View allAll Photos Tagged 54...a
Canon T3i + Sigma 150-500mm
Tem o focinho e traseiro vermelho sem pêlos e cauda curta. O pêlo cinzento que cobre o seu corpo tem duas camadas isolantes, o que faz ser muito adaptável ao ambiente em que vive, permitindo emergir de uma fonte de água quente e caminhar na neve sem sofrer de hipotermia. Os dentes são praticamente iguais aos humanos. Tem uma visão muito fraca, e uma audição relevante. Seu tamanho pode variar de 54 a 61 centimetros e pesar entre 8 e 15 kilos. É encontrado nas florestas de altitude do arquipelago japonês com mais de 1.500 metros.
It has the snout and hairless red rear and a short tail. The gray fur covering its body has two insulating layers, which makes it very adaptable to the environment in which they live, allowing emerging from a hot spring and walk in the snow without suffering from hypothermia. The teeth are nearly identical to humans. It has a very weak, and a hearing relevant. Its size can vary from 54 to 61 inches and weigh between 8 and 15 pounds. It is found in montane forests of the Japanese archipelago with more than 1,500 meters.
Domínio: Eukaryota
Reino: Animalia
Subreino: Eumetazoa
Superfilo: Deuterostomia
Filo:Chordata
Subfilo: Vertebrata
Infrafilo: Gnathostomata
Superclasse: Tetrapoda
Classe: Mammalia
Subclasse: Theria
Infraclasse: Placentalia
Ordem: Primates
Subordem: Haplorrhini
Infraordem: Simiiformes
Superfamília: Cercopithecoidea
Família: Cercopithecidae
Subfamília: Cercopithecinae
Tribo: Papionini
Género: Macaca
Espécie: M. fuscata
MALIK www.malikarts.com
CHECK: www.pussiesparadise.ch/blog/?p=584#more-584
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LACK ONE www.myspace.com/lack_one
V11 www.v11.ch
PASE 54 www.onetruth.ch
DR.DRAX www.onetruth.ch
EZRA ONE www.ezraone.ch/
LOCATION: WWW.KIFF.CH
September 21, 2014, 7:54 a.m.
A family that runs together...
Good running:
20204 - Kash Bagal, M50-54, 33:32
21086 - Sangita Kamble, F45-49, 33:31
21087 - Nikita Kamble-Bagal, F13-19, 33:25
.
C053
Claudius (41-54 A.D.)
Attalea Lycia
Æ 19
O: Bare head left.
R: ΑΤΤΑΛΕΩΝ, helmeted head of Athena right.
Attalea mint
4.44g
RPC I 3366 (2 examples)
Envoi 1
De : Evelyne Villemagne [
Envoyé : lundi 5 juillet 2010 22:54
À : 'onlylyon@lyon-france.com'
Objet : Post des photos du KOLT
Bonsoir,
Nous sommes un groupe damis qui partageons une passion commune : le roller.
A lheure où lyonnaises et lyonnais se rassemblent Place Bellecour pour les
traditionnelles randos roller du vendredi soir, nous avons découvert la
structure « Only Lyon ».
Bravo pour cette belle initiative artistique et ludique en diable
que nous
nous sommes appropriés lespace de quelques instants.
Voici notre déclinaison en images à la mode KOLT .
Evelyne Villemagne
Pour le KOLT (Keep On Left Team)
Buffalo on Minisa Bridge in Wichita Kansas. It is made out of carthalite, a mixture of mineral pigments, crushed colored glass and concrete mix. Built in 1932 and it was designed by Bruce Moore.
For more information on carthalite;
www.kansassampler.org/8wonders/architectureresults.php?id=54
Amtrak # 54, a GE P42DC, pushes an Amtrak California consist away (to the right of frame...) from the Clay Street grade crossing in Jack London Square, Oakland, CA. Taken by a Nikon D40x with an 18-55mm kit lens. (at 30)
Bem-te-vi (Pintangus sulphuratus), fotografado em Brasília, Brasil, em 16 de Maio de 2007.
Pintangus sulphuratus
great kiskadee
Em Português:
O bem-te-vi é talvez o pássaro mais popular deste país. É conhecido em toda parte por seu canto, pelo anúncio frequente de seu nome e por sua coloração amarela viva na barriga, garganta e alto da cabeça. Tem uma listra branca que circunda inteiramente a cabeça e seu bico é forte.
Pode ser encontrado em uma enorme variedade de habitats, como campos de cultura, cidade, pomares, orla de mates e em ambientes aquáticos, tais como margens de lagoas, córregos, e rios, onde tem aprendido a capturar peixes que são acrescentados a sua dieta de insetos, anfíbios, etc.
Constrói um ninho esférico, com entrada lateral na parte superior, na forquilha de um galho, sendo bem cuidado e feito de diversos vegetais secos. A postura consta, em geral, de quatro ovos brancos e alongados. É social e vive em pequenos grupos. O barulhento bem–te-vi é comum em todas as regiões brasileiras.
