Lamborghini Veneno

 

In the year of its 50th anniversary Automobili Lamborghini is presenting an extremely exclusive model at the 2013 Geneva Motor Show. Only three unique units of the Lamborghini Veneno will be built and sold. Its design is consistently focused on optimum aerodynamics and cornering stability, giving the Veneno the real dynamic experience of a racing prototype, yet it is fully homologated for the road. With a maximum output of 552 kW / 750 hp, the Lamborghini Veneno accelerates from 0-100 km/h in just 2.8 seconds and the top speed for this street-legal racing car stands at 355 km/h. It is priced at three million Euros plus tax - and all three units have already been sold to customers.

 

The Lamborghini Veneno features a twelve-cylinder power unit with a displacement of 6.5 liters, an extremely fast-shifting 7-speed ISR transmission with 5 driving modes and permanent all-wheel drive, as well as a racing chassis with pushrod suspension and horizontal spring/damper units. Above all, however, the Veneno benefits from the very special expertise that Automobili Lamborghini possesses in the development and execution of carbon-fiber materials - the complete chassis is produced as a CFRP monocoque, as is the outer skin of this extreme sports car. The inside, too, features innovative, Lamborghini-patented materials such as Forged Composite and CarbonSkin.

 

Fully in keeping with the tradition of the brand, the name of the Veneno originates from a legendary fighting bull. Veneno is the name of one of the strongest and most aggressive fighting bulls ever. He is also famous for being one of the fastest bulls in the history of bullfighting. His name became popular in 1914, when he fatally wounded the famous torero José Sánchez Rodríguez during the bullfight in the arena Sanlúcar de Barrameda's, Andalusia, Spain.

 

Lamborghini Veneno (2013)

2013 Lamborghini Veneno

  

The Design

 

The Lamborghini Veneno brings the aerodynamic efficiency of a racing prototype to the road. Every detail of its form pursues a clear function - exceptional dynamics, optimum downforce with minimal drag and perfect cooling of the high-performance engine. Yet the Veneno is unmistakably a Lamborghini; it sticks firmly to the consistent design philosophy of all the super sports cars from Sant'Agata Bolognese. That includes the extreme proportions, as well as the powerfully arrow-shaped front end and the interplay between razor-sharp lines and precise surfaces.

 

The entire front end of the Lamborghini Veneno has been laid out for perfect airflow and downforce. The front end works as a large aerodynamic wing. Large channels guide the air to the outlets in the front hood and in front of the windshield, as well as to the front wheels. Characteristic for Lamborghini is the Y shape of the angular headlamps that reach well into the fenders as well as the scissor doors.

 

The division of the fenders from the car body is a reference to the world of sport prototypes and optimizes at the same time the aerodynamic flow. The side line of the Veneno is therefore dominated by enormous sills and the mighty wheel arches front and rear. Here, too, sophisticated aerodynamics ensure perfect airflow to the large openings for engine cooling and intake air.

 

Just like the front end, the rear of the Lamborghini Veneno has also been optimized for underbody aerodynamics and high speed cornering stability. The smooth underbody transitions into a substantial diffuser framing the four sizable exhaust pipes divided by a splitter to increase the level of downforce peak. Large openings serve to ventilate the engine bay and manage the airflow to the rear wing, with the only sealed area at the rear being reserved for the license plate. The rear lights, including brake lights, indicator lights and fog lights, pick up the Y theme as well. The engine cover sports six wedge-shaped openings, with the focus here, too, on optimum dissipation of heat from the engine. The engine cover extends into a large central "shark" fin, which improves efficiency during braking and rear-end stability, by delivering additional downforce at high yaw angles and thus increasing the high-speed cornering performance.

 

The adjustable rear wing's design is the product of Motorsport experience and extensive aerodynamic simulation to ensure the best performance of rear wing interaction with rear diffuser air flow.

 

The exclusive alloy wheels measure 20 inches at the front and 21 inches at the rear and are equipped with center mountings. Their design is also determined by aerodynamic functionality - a carbon-fiber ring around the wheel rim works like a turbine to deliver additional cooling air to the carbon-ceramic brake discs.

 

The Lamborghini Veneno is painted in an all-new, grey metallic-look color with individual parts gleaming in the black of the visible carbon-fiber structure. The only car to display all three colors of the Italian flag as an accent is the car shown at Geneva, the unit which will remain property of Lamborghini. The three cars sold to customers each feature a single color of the Italian national flag, together a triology in green, white and red accents and thus representing each a unique piece.

 

The Technology

 

The Veneno is further proof of Automobili Lamborghini's unique competence in CFRP-based lightweight design. A monocoque made from carbon-fiber reinforced polymer forms the basis of the Veneno. It is largely similar to the Aventador monocoque - as are the aluminum sub-frames front and rear - although its form has been adapted to the new design. All exterior parts are made from CFRP. The Lamborghini Veneno meets all safety and registration requirements worldwide, and naturally also incorporates a full complement of safety systems from airbags through to the adapted ESP handling system.

 

Carbon fiber dominates the interior of the Lamborghini Veneno, too. The carbon fiber monocoque becomes visible inside the car in the area of the central tunnel and the sills. The two lightweight bucket seats are made from Lamborghini's patented Forged Composite. The woven carbon-fiber CarbonSkin® is used to clad the entire cockpit, part of the seats and the headliner. This unique material is soaked in a very special kind of resin that stabilizes the fiber structure, while allowing the material to remain supple. Like a hi-tech fabric, this extremely fine-looking carbon-fiber matting fits perfectly to any form, and it reduces weight.

 

The racing personality has been transferred also to the instrument panel. It has been completely redesigned and now, thanks to an aggressive graphics and to the introduction of some additional features like the G-meter, provides all necessary information to the driver for control of the car.

 

The systematic, carbon-fiber, lightweight design of the Lamborghini Veneno is not only visible, it is also evident on the scales: With a dry weight of just 1,450 kilograms (3,190 pounds), the Veneno is even 125 kilos (275 pounds) lighter than the already extremely lean Aventador. The highly beneficial power-to-weight ratio of 1.93 kg/hp (4,25 lbs/hp) guarantees a performance that is nothing short of mind-blowing. Even the stunning acceleration figure of 2,8 seconds cannot adequately describe it. Despite an aerodynamic setup configured for extreme downforce, the Veneno possesses exceptionally low wind resistance which allows it to reach a top speed of 355 km/h (221 mph).

 

The twelve-cylinder with a displacement of 6.5 liters is a thrilling combination of absolute high-revving frenzy and phenomenal pulling power. Its output has been raised to 552 kW / 750 hp, facilitated through enlarged intake paths, optimized thermodynamics, a slightly higher rated rpm and an exhaust system with even lower back pressure. The ISR manual gearbox, permanent all-wheel drive and pushrod suspension have all been specifically adjusted to meet the demands of the Lamborghini Veneno.

 

The Lamborghini Veneno celebrates its first public appearance at the 2013 Geneva Motor Show. The vehicle on show is the number 0, the Lamborghini test vehicle. Its future has not been determined yet, but it will allow Lamborghini to continue its activity of testing and innovation, both on the road and on the race track. The trilogy made of three unique vehicles will be produced in the course of the year 2013 and handed over to their future owners.

 

North Pier is the most northerly of the three coastal piers in Blackpool, England. Built in the 1860s, it is also the oldest and longest of the three. Although originally intended only

as a promenade, competition forced the pier to widen its attractions to include theatres and bars. Unlike Blackpool's other piers, which attracted the working classes with open air

dancing and amusements, North Pier catered for the "better-class" market, with orchestra concerts and respectable comedians. Until 2011, it was the only Blackpool pier that

consistently charged admission.

The pier is designated by English Heritage as a Grade II listed building, due to its status as the oldest surviving pier created by Eugenius Birch. As of 2012 it is still in regular use,

despite having suffered damage from fires, storms and collisions with boats. Its attractions include bars, a theatre, a carousel and an arcade. One of the oldest remaining Sooty

glove puppets is on display commemorating Harry Corbett buying the original puppet there.

North Pier was built at the seaward end of Talbot Road, where the town's first railway station, Blackpool North, was built. Its name reflects its location as the most northerly of

Blackpool's three piers. It is about 450 yards (410 m) north of Blackpool Tower, which is roughly the midpoint of Blackpool's promenade. The sea front is particularly straight and

flat on this stretch of coastline, and the 1,650 feet (500 m) pier extends at right angles into the Irish Sea, more or less level with the promenade.

History: The construction of Blackpool Pier (eventually North Pier) started in May 1862, in Layton-cum-Warbreck, part of the parish of Bispham. In October 1862 severe storms

suggested that the planned height of the pier was insufficient, and it was increased by 3 feet (0.91 m) North Pier was the second of fourteen piers designed by Eugenius Birch,

and since Margate Pier was destroyed by a storm in 1978, it is the oldest of the remaining examples of his work still in use. It was the first of Birch's piers to be built by Glasgow

engineering firm Richard Laidlaw and Son.

The pier, which cost £11,740 to build, originally consisted of a promenade 1,405 feet (428 m) long and 28 feet (8.5 m) wide, extending to 55 feet (17 m) wide at the pier-head. The

bulk of the pier was constructed from cast iron, with a wooden deck laid on top. The cast iron piles on which the structure rests were inserted using Birch's screw pile process; the

screw-tipped piles were twisted into the sand until they hit bedrock. This made construction much quicker and easier, and guaranteed that the pier had a solid foundation. The

cast iron columns, 12 inches (300 mm) in diameter, were filled with concrete for stability at intervals of 60 feet (18 m), and supported by struts that were on average were slightly

more than 1 inch (25 mm) thick.The pier's promenade deck is lined with wooden benches with ornamental cast iron backs. At intervals along the pier are hexagonal kiosks built

around 1900 in wood and glass with minaret roofs topped with decorative finials. On opening two of the kiosks were occupied by a bookstall and confectionery stall and the

kiosks near the ends of the pier were seated shelters. The pier-head is a combination of 420 tons of cast iron and 340 tons of wrought iron columns; standing 50 feet (15 m)

above the low water line, it sees a regular 35 feet (11 m) change in sea level due to the tide.

The pier was officially opened in a grand ceremony on 21 May 1863, even though the final 50 yards (46 m) had not yet been completed. All the shops in the area were closed

and decorated with flags and streamers for the ceremony, which included a procession and a cannon salute, and was attended by more than 20,000 visitors. Although the town

only had a population of approximately 4,000, more than 200,000 holiday makers regularly stayed there during the summer months; this included 275,000 admissions in 1863,

400,000 in 1864 and 465,000 the following year. The pier was officially opened by Major Preston, and he and 150 officials then travelled to the Clifton Hotel for a celebratory

meal.

The pier was intended primarily for leisure rather than seafaring; for the price of 2d (worth approximately £4.90 in 2012) the pier provided the opportunity for visitors to walk close

to the sea without distractions.This fee was insufficient to deter "trippers'", which led to Major Preston campaigning for a new pier to cater for the 'trippers'. In 1866, the

government agreed that a second pier could be built, despite objections from the Blackpool Pier Company that it was close to their pier and therefore unnecessary

As permitted by the original parliamentary order, a landing jetty was built at the end of North Pier in incremental stages between 1864 and 1867. The full length of the jetty was

474 feet (144 m), and the extensions increased the pier's total length to its current 1,650 feet (500 m). The Blackpool Pier Company used the jetty to operate pleasure steamers

that made trips to the surrounding areas. In 1871 swimming and diving lessons were added to the pier.

In 1874, the pier-head was extended to allow Richard Knill Freeman to incorporate a pavilion, which opened in 1877. The interior decoration led it to be known as the "Indian

Pavilion", and it was Blackpool's primary venue for indoor entertainment until the Winter Gardens opened in 1879.

To differentiate itself from the new pier, North Pier focused on catering for the "better classes", charging for entry and including attractions such as an orchestra and band

concerts, in contrast to the Central Pier (or the "People's pier"), which regularly had music playing and open-air dancing. The pier owners highlighted the difference, charging at

least a shilling (worth approximately £19.90 in 2012) for concerts and ensuring that advertisements for comedians focused on their lack of vulgarity. Sundays were given over to a

church parade.

On 8 October 1892, a storm-damaged vessel, Sirene, hit the southern side of the pier, causing four shops and part of the deck to collapse onto the beach below. Several columns

were also dislodged, and the ship's bowsprit hit the pier entrance. All eleven crew members were rescued when they were hauled onto the pier. Damage to the pier was

estimated to be £5,000 and was promptly repaired.

Nelson's former flagship, HMS Foudroyant, was moored alongside North Pier for an exhibition, but slipped anchor and was wrecked on the shore in a violent storm on 16 June

1897, damaging part of the jetty. The wreck of the ship broke up during December storms.

The pier was closed for the winter during 1895–6 as it unsafe; as a result, the pier was widened as electric lighting was added.

An Arcade Pavilion was added in 1903 at the entrance to the pier and contained a wide range of amusements to suit all tastes. Further alterations were made to the pier in 1932-

3 when the open air stand was replaced with a stage and sun lounge.

In 1936, a pleasure steamer returning from Llandudno crashed into the pier. The collision left a 10 feet (3.0 m) gap, and stranded a number of people at the far end.

The 1874 Indian Pavilion was severely damaged by fire in 1921. It was refurbished, but was then destroyed by a second fire in 1938. In 1939 it was replaced by a theatre, built in

an Art Deco style. At around the same time, the bandstand was removed and replaced with a sun lounge.

In the 1960s, the Merrie England bar and an amusement arcade were constructed at the end of the pier nearest to the shore. The 1939 theatre, which is still in use, narrowly

escaped damage in 1985 when the early stages of a fire were noticed by performer Vince Hill. In the 1980s, a Victorian-styled entrance was built. In 1991 the pier gained the

Carousel bar as an additional attraction, and a small tramway to ease access to the pier-head. By this point, the pier had ceased to have any nautical use, but the jetty section

was adapted for use as a helicopter pad in the late 1980s. Storms on 24 December 1997 destroyed the landing jetty, including the helipad.

The North Pier is one of the few remaining examples of Birch's classic pier architecture and is a Grade II Listed building, the only Blackpool pier to hold that status. It was

recognised as "Pier of the Year" in 2004 by the National Piers Society.

North Pier's attractions include a Gypsy palm reader and an ice cream parlour, the North Pier Theatre, a Victorian tea room, and the Carousel and Merrie England bars. The

arcade, built in the 1960s, has approximately eleven million coins pass through its machines each year.

One of the earliest Sooty bear puppets used by Harry Corbett is on display on the pier. Corbett bought the original Sooty puppet on North Pier for his son, Matthew. When Corbett

took the puppet on BBC's Talent Night programme, he marked the nose and ears with soot so that they would show up on the black and white television, giving the puppet its

name.

The Carousel bar on the pier-head has a Victorian wrought iron canopy, and its outdoor sun-lounge is classified as the largest beer garden in Blackpool. Next to the bar is a two

tier carousel, the "Venetian Carousel", which is protected from sand and spray by a glass wall.

After the fire in 1938, the pavilion was replaced with a 1,564 seat theatre which has since hosted a number of acts including; Frankie Vaughan, Frank Randle, Tessie O'Shea,

Dave Morris, Bernard Delfont, Morecambe and Wise, Paul Daniels, Freddie Starr, Russ Abbott, Bruce Forsyth, Des O'Connor, Joe Longthorne, Lily Savage, Brian Conley and

Hale and Pace.

In 2002 a heritage room with photographs was opened up, the foyer entrance was refurbished and a disabled lift added. By 2005, there was no longer a live organist playing in

the sun lounge although other live entertainment continues. In 2013, the live organist was brought back into the sun lounge.

The pier was built and owned by the Blackpool Pier Company, created with three thousand £5-shares in 1861 (worth approximately £2,990 in 2012). The same firm operated the

pier in 1953, and the company was incorporated in 1965. The Resorts Division of First Leisure, including the pier, was sold to Leisure Parks for £74 million in 1998. In 2009, the

pier was sold to the Six Piers group, which owns Blackpool's other two piers, and hoped to use it as a more tranquil alternative to them. The new owners opened the Victorianthemed

tea room, and built an eight-seat shuttle running the length of the pier.

In April 2011, the pier was sold to a Blackpool family firm, Sedgwick's, the owners of amusement arcades and the big wheel on Blackpool's Central Pier. Peter Sedgwick

explained that he proposed to his wife on North Pier forty years ago, and promised to buy it for her one day. He said that he wants to restore the Victorian heritage of the pier and

re-instate the pier's tram. An admission charge of fifty pence to access the board-walk section of the pier was abolished by the Sedgewicks.

A petition to wind up the Northern Victorian Pier Limited (the company used by the Sedgwick family to manage Blackpool North Pier) was presented on 17 September 2012 by

Carlsberg UK Limited, a creditor of the Company, and this was to be heard at Blackpool County Court on 15 November 2012.

At the 11th hour, an agreement to pay the outstanding balance owed to Carlsberg was made and Peter Sedgwick's company escaped liquidation.

[Wikipedia]

Ardea

 

Geografia

Ardea sorge su una rocca tufacea, in vista delle propaggini occidentali dei Colli Albani, dalla quale domina la zona circostante; il comune è inserito nell'Agro Romano e si estende a sud di Pomezia, con ai lati la veduta dei Castelli romani e del Mar Tirreno, confinando a sud con il comune di Anzio ed Aprilia.

 

L'origine geologica di quest'area si deve prima all'emersione dal mare del terreno, caratterizzato da lagune e paludi, e quindi dal deposito di consistenti strati di tufi e pozzolane di origine vulcanica in seguito alle eruzioni del cosiddetto Vulcano Laziale. Raffreddandosi il materiale vulcanico si era spaccato, costituendo profonde e strette gole, che si addolciscono mano a mano che si procede verso sud.

 

La costa, formata da lunghe spiagge sabbiose, era caratterizzata dalla presenza di dune conservatesi, oramai, solo in alcuni tratti.

 

Clima

 

Il clima di Ardea è compreso nella regione climatica "Tirrenica meridionale", che risente fortemente dall'influenza del mar Tirreno, la cui distanza massima dall'estremo confine del Comune è di circa dodici chilometri. Il clima è caratterizzato da estati molto calde rinfrescate da venti termici provenienti dal mare, da forti piogge autunnali e primaverili e dalla presenza di correnti umide soprattutto durante l'inverno.

 

Classificazione climatica: zona C, 1295 GR/G

 

Storia, Le origini mitiche

Il mito ha elaborato varie versioni sulle vicende della fondazione della città di Ardea, legate al racconto dello sbarco di Enea sulle coste del Lazio e quindi alla nascita di Roma.

 

Una prima leggenda, riportata da Dionigi di Alicarnasso, fa risalire la fondazione della città ad Ardeas, figlio di Odisseo e Circe. Una diversa versione lega le origini di Ardea, nel XV secolo a.C. a Danae, figlia del re di Argo, che dopo la nascita di Perseo da Zeus, sarebbe giunta sulle coste laziali e avrebbe sposato il rutulo Pilumno. Insieme decisero di fondare una nuova città: il luogo fu scelto in corrispondenza di una ripida rupe tufacea, scoperta risalendo il fiume Incastro su una piccola imbarcazione.

 

Ovidio riferisce l'origine del nome di Ardea all'alzarsi in volo di un airone cenerino (ardea cinerea) dopo l'incendio e la distruzione della città ad opera di Enea, vittorioso sul re rutulo Turno, figlio di Dauno, che a sua volta era figlio di Danae e di Pilumno.

 

« Turno muore. Ardea cade con lui, città fiorente finché visse il suo re. Morto Turno, il fuoco dei Troiani la invade e le sue torri brucia e le dorate travi. Ma, poi che tutto crollò disfatto ed arso, dal mezzo delle macerie un uccello, visto allora per la prima volta, si alza in volo improvvisamente e battendo le ali, si scuote di dosso la cenere. Il suo grido, le sue ali di color cenere, la sua magrezza, tutto ricorda la città distrutta dai nemici. Ed infatti, d'Ardea il nome ancor gli resta. Con le penne del suo uccello Ardea piange la sua sorte »

(Ovidio, Metamorfosi, XV.)

 

Preistoria e protostoria

Il territorio di Ardea era già frequentato nel Paleolitico e sono state rinvenute tombe dell'età del rame, con sepolture in posizione rannicchiata, risalenti agli inizi del II millennio a.C.

 

Nell'età del ferro l'insediamento era formato da tre villaggi di capanne rispettivamente sui tre pianori sui quali sorge ancora oggi la città (Civitavecchia, Acropoli e Casalazzara), dove sono state rinvenute le tracce dei fori di palo delle capanne e una necropoli a "Monte della Noce", sul pianoro della Civitavecchia, con tombe a fossa infantili e una tomba principesca femminile dell'VIII secolo a.C., con ricco corredo.

 

Plinio riporta il popolo dei Rutuli, a cui appartenevano anche i centri di Antium, Satricum e Lavinium, come uno dei più antichi popoli del Latium vetus. Ardea, nata come agglomerato essenzialmente agricolo, si sviluppò tuttavia soprattutto grazie agli scambi commerciali, favoriti dalla posizione della città, compresa tra Latini, Volsci ed Etruschi e dalla dotazione di un porto-canale alla foce del fiume Incastro (Castrum Inui). Nei secoli dall'VIII al VI fu uno dei centri più importanti del Lazio meridionale, con un ricco artigianato e oggetti importati anche da regioni lontane.

La città arrivò al suo periodo di massimo sviluppo nel VII secolo a.C. e furono occupati da edifici religiosi e civili l'Acropoli e la Civitavecchia. Era particolarmente rinomata per la produzione di armi e di oggetti ornamentali.

 

Rutuli e Romani

A più riprese gli Ardeati furono alleati o nemici di Roma, nell'ambito delle vicende della Lega Latina: un primo attacco sotto Tarquinio il Superbo, di cui parla la tradizione, sembra non avesse avuto successo, e poco dopo, nel primo trattato tra Roma e Cartagine del 509 a.C., la città era riportata tra gli alleati dei Romani. Nel corso del V secolo a.C. la vita cittadina fu dominata dalla contesa contro i Volsci e nel IV i Galli, dopo aver saccheggiato Roma, si rivolsero contro Ardea e la assediarono, senza successo; furono anzi gli Ardeati, guidati da Furio Camillo, in esilio nella città, che dopo aver respinto l'assedio, marciarono verso Roma e la liberarono dall'occupazione gallica.

 

Nel secondo trattato romano-cartaginese del 348 a.C., Ardea è nuovamente nominata tra le città alleate dei Romani. A quest'epoca risale il rifacimento delle mura di cinta: il precedente triplice recinto difensivo venne sostituito da mura in opera quadrata, di cui si conservano alcuni resti, che cingevano i pianori dell'Acropoli e della Civitavecchia. Tuttavia, durante la seconda guerra punica, Ardea fu una delle dodici colonie che rifiutarono ai Romani gli aiuti militari. Dopo la sconfitta cartaginese, i Romani si rivolsero contro le città ribelli della Lega Latina sconfiggendole, e le privarono dell'autonomia.

 

Tra il III e il II secolo a.C. Ardea decadde, probabilmente soprattutto per la crisi economica dei centri laziali, le cui risorse si erano prosciugate nelle guerre puniche e nella successiva guerra contro i Sanniti. La città era quasi completamente in abbandono entro l'età imperiale romana, sebbene resti di abitato sopravvivessero fino al V secolo, mentre delle grandi ville furono costruire lungo la via in direzione del mare.

 

Medioevo ed età moderna

La città, sopravvissuta probabilmente come piccolo luogo fortificato, riprese a crescere solo dal IX secolo, in seguito al progressivo spopolamento delle domus cultae, piccoli centri agricoli fondati dai papi nelle campagne per la coltivazione e la bonifica, e alle necessità di difesa contro i Saraceni.

 

Ardea ospitò nel 1118 papa Gelasio II in fuga da Roma per sfuggire all'imperatore Enrico V che pretendeva la conferma dei privilegi concessigli nel 1111 dal suo predecessore, il papa Pasquale II, e l'incoronazione in San Pietro.

 

Nel 1130 l'antipapa Anacleto II attribuì la civitas Ardeae ai monaci benedettini della Basilica di San Paolo fuori le mura. Successivamente il controllo feudale della città fu oggetto di aspre contese tra le famiglie nobiliari romane. Nel 1419 papa Martino V diede la città ai propri familiari, i Colonna. Il feudo passò successivamente ad altre famiglie papali: dai Borgia tornò ai Colonna, finché nel 1564 venne venduto a Giuliano Cesarini. In questo periodo la città visse essenzialmente come borgo agricolo, seguendo le sorti delle famiglie che di volta in volta la governavano.

 

Nel 1816, a causa dell'esiguo numero di abitanti, la città divenne una frazione di Genzano di Roma e il borgo, alla vigilia della bonifica integrale pontina, risultava disabitato. A partire dal 1932 l'area circostante fu oggetto di lavori di bonifica idraulica, regimentazione delle acque e appoderamento, curati dall'ONC e dai consorzi di bonifica, cui seguì il ripopolamento controllato del centro e delle campagne circostanti. Il borgo fu praticamente "ri-fondato", ristrutturandone i resti, e divenne parte del comune di Pomezia fin dall'atto della sua costituzione.

 

Nel 1970 Ardea tornò ad essere comune autonomo.

