The Flickr History Image Generatr

Hiroshima, Japan - April 18, 2026: Bell of Peace in the Hiroshima Peace Memorial Park, symbol of peace after World War II

Hiroshima, Japan famous A-Bomb dome (atomic bomb dome) building, with flowers in foreground

youtu.be/TsAl-6Hk1VI
Byzantine chant - Anonymous
The uncompleted hymn Αναστάσεως ημέρα (Hymn of Praise-Resurrection Day) comes from a manuscript dating back to the second half of the 14th century and was preserved at the Library of the Romanian Academy.

.

.


photo:
Church of Saint Panteleimon (Thessaloniki)
en.wikipedia.org/wiki/Church_of_Saint_Panteleimon_(Thessaloniki)


Church of St. Panteleimon (Thessaloniki)
Church of St. Panteleimon (14th century)
Ναός Αγίου Παντελεήμονος (Θεσσαλονίκης)
www.thebyzantinelegacy.com/panteleimon-thessaloniki
www.flickr.com/photos/byzants/albums/72157714280159988/


Just to the north of Egnatia Street, not too far from the Rotunda, is the Church of Hagios Panteleimon, another of the Byzantine churches of Thessaloniki which is difficult to identify, since its present name is a modern one. It is one of the 15 Paleochristian and Byzantine Monuments of Thessaloniki that were included in the UNESCO World Heritage List in 1988.

Historical research identified the church with the Monastery of the Virgin Peribleptos, also known as the Monastery of Kyr Isaac, from the monastic name of its founder who, under the name Iakovos, was Metropolitan of Thessaloniki between 1295 and 1315. This monastery is connected with a number of distinguished intellectuals of Thessaloniki in the 14th century. The monastery retained the name of its founder after 1548, when it was converted into a mosque with the name Ishakiye Camii.
The identification of the modern church of Hagios Panteleimon with the Monastery of the Virgin Peribleptos was not universally accepted, and some scholars believe that the Monastery of the Peribleptos already existed in the 12th century, and that the church of Hagios Panteleimon was converted into a mosque about 1500 by Ishak Çelebi, the Kadi of Thessaloniki, after whom it was named. The architecture and painted decoration of the church, however, date it to the late 13th - early 14th century and, together with other evidence, appear to support the former view. From an architectural point of view, the church belongs to the complex tetrastyle cross-in-square type, with a narthex and an ambulatory that ends at the east in two chapels. The ambulatory was destroyed at the beginning of the century, but the chapels survive. We know, however, that the outer faces of the ambulatory were articulated by blind arcading and that it had two tribela on the north and south, two domes in the middle of the north and south sides, and two more at the north-west and south-west corners. The centre of the narthex, too, was covered by a dome, while the side bays were vaulted. The eight-sided dome over the nave is supported on columns and capitals taken from earlier buildings. The triple sanctuary ends in an apse with a five-sided exterior, which has a three-light window in the centre. There are also three-light windows in the drums over the arms of the cross. The decorative brickwork is confined to dentilated bands and rosettes.

Very few of the original wall-paintings survive. In the prothesis is preserved a representation of the Virgin Orans - in an attitude of supplication with Christ at her bosom, in the type of the intercessor praying for the salvation of mankind. The diakonikon has some of the most important saints of the church, such as Saint Peter of Alexandria, Eustathios of Antioch, and Gregory of Nyssa; these are portrayed in an attitude of reverence towards Saint James the Brother of the Lord, who occupies the position of honor in the apse. This composition has been interpreted as honoring both the Church of Jerusalem, of which James the Brother of die Lord was the first bishop, and also St. James himself, who had the same name as the founder of the church, James, the Metropolitan of Thessaloniki. The art of the wall-paintings has been described as transitional, since they combine the monumental style, anti-classical conception, and modeling of 13th century painting with the color harmony and facial types of 14th century works. The rest of the painted decoration of the church belongs to a Turkish repair at the beginning of the 20th century. The phase when the church was converted into a mosque is represented by the base of the minaret and a marble fountain in the grounds of the building.

.

.

