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Wooden open top boxes containing furniture and leading to secure type in chase. SH.2009.397.6 10pt leaders
Accession Number: SH.2009.397.6
Furniture is pieces of wood or metal used in the make-up of a forme where margins or other white spaces are required.
Leading is strips of lead-alloy, lower than type height, used for creating space in a page or forme.
This item is on display at the Writer's Museum, Lady Stairs Close, Edinburgh.
Edinburgh City of Print is a joint project between City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by City of Edinburgh Museums. For more information about the project please visit www.edinburghcityofprint.org
Carmen, a very fine plein air painter, is composing her next painting. With her hands and fingers she is able to create a little "view-finder" which helps her compose what she will put down on canvas...
Composée de 8 chalets, la résidence est équipée de tout le confort pour vous permettre de vous détendre et de passer des vacances agréables : piscine, spa, espace confort et bien-être (avec massages et soins), restaurant et épicerie sur place. Les appartements, sont tout-confort (TV, lave-vaisselle), décorés dans un style montagnard moderne avec balcon et peuvent accueillir entre 2 et 8 personnes.
From the autumn 2016 trip to Vietnam:
Hey, Hey, Hue Hue! (“Hue” rhymes with “way,” by the way, and has an aspirated ‘h’ at the beginning.) As I mentioned yesterday, the fine folks at Huenino arranged a private car to shuttle us around the Hue countryside. That cost $37, flat rate, to take as long as we wanted, but she said we would probably be done around 2:00.
After eating an omelet and toast, our driver came to our hotel (which was in an alley) to pick us up. The agenda was this: First, we went to the Thien Mu Pagoda about 1-2 kilometers due west of the Citadel along the Perfume River. After that, we went to three different imperial tombs that were roughly 20 kilometers from downtown Hue (and a few kilometers from each other), and then ended up at the Citadel.
Normally, I wouldn’t be very excited about a pagoda, but when we got to Thien Mu, I was pleased. It’s situated on a slight hill above the Perfume River. (I love the name of the river, by the way, though there was nothing pleasantly aromatic about it. I’m also glad to say it wasn’t a sarcastic name with a pungent bouquet to offend the senses, either.) When you get to the pagoda, though, it has a wonderful little approach: a small, steep staircase that leads up to the pagoda with four pillars right at the top of the stairs that frame the pagoda well.
Next to the pagoda are a few minor temples (about the size of outhouses) surrounded by trees with views of the river. Directly behind the pagoda is the entrance to the temple. The main gate is nice and, upon entering, the main hall is about a hundred meters directly in front of you. The green is pretty lovely and, on the side of the green are some minor halls.
Behind the main hall there is a bonsai garden and a second hall. Finally, behind the secondary hall is another green with a mini pagoda/statue at the back of the grounds. The back of the grounds are enclosed by trees.
After leisurely making our way to the back of the grounds (in 30-45 minutes, I’d guess), we walked back towards the front, photographing flowers and two women in traditional dress before stopping at a side hall that had a peculiarity: A sky blue Austin dating from around 1960.
This is the car (which, I believe, I mentioned in my Saigon posts as well) in which the monk Thich Quang Duc rode from An Quang Pagoda down to Saigon before self-immolating in 1963 to protest the treatment of the Ngo Dinh Diem government. (I won’t elaborate here, but the response of Ngo’s sister, to say the least, was callous. You can find a letterbox in the LP Vietnam and read about it.) As I said, I was absolutely delighted by this temple. I suppose I could ascribe it the polar opposite from how I felt at seeing Disappointment Falls en route to Hue on Thursday.
After roughly an hour here at Thien Mu Pagoda, our driver took us to the first of three imperial tombs. To say a little bit about imperial Vietnam – and the era that these tombs cover – the first thing you need to know is that you can NOT associate dynastic Vietnam with China. They couldn’t be much more different. China’s dynasties span more than two thousand years from 221 B.C.-1911 A.D. (with smaller kingdoms even predating those). When talking about imperial Vietnam, we have to reach way, way back in time…to the 1800s – A.D., that is. So, these tombs are somewhere around 150-200 years old, give or take a few years.
Another thing to know about imperial Vietnam is that they ruled while the country was really being run by the French who, by this point, had taken over Indochina. So, I suppose if you were desperate to compare Vietnamese emperors to Chinese, you could go with the last emperor, Puyi, who was pretty much a puppet emperor in Manchuria until the 1930s when the Japanese let him rule as a figurehead. (Speaking of Puyi, that movie – the Last Emperor – is extraordinary.)
For now, I’ll focus squarely on the tombs themselves. The first one we stopped at was the Tomb of Minh Mang. When we arrived here, we went to the ticket booth to buy a pass to the four sites (three tombs plus Citadel) for 360,000 VND/person (~17-18 USD).
Of the imperial tombs I’ve seen – primarily in southeastern Korea – this one was the most like those. The Korean mausoleums are massive mounds built on top of the tombs and that’s what this was.
In retrospect, Minh Mang’s tomb was my favorite of the three we would see on the day. It was parklike and fairly expansive. Minh Mang “ruled” from 1820-1840, so obviously the tomb would date from sometime around 1840. The tomb was planned during his reign and built by his successor, Thieu Tri.
The Honor Courtyard is at the south end of the complex directly in front of Dinh Vuong (Stele Pavilion). There are three stairways leading up to the pavilion. From inside the pavilion, you have a nice view of Sung An Temple (dedicated to Minh Mang and his empress) directly in front of you and two side halls framing in a courtyard filled with potted flowers.
Behind Sung An temple, you pass through Hien Duc Gate descend some stairs and can cross one of three bridges to span Trung Minh Ho (Lake of Impeccable Clarity). The central bridge was for the emperor’s use only, so I guess I was an emperor on this day.
Once across the bridge, you find yourself looking up at Minh Lau Pavilion (Pavilion of Light) which is built on three superimposed terraces that represent the “three powers”: the ehavens, the earth, and water. To the left of this is the Fresh Air Pavilion and, to the right, the Angling Pavilion.
Finally, you cross another, slightly longer, stone bridge that carries you over Tan Nguyet Lake (Lake of the New Moon). This is a crescent-shaped lake and, once across, you finally find yourself at the base of Minh Mang’s tomb with its rather large staircase flanked by dragon banisters that lead to his sepulcher. However, you also find that the gates are locked and you can’t actually go see the tomb. (It’s only open one day a year, on the anniversary of his death.)
After reaching the tomb, you can walk out the same way you came in or, after crossing the stone bridges in front of Minh Lau Pavilion, you can veer off and take a path that skirts the large and rather pleasant Tan Nguyet Lake back to the front gate (which is what we did).
When we finally made our way back to our driver, I think we’d spent an hour or so at the first tomb. From there, it was a short 5-10 minute drive to the second of the three: the Tomb of Khai Dinh. I’ll simply copy the LP Vietnam description of this tomb here:
“This hillside monument is a synthesis of Vietnamese and European elements. Most of the tomb’s grandiose exterior is covered in blackened concrete, creating an unexpectedl Gothic air, while the interiors resemble an explosion of colorful mosaic.
Khai Dinh was the penultimate emperor of Vietnam, from 1916 to 1925, and widely seen as a puppet of the French. The construction of his flamboyant tomb took 11 years.
Steps lead to the Honor Courtyard where mandarin honor guards have a mixture of Vietnamese and European features. Up three more flights of stairs is the stupendous main building, Thien Dinh. The walls and ceiling are decorated with murals of the Four Seasons, Eight Precious Objects, and Eight Fairies. Under a graceless, gold-speckled concrete canopy is a gilt bronze statue of Khai Dinh. His remains are interred 18m below the statue.”
Khai Dinh’s tomb was a stark contrast to Minh Mang’s. Minh Mang’s takes advantage of a natural setting whereas this tomb has a castle/temple feel to it. It’s on a hill and the views afforded from in front of Thien Dinh are quite wonderful. The temple itself – actually it advertises itself as a palace – is pretty much as Lonely Planet described it: rather ostentatious. That being said, it’s still well worth coming out here, especially to use it as a contrast from the other two tombs. Anyway, about 30 minutes at the Tomb of Khai Dinh should more than suffice even the most leisurely of visitors.
From there, we hopped back in the car for a 15 minute drive to the third and final tomb of the day: the Tomb of Tu Duc. This is actually the closest of the three to the city. I rather like the order in which we visited, though. My favorite first, least-favorite second, and another nice one to end it.
The Tomb of Tu Duc was built between 1864 and 1867. According to LP, it’s “the most popular, and certainly one of the most impressive of the royal mausoleums.” (That being said, I preferred Minh Mang’s tomb…by a long way.)
This tomb was designed by the emperor himself for use both before and after his death. Tu Duc was an interesting puppet king. Basically…he was a sterile Lothario. He had 104 wives and countless concubines, though no offspring. (Ok…he may not have been sterile, but with that many women around, I don’t think it’s a terribly unreasonable guess.)
This tomb is much closer in style to Minh Mang’s than to Khai Dinh’s. When you walk through the front gate, a patyh leads directly to Lou Khiem Lake. There’s a tiny island to the right – Tinh Khiem – where he used to hunt small game. Across the water to the left is Xung Khiem Pavilion, where he would compose and recite poetry to his concubines.
From the lake, turn directly behind you to find Hoa Khiem Temple, where Tu Duc and his wife (Empress Hoang Le Thien Anh) were worshipped. It’s not much to speak of when visiting it today, for it doesn’t seem to be a priority to maintain it. There are two thrones in here…and the larger one was for the empress. Tu Duc was, shall we say, vertically challenged, only reaching 153 cm in stature. (That’s a hair over 5’0”, which would even make Prince seem to tower over him.)
