six column

Beyonce and Jay Z are pretty much the Queen and King of the celebrity world, so it comes as no surprise that the pair get special treatment by other stars as well as their loyal fans.

In fact, it has been reported that Harvey Weinstein restarted the entertainment at his pre-Oscars party after he learned that Bey and Jay had arrived late, consequently missing the beginning of the performance.The pair made a surprise appearance at the movie mogul’s annual Oscar bash on Saturday, but when they arrived Cynthia Erivo, Chris Jackson and Corbin Bleu were already in the middle of their ‘In The Heights’ musical theatre medley.The singers had been introduced by In The Heights’ creator, Lin-Manuel Miranda, and the New York Post’s Page Six column claim that Harvey asked the singers to start again.
Poking fun at Jay Z’s lateness, Weinstein quipped: “He’s got a good reason if you look at his wife.” Despite all of the fuss that their arrival triggered, it is thought that pregnant Beyonce and her hubby left the party after just 30 minutes, however, Weinstein may have had an ulterior motive for the couple to watch the performance as Jay Z is going to be one of the producers on the movie version of In The Heights, which The Weinstein Company are making..

Ala Mhigo Chronology of the 6th Astral Era

(Cuz why not?)

Original post here

Year 10:   Survivors of the Sixth Umbral Calamity form small communities in Gyr Abania, descending into conflict over the area’s limited resources. Many flee Abalathia entirely as the floodwaters recede.

Year 1135:   Anshelm Cotter unifies the military might of Gyr Abania’s warring clans and builds a citadel on the shores of an eastern lake, marking the birth of the city-state of Ala Mhigo.

Year 1150:   A system of tolls is enacted, to be collected from merchants travelling through Ala Mhigo and Gyr Abania in return for safe passage between Eorzea and the Near East.

Year 1154:   Ala Mhigan pikemen drive out the invading Hyuran nomads from northern Othard, and tales of their courage and martial prowess resound across Eorzea.

Year 1179:   Ul'dah enlists the services of Ala Mhigan mercenaries, and the soldiers of fortune swell their ranks as the kingdom besieges Sil'dih.

Year 1190:   With the expansion of maritime trade, the number of Ul'dahn merchants taking the land-based eastern trade routes begins to decline, and Ala Mhigo struggles to sustain itself on the meager tolls.

Year 1313:   Sharlayan enlists the service of Ala Mhigan mercenaries to subdue the beasts that roam the hinterlands and ensure the safety of their outpost.

Year 1353:   Ala Mhigan mercenaries are contracted by Ul'dah in the sultanate’s effort to purge the city of the undead droves.

Year 1466:   King Manfred abruptly asserts his sovereign right to the East Shroud, dispatching General Gylbarde and his men across the Velodyna River to seize Gridanian territory. This incursion marks the outbreak of the Autumn War.

General Gylbarde ambushes the Gridanian troops en route to Finesand, surrounding and spilling the blood of the Gridanian column with six thousand men

General Gylbarde thrice deflects the desperate advances of Commander Osbern. In addition to capturing Osbern and scores of his officers, Gylbarde’s army also seizes possession of Claustrum, the Seedseers’ legendary staff. The First Battle of Tinolqa concludes with a decisive Ala Mhigan victory.

Year 1539:   The Darklight Raiders, a mercenary group under the command of Gerbald the Red, eradicate an enormous poisonous snake in the Aurum Vale, earning themselves fame and fortune.

Year 1544:   The Darklight Raiders fail in an attempt to purge Cutter’s Cry of the chimera that lurks in its depths. The mercenary group is effectively disbanded as most of its members are slain.

Year 1546:   Theodoric the First ascends the throne as king of Ala Mhigo.

The conflict between King Theodoric and the Fist of Rhalgr intensifies. In the name of quelling the insurrection, the king leads a vast army to the site of the monkhood’s main temple, razing it to the ground and massacring its disciples.

At nineteen, Raubahn Aldynn is ordered to suppress an angry mob as an officer of the Ala Mhigan army. He earns wide renown when he succeeds in the task without spilling a drop of blood.

