish music today it is generally said that Ottoman composers availed themselves of the rich musical heritage found in the cultural centers of the Abbasid and the Timurogullari, where Turkish, Araband Iranian musicians performed and created music known as Ottoman court music. This music was based on mode and human voices. The mode and musical instruments of Turkish music can be found in all middle-east countries. However, with the passing of time, there have been changes in the mode from region to region. Although written sources indicate 600 modes, only 212 have survived to our day. These can be divided as follows: Simple modes Combined modes Modes with changing pitch Through the centuries many instruments have been used in Turkish music, such as the ud, tanbur, kemence, ney, kanun, kudum, bendir, def, halile, lavta, santur, rebap, musikar, cenk and sinelkeman. The various types of Turkish music differing in modes and pitch include tunes and spirituals and are classified as kar, murabba beste, agir semai, yuruk semai, sarki, pesrev, saz semai, taksim, gazel, ilahi and kaside. Turkish music is also graded under the four headings below: Oud Darbuka Non-religious music (with or without words)Military music Mosque music Islamic mystic music The history of Turkish music, especially in regard to melodic variations, can be divided into four periods. The first is the formation which goes back to the years 1360-1453, when the Turks adopted Islam. After the conquest of Istanbul, but prior to the period of classical music, Ottoman music was influenced by Byzantine music, mainly in the years 1640-1712. The greatest proponents of the Ottoman style after the exemplary classical music created by Itri were Ebubekir Aga, Tab'i Mustafa Efendi, Kucuk Mehmet Aga, Sadulla Aga, Padisha III Selim and Ismail Dede Efendi. The period from 1955 onwards has been designated as the reform period. Kanun Saz Intended reforms in the field of music during the Republican period led to debates on the subjects of European, Turkish, polyphonic and monophonic music. During this period composers who were noted for their work included Refik Fersan, Cevdet Cagla, Sadettin Kaynak, Selahattin Pinar, Suphi Ziya Ozbekkan, Lem'i Atli, Rauf Yekta, Suphi Ezgi, Huseyin Saadettin Arel and others.Currently, three groups represent Turkish music. The first group favors polyphonic music. The second group prefers an individual interpretation of classical music. Numbered among this group were the Nevzat Atlig chorus, Bekir Sidki Sezgin, Meral Ugurlu, Niyzi Sayin, Necdet Yasar, Ihsan Ozgen, Erol Deran, Cinucen Tanrikorur and others. The third group preserves traditional ties coupledwith high quality and includes Yalcin Tura, Mutlu Torun, Ruhi Ayangil and others of the "new wave." Turkish music is a product of Turkish thoughts and feelings and of migrations and changing geographical positions. It expresses the changes in the ways of life of the Turkish people throughout history. Ballads and songs are especially important. Turkish folk music encompasses all natural and communal events. It branches out into "Kirik Hava" and "Uzun Hava" and makes use of wind, string, and rhythm instruments. From 1926 onwards various state enterprises have conducted research into Turkish folk music.
In 1826, Sultan Mahmut II attempted to modernize the Turkish Army and organize a military band similar to the bands of western armies, and in 1828 the Imperial Band was founded.After the proclamation of the Republic, the orchestra was renamed the Riyaseti Cumhur Musiki Heyeti, and in 1958 it was again renamed the Presidential Symphony Orchestra, its current title. The Music Teachers Academy was opened in 1924 and the Ankara State Conservatory in 1936. Today there are conservatories in both Istanbul and Izmir. The flow of pop music from the west has also influenced Turkey, and since the 1960′s Turkey has followed world trends and produced artists in this field of music.
You can see related products at: Musical Instruments
Turkish Delight – Lokum
Lokum has been produced at first in Turkey in the XVII century and an English traveller has brought it to Europe, where it became well known as Turkish Delight. Also at the present time Turkish Delight is one of the delicious and most popular special characteristic sweet.
Turkish delight or Lokum is a family of confections based on a gel of starch and sugar. Premium varieties consist largely of chopped dates, pistachios and hazelnuts or walnuts bound by the gel; the cheapest are mostly gel, generally flavored with rosewater, mastic, or lemon. The confection is often packaged and eaten in small cubes dusted with icing sugar, copra, or powdered cream of Tartar, to prevent clinging. Other common types include such flavors as cinnamon and mint. In the production process, soapwort may be used as an emulsifying additive.
You can see the related pruducts at: Turkish Delight
Posted May 31st, 2013. Add a comment
Turkish Evil Eyes
In Turkey, wherever you look, you'll meet plenty of eyes looking at you. Glass evil eye beads. It is common in the Turkish culture to give a gift of a blue nazar Boncugu (nazar boncuk) or the evil eye bead as it is more widely known. People hang a small evil eye amulet from the rear view mirror of their car, keep several small evil eye beads or evil eye charms on hand to give to guests, hang an evil eye near their door in the home or office. Glass evil eyes are worn, in the form of jewelry; evil eye bracelet, evil eye necklace, evil eye anklet, gold or silver evil eye charms and evil eye pendant, evil eye earring – ring and blue evil eye talisman… Here it is a real evil eye bead paradise.