Paleochristian and Byzantine monuments of Thessaloniki
en.wikipedia.org/wiki/Paleochristian_and_Byzantine_monume...
whc.unesco.org/en/list/456
The city of Thessaloniki in Macedonia, Greece, for several centuries the second-most important city of the Byzantine Empire, played an important role for Christianity during the Middle Ages and was decorated by impressive buildings. Because of Thessaloniki's importance during the early Christian and Byzantine periods, the city contains several Paleochristian monuments that have significantly contributed to the development of Byzantine art and architecture throughout the Byzantine Empire and Serbia.[1] The evolution of Imperial Byzantine architecture and the prosperity of Thessaloniki go hand in hand, especially during the first years of the Empire,[1] when the city continued to flourish. Despite the capture of Thessaloniki by the Ottoman Empire in 1430, the Christian monuments were not destroyed, and travelers such as Paul Lucas and Abdulmejid I[1] document the city's wealth in Christian monuments during the Ottoman control of the city.

In 1988, fifteen monuments of Thessaloniki were listed as UNESCO World Heritage Sites:[1][2]

City Walls (4th/5th centuries)
Rotunda of Saint George (4th century)
Church of Acheiropoietos (5th century)
Church of St. Demetrios (7th century)
Latomou Monastery (6th century)
Church of St. Sophia (8th century)
Church of Panagia Chalkeon (11th century)
Church of St. Panteleimon (14th century)
Church of the Holy Apostles (14th century)
Church of St. Nicholas Orphanos (14th century)
Church of St. Catherine (13th century)
Church of Christ Saviour (14th century)
Blatades Monastery (14th century)
Church of Prophet Elijah (14th century)
Byzantine Bath (14th century)

youtu.be/TsAl-6Hk1VI
Byzantine chant - Anonymous
The uncompleted hymn Αναστάσεως ημέρα (Hymn of Praise-Resurrection Day) comes from a manuscript dating back to the second half of the 14th century and was preserved at the Library of the Romanian Academy.

.

.


photo:
Church of Saint Panteleimon (Thessaloniki)
en.wikipedia.org/wiki/Church_of_Saint_Panteleimon_(Thessaloniki)


Church of St. Panteleimon (Thessaloniki)
Church of St. Panteleimon (14th century)
Ναός Αγίου Παντελεήμονος (Θεσσαλονίκης)
www.thebyzantinelegacy.com/panteleimon-thessaloniki
www.flickr.com/photos/byzants/albums/72157714280159988/


Just to the north of Egnatia Street, not too far from the Rotunda, is the Church of Hagios Panteleimon, another of the Byzantine churches of Thessaloniki which is difficult to identify, since its present name is a modern one. It is one of the 15 Paleochristian and Byzantine Monuments of Thessaloniki that were included in the UNESCO World Heritage List in 1988.

Historical research identified the church with the Monastery of the Virgin Peribleptos, also known as the Monastery of Kyr Isaac, from the monastic name of its founder who, under the name Iakovos, was Metropolitan of Thessaloniki between 1295 and 1315. This monastery is connected with a number of distinguished intellectuals of Thessaloniki in the 14th century. The monastery retained the name of its founder after 1548, when it was converted into a mosque with the name Ishakiye Camii.
The identification of the modern church of Hagios Panteleimon with the Monastery of the Virgin Peribleptos was not universally accepted, and some scholars believe that the Monastery of the Peribleptos already existed in the 12th century, and that the church of Hagios Panteleimon was converted into a mosque about 1500 by Ishak Çelebi, the Kadi of Thessaloniki, after whom it was named. The architecture and painted decoration of the church, however, date it to the late 13th - early 14th century and, together with other evidence, appear to support the former view. From an architectural point of view, the church belongs to the complex tetrastyle cross-in-square type, with a narthex and an ambulatory that ends at the east in two chapels. The ambulatory was destroyed at the beginning of the century, but the chapels survive. We know, however, that the outer faces of the ambulatory were articulated by blind arcading and that it had two tribela on the north and south, two domes in the middle of the north and south sides, and two more at the north-west and south-west corners. The centre of the narthex, too, was covered by a dome, while the side bays were vaulted. The eight-sided dome over the nave is supported on columns and capitals taken from earlier buildings. The triple sanctuary ends in an apse with a five-sided exterior, which has a three-light window in the centre. There are also three-light windows in the drums over the arms of the cross. The decorative brickwork is confined to dentilated bands and rosettes.