Year 1554:   Raubahn is assigned to the border forces as the XIVth Legion closes in. He and his comrades undertake a series of diversionary maneuvers which succeed in keeping the imperial forces at bay.

Raubahn makes short work of an imperial magitek contingent in a border skirmish, toying with the enemy, and is promoted to a position of high command for his deeds. His impressive accomplishments on the field of battle earn him further trust and acclaim among his men.

Year 1556:   Raubahn is struck by an imperial sniper, suffering grievous wounds. Withdrawing from the frontlines, he returns to his home village in the mountains of Gyr Abania to convalesce.

Year 1557:  The people of Ala Mhigo revolt against the tyrannical King Theodoric. The kingsguard is complicit in the uprising, ignoring their liege’s orders and opening the gates of the palace to the revolutionaries.

Seizing the opportunity amidst confusion and political upheaval, the XIVth Legion subjugates and annexes Ala Mhigo with little resistance.

Still nursing his wounds, Raubahn leaves Gyr Abania at twenty and four to wander the realm.

Year 1559:   Raubahn, now twenty and seven, arrives in the Sultanate only to be mistaken for an imperial spy. He is imprisoned by the Brass Blades and forced to fight in the gladiator pits.

Year 1571:   The Archons of the Circle of Knowing infiltrate occupied Gyr Abania in an attempt to assist those Ala Mhigans who seek asylum abroad, but many lives are lost when the Garleans catch wind of the defection

Year 1572:   The city states of Limsa Lominsa, Ul'dah and Gridania form their Grand Companies. Subsequent events leading up to and in the aftermath of the Seventh Umbral Calamity are detailed in Memories of the Calamity.


Forum of Nerva

Roma, Italy

85–97 AD

131 x 45 meters

The Forum of Nerva was the fourth and smallest of the imperial fora. Its construction was started by Emperor Domitian before the year 85 AD, but officially completed and opened by his successor, Nerva, in 97 AD, hence its official name. 

The layout of the Forum of Nerva was dictated by the existing space between pre-existing structures. The available space was long and narrow, and had outer walls made from blocks of lava stone peperino, covered with marble slabs, and decorated with projecting paired columns. The frieze in the entablature depicted the myth of Arachne and other reliefs depicting representations of the personifications of Roman provinces.

 Access to the forum was from the sides, with three openings on the Roman Forum side and a monumental entrance on the opposing side with an exedra porticata in the shape of a horseshoe. This entrance was called Porticus Absidata. The northern and southern ends of the forum were shaped as crescents, with a temple to Minerva (the patron deity of Domitian) at the western end, embedded into the northern crescent adjacent to the Porticus Absidata. The temple was built on a high podium, and had six Corinthian columns in front and three on the side. The back of the temple was hidden from the Forum by a wall. Near the opposite end, there may have been a temple dedicated to Janus. The underground Cloaca Maxima ran the length of the forum.


Main portal of the church of San Francisco, Lima (Unidentified architect, 1673).

The church of San Francisco is probably the masterpiece of limeño Baroque architecture, built after the collapse of the previous building en 1656. The building of the new church took several years to complete, beginning in 1657, when the first stone was laid, and lasting until 1673 when the temple was finally consecrated by the bishop of Cusco Manuel de Mollinedo y Angulo.

Although the design of the church belongs to Portuguese architect Constantino de Vasconcelos, and its construction was undertook by Manuel de Escobar, - one of the main architects and alarifes active in Lima during the seventeenth century- the author of the main portal remains unknown. Due to its similarities with contemporary retablos , specially with Asencio de Salas’ retablo of the Immaculate Conception in Lima Cathedral, it is assumed that its author was an ensamblador, although his identity is unknown.

This baroque portal is one of the largest in Lima, being three stories high, built in stone and brick. The first story consists of a group of six columns on each side of the arched door, with two larger columns in front of two pairs of smaller columns, a common arrangement in mid-seventeenth century retablos. The columns have Corinthian capitals over a fluted shaft with its lower third section carved with a helicoidal pattern. This feature, and also the female draped heads in the upper part of the shafts, are also usual in contemporary retablos. The shorter set of columns support a small entablature, while the bigger pair of columns support the larger entablature that separates the first story from the second, with similar female draped heads adorning the frieze. 