Anyway, the temples to honor the emperor/empress and another to honor his mother were so unimpressive to me that I won’t bother with more details. From this area, you continue to walk back less than 5 minutes to the Honor Courtyard with its statues of elephants, horses, and diminutive mandarins (the emperor ensured that his servants were even shorter than he, though I’m not sure where he found enough that fit that description). The courtyard leads to the Stele Pavilion, which has a 20 ton stele for which the emperor drafted the inscriptions himself. From LP, “He freely admitted that he had made mistakes and chose to name his tomb Khiem (modest).”
Of the three tombs on the day, this one is the least impressive. It’s enclosed by a wall on the back side of a tiny crescent-shaped lagoon. It’s a drab, gray monument. The reason it’s unimpressive, I guess, is because the emperor isn’t actually buried here. The site of his remains is unknown as, to keep it a secret from grave robbers, all 200 servants who buried the king were beheaded. How lovely.
As you can tell, I’m not a fan of this particular kind. (Paranoid and insecure, anyone?) However, the grounds and his tomb – barring the temples dedicated to him and his mom – are pleasant enough. I honestly don’t know why people would consider this the most popular, but I won’t argue. I’ll just say it’s a nice place to visit – but not if it’s the only destination you have in mind. The tombs are best seen as a group for contrast’s sake.
Having had our fix of tombs satisfied, the driver took us back into town and dropped us off just inside the Quang Duc Gate (southwestern gate) of the Citadel right in front of the Nine Holy Cannons. (Actually, there are five on this side; the other four are inside the southeast gate: Ngan Gate.)
The Citadel, for comparison, is quite a bit like China’s Forbidden City in its layout and use. Having said that…it’s nothing like the Forbidden City in terms of scale or elaborate detail. However, it’s still quite photogenic.
To get the dimensions out of the way, the outer wall of the Citadel is 10 kilometers long (close to square in orientation, so 2.5 km by 2.5 km) with a moat surrounding it that is 30 meters across. Within the Citadel, there are very distinct sections: the Imperial Enclosure and Forbidden Purple City is in the center. Temple compounds are in the southwest section and residences for family members (emperor’s mother, for example) are in the northwest. There are gardens in the northeast and to the north was the Mang Ca Fortress (which is still a military base).
Unfortunately for the world, you need to really use your imagination when visiting the Forbidden City because the one thing that wasn’t forbidden, sadly, were bombs by both the French and U.S troops during the various wars of the 20th century. Of the 148 buildings that were originally here, only 20 are still standing.
Getting back to our particular tour of the citadel, it started inside the southwest gate which was the outer wall of the compound. It was more of a military parade ground for the emperor and is currently flanked by the nine aforementioned cannons (for decorative purposes only, found under small pavilions) and a massive Vietnamese flag flying high at the center of the southern outer wall.
Walking across the parade grounds, you get to the ticket booth and pass through Ngo Mon Gate. This is a gate with three doors, the central of which was only for the emperor’s use. On top of the gate is the Ngu Phung (Belvedere of the Five Phoenixes). There’s a large drum and bell on its upper level as well. The emperor only came here on special occasions, the last of which, on 30 August 1945, was when Emperor Bao Dai appeared to end the Nguyen Dynasty, abdicating to a delegation sent by Ho Chi Minh.
After entering and crossing a bridge, you arrive at the Thai Hoa Palace (Palace of Supreme Harmony, built in 1803). This is an attractive palace which forbids photography inside. That’s all for the best. It has nice details but, except for the throne, is essentially a large, empty chamber. In a back room, though, is a nice introductory video that previews the Citadel which I’d recommend watching.
We actually went counter to the plan laid out by Lonely Planet here. Instead of continuing directly through the middle of the compound, we turned left out of the back door of the main palace.
After resting for half an hour or so in a cafe, we continued to the southwest corner of the compound. The highlights here are open fields – in a few cases where temples used to be before being blown to smithereens – and a few nice temples are still standing. The most photographic of these is a temple in front of which stand Nine Dynastic Urns. Having seen the three temples in the southwestern corner of the Citadel, we made our way north along the inside of the western wall towards the residential compounds.
On the way there, we decided to skip those and head back towards the center of the Citadel where we came upon the Hall of Mandarins. This is a hall that lists the accomplishments of every emperor of the Nguyen Dynasty. Again, most of the buildings here are gone, and there are just open, grassy fields framed by the halls. The mandarins used to have their offices off the halls here.
Once through the western hall, you come back into an interior grassy field – also framed by rather nice, long corridors. This is/was the Forbidden Purple City where the private residence of the emperor would have been. To the right of the eastern corridor, just outside the Forbidden Field, is the Royal Theater which, while we were here, was under restoration.
From here, we made our way back towards the Thai Hoa Palace, only to find that we couldn’t exit whence we came in, so we had to follow the wall around to the eastern gate. I can say that the southeastern section of the Citadel just has a nice forest-like feel to it, but nothing architectural of note.
When we finally made our way out the eastern gate, we paid two bike drivers (these are bikes on the front of which are placed chariot-ish looking carts that seat one person) to take us back over towards our hotel where we grabbed a very late lunch/early dinner.
For the evening, we just went out for a walk along the river, but – unlike Hoi An – Hue isn’t terribly impressive at night. There’s a night market, but really, everything just seemed a bit dark and not interesting. This was probably also due to the fact that I was feeling a slight fever (possibly from the afternoon shower the day before) and my energy was practically drained. I’m glad to say that I felt fine the following morning, which was good, since we had a one hour flight to Hanoi that would get us to the capital around noon.
As always, thanks for dropping by and viewing these pictures. Please feel free to leave any questions or comments and I’ll answer as I have time.
Mercredi 6 août 2014. Compiègne. Visite du palais impérial.
Salle à manger de l'Empereur : À l'origine cette salle était considérée comme une antichambre double desservant de part et d'autre les appartements de la reine Marie Antoinette aujourd'hui appelé Appartement du Roi de Rome et les appartements de Louis XVI devenus les appartements des Empereurs. Les murs sont en faux-marbre et faux-onyx. Les dessus de portes sont surmontées de trompe-l'œil grisaillés réalisés par Sauvage datant de l'époque Louis XV et Louis XVI. Au-dessus de la cheminée se trouve un trompe-l'œil représentant Anacréon, poète grec accompagné d'une jeune femme lui servant du vin dans une coupe. À partir de 1807, Napoléon Ier fait de cette pièce la salle à manger. Le mobilier est en acajou ; la table est une table composée de rallonges et les chaises qui l'entourent sont de style Empire représentant des lyres ; attributs d'Apollon.
La ville de Compiègne est située en aval du confluent des rivières Oise et Aisne, dans le département de l'Oise.
Au sud-est s'étend la forêt domaniale de Compiègne.
Les premières traces d'habitat humain sur la commune de Compiègne remontent au début du Ve millénaire avant notre ère et se continuent jusqu'à la conquête romaine. À l'époque gallo-romaine, Compiègne fut un point de passage sur l'Oise (Isara) relié au réseau de voies secondaires à la frontière des territoires des Bellovaques (Beauvais) et des Suessions (Soissons). Un gué se trouvait au lieu-dit le Clos des Roses entre Compiègne et Venette. Dans le quartier du Clos des Roses ont été retrouvés les vestiges d'un bâtiment romain, peut-être un poste de garde militaire du gué. Au centre-ville actuel, les fouilles menées n'ont pas découvert de vestiges gallo-romains. Dans les environs, quelques vestiges de villae furent mises au jour.
Le faubourg de Saint-Germain paraît être le premier établissement de Compiègne. La ville, sur son emplacement actuel, est de formation relativement récente ; elle s'est créée autour du château des rois de France. Compiègne fut associée à la couronne de France dès l'avènement des Mérovingiens. L'acte le plus ancien qui en faisait mention est un diplôme de Childebert Ier en 547. Clotaire Ier y mourut en 561 et les rois des deux premières races y séjournèrent souvent et y tinrent de nombreux plaids et conciles. Ragenfred, maire du Palais sous Dagobert III, bat en 715 les Austrasiens dans la forêt de Cuise, près de Compiègne14. Pépin le Bref en 757, reçoit à Compiègne l'empereur Constantin V Copronyme, qui lui fait présent pour son oratoire des premières orgues connues en France. Il y reçoit aussi le serment de vassalité du duc Tassilon III de Bavière.
Charles II le Chauve (823-877) roi de Francie et empereur d'Occident en fit son séjour habituel. Par le traité de Compiègne, le 1er août16 ou le 25 août 867, il concède le Cotentin, l'Avranchin ainsi que les îles Anglo-Normandes à Salomon, roi de Bretagne.
Le 2 janvier 876, Charles le Chauve ordonne l'édification de la collégiale Sainte-Marie, future abbaye Saint-Corneille, sur le modèle de celle d'Aix-la-Chapelle. Le 5 mai 877 il fait la consacrer par le pape Jean VIII. L'importante abbaye Saint-Corneille riche de reliques insignes (Saint-Suaire, reliques de la Passion, Voile de la Vierge) devient alors le noyau autour duquel commence à se développer la ville et le roi y bâtit un nouveau palais.
Son fils Louis le Bègue fut sacré à Compiègne le 8 décembre 877 dans l'abbaye Saint-Corneille par l'archevêque Hincmar de Reims et il y mourut en 879. En 884 à Compiègne, les grands du royaume au nom de son frère Carloman signent une trêve avec les Vikings. Enfin, Louis V le dernier Carolingien, qui fut sacré à Compiègne le 8 juin 979 et qui mourut le 21 mai 987 fut inhumé dans l'abbaye Saint-Corneille.