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Since their Billboard-charting single, Bad for Me, Youtube stars Megan & Liz have been moving in a more country direction, as opposed to their original super-poppy releases. First it was Back Home, and now it's an EP full of country-sounding songs, including past fan favorite "Grave". It's safe to say that their departure from Collective Sounds after it closed was a good thing, as they're now being given more freedom and their EP is even charting on Billboard's country, heatseekers and independent charts.
Track-by-Track Review
Album Rating: 9/10
- Simple Life - This song's the title track and was the first single off the EP, and it definitely sets a stage for the new direction that Megan & Liz will be going in. It's similar to "Back Home" - compare "traded fireflies for every headlight here I see" and "falling asleep to the sound of the city gets old sometimes", but is much better written and produced. It's a beautiful song with a catchy chorus. 10/10
- A Better Me - It's a song all about wanting someone to see how you've changed, somewhat like Taylor Swift's Back to December, and it's done very well. The instrumentals and singing are great, although the chorus lyrics can get a bit repetitive. 9/10
- Karma's Coming Back for Me - The twins recorded and performed an acoustic tour version of this song prior to the release of the album, and let's just say the studio version is even more spectacular. It has a slightly creepy feel to it, and the instrumentals in the background beautifully complement the girls' singing. It's a highly emotional song, especially at the bridge, and a great choice to put on the album. 10/10
- New at This - This was the second single off their EP, and while some younger fans might not relate the lyrics about being 21 and going out to a bar, it's really well done and most people can relate to the general feel of "I don't really know what I'm doing, help." One of the best lyrics, in my opinion, is "Don't take a smile as anything more than good manners/You can buy me a drink, but that don't mean I'll lower my standards." 10/10
- Night of Our Lives - My only real complaint about this song is that it seems to completely switch gears towards the end. At first, it seems like it's a song about having a nice night with a guy you're in love with, but then it turns into a song that sounds sort of like a goodbye song, which ruins the theme somewhat. Other than that, everything else is done excellently. 9/10
- Switch Hearts - On this track, Megan & Liz back up each other's voices, for a sort of ethereal production.. Some of the lyrics, however, can be a bit repetitive. Other than that, everything's pretty excellent. 9/10
- Grave - This is another spooky-sounding song and a pretty great, powerful track to close the EP with. In the beginning, the girls don't know what they're doing, but now they're looking back on their past selves confidently. It's about a guy who had an affair with another girl, who wasn't even aware of it. There are some very taunting-ish lyrics such as "Secrets, secrets are no fun/Secrets, secrets hurt someone" and confident ones like "You don't know me very well/If you think I won't tell/Ha! Not a chance in hell." Some of the rhymes seem a little forced, but that's understandable, seeing as the song's a bit older than the rest of the material on the album. 9/10
Album Rating: 9/10
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By Lisa Snedeker
Wolf Hills Brewing Co. has announced its Fourth Annual The Howling Craft Beer and Music Festival is set for June 1-2, 2018.
In a special two-night event, on Friday, June 1, The Howling weekend will start with a kickoff party at 5 p.m. at Wolf Hills Brewing Co., 350 Park Street, in Abingdon, Virginia. It will feature special beer offerings, food and a music lineup headlined by one of my favorite bands and a former FloydFest "On the Rise" runner=up Annabelle's Curse.
The lineup follows:
6-6:45: Iliad
7:15-8:15: The Oblations
8:45-10:15: Annabelle's Curse
10:30- til: Club Wolf Hills
Pre-sale tickets for Friday are $8 and will increase to $10 on May 25. Brewery tours will be offered at 1:30 on Saturday for $10.
The doors will open for The Howling event at 3 p.m. on Saturday, June 2, at Wolf Hills Brewing Co. The event will include craft beer, two stages with live music, food trucks, craft and outdoor vendors, and live art.
Headlined by Southern Culture on the Skids, The Howling maintains its diverse musical background with sets from southerwestern Virginia favorites If Birds Could Fly, funky Andrew Scotchie and the River Rats from Asheville, swing and blues The Judy Chops, along with four local singer-songwriters.
The lineup follows:
4-4:30: Bill Edwards
4:30-5:15: The Judy Chops
5:15-6:00: Jamie Collins
6:00-7:00: Andrew Scotchie and the River Rats
7:00-7:45: K.T. Vandyke
7:45-8:45: If Birds Could Fly
8:45-9:30: JP Parsons
9:30-11:00: Southern Culture On The Skids
Pre-sale tickets for Saturday are $12 and will increase to $15 on May 25. All-weekend passes are also available.
In addition, on Saturday morning, the Third Annual The Howling 5k on the Virginia Creeper Trail will be held. "Join us at Wye Park just past the Abingdon Trailhead. Signup at 8, race at 9. Pre-signup is $15 and will increase to $20 on May 25. T-shirt included."
And as a special treat, the brewery will be open from 1-6 p.m. on Sunday, June 3, for Jazz Sunday and Brunch.


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Some people like a bit of advice. I like to research myself. So if you want a bit of a guide of what works then read on, if not, then don't read on.
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The federal government is holding its fourth auction in as many weeks on a large group of travel trailers left in the Pine Belt area in Mississipi following Hurricane Katrina, according to the Hattiesburg American.
The United States General Services Administration has put a single lot of 488 trailers at the Purvis, Miss., staging area up for bid. The auction ends at 5 p.m. Friday.
Federal Emergency Management Agency (FEMA) officials had estimated that heading into the fall, about 30,000 trailers used as temporary housing in the aftermath of Katrina in 2005 remained at five, Pine Belt staging areas: two in Lumberton and one in Purvis in Lamar County; Carnes in Forrest County; and Columbia in Marion County.
Weekly auctions started in late September to reduce the inventory, and were scheduled to rotate through all five locations. Over the past three weeks, GSA had sold 1,461 trailers from the staging areas in Lumberton and Carnes.
For more info: http://gsaauctions.gov/gsaauctions/aucindx.