Very few of the original wall-paintings survive. In the prothesis is preserved a representation of the Virgin Orans - in an attitude of supplication with Christ at her bosom, in the type of the intercessor praying for the salvation of mankind. The diakonikon has some of the most important saints of the church, such as Saint Peter of Alexandria, Eustathios of Antioch, and Gregory of Nyssa; these are portrayed in an attitude of reverence towards Saint James the Brother of the Lord, who occupies the position of honor in the apse. This composition has been interpreted as honoring both the Church of Jerusalem, of which James the Brother of die Lord was the first bishop, and also St. James himself, who had the same name as the founder of the church, James, the Metropolitan of Thessaloniki. The art of the wall-paintings has been described as transitional, since they combine the monumental style, anti-classical conception, and modeling of 13th century painting with the color harmony and facial types of 14th century works. The rest of the painted decoration of the church belongs to a Turkish repair at the beginning of the 20th century. The phase when the church was converted into a mosque is represented by the base of the minaret and a marble fountain in the grounds of the building.

.

.

Paleochristian and Byzantine monuments of Thessaloniki
en.wikipedia.org/wiki/Paleochristian_and_Byzantine_monume...
whc.unesco.org/en/list/456
The city of Thessaloniki in Macedonia, Greece, for several centuries the second-most important city of the Byzantine Empire, played an important role for Christianity during the Middle Ages and was decorated by impressive buildings. Because of Thessaloniki's importance during the early Christian and Byzantine periods, the city contains several Paleochristian monuments that have significantly contributed to the development of Byzantine art and architecture throughout the Byzantine Empire and Serbia.[1] The evolution of Imperial Byzantine architecture and the prosperity of Thessaloniki go hand in hand, especially during the first years of the Empire,[1] when the city continued to flourish. Despite the capture of Thessaloniki by the Ottoman Empire in 1430, the Christian monuments were not destroyed, and travelers such as Paul Lucas and Abdulmejid I[1] document the city's wealth in Christian monuments during the Ottoman control of the city.

In 1988, fifteen monuments of Thessaloniki were listed as UNESCO World Heritage Sites:[1][2]

City Walls (4th/5th centuries)
Rotunda of Saint George (4th century)
Church of Acheiropoietos (5th century)
Church of St. Demetrios (7th century)
Latomou Monastery (6th century)
Church of St. Sophia (8th century)
Church of Panagia Chalkeon (11th century)
Church of St. Panteleimon (14th century)
Church of the Holy Apostles (14th century)
Church of St. Nicholas Orphanos (14th century)
Church of St. Catherine (13th century)
Church of Christ Saviour (14th century)
Blatades Monastery (14th century)
Church of Prophet Elijah (14th century)
Byzantine Bath (14th century)

Leica M11
Summaron-M 1:5.6/28

Park in the Past is a conservation project aiming to create a totally unique heritage attraction and vital community resource.

Set in an ancient Welsh landscape, the park comprises 120 acres of outstanding natural beauty offering woodlands and wetlands, a 35-acre lake and the River Alyn. They are building a prehistoric realm and a full-scale Roman fort and Celtic village.

Ironbridge WW2 Weekend 2026

Ironbridge WW2 Weekend 2026

Route 66 Memories
Get your kicks! Celebrating 100 years of Route 66 through my lens.

Rusty Dreams II
1932 Studebaker
Route 66
Petrified Forest National Park
Arizona
August 2015

A rusted 1932 Studebaker sits in Arizona's Petrified Forest National Park—the only national park containing a stretch of original Route 66. The car serves as a moving tribute to the families who fled west during the Dust Bowl.

Ironbridge WW2 Weekend 2026

Redmond Hardware / Lodge Hall Building (1903)

Info: canalrivertrust.org.uk/things-to-do/museums-and-attractio...

Info: canalrivertrust.org.uk/things-to-do/museums-and-attractio...

Info: canalrivertrust.org.uk/things-to-do/museums-and-attractio...

Operative of the French Resistance with the Cross of Lorraine on her right arm.

Operation Jedburgh was a clandestine operation organised by special operations units from Great Britain, the USA and the French government in exile.


Ironbridge 40's Weekend 2026, held 23rd and 24th May 2026 at Dale End Park, Ironbridge, in Shropshire. An annual 1940's military and civilian re-enactment, using themes and characters mostly from the European theatre of conflict. As always, the atmosphere was fun, friendly and vibrant. Photos taken

Pictures were taken on the Sunday, 24/05/26, at a public event where it is assumed to be OK to publish on the internet. Permission was granted by the subjects for posed photos. However, if anyone wants any photo removed from this set, please contact me, Bob, at dimparcio@protonmail quoting the file number eg DSC1234 and I will do so forthwith. Otherwise, if you like them and would like to download them, please do so, especially if it helps promote re-enactments such as this.