Hugues Capet ayant été élu roi des Francs en 987, Compiègne restera un des séjours préférés des premiers Capétiens : c'est à Saint-Corneille que la reine Constance d'Arles, épouse de Robert le Pieux, fit associer au trône son fils aîné Hugues qui sera inhumé dans cette basilique en 1025, avant d'avoir pu régner seul.
C'est Louis VI, avant 1125, qui octroya à la ville sa première charte communale. L'abbaye, par suite des scandales causés par les chanoines, devient une abbaye bénédictine à partir de 1150. Les bourgeois de Compiègne qui ont aidé à l'installation des moines et à l'expulsion des chanoines, obtiennent que leur ville soit instituée en commune par le roi Louis VII en 1153. Une charte communale sera aussi donnée aux habitants de Royallieu par la reine Adélaïde. Philippe Auguste confirme les droits communaux de Compiègne en 1207 et durant tout le XIIIe siècle la ville va accroître ses biens et son autorité avec le soutien du roi, qui sert d'arbitre entre les religieux de l'abbaye et les bourgeois de la commune.
Au milieu du XIIIe siècle, Saint Louis construit le Grand Pont, réparé sous Charles VIII et qui durera jusqu'en 1735. Saint Louis enlève aux moines la juridiction du prieuré et de l'hôpital Saint-Nicolas-au-Pont et va en faire un Hôtel-Dieu. Le roi, aidé par son gendre, roi de Navarre, y porta le premier malade sur un drap de soie en 1259.
Durant le XIVe siècle, la commune de Compiègne en proie à des difficultés financières insurmontables, va devoir renoncer à sa charte communale et le roi va nommer un prévôt pour administrer la ville et rendre la justice, avec le concours d'un maire aussi nommé par le roi et des représentants des bourgeois. La communauté élit tous les quatre ans, plusieurs "gouverneurs-attournés" chargés de la gestion communale. En cas de guerre le roi nomme un capitaine, proposé par la communauté qui se charge de la défense.
Jusqu'à la fin du XIVe siècle les rois réunirent souvent les États-généraux à Compiègne. En 1358, le régent Charles y réunit les États de Langue d'oïl pour rétablir l'autorité royale face aux menées d'Étienne Marcel. En 1374, il commence la construction d'un nouveau château sur l'emplacement actuel du Palais. Compiègne est désormais séjour royal et séjour de la cour, et reçoit la visite de nombreux princes.
Compiègne a vu naître Pierre d'Ailly, cardinal-évêque de Cambrai, chancelier de l'Université de Paris, diplomate qui contribua à mettre fin au Grand Schisme d'Occident, auteur de plusieurs ouvrages d'érudition. L'un de ses ouvrages permit à Christophe Colomb de préparer la découverte de l'Amérique.
Pendant la guerre de Cent Ans, Compiègne fut assiégée et prise plusieurs fois par les Bourguignons. Elle embrassa quelque temps le parti du roi d'Angleterre. Mais à partir du sacre de Charles VII, elle redevient fidèle au roi de France. Le plus mémorable de ces sièges est celui de 1430 où Jeanne d'Arc, accourue dans la ville pour la défendre, tomba le 23 mai aux mains des Bourguignons, lors d'une sortie sur la rive droite de l'Oise et fut vendue aux Anglais. Ce siège s'est traduit par d'importantes destructions par suite des bombardements, une baisse de la population et un appauvrissement des habitants. Les guerres menées par Louis XI se traduisent encore par des charges supplémentaires (fortifications, logement des gens de guerre), des impôts plus lourds et des emprunts forcés, et il faudra attendre le règne de Charles VIII pour entreprendre la reconstruction, relancer l'activité et retrouver la population d'avant la guerre.
Depuis lors, les rois de France continuèrent à résider souvent à Compiègne et prirent l'habitude de s'y arrêter en revenant de se faire sacrer à Reims, ainsi qu'avait fait Charles VII, accompagné de Jeanne d'Arc, en 1429.
La restauration de Compiègne est marquée par la reconstruction de l'hôtel-de-ville durant le premier tiers du XVIe siècle, symbole de la Ville. Le beffroi est orné des trois Picantins représentant des prisonniers anglais, flamands et bourguignons qui frappent les heures sur les cloches.
Les rois faisaient encore de courts séjours de François Ier à Henri IV. Compiègne était ville royale, ses gouverneurs-attournés étaient nommés avec l'avis du roi, les impôts, taxes et emprunts étaient dus au roi et les régiments de passage étaient logés chez les habitants. Pendant les guerres de religion, Compiègne resta catholique, fidèle à la royauté et bénéficia en retour de quelques avantages de la part des souverains. L'édit de Compiègne de 1547 réservant aux tribunaux laïcs le jugement des protestants dès qu'il y a scandale public, est une des premières étapes de la répression contre les huguenots.
1756 et 1764 : premier et deuxième traités conclus avec la République de Gênes pour le rattachement de la Corse à la France.
1770 : Louis XV et le dauphin y accueillirent au château Marie-Antoinette lors de son arrivée en France.
1790 : création de département de l'Oise et démantèlement de la province d'Île-de-France (voir l'histoire de l'Île-de-France).
1794 : la Révolution française juge et guillotine les seize sœurs carmélites de Compiègne, dont Georges Bernanos s'inspire pour écrire sa pièce Dialogues des Carmélites.
1804 : le château de Compiègne intègre le domaine impérial.
18 juin au 18 septembre 1808 : le roi Charles IV d'Espagne venant d'abdiquer est logé par Napoléon au château de Compiègne.
27 mars 1810 : Napoléon rencontre Marie-Louise d'Autriche au château pour la première fois.
15 mars 1814 : les Prussiens attaquent la ville par la route de Noyon.
9 août 1832 : mariage au château de Louise-Marie d'Orléans (fille du roi Louis-Philippe Ier) au Roi des Belges, Léopold Ier.
1856 à 1869 : Napoléon III séjourne fréquemment au château lors de ses visites en forêt.
Compiègne organise les épreuves de golf des Jeux olympiques d'été de 1900 sur le terrain de la Société des sports de Compiègne.
5 avril 1917 au 25 mars 1918 : le général Pétain installe au château son quartier général où se tiennent plusieurs conférences interalliées.
25 mars 1918 : durant l'offensive du printemps une réunion de crise réunit Georges Clemenceau, Raymond Poincaré, Louis Loucheur, Henri Mordacq, Ferdinand Foch et Philippe Pétain dans la commune, afin d'organiser la défense de la ligne de front avec les britanniques.
11 novembre 1918 : en forêt domaniale de Compiègne, dans un wagon au milieu d'une futaie, à proximité de Rethondes, signature entre la France et l'Allemagne de l'Armistice de 1918 en présence du maréchal Foch et du général Weygand
Château de Compiègne:
Quatre palais se sont succédé à Compiègne. Le plus ancien remonte au début de la dynastie mérovingienne et datait vraisemblablement du règne de Clovis. Il était probablement construit en bois et son emplacement est malaisé à déterminer.
De nombreux actes officiels sont datés de Compiègne, ce qui semble indiquer que les Mérovingiens y passaient du temps. C'est dans ce « palais royal » de Compiègne que meurt Clotaire Ier en 561, au retour d'une chasse à Saint-Jean-aux-Bois.
C'est à Compiègne que Clotaire II fait la paix avec son neveu Thibert II (ou Théodebert) en 604. Dagobert Ier y réunit en 633 le parlement qui décide de la fondation de la basilique de Saint-Denis et c'est au palais qu'était conservé son trésor, partagé en 639 entre ses successeurs.
Sous les Carolingiens, Compiègne est fréquemment le lieu de réunion des « assemblées générales » d'évêques et de seigneurs et, à partir du règne de Pépin le Bref, devient un lieu important sur le plan diplomatique : c'est là qu'en 757, Pépin accueille, au milieu d'une grande assemblée, une ambassade de l'empereur de Constantinople Constantin V Copronyme et qu'il reçoit l'hommage du duc de Bavière, Tassilon III. C'est là aussi que Louis le Pieux réunit plusieurs assemblées dont deux, en 830 et 833, tentent de le pousser à l'abdication.
Charles le Chauve établit progressivement à Compiègne le siège de son autorité royale puis impériale. En 875, il y reçoit une ambassade de l'émir de Cordoue, Muhammad Ier, qui apporte de riches présents convoyés à dos de chameau. Sacré empereur à Rome à la Noël 875, Charles fonde en 877 l'abbaye Notre-Dame de Compiègne4 qu'il établit à l'emplacement de l'ancien palais mérovingien, tandis que lui-même se fait construire un nouveau palais situé vers l'Oise, auquel l'abbaye sert de chapelle impériale, sur le modèle du palais que son grand-père Charlemagne avait créé à Aix-la-Chapelle.
Le fils de Charles le Chauve, Louis II le Bègue, est intronisé et sacré à Compiègne en 877, dans la chapelle palatine, où il est enterré deux ans plus tard, en 879. C'est là qu'est sacré Eudes, duc de France, fils de Robert le Fort, proclamé roi en 888 par l'assemblée des grands de préférence à Charles le Simple, trop jeune. Devenu roi à son tour, ce dernier séjourne fréquemment à Compiègne qui reste la principale résidence des souverains de la deuxième dynastie. C'est là que meurt le dernier des Carolingiens, Louis V, en 987.
Les Capétiens continuent à fréquenter Compiègne, mais le palais perd progressivement son rôle politique. Le développement de la ville de Compiègne les conduit à aliéner peu à peu l'ancien domaine royal au profit de la population. Philippe Auguste renforce les murailles de la ville et fortifie le vieux palais carolingien en érigeant un donjon pour mieux contrôler l'Oise.