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Want some hints on how to style an urban beach space? I'm writing this weeks blog post from Hawaii (lucky me) and while I may be staring at a sea of turquoise, (my happiest color), I'm not encouraging blue walls or seashells in a vase. Sure, Pottery Barn has some great coastal inspired decor, but its time to elevate this design style. We are checking into a cool urban beach vibe boutique in Santa Monica….The Huntley Hotel. Think white, amber and black with a twist of texture and pops that are sophisticated yet casual. Here's how to mimic this sophisticated summer style at home.
Shades of Amber, Black and White
Sometimes the best color is no color at all. Mix gold and amber hues with leather, metal and lighting to give a warm vibe against the white backdrop. And use black to give a room confidence. Black elements anchor a space. A room is naked without black.
Layers of White
An all white space evokes purity and cleanliness. The key to getting white right is to layer, layer, layer. Think objects and textures that offer depth in the space. Carve out a little sitting area in your house and it will soon be your fave spot. A green plant adds an organic touch to this crisp space. And yes, this can work anywhere….It's white!
Lighting is Art
Instead of a basic chandelier, think different and suspend unique shaped pendants above a dining table. Lighting is like art, make it the focal point in a space. I like how the lighting color mimics the rich wood table below, completing the space. Use white accents on a dark table! Sure, this view helps!
Soothing Sandalwood
Shades and textures of sandalwood feel tranquil and spa-like. Mixing different materials like stone, wood, ceramic and leather is what makes a space inviting. Think about your favorite hotel spas and I bet they all look and feel something like this. Do it at home!
P.S. Notice the touch of black?


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Tim & Tom's Speedy Market
Tim Faacks and Tom Spreigl have been serving the St. Paul community for over 18 years!
Tim & Tom's Speedy Market
2310 Como Ave.
st. Paul, MN, 55108
Phone: 651-645-7360
Ever wanted to suit up and experience beekeeping? Now you can. Come out and peek in to the secret world of BEES!


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Elvis Presley once said, "Rock and roll music, if you like it, if you feel it, you can't help but move to it." While only one of the works on the Houston Ballet's Rock, Roll & Tutus mixed repertory program used what could be considered rock music, the spirit of rock 'n' roll, with all its unrestrained emotion and risk-taking, thrums through each piece, commanding movement from four choreographers with an undeniable ferocity.
Rock, Roll & Tutus opens with the Houston premiere of In Dreams, an otherworldly, impressionistic dance created by Trey McIntyre to the music of Roy Orbison, a man whose voice Dwight Yoakam once described as the "cry of an angel falling backward through an open window." Indeed, Orbison sets a mood of unapologetic emotional angst, providing a space for McIntyre to play with traditional balletic movement and to incorporate squats, skip steps, broken lines and flat feet to great effect.
McIntyre's choreography is grounded, reminiscent at times of eccentric dance (complete with what looked like an Elvis-style leg shake from Charles-Louis Yoshiyama). His five dancers, clad in black and denim blue, appear in every configuration, from solo to quintet, but it's Jessica Collado's solo to the piece's title song that really stands out. Through sweeping gestures, an undulating body, and a fit of starts and stops, Collado is able to emote so much longing, hesitation and resignation under her single spotlight that you'd think Orbison himself would be proud.
Unfortunately, in addition to six Orbison songs, McIntyre includes an excerpt from an interview that momentarily halts the momentum of the piece, though it was able to build right back up for a rousing conclusion danced to one of Orbison's best and most famous songs, "Crying."
Following In Dreams is the local premiere of Artistic Director Stanton Welch's La Cathedrale Engloutie, a pas de deux choreographed to one of Claude Debussy's preludes. Like Debussy's "Sunken Cathedral," which refers to a legend of a cathedral hidden under the sea that occasionally rises at sunrise to reveal itself to a special few, the relationship built between the dancers in La Cathedrale Engloutie builds slowly, burns brightly and fades away from the audience, all under a warm, golden (sun)light.
Though in the shortest work of the evening, and one more subtle than its program mates, Nozomi Iijima and Chun Wai Chan paint an intimate portrait together, coming together and moving apart to music brilliantly brought to life by pianist Katherine Burkwall-Ciscon. The union between Welch's choreography and Debussy is a powerful one that elevates the dance to an impassioned, and touching, level.
Following a 25-minute intermission, the curtain opened on the highlight of the evening, the Houston premiere of Tim Harbour's Filigree and Shadow.
Filigree and Shadow is predatory and unmistakably animalistic, 12 dancers moving as both individual threats composed of precise, sharp angles and quick action, and as a synchronized, pulsating mass. Harbour sets an unrelenting pace and marries it beautifully with a score from Munich-based duo Siegfried Rössert and Ulrich Müller, known as 48nord.
Rössert and Müller have created something utterly gripping, as menacing as Harbour's choreography. It evokes a confrontation in the wild, a killer on the loose, walls closing in, time running out, a heartbeat. Coupled with Kelvin Ho's set design and Benjamin Cisterne's lighting design, which create a cold, sterile environment that still allows space to loom in the shadows, Filigree and Shadow is an almost cinematic experience that builds to a frenetic climax.
Closing the program is the return of Alexander Ekman's Cacti, which made its Houston Ballet premiere to much fanfare in 2016. Cacti is a welcome return (and necessary, as the previously announced Tulle, also from Ekman, had to be scrapped post-Harvey) and it proved to still be as funny and incisive on second viewing.
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After the angst and anger of the first three-quarters of the program, Cacti is a strong note to end on. Sixteen dancers start on their own individual square tile, and from there pose, cavort, double as percussionists – generally execute Ekman's choreography, which is precise in its play, serious in its whimsy. It is over the top, and performed to a backdrop of Schubert, Haydn and Beethoven (some played with the Apollo Chamber Players on stage) and a couple of voiceovers, one from the perspective of two dancers and from a critic waxing on about meaning and hitting the keywords of pretention, like "postmodern," "subtext" and "interdisciplinary."
You don't have to be overly familiar with dance or the world of criticism that it mocks to understand the humor; Cacti is accessible in its deconstruction, which is probably why it plays so well.
All in all, the work on display in Rock, Roll & Tutus is the future. It threatens the traditional, white tutu-ed landscape with something a little bit modern, a little bit edgy and every bit as dangerous to some as Elvis and his gyrating hips were back in the 1950s. But really, everyone wants to be an early adopter, so that's just all the more reason to see it right here, right now.
Performances are scheduled through March 4 at 7:30 p.m. March 2 and 3 and 2 p.m. March 3 and 4 at Resilience Theater, George R. Brown Convention Center, 1001 Avenida de las Americas. For information, call 713-227-2787 or visit houstonballet.org. $30 to $40.