 

Chiesa di Santa Marina

La chiesa di Santa Marina si trova all'interno del cimitero di Ardea, adagiata alla roccia tufacea del paese, nel luogo dove, secondo una leggenda, si sarebbe trovata l'entrata della grotta dove visse la santa in eremitaggio, dopo che i monaci ne scoprirono il sesso e la cacciarono dal convento in cui viveva.

 

La costruzione è datata al 1191, ad opera di Cencio Savelli, futuro papa Onorio III, dall'iscrizione posta sopra il portale di ingresso.

 

Sulla facciata era un portico di ingresso, oggi quasi del tutto scomparso, mentre l'ingresso è ancora inquadrato da colonne sorrette da leoni stilofori, con architrave decorato da un bassorilievo. L'interno è ad unica navata e in origine si presentava interamente affrescato.

 

Dietro l'altare sono ancora visibili i resti di un ninfeo del II secolo d.C., scavato nel tufo.

 

Chiesa di S. Pietro Apostolo

La chiesa di San Pietro Apostolo fu edificata nel XII secolo dai monaci dell'abbazia di San Paolo fuori le mura, in stile romanico presso i resti di un tempio di epoca ellenistica. Incorpora una precedente torre di vedetta contro i Saraceni, trasformata in campanile. Conserva materiali più antichi: fregi marmorei del II secolo sono stati riutilizzati come stipiti della porta di ingresso, e di reimpiego è anche un capitello del presbiterio e un'ara sepolcrale.

 

L'interno è a tre navate, divise da archi.

 

Tra il XIV e XVI secolo, quando divenne chiesa baronale subì notevoli trasformazioni. A questo periodo risalgono gli affreschi (XV secolo), un crocifisso ligneo (XVI secolo) e un dipinto di scuola caravaggesca (XVII secolo).

 

L'ultimo restauro risale al 1940 e fu eseguito per espressa volontà di Benito Mussolini durante una sua visita ad Ardea. In epoca recente lo scultore Giacomo Manzù ha realizzato la fonte battesimale e il tabernacolo della navata.

 

Architetture militari [modifica]La prima fortificazione della città è uno degli esempi meglio conservati di aggere arcaico: la difesa era assicurata dallo scavo di un fossato, e il materiale di scavo veniva a formare lungo il lato interno un muro di terra, con un pendio più ripido verso l'esterno e più dolce verso l'interno, per facilitare l'accesso ai difensori. Le difese erano quindi completate da palizzate in legno.I tre pianori della città, in parte fortificati naturalmente dai pendii scoscesi delle colline, erano dotati di aggeri nei punti più facilmente accessibili, verso l'entroterra. La costruzione di queste prime difese è stata attribuita al VII secolo a.C.

 

Le fortificazioni vennero ricostruite nel IV secolo a.C., con mura in opera quadrata che circondavano l'Acropoli, i cui resti sono visibili sul lato nord-orientale, insieme ad un bastione a pianta pentagonale, aggiunto modernamente con il riutilizzo dei blocchi più antichi.

 

Siti Archeologici

Le fonti antiche riportano l'esistenza di culti dedicati a Giunone Regina, a Castore e Polluce, a Venere, a Ercole, a Natio, e al fondatore Pilumno. Gli scavi archeologici hanno rimesso in luce i resti di quattro grandi templi, due sull'Acropoli e due sulla Civitavecchia, dei quali tuttavia si ignora la dedica.

 

Il maggiore dei templi dell'Acropoli, dotato di tre celle e con scalinata frontale, era forse il principale della città, dedicato a Giunone Regina. Ne resta un tratto del pronao, in corrispondenza dell'attuale Municipio e un tratto del muro di cinta del santuario.

 

Un secondo tempio di epoca ellenistica, si trova in corrispondenza della chiesa di San Pietro.

 

Nella località "Casarinaccio" sul pianoro della Civitavecchia, sono conservati i resti di un altro tempio, riferibile al VI secolo a.C., epoca di massimo splendore della città. Gli scavi del tempio, eseguiti negli anni trenta, hanno riportato alla luce il podio del santuario, costituito da tre filari di blocchi di tufo poggianti direttamente sulla roccia, decorati all'esterno da modanature. Il tempio viene convenzionalmente identificato con quello di Venere.

 

Un secondo tempio arcaico, datato al V secolo a.C. è stato rinvenuto nella località "Monte della Noce", sempre sul pianoro della Civitavecchia. Il tempio fu in uso fino al I secolo a.C., mentre in seguito venne abbandonato e i materiali riutilizzati per la costruzione delle ville della zona.

 

Nei pressi doveva trovarsi il foro cittadino, al quale era annessa una basilica, la cui costruzione è stata datata intorno al 100 a.C. e di cui si conservano resti del pavimento in signino.

 

Una rete di cunicoli scavati nel tufo e realizzati nel V secolo a.C. costituiscono un notevole sistema idraulico, destinato al drenaggio delle acque o per le fognature cittadine. Altri ambienti scavati nella roccia erano utilizzati come magazzini o cisterne, in alcuni casi suddivisi in navate da pilastri di tufo. Ambienti scavati sul pendio della Civitavecchia sono stati interpretati come apprestamenti artigianali per l'attività della concia delle pelli (I secolo a.C.).

 

Castrum Inui

Alla foce del fiume Incastro scavi archeologici in corso dal 1998, diretti dal dott. Francesco Di Mario, responsabile di zona della Soprintendenza ai beni archeologici del Lazio, hanno riportato alla luce i resti di un centro portuale fortificato (dal IV-III secolo a.C. fino al III secolo d.C.) e di una precedente area sacra (dal VI secolo a.C. al II secolo d.C.), che sono stati identificati con il Castrum Inui e con il santuario internazionale noto come Aphrodisium, dedicato ad Afrodite Marina.

 

I reperti attestano la presenza di un insediamento urbano numericamente consistente ed organizzato che si avvaleva di grandi cisterne per la riserva idrica, era dotato di impianto termale, di elaborati meccanismi di deflusso delle acque, di costruzioni a più piani con decorazioni murali e numerosi mosaici, sia con tessere grandi, sia con tessere molto piccole. Le parti più antiche sono caratterizzate da strutture imponenti realizzate con blocchi di tufo di grandi dimensioni. Questi manufatti sono stati inglobati nelle costruzioni successive, che si sovrappongono e intersecano tra loro. Con il passare dei secoli le ristrutturazioni diventano meno raffinate e realizzate prevalentemente riutilizzando il materiale esistente. Le recenti campagne di scavo hanno portato alla luce un'area sacra molto estesa, con edifici e strutture in tufo, provvisoriamente datate fra il VI secolo a.C. ed il II secolo d.C. una delle porte di accesso al Castrum ed importante materiale collegato al culto dei Dioscuri, di Venere, di Minerva e di Esculapio.

 

Altro [modifica] Giardini della Landriana [modifica]I Giardini della Landriana sono dei giardini disegnati da Russel Page, famoso architetto di paesaggi, che sistemò la notevole collezione di piante e fiori realizzata da Lavinia Taverna sulla propria proprietà della "La Landriana" nel corso di una decina di anni.

La proprietà si articola su una serie di giardini a tema (giardino degli aranci, giardino delle eriche, valle delle rose, ecc.), da cui il nome della tenuta.

 

Da Wikipedia, l'enciclopedia libera

oxymoronsl.wordpress.com/2018/06/13/consistent-discrepanc...

The New Chanel Boutique Opening and Charity Event, on Robertson Blvd , SIMPLY CONSISTENT INC.

Kathleen Checki President

 

www.simplyconsistent.com/

 

"-Chanel Boutique."

"-Kathleen Checki."

"-Checki."

"-Simply Consistent."

"-Simply Consistent Management."

   

Singapore Zoo ranks consistently (after San Diego Zoo) as one of the best in the world.

 

Watching the power of this animal as he leaps for the incoming food is just breathtaking. You can see the deadly canines in the powerful jaw. At 16, Omar was already old for a tiger, and he died 16 months after this was taken.

 

For the story, please visit: www.ursulasweeklywanders.com/travel/teeth-claws-and-colou...

Singapore Zoo ranks consistently (after San Diego Zoo) as one of the best in the world.

 

Watching the power of this animal as he leaps for the incoming food is just breathtaking. You can see the deadly canines in the powerful jaw. At 16, Omar was already old for a tiger, and he died 16 months after this was taken.

 

For the story, please visit: www.ursulasweeklywanders.com/travel/teeth-claws-and-colou...

This is my true story. Mr. X (Me) and Miss Y (my wife) fell in love when they were in college. She was beautiful, very fair, thin but with curvy body. Her hair were of shoulder length and she had beautiful black eyes. They used to talk on phone for hours and hours, making plans for their future life. He wanted the time to fly quickly so that he can make love to her. It was very difficult to wait, specially when he thought of how beautiful she was. At last, day of their marriage came and she arrived at his home. After some time, she was taken to their wedding room, which was beautifully decorated. Room was full of flowers and bed was full of rose petals. Very soon, everyone left, and they were alone in the room. She was sitting on the bed, wearing her bridal dress, looking down and felling very shy as she could hear him locking the door and then sitting on the bed next to her. He sat on the bed, she was looking down. He gently removed her dupata, which was covering her head, and held her face in his hand. “You are very beautiful”, he said. He kissed her on her forehead, then cheeks and then on her lips. Her lips parted under his pressure. His tongue entered her mouth for the first time, and he just could not believe how sweet it was. He searched for her tongue and sucked at it. Her smell made him crazy. They kept kissing until they were out of breath. He was in no hurry and wanted to enjoy every moment of the night. She was in her room, and her whole body was waiting for him to touch and explore her pleasures. He helped her in removing her jewellary and then she went to the washroom as she wanted to remove her makeup and wear something easy. He also quickly took shower in the other washroom and wore a t shirt with shorts. She was still in the washroom when he returned. He put a Kenny G’s disk in the player to make the environment more romantic. His cock stiffened by just thinking about the coming moments. He turned towards the door when she appeared from the washroom. Wow, he was stunned, standing there, just staring at her. She was looking very sexy in her sleeveless, skin colour, silk nighty. She had just taken shower, as her body was still wet and drops of water were shining on her body. He could see her black bra underneath the thin cloth of her nighty. She got nervous by his gaze, and asked,” What happened? Do I look all right?” he smilled and said,” Oh my God, I cant believe my eyes, you are looking so sexy. I am so lucky to have you”. He hugged her and started kissing again, this time more intensely. He could feel her wet body which drove him crazy. His cock jumped up with excitement. She felt it pinching her belly as if trying to find its way towards her pussy. It felt so big and hard, she got worried how will it go inside her. He brought her towards the bed and made her lie down. He quickly removed his shirt and lied next to her. Room was lit with just a dim bulb, making it look very erotic with music playing in the background. He, felt the warmth of her body against him and kissed her again. His lips moved towards her neck with hands also exploring her breast. He lightly touched her right breast, feeling it with his hand then pressed it. It felt very soft like jelly. “Ahh”, she whispered. He licked her neck from her ear lob to the neck line. She felt an unknown enjoyment emanating from deep inside her body, which felt wonderful. He could not wait to see her beautiful round breast and nipples. He pulled her nighty up and removed it, leaving her lying on the bed in her black bra and panty. He took her in his arms, and she felt his rough chest rubbing against her soft breast. He had a very smart and muscular chest with hair on it. She touched his back and then moved her hands on his hairy chest which felt solid. He was getting mad by her beautiful body. Black bra was looking awesome on her glowing white skin. He tried to remove her bra by using his hand on her back, but failed. “You need some experience to do it with one hand”, she laughed and unhooked it for him. He could not wait any more, and removed her bra. “Wow, look at you. What a pair.”, He said, still looking down at her boobs, which were so beautiful. They were round, not very big but firm. She had light brown nipples which looked like small sunflowers. He first kissed her right nipple and then hesitantly sucked at it. “hmmmmm, stop”, she said. He knew, she was enjoying it but just trying to resist him, because of her shyness. He eyes were closed and pleasure was evident from her face. He didn’t stop and kept working hard on both the breasts, one by one. He kissed, licked and sucked both her cock with out stopping for a long time. It was beyond his control to stop it. He, moved his left hand, down toward her panty. He moved it inside. He was taken by surprised as it was all wet down their. It was his first experience of touching a women's cunt. She had shaved it and it seemed like a pool of jelly which was very slippery and sticky. He found her opening and inserted a finger in there. “AAhhhhhhhhh”, she cried with pleasure. He pulled her panty down and kept rubbing her pussy with his hand paying special attention to her cunt and at the same time kept sucking her nipples. She was trembling with excitement as she could feel a wave building inside her. She could not understand what was happening but could feel something building inside her. “Ohhh, ahhhh, hmmmmm”, She cried with pleasure as she exploded. He body bent upwards as she came. He could feel her body tremble when she had her orgasm. He waited till her breathing slowed down, and then kissed her. Now it was his turn to enjoy the bliss of her body. He removed his shorts also. His cock was hard like a rod, and some pre cum was oozing out of it. He opened her legs and lied on top of her. “honey, just relax but hold me tightly. I will stop if it pains alot”, he told her. He felt her pussy with his hand, and placed head of his cock on her entrance. She was drenching with her fluids. He just rubbed his cock on it, so that it becomes moist. He pushed it forward, and after some efforts, hit the right spot. He felt her pussy opened on her cock as it forced entry. He felt her body tightened as she cried with some pain. He felt her stiffen a bit beneath him as he pressed slightly forward. In a few seconds, the whole head popped inside. She moaned beneath him. She had her hands on his hips, ready to push back if she felt too much pain, but she only felt incredible fullness at this point.

 

He pushed forward a bit more and forced the walls of her cunt to stretch and accept another bit of the intruder. He stopped and allowed her seconds to adjust to the new feeling and pressure. She was tight. Her pussy squeezed his cock, almost to the point of pain. After giving her a few moments, he pushed forward again. This time he didn't go far before reaching her barrier. She groaned loudly beneath him when his cock stretched her hymen. He stopped and looked at her for guidance. Her eyes were closed but opened after several seconds. She had a strained look that worried him. "Take me, my love," she said to him.

He pulled back until just the head remained inside and then shoved forward. His cock rammed forward, hit her barrier, paused momentarily, before tearing ahead. She arched her back and cried an agonizing groan. He stopped moving, even breathing, to make sure She was okay. She settled back down to the bed and looked at him. The pain in her face was obvious. She nodded okay to him and he pushed forward a bit more. The last of her hymen gave way and She cried out one more time. He waited again but soon she urged him on.

 

He pushed slowly forward into her completely uncharted waters. Her pussy still resisted, fighting every inch with its tightness. The intruder was too powerful and slowly her cunt stretched to accept its monstrous visitor. It took several more seconds for him to work his whole cock in. She bucked again as he first hit her cervix, and then moved deeper. She whimpered her pain and she pulled back a little. He waited there to allow her time to adjust to the fullness and pain.

 

She was amazed. She still had pain from her torn hymen but the incredible fullness shocked her. It felt like an alien monster had invaded her body through her pussy. He threatened to push her insides out of the way as he sought to go deeper. She wasn't sure she'd ever feel comfortable, and probably never pleasure, with his's huge phallus inside her. He, patiently waited above her, watching her face with keen interest. 'God, she is tight,' he thought. 'I hope I'm not hurting her to much.'

 

"Hey, you okay?" he asked.

 

"Yes, my darling, keep doing it" she said. He could feel her body sweating which felt very sexy against his skin and he enjoyed her moist body. He started making slow, long thrusts and Her cries changed into soft moans indicating her pleasure. Her pussy was very tight around his cock and its sensation took him to some other world. His movements changed into fast strokes, as he also came closer to his own orgasm. He licked her neck and her nipples as his cock plundered her pussy. He rammed into her with little regard for the fact she was a virgin minutes earlier. His cock was in control now; his mind was a frenzy of sexual bliss. He'd cum soon and there was no way he wanted to stop it.

Fortunately he did not need to worry if she would make it because she was already there. For a while now, she had been meeting his thrusts and pushed up into them. Her brain had never known this kind of pleasure. The exquisite feels radiating from her cunt had reached her brain and pushed it to overload. She bucked up against him one last time and froze stiff. Rockets burst in her head as her orgasm rocked her like an atomic bomb.

He continued to pump into her even as she clenched her pussy muscles tightly. The feelings were beyond anything she had ever felt before. Time seemed to stand still as her climax bore through her. She barely came down when his consistent thrusts drove her right over the edge again as she felt his seed explode into her cock. “Ohhhhhhhhhhhhh, Ahhhhhhh, I love youuuuuuu”, he cried as he exploded inside her.It seemed to scald the walls of her pussy and burn right through to her brain.

She clung onto his hips with a white knuckled death grip, wanting him to never stop pumping her or her orgasm to end. But somehow, after the last of his cum flooded her cunt and he slowed down, she started to come back to reality. It took a bit for them both to recover and breathe more normally. She felt his pull back and his long penis slide from her pussy. It was immediately followed by a flood of fluid that ran down the crack of her ass onto the bed. He slid over next to her on the bed and looked at her. She turned her head to look at him. His hand came up to caress her left breast and nipple.

“Are you alright?” he asked as he saw her cleaning herself. She had some blood on her pussy. “yea, I m ok”, she replied as she went to washroom to take shower again. They had a wonderful wedding night as they made love three times that night, making it a memorable experience.

© yohanes.budiyanto, 2014

 

PRELUDE

The 1st of August, 2014 was such an historic day as the world finally welcomed the birth of the first in line to the Parisian throne after a painstaking and extraordinary "labor" process that took four years in creation, and almost a decade in the making. I was not talking about a French rival to baby George, but instead a newborn that has sent shivers down the spines of Paris' oldest and current Kings and Grand Dames from the day it was conceived. Yes, I was referring to The Peninsula Paris, the youngest sister to the legendary Peninsula Hong Kong (circa 1928).

 

Ever since the project was announced to the public four years ago, it has been on my top list of the most eagerly awaited hotel openings of the decade. So when the hotel announced 1st of August as an opening date back in March, I immediately issued my First Class return tickets to the City of Light, risking the usual opening delay. A man of his word, Peninsula Paris finally opened as scheduled.

 

HISTORY

The Peninsula brand needs no introduction, as it is synonymous with quality, technology, innovation, craftsmanship and sophistication, -much like a slogan for French top brands and their savoir faire. Despite having only 10 current properties worldwide in its portfolio (Paris is its tenth), each Peninsula hotel is a market leader in each respective cities, and consistently tops the chart in many bonafide travel publications and reigns supreme as the world's best, especially elder sisters in Hong Kong and Bangkok. The Peninsula model is different from other rival hotel groups, which usually expand aggressively through both franchise and managed models worldwide. Instead, the Peninsula focuses on acquiring majority to sole ownership on all its properties to ensure control on quality (Hong Kong, New York, Chicago and Tokyo are 100% owned; Bangkok, Beijing and Manila are over 75%; Shanghai is 50%, while Beverly Hills and Paris are the only two with only 20% ownership).

 

The history of the Peninsula Paris could be traced back to a modest villa aptly called Hotel Basilevski on the plot of land at 19 Avenue Kleber back in 1864, -named after its Russian diplomat owner, Alexander Petrovich Basilevski, which caught the attention of hotelier Leonard Tauber for his prospective hotel project. The Versailles-styled property was partly a museum housing Basilevski's vast and impressive collection of 19th century medieval and Renaissance art, which eventually was acquired by Alexander III, -a Russian Tsar, at the sums of six millions francs. These collections were later transported to the Hermitage Museum in St. Petersburg, and formed the base collection for the newly established Department of Medieval and Renaissance Art. After Basilevski sold the villa and moved to a more palatial residence at Avenue du Trocadero, the property was then acquired and rebranded the Palais de Castille as the residence of the exiled Queen Isabella II of Spain in 1868, who seeked refuge and continued to live there until 1904. Upon her death, the property was later demolished in 1906 to make way for the Majestic hotel, which finally opened in 1908 with much satisfaction of Leonard Tauber, who has eyed the premise from the very beginning.

 

The Majestic Hotel was exquisitely designed in the Beaux-Art style as a grand hotel by prominent architect of that time, Armand Sibien. Together with The Ritz (circa 1898), the two became the most preferred places to stay and entertain in Paris of the time. The Majestic has attracted the well-heeled crowd, and hosted many high profile events, most notably for a particular dinner hosted by rich British couple Sydney and Violet Schiff on 18 May 1922 as the after party of Igor Stravinsky's 'Le Renard' ballet premiere, and the hotel becomes an instant legend. The guests list were impressive: Igor Stravinsky himself, Pablo Picasso, Sergei Diaghilev, and two of the 20th century most legendary writers: James Joyce and Marcel Proust, who met for the first and only time before Proust's death six months later. Since then, the Majestic continued to draw high profile guests, including George Gershwin on 25 March 1928, where he composed "An American in Paris" during the stay.

 

If the walls could talk, the Majestic has plenty of stories to tell. It was once converted into a hospital during the infamy in 1914, and the British took residency at the hotel during the Paris Peace Conference back in 1919. The hotel was then acquired by the French State in 1936 as the offices of the Ministry of Defence; and later had a stint as the German Military High Command in France between October 1940 to July 1944 during the World War II. Post war, it then became the temporary home for UNESCO from 16 September 1946 until 1958. More than a decade after, the Paris Peace talks was opened by Henry Kissinger in one of its spectacular Ballrooms in 1969 with the Northern Vietnamese. Four years later, the Paris Peace Accord was finally signed at the oak paneled-room next to the Ballroom on 27 January 1973, which ended the Vietnam War. This triumphant event has also led to another victorious event when Henry Kissinger won the Nobel Peace Prize that same year.

 

The hotel continued to serve as the International Conference Center of the French Ministry of Foreign Affairs until it was up for sale by the government in 2008 as part of the cost cutting program to the Qatari Diar, -which later transferred its ownership to Katara Hospitality, for a staggering USD 460 million. An excess of USD 600 million was further spent on the massive rebuilding and refurbishment not only to restore the hotel to its former glory, but also to transform it into a Peninsula with the highest standard.

 

The epic restoration work was led by prominent French architect, Richard Martinet, who has also previously work with the restoration of Prince Roland Bonaparte's former mansion into the Shangri-La Paris and also the Four Seasons George V; and involved teams of France's leading craftsmen; heritage designers and organisations; stonemasons from historic monument specialist; master glass crafters; crystal manufacturer; wood, moulding and gilder restoration experts, -many of whom are third generation, and have carried out high profile projects such as the Palace of Versailles, Louvre Museum, the dome of Les Invalides, the Grand and Petit Palais, and even the flame of the Statue of Liberty in New York. The result is truly breathtaking, and it was certainly money well spent to revive and recreate one of the nation's most treasured landmark. One of my favorite places within the hotel is the Main Lobby at Avenue des Portugais where the grand hall is adorned with a spectacular chandelier installation comprising 800 pieces of glass leaves inspired by the plane trees along Avenue Kleber. The work of Spain's most influential artist since Gaudi, Xavier Corbero, could also be found nearby in the form of a beautiful sculpture called Moon River.

 

Katara Hospitality owns 80% of The Peninsula Paris, and already has a spectacular portfolio ownership consisting some of the world's finest hotels, including The Raffles Singapore, Le Royal Monceau-Raffles Paris, Ritz-Carlton Doha, Schweizerhof Bern, and most recently, 5 of the InterContinental Hotel's European flagships, including Amstel in Amsterdam, Carlton in Cannes, De la Ville in Rome, Madrid and Frankfurt. It is interesting to note that Adrian Zecha, founder of the extraordinary Amanresorts chain is a member of the Board of Directors at Katara since September 2011, lending his immense hospitality expertise to the group.

 

At over USD 1 billion cost, the Pen Paris project is easily the most expensive to ever being built, considering it has only 200 rooms over 6 storeys. As a comparison, the cost of building the 101 storey, 494m high Shanghai World Financial Center (where the Park Hyatt Shanghai resides) is USD 1.2 billion; whereas Burj Khalifa, the current tallest building on earth at 163 storey and 828m, costed a 'modest' USD 1.5 billion to build. The numbers are truly mind boggling, and The Peninsula Paris is truly an extraordinary project. It might took the Majestic Hotel two years to build; but it took four years just to restore and reincarnate it into a Peninsula.

 

HOTEL OPENING

On a pleasant afternoon of 1 August 2014, the hotel finally opened its door to a crowd of distinguished guests, international journalists, first hotel guests and local crowds who partake to witness the inauguration and rebirth of a Parisian legend and grande dame (Many A-list celebrities and even Head of State flocked to the hotel to witness its sheer beauty). It was an historic day not just for Paris, but also for the Hong Kong and Shanghai Hotels Group as it marks their arrival in Europe with its first ever Peninsula, while the second is already on the pipeline with the future opening of The Peninsula London, located just behind The Lanesborough at Knightsbridge.

 

The eagerly-awaited opening ceremony was attended by the Chairman of Katara Hospitality, His Excellency Sheikh Nawaf Bin Jassim Bin Jabor Al-Thani; CEO of Hong Kong and Shanghai Hotels Limited (HSH), Clement Kwok; Minister of Foreign Affairs and International Development, Laurent Fabius; General Manager of the Peninsula Paris, Nicolas Béliard; and the event kicked off with an opening speech by the famous French Secretary of State for Foreign Trade, the Promotion of Tourism and French Nationals Abroad, Madame Fleur Pellerin, who clearly stole the show with her public persona. A ribbon cutting and spectacular lion dance show concluded the event, which drew quite a spectacle on Avenue des Portugais as it brought a unique display of Asian heritage to the heart of cosmopolitan Paris.