Le processus d'aliénation du domaine royal s'achève sous Saint Louis; seules la grande salle et la tour de l'ancien palais sont conservées comme siège et symbole de l'administration militaire et féodale, mais les grandes assemblées doivent désormais se tenir à l'abbaye Saint-Corneille. Le roi ne conserve à Compiègne qu'une modeste résidence en lisière de la forêt, au lieu-dit Royallieu.
Charles V édifie vers 1374 un château à l'origine du palais actuel. En 1358, alors qu'il n'est encore que régent du royaume, il a réuni à Compiègne, dans l'ancien palais carolingien, les états généraux et éprouvé le manque de sécurité du logis de Royallieu, en lisière de forêt.
Il décide alors de bâtir un nouveau château sur un terrain qu'il rachète en 1374 aux religieux de Saint-Corneille, à qui Charles le Chauve l'avait vendu. Il faut faire abattre les maisons qui s'y trouvent et les travaux ne sont pas terminés lorsque Charles V meurt en 1380.
C'est ce château qui, agrandi au fil des siècles, va donner naissance au palais actuel; n'en subsistent que quelques vestiges noyés dans la maçonnerie du bâtiment.
C'est dans ce château que Charles VI réunit les états généraux de 1382. Les rois séjournent fréquemment à Compiègne avec une interruption au XVe siècle, la ville tombant aux mains des Bourguignons entre 1414 et 1429. Charles VII, qui vient de se faire sacrer à Reims, y fait son entrée solennelle le 18 août 1429 et y séjourne pendant douze jours, inaugurant la tradition du séjour du roi à Compiègne au retour du sacre, qui sera observée par presque tous les monarques jusqu'à Charles X inclus.
Il ne revient à Compiègne, accompagné du dauphin, le futur Louis XI, qu'en 1441, pour trouver un château très endommagé au cours de différents sièges, qu'il fait remettre en état et agrandir en 1451, à l'occasion d'un séjour prolongé.
Charles VIII et Louis XII font plusieurs séjours à Compiègne. François Ier, qui y vient fréquemment, fait améliorer les bâtiments et se préoccupe de l'aménagement de la forêt.
Son fils, Henri II, qui y séjourne pour des durées généralement plus longues, fait décorer la Porte-Chapelle, percée dans le rempart de la ville pour donner accès à la cour de la chapelle du château.
Charles IX est à l'origine de la création d'un « jardin du Roi » d'environ six hectares, qui constitue l'amorce du futur parc. Les troubles des guerres de Religion sont peu propices à de longs séjours royaux à Compiègne. Henri III doit renoncer à tenir à Compiègne les états généraux de 1576, mais c'est en l'église de l'abbaye Saint-Corneille que son corps est transporté pour y être inhumé après son assassinat en 1589, Compiègne étant alors la seule ville royale à être encore « au roi ».
Le château de Compiègne, inoccupé et mal entretenu durant les guerres de Religion, est devenu inhabitable. Lorsque Henri IV vient à Compiègne, il préfère loger en ville, tandis que l'atelier des monnaies est installé dans le château en 1594. Toutefois, à partir de 1598, les travaux de réparation commencent.
Quand Louis XIII vient pour la première fois à Compiègne, en 1619, il trouve le séjour si agréable qu'il y revient trois fois dans l'année. En 1624, il s'y installe d'avril à juillet et reçoit au château une ambassade du roi d'Angleterre Jacques Ier ainsi que les délégués des Provinces-Unies. Lors de son dernier séjour, en 1635, Louis XIII ordonne la réfection totale des appartements du Roi et de la Reine, réalisée sous la régence d'Anne d'Autriche.
Sous Louis XIV l'exiguïté du château amène à construire en ville des bâtiments pour les grandes et petite chancelleries, les écuries du Roi et de Monsieur, des hôtels pour les ministres et leurs bureaux, car Compiègne est, avec Versailles et Fontainebleau la seule demeure royale où le Roi réunisse le Conseil. Pour autant, le roi considère avant tout Compiègne comme un séjour de repos et de détente; il aime à y chasser et fait tracer le Grand Octogone, 54 routes nouvelles et construire des ponts de pierre sur les ruisseaux.
En 1666 a lieu le premier "camp de Compiègne", premier d'une série de seize grandes manœuvres militaires, dont le dernier se tiendra en 1847, destinées à la formation des troupes et de leurs chefs, à l'éducation des princes et au divertissement de la Cour et du peuple. Le plus important de ces camps est celui de 1698 où, selon Saint-Simon, « l'orgueil du Roi voulut étonner l'Europe par la montre de sa puissance [...] et l'étonna en effet ».
Après 1698 Louis XIV ne revient plus à Compiègne et le château reste inoccupé pendant dix ans.
D'octobre 1708 à mars 1715, il accueille l'Électeur de Bavière Maximilien II Emmanuel, mis au ban de l'Empire et à qui son allié Louis XIV offre asile et protection à Compiègne.
Louis XV arrive pour la première fois à Compiègne le 4 juin 1728. Le jeune roi a choisi de s'établir au château pendant qu'est réuni à Soissons le congrès qui discute de la paix avec l'Espagne. Prenant un grand plaisir à chasser dans la forêt, il va chaque été y passer un à deux mois.
L'incommodité du château, ensemble de bâtiments sans unité, sans plan d'ensemble, mal reliés entre eux et trop petits devient manifeste. Après une campagne d'aménagements intérieurs (1733), des travaux d'agrandissement sont réalisés sous la direction de Jacques V Gabriel de 1736 à 1740.
Le château devint rapidement la résidence préférée de Louis XV, qui envisagea un temps d'y déplacer sa résidence permanente.
Entre 1740 et 1751, plusieurs projets de reconstruction totale sont présentés. Tous sont éclipsés par celui qu'Ange-Jacques Gabriel présente en 1751 : immédiatement agréé, il est aussitôt mis à exécution. Malgré les travaux, Louis XV continue de venir souvent à Compiègne, où il aime à chasser. C'est là qu'il choisit d'organiser, le 14 mai 1770, une réception en l'honneur de l'archiduchesse Marie-Antoinette d'Autriche, venue épouser le dauphin, futur Louis XVI, et accueillie en forêt de Compiègne quelques heures auparavant.
Sa mort n'interrompt pas les travaux, qui sont poursuivis à partir de 1776 sous la direction de Louis Le Dreux de La Châtre, élève d'Ange-Jacques Gabriel avant de devenir son collaborateur; il achève la reconstruction du château en respectant scrupuleusement les plans de son maître. L'ensemble – gros œuvre et décors – est achevé en 1788.
Louis XVI vient très peu à Compiègne; il y séjourne une première fois en 1774, peu après son accession au trône, et, conformément à la tradition, s'y arrête en 1775 trois jours en allant à Reims et trois jours en en revenant. Par la suite, il n'y fait que quelques brefs séjours de chasse. L'accélération des travaux, à la suite de décisions prises par le Roi et la Reine en 1782, rendait au demeurant le château difficilement habitable. le couple royal ne vit pas ses appartements terminés.
L'assemblée des notables de 1787 juge les dépenses effectuées à Compiègne excessives. Sous la Révolution, le mobilier est vendu, comme celui des autres résidences royales (mai-septembre 1795).
En 1799, une première section du Prytanée militaire est installée au château, avec d'autres éléments, elle forme l'École des Arts et Métiers, qui occupe le bâtiment jusqu'en 1806.
Le 12 avril 1807, par un décret daté de Finckenstein, Napoléon Ier ordonne la remise en état du château. L'architecte Louis-Martin Berthault est chargé de la direction des travaux. Ceux-ci consistent en la mise hors d'eau du bâtiment et en de considérables travaux de réaménagement intérieur et de décoration. Une grande galerie (galerie de Bal) est notamment créée dans une aile de la cour des Cuisines à partir de 1809.
Le jardin est entièrement replanté et une continuité est créée avec la forêt, le mur d'enceinte étant remplacé par une grille.
Dans l'ancienne aile de la Reine, Berthault commence par aménager sommairement un appartement destiné au logement d'un roi étranger, qui ne tarde pas à recevoir Charles IV d'Espagne, qui arrive à Compiègne le 18 juin 1808, après avoir été contraint d'abdiquer. Il y reste jusqu'en septembre avant d'être transféré à Marseille.
Napoléon accueille à Compiègne l'archiduchesse Marie-Louise d'Autriche, future impératrice, le 27 mars 1810 pour leur première rencontre. La Cour revient à Compiègne après le mariage, célébré à Paris. Elle y retourne l'été suivant, le couple impérial étant accompagné, cette fois-ci, du roi de Rome. En 1813, le château abrite provisoirement le roi de Westphalie Jérôme Bonaparte et la reine Catherine.
Le 1er avril 1814, le château est vaillamment défendu par le major Otenin.
Peu après, Louis XVIII, sur le chemin de Paris, choisit de s'y arrêter quelques jours pour analyser la situation avant de faire son entrée dans la capitale (29 avril - 2 mai 1814).
Dans les années suivantes les princes et les princesses de la famille royale viennent fréquemment à Compiègne, mais toujours pour de brefs séjours d'un à deux jours, parfois même une nuit ou quelques heures, à l'occasion d'une chasse, avec une très petite suite.
Charles X fait son premier séjour à Compiègne comme roi de France du 8 au 10 novembre 1824, accompagné d'une suite nombreuse. Du 24 au 27 mai 1825, il s'y arrête sur le chemin de Reims et, au retour, séjourne au château, selon l'usage, du 1er au 13 juin. Il y vient ensuite fréquemment pour de brefs séjours de chasse, en dernier lieu du 24 au 29 mai 1830. Le château est sous le majorat de Mathieu de Montmorency et Arnouph Deshayes de Cambronne.