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Ojon Total Hair Therapy Kit, £32.80 from www.boots.com
Ojon's Rare Blend Oil is one of those one-size-fits-all products for guaranteed great hair. This set contains a full sized bottle which will last well into the new year and a small shampoo and conditioner to try some more of the range.
Kerastase Nutritive Coffret, £30.95 at www.feelunique.com
The Nutritive range is my favourite of the Kerastase selection, leaving dry, coarse hair thoroughly hydrated and completely manageable from the first use. Valued at just under £50.00, this set is a quick route to soft, healthy hair and especially great if you've damaged your hair with too much bleach.
Toni & Guy Mini Wash Bag, £12.00 from www.boots.com
Simple to use and with instant effect, the Toni&Guy product range is a great unisex hair treat. This set features a divine wash bag designed by Matthew Williamson, ideal for a handbag or overnight stay. Contains a Dry Shampoo – great for quick fixes – Heat Protector spray which will last a long time and Creative Hold Hairspray which applies finely but leaves a strong hold.
Bleach London Super Cool Colours, £5.00 from www.boots.com
2013 seems to have been the year that we all went crazy for a pop of colour. Now, one of London's most esteemed salons – Bleach – has unveiled a number of wash in wash out shades and all for just £5.00 a bottle. Get these for a blonde in your life that loves to experiment.
Touche by Flavien Gift Box 3, £35.00 from www.harrods.com
Earlier this year I met Flavien, the brains behind this niche new haircare brand which launched in Harrods back in June. His products contain a unique Prickly Pear Oil which smells unlike any other product and packs a real punch when it comes to nourishing your hair. Give it a few weeks with this Balanced Scalp Shampoo, Volume Up Conditioner and Intense Nourishing Treatment and you will unveil sleek, great smelling hair.
And there you have my favourite picks for 2013. Still not sure I've ticked the right box? Tweet me@MixedGemsUK and I'll happily help you, or find my Facebook page www.facebook.com/mixedgemsukwhere I'll be suggesting a gift of the day each day until Christmas.
Happy shopping!