 

LOCATION

The Peninsula Paris stands majestically at the tree-lined Avenue Kléber, just off the Arc de Triomphe. Personally, this is an ideal location in Paris as it is a stone's throw away from all the happenings at the Champs-Élysées, but is set away from its hustle and bustle, which is constantly a tourist trap day and night. Once you walk pass the leafy Avenue Kléber, the atmosphere is very different: peaceful and safe. The Kléber Metro station is just a few steps away from the hotel, providing guests a convenient access to further parts of town.

 

Champs-Élysées is the center of Parisian universe, and it is just a short and pleasant stroll away from the hotel, where some of the city's most legendary commercial and cultural institutions reside. For a start, Drugstore Publicis at the corner by the roundabout has been a legendary hang-out since the 1960s, and is my ultimate favourite place in town. The Post Modern edifice by architect Michele Saee (renovated in 2004) houses almost everything: a Cinema; side walk Brasserie & Steak House; Newsagency; Bookshop (you can find Travel publications and even the Michelin Guide); upscale Gift shop and Beauty corner (even Acqua di Parma is on sale here); Pharmacy (whose pharmacist thankfully speaks English and gladly advises you on your symptoms); upscale deli (stocking pretty much everything from Foie gras burger on the counter, to fine wines & cigar cellar; to Pierre Herme & Pierre Marcolini chocolates; Dalloyau bakery; Marriage Freres tea; and even the Petrossian Caviar!). Best of all, it features a 2 Michelin star L'atelier de Joel Robuchon Etoile on its basement; and the store is even opened on Sunday until 2am. It is a one stop shopping, eating and entertainment, showcasing the best of France.

 

Further down the road, Maison Louis Vuitton stands majestically on its own entire 7 storey building, which was opened in 2005 as one of the biggest flagship stores in the world, covering a total area of 1,800m2. Designed by Eric Carlson and Peter Marino, the entire store is an architectural marvel and the temple of luxury, elegance and sophistication. This is one of the very few stores to open in Sunday as the French Labour Unions prohibits commercial stores to open on Sunday, unless if it involves cultural, recreational and sporting aspect. Initially, Maison LV was ordered by the court to close on Sunday, but LVMH finally wins an appeal in 2007 on the grounds of cultural experience; and the store has continued to draw endless queue on Sunday.

 

A block away from Maison LV is the legendary Parisian Tea Room of Ladurée, which was founded in 1862 by Louis Ernest Ladurée on its original store at 16 Rue Royal as a bakery. The Champs-Élysées store was opened in 1997 and has since attracted an endless queue of tourists and locals who wish to savour its legendary Macarons and pastries. The Ladurée phenomenon and popularity could only be rivaled by fellow Frenchmen Pierre Hermé, who has also attracted a cult of loyal fans worldwide. It may not have a flagship store at Champs-Élysées, but one could easily stop by Drugstore Publicis for a quick purchase to ease the craving.

 

For those looking for upscale boutiques, Avenue Montaigne located just nearby on a perpendicular, and features the flagship presence of the world's finest luxury fashion labels: Armani, Bottega Veneta, Valention, Prada, Dior, Versace, Chanel, Dolce & Gabbana, Gucci, Saint Laurent, Fendi and Salvatore Ferragamo to name a few. For the ultimate in shopping extravaganza, head down to Rue du Faubourg Saint-Honoré where all money will (hopefully) be well spent.

 

Champs-Élysées is the most famous and expensive boulevard in the world, yet it has everything for everyone; and myriad of crowds flocking its grand boulevards for a pleasant stroll. It has no shortage of luxury stores, but it also offers mainstream stores for the general public, from Levi's to Zara and Lacoste; to McDonalds and Starbucks; and FNAC store (French answer to HMV).

 

In terms of fine dining experience, the areas around Champs-Élysées has plenty to offer. I have mentioned about the 2 Michelin L'atelier de Joel Robuchon Etoile at the Drugstore Publicis, which was excellent. Robuchon never disappoints as it consistently serves amazing French cuisine amidst its signature red and black interior everywhere I visited, including Tokyo (3 Michelin), Hong Kong (3 Michelin), Paris (2 Michelin) and Taipei.

 

During my stay, I also managed to sample the finest cuisine from the kitchens of two, 3-Michelin Paris institutions: Pierre Gagnaire at Rue Balzac, just off Champs-Élysées; and Epicure at Le Bristol by Chef Eric Frechon on Rue du Faubourg Saint-Honoré, which was undoubtedly the best and most memorable dining experiences I have ever had in Paris to date. It is certainly the gastronomic highlight of this trip.

 

Other 3 Michelin establishment, such as Ledoyen is also located nearby at an 18th century pavilion by the Gardens of Champs-Élysées by newly appointed famous French Chef Yannick Alléno, who previously also resided at the Le Meurice with 3 Michelin, until Alain Ducasse took over last year during the Plaza Athénée closure for expansion.

 

August is a time of misery for international visitors to Paris as most fine dining restaurants are closed for the summer holiday. When choices are limited, foodies could rely on Epicure and Robuchon, which are opened all year round; and also the 2 Michelin star Le Cinq at the Four Seasons George V. Although its food could not compete with Robuchon, Epicure and Gagnaire, guests could still enjoy the beautiful surroundings.

 

ROOMS:

On my visit to Paris last year, I was not too impressed with my stay at the Four Seasons George V, as everything seemed to be pretty basic: the room design; the in-room tech and amenities; and even the much lauded service. It simply does not justify the hefty price tag. The only thing stood out there were the ostentatious designer floral display at the lobby, which reportedly absorbed a six digit figure budget annually. When I saw them at the first time, this was what came to mind: guests are paying for these excessive flowers, whether you like it or not.

 

Fortunately, the Peninsula Paris skips all this expensive gimmick, and instead spends a fortune for guests to enjoy: advance room technology; a host of complimentary essential amenities, including internet access, non-alcoholic minibar, and even long distance phone calls. In fact, every single items inside the room has been well thought and designed for guest's ultimate comfort.

 

Ever since The Peninsula Bangkok opened in 1998 to much success, the group has used it as a template for its signature rooms for future sister hotels, which consists of an open plan, ultra-wide spacious room equivalent to a 2 bays suite, with 5-fixtures bathroom, and a separate Dressing Room, which soon becomes a Peninsula signature.

 

The Peninsula Tokyo followed this template when it opened in 2007 to rave reviews; and it was soon adopted as a model for Peninsula Shanghai, which later opened in 2009 as the flagship property in Mainland China. This layout is also being applied at The Peninsula Paris, albeit for its Suites categories, i.e. Junior Suite, which measure at an astonishing 50 - 60m2. The entry level Superior and Deluxe Rooms lack the signature layout with smaller size at 35 - 45m2, but they are already spacious for a Parisian standard; and each is equipped with Peninsula's signature technology.

 

Technology is indeed at the core of the Peninsula DNA, and no expense is spared in creating the world's most advance in-room technology. When other hotels try to cut costs and budgets on in-room technology with lame excuses, the Peninsula actually spends a fortune to innovate and set a new benchmark. In fact, it is probably the only hotel group to have its own Technology laboratory at a secret location deep inside Aberdeen, Hong Kong, where in-room tech is being developed and tested. It was here where innovative devices, such as the outside temperature indicator; my favourite Spa Button by the bathtub; or even the portable nail dryer for the ladies are invented. The Peninsula took the world by storm when it introduced the Samsung Galaxy tablet device at the Peninsula Hong Kong in 2012, which is programmed in 11 languages and virtually controls the entire room, including the lights, temperature, curtains, TV, radio, valet calls and Do Not Disturb sign. It even features touch screen Room Service Menu, hotel information, city guide, and a function to request room service and housekeeping items, thus creating an entirely paperless environment.

 

All these technological marvel are also being replicated at the Peninsula Paris, together with other 'standard' features, such as Nespresso Coffee Machine; flat-screen 3D LED television; LED touch screen wall panels; an iPod/iPad docking station; memory card reader; 4-in1 fax/scanner/printer/photocopier machine; DVD player; complimentary in-house HD movies; complimentary internet access and long distance calls through the VOIP platform. Even the room's exterior Parisian-styled canopy is electronically operated. All these technological offerings is so extremely complex, that it resulted in 2.5 km worth of cabling in each room alone.

 

Bathroom at the Junior Suite also features Peninsula's signature layout: a stand alone bathtub as the focal point, flanked by twin vanities and separate shower and WC compartments amidst acres of white marble. Probably the first in Paris, it features a Japanese Toilet complete with basic control panel, and a manual handheld bidet sprayer.

 

When all these add up to the stay, it actually brings a very good value to the otherwise high room rates. Better yet, the non-alcoholic Minibar is also complimentary, which is a first for a Peninsula hotel. The Four Seasons George V may choose to keep looking back to its antiquity past and annihilate most technological offerings to its most basic form, but the Pen always looks forward to the future and brings the utter convenience, all at your finger tip. The Peninsula rooms are undoubtedly the best designed, best equipped and most high-tech in the entire universe.

 

ROOM TO BOOK:

The 50 - 60m2 Junior Suite facing leafy Avenue Kléber is the best room type to book as it is an open-plan suite with Peninsula's signature bathroom and dressing room; and the ones located on the Premiere étage (first floor) have high ceilings and small balcony overlooking Kleber Terrace's iconic glass canopy. Personally, rooms facing the back street at Rue La Pérouse are the least preferred, but its top level rooms inside the Mansart Roof on level 5 have juliet windows that allow glimpse of the tip of Eiffel Tower despite being smaller in size due to its attic configuration. Superior Rooms also lack the signature Peninsula 5 fixtures bathroom configuration, so for the ultimate bathing experience, make sure to book at least from the Deluxe category.

 

If money is no object, book one of the five piece-de-resistance suites with their own private rooftop terrace and gardens on the top floor, which allow 360 degree panoramic views of Paris. Otherwise, the mid-tier Deluxe Suite is already a great choice with corner location, multiple windows and 85m2 of pure luxury.

 

DINING:

Looking back at the hotel's illustrious past, the Peninsula offers some of the most unique and memorable dining experiences in Paris, steep in history.

 

The area that once housed Igor Stravinksy's after party where James Joyce met Marcel Proust for the first time is now the hotel's Cantonese Restaurant, aptly called LiLi; and is led by Chef Chi Keung Tang, formerly of Peninsula Tokyo's One Michelin starred Hei Fung Terrace. Lili was actually modeled after Peninsula Shanghai's Yi Long Court, but the design here blends Chinese elements with Art Nouveau style that flourished in the late 1920s. It also boasts a world first: a spectacular 3x3.3m fiber optic installation at the entrance of the restaurant, depicting the imaginary portrait of LiLi herself. The Cantonese menu was surprisingly rather simple and basic, and features a selection of popular dim sum dishes. The best and most memorable Chinese restaurants I have ever experienced are actually those who masterfully fuse Chinese tradition with French ingredients: Jin Sha at the Four Seasons Hangzhou at Westlake; 2 Michelin Tin Lung Heen at Level 102 of the Ritz-Carlton Hong Kong; Jiang at Mandarin Oriental Guangzhou by Chef Fei; and Ya Ge at Mandarin Oriental Taipei. Ironically, the world's only 3 Michelin star Chinese restaurant, Lung King Heen at the Four Seasons Hong Kong failed to impress me.

 

The former Ballroom area where Henry Kissinger started the Paris Peace talks with the Vietnamese has now been transformed as The Lobby, which is a signature of every Peninsula hotels where the afternoon tea ritual takes place daily. The spectacular room with intricate details and crystal chandeliers has been meticulously restored, and is an ideal place to meet, see and be seen. Breakfast is served daily here, and guests could choose to have it either inside or outside at the adjoining al fresco La Terrasse Kléber, which connects all the F&B outlets on the ground floor, including Lili. Guests could choose from a Chinese set breakfast, which includes dim sum, fried vermicelli, and porridge with beef slices; or the Parisian set, which includes gourmet items such as Egg Benedict with generous slices of Jamon Iberico on top. The afternoon tea ritual is expected to be very popular as renowned Chef Pattissier Julien Alvarez, -who claimed the World Pastry Champion in 2009; and also the Spanish World Chocolate Master in 2007 at the tender age of 23, is at the helm; and the venue quickly booked out from the opening day.

 

Next to the Lobby is a small, intimate bar covered in exquisite oak panelling where Henry Kissinger signed the Paris Peace Accord back in 1973 that ended the Vietnam War. Kissinger politely declined the offer to have the Bar named after him, and instead it is simply called Le Bar Kléber.

 

On the top floor of the hotel lies the signature restaurant L'Oiseau Blanc, which is named after the French biplane that disappeared in 1927 in an attempt to make the first non-stop transatlantic flight between Paris and New York. A 75% replica of the plane has even been installed outside the main entrance of the restaurant with the Eiffel Tower on its background. The restaurant is divided into 3 distinct areas: a spectacular glass enclosed main dining room; a large outdoor terrace that runs the entire length of the hotel's roof; and an adjoining lively bar, all with breathtaking uninterrupted views of Paris' most identifiable landmarks, including the Eiffel Tower and the Sacré-Cœur at the highest point of the city at Montmartre.

 

L'Oiseau Blanc is led by Chef Sidney Redel, a former protégé of Pierre Gagnaire, and serves contemporary French cuisine focussing on 'terroir' menu of locally sourced seasonal ingredients from the region. During my stay, tomato was the seasonal ingredients, and Chef Redel created four courses incorporating tomato, even on dessert. While the food was of high quality, personally the menu still needs fine tuning, considering the sort of clientele the Pen is aiming for: the ultra rich (Chinese), who usually seek top establishments with luxury ingredients, such as caviar, black truffle, foie gras, blue lobster, Jamon Iberico, Wagyu beef, Kurobuta pork and Challans chicken.

 

LEISURE:

The Peninsula Paris features one of the best health and recreational facilities in the city, housed within the basement of the hotel, and covers an expansive area of 1,800m2. For a comparison, rival Mandarin Oriental Spa covers a total area of only 900m2 over two floors. The Peninsula Spa is undoubtedly one of the nicest urban spa that I have been to, it easily beats the Spa at the Four Seasons George V. The pool is also one of the city's largest at 22m long, -compared to both the Shangri-La and Mandarin Oriental at 15m; the George V at only 9m, which is more like a bigger jacuzzi. The only two other pools better than the Peninsula is the one designed by Phillippe Starck at the Le Royal Monceau at 28m; and the spectacular grand pool at the Ritz.

 

There is the usual 24 hours gym within two fitness spaces equipped with Technogym machines and free weights; and the locker rooms features steam, sauna, and experience shower room. There is a total of 8 treatment rooms within the Spa area, and the highlight is certainly the Relaxation Room, which is equipped with amazing day beds with specially placed deep cushions. The best part? the beds are electronically operated, much like a first class seat on a plane.

 

X-FACTOR:

The Peninsula signature technology; The Spa Button in the bathroom; VOIP technology for complimentary long distance calls; The top suites (Historic, Katara and Peninsula Suites); Xavier Corbero's Moon River sculpture at the Lobby; Lili; The Lobby and Bar where Henry Kissinger signed Paris Peace Accord; L'Oiseau Blanc Restaurant; The 1,800m2 Peninsula Spa; and the 1934 Rolls Royce Phantom II.

 

SERVICE:

There are a total of 600 staffs for just 200 rooms, so the service level is expected to be high; but it is perhaps unfair to judge the service during the opening weeks when all staffs were not at their best due to the intense preparation leading to the opening event. Furthermore, teething problems are expected for a newly opened hotel as great hotels are not born overnight, but takes a good few years of refinement.

 

Nonetheless, I was actually quite impressed with the level of service during the whole stay, as the majority of the staffs showed great attitude and much enthusiasm, which is a testament of great intense training. As one of the first guests arriving on the opening day, check-in was truly delightful and memorable as a battalion of staffs of different ranks welcomed and wished the most pleasant stay. The mood could not have been more festive as moments later, the hotel was finally inaugurated.

 

I was also particularly impressed with the service at both LiLi and The Lobby where staffs performed at an exceptional level like a veteran. There are two distinct qualities that made a lot of difference during the stay: humility and friendliness, which is quite a challenge to find, not only in Paris and the entire Europe, but even in Asian cities, such as Hong Kong. It is like finding needles in a haystack. A genuine smile seems to be a rare commodity these days, so I was happy to see plenty of smiles at the Peninsula Paris during the stay, from the signature Peninsula Pageboys to waiters, Maître d, receptionists and even to Managers and Directors. In fact, there were more smiles in Paris than Hong Kong.

 

When I woken up too early for breakfast one day, the restaurant was just about to open; and there were hardly anyone. I realized that even the birds were probably still asleep, but I was extremely delighted to see how fresh looking and energetic the staffs were at the dining room. There was a lot of genuine smile that warmed the rather chilly morning; and it was a great start to the day. One of the staffs I met during the stay even candidly explained how they were happy just to be at work, and it does not feel like working at all, which was clearly shown in their passion and enthusiasm.

 

That said, the Shangri-La Paris by far is still my top pick for best service as it is more personalized and refined due to its more intimate scale. The Shangri-La Paris experience is also unique as guests are welcomed to a sit down registration by the historic lounge off the Lobby upon arrival, and choice of drinks are offered, before being escorted to the room for in-room check-in. Guests also receive a Pre-Arrival Form in advance, so the hotel could anticipate and best accommodate their needs. During the stay, I was also addressed by my last name everywhere within the hotel, so it was highly personalized. I did receive similar treatment at The Peninsula Paris, -albeit in a lesser extent due to its size; and even the housekeeping greeted me by my last name. Every requests, from room service to mineral water were all handled efficiently at a timely manner. At times, service could be rather slow at the restaurants (well, it happens almost everywhere in Paris), but this is part of the Parisian lifestyle where nothing is hurried; and bringing bills/checks upfront is considered rude. I did request the food servings to be expedited during a lunch at LiLi on the last day due to the time constraint; and the staffs managed to succeed the task not only ahead of the time limit, but also it never felt hurried all along. Everything ran as smooth as silk.

 

VERDICT:

It was a personal satisfaction to witness the history in the making during the opening day on 1 August 2014, as the Peninsula Paris is my most eagerly awaited hotel opening of the decade. It was also historic, as it was a first in my travel to dedicate a trip solely for a particular hotel in a particular city (in this case Paris, some 11,578km away from home), without staying at other fine hotels. It was money well spent, and a trip worth taking as it was an amazing stay; and certainly a lifetime experience.

 

The Peninsula Paris could not have arrived at a better time, as two of the most established Parisian grande dames (Ritz and de Crillon) are still closed for a complete renovation, and will only be revealed in 2015; so there is plenty of time to adapt, grow and hone its skills. But with such pedigree, quality and illustrious history, the Pen really has nothing to be worried about. The Four Seasons George V seems to have a cult of highly obsessed fans (esp. travel agents) worldwide, but personally (and objectively), it is no match to the Peninsula. Based on physical product alone, the Pen wins in every aspect as everything has been meticulously designed with the focus on guest comfort and convenience. In terms of technology, the Pen literally has no rival anywhere on the planet, except from the obvious sibling rivalry.

 

The only thing that the Pen still needs to work on is its signature restaurants as all its rival hotels have at least 2 Michelin star restaurants (L'abeille at the Shangri-La; Sur Mesure at the Mandarin Oriental; and 3 Michelin at Epicure, Le Bristol; Le Cinq at the Four Seasons George V and Alain Ducasse at Le Meurice). L'Oiseau Blanc design is truly breathtaking and would certainly be the most popular gastronomic destination in Paris, but at the moment, the food still needs some works.

 

There were the expected teething problems and some inconsistencies with the service; but with years of refinement, The Peninsula Paris will no doubt ascend the throne. Personally, the Shangri-La Paris is currently the real competitor, together with the upcoming Ritz and de Crillon when they open next year, especially when Rosewood has taken over Crillon management and Karl Lagerfeld is working on its top suites. The two, however, may still need to revisit the drawing boards and put more effort on the guestrooms if they ever want to compete; because at the moment, The Peninsula Paris is simply unrivaled.

 

UPDATE 2016:

*I have always been very spot-on with my predictions. After only two years since its opening, The Peninsula Paris has been awarded the much coveted Palace status. In fact, it is the only hotel in Paris to receive such distinction in 2016. Congratulations, it is very much deserving*

 

PERSONAL RATING:

1. Room: 100

2. Bathroom: 100

3. Bed: 100

4. Service: 90

5. In-room Tech: 100

6. In-room Amenities: 100

7. Architecture & Design: 100

8. Food: 80

9. View: 80

10. Pool: 95

11. Wellness: 95

12. Location: 95

13. Value: 100

 

Overall: 95.00

 

Compare with other Parisian hotels (all with Palace status) that I have stayed previously:

SHANGRI-LA HOTEL, PARIS: 95.00

PARK HYATT PARIS-VENDOME: 90.00

FOUR SEASONS GEORGE V: 85.38

 

My #1 ALL TIME FAVORITE HOTEL

LANDMARK MANDARIN ORIENTAL, HONG KONG: 95.38

 

THE PENINSULA, PARIS

19, Avenue Kléber, Paris

Awarded Palace Status in 2016

 

General Manager: Nicolas Béliard

Hotel Manager: Vincent Pimont

Executive Chef: Jean-Edern Hurstel

Head Chef (Lili): Chi Keung Tang

Head Chef (L'oiseau Blanc): Sidney Redel

Head Chef (The Lobby): Laurent Poitevin

Chef Patissier: Julien Alvarez

 

Architect (original Majestic Hotel, circa 1908): Armand Sibien

Architect (renovation & restoration, 2010-2014): Richard Martinet

Interior Designer: Henry Leung of Chhada Siembieda & Associates

Landscape Designer: D. Paysage

 

Art Curator: Sabrina Fung

Art Restorer: Cinzia Pasquali

Artist (Courtyard installation): Ben Jakober & Yannick Vu

Crystal work: Baccarat

Designer (Lili fiber optic installation): Clementine Chambon & Francoise Mamert

Designer (Chinaware): Catherine Bergen

Gilder Specialist & Restorer: Ateliers Gohard

Glass Crafter (Lobby Installation): Lasvit Glass Studio

Master Glass Crafters: Duchemin

Master Sculptor (Lobby): Xavier Corbero

Metalwork: Remy Garnier

Plaster & Moulding Expert: Stuc et Staff

Silverware: Christofle

Silk & Trimmings: Declercq Passementiers

Wood Restoration Expert: Atelier Fancelli

  

Hotel Opening Date: 01 August 2014

Notable owners: Katara Hospitality; Hong Kong and Shanghai Hotels Group (HSH)

Total Rooms & Suites: 200 (including 35m2 Superior, 45m2 Deluxe, 50m2 Grand Deluxe, 55m2 Premier and 60m2 Grand Premier Rooms)

Total Suites: 34 Suites (including 70m2 Superior, 85m2 Deluxe and 100m2 Premier

Top Suites: Historic Suite, Katara Suite, and The Peninsula Suite

Bathroom Amenities: Oscar de la Renta

 

Restaurants: The Lobby (All day dining & Afternoon tea), LiLi (Cantonese), L'Oiseau Blanc (French), La Terrasse Kléber

Bars and Lounges: Le Bar Kléber; Kléber Lounge; Cigar Lounge; and L'Oiseau Blanc Bar

Meeting & Banquets: Salon de l'Étoile for up to 100 guests, and 3 smaller Function Rooms

Health & Leisure: 24 hours gym & 1,800m2 Peninsula Spa with 22m indoor swimming pool and jacuzzis; Steam & Sauna, Relaxation Room, and 8 treatment rooms

Transport: chauffeur-driven Rolls Royce Extended Wheel Base Phantom; a 1934 Rolls Royce Phantom II; 2 MINI Cooper S Clubman; and a fleet of 10 BMW 7 Series

 

Complimentary facilities: Non-alcoholic Minibar; Wired and Wireless Internet; VOIP long distance calls; HD Movies; Daily fruit Basket; International Newspaper; Chauffeured MINI Cooper S Clubman for Suites guests; and Chauffeured Rolls Royce for top Suites

 

paris.peninsula.com

PUENTES CASCARA

 

Son dos puentes gemelos construidos con una lámina de 15 cms. de hormigón autonivelante que forma una superficie con doble curvatura, de la que cuelga el tablero. Se conciben como dos pabellones a los que acceder para cruzar el río,El equipo Madrid Río-West 8 ha elaborado un diseño en el que se combina lo funcional con lo artístico. El resultado son dos puentes gemelos, con tableros que alcanzan una anchura máxima de 8,5 metros en los estribos y de 4,5 en el centro del vano, que cuelgan de las bóvedas a las que están unidos a través de 136 cables de acero. La decoración de tales bóvedas, es uno de sus principales atractivos. Daniel Canogar, de Madrid un artista joven y vanguardista, a base de mosaicos, ha utilizado más de 6,6 millones de teselas de vidrio reciclado para plasmar en las bóvedas, a 50 ciudadanos anónimos de los distritos de Arganzuela y Usera. Entre ellos hay un profesor que lleva más de 80 años viviendo en Legazpi, parejas de enamorados, padres con sus hijos o, incluso, una mujer con su perro.

estos puentes se inaguraron en los años 2010-2011

  

MADRID RIO

  

Madrid Río es un parque de la ciudad española de Madrid, consistente en una zona peatonal y de recreo construida entre los años 2006 a 2012 en los dos márgenes del río Manzanares, en buena parte sobre el trazado soterrado de la vía de circunvalación M-30,1​ desde el nudo Sur hasta el enlace con la A-5. En 2016, el proyecto se hizo con el galardón Veronica Rudge Green Prize in Urban Design de la Universidad de Harvard por su diseño e impacto social y cultural en la transformación del río

Entre 2003 y 2007 se llevó a cabo la obra de soterramiento del arco oeste de la M-30 en el ámbito del río, obra que hizo posible la eliminación del tráfico en superficie y la consiguiente liberación de más de cincuenta hectáreas de terreno ocupado anteriormente por las calzadas. A esta superficie se sumaron otras casi cien hectáreas correspondientes a los diferentes suelos infrautilizados adyacentes a la autopista.

