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20160518 - Retour de Surprise Partie du Lavandou.
Route directe, vitesse soutenue, les conditions idéales pour un convoyage.
A kid at the cascade at the Parque das Nacoes.
Best viewed Large with a black background
27th May 2012. Sinar F 4x5 camera. Schneider Repro Claron 135mm f/8 lens at f/8 on Kentmere VC select (RC multigrade) paper, 1/2s.
Direct positive (reversal) process. Scanned directly, and tones corrected in the GIMP to look as close to final print as possible (i.e. there should be no artifacts from scanning/digitising). The yellow/blue duo-tone is how it comes out.
Graham on the first ascent, today. Backed off this pitch years ago due to bad ice. Today it had big holes, but the ice that was there, was good :)
Direct Rail Services English Electric Class 20s 20305 'Gresty Bridge' and 20309 diesel electric locomotives at Oldside in Workington on the Cumbrian coast railway line top and tail a small train of PFA flat wagons from Workington docks to Sellafield
After our brief visit to Arnhem, we returned to the Centraal Station to continue our main agenda today: to visit Huis Bergh.
First, a few photos of the very busy bus terminal at Arnhem Centraal Station.
We saw this truck a million times. I'm curious what the hot babes actually do when they come to you ... but not curious enough to dial the number and find out.
City Direct ADL Enviro200 10-G-20278 is seen here at Eyre Square, Galway working the staff shuttle to Merlin Park University Hospital.
Dear Sir & Madam,
Greetings for you.!!!
Mapsko Launching......
This pre-launch project in sector 79 on NH. It has direct connectivity to Manesar, NH-8, Dwarka Expressway, NH-8, & Golf Course Ext Road and touches 10 residential sectors like sector-,76, 77, 78, 80, 81A, 82A, 83, etc.
Mapsko is launching a new residential project “Mount Ville” on 84mtr. Wide road with 6acre front in Sector- 79 at Gurgaon. It spread 16 acres apart of 22 acres and offers 3 Bedroom, 3-Bedroom-cum-SQ and 4Bedroom Apartments.
Over 1000 families will live here surrounded by everything they could possibly want: -
•Walking and Jogging Tracks across vast landscaped lawns
•Swimming Pool
•A clubhouse for social gatherings
•Tennis , basketball and volleyball courts a walk away
•Shopping centers
•Security
•Uninterrupted power back up and
•20 minute drive from Delhi Airport.
Specifications
•Split AC's in all Bedrooms & Living Room (Daikin or Equivalent)
•Italian Marble/ Imported Marble, Laminated wooden flooring in bedrooms
•Modular Kitchen
•Modular Wardrobes in all bedrooms
•Branded Sanitary fixtures (Grohe or Equivalent)
•Piped gas
•Project designed by Hafeez Contractor. (India's most successful architect)
•Landscaping done by U.S.A. Land scape architect
•3 High Speed Elevators in each tower
•Double Height (6 meters) Air Conditioned Entrance Lobby
Mount Ville Designed by Hafeez Contractor
Hafeez Contractor is no less than an icon in the Indian real estate industry. A scion of 21st century high rises. Hafeez's portfolio features some of the most significant architectural accomplishments of contemporary India. He has been credited with numerous accolades namely
• Top architect of the year 2007
• One man show
• Realty plus Award and more………
Projects delivered by Hafeez contractor in Gurgaon:
• DLF Aralias
• DLF Magnolias
• DLF Pinnacle
Price List
Note:- Effective BSP of 4760 psqft only on first 300 bookings
Size sqft.)*Type*Rate *Booking Amount
14903BHK+3T4760/-6 Lacs
15103BHK+3T4760/-6 Lacs
18153BHK+SR+3T4760/-7 Lacs
26504BHK+SR+4T4760/-10 Lacs
Note:- Effective BSP of 4960 psqft after 300 bookings
Size sqft.)*Type*Rate *Booking Amount
14903BHK+3T4960/-6 Lacs
15103BHK+3T4960/-6 Lacs
18153BHK+SR+3T4960/-7 Lacs
26504BHK+SR+4T4960/-10 Lacs
Discount is for Limited Time ………... SO Hurry UP!!!!!!!!!!!!!
Cheque made in favor of “ Mapsko Builders Pvt. Ltd.”
Payment Plan:
PLCs:
Aravali View FacingRs. 100 psf
Green/ Landscape FacingRs. 100 psf
Pool facing till 15th FloorRs. 50 psf
Corner AptsRs. 50 psf
Sector Road FacingRs. 100 psf
First to 3rd FloorRs. 200 psf
Fourth to Sixth FloorRs. 150 psf
Seventh to NinthRs. 100 psf
21st onwardsRs. 100 psf
Other Charges (One Time)
External Development Charges (EDC)Rs. 390/- sq.ft.