Suas caracteristicas corpóreas: (22,5 cm ; 54 a 60 gramas )
Obs:. São encontradas outras espécies de bem-te-vi, como por exemplo: Bem-te-vi vizinho ( Myiizetes similis ) difere-se do bem-te-vi, em relação ao seu tamanho, com cerca de 17,5 cm ; 28 gramas.
E o bem-te-vi de bico chato (Megarhynchus pitangua ) conhecido vulgarmente como nei-nei, é bem parecido com o famoso bem-te-vi, porém apresenta bico extremamente largo e chato, e canto diferente. Sua área de ocorrência vai do México até o Rio Grande do Sul.
In English:
The great kiskadee is a large member of the flycatcher family. It is about ten inches in length. It has black and white stripes on the crown and sides of its head. It has a white line above its eyes. Its chest and undersides are a bright yellow and its throat is white. Its back and wings are brown and its bill and legs are black.
he great kiskadee eats insects like beetles, wasps, grasshoppers, bees and moths. Despite the fact that it is a flycatcher, it also eats berries, seeds, mice, frogs, fish and lizards. It also will dive straight into the water to catch fish.
The great kiskadee is named for its loud "kis-ka-dee" call. It travels in pairs and aggressively protects its nesting territory. One of its most feared predators is the coral snake and the kiskadee will stay away from anything that has the same color pattern as the coral snake.
En Español:
En las notas de su canto los diferentes pueblos han creído descubrir las palabras y frases más variadas: nei-neí oían los tupís, y pitaguá los guaraníes. "Bicho feo", "bien te veo" y hasta "Montevideo" -al oído de los uruguayos- son sólo algunas de las traducciones de ese grito que los seres humanos hemos determinado, en un acto donde confluyen el humor y tal vez la velada ilusión de comprender el lenguaje de los pájaros.
Los benteveos gozan de una gran capacidad de adaptación al medio, de modo que habitan tanto en regiones cercanas a las selvas tropicales como en sabanas, praderas y estepas o sierras. De todos los miembros argentinos de la familia de los tiránidos son los que mejor se adaptan a la cercanía del hombre ya que no existe parque o plaza ciudadana que no cuente con ellos. La variedad de su dieta omnívora y de los elementos que requiere la construcción de su nido les permite vivir y reproducirse en tan distintos ambientes.
Aunque a veces se los halla en lugares secos, prefieren generalmente la cercanía de lagunas, bañados y ríos o sus inmediaciones. Es muy común verlos posados en ramas o piedras sobre pequeños arroyos o pantanos, donde pueden obtener ranas o peces.
El benteveo es un pájaro familiar para la mayoría de los pueblos americanos, ya que se distribuye por todo el continente, desde el estado de Texas en Estados Unidos hasta la Patagonia, donde parece estar ampliando su distribución en seguimiento del hombre, en nuestro País. Diferentes subespecies se reparten las variadas regiones americanas y residen en ellas en forma permanente, en su gran mayoría.
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[ 直觀張公館｜homedata | 200712]
＊ 作品發表日：2007 年 12月
＊ 座落：彰化
＊ 風格：現代
＊ 坪數：100坪
＊ 屋況： 新成屋
＊ 屋型： 透天別墅
＊ 格局：5 房 2 廳 1 廚 4 衛
＊ 建材：拋光石英磚 / 柚木地板 / 栓木皮 / 美曲板 / 鐵件 / 新米黃螺大理石
更多說明詳見www.fengchablog.net/?p=54
design by 德力設計。photo by 郭昭明
François Boucher - French, 1703 - 1770
Allegory of Music, 1764
West Building, Main Floor — Gallery 54
A woman wearing flowing, pastel-colored robes and two, winged, child-like putti gather on a bank of clouds among musical instruments and sheet music in this horizontal painting. The people all have pale, pink-tinged skin. The woman sits to our right of center, facing our left in profile. She has straight nose, a rounded chin, and her small, pink lips are closed. Her ash-blond hair is pulled back under a yellow band. A voluminous white robe falls away over her left shoulder, to our right, to reveal a firm breast and small pink nipple. Sky-blue drapery wraps over her far arm, and deep rose-pink cloth falls across her lap and onto the clouds around her. Her legs extend to our left, her toes pointed. She leans back on her left elbow, closer to us, and points with that index finger to a lyre she props against her knee with her other hand. One chubby, nude putto reaches forward to strum the strings. The other putto hovers above, holding a ring of laurel leaves up in one hand and a flute in the other. Both putti have chubby limbs and torsos, blond curls lifted as if in a breeze, and short, ice-blue wings. Both look at the woman. In the lower left corner, a helmet with a topaz-blue feather and the gold hilt of a sword sit near the woman’s feet. Beneath the woman’s lower leg, at the bottom center of the painting, is a gold horn encircled by another wreath of laurel leaves. Two white doves with wings spread support an open book of sheet music and two pink roses tucked under the woman’s bent elbow. Fog-gray clouds billow up both sides of the scene against a pale blue sky. The clouds on which the trio gathers are parchment brown shaded with mauve pink. The outer corners of the image are white, indicating that the corners of the canvas were rounded. The artist signed and dated the painting in the lower right corner, “F Boucher 1764.”