 

Tras la construcción de los túneles afloró una herida vacía formada por un rosario de espacios desocupados, que atesoraban la potencia latente de convertirse en nexo de unión de un corredor ambiental de casi tres mil hectáreas dentro del término municipal, que se extiende desde El Pardo hasta Getafe y que enlaza importantísimas áreas verdes de la ciudad como la Casa de Campo, el Parque de la Arganzuela o el Parque del Manzanares Sur.

 

Por tanto, los beneficios obtenidos al enterrar la antigua autopista, obviamente, no han quedado reducidos a la mejora de ciertos aspectos de la movilidad urbana, ni siquiera a la rehabilitación local de los barrios, sino que pueden adquirir en un futuro próximo, una dimensión de gran escala que necesariamente deberá repercutir en las relaciones entre la ciudad y el territorio, entendidas en su mayor alcance. La enorme trascendencia para la ciudad de los espacios liberados como consecuencia del soterramiento de la M-30, llevó al Ayuntamiento de Madrid a convocar un Concurso Internacional de Ideas para concebir y proyectar los nuevos espacios libres en el entorno del río. El concurso lo ganó el equipo de arquitectos dirigido por Ginés Garrido y formado por Burgos & Garrido Arquitectos, Porras & La Casta y Rubio & Álvarez-Sala y West8, con la solución para la construcción de un parque urbano de más de ciento veinte hectáreas, que ocupa la superficie liberada por el soterramiento de la autopista. Los inicios del proyecto pasaron por el intento de comprender en su totalidad las cualidades geográficas de la cuenca fluvial. Las características del territorio y la diversidad de sus elementos naturales constituyen un conjunto de claves que han sustentado muchas de las ideas contenidas en el proyecto.

 

Sumariamente, la estrategia del éste se basa en la convicción de que, a través del río es posible conectar la ciudad, expresión máxima de la acción artificial, con los territorios del norte y el sur de Madrid, en los que aún perviven los elementos naturales propios de la cuenca fluvial. El río se convierte en puerta o enlace entre interior urbano y exterior territorial y, a través de sus márgenes, se establece la continuidad y la permeabilidad, hasta hoy aniquiladas por los sucesivos anillos concéntricos, hollados por los cinturones viarios, M-30, M-40, M-45, M-50 …, que fueron el resultado de aplicar a la red circulatoria los modelos de movilidad propios de mediados del siglo XX.

 

El proyecto se ha concebido en sucesivas aproximaciones o escalas a partir de las que se ha aplicado la reflexión sobre el campo de juego, obteniendo respuestas o soluciones diversas, desde el ámbito territorial o estratégico al local o específico.

 

En la escala territorial se han establecido los parámetros de partida para que, en el medio plazo, sea posible la regeneración de las márgenes del río en toda su longitud, como verdaderas áreas de integración entre el paisaje y la actividad humana, bajo un entendimiento contemporáneo capaz de superar el antagonismo implícito en el binomio urbano-rural.

 

En la escala metropolitana, a través del proyecto y de su concepción como gran infraestructura, se lleva a cabo la incorporación del corredor que se extiende sobre los bordes fluviales a su paso por la ciudad como parte del GR 124 (Gran Recorrido de la Red de Senderos Europeos) que ya, en 2011 se podrá transitar en toda su extensión, desde Manzanares el Real hasta Aranjuez.

 

En la escala urbana, el proyecto incorpora el río como doble línea de fachada inédita y configura un conjunto enlazado de espacios verdes que se infiltra en la ciudad; establece en la superficie un nuevo sistema de movilidad y accesibilidad; incrementa la integración y calidad urbana de los barrios limítrofes al río; protege y revaloriza el patrimonio histórico y detecta áreas de oportunidad que, sobre este ámbito de nueva centralidad, serán capaces de generar un cambio potencial del conjunto de la ciudad en el largo plazo.

 

En la escala local, la propuesta se ejecuta como una operación radicalmente artificial, materializada sin embargo con instrumentos eminentemente naturales. No se debe olvidar que se actúa mayoritariamente sobre una infraestructura bajo tierra. El proyecto se implanta sobre un túnel o, más bien, sobre la cubierta de un conjunto complejísimo de instalaciones al servicio del viario enterrado. Un edificio de hormigón de más de seis kilómetros de longitud, con enormes y determinantes servidumbres y con una topografía cuya lógica obedece exclusivamente a la construcción de la infraestructura, que emerge inopinadamente sobre el suelo y con la que ha sido necesario negociar. Sobre esta edificación subterránea, la solución adoptada se ha basado en el uso de la vegetación como principal material de construcción. El proyecto establece como estrategia general la idea de implantar una densa capa vegetal, de carácter casi forestal, allá donde sea posible, es decir, fabricar un paisaje con materia viva, sobre un sustrato subterráneo inerte, modificado y excavado para el automóvil, sobre una construcción que expresa por sí misma el artificio máximo.

 

Las familias, formas y asociaciones de especies vegetales seleccionadas provienen de la extrapolación del estudio de la cuenca del río y su adaptación, en cada caso, al medio urbano específico. La ordenación de los distintos entornos y su caracterización como lugares de uso público se ha producido teniendo en cuenta, por un lado, las funciones requeridas y las necesidades detectadas en cada distrito y por otro, la capacidad de conformar espacios habitables, inherente a los conjuntos organizados de vegetación de distinto porte.

La solución se concreta en tres unidades de paisaje principales. Primero, el Salón de Pinos, o corredor verde que discurre por la margen derecha del río. Es la estructura que permite la continuidad de los recorridos y reacciona en su encuentro con los puentes existentes dando lugar a distintos tipos de jardines de ribera (Jardines bajos de Puente de Segovia, Jardines del Puente de San Isidro, Jardines del Puente de Toledo y Jardines del Puente de Praga). Segundo, el enlace definitivo del centro histórico (representado por la imagen imponente del Palacio Real y la cornisa elevada de la ciudad), con la Casa de Campo, parque de más de mil setecientas hectáreas. En este entorno se incluyen la Avenida de Portugal, la Huerta de la Partida, la Explanada del Rey y los Jardines de la Virgen del Puerto. Tercero, la ancha franja sobre la ribera izquierda donde se sitúa el conjunto del Parque de la Arganzuela que incluye el centro de creación de arte contemporáneo de Matadero, y que representa la mayor superficie de espacio verde unitario de la propuesta.

 

Además de estas tres grandes operaciones paisajísticas coherentes entre sí, el proyecto propone ciento cincuenta intervenciones de diferente carácter, entre las que destaca el sistema puentes que dotan de un inédito grado de permeabilidad al cauce. Se han desarrollado soluciones sobre más de veinte puentes o pasarelas sobre el río, rehabilitando las siete presas, reciclando algunos puentes existentes y creando nuevos pasos, unas veces con un lenguaje silencioso y otras, intencionadamente expresivo. Como en una acción microquirúrgica el proyecto incorpora, eslabón por eslabón, una cadena de fórmulas de integración del río en la ciudad y de la ciudad en el río. Son elementos que garantizarán el contagio de los nuevos valores de las orillas regeneradas sobre los ámbitos y barrios cercanos. Con este efecto de resonancia, se prevé una sucesión de operaciones que aseguren una renovación de gran alcance. Desde ahora y de manera irreversible, se está fraguando una radical metamorfosis, sin precedentes para la ciudad de Madrid.

La superestructura lineal del Salón de Pinos es el elemento que organiza la continuidad de recorridos a lo largo de la ribera derecha del río. Está construida sobre los túneles en su práctica totalidad y tiene un ancho medio de treinta metros. Sobre la losa de hormigón que cubre el paso de los automóviles se han plantado más de 9.000 unidades de diferentes especies de pinos, de diversos tamaños, formas y agrupaciones con un marco de plantación forestal. Los ejemplares han sido seleccionados fundamentalmente en campos en los que hubiese posibilidad de extraer plantas con morfologías naturales (troncos no lineales, troncos dobles, troncos inclinados, etc.) De este modo se obtiene una prolongación controlada de los pinares de la sierra situada al norte de Madrid que parecen extenderse hasta el confín de la ciudad. Estos árboles han sido anclados a la losa de los túneles mediante cables de acero y bridas biodegradables, para potenciar su estabilidad y el crecimiento de sus raíces en horizontal sobre el paquete de tierras disponible. No obstante, este paseo se encuentra frecuentemente con estructuras de gran valor urbano o patrimonial.

 

Dos ejemplos simbólicos de esta intersección son los puentes históricos de Segovia (1582) y de Toledo (1732). En estos enclaves el salón reacciona como espacio de estancia, ampliando sus límites y ofreciendo un diseño específico, con árboles de ribera de hoja caduca y alineaciones de setos y bancos de piedra. Las actividades integradas en el salón se incorporan con un lenguaje coherente con su carácter forestal. Un claro ejemplo de este procedimiento lo forma el conjunto de áreas de juegos infantiles, diseñado específicamente como un sistema completo de formas naturales.

 

Jardines del Puente de Segovia

 

El puente de Segovia está declarado Bien de Interés Cultural. Fue construido a finales del siglo XVI por el arquitecto Juan de Herrera, por encargo de Felipe II. El proyecto de ajardinamiento de su entorno conforma una excepción en el ámbito del Salón de Pinos, constituyendo un ensanchamiento de éste y ofreciendo un modo diferente de aproximación al río. Los jardines se ordenan mediante una serie de líneas de traza orgánica que modelan sucesivas terrazas que descienden hacia el río. Estas líneas están construidas con unas piezas de granito de gran formato que sirven también de bancos. Entre ellos se extiende una superficie de hierba de bajo consumo hídrico arbolada con diferentes especies de árboles frondosos de ribera de la familia de los populus. En las inmediaciones de la fábrica almohadillada del puente se han construido dos estanques de agua limpia sobre los cuales, por un lado alza una fuente monumental de 16 chorros con forma de ciprés y por otro se extiende un pequeño jardín de lirios acuáticos. Los estanques son accesibles mediante unas gradas de piedra que se acercan a ellos hasta sumergirse.

 

Jardines del Puente de Toledo

 

Los jardines del Puente de Toledo constituyen una de las áreas más significativas del Proyecto Madrid Río, ya que se están situados en un enclave de excepcional importancia en el que el Salón de Pinos se encuentra con uno de los puentes monumentales de Madrid, el puente de Toledo, construido entre 1718 y 1732. El proyecto aprovecha dicho monumento en un doble sentido: Por un lado se compone un espacio concebido para ser visto desde lo alto del puente que se convierte así en un mirador privilegiado. De este modo los jardines ofrecen una nueva e inédita panorámica de Madrid ya que sus trazados dibujan un enorme tatuaje que se extiende como una alfombra sobre la superficie, reproduciendo un motivo figurativo vegetal. Por otro lado, los jardines incorporan el Puente de Toledo, que es una estructura barroca diseñada por el arquitecto Pedro de Ribera, como un objeto al que admirar, al que tocar y bajo el que pasar. La disposición de los setos está organizada de modo que conforma una serie de líneas que toman como referencia los jardines barrocos de la época borbónica, aunque están trazadas con un lenguaje contemporáneo. Asimismo en este punto se ha construido un graderío que permite la máxima aproximación a la lámina de agua del río, y la mejor contemplación de los arcos del antiguo puente.

 

Segunda unidad de paisaje: La Escena Monumental

 

La vinculación del centro histórico y el barrio de La Latina con la Casa de Campo ha estado vedada a los peatones de forma secular. El nuevo contacto, que ya es posible por la desaparición de los automóviles bajo tierra, ha sido resuelto con diversas intervenciones que asumen el carácter monumental y panorámico de esta zona, en la que el zócalo elevado del Palacio Real (germen primigenio del nacimiento de la ciudad) contacta con el río. Se han propuesto diferentes soluciones afrontando con extremada atención el contexto en el que se sitúan: La “Explanada del Rey”, explanada abierta pavimentada con un gran patrón figurativo y que sirve de gran atrio ante la Casa de Campo. La huerta de la partida, que es un recinto cerrado en el que se han plantado diferentes retículas de árboles frutales (perales, manzanos, moreras, granados, higueras, nogales, avellanos, etc) acoge un extraordinario mirador de la cornisa. La avenida de Portugal, convertida en un bulevar pavimentado por calceteiros portugueses y poblado por cuatro especies de cerezos (Prunus avium, P. avium ‘Plena’, P.yedoensis y P.padus ‘Watereii’ ) permite la contemplación de una espectacular floración que se alarga más de un mes en primavera. Por último, los jardines de La Virgen del Puerto, en la otra margen del río, estructurados mediante la disposición de parterres orientados según los ejes de los principales acontecimientos urbanos del área: el puente de Segovia, el puente del Rey, la avenida de Portugal y la puerta del Rey que ha sido restaurada y resituada según los datos disponibles en la cartografía histórica de Madrid.

 

Plataforma del Rey

 

En el acceso monumental que enlaza el centro histórico de Madrid con la Casa de Campo, antiguo cazadero real, destaca la Explanada o Plataforma del Rey, que es un espacio abierto de una superficie aproximada de 14.000 m2 y un frente paralelo al río de poco menos de 250 m. El destino de este espacio es el de formar un escenario capaz de acoger diferentes manifestaciones cívicas (conciertos, celebraciones oficiales, actividades culturales, etc.) en un entorno de extraordinaria calidad ambiental, que permite contemplar la Cornisa Histórica de la Ciudad. Este lugar está conectado con el Salón de Pinos y forma parte de él, aunque por exigencias de su uso, sea un área casi desprovista de arbolado. En ella el principal elemento organizador es el pavimento que, de forma muy suave, se adapta a una topografía que integra todas las emergencias de los túneles hasta hacerlas imperceptibles. En este pavimento las pequeñas piezas de granito y basalto forman un patrón que desciende desde la Avenida de Portugal y se esparce sobre la superficie del suelo a una escala en aumento progresivo. Dicho patrón vincula la plataforma con el pavimento proyectado en la avenida. De este modo la Plataforma es un elemento que liga de manera natural importantes piezas del escenario monumental que se produce en este punto, como son el Puente del Rey, la Casa de Campo, la Avenida de Portugal y el Salón de Pinos.

 

Huerta de la Partida

  

Se trata de un espacio recuperado que en las pasadas décadas se dedicó a albergar uno de los principales nudos de la autopista. La propuesta de regeneración de este lugar incluye varias operaciones: En primer lugar la construcción de una tapia, a veces opaca, a veces permeable que constituye un cierre que confiere al recinto el carácter de huerto cerrado. En segundo lugar, el modelado artificial del terreno, regularizando su superficie y tallando un único plano inclinado de suave pendiente que se desliza hacia el río. En tercer lugar la plantación de diferentes agrupaciones de árboles frutales (granados, moreras, manzanos, perales, avellanos, almendros, higueras, olivos y nogales) que se incorporan en el entorno describiendo cuadrantes reticulados con sutiles variaciones de orientación. Por último, se ha proyectado una ría húmeda que describe la trayectoria del Arroyo Meaques, actualmente entubado y oculto. Este proyecto ha sido fruto del estudio minucioso de la historia del lugar, ya que en el pasado, cuando Felipe II adquirió esta finca después de establecer la capitalidad de Madrid, en esta posición se plantaron algunas huertas que producían el alimento necesario para los trabajadores de la Casa de Campo.

 

Tercera unidad de paisaje: La Ribera del Agua. Arganzuela y Matadero

 

En la margen izquierda del cauce la ciudad se separa del río. El ejemplo más importante de la propuesta en esta orilla es el nuevo Parque de la Arganzuela, construido sobre antiguas dehesas de pasto de uso comunal. En este entorno se construyó el Matadero Municipal, notable ejemplo de arquitectura posindustrial de la segunda década del siglo XX. Con el soterramiento de la autopista, Madrid dispone ahora en este punto de 33 hectáreas de espacios libres que forman el mayor parque del proyecto. Éste se ha concebido como un gran espacio en el que el río se ha retirado dejando su huella ancestral. Está organizado con diferentes líneas que se entrecruzan, como surcos por los que pasó el agua, dejando entre sí espacios para distintos usos. Estas líneas, de carácter marcadamente longitudinal, son los caminos de distinta especie que recorren el espacio de norte a sur.

 

Paseo junto al matadero

 

Un camino más plano y ancho (el Camino Rápido), otro más sinuoso y de pendiente variable (el Camino Lento) y una franja empedrada de márgenes frondosos (el Arroyo Seco), que vertebra el centro del parque. La construcción del espacio se plantea como una gran arboleda que contiene varios paisajes, algunos más naturales y otros más construidos, configurados por una variación de especies, alturas, densidades y texturas. De este modo el parque, concebido como un retazo de la cuenca del río, incorpora tres áreas botánicas: bosque mediterráneo, bosque atlántico y fronda de ribera. El carácter de estos paisajes interiores está relacionado con los trazados longitudinales del parque, con árboles que siguen los caminos y las sendas, con sotos y bosques que emergen sobre la topografía. La textura boscosa se intercala con las superficies plantadas de aromáticas entre los caminos y el Arroyo Seco. Siguiendo la orilla izquierda del río, se dispone una franja húmeda y verde, con una pradera de césped que se inclina hacia el agua. Una constelación de fuentes ornamentales y un conjunto de tres láminas elípticas de agua pura introducen este elemento como materia narrativa que relaciona las distintas asociaciones de vegetación. Cada fuente presenta un distinto juego sonoro y visual y se rodea de pequeñas laderas plantadas de frutales que remiten a la imagen de los jardines de las leyendas o del Paraíso. Las líneas entrelazadas que estructuran el parque permiten la formación de recintos en los que se han situado importantes instalaciones para el recreo al servicio de los usuarios de todas las edades. En él se incluye un campo de fútbol , dos pistas de patinaje y tres importantes conjuntos de juegos infantiles. El parque así mismo incorpora el conjunto dedicado a la creación de arte contemporáneo de Matadero, como una gran dotación cultural que vive dentro de él. A través de los caminos se accede a las naves del antiguo complejo, cuya rehabilitación está a punto de finalizar. El diseño de los trazados permite entender la relación entre Matadero y el parque como un continuo entre el río y la ciudad.

 

El sistema de puentes sobre el río

 

La implantación de puentes sobre el Manzanares se lleva a cabo como una estrategia global, es decir, como un conjunto en que cada elemento resuelve problemas puntuales detectados en el entorno próximo, pero también forma parte a su vez de un sistema integral de conectividad transversal de acuerdo con la relación entre la ciudad y el río. Las unidades de este conjunto son de diferente carácter: puentes y presas rehabilitados o reciclados, puentes rodados existentes acondicionados al nuevo sistema de tráfico ciclista y peatonal, puentes singulares que constituyen hitos en el recorrido del río, pasarelas funcionales situadas en los nodos de máximo tránsito transversal y puentes de grandes luces que enlazan los recorridos del parque con los territorios exteriores a la ciudad al norte y al sur, haciendo realidad la principal aspiración territorial del proyecto.

 

Entre los puentes existentes destaca la operación llevada a cabo con las siete presas que han sido convertidas en pasarelas peatonales a través de su restauración integral y la incorporación de un tablero de madera accesible. En segundo lugar dentro de esta serie, se debe destacar el reciclaje del puente rodado de la M-30 que cruzaba el río al sur del Puente de Segovia, reconvertido en un puente peatonal y ciclista que incorpora un talud plantado con pinos. Entre los puentes singulares cabe mencionar el puente con forma de Y construido con cajones de perfiles metálicos, que evoca el lenguaje de los puentes ferroviarios del s. XIX colgados sobre los desfiladeros forestales y los puentes gemelos de hormigón que se dan acceso al complejo Matadero, proyectados como elementos de paso capaces también de configurar un espacio al que se ingresa, como pabellones que gravitan sobre el río, pero que verdaderamente pertenecen al parque.

 

Pasarela de Almuñécar

 

Fabricada de una sola pieza con fibra de carbono, para salvar una luz de algo más de 40 metros. Se sitúa sobre el único tramo del cauce que carece de cajero de hormigón. Su diseño final responde a las capacidades del material con que está fabricada, extremadamente ligero y resistente.

 

Restauración de Presas

 

Las siete presas que regulan el río a su paso de la ciudad han sido restauradas y puestas al servicio del nuevo sistema de pasos transversales. Sus mecanismos y exclusas han sido reparados y se les ha incorporado un tablero accesible de madera y una escala de peces para favorecer la continuidad de la fauna subacuática a lo largo del río.

 

Puente Oblicuo

 

Esta estructura viaria coetánea de la M-30 se ha reciclado para incorporarla al Salón de Pinos como un paso privilegiado a través del cual los peatones, los ciclistas y los árboles pasan de una a otra orilla. La losa aligerada que componía el tablero de hormigón postesado se cortó y apeó reforzándose para soportar las cargas debidas a su nuevo uso.

 

Puente del Principado de Andorra

 

Es uno de los nuevos puentes singulares del proyecto. Está construido por jaulas de perfiles abiertos, de expresividad algo arcaica, que toma como referencia las estructuras ferroviarias sobre los desfiladeros boscosos que se construyeron en Europa y Estados Unidos a finales de siglo XIX. Antes conocido como Puente Y, en julio de 2011 se le cambió de nombre al actual de Principado de Andorra, para agradecer al gobierno de Andorra la construcción del Puente de Madrid en Andorra la Vieja.​ Se escogió este puente para nombrarlo como Principado de Andorra porque representa también la geografía de Andorra: el país pirenaico está formado por dos valles, el del Valira del Norte y el del Valira de Oriente, los cuales confluyen en Escaldes-Engordany y se convierten en uno solo, de nombre Gran Valira. Esta disposición de los valles y sus ríos es similar a una Y.

 

Puentes Cáscara

 

Son dos puentes gemelos construidos con una lámina de 15 cm de hormigón autonivelante que forma una superficie con doble curvatura, de la que cuelga el tablero. Se conciben como dos pabellones a los que acceder para cruzar el río. Su bóveda se ha ornamentado con un mosaico creado por el artista Daniel Canogar.

 

Pasarela de la Princesa

 

El canto necesario para el funcionamiento de la pasarela se incorpora en las barandillas que en realidad conforman una pareja de vigas de alma llena y rigidizadores verticales. El lenguaje de la pasarela es intencionadamente sobrio.

  

El escribano montesino (Emberiza cia) es una especie de ave paseriforme de la familia de los escribanos (Emberizidae), que se distribuye por buena parte de Europa y Asia.

Es un ave pequeña midiendo entre 15 y 16,5 cm. Se caracteriza por un plumaje rojizo en el vientre, pardo listado en el manto, gris en la garganta que se extiende hasta la parte superior del pecho, y un dibujo en la cabeza consistente en un rostro blanco enmarcado y atravesado por unas listas negras. Su obispillo es pardorrojizo y presenta listas blancas en los lados de la cola. Las diferencias entre macho y hembra son escasas

 

Mi blog: vipucholfoto.blogspot.com.es/

Seen from Burj Khalifa, the world's tallest structure, a few years ago. I assume that the landscape looks quite different now, still consistent with this urban style

Singapore Zoo ranks consistently (after San Diego Zoo) as one of the best in the world.

 

There are currently about 300 species of animals across 28 hectares of lush rainforest. This is possible without a feeling of crowding because of the layering, with lemurs wandering freely, and orangutans and gibbons swinging high above the ground while the visitors watch from below. This concept is epitomised in the Fragile Forest, a 20,000 cubic metre bio-dome that mimics a tropical rainforest teeming with life at every level. High in the tops of the Fragile Forest, we find greater flying foxes feeding on watermelon and carrot.

 

For the story, please visit: www.ursulasweeklywanders.com/travel/teeth-claws-and-colou...

First Light, South Tufa. Mono Lake, California. June 7, 2009. © Copyright G Dan Mitchell - all rights reserved.

 

First light of dawn illuminates tufa towers and distant mountain at Mono Lake, California.

 

(G Dan Mitchell)

 

This photograph was made at the usual spot - anyone who has photographed at Mono (and who hasn't!? :-) knows that the most consistent spot to shoot sunrise light is at the South Tufa area, down the road from highway 395 a bit south of Lee Vining. On a good morning you'll have at least some clouds, and the location of those clouds may dictate what your foreground subject is; do you want to shoot to the north and the low hills, to the east and towards the sunrise, or toward the Sierra Nevada crest? You arrive very early, usually well before dawn, and walk out to the edge of the water where the towers are. You find a composition and wait, with the only sounds being the cries of seagulls (a sound I immediately associate with Mono) and possibly the voices of other photographers. The sky begins to lighten and then, almost before you know it, the warm glow of the first dawn light begins to light up the towers. (Am I the only one who marvels that this happens in almost complete silence?)

