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The Gelati Monastery, was inscribed as a UNESCO World Heritage Site in 1994. Founded in 1106 AD by King David IV (David the Builder, ruled 1089-1125 AD) and the site of his tomb, a wall surrounds the monastery complex within which are: The 12th century Church of the Nativity of the Virgin; Two 13th century churches, the Church of St. George and the Church of St. Nicholas; A 13th century bell tower; The 12th century Academy of Gelati building, which was a center of science and education; And other structures including monk’s quarters.
UNESCO notes: “The monastery is richly decorated with mural paintings from the 12th to 17th centuries, as well as a 12th century mosaic in the apse of the main church, depicting the Virgin with Child flanked by archangels. Its high architectural quality, outstanding decoration, size and clear spatial quality combine to offer a vivid expression of the artistic idiom of the architecture of the Georgian “Golden Age” and its almost completely intact surroundings allow an understanding of the intended fusion between architecture and landscape.” In addition to the tomb of David IV, other royal graves are found on the grounds including those of Demetrius I (died 1156), George III (died 1184), Vakhtang II (died 1292), George V (died 1346), Bagrat VI (died 1748), and Solomon II (died 1815). Tradition holds that Queen Tamar the Great is buried here, however her tomb has yet to be found.
Transdev Lancashire United: 1089 (PO51 MUC) a Wright Renown bodied Volvo B10BLE, painted in cream and blue fleet livery. This vehicle is captured here part way through a journey on Service 225 to Blackburn.
© Christopher Lowe.
Date: 3rd July 2012.
Ref No. 0030858.
Contemporary dance, Entropy.
This dance is about the hazards of plastic pollution in the ocean. Every piece of discarded plastic is a silent ecological violence, and every indulgence will be a harm to yourself. This dance explores howto choreograph with lightweight and soft props while maintaining the full range of movement exploration.
Choreographers/ Dancers: Cheng Xi, Gong Shengjiao, Liu Shujun, Ruan Ziyun, Song Taotao
An NS Freight Train sits tied down in Woodlawn, AL. waiting on a crew to yard the train at Norris Yard in Irondale, AL. with a pair of SD70ACe’s in charge.
MOVIMENTO IN RIO TERA'
Il rio terà (in italiano canale interrato) è un elemento peculiare della viabilità della città di Venezia. Come dice il nome, si tratta di una strada pedonale ricavata per interramento di un canale preesistente. Quando a venire interrato era invece uno stagno, un laghetto o un'area paludosa, la strada prendeva il nome di piscina.
Gli interventi di interramento furono frequenti, talvolta per motivi di bonifica, molto più spesso per favorire la viabilità, ed ebbero luogo fin dal XIV secolo: il rio terà della Maddalena, lungo la Strada Nova, il cui interramento risalirebbe al 1398, sembra essere il primo esempio di allargamento della viabilità ottenuto con questo metodo. Gli interventi principali si collocano comunque tutti a cavallo tra il XVIII e il XIX secolo. Infatti nel periodo tra il 1816 e il 1866 furono interrati 28 rii.
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MOVEMENT IN RIO TERA'
The Rio Terà (in Italian underground canal) is a peculiar element of the road network of the city of Venice. As the name suggests, it is a pedestrian street created by burying a pre-existing canal. When a pond, a small lake or a marshy area was to be filled in, the road took the name of swimming pool.
Interventions of burial were frequent, sometimes for reasons of reclamation, much more often to improve the road system, and they took place as early as the fourteenth century: the Rio Terà della Maddalena, along the Strada Nova, whose burial would date back to 1398, seems to be the first example of road widening obtained with this method. However, the main interventions are all placed between the eighteenth and nineteenth centuries. In fact, between 1816 and 1866, 28 canals were filled in.
Informazioni tratte da "Wikipedia, l'enciclopedia libera"
CANON EOS 6D Mark II con ob. CANON EF 70-300 f./4-5,6 IS USM
DSC_1089 - 224 - SJ16 CSV - Volvo B5TL/Wright Gemini 3 - Lothian Buses (City Sightseeing Edinburgh) - Edinburgh, South St Davids Street 03/10/20
Scania K450EB 6x2 Beulas Cygnus II nº 1089 del Grup Sagalés de Caldes de MontbuÍ (Barcelona)
Alta a nom de Fytsa
El veiem el 24 Març 2021 a Caldes de Montbuí asignat a la línia Moiá - Barcelona
Credits Here : clefdesolsite.wordpress.com/2017/11/06/1089/
Cosmopolitan {Round 8/6} 6th - 18th November here :
maps.secondlife.com/secondlife/No%20Comment/131/61/22
Visit this location in Second Life here: La Vie : maps.secondlife.com/secondlife/La%20Vie/70/84/21
El 1089 de Sagalés és un Scania K450EB 6x2 amb carrosseria Beulas Cygnus. El veiem normalment asignat a les linies que uneixen Barcelona amb Caldes.