Louis-Philippe vient pour la première fois à Compiègne en 1832 pour préparer le mariage de sa fille aînée Louise avec le roi des Belges Léopold Ier, qui est célébré au château le 9 août 1832.
Après la Révolution de 1848, Compiègne devient domaine national. Le Prince-Président, Louis-Napoléon Bonaparte, s'y rend en février 1849 à l'occasion de l'inauguration de la ligne de chemin de fer Compiègne-Noyon.
Devenu empereur, il revient y passer une dizaine de jours du 18 au 28 décembre 1852, avec une suite d'une centaine de personnes. Au cours de l'automne 1852, il y fait une cour assidue à Eugénie de Montijo. S'étant émerveillée lors d'une promenade dans le parc de l'effet produit par les gouttes de rosée sur un trèfle, elle se voit offrir dès le lendemain par l'Empereur une broche d'émeraudes et de diamants en forme de « trèfle de Compiègne ». La Cour revient à Compiègne en 1853 et 1855, mais ce n'est qu'en 1856 que commence la série des « Compiègne », c'est-à-dire un séjour d'un mois à un mois et demi chaque automne, pour les chasses en forêt, avec organisation des invités en « séries » d'une centaine d'invités chacune. Il y avait généralement quatre séries. L'étiquette est réduite à son minimum, les invités jouissant d'une large indépendance.
En 1870 et 1871, le château est occupé par les Prussiens.
Il accueille en 1901 le tsar Nicolas II de Russie, dernier souverain à résider à Compiègne. Pendant la Première Guerre mondiale, les Anglais s'y installent, puis l'état-major allemand en 1914. Le château est transformé en hôpital en 1915 avant d'abriter le Grand Quartier général de mars 1917 à avril 1918.
Après la Guerre, le service des Régions libérés s'installe au château et occasionne des dégâts importants : en 1919, un incendie dévaste la Chambre de l'Empereur et le Cabinet du Conseil. En 1939, avec la Seconde Guerre mondiale, le château est vidé de son mobilier, qui retrouvera sa place en 1945.
Kite are a Swedish synthpop group composed of Nicklas Stenemo (The Mo, Melody Club) and Christian Berg (Yvonne, Strip Music, The April Tears). Originating from Malmö and now based in Stockholm, they are signed to Astronaut Recordings and have published six EPs since their debut in 2008, each of which was released on CD and as a limited vinyl record edition. They have performed at festivals like Recession Festival in Århus, Denmark, and Arvika Festival and Putte i parken in Sweden, and Wave Gotik Treffen Leipzig.
In 2020 they released new music with producer Benjamin John Powers.
Their eponymous debut EP Kite was reviewed favourably by the Side-Line magazine comparing it to classic 1980s synthpop acts like Erasure or Yazoo, while the German Sonic Seducer noted singer Stenemo's distinctive voice.The EP Kite III was lauded for its original sound by Side-Line and Sonic Seducer, the latter marking a darker tone in this release. The release Kite IV has been seen as a mix of classic 1980s synthpop like OMD and modern, experimental sounds. Kite's sixth EP VI was released in 2015. It has been compared to the sound of Kraftwerk and Vangelis.
The 2010 single "Jonny Boy" reached position 49 in the Swedish charts.
Ben and I and a couple of friends went out exploring and taking some pictures of things at Ideal Park. I even tried capturing a couple of Gartner Snakes with no luck. I thought I should take pictures of Ben instead of making him the lacky with my camera
Thank you very much for your valuable & kind comments :)
ممنون از نظرات ارزشمندتون و توجهی که دارید دوستان گرامی
The Black Cats are the Royal Navy's helicopter display team. The team is composed of two Westland Lynx anti-submarine and anti-shipping helicopters, with the aircraft and crews drawn from No No. 702 Naval Air Squadron based at RNAS Yeovilton in Somerset.
The team performs at air shows and other public events around the UK and Europe. They perform a display which mixes close formation, opposition and synchronised manoeuvres.
The Black Cats were formed in 2001. For their first three display seasons, the team was known as the 'Lynx Pair' - the "Black Cats" title was applied in 2004. The team's predecessors as the Royal Navy Helicopter Display Team were "The Sharks", who used four red Aérospatiale Gazelle helicopters and disbanded in 1992.
The team won the Steadman Sword for the best British participant at the Royal International Air Tattoo in 2003 and as "Les Chats Noir" performed at the French Navy's 30th Anniversary of operating the Lynx at Lanveoc in Brittany.
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The Westland Lynx is a British multi-purpose military helicopter designed and built by Westland Helicopters at its factory in Yeovil. Originally intended as a utility craft for both civil and naval usage, military interest led to the development of both battlefield and naval variants, which went into operational usage in 1977 and were later adopted by the armed forces of over a dozen nations, where it primarily serves in the battlefield utility, anti-armour, search and rescue and anti-submarine warfare roles. In 1986 a specially modified Lynx broke Fédération Aéronautique Internationale's official airspeed record for helicopters, which it still holds. The helicopter is now produced and marketed by Agusta Westland.
Registrations:
•Lynx 1: ZD268
•Lynx 2: XZ697
General characteristics
•Crew: 2 or 3
•Payload: 737 kg
•Length: 15.241 m (50 ft)
•Rotor diameter: 12.80 m (42 ft)
•Height: 3.734 m for mk7; 3.785 m for mk9 (12.25 ft for mk7; 12.41 ft for mk9)
•Disc area: 128.71 m² (1,385 ft²)
•Empty weight: 3,291 kg (7,255 lb)
•Max takeoff weight: 5,330 kg (11,750 lb)
•Powerplant: 2× Rolls-Royce Gem turboshaft, 835 kW (1,120 shp) each
Performance
•Maximum speed: 324 km/h (201 mph)
•Range: 528 km (328 miles) with standard tanks
Armament
•Naval: 2 x torpedoes or 4x Sea Skua missiles or 2 x depth charges.
•Attack: 2 x 20mm cannons, 2 x 70mm rocket pods CRV7, 8 x TOW ATGM
•General: 7.62mm General Purpose Machine Guns (AH.7 and AH.9), Browning AN/M3M 0.50 calibre heavy machine gun (HAS.3 and HMA.8)
Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.
Out of focus and boringly composed, but I still like it, so I'm posting it. It's freezing, did you know? (5.6 degrees as I type this. At least, according to weather.com) And it's raining. In fact, I've been out in the rain taking photos for the past hour. I'm soaked through. It only just occured to me that that is probably why I'm so cold. Y'all understand that I'm an idiot, right?
Good or Evil: Good, baby.
Live or Die: Oh, he's dead. Dead dead dead. Mostly.
Taken in York, I had literally seconds to compose and shoot this image. I knew the sun would be behind this building, but didn't anticipate it coming through the archway. Thanks to getting delayed taking other photos, I only arrived on scene perhaps two minutes before I took this shot. This is an HDR of three images. It took quite a lot of post-processing, at least a couple of hours, before it got into an acceptable state. Of course, it is possible to use ND grad filters at the time of shooting and spend just minutes post-processing, but I think the HDR process can produce images that feel much more lifelike and real if used properly.
If you enjoyed this, visit Lapse of the Shutter and the daily photo blog.
Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).
See this manuscript page by page at the Walters Art Museum website:
"Red Lips" - six color print by John Wesley, at the Axelle Fine Arts Silkscreen Studio
Although he was part of the original group of POP Artists and was included
in the three Pop Art Print Portfolios, Wesley, a native Callifornian, has
been slow to gain the recognition he deserves. In POP ART: A Continuing
History, Marco Livingstone notes that Wesley used a "straightforward linear
technique associated with such non-art sources as cartoons, comics and
coloring books" (82-83) and used "gentle humor . . . framing devices,
symmetry, and tactics of repetition as essential ingrediants in the
production of paintings that appear to be innocent in an obviously childlike
way but are in fact meditative in atmosphere and sophisticated in their
formal construction" (208). Meditative they may be, but if innocence is
present it is often that of those who ought to know better. As a press
release foor the January-February 2001 exhibition of his work at the Harvard
University Art Museums points out, "Wesley has been painting acutely sexual,
intensely observed, narrative paintings for more than 40 years. The
conspicuous characteristics of his work since the early seventies-its
insistent flatness, powdered pastel palette, cartoon/cinematographic
narratives, embrace of the sexually charged encounter, sophisticated
anthropomorphism, and mannered drawing-have enormous appeal for younger
painters inspired by a digital revolution to rethink the medium: Wesley's
painting looks like nothing else out there.
A recent retrospective at the Museum of Modern Art's P.S.1, Wesley's first
in the United States, reflects this new interest in a painter who first came
into prominence in the early sixties. Staged against the backdrop of the
more extensive MoMA/P.S.1 retrospective, John Wesley: Love's Lust is
selective rather than comprehensive, featuring work from the sixties through
to the present in an effort to look more closely at Wesley's allegorical
subject matter and sophisticated formal innovations. 'Wesley's compelling
approach to painting encourages the viewer to question the reasons for his
eccentric creations and in doing so forces us all to ponder his intended
message,' said James Cuno, the Elizabeth and John Moors Cabot Director of
the Harvard University Art Museums. 'Wesley has never lacked for attention,'
said Linda Norden, the curator at the Fogg who organized the show. 'But
critics have been eager to characterize rather than analyze the art for fear
that looking too closely would kill off whatever it is that works. This
exhibition is meant to show that exactly the opposite is true. Wesley's
paintings can be frighteningly funny, poignant, and just plain weird; but
there is a complex pictorial intelligence driving this body of work.' "
The Harvard show "includes a wide selection of acrylic-on-paper paintings,
which Wesley usually enlarges on canvas. Two wall cases contain some of the
traced drawings he uses to compose his paintings. Surprisingly, these
tracings reveal how little is fixed by an apparently mechanical means of
reproduction: Instead, what becomes quickly apparent is Wesley's mastery of
subtle shifts in scale and placement. Over the last ten years, Wesley has
taken another turn in his paintings, opening spaces between figures,
substituting distance for repetition, and conveying character less through
facial expression than by developing a complex mannered line. This seems to
be John Wesley's moment: John Wesley: Love's Lust offers an overdue
opportunity to examine the work of an artist who has long been loved, but
never taken quite seriously enough."