 

This photograph is not in the public domain. It may not be used on websites, blogs, or in any other media without explicit advance permission from G Dan Mitchell.G Dan Mitchell

With the boyfriend away for the weekend I was all set to catch up on some reading and housework, when m'buddy (a fellow photographer, DJ and engineer) mentioned he'd planned to attend the Pride event in Cologne, and would I like to come along?

 

Reading can wait.

 

I'd been to Cologne before of course, admiring its beautiful Dom cathedral from without and within, though I remember it having a lot more scaffolding around it. I hadn't visited the city during a time when it saw not one but two important public events: the Pride celebration of diversity and equality and love and all that good stuff, and an apparently historic football match between Germany and Italy.

 

The latter dominated Saturday evening. Bars were crowded but quiet, occasionally surging with excitement that ebbed crescendoed as goals were attempted, missed, completed and then equalized, culminating in sudden-death overtime that went on a surprisingly (and evidently thrillingly) long time.

 

Germany won. Cheers and jeers rose throughout the city, beers were clanged, strangers were hugged and kissed and for the first time in my life I found myself surrounded by hundreds if not thousands of people in a nighttime city intersection, all headbanging in delirious ecstasy to an unannounced houm-pah-pah marching band playing Rage Against The Machine on brass and drums.

 

A gaggle of orange-shirted Dutch football fans celebrated with their Eastern brethren by chanting "Alle Duitsers zijn homo's" to which the Germans responded with "Alle Niederländer sind Homo's" in good spirits, accurate rhythm and surprisingly consistent key.

 

Prescient in a way, because on Sunday that very much seemed to be borne out. I've visited and enjoyed Amsterdam's annual Canal Pride many times (our parade floats actually float, y'all) but hadn't yet seen a street parade, and I'm so glad m'buddy cajoled me into tagging along.

 

In the spirit of togetherness and diversity and exuberance I'd brought along my little photo printer. I sneakily befriended various couples and groups by giving them a portrait to take home, and in exchange was easily allowed to sneak to the front for a better view of the parade.

 

In one case, when a lady tried to give me two euros for the print and the only way I could demur was to ask for a peck on the cheek instead, the leather-clad beardo standing next to her proudly told me she was her daughter and that, by Westphalian law, I was now betrothed to marry her.

 

Soooo I'm rather glad I'm home and if anyone is well-versed in EU law, please let me know how far David and I will need to emigrate to escape the looming threat of that shotgun wedding, thanks in advance, please help, for real though please help thank you please.

 

The parade of course was more, shall we say, colorful than the wholesome and family-friendly joie-de-vivre here depicted, but I leave it to your delicate imaginations to picture how the great city of Cologne celebrates Pride!

 

— Alex "Khaki" Vance.

 

I'm @khakidoggy on Twitter; see more event photography at www.flickr.com/photos/alexfvance/albums/

I've actually been pretty consistent taking photos this year for the project, but due to a number of things, including my camera roll disappearing under Flickr (it's been months!) I've been terrible about posting them.

 

I hope to eventually catch up but I realize that I need to start with the current photos and get back into that habit. So here is a photo from my son's team ride yesterday. We typically ride in this park every week, but the weather has been so wet and we've avoided it. Finally had a nice day and I snapped this photo of the kids riding away from me. 73/366

Remarkably, Penn South's shareholders have consistently voted against "going private," although if they gave themselves the right to sell their apartments on the open market, they certainly would be able to get very high prices for them. Instead, they've decided to give others the same opportunity for affordable middle-income housing that they had.

 

Penn South's decision shouldn't be surprising, because it is known for its political liberalism - one gets the feeling that the complex is a mini-Blue State unto itself. Many of the early residents were members of the ILGWU (International Ladies' Garment Workers' Union, the complex's original sponsor) and other unions. On the dais at the complex's opening ceremonies in 1962 were President John F. Kennedy, Eleanor Roosevelt and David Dubinsky, head of the ILGWU. As a matter of fact, Penn South (meaning "south of Penn Station") was known at first as the ILGWU Houses.

  

Olympus have consistently produced outstanding cameras. They have designed some of the most creative shooters throughout their history, constantly innovating. Couple that with outstanding Zuiko lenses, and you're onto a winner.

 

I hope you enjoy my Olympus tree created with some of the great camera's i've collected and used over the years.

 

Merry Christmas

Paired to anodized Son 28 and BHS hub for a very consistent surface finish.

 

Wow folks. I feel like this project has really turned a corner. I don't think I've consistently cooked such good food. Forty days and I really feel like this 'making dinner' thing is not so hard. What was all the anxiety about anyways?

 

I still have to get around to some of the recipes friends and family have sent me. I am focusing on recipes that include whole foods, locally grown organic produce and meats, and nothing too processed (I make an exception for veganaise, my love). Tonight I found another gem from allrecipes.com. And the whole time I was cooking, I listened to Rupa & the April Fishes (shout out!)

 

Ahi Fish Burgers (makes 4-5 patties)

 

1 pound fresh tuna steaks, minced

1 carrot, grated

1/2 cup onion, chopped

1/2 cup chopped fresh chives

2 eggs

1/3 cup panko crumbs

1 tablespoon veganaise

salt to taste

freshly ground black pepper to taste

1 tablespoon olive oil

  

DIRECTIONS

 

1. In a large bowl, mix together tuna, carrot, onion, chives, eggs, panko crumbs, and mayonnaise. Season with garlic salt and black pepper. Form into patties.

2. Heat oil in a skillet over medium heat. Arrange patties in the pan (only as many as will fit easily in the pan). Cook, uncovered, 10 minutes per side, or until golden brown.

 

I paired this with:

 

Strawberry Spinach Salad

 

2 tablespoons sesame seeds

1 tablespoon poppy seeds

1/2 cup brown sugar

1/2 cup olive oil

1/4 cup distilled white vinegar

1/4 teaspoon paprika

1/4 teaspoon Worcestershire sauce

1 tablespoon minced onion

10 ounces fresh spinach - rinsed, dried and torn into bite-size pieces

1 quart strawberries - cleaned, hulled and sliced

1/4 cup almonds, blanched and slivered

 

1. In a medium bowl, whisk together the sesame seeds, poppy seeds, sugar, olive oil, vinegar, paprika, Worcestershire sauce and onion. Cover, and chill for one hour.

2. In a large bowl, combine the spinach, strawberries and almonds. Pour dressing over salad, and toss. Refrigerate 10 to 15 minutes before serving.

  

Good. Lord. The Ahi Burger was perfection. You don't have to cook it for so long- just blackening the outsides will heat up the middle just enough. I got the freshest steak at Bi-Rite so I'm sure that helped a lot with taste, too.

The Salad was a great compliment. And the dressing was out of this world. The orignal recipe called for white sugar, I used brown. The Worchestershire and paprika really kicked it up a notch. I might use shallots instead of onions next time.

 

Try this one, you'll love it!

  

Turret 7B

Turret 7B (Denton Hall Turret or Denton Turret) is located in West Denton opposite East Denton Hall (also known as Bishops House) on West Road. The turret is up to six courses high and is made from sandstone. It is recessed by 5 feet (1.5 m) into a section of the broad part of Hadrian's Wall that measures 65m long. Turret 7B is 13 feet (4.0 m) wide north to south and 14 feet (4.3 m) east to west with a 3 feet 8 inches (1.12 m) wide entrance in its south side. The wall associated with Turret 7B is the furthest east of the known surviving sections. Small sections of consolidated wall lie between Turret 7B and 7A at 54.98287°N 1.68616°W and 54.98271°N 1.68546°W.

 

The turret was first located in 1928 and excavated by the Office of Works in 1929. The excavation discovered a heap of pottery in the centre of the east wall, which has been suggested as the location of a window. Three different levels of floor were found suggesting three stages of occupation of 122–196, 205–295 and 300–367 AD. The original floor was constructed of clay and contained a hearth and a stone box, with a stone bowl on it, the floor had been partially repaired with flagstones. A spearhead and the binding from a shield were discovered within the repair. A building had been constructed over the turret and 18th-century pottery remains associated with this were also found. Another excavation was carried out in 1936. It has been proposed that Turret 7B was one of the structures garrisoned by soldiers based at the Condercum fort to the east in Benwell.

 

The turret was placed under English Heritage guardianship by 1971. The turret and attached wall are maintained as a single property by English Heritage (known as "Denton Hall Turret"). The organisation operates the property as an open access site with no entrance fees. Turret 7B was the first site on Hadrian's Wall visited in Guy de la Bédoyère's BBC Radio 4 series The Romans in Britain.

 

Location: 54.984139°N 1.691234°W

 

Roman Britain was the territory that became the Roman province of Britannia after the Roman conquest of Britain, consisting of a large part of the island of Great Britain. The occupation lasted from AD 43 to AD 410.

 

Julius Caesar invaded Britain in 55 and 54 BC as part of his Gallic Wars. According to Caesar, the Britons had been overrun or culturally assimilated by the Belgae during the British Iron Age and had been aiding Caesar's enemies. The Belgae were the only Celtic tribe to cross the sea into Britain, for to all other Celtic tribes this land was unknown. He received tribute, installed the friendly king Mandubracius over the Trinovantes, and returned to Gaul. Planned invasions under Augustus were called off in 34, 27, and 25 BC. In 40 AD, Caligula assembled 200,000 men at the Channel on the continent, only to have them gather seashells (musculi) according to Suetonius, perhaps as a symbolic gesture to proclaim Caligula's victory over the sea. Three years later, Claudius directed four legions to invade Britain and restore the exiled king Verica over the Atrebates. The Romans defeated the Catuvellauni, and then organized their conquests as the province of Britain. By 47 AD, the Romans held the lands southeast of the Fosse Way. Control over Wales was delayed by reverses and the effects of Boudica's uprising, but the Romans expanded steadily northward.

 

The conquest of Britain continued under command of Gnaeus Julius Agricola (77–84), who expanded the Roman Empire as far as Caledonia. In mid-84 AD, Agricola faced the armies of the Caledonians, led by Calgacus, at the Battle of Mons Graupius. Battle casualties were estimated by Tacitus to be upwards of 10,000 on the Caledonian side and about 360 on the Roman side. The bloodbath at Mons Graupius concluded the forty-year conquest of Britain, a period that possibly saw between 100,000 and 250,000 Britons killed. In the context of pre-industrial warfare and of a total population of Britain of c. 2 million, these are very high figures.

 

Under the 2nd-century emperors Hadrian and Antoninus Pius, two walls were built to defend the Roman province from the Caledonians, whose realms in the Scottish Highlands were never controlled. Around 197 AD, the Severan Reforms divided Britain into two provinces: Britannia Superior and Britannia Inferior. During the Diocletian Reforms, at the end of the 3rd century, Britannia was divided into four provinces under the direction of a vicarius, who administered the Diocese of the Britains. A fifth province, Valentia, is attested in the later 4th century. For much of the later period of the Roman occupation, Britannia was subject to barbarian invasions and often came under the control of imperial usurpers and imperial pretenders. The final Roman withdrawal from Britain occurred around 410; the native kingdoms are considered to have formed Sub-Roman Britain after that.

 

Following the conquest of the Britons, a distinctive Romano-British culture emerged as the Romans introduced improved agriculture, urban planning, industrial production, and architecture. The Roman goddess Britannia became the female personification of Britain. After the initial invasions, Roman historians generally only mention Britain in passing. Thus, most present knowledge derives from archaeological investigations and occasional epigraphic evidence lauding the Britannic achievements of an emperor. Roman citizens settled in Britain from many parts of the Empire.

 

History

Britain was known to the Classical world. The Greeks, the Phoenicians and the Carthaginians traded for Cornish tin in the 4th century BC. The Greeks referred to the Cassiterides, or "tin islands", and placed them near the west coast of Europe. The Carthaginian sailor Himilco is said to have visited the island in the 6th or 5th century BC and the Greek explorer Pytheas in the 4th. It was regarded as a place of mystery, with some writers refusing to believe it existed.

 

The first direct Roman contact was when Julius Caesar undertook two expeditions in 55 and 54 BC, as part of his conquest of Gaul, believing the Britons were helping the Gallic resistance. The first expedition was more a reconnaissance than a full invasion and gained a foothold on the coast of Kent but was unable to advance further because of storm damage to the ships and a lack of cavalry. Despite the military failure, it was a political success, with the Roman Senate declaring a 20-day public holiday in Rome to honour the unprecedented achievement of obtaining hostages from Britain and defeating Belgic tribes on returning to the continent.

 

The second invasion involved a substantially larger force and Caesar coerced or invited many of the native Celtic tribes to pay tribute and give hostages in return for peace. A friendly local king, Mandubracius, was installed, and his rival, Cassivellaunus, was brought to terms. Hostages were taken, but historians disagree over whether any tribute was paid after Caesar returned to Gaul.

 

Caesar conquered no territory and left no troops behind, but he established clients and brought Britain into Rome's sphere of influence. Augustus planned invasions in 34, 27 and 25 BC, but circumstances were never favourable, and the relationship between Britain and Rome settled into one of diplomacy and trade. Strabo, writing late in Augustus's reign, claimed that taxes on trade brought in more annual revenue than any conquest could. Archaeology shows that there was an increase in imported luxury goods in southeastern Britain. Strabo also mentions British kings who sent embassies to Augustus, and Augustus's own Res Gestae refers to two British kings he received as refugees. When some of Tiberius's ships were carried to Britain in a storm during his campaigns in Germany in 16 AD, they came back with tales of monsters.

 

Rome appears to have encouraged a balance of power in southern Britain, supporting two powerful kingdoms: the Catuvellauni, ruled by the descendants of Tasciovanus, and the Atrebates, ruled by the descendants of Commius. This policy was followed until 39 or 40 AD, when Caligula received an exiled member of the Catuvellaunian dynasty and planned an invasion of Britain that collapsed in farcical circumstances before it left Gaul. When Claudius successfully invaded in 43 AD, it was in aid of another fugitive British ruler, Verica of the Atrebates.

 

Roman invasion

The invasion force in 43 AD was led by Aulus Plautius,[26] but it is unclear how many legions were sent. The Legio II Augusta, commanded by future emperor Vespasian, was the only one directly attested to have taken part. The Legio IX Hispana, the XIV Gemina (later styled Martia Victrix) and the XX (later styled Valeria Victrix) are known to have served during the Boudican Revolt of 60/61, and were probably there since the initial invasion. This is not certain because the Roman army was flexible, with units being moved around whenever necessary. The IX Hispana may have been permanently stationed, with records showing it at Eboracum (York) in 71 and on a building inscription there dated 108, before being destroyed in the east of the Empire, possibly during the Bar Kokhba revolt.

 

The invasion was delayed by a troop mutiny until an imperial freedman persuaded them to overcome their fear of crossing the Ocean and campaigning beyond the limits of the known world. They sailed in three divisions, and probably landed at Richborough in Kent; at least part of the force may have landed near Fishbourne, West Sussex.

 

The Catuvellauni and their allies were defeated in two battles: the first, assuming a Richborough landing, on the river Medway, the second on the river Thames. One of their leaders, Togodumnus, was killed, but his brother Caratacus survived to continue resistance elsewhere. Plautius halted at the Thames and sent for Claudius, who arrived with reinforcements, including artillery and elephants, for the final march to the Catuvellaunian capital, Camulodunum (Colchester). Vespasian subdued the southwest, Cogidubnus was set up as a friendly king of several territories, and treaties were made with tribes outside direct Roman control.

 

Establishment of Roman rule

After capturing the south of the island, the Romans turned their attention to what is now Wales. The Silures, Ordovices and Deceangli remained implacably opposed to the invaders and for the first few decades were the focus of Roman military attention, despite occasional minor revolts among Roman allies like the Brigantes and the Iceni. The Silures were led by Caratacus, and he carried out an effective guerrilla campaign against Governor Publius Ostorius Scapula. Finally, in 51, Ostorius lured Caratacus into a set-piece battle and defeated him. The British leader sought refuge among the Brigantes, but their queen, Cartimandua, proved her loyalty by surrendering him to the Romans. He was brought as a captive to Rome, where a dignified speech he made during Claudius's triumph persuaded the emperor to spare his life. The Silures were still not pacified, and Cartimandua's ex-husband Venutius replaced Caratacus as the most prominent leader of British resistance.

 

On Nero's accession, Roman Britain extended as far north as Lindum. Gaius Suetonius Paulinus, the conqueror of Mauretania (modern day Algeria and Morocco), then became governor of Britain, and in 60 and 61 he moved against Mona (Anglesey) to settle accounts with Druidism once and for all. Paulinus led his army across the Menai Strait and massacred the Druids and burnt their sacred groves.

 

While Paulinus was campaigning in Mona, the southeast of Britain rose in revolt under the leadership of Boudica. She was the widow of the recently deceased king of the Iceni, Prasutagus. The Roman historian Tacitus reports that Prasutagus had left a will leaving half his kingdom to Nero in the hope that the remainder would be left untouched. He was wrong. When his will was enforced, Rome[clarification needed] responded by violently seizing the tribe's lands in full. Boudica protested. In consequence, Rome[clarification needed] punished her and her daughters by flogging and rape. In response, the Iceni, joined by the Trinovantes, destroyed the Roman colony at Camulodunum (Colchester) and routed the part of the IXth Legion that was sent to relieve it. Paulinus rode to London (then called Londinium), the rebels' next target, but concluded it could not be defended. Abandoned, it was destroyed, as was Verulamium (St. Albans). Between seventy and eighty thousand people are said to have been killed in the three cities. But Paulinus regrouped with two of the three legions still available to him, chose a battlefield, and, despite being outnumbered by more than twenty to one, defeated the rebels in the Battle of Watling Street. Boudica died not long afterwards, by self-administered poison or by illness. During this time, the Emperor Nero considered withdrawing Roman forces from Britain altogether.

 

There was further turmoil in 69, the "Year of the Four Emperors". As civil war raged in Rome, weak governors were unable to control the legions in Britain, and Venutius of the Brigantes seized his chance. The Romans had previously defended Cartimandua against him, but this time were unable to do so. Cartimandua was evacuated, and Venutius was left in control of the north of the country. After Vespasian secured the empire, his first two appointments as governor, Quintus Petillius Cerialis and Sextus Julius Frontinus, took on the task of subduing the Brigantes and Silures respectively.[38] Frontinus extended Roman rule to all of South Wales, and initiated exploitation of the mineral resources, such as the gold mines at Dolaucothi.

 

In the following years, the Romans conquered more of the island, increasing the size of Roman Britain. Governor Gnaeus Julius Agricola, father-in-law to the historian Tacitus, conquered the Ordovices in 78. With the XX Valeria Victrix legion, Agricola defeated the Caledonians in 84 at the Battle of Mons Graupius, in north-east Scotland. This was the high-water mark of Roman territory in Britain: shortly after his victory, Agricola was recalled from Britain back to Rome, and the Romans initially retired to a more defensible line along the Forth–Clyde isthmus, freeing soldiers badly needed along other frontiers.

 

For much of the history of Roman Britain, a large number of soldiers were garrisoned on the island. This required that the emperor station a trusted senior man as governor of the province. As a result, many future emperors served as governors or legates in this province, including Vespasian, Pertinax, and Gordian I.

 

Roman military organisation in the north

In 84 AD

In 84 AD

 

In 155 AD

In 155 AD

 

Hadrian's Wall, and Antonine Wall

There is no historical source describing the decades that followed Agricola's recall. Even the name of his replacement is unknown. Archaeology has shown that some Roman forts south of the Forth–Clyde isthmus were rebuilt and enlarged; others appear to have been abandoned. By 87 the frontier had been consolidated on the Stanegate. Roman coins and pottery have been found circulating at native settlement sites in the Scottish Lowlands in the years before 100, indicating growing Romanisation. Some of the most important sources for this era are the writing tablets from the fort at Vindolanda in Northumberland, mostly dating to 90–110. These tablets provide evidence for the operation of a Roman fort at the edge of the Roman Empire, where officers' wives maintained polite society while merchants, hauliers and military personnel kept the fort operational and supplied.

 

Around 105 there appears to have been a serious setback at the hands of the tribes of the Picts: several Roman forts were destroyed by fire, with human remains and damaged armour at Trimontium (at modern Newstead, in SE Scotland) indicating hostilities at least at that site.[citation needed] There is also circumstantial evidence that auxiliary reinforcements were sent from Germany, and an unnamed British war of the period is mentioned on the gravestone of a tribune of Cyrene. Trajan's Dacian Wars may have led to troop reductions in the area or even total withdrawal followed by slighting of the forts by the Picts rather than an unrecorded military defeat. The Romans were also in the habit of destroying their own forts during an orderly withdrawal, in order to deny resources to an enemy. In either case, the frontier probably moved south to the line of the Stanegate at the Solway–Tyne isthmus around this time.

 

A new crisis occurred at the beginning of Hadrian's reign): a rising in the north which was suppressed by Quintus Pompeius Falco. When Hadrian reached Britannia on his famous tour of the Roman provinces around 120, he directed an extensive defensive wall, known to posterity as Hadrian's Wall, to be built close to the line of the Stanegate frontier. Hadrian appointed Aulus Platorius Nepos as governor to undertake this work who brought the Legio VI Victrix legion with him from Germania Inferior. This replaced the famous Legio IX Hispana, whose disappearance has been much discussed. Archaeology indicates considerable political instability in Scotland during the first half of the 2nd century, and the shifting frontier at this time should be seen in this context.

 

In the reign of Antoninus Pius (138–161) the Hadrianic border was briefly extended north to the Forth–Clyde isthmus, where the Antonine Wall was built around 142 following the military reoccupation of the Scottish lowlands by a new governor, Quintus Lollius Urbicus.

 

The first Antonine occupation of Scotland ended as a result of a further crisis in 155–157, when the Brigantes revolted. With limited options to despatch reinforcements, the Romans moved their troops south, and this rising was suppressed by Governor Gnaeus Julius Verus. Within a year the Antonine Wall was recaptured, but by 163 or 164 it was abandoned. The second occupation was probably connected with Antoninus's undertakings to protect the Votadini or his pride in enlarging the empire, since the retreat to the Hadrianic frontier occurred not long after his death when a more objective strategic assessment of the benefits of the Antonine Wall could be made. The Romans did not entirely withdraw from Scotland at this time: the large fort at Newstead was maintained along with seven smaller outposts until at least 180.

 

During the twenty-year period following the reversion of the frontier to Hadrian's Wall in 163/4, Rome was concerned with continental issues, primarily problems in the Danubian provinces. Increasing numbers of hoards of buried coins in Britain at this time indicate that peace was not entirely achieved. Sufficient Roman silver has been found in Scotland to suggest more than ordinary trade, and it is likely that the Romans were reinforcing treaty agreements by paying tribute to their implacable enemies, the Picts.

 

In 175, a large force of Sarmatian cavalry, consisting of 5,500 men, arrived in Britannia, probably to reinforce troops fighting unrecorded uprisings. In 180, Hadrian's Wall was breached by the Picts and the commanding officer or governor was killed there in what Cassius Dio described as the most serious war of the reign of Commodus. Ulpius Marcellus was sent as replacement governor and by 184 he had won a new peace, only to be faced with a mutiny from his own troops. Unhappy with Marcellus's strictness, they tried to elect a legate named Priscus as usurper governor; he refused, but Marcellus was lucky to leave the province alive. The Roman army in Britannia continued its insubordination: they sent a delegation of 1,500 to Rome to demand the execution of Tigidius Perennis, a Praetorian prefect who they felt had earlier wronged them by posting lowly equites to legate ranks in Britannia. Commodus met the party outside Rome and agreed to have Perennis killed, but this only made them feel more secure in their mutiny.

 

The future emperor Pertinax (lived 126–193) was sent to Britannia to quell the mutiny and was initially successful in regaining control, but a riot broke out among the troops. Pertinax was attacked and left for dead, and asked to be recalled to Rome, where he briefly succeeded Commodus as emperor in 192.

 

3rd century

The death of Commodus put into motion a series of events which eventually led to civil war. Following the short reign of Pertinax, several rivals for the emperorship emerged, including Septimius Severus and Clodius Albinus. The latter was the new governor of Britannia, and had seemingly won the natives over after their earlier rebellions; he also controlled three legions, making him a potentially significant claimant. His sometime rival Severus promised him the title of Caesar in return for Albinus's support against Pescennius Niger in the east. Once Niger was neutralised, Severus turned on his ally in Britannia; it is likely that Albinus saw he would be the next target and was already preparing for war.

 

Albinus crossed to Gaul in 195, where the provinces were also sympathetic to him, and set up at Lugdunum. Severus arrived in February 196, and the ensuing battle was decisive. Albinus came close to victory, but Severus's reinforcements won the day, and the British governor committed suicide. Severus soon purged Albinus's sympathisers and perhaps confiscated large tracts of land in Britain as punishment. Albinus had demonstrated the major problem posed by Roman Britain. In order to maintain security, the province required the presence of three legions, but command of these forces provided an ideal power base for ambitious rivals. Deploying those legions elsewhere would strip the island of its garrison, leaving the province defenceless against uprisings by the native Celtic tribes and against invasion by the Picts and Scots.

