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  • She holds the doorway which opens in the liminal-times: She appears when opposing energies meet, and she is also found when the energies of the Three Realms come together. I feel her presence in ceremony, when we enter that stillness, on the edge between this world and the next. I feel her when I center, when I still myself and find the quiet place of prayer, the silence from which the voices of spirits can emerge.

    She is the silence that enfolds us, the moment as we poise on the edge before diving into a new realm. Her shining, silver-white energy washes us clean. She opens our eyes and gives us the strength and courage to begin anew. Dance me through to the silence to the edge where the world begins. In other images, when she is depicted with breasts they are almost always the drooping, long and flat breasts of a post-menopausal woman.

    At times her chest is scarred, with skeletal ribs, a fierce grimace, and the bald head of either a newborn or an extremely aged hag. If we take full breasts and bellies to be symbols of nurturance and material abundance, this is not a nurturing figure.

    This Sheela may be guarding the entrance to a crypt. The earliest known sheela-type images have generally been believed to have been carved in the late eleventh century, on medieval churches in south-western France, and then later in England and Ireland from the twelfth through the sixteenth century.

    However, these images from Continental Europe, to my eye, do not much resemble the sheelas of the Insular Celtic lands, aside from being nude females or, mostly female. While the Continental images I've seen are more likely to resemble human women, many of the insular sheelas tend to have the characteristic flat-topped, large, vaguely triangular head and emphasised eyes of much older Celtic carvings.

    The prevailing opinion among scholars, at least at the time of the first publication of this article, was that the sheelas are a Christian invention, and that there was no firm evidence of sheelas at ancient pagan sites. They are very weathered, but I believe they could very well be sheelas, or at least precursors to the sheelas. As far as I'm aware, there has been no official dating of these first two carvings, though some researchers believe at least one of them to be pre-Christian.

    A figure that received a lot of publicity in the summer of is most definitely pre-Christian, but we're still determining whether it is in fact a sheela I think it is. The fact that the figure was carved of yew was significant as the yew tree was considered sacred and was believed to have been endowed with regenerative properties. Taghart Mountain was a hilltop festival site of Lunasa. This site was used as a place of worship by the late Bronze Age people, by the Iron Age Celts and into early Medieval times.

    The Sexuality of the figure is ambiguous. The figure pictured below is a replica of the original, which is on display in the National Museum of Ireland in Dublin.

    While this figure lacks many of the characteristics of the later, stone sheelas, I believe it could possibly be an early precursor to those figures. And it makes one wonder what carvings did not survive. That the carving is of yew is very significant, I believe. In the cycle of the ogham letters, birch is the first letter associated with birth and yew is the last associated with death, and with the spirit that survives beyond death.

    When we place the letters in a circle, yew and birch are next to each other, illustrating that death in one world is birth into the next. We may never know for certain, as the oldest-appearing images - on standing stones in graveyards - have also been heavily worn by exposure to the elements, while the ones in churches are more likely to have been protected if they weren't defaced by human hands, as has happened in all too many cases.

    Tara Hill Sheela-na-gig, Co. When the sheela images began to become widespread in Irish churches 12th - 16th cent. These carvings upon the later medieval buildings of Ireland may, then, have been a last manifestation of the old tutelary goddesses.

    Photo from Tara's Sheela na Gig Page. We remained here and grew strong, our spirits rooting and becoming one with our bodies, through the protection of a woman: No wonder many people find these images intimidating, frightening, or grotesque. When we approach the doorway to sacred space, or the gateway to life and death, we go with openness and acceptance of the Mystery: No one truly knows what awaits us on the other side.

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    Will the goddess who greets you be hideous and challenging? Or will she welcome you with love and open arms? Are you sure she will even be there at all? Could this name have been applied to rebellious, independent women who refused to be limited by patriarchal laws that treat women as property?

    What were the origins of this name? Both are derived from the Icelandic root word for shield. While originally only a word for the mounds, in later usage sidh also came to be applied to any otherworldly spirit or creature who might be associated with these places.