Interest Free Maintenance Security (IFMS)Rs. 100/- sq.ft.
Covered Car Parking (one bay mandatory)Rs. 4, 00, 000/-
Club Membership ChargesRs. 1, 00, 000/-
Gas Installation ChargesRs. 50, 000/-
Power Back-up ChargesRs. 20, 000/- per kva
Note:
1. First transfer free till 31 March 2013
2. Two car parking mandatory for 2650 sq.ft.
3. Service tax as applicable
4. Price subject to revision at the sole discretion of the company
5. 20% of PDC (Less Booking Amount) of 45 days of booking + S.Tax.
6. In case any cheque (Booking + PDC) gets dishonored/ bounced, the booking stand cancelled.
Please make a call to undersigned for best discount, first come first serve basis / priority basis
If you have any query than feel free to call me.
@+91-9582922212
Direct Rail Services class 88007 'Electra' approaching South Kenton with 1351 Daventry DRS Tesco - Tilbury2 Container TML, as a Harrow bound TFL Bakerloo train heads north & a Metropolitan train crosses the bridge in background.
Direct Rail Services 68024 Centaur and 68025 Superb working 4S43 Tesco Express from Daventry Int Rft Recep to Mossend Euroterminal
This train was diverted to go via the East Coast Main Line due to the West Coast Main Line being closed between Carlisle and Lockerbie
This is a photograph is one of a set of photographs from the Castlepollard 5KM Road Race and Fun Run 2013 which was held in Castlepollard, Co. Westmeath, Ireland on Wednesday 13th August 2014 at 20:00. The race is hosted by North Westmeath Athletic Club. The race has grown in stature and popularity over the years and is now one of the most well attended road races in the midlands. The race offers prizes in all categories. Castlepollard 5KM Road Race attempts to support young runners and walkers by organising a range of underage races around the town square before the adult race at 20:00. Profits from the race go towards grassroots athletics in the region - North Westmeath Athletics, Schools Cross Country, and local community games.
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
The Castlepollard 5KM can be considered as the final major race in summer road racing in the midlands as with the fading light of the late summer comes less opportunities to hold races in the evening time. Castlepollard is a small town located in North County Westmeath amongst the lakes of Lough Lene and Lough Derravagh. One of the enduring symbols of the Castlepollard 5KM is the tireless work of Andy MacEoin of North Westmeath AC who has been a visitor to almost every road race in the Midlands and beyond over the past number of months to publicize the event. Many of the participants tonight will have seen Andy's strategically placed advertising signs around other road race routes. Certainly this work, and that of many other members of North Westmeath AC, has paid off well.
The race begins near the center of the town square and proceeds directly out the R395 towards Coole and Edgeworthstown. The first KM is flat and quick allowing the field to spread out. The race then enters the Tullynally Castle estate and proceeds up the tree-lined avenue. The gardens, like the castle are on a grand scale, taking in nearly 12 acres. This allows the race to make a big loop of the gardens with a quick downhill stretch followed by a sharp climb before the race rejoins it's outgoing path for the final 1.5KM of the race. The final 1100M from the gate of the Castle grounds to the finish is as the first - fast and flat and allows for a great finish passing the GAA grounds with finish line just outside the local Fire Station.
One of the show pieces of the race landscape is Tullynally Castle. The name Tullynally is an adaption of 'Tulaigh an Eallaigh' – the Hill of the Swan. The hill overlooks Lough Derravaragh, the legendary lake of the Children of Lir who were turned into swans. Tullynally Castle is still a family home to this day. Details of visitor times and other information is available on the links below.
This year over 450 participants took part in the race. This represented another great attendance. Last year's Castlepollard 5KM set the bar very high for future races with a record participation of just under 470 on the night. The race in 2013 showed an increase of over 100 participants from the previous record of 366 set at the 2012 event. It goes without saying that the Castlepollard 5KM has become one of the "must do" road race events in the midlands. Everything that is good about club road racing in Ireland can be found here.
We have a large set of photographs from the event today. The full set is accessible at: www.flickr.com/photos/peterm7/14714159280/ - They were taken at the start and finish of the event.