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New Light on the
Ancient Mystery of Glastonbury
John Michell
Chapter Five
The Gigantic Mysteries of Glastonbury Tor
The mysteries of Glastonbury Tor are not only in its legends but have a physical dimension, openly displayed. The hill is presumed natural, but anyone can see that at one time it has been shaped. Around its sides are several tiers of well defined terraces. They stand out most clearly when the sun is low, but can be seen and walked at anytime. It had always been supposed that the terraces were made by early cultivators, for growing vines perhaps.
In 1964 they were seen in an entirely new light by an Irishman, Geoffrey Russell. Twenty years previously he had experienced a vision in which he saw a bilateral figure of concentric rings and understood it to be an image of the brain. Later he came across a diagram of the Cretan labyrinth, as carved on a rock in Tintagel, and recognized it as the figure he had seen in the vision. Labyrinths thereupon became his full-time interest. The subject is notoriously gripping, for the symbolism of the labyrinth is powerful upon a variety of levels. It is generally agreed to be a plan of a journey, a pilgrimage to a world – centre sanctuary such as Jerusalem, and on a deeper level it depicts the pilgrimage of the soul through life, death and rebirth. When Plato in the Republic tells of a journey through the afterworld of a soldier who had been left dead on a battlefield, he describes the path of a labyrinth.
When Russell first saw the ringed terraces on Glastonbury Tor he recognized in them the form of a great three-dimensional labyrinth. A survey was made of the Tor and a model of it was constructed, from which it could be seen that the rings were seven in number and joined up to form a continuous pathway towards the top of the Tor, accurately reproducing the twists and turns of the seven-layered labyrinth which symbolized the classical Mysteries.
A discovery of this scale could not immediately be assimilated by archaeologists and Glastonbury scholars. Moreover, like all discoveries at Glastonbury, it came through revelation, which is not a popular medium among the professors. Yet many discerning people have now accepted the reality of the Tor labyrinth; the evidence for it soberly summarized in a booklet by Geoffrey Ashe, and the plain fact of it can be seen by anyone who cares to follow its winding course up the Tor.
In view of Glastonbury Tor's ancient character as Spiral Castle, centre of the Mysteries, the discovery of a spiral labyrinth around its Tor should not be surprising. The interesting question is when it was constructed. The earliest tribes were wholly concerned with keeping their landscape in the same state of nature as they found it. No doubt they regarded the Tor as a place of initiation, but they are not likely to have engraved marks upon it. The labyrinth, then, must have been carved after the time of settlement, from about 4000 BC. That places it within the age of the giants. It is indeed a typical product of that age. Even though it was always before everyone's eyes, its gigantic scale long hid it from perception. It should perhaps be called the Giant's Maze.
Another gigantic and archaic work involving Glastonbury Tor is the alignment of sanctuaries known as the St Michael line. Geographically it is the longest line across land that can be drawn over southern England, extending from a point near Land's End in the far west to the eastern extremity of East Anglia. On or near its straight course lie major St Michael sanctuaries of western England: Glastonbury Tor, Burrowbridge, Brentor, Roche Rock, St Michael's Mount, Carn Brea.
This alignment is basically a work of nature. Many of its markers, such as the Tor and St Michael's Mount are natural features, but in some period of prehistory the line has been made precise and formal. This is demonstrated most clearly by its central section, beginning at the 'Mump' in Burrowbridge, about twelve miles south-west of Glastonbury. It is a smaller twin of the Tor, a ringed island hill with a ruined church of St Michael on its summit. From the top of the Mump the Tor is visible on the far horizon. The axis of the Mump is aligned on the Tor; its extension marks the old Pilgrims' Way along the Tor's ridge and forms the axis of the labyrinth. Further east the line runs precisely to the main southern entrance to the prehistoric Avebury temple. So it has been calculated by the mathematically adept and obliging Robert Forrest. This straight line continues beyond Avebury to a once important monastic site, the church at Ogbourne St George. St George is said by mystical writers to be the earthly counterpart of St Michael.
In this central section of the St Michael line at least one site is artificial. Avebury is a formal temple, a structure of huge erect stones enclosed by a massive bank and ditch. It was formerly approached by two avenues of standing stones leading to minor temples. The Avebury temple is said to have been erected in the third millennium B.C. It was built within a landscape which nature designed as an Elysium, and it had always been a place of assembly for the early tribes. They held an important yearly festival on Windmill Hill above the Avebury temple.
One thing was, however, lacking at Avebury. There was nothing in its landscape which fittingly represented the world-centre mountain. That deficiency was made good by the erection of Silbury Hill, 130 feet high and with a base covering 5½ acres. It is not just a great pile of earth but was made permanent by an inner structure of chalk blocks weighing together some million tons. The hill was built at about the same time as the temple and was related to it symbolically and in ritual. Michael Dames in his two books on Avebury and Silbury shows how the natural features and monuments of their neighbourhood formed a miniature sacred landscape, designed to accommodate all the seasonal rites and festivals throughout the year. This indicates that the temple and megalithic complex at Avebury were laid out within an existing sanctuary at a time when the old life of tribal wanderings across a wide countryside had given way to settlement. The year-long tribal pilgrimage was maintained, but on a geographically reduced scale. By priestly art the circuit of spirit shrines around the country was reproduced in one small area, around Avebury. That area became the microcosm of a whole country, inhabited by all its principal gods. Thus it became possible to enjoy the benefits of settlement while continuing to celebrate an annual series of festivals as in ancient times. The difference was that all the festivals were now held within the national Elysium.
When the Avebury temple was built, its southern entrance stones were placed accurately on the St Michael line. The alignment already existed, being defined by Glastonbury Tor and the Mump of Burrowbridge. The Mump is presumed to be a natural hill, but certain features of its shape, location and composition suggest otherwise. It is greater in size than Silbury, which is claimed as the largest man-made hill in Europe. If it is artificial, the Mump must surely be one of these unrecognized works of the giant forces commanded by ancient priests.
Further to the west, on the south-east edge of Bodmin Moor, another great landmark stands on the direct course of the St Michael line. The Cheesewring, a towering stack of huge granite slabs balanced one on top of another, is located on the summit of Stow's Hill within a prehistoric stone enclosure. Around it are ancient burials and stone circles. There has long been dispute about the Cheesewring, whether or not it is an entirely natural formation. It is difficult to see how nature alone could have contrived it, but it is too vast and rudely shaped to be the unaided work of men. Like the Mump and the maze on Glastonbury Tor, the Cheesewring seems to be a product of the age of giants.
The association with giants which occurs along the St Michael line suggests the presence of earth forces. According to a book recently published, the existence of a geomagnetic energy channel on the course of the line can be detected today and was evidently known in the past. The Sun and the Serpent describes a journey of discovery by its two authors, Paul Broadhurst and the Scottish dowser Hamish Miller, along the entire St Michael line. They detected a peculiar form of energy, winding in a serpent fashion around the straight axis of the line, and they were able to trace it from Land's End as far as Avebury. There it made a complicated pattern around the monument and as Hamish Miller followed it with dowsing rods, he was surprised to find that it crossed another energy channel of a different quality. The new current was of opposite, negative charge and thus the counterpart to that of the first channel. Further investigation revealed that there was in fact a double line of energy coiling around the St Michael line. The two researchers went back to the beginning and repeated their entire journey up to Avebury, tracking the path of the second channel. They then completed their work by following and mapping the routes of both the energy lines eastward to the North Sea.
The two lines of current which spiral around the straight axis of the St Michael line form the symbol of the serpent-entwined rod of Asclepius, the Greek god of healing. These serpents represent the vital energies around the spine of the human body, and the meaning of the St Michael line is evidently similar. The line marks the backbone of southern England, energized by the vital currents of earth. The sanctuaries on its course where the two currents meet, such as Glastonbury and Avebury, can be seen as the 'chakra' or nodal points in the 'subtle body' of the landscape, its field of geomagnetic and other energies.
Between these places, along the central spine of the country, wound an ancient trackway. It led to the national sanctuary at Avebury, where tribes gathered from afar for seasonal festivals, but it was not primarily a secular route. Every year the course of the line was trodden by certain members of a tribe, those in the process of initiation. A double pathway, one strand leading up the country and the other down, conducted them by wayside shrines to the Mystery centres where the two paths converged. Their guide was the earth spirit, later identified with Hermes whose dual aspect is reflected in the twin, negative and positive currents of the St Michael line. On the high places along the axis of the line, beacon lights were tended by hermits who, as the word implies, were traditional servants of Hermes.
This picture is imaginary, but it is composed of eternal poetic or archetypal images which, before the rise of civilized distractions, dominated the ancient mind and were imitated in the patterns and artifacts of ancient life. A succession of these images was encountered by those who walked the path of initiation. Every district they passed through was known as the scene of certain mythological episodes, and these were illustrated in the hills and folds of the local landscape, brought to life by the interplay of shadows and the light of the sun or moon. As the mythic journey unfolded, it was accompanied by a song which continued throughout its entire course. Thus the pilgrims' way was a chain of poetic images, composed of sun, moon and starlight, hills, vales and springs, local spirits and phantoms, mythological events and the songs of an unbroken linear chant.
In sober fact, there is good evidence of an ancient pilgrims' way approximately on the St Michael line from Cornwall up to Avebury, and the extension of the line eastward follows the general course of the prehistoric Icknield Way into East Anglia. The western part of the line retains local traditions of a former pathway, first trodden by angels. There are even hints of a divine presence on the straight way from the west to the Isle of Avalon. In a book of essays, Michael, Prince of Heaven, the seer, Wellesley Tudor Pole, recorded a saying among West Somerset country people, that Jesus once walked the line from St Michael's Mount to Glastonbury, and that one day he will pass that way again. The time and form of his next appearance are unknown, but he must be made welcome, and every traveller should therefore be given hospitality.
During their survey of the St Michael line, Broadhurst and Miller made a remarkable addition to the symbology of Glastonbury Tor. The first, positively charged line which they followed made a complicated spiral pattern on the sides of the Tor, including a long, thin loop around its level summit. When they returned to Glastonbury on the trail of the second line of opposite polarity, they found that this too made for the Tor and traced a pattern around it. The main feature of the second design was a bowl-shaped curve around the eastern flank of the hill, opposite the loop formed by the first line. Putting the two shapes together on a plan of the Tor produced a coherent and striking symbol, an image of sexual union, similar in meaning to the combination of light shaft and dark cave which was referred to earlier in connection with megalithic ritual. The discovery on the Tor of this symbol, created by a positive and a negative current of energy, confirms the tradition that Glastonbury Tor was a centre of the ancient mysteries.