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    Here we have twice the paradox: The Ralaghan Figurewith its pelvic hole and possible removable phallus, shows even stronger gynandrous characteristics. In many ancient and some contemporary cultures, gender-variant people are seen as embodying particularly powerful magic. From a design by George Bain. They are sacred creatures who travel in all three realms: Land, Sea, and Sky.

    Herons like to nest in tall pine trees, a sacred tree that is associated with rebirth in the crann ogham. Port means place of refuge, haven, center; fortified place, stronghold.

    Each of the pictured bottles has a relatively short description and explanation including estimated dates or date ranges for that type bottle and links to other view pictures of the bottle. Additional links to images of similar bottles are also frequently included.

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    The array of references used to support the conclusions and estimates found here - including the listed dating ranges - are noted. Additional information and estimates are based on the empirical observations of the author over 50 years of experience; this is often but not always noted.

    Various terminology is used in the descriptions that may be unfamiliar if you have not studied other pages on this site. If a term is unfamiliar, first check the Bottle Glossary page for an explanation or definition.

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    As an alternative, one can do a search of this website. Figured Flasks Figured flasks is a generic name for the large class of liquor flasks primarily produced between and Due to their esthetic and decorative nature, these flasks were infrequently discarded unless broken so many survived to the present day. Figured flasks also include c alabash bottles example belowwhich are covered separately here because of their distinctive shape, and some flasks that fit the form description but are just embossed with lettering, i.

    Unlike most other types of liquor bottles which are generally more common without embossing, figured flasks are by definition embossed since the embossed motifs and molded designs are what defines them as figured flasks, though many shapes are also unique to this group e. Unembossed flasks with shapes similar to some of the later s primarily figured flasks are considered generically in the "Flask not considered figured " category.

    The figured flasks described here represent a small cross-section of the hundreds of different types made during their heyday. These type items are occasionally found on historic archaeological sites though usually as fragments since they were not usually discarded until broken.

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    This book is the source of information on figured flasks and contains by far the most comprehensive listing with illustrations and is the accepted classification system for figured flasks. Here the authors divide figured flasks into 9 distinct "Form Groups" and includes dating ranges for when that form group was first produced.

    The book also covers most other types of 18th and 19th century American bottles and is an almost mandatory reference for serious students of American made bottles of the 18th and 19th century. Because of the beauty - and possibly the intrinsic value - of figured flasks, many have been reproduced at various times during the 20th century. Some of these reproductions are very hard to discern from originals to the inexperienced eye.

    The bottles pictured in this section are all early to midth century originals. Decorative flasks The decorative group of flasks is a category of "pictorial" flasks made up of four primary types: The figured flask pictured to the left and the colorful group of five to the upper right is commonly referred to by collectors as a scroll flask, though in the early days of collecting and probably even now they were referred to as "violin" flasks.

    What 19th century glass makers called these is lost to history. This style of flask was introduced around and were extremely popular through the s and s. Popularity apparently waned by the beginning of the Civil War early s and it appears that very few if any were made after that time. Most scroll flasks were likely made by Midwestern glassmakers, though most do not have makers marks to allow for precise attribution. Scroll flasks were primarily made in half-pint, pint most common size by farand quart sizes, though smaller and larger examples are known, including a gallon size.

    Scroll flasks almost always have some type of pontil scar, i. The range of colors possible in these flasks is almost unlimited, though they were by most commonly made in shades of aquamarine - like the example above. Finishes found on these flasks included primarily the following: The aqua scroll flask pictured above is very typical in design and likely dates from the late s or s.

    Click on the following links for more images of this pint scroll flask from different views: To the right is pictured a very similar pint scroll flask GIX in an unusual yellow green color with a cracked-off and non-refired finish; click thumbnail image to enlarge. Click quart scroll flask to view a picture of a quart sized scroll flask with a double-ring finish. This quart scroll also has an iron pontil scar, is classified as GIX-1 or 2, and likely dates from the mid to late s.

    A colorful grouping of five scroll flasks dating from the late s to late s is also shown at the top of this section above. Another very popular style of early figured flask is referred to as the "sunburst" flask, which encompasses various types based on the molded design on the body. Sunburst flasks are among some of the oldest of the figured flasks dating as early as to and as late as the s for a few.

    Most are believed to have been primarily made by various New England glass works.