François Boucher was a member of an extraordinarily talented generation of artists born around 1700 who would dominate French painting for much of the eighteenth century.[1] Heir to the grand manner of seventeenth-century art, Boucher nevertheless created a style and repertory of subject matter that was perfectly compatible with the intimate scale and refined taste of the court of Louis XV (r. 1715–1774) and his maitresse en titre, the marquise de Pompadour (1721–1764). Lavishly patronized and showered with academic honors throughout his career, Boucher came under harsh criticism later in his life, when his ebullient rococo style was attacked as decorative and his gallant iconography condemned as trivial.
A native of Paris, Boucher learned the rudiments of painting from his father, Nicolas (1672–1743), a member of the Académie de Saint-Luc. In the early 1720s he studied for a short time with François Lemoyne (1688–1737), one of the leading historical painters of the day, who would later be appointed First Painter to the King. According to Boucher, this experience did not have a great effect on his art,[2] even if several early paintings bear the influence of Lemoyne (for example, The Surprise, c. 1723–1725, New Orleans Museum of Art).
Boucher won the Grand Prix in 1723, but there was no room for him at the French Academy in Rome, so his trip to Italy was delayed several years. He spent the intervening period painting (he exhibited several works at the annual Exposition de la Jeunesse in the Place Dauphine in 1725) and printmaking, which he learned while living in the household of the engraver Jean François Cars (1661–1730). This experience led him to the print publisher Jean de Jullienne (1686–1766), for whom he produced numerous etchings for the Recueil Jullienne, a multivolume compendium of prints after compositions by Antoine Watteau (French, 1684 - 1721). As a result, Boucher gained what amounted to a second education as he immersed himself in the visual language and imagery of the great master of the fête galante. He finally traveled to Italy in 1728 at his own expense, although next to nothing is known about his activities there or whether the trip had any effect on his art. He was back in Paris by 1731. That same year he was admitted as a history painter into the Académie royale de peinture et de sculpture, gaining full membership three years later with Rinaldo and Armida (Paris, Musée du Louvre), a painting that still demonstrates the influence of Lemoyne.
From these auspicious beginnings followed an exceptionally successful career, as Boucher won a succession of important commissions from the French Crown and aristocracy. For Louis XV he produced many painted decorations for royal châteaus at Versailles, Bellevue, Choisy, and Fontainebleau while also participating in the decoration of aristocratic residences in Paris, such as the Hôtel de Soubise. Among his most innovative works were two pictures of exotic hunts, La Chasse au Tigre and La Chasse au Crocodile, painted for the king’s private apartments at Versailles and now in the Musée de Picardie, Amiens. His prodigious oeuvre and the many engravings made after his works soon earned him an international reputation.[3] With Charles Joseph Natoire (French, 1700 - 1777) and Carle Van Loo (French, 1705 - 1765) he was one of the principal exponents of the rococo, the ornate, colorful style of art associated with the reign of Louis XV. A tireless draftsman, Boucher made lyrical and often brilliant drawings that were widely collected, then as now, and disseminated through prints by such artists as Gilles Demarteau (1722–1776), who perfected a “crayon-manner” engraving technique that reproduced the soft textures of colored chalk.
Boucher is perhaps best known for his many mythological paintings, such as Diana at the Bath of 1742 (Paris, Musée du Louvre), and pastoral subjects, such as Pensent-ils au Raisin of 1749 (London, Wallace Collection). Generally idealized and lighthearted depictions of rustic life, these pastorals sometimes drew their imagery from the theater, such as the comic operas of Charles Simon Favart (1710–1792) and Jean Monnet (1703–1785), for whom Boucher designed stage sets in the 1740s and 1750s. A diverse artist, Boucher also produced religious paintings, some of them innovative, such as his devotional picture La Lumière du monde of 1750 (Lyon, Musée des Beaux-Arts), painted for Madame de Pompadour’s private chapel at Bellevue; genre scenes (his Le Déjeuner of 1739 in the Musée du Louvre is one of his highest achievements in the category of the tableau de mode); landscapes; and portraits. This latter category, encountered infrequently in his oeuvre, nevertheless includes one of his greatest masterpieces, the monumental Portrait of Madame de Pompadour of 1756 (Munich, Alte Pinakothek).[4]
In addition to his many painted decorations and cabinet pictures, Boucher contributed designs for the Beauvais and Gobelins tapestry works, the Sèvres porcelain factory, and stage sets and costumes for the theater. He also produced numerous chinoiseries, fanciful and exotic images of the Far East (such as the oil sketches, now in the Musée des Beaux-Arts, Besançon, used as tapestry designs).[5] He was the favorite artist of Madame de Pompadour, for whom he painted some of his most impressive works, including The Rising of the Sun and The Setting of the Sun of 1753 (London, Wallace Collection), large canvases that were made as tapestry cartoons for Beauvais. Boucher’s flourishing studio was the training ground for many young artists, the greatest of whom, Jean Honoré Fragonard (French, 1732 - 1806), would surpass his master in invention and ingenuity if not in public renown. During the 1750s and 1760s Boucher’s increasingly saccharine style and repetitive compositions came under attack from anti-rococo critics such as Etienne La Font de Saint-Yenne (1688–1771) and Denis Diderot (French, 1713 - 1784), who saw Boucher’s lighthearted subject matter and fluid, coloristic style as frivolous and morally corrupt. Yet Boucher, in defiance of an increasing demand from theorists, critics, and public agitators, continued to exhibit his cheerful and sugary visions of pastoral bliss and mythological trysts at the biennial Salons. Indeed, his social connections and efficient careerism resulted in his appointment in 1765 as First Painter to the King and his election as director of the Académie royale. This final triumph was short lived, however, as Boucher died in Paris in 1770.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
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Quadrans. 170-158BC. 5.38grams. Rome mint. Anonymous. Crawford 194/04 anchor. Obverse: head of Hercules r. wearing lion’s skin, behind three pellets. Reverse: Prow r., above three pellets, before anchor, below ROMA . Scarce.