text:
Nashville, 1896
- Image
- View Full Item
- Created Date
- 1896
- Description
An 1896 street map of downtown Nashville. Streets are clearly labeled. Labeled landscape features include Currey Hill, St. Cloud Hill, and the city reservoir. Some prominent buildings are also depicted, including the State Capitol, Peabody Normal College, City Hall, the Court House, City Hospital, Tennessee School for the Blind and the State Penitentiary. Forms part of the Ann Harwell Wells Tennessee Map Collection. 1 map : col. ; 33 x 26 cm.
- Partner
- Digital Library of Tennessee
- Contributing Institution
- Nashville Public Library
- Publisher
- George F. Cram Company (Publisher)
- Subjects
- Tennessee School for the Blind
Peabody Normal College
Tennessee State Capitol (Nashville, Tenn.)
Davidson County Court House (Nashville, Tenn.)
City Hospital (Nashville, Tenn.)
Tennessee State Penitentiary
Downtown Nashville
Capital City
Central business districts--Tennessee--Nashville
Real property--Tennessee--Nashville--Maps
Nashville (Tenn.)--History--Sources
Nashville (Tenn.)--Maps
Nashville and Davidson County (Tenn.)--Maps
Cumberland River (Ky. and Tenn.)--Navigation--Maps
Nashville (Tenn.)--Buildings, structures, etc
- Type
- image
- Format
- Still imageMaps
- Language
- English
- Rights
- U.S. and international copyright laws protect this digital content, which is provided for educational purposes only and may not be downloaded, reproduced, or distributed for any other purpose without written permission. Please contact the Special Collections Division of the Nashville Public Library, 615 Church Street, Nashville, Tennessee, 37219. Telephone (615) 862-5782.
- Chicago citation style
- Nashville, 1896. 1896. Retrieved from the Digital Public Library of America, http://nashville.contentdm.oclc.org/cdm/ref/collection/nr/id/1185. (Accessed January 18, 2020.)
- APA citation style
- (1896) Nashville, 1896. Retrieved from the Digital Public Library of America, http://nashville.contentdm.oclc.org/cdm/ref/collection/nr/id/1185
- MLA citation style
- Retrieved from the Digital Public Library of America <http://nashville.contentdm.oclc.org/cdm/ref/collection/nr/id/1185>.


