Hidden Auto Radio Antenna

Degustazione d’antipasti:

Culattelo con marroni ,carpaccio di carne salada salsa verde,cotechino nostrano e crema di lenticchie,tartara di manzo Piemontese,fagottino di pasta fillo alle verdure,o,salmone marinato affumicato,insalatina di polipo,calamari e gamberi

+++++

Risottino al radicchio e parmigiano con petto d’anatra affumicato

Agnolotti di scorfano in salsa d’acciughe

+++++

La faraona ripiena alle castagne salsa tartufata

+++++

Il tortino al cioccolato Fondente Macaè, Crema inglese

Water Toys From The 80's

Loughcrew (Sliabh na Caille)

Sliabh na Caille, the Mountain Witch. This is also known in Gaelic Loughcrew the site, west of the town of Kells and the south of Oldcastle, County Meath. As part of a large portion of the mountains and hills, extending in an area of \u200b\u200babout 4 km, the area of \u200b\u200bLoughcrew is literally strewn with ancient monuments. On top of each peak is a Cairns Group closed chamber and, originally, there were probably about 40 monuments in total.

This site was probably dedicated to the goddess, which became, in Christian times, a witch named Garavogue. A legend narra di come i cumuli di pietre presenti sul territorio, siano caduti dal grembiule della strega quando questa saltò un bel giorno in vetta alla collina.

Le colline principali sono: Cairnbane a ovest, Sliabh na Caillì al centro e Patrickstown a Est. Esisteva anche almeno un cumulo di pietre su una quarta collina, chiamata Sliabh Rua o Carrigbrack. Tutti i siti di Loughcrew sono edificati ad una quota approssimativa di 200 m di altezza, e il punto più alto del complesso è la cima del Cairn T, a quota 276 m sul livello del mare.

Sette monumenti rimangono a Sliabh na Caillí, la vetta più alta e centrale. Il Cairn T, la struttura principale è in buone condizioni, con tetto and the burial chamber intact, while others are in various states of degradation, due to the removal of the stones in the past, as a material used by the locals.

On top of Cairbane West there are fifteen monuments, including the Cairn L in fair condition, although it was restored in 1930 with a concrete roof, and the Cairn D, the most impressive, but unfortunately devastated by reckless searches archaeological sites of the 19th Century, sealed today.

The site is in worse condition Patrickstown the eastern hill, the 21 monuments have been heavily looted over the centuries, and of which there are only three structures, including a wonderful stone calendar.

Let's look at the most important structures of Sliabh na Caille:

The Cairn T

Cairn T

From the parking lot, after a short but steep walk to the summit of the hill, where it immediately raises the Cairn T. From the very top of the mound, as already mentioned is the highest peak of Loughcrew, you can enjoy a magnificent view, which some days seems limpinde areas in 18 counties, definitely one of the best vantage points in all of Ireland! The Cairn T is in excellent condition but is not complete, it lacks the key to the inner chamber, acting on a metal grid and the coating of quartz, similar to Newgrange, which was unfortunately removed over the centuries and more restored. A circle of 38 kerbstones defines the mound.

Hag's Chair

On the north side of the mound we can find a large kerbstone two "horns", from the vague shape of a seat. In fact the stone is called the "Seat of the Witch" (the Hag's Chair). According to local folklore, the stone sits normally Garavogue to observe the night sky. The stone seems to be aligned with the North Star. The folk tradition also says that a large plate, carved in a block of quartz, filled with human bones to be buried near the seat of the Witch, but to date has not yet been found. The seat is carved a cross, in addition to the Christian era, as was the custom to do to "consecrate" places of the Old Religion still rooted in the imagination of the people. The remains of six small mounds surrounding the Cairn T.

engravings on the wall of the passage

The Cairn T is closed by a gate, but its interior can be visited by requiring the key to Loughcrew Garden Tea House, on the south side of the hill, leaving a small deposit or a document (driver's license or passport are fine) as collateral. Just entered in the barrow, the visitor is immediately faced with engraved stones entrambi i lati del passaggio. Una delle più belle caratteristiche di Loughcrew è l'abbondanza di antiche incisioni, che possono tranquillamente venire considerate tra le più antiche forme di arte visuale di tutta l’Irlanda. tra la prima scrittura in questo paese. Procedendo verso l’interno incontriamo una pietra di notevoli dimensioni eretta verticalmente a separare il passaggio dalla camera centrale. La camera si presenta con la classica forma a croce, tipica delle tombe a passaggio irlandesi.

Sliabh na Caillí Equinox Stone

Il Cairn T di Loughcrew è, probabilmente, uno degli the oldest buildings still standing in the world, seeing that the dates could make it back about 4000 years before Christ. According to the Classima cross shape, unfold from the central three smaller rooms, oriented to the south, west and north. The main wall to the west of the environment is richly carved with motifs similar to those found at other sites in County Meath (Newgrange and Knowth), called "Sliabh na Caille Equinox Stone", on which are the pits that are to appear indicate the progressive shift of the point where the light fell during the equinoxes.

Cairn U

Camera centrale CairnU



Cairn U



Il Cairn U è il primo monumento che si para davanti al visitatore appena oltrepassa il cancelletto che delimita il sito sulla cima della collina. Misura circa 13 metri di diametro, con un anello di 16 kerbstones, la maggior parte delle quali sono ancora in piedi. Le pietre del tumulo sopravvissute si trovano a livello degli ortostrati, che è di circa 1,5 metri di altezza. Il passaggio e la camera, o quel che ne rimane, measured nearly 7 feet long, surrounded by 13 engraved stones, including two more panels. The time has unfortunately disappeared.