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Le serval (Leptailurus serval, anciennement Felis serval) est un félin africain de taille moyenne.
Leptailurus serval est la seule espèce du genre Leptailurus. Des analyses d'ADN ont montré que le serval descend du même ancêtre que le lion, mais qu'il constitue une lignée unique n'ayant pas de rapports proches avec d'autres espèces de félins, bien qu'il présente quelques points communs avec le guépard. Cependant, d'autres études indiquent que le serval est proche du chat doré africain ainsi que du caracal.
Description : sa longueur est d’environ 85 à 112 cm, et celle de sa queue de l’ordre de 30 à 50 cm. Il mesure de 54 à 66 cm au garrot. Son poids est de 9 à 16 kg chez les femelles, de 12 à 26 kg chez les mâles.
Il a de longues pattes et une tête élancée ; ses oreilles sont à la fois longues et larges en comparaison avec sa tête et ont la particularité d'être arrondies. Les oreilles du serval et son long cou lui servent à entendre et à voir au-dessus des hautes herbes de la savane.
L'aspect de sa fourrure est variable : bien que la plupart des servals arborent des points ou taches à la manière des guépards, certains n'ont pour marques apparentes que quelques taches au-dessus des yeux et des anneaux autour de la queue.
La longévité moyenne du serval est de 20 ans.
Variations de couleurs : des servals noirs, atteints de mélanisme, ont été observés dans la nature et en captivité.
Il existe de rares servals blancs (atteints de leucistisme), mais aucun n'a encore été observé dans la nature, et il n'en a été répertorié que quatre en captivité. Le premier est né dans les années 1990 au Canada et mourut à l'âge de deux semaines. Les trois autres, des mâles, Kongo (mort), Tongo et Pharaoh, sont nés au zoo d'Easy Street en 1997 et 1999.
Cris : le serval fait partie des félins capables de ronronner ; le ronronnement se produit à l'inspiration et à l'expiration. Le serval est également capable de cracher, grogner et miauler.
Biotope : ce chat serval, assez commun en Afrique, vit principalement dans les savanes humides. Comme les servals ont besoin de cours d'eau dans leur territoire, on ne les trouve pas dans les demi-déserts ou les steppes arides. Le serval est capable d'escalader et de nager, mais il le fait rarement.
Il peut uriner 30 fois par heure pour marquer son territoire.
Nourriture : le serval est carnivore, il se nourrit d'autres mammifères tels que les rongeurs (comme le rat), les lapins, les damans, les antilopes naines (ourébis, dik-diks, steenbok), et d'oiseaux, ainsi que d'insectes et de grenouilles. Le serval s'attaque peu aux grandes proies, 90 % de ses proies pèsent moins de 200 grammes.
Le serval mange rapidement, et si sa proie est trop grosse, elle peut parfois lui obstruer la gorge, ce qui le force à régurgiter. Les petits animaux sont dévorés entiers. Chez les gros, il mange la viande et les petits os, mais laisse sur place les organes, la peau, les sabots ou le bec.
Afin de chasser plus efficacement dans la savane, le serval a de très longues pattes (les plus longues chez les félins, par rapport à la taille du corps). Il peut courir jusqu'à 80 km/h. Ses longues pattes et son cou lui permettent également de regarder par-dessus les hautes herbes, tandis que ses oreilles larges entendent les proies même quand elles se déplacent sous terre. En chasse, le serval peut rester immobile pendant près de 15 minutes, les yeux fermés en écoutant les proies aux alentours.