The Curator of John Wesley: Paintings 1961-2000, a retrospective held during
the autmn of 2000 at P.S. 1, a branch of The Museum of Modern Art, has a
slightly different perspective. Alanna Heiss, P.S.1 Director, says"Wesley's
work stands eerily apart. He mixes images of traditional emblems, historical
figures, comic book personalities, animals, sexy women, athletes and
showgirls into surreal daydreams, prompting the viewer to rejoin her own
private dream-world." This exhibition includes works ranging from his
earliest paintings (Stamp, 1961) to his most recent-Showboat, 2000. To
accompany this retrospective, P.S.1 has produced a catalogue including new
essays by Brian O'Doherty and Carolyn Christov-Bakargiev, an interview with
the artist by Alanna Heiss, a chronology by Hannah Green, and an anthology
of other significant texts and color plates. Wesley is known for his
consistency of palette (baby blues, cotton-candy pinks), his use of painted
"frames" within his pictures, his early emblem paintings, his cartoon
Bumstead paintings, and ultimately for his representations of an inner
erotic voyage where we are both the voyager and the voyeur.
After moving from his native Los Angeles to New York in 1960, John Wesley
began showing his work at the Robert Elkon Gallery in 1963. Donald Judd
became an early supporter of Welsey's work at that time. In a review of that
first New York show he wrote "...the forms selected and shapes to which they
are unobtrusively altered, the order used, and the small details are
humorous and goofy." Initially considered in alignment with pop artists of
the early 60s, Wesley consistently produced works of such a subtle and
subversive nature as to put him in a category of his own. He used the early
tools of advertising production (tracing paper and stock photographs).
Influences on his work range from Surrealism to Art Nouveau, from ancient
Greek pottery to Matisse. Wesley's colorful and figurative style also
reflects the "flat" world of comics and posters. His secret life is ours;
the works uncover the private world of a dreamer, where the dreamer is the
protagonist, the artist, and the viewer. They are icons proclaiming the
sanctity of our subconscious wanderings.
Selected Bibliography: In addition to discussions of Wesley in such standard
works on the POP Art Movement as Judith Goldman, The Pop Image: Prints &
Multiples (NY: Marlboroush Graphics, 1994), Marco Livingstone, POP ART: A
Continuing History (NY: Abrams, 1990), see R. H. Fuchs, Kasper Konig, et al,
John Wesley : Paintings 1963-1992, Gouaches 1961-1992 (Frankfurt: Oktagon
Verlag, 1993-Catalogue of a travelling retrospective held in Frankfurt,
Amsterdam, Ludwigsburg, and Berlin between July & Oct. 1993); Alanna Heiss,
John Wesley: Paintings 1961-2000 (NY: P. S. 1-MoMA, 2000).
[Source]
Read: A Conversation with John Wesley by Marianne Stockebrand
amigas comprei este tecido para presentear na festa de final do ano do clube da agulha.....eu amei esta estampa....
Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).
See this manuscript page by page at the Walters Art Museum website:
Wat Phra Kaew (Thai: วัดพระแก้ว, rtgs: Wat Phra Kaeo, IPA: [wát pʰráʔ kɛ̂ːw], Pronunciation, English: Temple of the Emerald Buddha; full official name Wat Phra Si Rattana Satsadaram, Thai: วัดพระศรีรัตนศาสดาราม, IPA: [wát pʰráʔ sǐː rát.ta.náʔ sàːt.sa.daː.raːm]) is regarded as the most sacred Buddhist temple (wat) in Thailand. The Emerald Buddha housed in the temple is a potent religio-political symbol and the palladium (protective image) of Thai society. It is located in Phra Nakhon District, the historic centre of Bangkok, within the precincts of the Grand Palace.
The main building is the central phra ubosot, which houses the statue of the Emerald Buddha. According to legend, this Buddha image originated in India where the sage Nagasena prophesized that the Emerald Buddha would bring "prosperity and pre-eminence to each country in which it resides", the Emerald Buddha deified in the Wat Phra Kaew is therefore deeply revered and venerated in Thailand as the protector of the country. Historical records however dates its finding to Chiang Rai in the 15th century where, after it was relocated a number of times, it was finally taken to Thailand in the 18th century. It was enshrined in Bangkok at the Wat Phra Kaew temple in 1782 during the reign of Phutthayotfa Chulalok, King Rama I (1782–1809). This marked the beginning of the Chakri Dynasty of Thailand, whose present sovereign is Bhumibol Adulyadej, King Rama IX.
The Emerald Buddha, a dark green statue, is in a standing form, about 66 centimetres tall, carved from a single jade stone ("emerald" in Thai means deep green colour and not the specific stone). It is carved in the meditating posture in the style of the Lanna school of the northern Thailand. Except for the Thai King and, in his stead, the Crown Prince, no other persons are allowed to touch the statue. The King changes the cloak around the statue three times a year, corresponding to the summer, winter, and rainy seasons, an important ritual performed to usher good fortune to the country during each season.
HISTORY
In 1767, the Kingdom of Ayutthaya fell to the Burmese, and King Taksin then moved the capital to Thonburi where he built the old palace beside Wat Arun on the west bank of Chao Phraya River. In 1778, Taksin's army under the command of Chao Phraya Chakri (who later became Rama I) captured Vientiane and took the Emerald Buddha back to Thonburi.
In 1782, King Rama I succeeded to the throne and founded the Chakri Dynasty, and he decided to move the capital across the river to Bangkok as it would be better protected from attack. The site chosen for the palace is situated between two old wats, Wat Pho and Wat Mahathat, an area inhabited by Chinese residents who were then moved to the present Chinatown. He started the construction of the Grand Palace so that the palace may be ready for his coronation in 1785. Wat Phra Kaew, which has its own compound within the precinct of the palace, was built to house the Emerald Buddha, which is considered a sacred object that provides protection for the kingdom. Wat Phra Kaew was completed in 1784. The formal name of Wat Phra Kaeo is Phra Sri Rattana Satsadaram, which means "the residence of the Holy Jewel Buddha."
Wat Phra Kaew has undergone a number of renovations, restoration and additions in its history, particularly during the reign of King Rama III and Rama IV. Rama III started the renovations and rebuilding in 1831 for the 50th Anniversary of BangkoK of 1832, while Rama IV's restoration was completed by Rama V in time for the Bangkok Centennial celebrations in 1882. Further restoration was undertaken by Rama VII on Bangkok's 150th Anniversary in 1932, and by Rama IX for the 200th Anniversary in 1982.
EMERALD BUDDHA
It is not known when the statue of the Emerald Buddha was made, but it is generally believed that it was crafted in 14th-century Thailand. However, there are also claims that the statue originated in India or Sri Lanka. None of these theories can be firmly established as none of the historians could get a close look at the statue.
According to one account, the Emerald Buddha was found in Chiang Rai, Lanna in 1434, after a lightning storm struck a temple. The Buddha statue fell down and later became chipped, and the monks, after removing the stucco around the statue, discovered that the image was a perfectly made Buddha image from a solid piece of green jade. The image was moved a few time to various temples, first to Lampang, then to Chiang Mai, from where it was removed by prince Chao Chaiyasetthathirat to Luang Prabang, when his father died and he ascended the throne of both Lanna and Lan Xang, in 1551. The statue remained the it to his new capital of Lan Xang in Vientiane in the 1560s. The statue remained there for twelve years. King Chaiyasetthathirat then shifted it to his new capital of Lan Xang in Vientiane in the 1560s. He took the Emerald Buddha with him and the image remained in Vientiane for 214 years until 1778.
In the reign of King Taksin, Chao Phya Chakri (who later became Rama I) defeated Vientiane and moved the Emerald Buddha from Vientiane to Thonburi where it was installed in a shrine close to Wat Arun. When Chao Phra Chakri took over the throne and founded the Chakri Dynasty of the Rattanakosin Kingdom, he shifted his capital across the river to its present location in Bangkok. The Emerald Buddha was also moved across the river with pomp and pageantry and installed in the temple of Wat Phra Keaw.
LEGENDS
There a number of legends associated with the Emerald Buddha. It was said the iconic image of the Emerald Buddha was made by Nagasena, a saint in Pataliputra (present day Patna), India, who, with the help of Hindu god Vishnu and demigod Indra, had the Emerald Buddha image made. Nagasena predicted that:
The image of the Buddha is assuredly going to give to religion the most brilliant importance in five lands, that is in Lankadvipa (Sri Lanka), Ramalakka, Dvaravati, Chieng Mai and Lan Chang (Laos).
The Emerald Buddha image was taken to Sri Lanka after three hundred years in Pataliputra to save it during a civil war. In 457, King Anuruth of Burma sent a mission to Ceylon with a request for Buddhist scriptures and the Emerald Buddha, in order to promote Buddhism in his country. These requests were granted, but the ship lost its way in a storm during the return voyage and landed in Cambodia. When the Thais captured Angkor Wat in 1432 (following the ravage of the bubonic plague), the Emerald Buddha was taken to Ayutthaya, Kamphaeng Phet, Laos and finally Chiang Rai, where the ruler of the city hid it, and was later found.