The room is as usual cruciform, with a termination right greater than left. The latter is separated from the rest of the room by a stone, and it is conceivable that the environment was left with such a "divider." To enter what's left of the passage must cross a high ledge of rock, similarmete to that of Cairn T. This mound appears to have been oriented to receive light at dawn on November 1 (Samhain) and Candlemas day (early February)

Free Waxing Hidden Cam

Sheela na Gig

A Sheela Na Gig is now a particular stone carving, although in the past there were also pieces of wood, have been lost over the centuries. Usually they are carved rectangular stone blocks, forty to sixty centimeters high and wide about half. Sheela Some are carved in high or low relief, some relief as a fake and some are simply set in stone. The bill varies greatly, and you go to pieces very well carved and detailed figures sketchy.

Sheela na Gig Killinaboy

The Sheelas, but do not want to be realistic works, but they are part of an ancient symbols. Although each sculpture has its own characteristics, the characteristic that unites them all is the fact that attention is deliberately focused on the vulva of the statue. In addition, the Sheela na Gigs often possess a combination of the following characteristics:

- Big Shoulders
- bulging eyes
- Ribs in view
- streaks on the cheeks and eyelashes
-
oversized head - Hair Loss
- Breasts flaccid
- Mouth wide open
- teeth gnashing
- ears

The laying of Sheela Na Gigs is not always the same, are Sheelas crouching, standing or bent. Most of the time have both arms outstretched to the vulvar area. However, the position of the arms is varied, may go behind or in front of the legs, hands can touch the vulva or not and, in cases where the arms are not in the same position, indicating a limb may be another element of the sculpture, usually in one ear. There are a few examples of Sheela with both arms raised, sometimes intent on brandishing a round object or a sword-shaped (a foul?).

Sheela na Gig on the riverside of Fethard

In the past, there have been deliberate attempts to make it appear the Sheela na Gig as a bad figure, grotesque and horrible, in light of the fact that contravened any Western standard of beauty, but they were all errors of categorization, as the Sheelas are not, as already mentioned, faithful representations, but symbolic, incomprehensible to the conscience of the populace. The Sheela na Gigs, taken as a symbolic pictures, leave nothing to chance, including the physical resemblance to the most common representation of death and exaggerated reference to the birth canal.

The position today of a Sheela Na Gig is no concrete evidence to prove a theory about its true origin. today are not evidence to prove the theories of its origin. The vast majority of the sculptures are not in their original position, as they are often being moved over the centuries. Thus, we have two distinct types of Sheelas: a type that is in its primary site, well integrated within a broader architectural motif, and another type that shows the location as a secondary site, as evidenced by the different types of stone, from not reflect the main architectural motifs and the presence in the local folklore stories about the original location of the sculpture. To begin an analysis, the country in which they are often defines the type of position of a Sheela:

- In Ireland, we find the widest range of locations for this type of sculpture, placed tra le rovine di  alcune chiese, monasteri, sulle chiavi di volta di alcuni castelli, su architravi, finestre, round towers, mura porte e pilastri.
- In Inghilterra, quasi tutte le Sheelas si trovano sulle proprietà di una chiesa o di una abbazia.
- In Francia e in Spagna si trovano esclusivamente nei particolari architettonici di chiese Normanne.

In questi ultimi casi, la loro presenza nell'architettura Normanna fa subito sorgere un dubbio sull'origine: Le Sheela na Gigs sono nate sul continente e si sono successivamente diffuse nelle Isole Britanniche o vice versa?

Nel complesso, potrebbe essere facile risalire all'età di una Sheela, ricavandola dal contesto architettonico, e per Some of this is possible, but in many cases that were often moved, making it difficult a precise date.

Sheela na Gig - Museum of Rock of Cashel

As for dating the paintings, the original buildings were built in which are inserted between the thirteenth and seventeenth century. The oldest of these buildings in Ireland, are the ruins of the convent and the monastery of Killinaboy Athlone, both dating to about 1200. The presence of such sculptures in Irish castles marked a period of revival of the traditional style, started in mid-'500 (Ballynderry Castle), and lasted for more than a century, until the building of Moate Castle, 1649.
However, these were often relocated Sheelas castles, being the oldest from other places (as it probably bears witness to the Sheela na Gig exposed in Rock of Cashel).

The conservation status of these sculptures is obviously related with its position. Those best preserved from the elements, positioned on the internal elements do not necessarily have been saved from being vandalized during the religious campaign - misogyny that the Church has perpetrated over the centuries. The systematic destruction of

Sheelas, at least in Ireland, began in 1600, with a provisional state that ordered the priests to hide all traces of this type of sculpture. Some specimens are impossible to remove, were so disfigured or destroyed. Unfortunately, then, by want of evidence, either for their religious fervor, the conservation status of these images is almost never optimal.

The charm of a Sheela na Gig, lies in the mystery surrounding its origins, in its symbolic function.

After careful analysis of current theories about why the phenomenon of Sheela may have developed, some ideas can be immediately set aside. shall be immediately removed. The first of these is the theory that are Sheela "raffigurazioni della fertilità". Il tentativo di inquadrare la Sheela all'interno della categoria delle raffigurazioni della Dea della Fertilità tradizionale, con il ventre prominente e il grosso seno, non riesce semplicemente a causa delle caratteristiche fisiche proprie della Sheela na Gig (Vedi sopra). Nel folklore che circonda le Sheela, il tema della fertilità sembra essere una recente aggiunta.
Infatti, nonostante il contesto più ovvio per cercare informazioni sulla funzionalità della Sheela potrebbe essere proprio il folklore, non ci sono fonti significative dell'antichità sufficiente a fornire elementi credibili.