Après avoir localisé sa proie, en général au crépuscule, et souvent grâce à son ouïe, le serval bondit avec dextérité. Il fait des sauts de quatre mètres de long, et de plus d'un mètre de haut avant de frapper sa victime avec ses pattes antérieures. Sa capacité à sauter lui permet d'attraper des oiseaux en vol. Ses sauts peuvent parfois atteindre trois mètres de haut ou six mètres de longueur. Le serval est un chasseur très efficace, réussissant près de 50 % de ses tentatives (avec un taux de succès global de 67 % par nuit de chasse), tandis que la plupart des félins ne réussissent qu'environ une tentative d'assaut sur dix.
Le serval joue souvent avec sa proie pendant plusieurs minutes avant de la manger. La plupart du temps, il défend farouchement sa nourriture contre les autres prédateurs qui tenteraient de la lui prendre, les mâles étant souvent plus agressifs que les femelles.
Reproduction : la femelle serval a une période de gestation de 66 à 77 jours, soit entre 2 mois et 2 mois et demi. Une ou deux fois par an, elle met bas une portée de deux ou trois petits. Ils sont élevés dans des lieux abrités comme les tanières abandonnées de cochons de terre (oryctéropes). Si un tel endroit idéal ne peut être trouvé, un espace entre des arbrisseaux ou encore un nid d'herbes peuvent s'avérer suffisants.
Domestication : les servals, comme les guépards, sont généralement amicaux et faciles à domestiquer. Les Anciens Égyptiens l'adoraient comme un dieu au même titre que les chats. Certains d'entre eux sont domestiqués et s'attachent beaucoup à leur maître. Ils n'acceptent pas facilement de changer de maître ou d'accueillir de nouveaux venus, et peuvent devenir farouches quand ils sont séparés de leurs maîtres.
Son croisement avec le chat domestique donne le Savannah.
Prédateurs : les servals sont parfois la proie des léopards. Mais l'homme est bien plus dangereux pour lui. Les servals ont été beaucoup chassés pour leur fourrure. On peut encore les trouver en Afrique de l'Est et de l'Ouest, mais ils ont disparu de la province du Cap en Afrique du Sud et sont de plus en plus rares au nord du Sahara.
Le serval est répertorié par la Convention sur le commerce international des espèces de faune et de flore sauvages menacées d'extinction dans l'Annexe II, avec la mention « non menacé d'extinction actuellement, mais pourrait l'être si le commerce n'est pas strictement contrôlé .»
Source : Wikipédia
insaph.kcl.ac.uk/iaph2007/index.html
Description:
Nine fragments of six white marble architrave blocks.
Text:
Inscribed in two lines on the two fasciae.
Letters:
Ave. 0.07; star and dolphin for stops.
Date:
A.D. 41-54 (reign)
Findspot:
Sebasteion: in the South Portico
Original Location:
Architrave of the south portico of the Sebasteion
Last recorded location:
Museum (1980)
History of discovery:
Recorded by the NYU expedition in 1979 and 1980 (a. 79.109; b. 80.66 + 80.67; c. 80.60; d. 80.62 + 80.65; e. 80.64 + 80.63. f. 80.91)
Bibliography:
published by Reynolds, ZPE 43 (1981), 317-27, no.1, whence SEG 31, 1981.913, BE 1982, 356, McCabe PHI Aphrodisias 106 ; mentioned Erim, RA (1982) I, 165, Erim, Britannia 13, (1982), 278 (l. 1)
Text constituted from:
Transcription (Reynolds) This edition Reynolds (1981).
Edition
Diplomatic
Epidoc (XML)
[Conventions] [Font help]
| Ἀφροδίτηι star θε(---)ι Σεβαστ | (---) ίωι Κλαυδίωι Κ|[αί]σαρι star τῶι Δήμωι dolphin | Τιβέριος Κλαύδιος | Διογένης φιλοπολίτης | ἃ ἐπηνγείλατο
| vac. Διογένης ὁ πατὴ|[ρ α]ὐτοῦ καὶ Ἀτταλὶς v. | καὶ ὑπὲρ Ἀττάλ | ου τοῦ θείου τὸ καθ' ἑαυτὸν μέρος v. ἀποκα [θ]έσστησεν vac.
Apparatus
l. 1, The first letters of the second block were never incised, although traces of an ordinator's tool may be detected.
Translation:
For Aphrodite, for the God (?Goddess) Augustus (?Augusta), for Tiberius Claudius Caesar, for the People, Tiberius Claudius Diogenes, friend of the citizens, restored what Diogenes his father promised, and Attalis, and also on behalf of his uncle Attalos his part.
Commentary:
It cannot be determined with certainty whether this is a dedication to a god Augustus—so Augustus himself–or a goddess Augusta—refering to Livia. See Reynolds, loc. cit.
Photographs: Used under educational only cc guidelines
insaph.kcl.ac.uk/iaph2007/index.html
Description:
Nine fragments of six white marble architrave blocks.
Text:
Inscribed in two lines on the two fasciae.
Letters:
Ave. 0.07; star and dolphin for stops.
