HOW TO CLEAN EXTERIOR WINDOWS : HOW TO CLEAN


HOW TO CLEAN EXTERIOR WINDOWS : THE GAME MY LIFE LYRICS CLEAN.



How To Clean Exterior Windows





how to clean exterior windows






    exterior windows
  • (EXTERIOR WINDOW) is the outermost window, the one exposed to the outside air or elements.





    how to
  • Practical advice on a particular subject; that gives advice or instruction on a particular topic

  • (How To’s) Multi-Speed Animations

  • Providing detailed and practical advice

  • A how-to or a how to is an informal, often short, description of how to accomplish some specific task. A how-to is usually meant to help non-experts, may leave out details that are only important to experts, and may also be greatly simplified from an overall discussion of the topic.





    clean
  • Remove the innards of (fish or poultry) prior to cooking

  • clean and jerk: a weightlift in which the barbell is lifted to shoulder height and then jerked overhead

  • free from dirt or impurities; or having clean habits; "children with clean shining faces"; "clean white shirts"; "clean dishes"; "a spotlessly clean house"; "cats are clean animals"

  • Make (something or someone) free of dirt, marks, or mess, esp. by washing, wiping, or brushing

  • make clean by removing dirt, filth, or unwanted substances from; "Clean the stove!"; "The dentist cleaned my teeth"











Doors of the St. John's Co-Cathedral, Valletta, Malta




Doors of the St. John's Co-Cathedral, Valletta, Malta





This extraordinary edifice houses Malta’s finest art treasures and its splendor tests the limits of the lexicon; words like ‘lavish’ and ‘opulent’ fall far short of the mark.
History and Exterior
After the knights left Birgu (Vittoriosa) in 1571, the need to replace St. Lawrence’s Church with a new Conventual church – one for the brotherhood of the entire Order – was of paramount concern. Yet the new building, dedicated to their patron saint St. John the Baptist, had to be more than a place of collective worship: it had in time to be a place which could embody the wealth, glory and power of the Order itself. With tact, Cassar designed a clean but heavy facade in homage to the then austere military attitudes of his paymasters. For the next 80 years, the interior remained as stark as the exterior.
Work commenced in the autumn of 1573 on a simple but somewhat heavy Renaissance-influence plan: a wide screen facade, an entrance between two Doric columns with twin bell-towers either side (the spires of which were removed during the Second World War). The interior was also to be conventional – a single rectangular nave below a great barrel vault with an apse at the northeast end and eight side chapels, one for each of the langues, between the huge reinforcing buttresses.
The church was consecrated on 20 February 1578 and was built and paid for by the French Grand Master de la Cassiere. Other parts of this calmly severe building were added later; the sacristy in 1598, the oratory in 1603, and the loggia annexes in 1736. The two cannons date from 1600 and 1726; the former with lion handles bears the Battenburg coat of arms, and the latter the arms of Grand Master de Vilhena.
The Interior
As your eyes adjust from the harsh sunlight to the muted, even gloomy interior, they are drawn down the 190 feet length of the nave to the altar, trying, and failing, to take in the opulence and the fields of frescoes en route. Nothing quite prepares your for the engulfing effect of such affluence; not even Napoleon’s wholesale depredations have dimmed it. With every election to the magistracy, or even a promotion, a knight had, by statute, to provide a gioia (gift) to the Order’s church. St. John’s and the neighbouring chapels of each langue were lavished with gifts in expensive rounds of knightly one-upmanship. As the threat of Infidel wars diminished, the Order grew wealthier (and softer) and its tastes became more and more flamboyant.
The Nave: The Order’s inherent ostentation was given further rein upon the death of a knight, for only a knight, and then only one of distinction, could be interred in St. John’s. The entire pavement of the nave is made up of 364 tessellated tombs; the earliest, in the Chapel of Aragon, dates from 1602. Some of the symbols are garish and some simple, but each is individual. One of the memorial slabs by the Republic Street entrance belongs to a French knight, Anselmo de Caijs. His inscription translates: ‘You who tread on me, you will be trodden upon; reflect on that and pray for me.’ Annoyed at not being promoted, he apparently took his grievance to the grave. The bronze and marble Baroque mausoleum remembers Italian Grand Master Zondadari, nephew of Pope Alexander VII who was once an inquisitor in Malta.
The Vault: Nikolaus Pevsner, the art historian, states that Mattia Preti’s work depicting the life of St. John the Baptist in the vault of St. John’s is ‘the first realized example of high Baroque art anywhere.’ The work ws commissioned in 1661 by the Cotoner brothers, Rafael and Nicolas, grand masters from 1660 to 1680. The vault is illuminated by six oval windows and divided into six bays, which in turn are subdivided into three, thereby creating one stone canvas for 18 episodes in the Baptist’s life. Not strictly frescoes – Preti painted in oils directly onto the barely primed and porous stone – they took five years to complete. The cycle commences on the left of the first bay by the main door and ends with the beheading, on the right above the altar. The figures on either side of the windows are of individual knights, and saints revered by the Order.
In the sacristy, Antoine de Favray’s terrific portrait of grand Master Pinto, one of the island’s best paintings, is poorly served by the lighting. Painted in 1747, it tells chromatically and stylistically how far the Order and its magistracy had departed from its crusading Hospitaller origins. Dressed in flowing ermine robes, Pinto almost sweats vanity and decadence as he points at the jeweled crown symbolically placed in front of his redundant steel helmet. Other works include the late 16th-century Baptism of Christ by Matteo Perez d’Aleccio (once St. John’s titular painting), the old Aragonese altarpiece of St. George by Frederico Potenzano from 1585, a portrait of Grand Master Nicolas Cotoner by Mattia Preti and a portrait of Preti himself in what is now the entrance to the sacristy there was once a chapel for the