 

The traditional view is that northern Britain descended into anarchy during Albinus's absence. Cassius Dio records that the new Governor, Virius Lupus, was obliged to buy peace from a fractious northern tribe known as the Maeatae. The succession of militarily distinguished governors who were subsequently appointed suggests that enemies of Rome were posing a difficult challenge, and Lucius Alfenus Senecio's report to Rome in 207 describes barbarians "rebelling, over-running the land, taking loot and creating destruction". In order to rebel, of course, one must be a subject – the Maeatae clearly did not consider themselves such. Senecio requested either reinforcements or an Imperial expedition, and Severus chose the latter, despite being 62 years old. Archaeological evidence shows that Senecio had been rebuilding the defences of Hadrian's Wall and the forts beyond it, and Severus's arrival in Britain prompted the enemy tribes to sue for peace immediately. The emperor had not come all that way to leave without a victory, and it is likely that he wished to provide his teenage sons Caracalla and Geta with first-hand experience of controlling a hostile barbarian land.

 

Northern campaigns, 208–211

An invasion of Caledonia led by Severus and probably numbering around 20,000 troops moved north in 208 or 209, crossing the Wall and passing through eastern Scotland on a route similar to that used by Agricola. Harried by punishing guerrilla raids by the northern tribes and slowed by an unforgiving terrain, Severus was unable to meet the Caledonians on a battlefield. The emperor's forces pushed north as far as the River Tay, but little appears to have been achieved by the invasion, as peace treaties were signed with the Caledonians. By 210 Severus had returned to York, and the frontier had once again become Hadrian's Wall. He assumed the title Britannicus but the title meant little with regard to the unconquered north, which clearly remained outside the authority of the Empire. Almost immediately, another northern tribe, the Maeatae, went to war. Caracalla left with a punitive expedition, but by the following year his ailing father had died and he and his brother left the province to press their claim to the throne.

 

As one of his last acts, Severus tried to solve the problem of powerful and rebellious governors in Britain by dividing the province into Britannia Superior and Britannia Inferior. This kept the potential for rebellion in check for almost a century. Historical sources provide little information on the following decades, a period known as the Long Peace. Even so, the number of buried hoards found from this period rises, suggesting continuing unrest. A string of forts were built along the coast of southern Britain to control piracy; and over the following hundred years they increased in number, becoming the Saxon Shore Forts.

 

During the middle of the 3rd century, the Roman Empire was convulsed by barbarian invasions, rebellions and new imperial pretenders. Britannia apparently avoided these troubles, but increasing inflation had its economic effect. In 259 a so-called Gallic Empire was established when Postumus rebelled against Gallienus. Britannia was part of this until 274 when Aurelian reunited the empire.

 

Around the year 280, a half-British officer named Bonosus was in command of the Roman's Rhenish fleet when the Germans managed to burn it at anchor. To avoid punishment, he proclaimed himself emperor at Colonia Agrippina (Cologne) but was crushed by Marcus Aurelius Probus. Soon afterwards, an unnamed governor of one of the British provinces also attempted an uprising. Probus put it down by sending irregular troops of Vandals and Burgundians across the Channel.

 

The Carausian Revolt led to a short-lived Britannic Empire from 286 to 296. Carausius was a Menapian naval commander of the Britannic fleet; he revolted upon learning of a death sentence ordered by the emperor Maximian on charges of having abetted Frankish and Saxon pirates and having embezzled recovered treasure. He consolidated control over all the provinces of Britain and some of northern Gaul while Maximian dealt with other uprisings. An invasion in 288 failed to unseat him and an uneasy peace ensued, with Carausius issuing coins and inviting official recognition. In 293, the junior emperor Constantius Chlorus launched a second offensive, besieging the rebel port of Gesoriacum (Boulogne-sur-Mer) by land and sea. After it fell, Constantius attacked Carausius's other Gallic holdings and Frankish allies and Carausius was usurped by his treasurer, Allectus. Julius Asclepiodotus landed an invasion fleet near Southampton and defeated Allectus in a land battle.

 

Diocletian's reforms

As part of Diocletian's reforms, the provinces of Roman Britain were organized as a diocese governed by a vicarius under a praetorian prefect who, from 318 to 331, was Junius Bassus who was based at Augusta Treverorum (Trier).

 

The vicarius was based at Londinium as the principal city of the diocese. Londinium and Eboracum continued as provincial capitals and the territory was divided up into smaller provinces for administrative efficiency.

 

Civilian and military authority of a province was no longer exercised by one official and the governor was stripped of military command which was handed over to the Dux Britanniarum by 314. The governor of a province assumed more financial duties (the procurators of the Treasury ministry were slowly phased out in the first three decades of the 4th century). The Dux was commander of the troops of the Northern Region, primarily along Hadrian's Wall and his responsibilities included protection of the frontier. He had significant autonomy due in part to the distance from his superiors.

 

The tasks of the vicarius were to control and coordinate the activities of governors; monitor but not interfere with the daily functioning of the Treasury and Crown Estates, which had their own administrative infrastructure; and act as the regional quartermaster-general of the armed forces. In short, as the sole civilian official with superior authority, he had general oversight of the administration, as well as direct control, while not absolute, over governors who were part of the prefecture; the other two fiscal departments were not.

 

The early-4th-century Verona List, the late-4th-century work of Sextus Rufus, and the early-5th-century List of Offices and work of Polemius Silvius all list four provinces by some variation of the names Britannia I, Britannia II, Maxima Caesariensis, and Flavia Caesariensis; all of these seem to have initially been directed by a governor (praeses) of equestrian rank. The 5th-century sources list a fifth province named Valentia and give its governor and Maxima's a consular rank. Ammianus mentions Valentia as well, describing its creation by Count Theodosius in 369 after the quelling of the Great Conspiracy. Ammianus considered it a re-creation of a formerly lost province, leading some to think there had been an earlier fifth province under another name (may be the enigmatic "Vespasiana"), and leading others to place Valentia beyond Hadrian's Wall, in the territory abandoned south of the Antonine Wall.

 

Reconstructions of the provinces and provincial capitals during this period partially rely on ecclesiastical records. On the assumption that the early bishoprics mimicked the imperial hierarchy, scholars use the list of bishops for the 314 Council of Arles. The list is patently corrupt: the British delegation is given as including a Bishop "Eborius" of Eboracum and two bishops "from Londinium" (one de civitate Londinensi and the other de civitate colonia Londinensium). The error is variously emended: Bishop Ussher proposed Colonia, Selden Col. or Colon. Camalodun., and Spelman Colonia Cameloduni (all various names of Colchester); Gale and Bingham offered colonia Lindi and Henry Colonia Lindum (both Lincoln); and Bishop Stillingfleet and Francis Thackeray read it as a scribal error of Civ. Col. Londin. for an original Civ. Col. Leg. II (Caerleon). On the basis of the Verona List, the priest and deacon who accompanied the bishops in some manuscripts are ascribed to the fourth province.

 

In the 12th century, Gerald of Wales described the supposedly metropolitan sees of the early British church established by the legendary SS Fagan and "Duvian". He placed Britannia Prima in Wales and western England with its capital at "Urbs Legionum" (Caerleon); Britannia Secunda in Kent and southern England with its capital at "Dorobernia" (Canterbury); Flavia in Mercia and central England with its capital at "Lundonia" (London); "Maximia" in northern England with its capital at Eboracum (York); and Valentia in "Albania which is now Scotland" with its capital at St Andrews. Modern scholars generally dispute the last: some place Valentia at or beyond Hadrian's Wall but St Andrews is beyond even the Antonine Wall and Gerald seems to have simply been supporting the antiquity of its church for political reasons.

 

A common modern reconstruction places the consular province of Maxima at Londinium, on the basis of its status as the seat of the diocesan vicarius; places Prima in the west according to Gerald's traditional account but moves its capital to Corinium of the Dobunni (Cirencester) on the basis of an artifact recovered there referring to Lucius Septimius, a provincial rector; places Flavia north of Maxima, with its capital placed at Lindum Colonia (Lincoln) to match one emendation of the bishops list from Arles;[d] and places Secunda in the north with its capital at Eboracum (York). Valentia is placed variously in northern Wales around Deva (Chester); beside Hadrian's Wall around Luguvalium (Carlisle); and between the walls along Dere Street.

 

4th century

Emperor Constantius returned to Britain in 306, despite his poor health, with an army aiming to invade northern Britain, the provincial defences having been rebuilt in the preceding years. Little is known of his campaigns with scant archaeological evidence, but fragmentary historical sources suggest he reached the far north of Britain and won a major battle in early summer before returning south. His son Constantine (later Constantine the Great) spent a year in northern Britain at his father's side, campaigning against the Picts beyond Hadrian's Wall in the summer and autumn. Constantius died in York in July 306 with his son at his side. Constantine then successfully used Britain as the starting point of his march to the imperial throne, unlike the earlier usurper, Albinus.

 

In the middle of the century, the province was loyal for a few years to the usurper Magnentius, who succeeded Constans following the latter's death. After the defeat and death of Magnentius in the Battle of Mons Seleucus in 353, Constantius II dispatched his chief imperial notary Paulus Catena to Britain to hunt down Magnentius's supporters. The investigation deteriorated into a witch-hunt, which forced the vicarius Flavius Martinus to intervene. When Paulus retaliated by accusing Martinus of treason, the vicarius attacked Paulus with a sword, with the aim of assassinating him, but in the end he committed suicide.

 

As the 4th century progressed, there were increasing attacks from the Saxons in the east and the Scoti (Irish) in the west. A series of forts had been built, starting around 280, to defend the coasts, but these preparations were not enough when, in 367, a general assault of Saxons, Picts, Scoti and Attacotti, combined with apparent dissension in the garrison on Hadrian's Wall, left Roman Britain prostrate. The invaders overwhelmed the entire western and northern regions of Britannia and the cities were sacked. This crisis, sometimes called the Barbarian Conspiracy or the Great Conspiracy, was settled by Count Theodosius from 368 with a string of military and civil reforms. Theodosius crossed from Bononia (Boulogne-sur-Mer) and marched on Londinium where he began to deal with the invaders and made his base.[ An amnesty was promised to deserters which enabled Theodosius to regarrison abandoned forts. By the end of the year Hadrian's Wall was retaken and order returned. Considerable reorganization was undertaken in Britain, including the creation of a new province named Valentia, probably to better address the state of the far north. A new Dux Britanniarum was appointed, Dulcitius, with Civilis to head a new civilian administration.

 

Another imperial usurper, Magnus Maximus, raised the standard of revolt at Segontium (Caernarfon) in north Wales in 383, and crossed the English Channel. Maximus held much of the western empire, and fought a successful campaign against the Picts and Scots around 384. His continental exploits required troops from Britain, and it appears that forts at Chester and elsewhere were abandoned in this period, triggering raids and settlement in north Wales by the Irish. His rule was ended in 388, but not all the British troops may have returned: the Empire's military resources were stretched to the limit along the Rhine and Danube. Around 396 there were more barbarian incursions into Britain. Stilicho led a punitive expedition. It seems peace was restored by 399, and it is likely that no further garrisoning was ordered; by 401 more troops were withdrawn, to assist in the war against Alaric I.

 

End of Roman rule

The traditional view of historians, informed by the work of Michael Rostovtzeff, was of a widespread economic decline at the beginning of the 5th century. Consistent archaeological evidence has told another story, and the accepted view is undergoing re-evaluation. Some features are agreed: more opulent but fewer urban houses, an end to new public building and some abandonment of existing ones, with the exception of defensive structures, and the widespread formation of "dark earth" deposits indicating increased horticulture within urban precincts. Turning over the basilica at Silchester to industrial uses in the late 3rd century, doubtless officially condoned, marks an early stage in the de-urbanisation of Roman Britain.

 

The abandonment of some sites is now believed to be later than had been thought. Many buildings changed use but were not destroyed. There was a growing number of barbarian attacks, but these targeted vulnerable rural settlements rather than towns. Some villas such as Chedworth, Great Casterton in Rutland and Hucclecote in Gloucestershire had new mosaic floors laid around this time, suggesting that economic problems may have been limited and patchy. Many suffered some decay before being abandoned in the 5th century; the story of Saint Patrick indicates that villas were still occupied until at least 430. Exceptionally, new buildings were still going up in this period in Verulamium and Cirencester. Some urban centres, for example Canterbury, Cirencester, Wroxeter, Winchester and Gloucester, remained active during the 5th and 6th centuries, surrounded by large farming estates.

 

Urban life had generally grown less intense by the fourth quarter of the 4th century, and coins minted between 378 and 388 are very rare, indicating a likely combination of economic decline, diminishing numbers of troops, problems with the payment of soldiers and officials or with unstable conditions during the usurpation of Magnus Maximus 383–87. Coinage circulation increased during the 390s, but never attained the levels of earlier decades. Copper coins are very rare after 402, though minted silver and gold coins from hoards indicate they were still present in the province even if they were not being spent. By 407 there were very few new Roman coins going into circulation, and by 430 it is likely that coinage as a medium of exchange had been abandoned. Mass-produced wheel thrown pottery ended at approximately the same time; the rich continued to use metal and glass vessels, while the poor made do with humble "grey ware" or resorted to leather or wooden containers.

 

Sub-Roman Britain

Towards the end of the 4th century Roman rule in Britain came under increasing pressure from barbarian attacks. Apparently, there were not enough troops to mount an effective defence. After elevating two disappointing usurpers, the army chose a soldier, Constantine III, to become emperor in 407. He crossed to Gaul but was defeated by Honorius; it is unclear how many troops remained or ever returned, or whether a commander-in-chief in Britain was ever reappointed. A Saxon incursion in 408 was apparently repelled by the Britons, and in 409 Zosimus records that the natives expelled the Roman civilian administration. Zosimus may be referring to the Bacaudic rebellion of the Breton inhabitants of Armorica since he describes how, in the aftermath of the revolt, all of Armorica and the rest of Gaul followed the example of the Brettaniai. A letter from Emperor Honorius in 410 has traditionally been seen as rejecting a British appeal for help, but it may have been addressed to Bruttium or Bologna. With the imperial layers of the military and civil government gone, administration and justice fell to municipal authorities, and local warlords gradually emerged all over Britain, still utilizing Romano-British ideals and conventions. Historian Stuart Laycock has investigated this process and emphasised elements of continuity from the British tribes in the pre-Roman and Roman periods, through to the native post-Roman kingdoms.

 

In British tradition, pagan Saxons were invited by Vortigern to assist in fighting the Picts, Scoti, and Déisi. (Germanic migration into Roman Britannia may have begun much earlier. There is recorded evidence, for example, of Germanic auxiliaries supporting the legions in Britain in the 1st and 2nd centuries.) The new arrivals rebelled, plunging the country into a series of wars that eventually led to the Saxon occupation of Lowland Britain by 600. Around this time, many Britons fled to Brittany (hence its name), Galicia and probably Ireland. A significant date in sub-Roman Britain is the Groans of the Britons, an unanswered appeal to Aetius, leading general of the western Empire, for assistance against Saxon invasion in 446. Another is the Battle of Deorham in 577, after which the significant cities of Bath, Cirencester and Gloucester fell and the Saxons reached the western sea.

 

Historians generally reject the historicity of King Arthur, who is supposed to have resisted the Anglo-Saxon conquest according to later medieval legends.

 

Trade

During the Roman period Britain's continental trade was principally directed across the Southern North Sea and Eastern Channel, focusing on the narrow Strait of Dover, with more limited links via the Atlantic seaways. The most important British ports were London and Richborough, whilst the continental ports most heavily engaged in trade with Britain were Boulogne and the sites of Domburg and Colijnsplaat at the mouth of the river Scheldt. During the Late Roman period it is likely that the shore forts played some role in continental trade alongside their defensive functions.

 

Exports to Britain included: coin; pottery, particularly red-gloss terra sigillata (samian ware) from southern, central and eastern Gaul, as well as various other wares from Gaul and the Rhine provinces; olive oil from southern Spain in amphorae; wine from Gaul in amphorae and barrels; salted fish products from the western Mediterranean and Brittany in barrels and amphorae; preserved olives from southern Spain in amphorae; lava quern-stones from Mayen on the middle Rhine; glass; and some agricultural products. Britain's exports are harder to detect archaeologically, but will have included metals, such as silver and gold and some lead, iron and copper. Other exports probably included agricultural products, oysters and salt, whilst large quantities of coin would have been re-exported back to the continent as well.

 

These products moved as a result of private trade and also through payments and contracts established by the Roman state to support its military forces and officials on the island, as well as through state taxation and extraction of resources. Up until the mid-3rd century, the Roman state's payments appear to have been unbalanced, with far more products sent to Britain, to support its large military force (which had reached c. 53,000 by the mid-2nd century), than were extracted from the island.

 

It has been argued that Roman Britain's continental trade peaked in the late 1st century AD and thereafter declined as a result of an increasing reliance on local products by the population of Britain, caused by economic development on the island and by the Roman state's desire to save money by shifting away from expensive long-distance imports. Evidence has been outlined that suggests that the principal decline in Roman Britain's continental trade may have occurred in the late 2nd century AD, from c. 165 AD onwards. This has been linked to the economic impact of contemporary Empire-wide crises: the Antonine Plague and the Marcomannic Wars.

 

From the mid-3rd century onwards, Britain no longer received such a wide range and extensive quantity of foreign imports as it did during the earlier part of the Roman period; vast quantities of coin from continental mints reached the island, whilst there is historical evidence for the export of large amounts of British grain to the continent during the mid-4th century. During the latter part of the Roman period British agricultural products, paid for by both the Roman state and by private consumers, clearly played an important role in supporting the military garrisons and urban centres of the northwestern continental Empire. This came about as a result of the rapid decline in the size of the British garrison from the mid-3rd century onwards (thus freeing up more goods for export), and because of 'Germanic' incursions across the Rhine, which appear to have reduced rural settlement and agricultural output in northern Gaul.

 

Economy

Mineral extraction sites such as the Dolaucothi gold mine were probably first worked by the Roman army from c. 75, and at some later stage passed to civilian operators. The mine developed as a series of opencast workings, mainly by the use of hydraulic mining methods. They are described by Pliny the Elder in his Natural History in great detail. Essentially, water supplied by aqueducts was used to prospect for ore veins by stripping away soil to reveal the bedrock. If veins were present, they were attacked using fire-setting and the ore removed for comminution. The dust was washed in a small stream of water and the heavy gold dust and gold nuggets collected in riffles. The diagram at right shows how Dolaucothi developed from c. 75 through to the 1st century. When opencast work was no longer feasible, tunnels were driven to follow the veins. The evidence from the site shows advanced technology probably under the control of army engineers.

 

The Wealden ironworking zone, the lead and silver mines of the Mendip Hills and the tin mines of Cornwall seem to have been private enterprises leased from the government for a fee. Mining had long been practised in Britain (see Grimes Graves), but the Romans introduced new technical knowledge and large-scale industrial production to revolutionise the industry. It included hydraulic mining to prospect for ore by removing overburden as well as work alluvial deposits. The water needed for such large-scale operations was supplied by one or more aqueducts, those surviving at Dolaucothi being especially impressive. Many prospecting areas were in dangerous, upland country, and, although mineral exploitation was presumably one of the main reasons for the Roman invasion, it had to wait until these areas were subdued.

 

By the 3rd and 4th centuries, small towns could often be found near villas. In these towns, villa owners and small-scale farmers could obtain specialist tools. Lowland Britain in the 4th century was agriculturally prosperous enough to export grain to the continent. This prosperity lay behind the blossoming of villa building and decoration that occurred between AD 300 and 350.

 

Britain's cities also consumed Roman-style pottery and other goods, and were centres through which goods could be distributed elsewhere. At Wroxeter in Shropshire, stock smashed into a gutter during a 2nd-century fire reveals that Gaulish samian ware was being sold alongside mixing bowls from the Mancetter-Hartshill industry of the West Midlands. Roman designs were most popular, but rural craftsmen still produced items derived from the Iron Age La Tène artistic traditions. Britain was home to much gold, which attracted Roman invaders. By the 3rd century, Britain's economy was diverse and well established, with commerce extending into the non-Romanised north.

 

Government

Further information: Governors of Roman Britain, Roman client kingdoms in Britain, and Roman auxiliaries in Britain

Under the Roman Empire, administration of peaceful provinces was ultimately the remit of the Senate, but those, like Britain, that required permanent garrisons, were placed under the Emperor's control. In practice imperial provinces were run by resident governors who were members of the Senate and had held the consulship. These men were carefully selected, often having strong records of military success and administrative ability. In Britain, a governor's role was primarily military, but numerous other tasks were also his responsibility, such as maintaining diplomatic relations with local client kings, building roads, ensuring the public courier system functioned, supervising the civitates and acting as a judge in important legal cases. When not campaigning, he would travel the province hearing complaints and recruiting new troops.

 

To assist him in legal matters he had an adviser, the legatus juridicus, and those in Britain appear to have been distinguished lawyers perhaps because of the challenge of incorporating tribes into the imperial system and devising a workable method of taxing them. Financial administration was dealt with by a procurator with junior posts for each tax-raising power. Each legion in Britain had a commander who answered to the governor and, in time of war, probably directly ruled troublesome districts. Each of these commands carried a tour of duty of two to three years in different provinces. Below these posts was a network of administrative managers covering intelligence gathering, sending reports to Rome, organising military supplies and dealing with prisoners. A staff of seconded soldiers provided clerical services.

 

Colchester was probably the earliest capital of Roman Britain, but it was soon eclipsed by London with its strong mercantile connections. The different forms of municipal organisation in Britannia were known as civitas (which were subdivided, amongst other forms, into colonies such as York, Colchester, Gloucester and Lincoln and municipalities such as Verulamium), and were each governed by a senate of local landowners, whether Brythonic or Roman, who elected magistrates concerning judicial and civic affairs. The various civitates sent representatives to a yearly provincial council in order to profess loyalty to the Roman state, to send direct petitions to the Emperor in times of extraordinary need, and to worship the imperial cult.

 

Demographics

Roman Britain had an estimated population between 2.8 million and 3 million people at the end of the second century. At the end of the fourth century, it had an estimated population of 3.6 million people, of whom 125,000 consisted of the Roman army and their families and dependents.[80] The urban population of Roman Britain was about 240,000 people at the end of the fourth century. The capital city of Londinium is estimated to have had a population of about 60,000 people. Londinium was an ethnically diverse city with inhabitants from the Roman Empire, including natives of Britannia, continental Europe, the Middle East, and North Africa. There was also cultural diversity in other Roman-British towns, which were sustained by considerable migration, from Britannia and other Roman territories, including continental Europe, Roman Syria, the Eastern Mediterranean and North Africa. In a study conducted in 2012, around 45 percent of sites investigated dating from the Roman period had at least one individual of North African origin.

 

Town and country

During their occupation of Britain the Romans founded a number of important settlements, many of which survive. The towns suffered attrition in the later 4th century, when public building ceased and some were abandoned to private uses. Place names survived the deurbanised Sub-Roman and early Anglo-Saxon periods, and historiography has been at pains to signal the expected survivals, but archaeology shows that a bare handful of Roman towns were continuously occupied. According to S.T. Loseby, the very idea of a town as a centre of power and administration was reintroduced to England by the Roman Christianising mission to Canterbury, and its urban revival was delayed to the 10th century.

 

Roman towns can be broadly grouped in two categories. Civitates, "public towns" were formally laid out on a grid plan, and their role in imperial administration occasioned the construction of public buildings. The much more numerous category of vici, "small towns" grew on informal plans, often round a camp or at a ford or crossroads; some were not small, others were scarcely urban, some not even defended by a wall, the characteristic feature of a place of any importance.

 

Cities and towns which have Roman origins, or were extensively developed by them are listed with their Latin names in brackets; civitates are marked C

 

Alcester (Alauna)

Alchester

Aldborough, North Yorkshire (Isurium Brigantum) C

Bath (Aquae Sulis) C

Brough (Petuaria) C

Buxton (Aquae Arnemetiae)

Caerleon (Isca Augusta) C

Caernarfon (Segontium) C

Caerwent (Venta Silurum) C

Caister-on-Sea C

Canterbury (Durovernum Cantiacorum) C

Carlisle (Luguvalium) C

Carmarthen (Moridunum) C

Chelmsford (Caesaromagus)

Chester (Deva Victrix) C

Chester-le-Street (Concangis)

Chichester (Noviomagus Reginorum) C

Cirencester (Corinium) C

Colchester (Camulodunum) C

Corbridge (Coria) C

Dorchester (Durnovaria) C

Dover (Portus Dubris)

Exeter (Isca Dumnoniorum) C

Gloucester (Glevum) C

Great Chesterford (the name of this vicus is unknown)

Ilchester (Lindinis) C

Leicester (Ratae Corieltauvorum) C

Lincoln (Lindum Colonia) C

London (Londinium) C

Manchester (Mamucium) C

Newcastle upon Tyne (Pons Aelius)

Northwich (Condate)

St Albans (Verulamium) C

Silchester (Calleva Atrebatum) C

Towcester (Lactodurum)

Whitchurch (Mediolanum) C

Winchester (Venta Belgarum) C

Wroxeter (Viroconium Cornoviorum) C

York (Eboracum) C

 

Religion

The druids, the Celtic priestly caste who were believed to originate in Britain, were outlawed by Claudius, and in 61 they vainly defended their sacred groves from destruction by the Romans on the island of Mona (Anglesey). Under Roman rule the Britons continued to worship native Celtic deities, such as Ancasta, but often conflated with their Roman equivalents, like Mars Rigonemetos at Nettleham.

 

The degree to which earlier native beliefs survived is difficult to gauge precisely. Certain European ritual traits such as the significance of the number 3, the importance of the head and of water sources such as springs remain in the archaeological record, but the differences in the votive offerings made at the baths at Bath, Somerset, before and after the Roman conquest suggest that continuity was only partial. Worship of the Roman emperor is widely recorded, especially at military sites. The founding of a Roman temple to Claudius at Camulodunum was one of the impositions that led to the revolt of Boudica. By the 3rd century, Pagans Hill Roman Temple in Somerset was able to exist peaceably and it did so into the 5th century.