Date:
A.D. 41-54 (reign)
Findspot:
Sebasteion: in the South Portico
Original Location:
Architrave of the south portico of the Sebasteion
Last recorded location:
Museum (1980)
History of discovery:
Recorded by the NYU expedition in 1979 and 1980 (a. 79.109; b. 80.66 + 80.67; c. 80.60; d. 80.62 + 80.65; e. 80.64 + 80.63. f. 80.91)
Bibliography:
published by Reynolds, ZPE 43 (1981), 317-27, no.1, whence SEG 31, 1981.913, BE 1982, 356, McCabe PHI Aphrodisias 106 ; mentioned Erim, RA (1982) I, 165, Erim, Britannia 13, (1982), 278 (l. 1)
Text constituted from:
Transcription (Reynolds) This edition Reynolds (1981).
Edition
Diplomatic
Epidoc (XML)
[Conventions] [Font help]
| Ἀφροδίτηι star θε(---)ι Σεβαστ | (---) ίωι Κλαυδίωι Κ|[αί]σαρι star τῶι Δήμωι dolphin | Τιβέριος Κλαύδιος | Διογένης φιλοπολίτης | ἃ ἐπηνγείλατο
| vac. Διογένης ὁ πατὴ|[ρ α]ὐτοῦ καὶ Ἀτταλὶς v. | καὶ ὑπὲρ Ἀττάλ | ου τοῦ θείου τὸ καθ' ἑαυτὸν μέρος v. ἀποκα [θ]έσστησεν vac.
Apparatus
l. 1, The first letters of the second block were never incised, although traces of an ordinator's tool may be detected.
Translation:
For Aphrodite, for the God (?Goddess) Augustus (?Augusta), for Tiberius Claudius Caesar, for the People, Tiberius Claudius Diogenes, friend of the citizens, restored what Diogenes his father promised, and Attalis, and also on behalf of his uncle Attalos his part.
Commentary:
It cannot be determined with certainty whether this is a dedication to a god Augustus—so Augustus himself–or a goddess Augusta—refering to Livia. See Reynolds, loc. cit.
Photographs: Link above used under educational only guidelines cc
Cette Bugatti Type 54 a été construite pour Achille Varzi, alors pilote vedette de la marque de Molsheim. Elle fut revendue en 1932 au Prince Lobkowicz qui malheureusement se tua dès sa première course au volant de l'auto sur le circuit de l'AVUS à Berlin.
May, 27, 2012, 6:54 a.m.
Ottawa Race Weekend
These runners are lined up near the 4-hour pace bunny. (See the sign.)
Here are the marathon race results. Input a bib number, and see how they did.
.
17
Here we're looking toward the south chamber, from the east end, of Enlarged Erie Canal Lock 54 at Lock Berlin. Lock 54, a double chamber lock, was built in 1841. The north chamber was lengthened in 1888. Due to this lock being mostly surrounded by water, it isn't very accessible. Whenever I'm at this lock a small passage from Richard Garrity's book "Canal Boatman" comes to mind. In this well written book he describes growing up on his father's boats which traveled the Erie Canal in the early years of the century (1905-1916). He says of the Lock Berlin area "The canal banks along here were so overgrown with trees and plant life that nothing could be seen of the village whether we approached it by day or night. It was one of the most lonesome and isolated spots along the entire canal". In fact, the day I was out here taking this picture, it was heading toward nightfall, raining a bit and all in all quite dreary. So, in a sense, I really was able to visualize it as he had described it. The lock is hidden by a wooded area that separates it from Route 31 and as night approaches and you start losing light and don't hear any traffic sounds coming from Route 31, it definitely does have a lonesome feel to it and even becomes a bit creepy when you're all alone out there. I must say however, that this lock is one of my favorites and I always stop when I'm passing through Wayne County. It is located in a small canal park, off Route 31, near Gansz Road in the hamlet of Lock Berlin, NY.
insaph.kcl.ac.uk/iaph2007/index.html
Description:
Nine fragments of six white marble architrave blocks.
Text:
Inscribed in two lines on the two fasciae.
Letters:
Ave. 0.07; star and dolphin for stops.
Date:
A.D. 41-54 (reign)
Findspot:
Sebasteion: in the South Portico
Original Location:
Architrave of the south portico of the Sebasteion
Last recorded location:
Museum (1980)
History of discovery:
Recorded by the NYU expedition in 1979 and 1980 (a. 79.109; b. 80.66 + 80.67; c. 80.60; d. 80.62 + 80.65; e. 80.64 + 80.63. f. 80.91)
Bibliography:
published by Reynolds, ZPE 43 (1981), 317-27, no.1, whence SEG 31, 1981.913, BE 1982, 356, McCabe PHI Aphrodisias 106 ; mentioned Erim, RA (1982) I, 165, Erim, Britannia 13, (1982), 278 (l. 1)
Text constituted from:
Transcription (Reynolds) This edition Reynolds (1981).