Generic Nowhere




Generic Nowhere






OK, here we are. We're right in the middle of.....well, it's some town, somewhere. Who knows, but we know that we were there since we have this photo, but can't quite place it at the moment. But, how could anyone place this place ? It's....nowhere. Don't for a moment think that forgettable store fronts such as these just happen. Heck no, there are rules and specifications to be followed to become a Generic Nowhere place.

A minimum of at least 3 distinctly different brick patterns are required to qualify as in our book. If the mortar is also dissimilar then you have some bonus points coming. Of course, the sign over the door must have lost its letters and even their outline should be faded to give no clue as to what it might have been. This keeps 'em guessing and it's well on its way to becoming legally Generic Nowhere.

It's your choice of fuel as long as you don't need any. Notice the shrewd placement of the gas pump cleverly blocking visitors from entering the front door. People who live in the Generic Nowhere just love a blasted old spent gas pump. They'd rather stare at one all day than gain entry to essential goods, that is, if such goods were available which they clearly are not. Either bent, broken or never used articles and implements must be stored barely within view of windows which should be a bit too dirty to see through. Visitors should be tempted, but never visually satisfied.

The building on the right is coated with that wonderfully unmemorable green. Where one camouflages the senses, an artistic amnesia obtains. Where windows cannot be kept sufficiently dirty, the view may be blocked using any textile goods which are faded enough to exude dinginess. In keeping with code, they have employed the classic standing seam tin roofing which is found on every out building in every nowhere place and undistinguished in every way. The glass door should be clean, clear, but the interior totally empty and dark so that motorists mistake it for a viable enterprise, pause, exit the vehicle then peer into the nothingness only to become vexed.

Whoops, now that we think of it you cannot find the make of the car written anywhere on the visible exterior surfaces of the vehicle. Neither " Ford " nor " Mustang " appear on the car. It came that way. { Note: Some V-6's do have "Mustang" marked on the rocker panels, but we don't know nuttin' 'bout no V-6 }.

Oh well, we are the other side of the coin we think. When your design is that unmistakable, when your style is so individualistic, who needs a label, 'eh ? Don't you just hate our arrogance ! Don't you just want to key our finish ! Don't you even want us to get a parking ticket ?









how to clean exterior windows







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