Sanssouci, Postdam, Brandenburg, Deutschland.
Sanssouci es el nombre de un conjunto de edificios y jardines que incluyen el antiguo palacio de verano oficial de Federico II el Grande, rey de Prusia, en Potsdam, cerca de Berlín. Se trata de una de las obras cumbres del estilo Rococó, y es también notable por los numerosos templetes y pabellones diseminados por el parque que rodea el conjunto.
El palacio fue obra del arquitecto Georg Wenzeslaus von Knobelsdorff, y fue construido entre 1745 y 1747 como residencia privada del rey Federico, donde pudiera relajarse lejos de la pompa y la ceremonia de la corte de Berlín. Esta circunstancia es patente en el mismo nombre del palacio: Sans Souci es un término francés que puede traducirse como Sin Preocupaciones, simbolizando que el palacio era más bien un lugar de descanso que un centro de poder.
El palacio no sobrepasa las dimensiones de una gran villa de un solo piso, más parecido al Palacio de Marly que al Palacio de Versalles. Con sólo 10 habitaciones principales, fue edificado en la cima de un pequeño tozal aterrazado situado en medio del parque. Tan grande fue la influencia del gusto personal de Federico en el diseño y decoración del palacio, que su estilo ha sido calificado como "Rococó federiciano". Federico sentía el palacio como una propiedad tan personal que lo consideraba "Un lugar que moriría con él". Jan Bouman, un arquitecto holandés, concluyó el proyecto.
Durante el siglo XIX, el Palacio se convirtió en una de las residencias de Federico Guillermo IV de Prusia. Este monarca contrató al arquitecto Ludwig Persius para restaurar y ampliar el edificio, y a Ferdinand von Arnim para mejorar la ciudad y de esta forma, las vistas desde el palacio. La ciudad de Potsdam, con sus palacios, fue uno de los lugares residenciales preferidos por la familia imperial alemana hasta la caída de la dinastía de los Hohenzollern el año 1918.
Después de la Segunda Guerra Mundial, el Palacio se convirtió en una atracción turística de la Alemania del Este. Se mantuvo completamente, de acuerdo con su importancia histórica, y fue abierto al público. Tras la reunificación alemana en 1990, se hizo realidad el deseo de Federico: sus restos mortales fueron finalmente trasladados a su amado palacio y enterrados en una nueva tumba situada sobre los jardines que él había creado.
En el año 1990, Sanssouci y sus jardines fueron declarados Patrimonio de la Humanidad por la Unesco. En 1995 se creó la Fundación de los Palacios y Jardines de Prusia en Berlín-Brandeburgo, con el objetivo de conservar Sanssouci y otros palacios imperiales en Berlín y sus cercanías. Estos palacios reciben hoy en día la visita de más de dos millones de personas cada año, procedentes de todo el mundo.
Sanssouci is the name of a group of buildings and gardens that include the former official summer palace of Frederick II the Great, King of Prussia, in Potsdam, near Berlin. It is one of the top works of the Rococó style, and it is also notable for the numerous temples and pavilions scattered throughout the park that surrounds the complex.
The palace was the work of architect Georg Wenzeslaus von Knobelsdorff, and was built between 1745 and 1747 as a private residence of King Frederick, where he could relax away from the pomp and ceremony of the Berlin court. This circumstance is evident in the very name of the palace: Sans Souci is a French term that can be translated as Worryless, symbolizing that the palace was more a place of rest than a center of power.
The palace does not exceed the dimensions of a large single-storey villa, more similar to the Palace of Marly than to the Palace of Versailles. With only 10 main rooms, it was built on top of a small terraced tozal located in the middle of the park. So great was the influence of Federico's personal taste in the design and decoration of the palace, that his style has been described as "Federicia Rococó". Frederick felt the palace was such a personal property that he considered it “A place that would die with him.” Jan Bouman, a Dutch architect, completed the project.
During the 19th century, the Palace became one of the residences of Frederick William IV of Prussia. This monarch hired the architect Ludwig Persius to restore and expand the building, and Ferdinand von Arnim to improve the city and, in this way, the views from the palace. The city of Potsdam, with its palaces, was one of the preferred places of residence for the German imperial family until the fall of the Hohenzollern dynasty in 1918.
After World War II, the Palace became a tourist attraction in East Germany. It was fully maintained, in accordance with its historical importance, and was open to the public. After the German reunification in 1990, Federico's wish came true: his mortal remains were finally transferred to his beloved palace and buried in a new tomb located on the gardens he had created.
Sanssouci and its gardens were declared a World Heritage Site by Unesco in 1990. In 1995 the Foundation of the Prussian Palaces and Gardens was created in Berlin-Brandenburg, with the aim of preserving Sanssouci and other imperial palaces in Berlin. and its surroundings. These palaces are visited today by more than two million people each year, from all over the world.