Edition
Diplomatic
Epidoc (XML)
[Conventions] [Font help]
| Ἀφροδίτηι star θε(---)ι Σεβαστ | (---) ίωι Κλαυδίωι Κ|[αί]σαρι star τῶι Δήμωι dolphin | Τιβέριος Κλαύδιος | Διογένης φιλοπολίτης | ἃ ἐπηνγείλατο
| vac. Διογένης ὁ πατὴ|[ρ α]ὐτοῦ καὶ Ἀτταλὶς v. | καὶ ὑπὲρ Ἀττάλ | ου τοῦ θείου τὸ καθ' ἑαυτὸν μέρος v. ἀποκα [θ]έσστησεν vac.
Apparatus
l. 1, The first letters of the second block were never incised, although traces of an ordinator's tool may be detected.
Translation:
For Aphrodite, for the God (?Goddess) Augustus (?Augusta), for Tiberius Claudius Caesar, for the People, Tiberius Claudius Diogenes, friend of the citizens, restored what Diogenes his father promised, and Attalis, and also on behalf of his uncle Attalos his part.
Commentary:
It cannot be determined with certainty whether this is a dedication to a god Augustus—so Augustus himself–or a goddess Augusta—refering to Livia. See Reynolds, loc. cit.
Photographs: used under the cc educational guidelines only.
insaph.kcl.ac.uk/iaph2007/index.html
Description:
Nine fragments of six white marble architrave blocks.
Text:
Inscribed in two lines on the two fasciae.
Letters:
Ave. 0.07; star and dolphin for stops.
Date:
A.D. 41-54 (reign)
Findspot:
Sebasteion: in the South Portico
Original Location:
Architrave of the south portico of the Sebasteion
Last recorded location:
Museum (1980)
History of discovery:
Recorded by the NYU expedition in 1979 and 1980 (a. 79.109; b. 80.66 + 80.67; c. 80.60; d. 80.62 + 80.65; e. 80.64 + 80.63. f. 80.91)
Bibliography:
published by Reynolds, ZPE 43 (1981), 317-27, no.1, whence SEG 31, 1981.913, BE 1982, 356, McCabe PHI Aphrodisias 106 ; mentioned Erim, RA (1982) I, 165, Erim, Britannia 13, (1982), 278 (l. 1)
Text constituted from:
Transcription (Reynolds) This edition Reynolds (1981).
Edition
Diplomatic
Epidoc (XML)
[Conventions] [Font help]
| Ἀφροδίτηι star θε(---)ι Σεβαστ | (---) ίωι Κλαυδίωι Κ|[αί]σαρι star τῶι Δήμωι dolphin | Τιβέριος Κλαύδιος | Διογένης φιλοπολίτης | ἃ ἐπηνγείλατο
| vac. Διογένης ὁ πατὴ|[ρ α]ὐτοῦ καὶ Ἀτταλὶς v. | καὶ ὑπὲρ Ἀττάλ | ου τοῦ θείου τὸ καθ' ἑαυτὸν μέρος v. ἀποκα [θ]έσστησεν vac.
Apparatus
l. 1, The first letters of the second block were never incised, although traces of an ordinator's tool may be detected.
Translation:
For Aphrodite, for the God (?Goddess) Augustus (?Augusta), for Tiberius Claudius Caesar, for the People, Tiberius Claudius Diogenes, friend of the citizens, restored what Diogenes his father promised, and Attalis, and also on behalf of his uncle Attalos his part.
Commentary:
It cannot be determined with certainty whether this is a dedication to a god Augustus—so Augustus himself–or a goddess Augusta—refering to Livia. See Reynolds, loc. cit.
Photographs: Used under cc guidelines
Dissapointed with the price tag $54 a ctn.
Nothing spectacular. unusual taste, like bitter soap.
Oh well - tried it, didnt like it. Stick with coopers Sparkling ale, or best extra stout.
I'll give it a 3/10
insaph.kcl.ac.uk/iaph2007/index.html
Description:
Nine fragments of six white marble architrave blocks.
Text:
Inscribed in two lines on the two fasciae.
Letters:
Ave. 0.07; star and dolphin for stops.
Date:
A.D. 41-54 (reign)
Findspot:
Sebasteion: in the South Portico
Original Location:
Architrave of the south portico of the Sebasteion
Last recorded location:
Museum (1980)
History of discovery:
Recorded by the NYU expedition in 1979 and 1980 (a. 79.109; b. 80.66 + 80.67; c. 80.60; d. 80.62 + 80.65; e. 80.64 + 80.63. f. 80.91)
Bibliography:
published by Reynolds, ZPE 43 (1981), 317-27, no.1, whence SEG 31, 1981.913, BE 1982, 356, McCabe PHI Aphrodisias 106 ; mentioned Erim, RA (1982) I, 165, Erim, Britannia 13, (1982), 278 (l. 1)
Text constituted from:
Transcription (Reynolds) This edition Reynolds (1981).