ARCHITECTURE
Wat Phra Kaeo has a plethora of buildings within the precincts of the Grand Palace, which covers a total area of over 94.5 hectares. It has over 100 buildings with “200 years royal history and architectural experimentation” linked to it. The architectural style is named as Rattanakosin style (old Bangkok style). The main temple of the Emerald Buddha is very elegantly decorated and similar to the temple in ancient capital of Ayudhya. The roof is embellished with polished orange and green tiles, the pillars are inlaid in mosaic and the pediments are made of rich marble, installed around 18th century. The Emerald Buddha is deified over an elevated altar surrounded by large gilded decorations. While the upper part of this altar was part of the original construction, the base was added by King Rama III. Two images of the Buddha, which represent the first two kings of the Chakri dynasty, flank the main image. Over the years, the temple has retained its original design. However, minor improvements have been effected after its first erection during Rama I's reign; wood-work of the temple was replaced by King Rama III and King Chulalongkorn; during King Mongkut's reign, the elegant doors and windows and the copper plates on the floor were additions, Rama III refurbished the wall painting (indicative of the universe according to Buddhist cosmology) and several frescoes that display the various stages of the Buddha's life; three chambers were added on the western side by King Mongkut; in the chamber known as 'Phra Kromanusorn' at the northern end, images of Buddha have been installed in honour of the kings of Ayutthaya; and in the 19th century, In Khong, a famous painter executed the wall murals. The entry to the temple is from the third gate from the river pier.The entrance is guarded by a pair of yakshis (mythical giants – 5 metres high statues). The eponymous image Buddha in brilliant green colour is 66 centimetres (26 in) in height with a lap width of 48.3 centimetres. It is carved in a yogic position, known as Virasana (a meditation pose commonly seen in images in Thailand and also in South India, Sri Lanka and Southeast Asia). The pedestal on which the Emerald Buddha deified is decorated with Garuda (the mythical half-man half-bird form, a steed of Rama, who holds his mortal enemy Naga the serpent in his legs) motifs It is central to Thai Buddhism. The image made with a circular base has a smooth top-knot that is finished with a "dulled point marking at the top of the image". A third eye made in gold is inset over the elevated eyebrows of the image. The image appears divine and composed, with the eyes cast downward. The image has a small nose and mouth (mouth closed) and elongated ears. The hands are seen on the lap with palms facing upwards.
The entire complex, including the temples, is bounded by a compound wall which is one of the most prominent part of the wat is about 2 kilometres length. The compound walls are decorated with typically Thai murals, based on the Indian epic Ramayana. In Thai language these murals are known to form the Ramakian, the Thai national epic, which was written during the reign of Rama I. The epic stories formed the basic information to draw the paintings during the reign of King Rama I (1782–1809). These paintings are refurbished regularly. The murals, in 178 scenes, starting with the north gate of the temple illustrates the complete epic story of Ramayana sequentially, in a clockwise direction covering the entire compound wall. The murals serve to emphasise human values of honesty, faith, and devotion.
There are twelve salas that were built by Rama I, around the temple. They house interesting artefacts of regions such as Cambodia and Java. One of these salas had an inscription of Ramkamhaeng, which was shifted, in 1924, to the National Library. During the reign of King Mongkut, the Phra Gandharara – small chapel on the southwest corner – and a tall belfry were new additions.
WORSHIP AND CEREMONIES
Early in the Bangkok period, the Emerald Buddha used to be taken out of its temple and paraded in the streets to relieve the city and countryside of various calamities (such as plague and cholera). However, this practice was discontinued during Rama IV's reign as it was feared that the image could get damaged during the procession and also a practical line of thinking that Rama IV held "that diseases are caused by germs, not by evil spirits or the displeasure of the Buddha". The image also marks the changing of the seasons in Thailand, with the king presiding over the seasonal ceremonies.
Like many other Buddha statues in Thailand, the Emerald Buddha is dressed in a seasonal costume. It is a significant ritual held at this temple. In this ritual, dress of the deity is changed three times a year to correspond to the seasons. In summer it is a pointed crown of gold and jewels, and a set of jewelled ornaments that adorns the image from the shoulders to the ankles. In winter, a meshed dressing gown or drapery made of gold beads, which covered from the neck down like a poncho is used. During the rainy months, a top-knot headdress studded with gold, enamel and sapphires; the gold attire in the rainy season is draped over the left shoulder of the deity, only with the right shoulder left bare while gold ornaments embellish the image up to the ankles. The astrological dates for the ritual ceremonies, at the changing of the seasons, followed are in the 1st Waning Moon of Lunar Months 4, 8 and 12 (around March, July and November). The costume change ritual is performed by the Thai king who is the highest master of ceremonies for all Buddhist rites. On each occasion, the king himself "cleans the image by wiping away any dust that has collected and changing the headdress of the image". Then a king's royal attendant climbs up and performs the elaborate ritual of changing garments of the image as the king is chanting prayers to the deity. On this occasion, the king sprinkles water over the monks and the faithful who have assembled to witness the unique ritual and seeks blessings of the deity for good fortune during the upcoming season. The two sets of clothing not in use at any given time are kept on display in the nearby Pavilion of Regalia, Royal Decorations and Coins in the precincts of the Grand Palace. While Rama I initiated this ritual for the hot season and the rainy season, Rama III introduced the ritual for the winter season. The robes, which the image adorns, represents that of monks and King's depending on the season, a clear indication of highlighting its symbolic role "as Buddha and the King", which role is also enjoined on the Thai King who formally dresses the Emerald Buddha image.
A ceremony that is observed in the wat is the Chakri Day (begun on April 6, 1782), a national holiday to honour founding of the Chakri dynasty. On this day, the king attends the ceremony. The present king Rama IX, with his Queen, and entourage of the royal family, the Prime Minister, officials in the Ministry of Defence, and other government departments, first offer prayers at the Emerald Buddha temple. This is followed by visit to the pantheon to pay homage to the images of past Chakri rulers that are installed there.
The coronation ceremony, which marks the crowning of the king, is an important event of the Chakri dynasty. One such recent event took place when the present Rama IX was crowned the King. On this occasion, the King came to the Chapel Royal- the Wat Phra Keo – in a procession wearing a 'Great Crown'. After entering the chapel, the king made offerings of gold and silver flowers to the deity and also lighted candles. He also paid homage to the images of Buddha that represented the past kings of the dynasty. In the presence of assembled elite clergy of the kingdom, he took a formal vow of his religion and his steadfastness to 'Defend the Faith'.
RULES OF ENTRY AND CONDUCT
The sacred temples in Thailand follow a dress code, which is strictly followed. Men must wear long pants and sleeved shirts and shoes; women must wear long skirts. Visitors who arrive dressed otherwise may rent appropriate clothing items at the entry area of the temple. It is compulsory to remove the shoes before entering the temple, as a sign of respect of the Buddha, as is the practice in all other temples in Thailand. While offering prayers before the Buddha image, the sitting posture should avoid any offensive stretching of feet towards the deity; the feet should be tucked in towards the back.
OTHER MONUMENTS
While the surrounding portico of the shrine is an example of Thai craftsmanship, the perimeter of the temple complex has 12 open pavilions. These were built during the reign of Rama I. There is plethora of monuments in the temple complex. These are:Grand PalaceThe former residence of the King, the Grand Palace, adjoins the temple. The King makes use of this Grand Palace for ceremonial functions such as the Coronation Day. The King’s present residence is to the north of this Grand Palace and is known as the Chitlada Palace. The four structures surrounding the temple have history of their own. At the eastern end is the Borombhiman Hall (built in French architectural design), which was the residence of King Rama VI, now used as guest house for visiting foreign dignitaries. It has the dubious distinction of having been used as the operational headquarters and residence of General Chitpatima who attempted a coup, in 1981. The building to the west is the Amarindra hall, earlier a hall of Justice, now used for formal ceremonies. The Chakri Mahaprasat is the largest hall in the Grand Palace, built in 1882 by British architects, the architecture of which is fusion of Italian renaissance and Traditional Thai architecture. This style is called farang sai chada, (meaning: "Westerner wearing a Thai crown") as each wing has a shrine (mandap) crowned by a spire. Ashes of the Chakri kings (five ancestors) are enshrined in the largest of these shrines, also known as the pantheons, that were rebuilt after a fire in 1903 during Rama IV's reign. Ashes of the Chakri princess who could not become kings are enshrined in an adjoining hall. The throne room and the reception hall are on the first floor, while the ground floor houses a collection of weapons. The inner palace had the King’s harem (the practice was discontinued during King Rama VI's time who decreed the one wife rule), which was guarded by well trained female guards. Another hall in the palace is the 'Dusit hall' in Ratanokosin-style, which runs from east to west, which was initially an audience hall but now converted into a funerary hall for the Royal family. Royal family corpses are kept here for one year before they are cremated in a nearby field. There is also a garden which was laid during rama IV's reign. The garden depicts a "Thai mountain-and-woods-fable" mountain scenes where the coming of age ritual of shaving the topknot of the Prince is performed.PagodasThe temple grounds also depict three pagodas to its immediate north, which represent the changing centres of Buddhist influence. One such shrine to the west of the temple is the Phra Si Ratana Chedi, a 19th-century stupa built in Sri Lankan style enshrining ashes of the Buddha.Library
Rama I also built a library in Thai style, in the middle of the complex, known as the "Phra Mondop". The library houses an elegantly carved Ayutthaya-style mother-of-pearl doors, bookcases with the Tripitaka (sacred Buddhist manuscripts), human-and dragon-headed nagas (snakes), and images of Chakri kings.