In the middle section, the entablature breaks to give place to the main niche in the second story, embraced by the arms of the open cornice produced by the breaking of the entablature. Four fluted corinthian columns, with the lower third of their shafts with an amelcochado (zigzag) pattern, compose the second story of the portal, making space between them to three arched niches: in the main niche stands the statue of the Immaculate Conception and the other two contain the statues of Saint Francis and Saint Dominic.The second story is notably narrower than the first, with curious stone lanterns in its outer edges.The four columns previously described support an entablature that arches over the main niche.

The third story is made out of brick covered with plaster, painted in such a way that it resembles stonework. It consists of a large oval window - which gives light to the choir of the church - surrounded with broken cornices, webbed volutes and short fluted pilasters with bracket capitals that support an arched cornice.

One interesting feature of the portal is the presence, under the main niche, of the Pope´s symbols carved in stone: the pontifical tiara and Saint Peter´s keys. The reason for their presence in the portal is this: since the franciscans have a vow of poverty and the building of the church had cost a fortune (an estimate of over two million pesos), the Pope declared it of his property, not the franciscans`, thus avoiding the inconsistency between the order´s vow and the wealth of the church. Pope Clemente X gave the church of San Francisco the same privileges that the Archibasilica of Saint John of Letran, seat of the Pope in Rome, and ordered the carving of his symbols in the portal. In exchange, the franciscans had to make an annual donation of one pound of white wax to show its submission to the Archibasilica.

All photos by the author (2014).


Ancient Worlds - BBC Two

Episode 6 “City of Man, City of God”

The Temple of Jupiter Baal, in Baalbek.

The Phoenician city of Baalbek was known as Heliopolis (the city of the Sun) during the Hellenistic period.

The city became an important religious center during Greco-Roman times and it was one of the largest sanctuaries in the Roman Empire.

The greatest temple of the city was sacred to Jupiter Baal, (Heliopolitan Zeus), identified with the Sun. The Jupiter worshipped there was also understood to be Baal-Hadad, a local storm deity who had been honoured for centuries. The temple was constructed during the 1st century AD (completed circa 60 AD) on top of a podium and foundations presumably from a previous ancient temple. The temple had more than 50 Corinthian columns, 20 meters high, but today only six columns remain standing.

Baalbek, with its colossal structures, is one of the finest and most impressive examples of Imperial Roman architecture.

Baalbek, Lebanon


Rock n’ Roll has got into such a weird thing now because um…so many people analyze it. They are reviewing one song taking six columns you know. The sociological meaning, the religious meaning, the political meaning, and then what I personally think. It seems to be too much appreciation from the older generation as far as I can make out. You can’t get rid of them at concerts!

so since the bone structure of a seal’s pectoral flipper:

is essentially homologous to a human hand thanks to shared mammalian evolutionary ancestry, and consequently still resemble “fingers” in anatomy, i’ve just had the thought that seal-form ford should probably have flippers with six distinct columns of phalanges

At the time this photo was made, smoke billowed 20,000 feet above Hiroshima while smoke from the burst of the first atomic bomb had spread over 10,000 feet on the target at the base of the rising column. Six planes of the 509th Composite Group, participated in this mission; one to carry the bomb Enola Gay, one to take scientific measurements of the blast The Great Artiste, the third to take photographs Necessary Evil the others flew approximately an hour ahead to act as weather scouts, 08/06/1945. Bad weather would disqualify a target as the scientists insisted on a visual delivery, the primary target was Hiroshima, secondary was Kokura, and tertiary was Nagasaki. Right picture : Atomic bombing of Nagasaki on August 9, 1945, taken by Charles Levy.

Post Number 15000. Thanks to all

To Ερέχθειο στην Ακρόπολη Αθήνας, από τη νότια πλευρά. Αποτελούσε τον ιερότερο χώρο λατρείας στην Αθήνα. Αντί για κίονες, την οροφή στήριζαν έξι αγάλματα Κορών, οι Καρυάτιδες. Στέκονταν επάνω σε χαμηλό βατήρα, στραμμένες προς την ιερά οδό από όπου περνούσε η πομπή των Παναθηναίων, σαν να ήταν μέλη και αυτές μιας πομπής που βάδιζε σε τέλειο συγχρονισμό.