 

Pagan religious practices were supported by priests, represented in Britain by votive deposits of priestly regalia such as chain crowns from West Stow and Willingham Fen.

 

Eastern cults such as Mithraism also grew in popularity towards the end of the occupation. The London Mithraeum is one example of the popularity of mystery religions among the soldiery. Temples to Mithras also exist in military contexts at Vindobala on Hadrian's Wall (the Rudchester Mithraeum) and at Segontium in Roman Wales (the Caernarfon Mithraeum).

 

Christianity

It is not clear when or how Christianity came to Britain. A 2nd-century "word square" has been discovered in Mamucium, the Roman settlement of Manchester. It consists of an anagram of PATER NOSTER carved on a piece of amphora. There has been discussion by academics whether the "word square" is a Christian artefact, but if it is, it is one of the earliest examples of early Christianity in Britain. The earliest confirmed written evidence for Christianity in Britain is a statement by Tertullian, c. 200 AD, in which he described "all the limits of the Spains, and the diverse nations of the Gauls, and the haunts of the Britons, inaccessible to the Romans, but subjugated to Christ". Archaeological evidence for Christian communities begins to appear in the 3rd and 4th centuries. Small timber churches are suggested at Lincoln and Silchester and baptismal fonts have been found at Icklingham and the Saxon Shore Fort at Richborough. The Icklingham font is made of lead, and visible in the British Museum. A Roman Christian graveyard exists at the same site in Icklingham. A possible Roman 4th-century church and associated burial ground was also discovered at Butt Road on the south-west outskirts of Colchester during the construction of the new police station there, overlying an earlier pagan cemetery. The Water Newton Treasure is a hoard of Christian silver church plate from the early 4th century and the Roman villas at Lullingstone and Hinton St Mary contained Christian wall paintings and mosaics respectively. A large 4th-century cemetery at Poundbury with its east–west oriented burials and lack of grave goods has been interpreted as an early Christian burial ground, although such burial rites were also becoming increasingly common in pagan contexts during the period.

 

The Church in Britain seems to have developed the customary diocesan system, as evidenced from the records of the Council of Arles in Gaul in 314: represented at the council were bishops from thirty-five sees from Europe and North Africa, including three bishops from Britain, Eborius of York, Restitutus of London, and Adelphius, possibly a bishop of Lincoln. No other early sees are documented, and the material remains of early church structures are far to seek. The existence of a church in the forum courtyard of Lincoln and the martyrium of Saint Alban on the outskirts of Roman Verulamium are exceptional. Alban, the first British Christian martyr and by far the most prominent, is believed to have died in the early 4th century (some date him in the middle 3rd century), followed by Saints Julius and Aaron of Isca Augusta. Christianity was legalised in the Roman Empire by Constantine I in 313. Theodosius I made Christianity the state religion of the empire in 391, and by the 5th century it was well established. One belief labelled a heresy by the church authorities — Pelagianism — was originated by a British monk teaching in Rome: Pelagius lived c. 354 to c. 420/440.

 

A letter found on a lead tablet in Bath, Somerset, datable to c. 363, had been widely publicised as documentary evidence regarding the state of Christianity in Britain during Roman times. According to its first translator, it was written in Wroxeter by a Christian man called Vinisius to a Christian woman called Nigra, and was claimed as the first epigraphic record of Christianity in Britain. This translation of the letter was apparently based on grave paleographical errors, and the text has nothing to do with Christianity, and in fact relates to pagan rituals.

 

Environmental changes

The Romans introduced a number of species to Britain, including possibly the now-rare Roman nettle (Urtica pilulifera), said to have been used by soldiers to warm their arms and legs, and the edible snail Helix pomatia. There is also some evidence they may have introduced rabbits, but of the smaller southern mediterranean type. The European rabbit (Oryctolagus cuniculus) prevalent in modern Britain is assumed to have been introduced from the continent after the Norman invasion of 1066. Box (Buxus sempervirens) is rarely recorded before the Roman period, but becomes a common find in towns and villas

 

Legacy

During their occupation of Britain the Romans built an extensive network of roads which continued to be used in later centuries and many are still followed today. The Romans also built water supply, sanitation and wastewater systems. Many of Britain's major cities, such as London (Londinium), Manchester (Mamucium) and York (Eboracum), were founded by the Romans, but the original Roman settlements were abandoned not long after the Romans left.

 

Unlike many other areas of the Western Roman Empire, the current majority language is not a Romance language, or a language descended from the pre-Roman inhabitants. The British language at the time of the invasion was Common Brittonic, and remained so after the Romans withdrew. It later split into regional languages, notably Cumbric, Cornish, Breton and Welsh. Examination of these languages suggests some 800 Latin words were incorporated into Common Brittonic (see Brittonic languages). The current majority language, English, is based on the languages of the Germanic tribes who migrated to the island from continental Europe

 

Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.

 

Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.

 

The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.

 

Roman settlement

The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.

 

The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.

 

Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.

 

Anglo-Saxon development

The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led

Singapore Zoo ranks consistently (after San Diego Zoo) as one of the best in the world.

 

The penguins are a delight to watch. The reflections in the water and glass add texture to the rock and feathers.

 

For the story, please visit: www.ursulasweeklywanders.com/travel/teeth-claws-and-colou...

Ardea

 

Geografia

Ardea sorge su una rocca tufacea, in vista delle propaggini occidentali dei Colli Albani, dalla quale domina la zona circostante; il comune è inserito nell'Agro Romano e si estende a sud di Pomezia, con ai lati la veduta dei Castelli romani e del Mar Tirreno, confinando a sud con il comune di Anzio ed Aprilia.

 

L'origine geologica di quest'area si deve prima all'emersione dal mare del terreno, caratterizzato da lagune e paludi, e quindi dal deposito di consistenti strati di tufi e pozzolane di origine vulcanica in seguito alle eruzioni del cosiddetto Vulcano Laziale. Raffreddandosi il materiale vulcanico si era spaccato, costituendo profonde e strette gole, che si addolciscono mano a mano che si procede verso sud.

 

La costa, formata da lunghe spiagge sabbiose, era caratterizzata dalla presenza di dune conservatesi, oramai, solo in alcuni tratti.

 

Clima

 

Il clima di Ardea è compreso nella regione climatica "Tirrenica meridionale", che risente fortemente dall'influenza del mar Tirreno, la cui distanza massima dall'estremo confine del Comune è di circa dodici chilometri. Il clima è caratterizzato da estati molto calde rinfrescate da venti termici provenienti dal mare, da forti piogge autunnali e primaverili e dalla presenza di correnti umide soprattutto durante l'inverno.

 

Classificazione climatica: zona C, 1295 GR/G

 

Storia, Le origini mitiche

Il mito ha elaborato varie versioni sulle vicende della fondazione della città di Ardea, legate al racconto dello sbarco di Enea sulle coste del Lazio e quindi alla nascita di Roma.

 

Una prima leggenda, riportata da Dionigi di Alicarnasso, fa risalire la fondazione della città ad Ardeas, figlio di Odisseo e Circe. Una diversa versione lega le origini di Ardea, nel XV secolo a.C. a Danae, figlia del re di Argo, che dopo la nascita di Perseo da Zeus, sarebbe giunta sulle coste laziali e avrebbe sposato il rutulo Pilumno. Insieme decisero di fondare una nuova città: il luogo fu scelto in corrispondenza di una ripida rupe tufacea, scoperta risalendo il fiume Incastro su una piccola imbarcazione.

 

Ovidio riferisce l'origine del nome di Ardea all'alzarsi in volo di un airone cenerino (ardea cinerea) dopo l'incendio e la distruzione della città ad opera di Enea, vittorioso sul re rutulo Turno, figlio di Dauno, che a sua volta era figlio di Danae e di Pilumno.

 

« Turno muore. Ardea cade con lui, città fiorente finché visse il suo re. Morto Turno, il fuoco dei Troiani la invade e le sue torri brucia e le dorate travi. Ma, poi che tutto crollò disfatto ed arso, dal mezzo delle macerie un uccello, visto allora per la prima volta, si alza in volo improvvisamente e battendo le ali, si scuote di dosso la cenere. Il suo grido, le sue ali di color cenere, la sua magrezza, tutto ricorda la città distrutta dai nemici. Ed infatti, d'Ardea il nome ancor gli resta. Con le penne del suo uccello Ardea piange la sua sorte »

(Ovidio, Metamorfosi, XV.)

 

Preistoria e protostoria

Il territorio di Ardea era già frequentato nel Paleolitico e sono state rinvenute tombe dell'età del rame, con sepolture in posizione rannicchiata, risalenti agli inizi del II millennio a.C.

 

Nell'età del ferro l'insediamento era formato da tre villaggi di capanne rispettivamente sui tre pianori sui quali sorge ancora oggi la città (Civitavecchia, Acropoli e Casalazzara), dove sono state rinvenute le tracce dei fori di palo delle capanne e una necropoli a "Monte della Noce", sul pianoro della Civitavecchia, con tombe a fossa infantili e una tomba principesca femminile dell'VIII secolo a.C., con ricco corredo.

 

Plinio riporta il popolo dei Rutuli, a cui appartenevano anche i centri di Antium, Satricum e Lavinium, come uno dei più antichi popoli del Latium vetus. Ardea, nata come agglomerato essenzialmente agricolo, si sviluppò tuttavia soprattutto grazie agli scambi commerciali, favoriti dalla posizione della città, compresa tra Latini, Volsci ed Etruschi e dalla dotazione di un porto-canale alla foce del fiume Incastro (Castrum Inui). Nei secoli dall'VIII al VI fu uno dei centri più importanti del Lazio meridionale, con un ricco artigianato e oggetti importati anche da regioni lontane.

La città arrivò al suo periodo di massimo sviluppo nel VII secolo a.C. e furono occupati da edifici religiosi e civili l'Acropoli e la Civitavecchia. Era particolarmente rinomata per la produzione di armi e di oggetti ornamentali.

 

Rutuli e Romani

A più riprese gli Ardeati furono alleati o nemici di Roma, nell'ambito delle vicende della Lega Latina: un primo attacco sotto Tarquinio il Superbo, di cui parla la tradizione, sembra non avesse avuto successo, e poco dopo, nel primo trattato tra Roma e Cartagine del 509 a.C., la città era riportata tra gli alleati dei Romani. Nel corso del V secolo a.C. la vita cittadina fu dominata dalla contesa contro i Volsci e nel IV i Galli, dopo aver saccheggiato Roma, si rivolsero contro Ardea e la assediarono, senza successo; furono anzi gli Ardeati, guidati da Furio Camillo, in esilio nella città, che dopo aver respinto l'assedio, marciarono verso Roma e la liberarono dall'occupazione gallica.

 

Nel secondo trattato romano-cartaginese del 348 a.C., Ardea è nuovamente nominata tra le città alleate dei Romani. A quest'epoca risale il rifacimento delle mura di cinta: il precedente triplice recinto difensivo venne sostituito da mura in opera quadrata, di cui si conservano alcuni resti, che cingevano i pianori dell'Acropoli e della Civitavecchia. Tuttavia, durante la seconda guerra punica, Ardea fu una delle dodici colonie che rifiutarono ai Romani gli aiuti militari. Dopo la sconfitta cartaginese, i Romani si rivolsero contro le città ribelli della Lega Latina sconfiggendole, e le privarono dell'autonomia.

 

Tra il III e il II secolo a.C. Ardea decadde, probabilmente soprattutto per la crisi economica dei centri laziali, le cui risorse si erano prosciugate nelle guerre puniche e nella successiva guerra contro i Sanniti. La città era quasi completamente in abbandono entro l'età imperiale romana, sebbene resti di abitato sopravvivessero fino al V secolo, mentre delle grandi ville furono costruire lungo la via in direzione del mare.

 

Medioevo ed età moderna

La città, sopravvissuta probabilmente come piccolo luogo fortificato, riprese a crescere solo dal IX secolo, in seguito al progressivo spopolamento delle domus cultae, piccoli centri agricoli fondati dai papi nelle campagne per la coltivazione e la bonifica, e alle necessità di difesa contro i Saraceni.

 

Ardea ospitò nel 1118 papa Gelasio II in fuga da Roma per sfuggire all'imperatore Enrico V che pretendeva la conferma dei privilegi concessigli nel 1111 dal suo predecessore, il papa Pasquale II, e l'incoronazione in San Pietro.

 

Nel 1130 l'antipapa Anacleto II attribuì la civitas Ardeae ai monaci benedettini della Basilica di San Paolo fuori le mura. Successivamente il controllo feudale della città fu oggetto di aspre contese tra le famiglie nobiliari romane. Nel 1419 papa Martino V diede la città ai propri familiari, i Colonna. Il feudo passò successivamente ad altre famiglie papali: dai Borgia tornò ai Colonna, finché nel 1564 venne venduto a Giuliano Cesarini. In questo periodo la città visse essenzialmente come borgo agricolo, seguendo le sorti delle famiglie che di volta in volta la governavano.

 

Nel 1816, a causa dell'esiguo numero di abitanti, la città divenne una frazione di Genzano di Roma e il borgo, alla vigilia della bonifica integrale pontina, risultava disabitato. A partire dal 1932 l'area circostante fu oggetto di lavori di bonifica idraulica, regimentazione delle acque e appoderamento, curati dall'ONC e dai consorzi di bonifica, cui seguì il ripopolamento controllato del centro e delle campagne circostanti. Il borgo fu praticamente "ri-fondato", ristrutturandone i resti, e divenne parte del comune di Pomezia fin dall'atto della sua costituzione.

 

Nel 1970 Ardea tornò ad essere comune autonomo.

 

Chiesa di Santa Marina

La chiesa di Santa Marina si trova all'interno del cimitero di Ardea, adagiata alla roccia tufacea del paese, nel luogo dove, secondo una leggenda, si sarebbe trovata l'entrata della grotta dove visse la santa in eremitaggio, dopo che i monaci ne scoprirono il sesso e la cacciarono dal convento in cui viveva.

 

La costruzione è datata al 1191, ad opera di Cencio Savelli, futuro papa Onorio III, dall'iscrizione posta sopra il portale di ingresso.

 

Sulla facciata era un portico di ingresso, oggi quasi del tutto scomparso, mentre l'ingresso è ancora inquadrato da colonne sorrette da leoni stilofori, con architrave decorato da un bassorilievo. L'interno è ad unica navata e in origine si presentava interamente affrescato.

 

Dietro l'altare sono ancora visibili i resti di un ninfeo del II secolo d.C., scavato nel tufo.

 

Chiesa di S. Pietro Apostolo

La chiesa di San Pietro Apostolo fu edificata nel XII secolo dai monaci dell'abbazia di San Paolo fuori le mura, in stile romanico presso i resti di un tempio di epoca ellenistica. Incorpora una precedente torre di vedetta contro i Saraceni, trasformata in campanile. Conserva materiali più antichi: fregi marmorei del II secolo sono stati riutilizzati come stipiti della porta di ingresso, e di reimpiego è anche un capitello del presbiterio e un'ara sepolcrale.

 

L'interno è a tre navate, divise da archi.

 

Tra il XIV e XVI secolo, quando divenne chiesa baronale subì notevoli trasformazioni. A questo periodo risalgono gli affreschi (XV secolo), un crocifisso ligneo (XVI secolo) e un dipinto di scuola caravaggesca (XVII secolo).

 

L'ultimo restauro risale al 1940 e fu eseguito per espressa volontà di Benito Mussolini durante una sua visita ad Ardea. In epoca recente lo scultore Giacomo Manzù ha realizzato la fonte battesimale e il tabernacolo della navata.

 

Architetture militari [modifica]La prima fortificazione della città è uno degli esempi meglio conservati di aggere arcaico: la difesa era assicurata dallo scavo di un fossato, e il materiale di scavo veniva a formare lungo il lato interno un muro di terra, con un pendio più ripido verso l'esterno e più dolce verso l'interno, per facilitare l'accesso ai difensori. Le difese erano quindi completate da palizzate in legno.I tre pianori della città, in parte fortificati naturalmente dai pendii scoscesi delle colline, erano dotati di aggeri nei punti più facilmente accessibili, verso l'entroterra. La costruzione di queste prime difese è stata attribuita al VII secolo a.C.

 

Le fortificazioni vennero ricostruite nel IV secolo a.C., con mura in opera quadrata che circondavano l'Acropoli, i cui resti sono visibili sul lato nord-orientale, insieme ad un bastione a pianta pentagonale, aggiunto modernamente con il riutilizzo dei blocchi più antichi.

 

Siti Archeologici

Le fonti antiche riportano l'esistenza di culti dedicati a Giunone Regina, a Castore e Polluce, a Venere, a Ercole, a Natio, e al fondatore Pilumno. Gli scavi archeologici hanno rimesso in luce i resti di quattro grandi templi, due sull'Acropoli e due sulla Civitavecchia, dei quali tuttavia si ignora la dedica.

 

Il maggiore dei templi dell'Acropoli, dotato di tre celle e con scalinata frontale, era forse il principale della città, dedicato a Giunone Regina. Ne resta un tratto del pronao, in corrispondenza dell'attuale Municipio e un tratto del muro di cinta del santuario.

 

Un secondo tempio di epoca ellenistica, si trova in corrispondenza della chiesa di San Pietro.

 

Nella località "Casarinaccio" sul pianoro della Civitavecchia, sono conservati i resti di un altro tempio, riferibile al VI secolo a.C., epoca di massimo splendore della città. Gli scavi del tempio, eseguiti negli anni trenta, hanno riportato alla luce il podio del santuario, costituito da tre filari di blocchi di tufo poggianti direttamente sulla roccia, decorati all'esterno da modanature. Il tempio viene convenzionalmente identificato con quello di Venere.

 

Un secondo tempio arcaico, datato al V secolo a.C. è stato rinvenuto nella località "Monte della Noce", sempre sul pianoro della Civitavecchia. Il tempio fu in uso fino al I secolo a.C., mentre in seguito venne abbandonato e i materiali riutilizzati per la costruzione delle ville della zona.

 

Nei pressi doveva trovarsi il foro cittadino, al quale era annessa una basilica, la cui costruzione è stata datata intorno al 100 a.C. e di cui si conservano resti del pavimento in signino.

 

Una rete di cunicoli scavati nel tufo e realizzati nel V secolo a.C. costituiscono un notevole sistema idraulico, destinato al drenaggio delle acque o per le fognature cittadine. Altri ambienti scavati nella roccia erano utilizzati come magazzini o cisterne, in alcuni casi suddivisi in navate da pilastri di tufo. Ambienti scavati sul pendio della Civitavecchia sono stati interpretati come apprestamenti artigianali per l'attività della concia delle pelli (I secolo a.C.).

 

Castrum Inui

Alla foce del fiume Incastro scavi archeologici in corso dal 1998, diretti dal dott. Francesco Di Mario, responsabile di zona della Soprintendenza ai beni archeologici del Lazio, hanno riportato alla luce i resti di un centro portuale fortificato (dal IV-III secolo a.C. fino al III secolo d.C.) e di una precedente area sacra (dal VI secolo a.C. al II secolo d.C.), che sono stati identificati con il Castrum Inui e con il santuario internazionale noto come Aphrodisium, dedicato ad Afrodite Marina.

 

I reperti attestano la presenza di un insediamento urbano numericamente consistente ed organizzato che si avvaleva di grandi cisterne per la riserva idrica, era dotato di impianto termale, di elaborati meccanismi di deflusso delle acque, di costruzioni a più piani con decorazioni murali e numerosi mosaici, sia con tessere grandi, sia con tessere molto piccole. Le parti più antiche sono caratterizzate da strutture imponenti realizzate con blocchi di tufo di grandi dimensioni. Questi manufatti sono stati inglobati nelle costruzioni successive, che si sovrappongono e intersecano tra loro. Con il passare dei secoli le ristrutturazioni diventano meno raffinate e realizzate prevalentemente riutilizzando il materiale esistente. Le recenti campagne di scavo hanno portato alla luce un'area sacra molto estesa, con edifici e strutture in tufo, provvisoriamente datate fra il VI secolo a.C. ed il II secolo d.C. una delle porte di accesso al Castrum ed importante materiale collegato al culto dei Dioscuri, di Venere, di Minerva e di Esculapio.

 

Altro [modifica] Giardini della Landriana [modifica]I Giardini della Landriana sono dei giardini disegnati da Russel Page, famoso architetto di paesaggi, che sistemò la notevole collezione di piante e fiori realizzata da Lavinia Taverna sulla propria proprietà della "La Landriana" nel corso di una decina di anni.

La proprietà si articola su una serie di giardini a tema (giardino degli aranci, giardino delle eriche, valle delle rose, ecc.), da cui il nome della tenuta.

 

Da Wikipedia, l'enciclopedia libera

CHARITY EVENT WAS A HUGE SUCCESS !

BEVERLY HILLS GRAND OPENING OF CHANEL BOUTIQUE BENEFITS NONPROFIT , SIMPLY CONSISTENT INC.,

 

www.simplyconsistent.com/

"-Angie harmon>"

"-Chanel Boutique."

"-Kathleen Checki."

"-Checki."

"-Simply Consistent."

"-Simply Consistent Management."

 

red broken montaneous labyrinth

 

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

This is why I don't have a blog. I'm just not consistent with posting and I'm behind in uploading photos of stuff I've sewn. But...I just HAD to share this in a timely manner! I am honored to have been selected to be a tester for the newest pattern from Cali Faye Collection - The Rumi Pullover. I was lucky enough to be a tester for Sarah's Brenna Coat a couple year's back, but have yet to post pics it. Yikes. But, back to the Rumi Pullover. It dropped today and is 30% off until 10/15/16! It was so fun to be a part of the talented and supportive group of women in this tester group as we did have some work to do for this pattern. Sarah is awesome - she puts immense amount of work into her patterns to make sure they're high quality and will resonate the sewing community. You will like this pattern!!!

 

So this top...I love it because it is roomy without being frumpy, though I think I could size down 1 size next time. This pattern is designed for use with textured knits or knits that have a little more weight and stability--remember this when choosing fabric for this pullover. Not wanting to cut into precious fabric during testing, I used thrifted, lightweight, drapey knit fabric that does NOT work with this pattern. Fabric choice is everything. However, for my final version, I knew I wanted to use this loose weave, lightweight sweater knit that I got from FIDM in L.A (a must visit if you garment sew and visit L.A.--can we say $1.50 to $2.00/yd. for very cool garment fabric?!!!! say whaaat???!). I so wish I got more yardage of it.

 

Modifications I made to this pattern: Shortened it by 2" - I'm just shy of 5'0". While I'm petite in height, according to pattern measurements, I'm an XXL! Yes, did you get a visual on that?! An XXL, 5'0" person! Tee hee! I'm like a teapot - short and stout. But, based on previous experience with Cali Faye patterns, for testing, I sewed up a medium that was just a tad bit snug. For my final version, I sewed up an XL. So I think there is room to size down with this pattern. Just depends on the look and feel you want. I used the size medium sleeve cuff but it's still a little too long. Also, I used the wrong sleeve cuff (older testing version) so it's a little roomier that it should be. The correct version is more fitted around the arm. The neckline calls for bias tape, but it was just too thick for this fabric so I just neatened the neckline and folded it down 3/8". The neckline was already getting a little deep and wide for me, so it actually worked out well. Scroll through the pics and you'll see the side and back view of the top.

 

Again, I love this top pattern and top! It's super cozy and comfy. And please take a look at the other fantastic tester versions! You will see how their fabric choices create totally different looks!

Singapore Zoo ranks consistently (after San Diego Zoo) as one of the best in the world.

 

There are currently about 300 species of animals across 28 hectares of lush rainforest. This is possible without a feeling of crowding because of the layering, with lemurs wandering freely, and orangutans and gibbons swinging high above the ground while the visitors watch from below. This concept is epitomised in the Fragile Forest, a 20,000 cubic metre bio-dome that mimics a tropical rainforest teeming with life at every level.

 

For the story, please visit: www.ursulasweeklywanders.com/travel/teeth-claws-and-colou...

Consistent swells rolling in on a beautiful summer morning.

Singapore Zoo ranks consistently (after San Diego Zoo) as one of the best in the world.

 

There are currently about 300 species of animals across 28 hectares of lush rainforest. This is possible without a feeling of crowding because of the layering, with lemurs wandering freely, and orangutans and gibbons swinging high above the ground while the visitors watch from below.

 

For the story, please visit: www.ursulasweeklywanders.com/travel/teeth-claws-and-colou...

"The Collegiate Church of St Mary the Virgin is a Church of Scotland parish church in Haddington, East Lothian, Scotland.

 

Building work on the church was started in 1380, and further building and rebuilding has taken place up to the present day. It is the longest church in Scotland, at 206 feet (62.8 metres) from east to west, and is in the early Gothic style.

 

The cruciform church is located in a large open churchyard, at some distance from the town centre. The church is built on a scale becoming of a cathedral. It is of a uniform and consistent design, that suggests a clear adherence to the original plans. Having been desecrated during the sixteenth century, the nave of the church and the tower were repaired for use by the congregation, this part being subject to various restorations in subsequent centuries. A comprehensive renovation of the whole church was carried out in the 1970s.