During the 19th century, the Royal Pantheon was built in Khmer style to the east of the temple, which is kept open for only one day in year, in the month of October to commemorate the founding of the Chakri dynasty.
Model of Angkor WatThe temple complex also contains a model of Angkor Wat (the most sacred of all Cambodian shrines). In 1860, King Mongkut ordered his generals to lead 2,000 men to dismantle Angkor Wat and take it to Bangkok. Modern scholars suggested that the king wanted to show that Siam was still in control of Cambodia, as France was seeking to colonise Cambodia at that time. However, the king's order could not be fulfilled. A royal chronicle written by Lord Thiphakorawong (Kham Bunnag), then foreign minister, recorded that many Thai men fell ill after entering Cambodian wilderness. The chronicle also stated that forest-dwelling Khmer people ambushed the Thai army, killing many leading generals. King Mongkut then ordered the construction of the model within Wat Phra Kaew, instead of the real Angkor Wat that could not be brought to Bangkok. Mongkut died before he could see the model. Its construction was completed in the reign of his son, Chulalongkorn.Hermit statue
A hermit's bronze image, which is believed to have healing powers, is installed in a sala on the western side of the temple. It is near the entry gate. It is a black stone statue, considered a patron of medicine, before which relatives of the sick and infirm pay respects and make offerings of joss sticks, fruit, flowers, and candles.
EIGHT TOWERS
On the eastern side of the temple premises there are eight towers or prangs, each of a different colour. They were erected during the reign of Rama I and represent eight elements of Buddhism.
ELEPHANT STATUES
Statues of elephants, which symbolize independence and power, are seen all around the complex. As Thai kings fought wars mounted on elephants, it has become customary for parents to make their children circumambulate the elephant three times with the belief that that it would bring them strength. The head of an elephant statue is also rubbed for good luck; this act of the people is reflected in the smoothness of the surface of elephant statues here.
WIKIPEDIA
At the risk of this being old hat... he's a b&w version of the color photo I uploaded a few days ago, which was taken with a Leica 75mm Noctilux-M lens, but with a Sony A7R IV camera. This is a test shot with the M10 Monochrom, this time with the Leica 50mm Apo Summicron-M, shot at f/2.
This was focused on the S on the hat with the rangefinder, then recomposed, as opposed to being composed first, then focused using the EVF. The FNR in the file name is a memo to myself that it was focused and recomposed. Considering that, the focus accuracy is pretty good.
Of course, if I wanted critical focus on the S, I'd use the EVF and focus peaking.
M10M0089 FNR
This second iso-area square pattern is composed of identical "modules" as this first one:
www.flickr.com/photos/8303956@N08/2770959869/
I made this as an exercise to show how assembling the same elements differently can result in a completely different tessellation. To see how the structure is different, see the crease patterns here:
www.flickr.com/photos/8303956@N08/2773429916/
This formation of connecting the same elements consumes less paper for the same number of iterations, yet has the same amount of paper tied into it's pleats. Therefore it is also a more dense tessellation. This tess also has the property of being easily pulled loose, as seen here:
Text homework for AP art. We were each given a word (I got compose) and a color scheme (I got violets). I spent WAY over the required three hours... haha!
:)
Hans Carl Erlenwein and his classmates in seminary school, all teenage sons of German aristocrats, composed this Liber Amicorum, or friendship book, for his Latin alter ego “Joannes Carolus Erlenwein.” The book’s creation was itself a game: friends one-upped each other through impressive family crests, heartfelt Latin inscriptions, and charming images. Through images, Joannes became the hero of his own story as he and his friends jousted, played tennis, hunted, and rescued damsels in distress. Their choice to convey their strong emotional bond through these images is extraordinary. Yet as boys on the cusp of manhood, they juxtaposed light-hearted joys of youth with images of war and quests for honor, which resonate with prints of the Trojan War interleaved throughout.
This friendship book was bound in 1615 for Joannes Carolus Erlenwein (Hans Carl Erlenwein), a student in the seminary at Fulda. The value of this book lies not only in the heraldry of fifty-five aristocratic German families at the time, but also in the printed book contained within it as well: the complete first (and only) edition of Isaac Hillaire's Speculum Heroicum, including half-page engravings by Utrecht artist Crispin de Passe the Elder. The personal inscriptions in the book, the majority from Erlenwein's classmates at Fulda, date from 1615 to 1619, with several additional hands visible throughout. One hand has written the family names over the coats of arms on most of the personal messages from 1615; a later hand (possibly from the Erlenwein family) has added notes to many pages on the dates of births, deaths, marriages, and offices held; an even later hand created an almost complete index of the family names in the book on the last pages, and is possibly the same hand that added a second set of notations on important dates to several pages. It should be noted that the family names are spelled up to three or four different ways in the course of the friendship book; the primary spelling followed here is taken from the personal inscriptions.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Histoire naturelle des insectes, composée d'après Réamur, Geoffroy, Degéer, Roesel, Linné, Fabricius, et les meilleurs ouvrages qui ont paru sur cette partie;
Paris,Roret,1828.
A very quick initialized photo shooting, retouch and composing idea using a canon 6D, a custom windoof workstation, a wacom intuos4 tablet and adobe photoshop CC.
Very special awesome thanks to Roxy for your patience.
Photography: Oliver Gross
Body Paint: Oliver Gross
Model: Roxy
Many composing materials by rawexchange
Trooper Cosplays by Daniel Dornhöfer
Space Ships Models by schwaighofer-art
Raghu Dixit is undoubtedly India's Best Contemporary Folk Musician.
He makes a living out of composing good music, touring with his band 'The Raghu Dixit Project', and capturing souls worldwide.
This photo was shot post their gig at HRC, Mumbai. It's very rare to see Raghu not in his stage attire.
This image was shot as a part of the Music special series on #TAD365, powered by ArtistAloud.com.
To know more visit:
Twitter: www.twitter.com/artistaloud
Facebook Page: www.facebook.com/artistaloud
Website: www.artistaloud.com
Mobile: m.artistaloud.com
Astéracée (ex-Composée) de 0,4-1,2 m aux très nombreux capitules, larges de 1,5-2,5 cm, en grand corymbe ample et lâche. Involucre hémisphérique à bractées oblongues-lancéolées, aiguës, tachées de brun au sommet, celles du calicule (enveloppe surnuméraire, externe au calice, formée de pièces semblables à des sépales) à folioles courtes.
Chaque capitule contient deux sortes de fleurs appelées fleurons. Les fleurons périphériques (zygomorphes ou à symétrie bilatérale = irrégulière) à 12-15 ligules (= languettes) jaune d'or, longues d'environ 1 cm, sont unisexués. Ceux du disque, tubuleux (à corolle actinomorphe ou symétrie radiale = régulière), sont hermaphrodites (cf. H des Abbayes et A Raynal-Roques).
Autres noms français de cette espèce très commune et caractéristique des prairies pacagées mésohygrophyles à Renoncule rampante (Ranunculo repentis - Cynosurion cristati) : Herbe dorée ou de saint Jacques, Fleur de Jacob, Jacobée. Cette plante censée fleurir vers le 25 juillet (fête de saint Jacques, Jacobus étant le nom latin de ce dernier), en fait de mai à octobre, signalait aux paysans d'autrefois le début de la fenaison (cf. P Fournier).
FR Artichaut nain - EN Lesser artichoke - ES Alcachofera enana
Cynara humilis L. (infrutescence)
Pelouse sèche (alt. 440 m)
El Cuartón (province de Cadix, Andalousie, Espagne)
Indigène (Péninsule ibérique, Nord-Ouest de l'Afrique)
Wooden mallet. Mallet would be used to ensure that furniture is fixed in case and that print was level to guarantee an even printing.
Accession Number: SH.2009.394.3
When a page of type was set, the printer would then hammer the type level by hitting a wooden block "planer" with a mallet across the top of the type. This would ensure that all type was type height and ensure an even print.
Edinburgh City of Print is a joint project between City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by City of Edinburgh Museums. For more information about the project please visit www.edinburghcityofprint.org
Poor Little Angeline was a romance ballad composed in 1936 by Will Grosz (1894-1939) and lyrics by Jimmy Kennedy (1902-1984). Incidentally, Jimmy was a prolific songwriter originally from Ireland writing mainly lyrics that included many songs still well known today, such as The Isle of Capri, We’re going to hang out the washing on the Seigfried Line, Teddy Bear’s Picnic, Hokey Cokey, Istanbul (Not Constantinople) and many others.
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Lyrics:
She was sweet sixteen, little Angeline,
Always dancing on the village green.
As the boys passed by, you could hear them cry:
"Poor little Angeline!"
Oh, her eyes were brown and her hair hung down,
Laddered stockings and an old blue gown;
But she dreamed, we're told, of a lover bold.
Poor little Angeline!
Then one day her prince came a-riding
And he stopped right by her side.
Very soon she hear him confiding:
"I want to make you my bride."
What a pretty scene on the village green
When the prince was wed to Angeline!
Now as his princess, she's a great success.
Poor little Angeline!
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References:
en.wikipedia.org/wiki/Jimmy_Kennedy (Jimmy Kennedy, a prolific lyricist).
en.wikipedia.org/wiki/Wilhelm_Grosz (Will Grosz, Austrian composer).
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Enamels: 2 (blue & red).
Finish: Gilt.
Material: Brass.
Fixer: Pin.
Size: ¾” across x 1” down (about 20mm x 25mm).
Process: Die stamped.
Makers: J R Gaunt, London.
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Thank you for reading.
Stuart.
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Photo reproduced with kind permission of the seller (turts67).
Sold on eBay 30th August 2011.
Item number 230664066278.
Start price £4.99 and sold for £26.90 + p&p (3 bids from 3 bidders).