Τhe Erechtheion at the Acropolis of Athens, from the south. It represented the most sacred place of worship in Athens. In place of columns, six statues of maidens (Korai), the “Karyatids”, supported its roof. They stood on a low base, facing the Sacred Way, along which passed the Panathenaic procession, as if themselves were participants in a procession that moved in perfectly synchronized rhythm.

[photograph: Dimitris Constantin, c. 1859 - c. 1860, Rijksmuseum collection]


Church of San Pedro, Cusco (Juan Tomás Tuyru Túpac, 1688-1699).

Smaller than the Compañía and less imposing, San Pedro nevertheless is in no way inferior in its handling of space and scale. No church in the city embodies greater purity of design or more serenity in mood, qualities which many will prefer to the more luxuriant Baroque of the Compañía.

Harold Wethey, 1948.

This magnificent baroque church was part of the Real Hospital del Espíritu Santo de los Naturales (that is, for indians) and also one of the parishes in Cusco. The church - dedicated to Nuestra Señora de los Remedios - was in very bad shape in the late seventeenth century and a new one was built under the patronage of bishop Manuel Mollinedo y Angulo. The first stone of the new building was laid in 1688, following the design by indian architect and sculptor Juan Tomás Tuyru Tupac, and the church was finished after 1699, when a plan was sent over to Spain to raise funds for it. 

Tuyru Tupac designed a single nave church with deep projecting transept and presbitery, conforming a latin cross plan very similar to that of the church of la Compañía. The nave is five bays long, with deep lateral chapels on each side between simple tuscan pilasters that support a full entablature. A raised choir over a lowered vault stands beneath the entrance. Simple domical vaults cover the nave, the arms of the transept and the presbytery while a dome atop a high drum stands over the crossing. The walls of the church were built entirely in stone, while the vaults are made of brick. 

 The facade of the church follows the pattern established by the Cathedral and the church of la Compañía, with a three story retablo portal flanked by twin towers. The main portal in San Pedro is almost a copy of that of the Cathedral, although with more sober decoration. The first story consists of six Corinthian columns arranged in different planes, the central section shifting forward with the columns flanking the door. A very common feature in Peruvian Baroque, the open arched cornice, integrates the first story with the second giving an ascendant impulse to the composition. The open arches of the cornice embrace a niche in the second story, flanked with smaller Corinthian columns supported by flying corbels. Six similar columns continuing the axis of those in the first story complete the composition. A smaller third story constitutes the crowning of the portal consisting of a shallow niche flanked by columns with a round cornice on top.

 The twin towers were also influenced by those of the Cathedral and La Compañía. The base of both is extremely sober, with bare stone walls and a simple cornice over which stands the belfry, with two open arches between rusticated tuscan pilasters on each one of its four sides, following the example set in the Cathedral towers. On the other hand, the octogonal drum that stands on top of the belfry closely resembles the ones in the towers of La Compañía, with its four small turrets in the corners. The low spire that crowns each tower is a very unique feature, not present in other churches in Cusco. 

 The church is furnished with a magnificent main retablo, built in 1720 by ensamblador Lorenzo de la Vega, four stories high and entirely guilded. The pulpit is an outstanding work of art, made of wood exquisitely carved by Tuyru Tupac himself.

All photos by the author, 2016.

If the 4-per-country rule started now. (5/20)

Brazil, Romania, Poland, Greece, PRK, and Korea do not have enough scores or all-arounders at this point in time to be given a score.

  • third column is an approximate score for a current four person team.
  • fourth column is an approximate score for a current six person team.
  • fifth column is the difference between the two.

Biggest “winners” (those who would benefit most from the new rule)

  • Switzerland
  • Mexico
  • Italy
  • Canada
  • Sweden

Biggest “losers” (those who would benefit least from the new rule)

  • China
  • Russia
  • Spain
  • Austria
  • Hungary
  • Great Britain

Note: not every gymnast who could make a worlds team has competed yet.