Edition
Diplomatic
Epidoc (XML)
[Conventions] [Font help]
| Ἀφροδίτηι star θε(---)ι Σεβαστ | (---) ίωι Κλαυδίωι Κ|[αί]σαρι star τῶι Δήμωι dolphin | Τιβέριος Κλαύδιος | Διογένης φιλοπολίτης | ἃ ἐπηνγείλατο
| vac. Διογένης ὁ πατὴ|[ρ α]ὐτοῦ καὶ Ἀτταλὶς v. | καὶ ὑπὲρ Ἀττάλ | ου τοῦ θείου τὸ καθ' ἑαυτὸν μέρος v. ἀποκα [θ]έσστησεν vac.
Apparatus
l. 1, The first letters of the second block were never incised, although traces of an ordinator's tool may be detected.
Translation:
For Aphrodite, for the God (?Goddess) Augustus (?Augusta), for Tiberius Claudius Caesar, for the People, Tiberius Claudius Diogenes, friend of the citizens, restored what Diogenes his father promised, and Attalis, and also on behalf of his uncle Attalos his part.
Commentary:
It cannot be determined with certainty whether this is a dedication to a god Augustus—so Augustus himself–or a goddess Augusta—refering to Livia. See Reynolds, loc. cit.
Photographs: used under educational guidelines cc
"The Resistible Rise of Arturo Ui"
(Venue 54)
www.motionimages.co.uk/gallery/EdinburghFestival2010-Stre...
El equipo de Pascual sufre su tercera derrota consecutiva en un partido decidido en el tramo final Los azulgrana ganaban de siete (45-52), tras un parcial de 0-9, en el tercer cuarto
LA FICHA
Bilbao Basket, 73FC Barcelona, 67Bilbao Basket (20+17+16+20): Colom (21), D. Todorovic (10), Mumbrú (6), Hervelle (3), M. Todorovic (10) (cinco inicial), Raúl López (6), Andjusic (7), Williams (4), Wragge (4), Borg (2)FC Barcelona (23+15+16+13): Satoransky (7), Hezonja, Thomas (15), Tomic (8), Doellman (14) (cinco inicial), Huertas (10), Jackson (5), Lampe (2), Nachbar (6), HakansonÁrbitros: Hierrezuelo, Araña y Fernández
El FC Barcelona ha perdido por 73-67 en Bilbao en un partido que pudo ganar cualquiera de los dos equipos, pero que ha acabado decantándose a favor de los locales en un tramo final en el que Quino Colom ha marcado diferencias. Los azulgranas han dejado escapar un partido que ganaban por siete puntos en el tercer cuarto (45-52) y, de este modo, todavía no han podido sellar de forma matemática su presencia en la Copa del Rey.
Brilla Doellman
Los primeros minutos de partido han tenido un protagonista: Justin Doellman. El pívot de Cincinnati ha asumido la responsabilidad azulgrana en ataque y ha sumado hasta 11 puntos en un primer cuarto genial. Sólo él, Thomas y Huertas habían anotado para el Barça tras 10 minutos igualados, resueltos con un triple final del brasileño (20-23).
Durante el segundo cuarto el marcador se ha estirado paulatinamente hasta llegar al 31-38, máxima ventaja culé. La aportación de Tomic y Nachbar, que no ha perdonado desde el tiro libre tras una antideportiva de Wragge, han servido para establecer unas diferencias que disminuirían debido al parcial de 6-0 de los locales justo antes del descanso (37-38).
Tira y afloja
Se ha vivido un intenso intercambio de canastas al inicio del tercer cuarto. La igualdad era máxima, con el partido circulando por el 41-41, 43-43 y 45-45. En este punto el FC Barcelona ha firmado un parcial de 0-9 que podría haber podido suponer el inicio del camino hacia la victoria de los azulgranas. Los locales, sin embargo, han vuelto a reaccionar, liderados por un Quino Colom especialmente lúcido. Suyo ha sido un triple sobre la bocina que ponía el 53-54 a diez para el final.
Decide Colom
El base también ha liderado al Bilbao Basket en el último cuarto. Imprevisible, ha sabido cómo hacer daño a la defensa del Barça una y otra vez. El partido se movía en una igualdad máxima, pero un mate de Dejan Todorovic ha supuesto un punto de inflexión en el tramo final de partido. Desde entonces, el pabellón vasco se ha venido arriba y ha llevado en volandas a los suyos hasta la victoria. El Barça, a pesar de insistir hasta el final, ha visto como volvía a caer a domicilio.
Javier Fernandez Auditor
via: ift.tt/1KcraL6
Item no: 75
NO. C5/227464/2012/M
Agenda
To consider the application for renewing the permit and seeking the concurrence in respect of the stage carriage KL-54-A-7925 on the route Kozhikode-Guruvayur via Kunnamkulam,Edappal,Kuttipuram,Valanchery,Chankuvetti without touching Kottakkal bus stand as LSOS.R.P valid upto 07-01-2013. Vehicle is under T.P u/s 87(1) d valid upto 07-05-2013.
Applicant: I.C Shajil, S/o Chandran,Irudukavil House,Sukapuram P.O.,Kaladithara, Edappal , Malappuram dt.