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As I mentioned in my last post, I usually do a lot of baking for Thanksgiving. I haven't bought pies in years since I usually bake them myself. (Which is good because if you don't get to Marie Callendar's or Village Inn early enough, you can find yourself pie-less over the holidays. Horrors!) Since we were celebrated Thanksgiving over at my mom's, I asked her what she felt like this year.
Which is how I came to make German Chocolate Pie for the first time. Now, I'm used to having this at restaurants (like the aforementioned two) and I remember it being this creamy, pale chocolate with chunks of pecan and coconut. I've never made such a pie before (not that I'd let that stop me) and started hunting around for a recipe.
I quickly found that there seemed to be a "traditional" German Chocolate Pie since most of the recipes I came across were very similar, and finally chose one at MyRecipes.com.
This is not the light, creamy, soft chocolate pie I was expecting. (Maybe I should have looked for a "silk" pie?) Instead, this is a dark, rich and extremely good pie. Because I altered the recipe slightly, I wound up with a bit too much filling, which I promptly poured into some mini pie shells I had lying around and baked in my toaster oven. One serving mini-pies are a fantastic thing and something I really need to do more often.
German Chocolate here does not refer to Germany. Instead, it refers to a sweet chocolate commonly referred to as "German's Chocolate" if you, like me, grew up with Baker's brand chocolate. It's one step up from semi-sweet on the sweetness scale. In American groceries, you can find it in the baking aisle of your local megamart (German Chocolate is the one in the green box).
If you can't find it, here's the conversion: 1 ounce of German chocolate = 1 ounce of unsweetened chocolate + 4 teaspoons of sugar. Alternatively, you can also substitute 1 ounce unsweetened cocoa + 4 teaspoons of sugar + 2 teaspoons butter. (Foodsubs)
This pie, like pumpkin and pecan, does not require the shell to be blind-baked.
I chose not to top it as my husband is sensitive to sweet and often prefers to top desserts like this with sour cream. I put whipped cream on mine. Delicious!
German Chocolate Pie [printable recipe]
Adapted from Southern Living as posted on MyRecipes.com
Makes 1 9″ pie
1 recipe Alton's pie crust (do not blind-bake)
4 ounces German's sweet baking chocolate
- 1/4 cup (1/2 stick / 65g / 4 tbsp) butter
- 12 ounces (1 can) evaporated milk
- 1 1/2 cups sugar
- 3 tbsp cornstarch
- 2 eggs, beaten
- 1 1/2 teaspoon vanilla extract
- 2/3 cup flaked coconut (sweetened or unsweetened)
- 1/3 cup chopped, toasted pecans
- 1/4 tsp salt
Preheat oven to 375F. Prepare a pie pan and pie shell.
Melt chocolate and butter together using your preferred method (see Note). Stir in evaporated milk and set aside.
Mix together sugar, cornstarch and salt, then add eggs and vanilla. Whisk in chocolate, then stir in pecans and coconut.
Bake for 45 – 50 minutes. It will appear soft and jiggly, but will firm up as it cools. Cool for 4+ hours to room temperature then refrigerate overnight. Serve topped with whipped cream and chocolate shavings (or, if you're like my husband, with sour cream!)
- I love my microwave for this reason: It has a melt function. So, I melt chocolate and butter in it rather than fussing about with a pot on the stove or a double boiler or any of that nonsense. You should melt the chocolate and butter together however you prefer. As long as it all gets melted, it doesn't matter.
- I baked my mini-pies (using a package of Keebler mini graham cracker pie crusts) in the toaster oven at 350F for 20 minutes.


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The .410 gauge single-shot shotgun has a long history of dispatching snakes and other small pests. The Heizer PS1 miniaturizes the single-shot .410 shotgun to a pistol that rides as easily in your pocket as it would in your tackle box. It's chambered for .410 gauge 2.5" shotshells as well as .45 Colt cartridges. The single-shot pistol is marketed as the "Ideal companion for hunter, fisherman and hiker".Additional good things about this handgun.
The machining, fit and finish on this Pocket Shotgun are flawless. The grip portion of the frame is textured with a "HD" pattern for a secure grip, but is not aggressive enough to be abrasive to the hand or to clothing. The Heizer handgun is thin, measuring less than three-quarters of an inch thick at its widest point, making it the flattest 45 Colt / 410 pistol on the market. This flat profile allows the pistol to be carried in a pants pocket almost undetectably. The Heizer pistol can fire any standard-pressure .45 Colt or any 2.5" .410 shotshell ammunition. Edges are rounded and smooth, much like a used bar of soap, making it completely snag-free.
Pull the trigger to own yours. Hop today!


text:
Posting ID : A1068543484
Date Posted : 2015-08-19
Category : Skilled Trades Artisan
Accepting resumes for 12 volt installation/Service technicians for Global position Systems (GPS) and mobile docking station, Mobile Camera Installation. Experience in 12 volt wiring or alarm and car audio installation a plus. General understanding of automotive wiring needed. Position requires travel. Personal tools a must ! Excellent pay for motivated installers. Must have reliable transportation.
Must provide contact Phone information or Resume with contact and email.