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    Sunburst flasks were made in only pint and half-pint sizes. They all have pontil scars - either glass-tipped or blowpipe types - indicating early manufacture. Colors can vary somewhat widely, though the large majority are in shades of olive green and olive amber, various other true greens, shades of amber, and aqua.

    Finishes are typically straight sheared or cracked-off or subtle variations like the rolled, flare, or globular flare typically with with obvious re-firing; and occasionally with hard to classify variations of the double ring, mineral, or others. For more information on sunburst flasks check out the following external link: Click on the following links for more pictures of this flask: As an example of how a given type of bottle can be used or re-used for a non-type typical product, click on the following links: This shows an example of this same type sunburst flask that was used or more likely re-used for "SPTS.

    Spirits of camphor was historically used internally an expectorant and still is used externally muscle aches and pains though is now considered to be a more or less hazardous substance if ingested. It is definitely not a liquor though it has "spirits" in the name.

    The pint, clear green sunburst flask pictured to the right is an earlier product of same Keene, NH. These flasks are often called "two pounders" by collectors as they are almost decanter-like with heavy glass weighing between 2 and 3 pounds.

    Click the following links to view more pictures of this flask: Some of these flasks have an eagle design instead of the urn on the reverse, but are otherwise very similar. The symbols of the cornucopia and urn were easily recognized during the time as symbolic of the young country's U.

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    Cornucopia flasks were made in only the pint and half-pint sizes. These flasks seem to all have pontil scars - typically either a glass-tipped or blowpipe pontil - reflecting their early manufacturing dates; iron pontils are unusual. Colors are once again variable but dominated by olive green, olive amber, other shades of amber and green, and aqua. Finishes are almost always a of the straight sheared or cracked-off varieties or subtle variations like the rolled, flare, or globular flare typically with with obvious re-firing.

    The pictured flask both sides shown - cornucopia side to above left; urn to right is a product of Coventry Glass Works, Coventry, CT. These flasks are very rare, very early s or early sunusual, and unlikely to be encountered. Thus they are not covered. Users can also find some information on these type flasks, including pictures, at the following link: These could also be considered as "historical" flasks by some Munsey Most Masonic flasks have some type of design on the reverse that features an American eagle.

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    These types of flasks are some of the earlier of the figured flasks dating primarily between and the s though a few date as late as the Civil War. One of the later type Masonic flasks is covered in the calabash section. These earlier Masonic flasks were only made in pint and less frequently, half-pint sizes. Like most figured flasks, the Masonic flasks can be found in a wide range of colors though most were produced in different shades of aqua, amber, and green olive green, blue-green, olive amber.

    All of these earlier Masonic flasks are pontil scarred, usually of the glass-tipped or blowpipe type.

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    Iron pontils are rare or possibly unknown empirical observations. Finishes are usually straight shearedcracked-off, or rolled with occasional double ring or other simple applied finishes.

    The above pictured blue-green Masonic flask has a stylized eagle embossed on the reverse and dates between and about It was made in a two-piece hinge mold, has vertically ribbed sides, and a glass-tipped pontil scar on the base.

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    Click on the following links for various view images of this flask: It was also made at the same Keene glassworks as the previous flask, though a decade or more later. Click Masonic-eagle reverse to see the other side of this flask. Another shape type variation of Masonic-eagle flask - and a common flask shape during the s, s and s - is pictured to the right. Historical Flasks This grouping of flasks is quite varied as to embossing, design, and shape. The unifying theme of these flasks - and what differentiates these flasks from other groups - is their historical connection be it emblematic, symbolic, or human.

    The most popular image on figured flasks is not surprisingly the American eagle - often embossed on both sides of the flask. The diversity of different types of eagles is amazing, ranging from the bold and artistic eagles like shown to the right to stiff and simplistic eagles like shown at this link - Pike's Peak-eagle flask reverse view. In general, the more detailed and artistically pleasing eagles are on the earlier flasks s to s and the more simplistic ones on the later flasks s and s though there are exceptions of course Munsey Eagles or other symbols of the U.

    Because of this shapes, sizes, finishes, mold types, and manufacturing processes vary as widely as the period allows with no particular diagnostic features unique to the group like some of the other figured flask types.