 

The choir is aisled and is made up of four bays, intersected by buttresses with a mixture of gabled and pinnacled terminals. The windows between have simple curvilinear tracery dividing two main lights. The cornice below the eaves has foliate carving. The clerestory is unbuttressed and has double-lighted windows beneath two mouchettes. The window at the east end of the choir was built in 1877, and consists of four lights with contemporary tracery. One of the finials shows an angel playing the bagpipe. On the north side of the choir there is a medieval sacristy, which is now an ecumenical chapel and mausoleum of the Maitland family dedicated to the Three Kings.

 

The transepts are aisleless, with windows at the gables and to the west, the gable windows are triple lighted with mouchettes above. The north transept contains modern toilets and stairs to the north gallery. The south transept contains a memorial to George Seton and a stained glass window by Edward Burne-Jones donated by the Victoria and Albert Museum as part of the restoration. to the east of the north transept lies the Lauderdale Aisle, a small Scottish Episcopal chapel that commemorates John Maitland, 1st Lord Maitland of Thirlestane and others of the Maitland family. There is a stair turret in the east angle of the north transept which gives access to the tower. The tower is cubic in form and has triple lancet windows on each elevation. There are single figure niches on either side of the openings. The wall heads terminate in a decorative cornice with gargoyles. The corbelling at this level suggests that there were plans to erect a crown spire similar to that of St. Giles Cathedral in Edinburgh and St. Michael's Parish Church, Linlithgow. It is not known whether or not this decorative structure was ever built.

 

The nave is similar to the choir, in that it has four bays on the north and south aspects, buttressed in between. The windows, however, are similar to those on the transept gables. The side aisles were raised by some 10 feet in 1811 and were finished with castellation and pinnacles. The clerestory windows are similar to those of the aisles and the wall heads finished with cornicing. The position of the pre-1811 vaults are still visible on the sides of the nave.

 

The western front of the building has a large window divided into six main lights in groups of three divided by a 'Y' shaped central mullion. These are each surmounted by double mouchettes and vesica piscis windows. The capital is formed of double "dagger" and single quatrefoil windows. Below is the main door, with round headed arch composed of several filleted shafts, the door is divided into two by a trumeau shaft topped with two semi-circular arches; the capital here bears a representation of the Arma Christi.

 

The interior of the church is notable for the extensive sexpartite vaulting. The pulpit and font were both designed by Glaswegian sculptor, William Birnie Rhind in 1891. In the north choir aisle there is an ancient sculpture of Haddington Burgh arms, discovered in the north transept, during the 1970s restoration. The east wall of the south transept houses a memorial to William Seton, Provost of Haddington, erected in 1682. In the late 1980s a new pipe organ was commissioned, and installed in 1990 on a gallery within the north transept. The tower of St Mary's had been silent since 1548, when the English army removed the three bells extant. In 1999 the church acquired a set of eight bells, cast to celebrate the coronation of George V in 1911, and originally hung as a chime in Dunecht House. These were installed between March and May 1999 and were dedicated by The Very Rev Dr John B. Cairns, the Moderator of the General Assembly of the Church of Scotland, on the 6th of June.

 

The Royal Burgh of Haddington (Scots: Haidintoun) is a town in East Lothian, Scotland. It is the main administrative, cultural and geographical centre for East Lothian, which as a result of late-nineteenth century Scottish local government reforms took the form of the county of Haddingtonshire for the period from 1889 to 1921. It lies about 17 miles (27 km) east of Edinburgh. The name Haddington is Anglo-Saxon, dating from the sixth or seventh century AD when the area was incorporated into the kingdom of Bernicia. The town, like the rest of the Lothian region, was ceded by King Edgar of England and became part of Scotland in the tenth century. Haddington received burghal status, one of the earliest to do so, during the reign of David I (1124–1153), giving it trading rights which encouraged its growth into a market town.

 

Today Haddington is a small town with a population of fewer than 10,000 people; although during the High Middle Ages, it was the fourth-biggest city in Scotland after Aberdeen, Roxburgh and Edinburgh. In the middle of the town is the Town House, built in 1748 according to a plan by William Adam. When first built, it inheld a council chamber, jail and sheriff court, to which assembly rooms were added in 1788, and a new clock in 1835. Nearby is the Corn Exchange (1854) and the County Courthouse (1833). Other nearby notable sites include the Jane Welsh Carlyle House, Mitchell's Close and the birthplace of author and government reformer Samuel Smiles on the High Street, marked by a commemorative plaque.

 

Haddington is located predominantly on the north-east bank of the River Tyne, and was once famous for its mills. It developed into the fourth-largest town in Scotland during the High Middle Ages, and later was at the centre of the mid-eighteenth century Scottish Agricultural Revolution.

 

In 1641, an Act was passed by the Parliament of Scotland to encourage the production of fine cloth, and in 1645 an amendment went through stating that the masters and workers of manufactories would be exempt from military service. As a result of this, more factories were established; these included the New Mills. This factory suffered during the Civil War with the loss of its cloth to General Monck. A new charter was drawn up in May 1681, and major capital invested in new machinery, but the New Mills had mixed fortunes, inevitably affected by the lack of protectionism for Scottish manufactured cloth. The Scots Courant reported in 1712 that New Mills was to be "rouped" (auctioned). The property was sold on 16 February 1713 and the machinery and plant on 20 March. The lands of New Mills were purchased by Colonel Francis Charteris and he changed their name to Amisfield.

 

As the county town of East Lothian, Haddington is the seat of East Lothian Council with offices located at John Muir House behind Court Street. This building occupies the site of Haddington's twelfth century royal palace and adjoins the former Sheriff Court complex. The town centre is home to a wide range of independent retailers including: a bookshop, two sports shops, a saddlery and country goods specialist, two butchers, a hardware shop, cookware shop and several gift shops alongside several pubs, restaurants and cafés. Nationwide retailers with a presence in Haddington include: Tesco, M&Co, Boots, Aldi and Co-op Food. Besides retail and administration, the town is also home to various law firms and has industrial capacity in the works beside the Tyne at the Victoria Bridge (PureMalt), and around the site of the old station (Lemac), and various smaller industrial units and garages. Haddington is also home to the offices of the local newspaper the East Lothian Courier. There is a farmers' market held on the last Saturday of the month in Court Street.

 

The town centre largely retains its historic street plan with Court Street, High Street, Market Street and Hardgate defining the edges of the original open triangular medieval market place, divided by a central island of buildings developed from the 16th century onwards on the site of market stalls. To the north and south the medieval rigg pattern of burgage plots can still be observed with narrow buildings fronting the main streets and long plots behind stretching back, originally to the line of the old town walls, accessed by small closes and pends. The historic importance of the town's relatively unaltered medieval plan and significant survival of historic buildings was recognised as early as the 1950s, with Haddington subject to an Improvement Scheme, Scotland's earliest, which saw many period properties rehabilitated by the Town Council (under the leadership of Frank Tindall as Director of Planning) and a pioneering town colour scheme developed, resulting in the distinctive and colourful townscape seen today. Some comprehensive redevelopment did occur, chiefly around Newton Port and Hardgate to allow for widening of these narrow streets to improve motor traffic flow. This included the demolition of Bothwell Castle and its dovecote in 1955, the land now forming part of Hardgate Park. Today the whole town centre is a conservation area with a high proportion of listed buildings, some dating back to the C16th, and the redevelopment and infill schemes undertaken since the 1950s have largely been in a sympathetic vernacular style which has maintained the town's historic character." - info from Wikipedia.

 

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

 

Now on Instagram.

 

Become a patron to my photography on Patreon.

Find the following 82 items:

 

AA battery

Bobble head turtle

Bottle cap

Bottle openers (2) – church key and pewter moose

Brass keys (2)

Buckle

Buddha

Corkscrew

Curtain hook

Disembodied Barbie head

Eight-ball bearing

Fossils (7) – five shark teeth, a snail shell and a sand dollar

Glasscutter

Half-inch wrench

Happy couple

Hex nut

Ice pick

Jingle bell

Ladybug key chain watch

LED flashlight

Light bulb

Magnetic poetry words (25) plus one ampersand (create a poem for extra credit)

Marble

Mexican sun

Multi-tool

Onyx owl

Pencil

Pinecone from world’s largest tree

Pipe cutter

Scissors

Screwdriver

Screw-in 30-amp fuse

Screw-in cup hook

Screw-in electrical outlet

Seashell earring

Stereo headphones plug

Sew-on buttons (10)

This thing (tell me what it is for extra credit)

Turkey feather

Wine cork

Wristwatch

 

Visita nuestro Blog de Semana Santa en:

asociacionredobles.blogspot.com

 

Actos que se van a desarrollar durante la conmemoración del 200º aniversario del

rescate del Cristo de la Cama, consistente en el traslado de la Imagen desde la Iglesia

de Santa Isabel de Portugal (vulgo San Cayetano) a la Basílica del Pilar.

El rescate se produjo el 17 de febrero de 1809 del Convento de San Francisco, lo que

actualmente es la Diputación Provincial. El día 10 los franceses volaron el Convento,

que era defendido por unos cuantos aragoneses y por los voluntarios de Valencia. El

día 17, María Blánquez entro en el convento y vio que todos los pasos que

procesionan en Semana santa, quince en total, estaban destruidos, salvo el Santísimo

Cristo de la Cama, que estaba indemne en su Capilla de la Hermandad. Salió a la

calle, cogió a cuatro hombres, volvió a entrar al convento y todos ellos cogieron al

Cristo de la cama. Lo llevaron primero a la parroquia de la santa Cruz, después a la

de Santiago y finalmente al Palacio Arzobispal, lugar en donde vivía el general

Palafox, que enfermo lo venero y ordeno fuera llevado al interior de la Basílica del

Pilar, siendo colocado en el Altar de los convertido mirando a su Madre, la virgen del

Pilar.

Este hecho es el que conmemoramos.

A las 18´00 horas se oirá en la Ciudad de Zaragoza a los Artilleros de Aragón

anunciando el comienzo de la procesión cívico religiosa.

Con la salida desde San Cayetano de la Bandera de la Hermandad de la Sangre de

Cristo dará comienzo la procesión, encontrándose el resto de participantes ubicados

en la plaza. Seguidamente saldrá la peana, portada a varal, del Cristo de la Cama. Lo

hará con un toque preparado para la ocasión por la Sección de Tambores de la

Hermandad de San Joaquín y Virgen de los Dolores. Una vez que nuestro Cristo de la

Cama este en la plaza sonara el Himno Nacional interpretado al órgano por Ignacio

Navarro Gil.

Finalizado el himno, se descubrirá una placa en cerámica de Muel, promovida por la

Asociación Cultural Redobles. Dicha placa será descubierta por el Ilmo. Sr. D.

Francisco Javier Lambán Montañés, o persona en quien en delegue, acompañado por

el Hermano Mayor de la Hermandad de la Sangre de Cristo. A la vez que se descubre

la placa, don José Antonio Armillas, Comisario del Bicentenario glosara brevemente

la figura de María Blánquez y lo que ella significo.

Finalizado este acto, dará comienzo en sí el desfile.

Por la calle Manifestación, calle Alfonso y calle Coso, nos dirigiremos a la plaza de

España, en donde se realiza el segundo acto del desfile. Este consiste en depositar dos

coronas de laurel. La primera en la placa que recuerda al Convento de San Francisco

y la segunda en el monumento a los Mártires.

La del Convento de San Francisco será portada por mujeres ataviadas con el traje

regional, en recuerdo y homenaje a María Blánquez. Entregada por don Francisco

Javier Lambán Montañés (o persona en quién delegue), le acompañaran el

Comandante Militar de Zaragoza, General Juan Pinto y el Hermano Mayor de la

Sangre de Cristo. La recibirán dos soldados del Batallón Pardos de Aragón.

La segunda corona, la entregara don Juan Alberto Belloch Julve (o persona en quién

delegue), acompañado también por el Comandante Militar y el Hermano Mayor,

siendo recibida por dos soldados del Batallón de Infantería Voluntarios de Aragón.

Durante este acto sonara en la plaza el Carillón de la Diputación Provincial con

marchas alusivas a los Sitios.

Finalizado el acto, continuaremos el desfile en dirección a la Plaza de la Seo por calle

don Jaime, calle Mayor, calle Dormer, calle Cisne y calle Cuellar.

En la plaza de la Seo se realiza el tercer y último acto. Consiste en una breve

alocución del General Pinto, Comandante Militar de Zaragoza y Teruel, en recuerdo

y homenaje del General Palafox. A Su conclusión, el Batallón de Infantería

Voluntarios de Aragón hará una descarga de fusilería.

Ya para finalizar, nos encaminaremos a la plaza del Pilar, finalizando el desfile,

alrededor de las 20´30 horas, con la entrada del Cristo de la Cama en la Basílica, en

donde permanecerá hasta el miércoles 25 de febrero.

Finalizado el desfile y por lo tanto el traslado, la Hermandad de la Sangre de Cristo

realizara una ofrenda a la Virgen del Pilar.

La Hermandad de la Sangre de Cristo, con el fin de dar mayor realce a este

acontecimiento histórico, ha invitado a participar a todos aquellos Ayuntamientos e

Instituciones galardonados con la Medalla del Bicentenario “Defensor de Zaragoza”,

distinción que también ha obtenido la propia Hermandad. Han confirmado su

asistencia una representación de los Ayuntamientos de Alcañiz, Barbastro, Calatayud,

Cariñena, Chelva, Huesca, Jaca, monzón y Valencia. También han confirmado su

participación los Artilleros de Aragón, Batallón Pardos de Aragón, Batallón de

Infantería Ligera Voluntarios de Aragón, la Asociación Cultural Royo del Rabal

(ronda y escenificación de personajes históricos de la época), la Asociación Cultural

Los Sitios (personajes históricos de la época), la Hermandad de San Juan de la Peña,

la Cofradía del Santo Sepulcro, la Hermandad del santo Refugio, la Real Ilustre

Congregación de Nuestra Señora de la Soledad de Madrid y la Real Maestranza de

Caballería.

La parte musical durante el desfile correrá a cargo de la Banda de Guerra de la

Brigada de Caballería Castillejos II, de la Banda Música de la Academia General

Militar y la Ronda de jotas de la Asociación Cultural el Rabal. Durante el desfile y

con el fin de que los peaneros lleven el ritmo adecuado, les acompaña un piquete de

diez instrumentos, cuyos miembros son de la cofradía de la Institución de la Sagrada

Eucaristía, que lo harán sin los distintivos propios de la Cofradía.

Cabe destacar el estreno de una marcha procesional en las calles de Zaragoza. La

primera y ultima pieza que interprete la Banda de Música será la Marcha al Cristo de

la Cama, cuyo autor es don Abel Moreno y que fue donada a la Hermandad por la

Asociación para el Estudio de la Semana Santa.

Ernesto Millán Lázaro

Hermano Mayor

Hermandad Sangre de Cristo

👇

Bʟᴏɢ

 

Tattoo 👉 Hoodlem - Rema ↳🚕 maps.secondlife.com/secondlife/Lowkey/125/83/24

  

Skin 👉 .HATION Audre BROWNIE

↳🚕 maps.secondlife.com/secondlife/Nara/226/245/1501

 

Socials

lG : www.instagram.com/zawaz.sl/

Inarguably, Josh is one of the most consistently-happy people I know.

 

I let him know that I am really into winter and the snow, hence the reason why I am making all of these portraits. He said he was flattered and we set out to get a quick shot in the middle of the street outside our office in downtown Regina, Saskatchewan.

 

We were chatting about winter and being outside. He said, "You know, most years I hate it. But this year is different."

 

I think a lot of us can learn from these words. Sometimes you just need to stop and realize what you have in your life and look for the best in things. Be it dealing with winter woes, or perhaps life altogether; it is a much better place when everyone realizes that things aren't so rough.

 

www.instagram.com/faultyflipflap

www.facebook.com/DWVPhotoworks

www.DWVPhotoworks.com

   

The New Boutique Opening and Charity Event, on Robertson Blvd , SIMPLY CONSISTENT INC.

 

www.simplyconsistent.com/

www.simplyconsistent.com/management.php

www.simplyconsistent.com/non-profit/childhood-obesity

"-Chanel Boutique."

"-Kathleen Checki."

"-Checki."

"-Simply Consistent."

"-Simply Consistent Management."

  

Consistent......urgent......enduring.

Ogunquit Rocks Beach, Ogunquit, ME.

20121215-IMG_5831

Singapore Zoo ranks consistently (after San Diego Zoo) as one of the best in the world.

 

The second largest land mammal in the world (after the elephant), the rhino has a reputation for having a tough skin. While the skin can be up to 5 centimetres (2 inches) thick, it is surprisingly sensitive, being susceptible to sunburn and insect bites.

 

For the story, please visit: www.ursulasweeklywanders.com/travel/teeth-claws-and-colou...

Consistently the most popular photo on my photostream!

bauhaus building, dessau, germany, 1925-1926, architect: walter gropius

 

Gropius consistently separated the parts of the Bauhaus building according to their functions and designed each differently. He thereby arranged the different wings asymmetrically – in relation to what is today the Bauhausstraße and the Gropiusallee respectively. In order to appreciate the overall design of the complex, the observer must therefore move around the whole building. There is no central viewpoint.

 

The glazed, three-storey workshop wing, the block for the vocational school (also three storeys high) with its unostentatious rows of windows, and the five-storey studio building with its conspicuous, projecting balconies are the main elements of the complex. A two-storey bridge which housed, e.g., the administration department and, until 1928, Gropius’s architectural practice, connects the workshop wing with the vocational school. A single-storey building with a hall, stage and refectory, the so-called Festive Area, connects the workshop wing to the studio building. The latter originally featured 28 studio flats for students and junior masters, each measuring 20 m². The ingenious design of the portals between the foyer and the hall and a folding partition between the stage and the refectory, along with the ceiling design and colour design, impart a grandiose spatial coalescence to the sequence of foyer-hall-stage-refectory, shaping the so-called Festive Area. The façade of the students’ dormitory is distinguished in the east by individual balconies and in the south by long balconies that continue around the corner of the building.

 

The entire complex is rendered and painted mainly in light tones, creating an attractive contrast to the window frames, which are dark. For the interior, the junior master of the mural workshop, Hinnerk Scheper, designed a detailed colour plan that, by differentiating between supporting and masking elements through the use of colour, aimed to accentuate the construction of the building.

 

Singapore Zoo ranks consistently (after San Diego Zoo) as one of the best in the world.

 

It is a beautiful place to walk around.

 

For the story, please visit: www.ursulasweeklywanders.com/travel/teeth-claws-and-colou...

Keeping a consistent presence on the Run for the third consecutive time now is ex-East Yorkshire 526, blinded this time for the long-gone 60 service to Setting Dyke, a fairly short route all the way up to the Willerby area as opposed to the long-haul service to Bridlington this is taking. Or is it someone's 60th birthday?

 

Largely unchanged from last year's Run, preserved NBC East Yorkshire's 526, a 1981 ECW-bodied Bristol VRT originally destined for Yorkshire Traction, passes by Coniston on the 2023 East Coast Run.

Well DB Cargo are nothing if not consistent with their loco allocations! Class 66 no. 66021 passes Barrow upon Trent at the head of 6E54 the 10:36 Kingsbury Oil Terminal to Humber Refinery empty tankers.

 

66021 was the rear loco of a pair of 66s working this train last Saturday.

Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.

 

Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.

The University of Aarhus, which dates from 1931, is a unique and coherent university campus with consistent architecture, homogenous use of yellow brickwork and adaptation to the landscape. The university has won renown and praise as an integrated complex which unites the best aspects of functionalism with solid Danish traditions in form and materials.

 

The competition for the university was won by the architects Kay Fisker, C. F. Møller og Povl Stegmann in 1931. Stegman left the partnership in 1937, Fisker in 1942 and C. F. Møller Architects has been in charge of the continued architectural development and building design of the university until today.

 

The University of Aarhus, with its extensive park in central Aarhus, includes teaching rooms, offices, libraries, workshops and student accommodation. The university has a distinct homogeneous building style and utilises the natural contours of the landscape. The campus has emerged around a distinct moraine gorge and the buildings for the departments and faculties are placed on the slopes, from the main buildings alongside the ring road to the center of the city at Nørreport. All throughout the campus, the buildings are variations of the same clear-cut prismatic volume with pitched roofs, oriented orthogonally to form individual architectural clusters sharing the same vocabulary. The way the buildings emerge from the landscape makes them seem to grow from it, rather than being superimposed on the site.

 

The original scheme for the campus park was made by the famous Danish landscape architect C. Th. Sørensen. Until the death of C. Th. Sørensens in 1979 the development of the park areas were conducted in a close cooperation between C. Th. Sørensen, C. F. Møller and the local park authorities. Since 1979 C. F. Møller Architects - in cooperation with the staff at the university - has continued the intentions of the original scheme for the park, and today the park is a beautiful, green area and an immense contribution to both the university and the city in general.

 

In 2001, C. F. Møller Architects prepared a new masterplan for the long and short term development of the university. Although the university has been extended continuously for more than 75 years, the original masterplan and design principles have been maintained, and have proven a simple yet versatile tool to create a timeless and coherent architectural expression adaptable to changing programs. Today, the university is officially recognized as a Danish national architectural treasure and is internationally renowned as an excellent example of early modern university campus planning.

 

Etta James attends a ceremony honoring her with a star on the Hollywood Walk of Fame April 18, 2003.

THis was a great day!!

Courtesy of Etta James

Simply Consistent Management

simplyconsistent.com/management

 

"-Etta James."

"-Kathleen Checki."

"-Checki."

"-Simply Consistent."

"-Simply Consistent Management."

"-Etta James and her manager Kathleen Checki."

Singapore Zoo ranks consistently (after San Diego Zoo) as one of the best in the world.

 

The second largest land mammal in the world (after the elephant), the rhino has a reputation for having a tough skin. While the skin can be up to 5 centimetres (2 inches) thick, it is surprisingly sensitive, being susceptible to sunburn and insect bites.

 

For the story, please visit: www.ursulasweeklywanders.com/travel/teeth-claws-and-colou...

bauhaus building, dessau, germany, 1925-1926, architect: walter gropius

 

Gropius consistently separated the parts of the Bauhaus building according to their functions and designed each differently. He thereby arranged the different wings asymmetrically – in relation to what is today the Bauhausstraße and the Gropiusallee respectively. In order to appreciate the overall design of the complex, the observer must therefore move around the whole building. There is no central viewpoint.

 

The glazed, three-storey workshop wing, the block for the vocational school (also three storeys high) with its unostentatious rows of windows, and the five-storey studio building with its conspicuous, projecting balconies are the main elements of the complex. A two-storey bridge which housed, e.g., the administration department and, until 1928, Gropius’s architectural practice, connects the workshop wing with the vocational school. A single-storey building with a hall, stage and refectory, the so-called Festive Area, connects the workshop wing to the studio building. The latter originally featured 28 studio flats for students and junior masters, each measuring 20 m². The ingenious design of the portals between the foyer and the hall and a folding partition between the stage and the refectory, along with the ceiling design and colour design, impart a grandiose spatial coalescence to the sequence of foyer-hall-stage-refectory, shaping the so-called Festive Area. The façade of the students’ dormitory is distinguished in the east by individual balconies and in the south by long balconies that continue around the corner of the building.

 

The entire complex is rendered and painted mainly in light tones, creating an attractive contrast to the window frames, which are dark. For the interior, the junior master of the mural workshop, Hinnerk Scheper, designed a detailed colour plan that, by differentiating between supporting and masking elements through the use of colour, aimed to accentuate the construction of the building.

 

☛ Plinsky

The University of Aarhus, which dates from 1931, is a unique and coherent university campus with consistent architecture, homogenous use of yellow brickwork and adaptation to the landscape. The university has won renown and praise as an integrated complex which unites the best aspects of functionalism with solid Danish traditions in form and materials.

 

The competition for the university was won by the architects Kay Fisker, C. F. Møller og Povl Stegmann in 1931. Stegman left the partnership in 1937, Fisker in 1942 and C. F. Møller Architects has been in charge of the continued architectural development and building design of the university until today.

 

The University of Aarhus, with its extensive park in central Aarhus, includes teaching rooms, offices, libraries, workshops and student accommodation. The university has a distinct homogeneous building style and utilises the natural contours of the landscape. The campus has emerged around a distinct moraine gorge and the buildings for the departments and faculties are placed on the slopes, from the main buildings alongside the ring road to the center of the city at Nørreport. All throughout the campus, the buildings are variations of the same clear-cut prismatic volume with pitched roofs, oriented orthogonally to form individual architectural clusters sharing the same vocabulary. The way the buildings emerge from the landscape makes them seem to grow from it, rather than being superimposed on the site.

 

The original scheme for the campus park was made by the famous Danish landscape architect C. Th. Sørensen. Until the death of C. Th. Sørensens in 1979 the development of the park areas were conducted in a close cooperation between C. Th. Sørensen, C. F. Møller and the local park authorities. Since 1979 C. F. Møller Architects - in cooperation with the staff at the university - has continued the intentions of the original scheme for the park, and today the park is a beautiful, green area and an immense contribution to both the university and the city in general.

 

In 2001, C. F. Møller Architects prepared a new masterplan for the long and short term development of the university. Although the university has been extended continuously for more than 75 years, the original masterplan and design principles have been maintained, and have proven a simple yet versatile tool to create a timeless and coherent architectural expression adaptable to changing programs. Today, the university is officially recognized as a Danish national architectural treasure and is internationally renowned as an excellent example of early modern university campus planning.