text:
A few years ago, a friend gave me the choice of a first class relic from a handful of these from various saints, and I chose the one (with documentation) of St. John Apostle, and Evangelist. Is it appropriate for lay people to have first class relics in their homes? I don't know (I haven't found the answer yet) but I obtained a small reliquary and this relic is in plain sight, so that it really cannot be misplaced. The document that goes with it that attests to its authenticity is hanging in a picture frame on the wall, nearby. Periodically, I think about that relic, which is a tiny piece of bone of the Saint, and I pray about it, and read his Gospel and Epistle more often. He is also believed to be the author of the Book of Revelation.
Rummaging around in a second-hand store today, I suddenly spotted cassette album of "The New American Bible, Revised New Testament," issued/published by Catholic Book Publishing Company in 1986. Of course I bought it, since they had a special this week... all cassettes 25 cents each. Consequently, this 16-cassette set cost me $4. That is, of course, wonderful. I've always wanted to be able to sit back and enjoy the New Testament, rather than having to read it as my eyes aren't that great anymore (Cataracts). Bible Study is important for more than one reason, as a Secular Franciscan, we promise to "live the Gospel", to "devote themselves especially to careful reading of the gospel, going from gospel to life and life to the gospel." (Rule 4c of S.F.O.), and in writing essays or reflections for this website, I have to do my best to keep its content Scripture-based.
For study, the Internet is a wonderful tool, but one has to discern carefully what is truth and what is not. That is especially true in the area of Scripture, because there is much misinformation on the Internet and also a fair amount of anti-Catholic teaching, and some it is a very subtle. For example, see "Authorship of the Johannine works" (Wikipedia) - there seems to exist some doubt, from the 2nd Century onward, that St. John the Apostle is the same person who wrote the works attributed to St. John the Evangelist. A 'wiki' is an open encyclopedia - anyone can contribute, so not everything is fact. As a Roman Catholic, I believe these texts were written by the same person. No, I have not scholastically studied this precise statement of doubt, but this doubt does not exist in Roman Catholic teaching. We believe that St. John the Apostle is the same person as St. John the Evangelist. Spreading doubt, no matter how subtle, usually leads to spreading bigger doubts. So lets get this straight here and now. The Church Fathers had no doubt about John's identity, and that is good enough for me.
St. John, Apostle and Evangelist' feast day is December 27th, a date that often gets buried in the post-Christmas rush unless one goes to daily Mass. He is the "Son of Zebedee and Salome. Fisherman. Brother of Saint James the Greater, and called one of the Sons of Thunder. Disciple of Saint John the Baptist. Friend of Saint Peter the Apostle. Called by Jesus during the first year of His ministry, and traveled everywhere with Him, becoming so close as to be known as the beloved disciple. Took part in the Last Supper. The only one of the Twelve not to forsake the Saviour in the hour of His Passion, standing at the foot of the cross." (see image, left) "Made guardian of Our Lady by Jesus, and he took her into his home. Upon hearing of the Resurrection, he was the first to reach the tomb; when he met the risen Lord at the lake of Tiberias, he was the first to recognize Him." Quoted from: sqpn.com; image: Pietro Perugino c. 1446/1450–1523.
"During the era of the new Church, he worked in Jerusalem and at Ephesus. During Jesus' ministry, he tried to block a Samaritan from their group, but Jesus explained the open nature of the new Way, and he worked on that principle to found churches in Asia Minor and baptizing converts in Samaria. Imprisoned with Peter for preaching after Pentecost. Wrote the fourth Gospel, three Epistles, and possibly the Book of Revelation. Survived all his fellow apostles." Quoted from: sqpn.com
While I was in Cedar Lake, Indiana (1997), the OFM Inter-Novitiate at San Damiano Friary, we used to go to Holy Mass in various diocesan parishes because our priests did weekend helpouts and were not available all the time. Frequently, I would attend at St. John the Evangelist Church in St. John, Indiana. I remember that church, because I see that in 2008, their new church building was dedicated, and what a beautiful campus it has become. But what I recall most was a little Adoration Chapel, that looked like the log cabin it was, except that it had been considerably repaired since it was established. The inside was very plain, and I liked that, because when one is adoring the Blessed Sacrament, a lot of frills and fancy artwork can be distracting. I did not continue with the OFM, and it is now clear that I was meant to be a Franciscan, but in the SFO. Those are very different vocations. I do remember all the good people I met there, and it is important to think of them in prayer now and again. So every time I think of St. John, I remember the wonderful hours spent in Indiana, both at the friary and at the Church of St. John the Evangelist. This has, of course, nothing to do with this essay, except by name association.
How have the Saints (and Blessed) influenced our lives? These holy people are powerful intercessors for us. Another "John" who had much influence on many of us, is of course Blessed John Paul the Great! We are fortunate to have known him, for some personally (not I), and for most in a general manner. This great man, who undoubtedly will be a Saint some day, lived in Poland in the Second World War, and I feel much affinity with him because of my own experiences in that time in the Netherlands. Praise the Lord!
Peace and Good!
Fred Schaeffer, OFS
January 7, 2012


text: On Android, there are a lot of mindless and addicting games. That's not necessarily a bad thing; after all, these games are great for having a little fun on your lunch break or when you only have a couple of minutes of time to clear your head. But if you're big into gaming you know


text:
I write about a lot of things in my stories about which I have thankfully no experience, but there are some things I have done, and when I write about them I have a wealth of memories to inspire me. I had a team of dogs in Greenland, and, while it may have taken us a few years, we finally found our sledging mojo and made some tracks on the sea ice. We had plenty of misadventures too, but always got home safely, even in the dark.
The dogs were built for the Arctic, but I wasn't. Every day was a learning curve. But I do miss it, and I miss my dogs. Who knows, maybe one day I'll have a team again. Until then, I'll keep writing.


text:
I have carefully extracted "giggle",
and placed it on this page.
Its Origins, its resonations —
rise from it. It waits.
You cannot imagine with what
intense tension, with what
age-old sharpness my heart
waited - my hand trembling -
to recommence.
Or how my lungs —
soldier like - kept stiffly to attention,
as I teased, and eased, and tickled, and slid —
gently, gently, as an ancient lover's whisper
—Or the first touch. The —
—Such immensity of blank, encyclopaedic meaning,
unfolding, or just being —
like those electron shells
with their secret numbers,
Clinging to the thinking night of time.
and those numerals: so knowing,
so smirking in their numberness —
the wrench-squig of their symbolic:
we go deeper, penetrating the reds,
the greater resonations, the oak wood,
the teak dark depths.
So many petals.
You cannot conceive
the intense concentration as my head
transformed to a vast glass sphere:
with a precise, and tireless, and all-watching eye:
- and intented thru, like all the winter's winds
had seized themselves into the glass.
fingers like leafic fingers –
And the silence: you -
you would never know that silence:
You struggle toward the word,
but it dashes thru time, spinning, and blurring;
- and, I cant. I try though:
I shove my hand into the Nothing Flower.
It's sort of like the difference
between eating glass powder,
or touching a red rose to a nipple:
it erecting, it massing:
And you recall, the surprise in dead eyes.
The word waits in the unseen dark.
But the music begins, colours brighten,
And it all wakes up, the whirling;
the cacophony - it was never dead —
and the merry-go-round
zips up the centuries:
"giggle" is placed,
wet, limp, and lifted gently by a scalpel,
& extracted as a stamp
is lifted from damp paper.
I place Its Honour at the top
of this page: reverentially.
If we had not forgotten its ancient speech
or lost its transmit frequency —
I would have listened to it with one of my
antennae that sprout on my bulging,
and vitreous head.
I gently slide, or transfer,
the delicate, foetal 'giggle' onto the page.
It dries and recovers.
After breakfast,
a hot bath, coffee, and bacon and eggs,
"giggle" feels cleaner, repleter, contenter.
I touch giggle on its 'gs'
and smile, and think of
its long evolve — the four billion years —
the stories it could tell:
the gulfs we have crossed,
And that strange sense you get
when you open a door in a stone wall,
and see the same, but totally unrecognisable face,
staring at you: trying to signal something.