2014 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=2115
2013 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=1444
2012 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=960
Our Flickr Photographs from Castlepollard 5KM 2013: www.flickr.com/photos/peterm7/sets/72157645912529346/
Our Flickr Photographs from Castlepollard 5KM 2011: www.flickr.com/photos/peterm7/sets/72157627404031092/
Our Flickr Photographs from Castlepollard 5KM 2010: www.flickr.com/photos/peterm7/sets/72157624655001130/
Our Flickr Photographs from Castlepollard 5KM 2009: www.flickr.com/photos/peterm7/sets/72157622023529006/
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2100 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
City Palace, Udaipur, is a palace complex in Udaipur, in the Indian state Rajasthan. It was built over a period of nearly 400 years being contributed by several kings of the dynasty, starting by the Maharana Udai Singh as the capital of the Sisodia Rajput clan in 1559, after he moved from Chittor. It is located on the east bank of the Lake Pichola and has several palaces built within its complex. Udaipur was the historic capital of the former kingdom of Mewar in the Rajputana Agency and its last capital.
The City Palace in Udaipur was built in a flamboyant style and is considered the largest of its type in Rajasthan, a fusion of the Rajasthani and Mughal architectural styles, and was built on a hill top that gives a panoramic view of the city and its surrounding, including several historic monuments such as the Lake Palace in Lake Pichola, the Jag Mandir on another island in the lake, the Jagdish Temple close to the palace, the Monsoon Palace on top of an overlooking hillock nearby and the Neemach Mata temple. These structures are linked to the filming of the James Bond movie Octopussy, which features the Lake Palace and the Monsoon Palace. The subsequent publicity has resulted in the epithet of Udaipur as "Venice of the East". In 2009, Udaipur was rated the top city in the World's Best Awards by Travel + Leisure.
HISTORY
The city Palace was built concurrently with establishment of the Udaipur city by Maharana Udai Singh, in 1559 and his successor Maharanas over a period of the next 300 years. It is considered the largest royal complex in Rajasthan and is replete with history. Founding of the city and building of the palace complex can not be looked in isolation as the Maharanas lived and administered their kingdom from this palace.
Prior to moving their capital from Udaipur to Chittor≤≥, the Mewar kingdom had flourished initially in Nagda (30 kilometres to the north of Udaipur), established in 568 AD by Guhil, the first Mewar Maharana. In the 8th century, the capital was moved to Chittor, a hill top fort from where the Sisodias ruled for 80 years. Maharana Udai Singh II inherited the Mewar kingdom at Chittor in 1537 but by that time there were signs of losing control of the fort in wars with the Mughals. Udai Singh II, therefore, chose the site near Lake Pichola for his new kingdom because the location was well protected on all sides by forests, lakes and the Aravalli hills. He had chosen this site for his new capital, much before the sacking of Chittor by Emperor Akbar, on the advice of a hermit he had met during one of his hunting expeditions.
At his capital Udaipur, Maharana Udai Singh soon faced defeat at the hands of Mughal Emperor Akbar. He soon moved to Udaipur to the chosen location to establish his new capital. The earliest royal structure he built here was the Royal courtyard or 'Rai Angan', which was the beginning of the building of the City Palace complex, at the place where the hermit had advised Maharana to build his Capital.
After Udai Singh’s death in 1572, his son Maharana Pratap took the reins of power at Udaipur. He was successful in defeating Akbar at the battle of Haldighati in 1576 and thereafter Udaipur was peaceful for quite some years. With this, prosperity of Udaipur ensued, palaces were built on the shore and in the midst of the Pichola lake. Concurrently art, particularly miniature painting, also flourished.
But in 1736, the marauding Marathas attacked Udaipur and by the end of the century the Mewar state was in dire straits and in ruins. However, the British came to Mewar’s rescue in the 19th century and soon the State of Mewar got re-established and prospered under British protection, under a treaty signed with the British. However, the British were not allowed to replace them. Once India got independence in 1947, the Mewar Kingdom, along with other princely states of Rajasthan, merged with the Democratic India, in 1949. The Mewar Kings subsequently also lost their special royal privileges and titles. However, the successor Maharanas have enjoyed the trust of their people and also retained their ownership of the palaces in Udaipur. They are now running the palaces by creating a trust, called the Mewar Trust, with the income generated from tourism and the heritage hotels that they have established in some of their palaces. With the fund so generated they are running charitable hospitals, educational institutions and promoting the cause of environmental preservation.
LEGEND
Historical legend narrated to the selection of the site for the palace is about a hermit meeting Maharana Udai Singh when he was on a hunting trail in the Udaipur hills. The Maharana met the hermit who was meditating on top of a hill above the Pichola Lake and sought the hermit’s blessings. The hermit advised the Maharana to build his palace at that very spot and that is where the palace complex came to be established at Udaipur.
GEOGRAPHY
The city palace located in Udaipur city at 24.576°N 73.68°E, which is set with an average elevation of 598 metres.
CLIMATE
The climate of Udaipur reflects the climate at the city palace. It is tropical, with the mercury recording between a maximum of 38.3 °C and a minimum of 28.8 °C during summers. Winter is cold with the maximum temperature rising to 28 °C and the minimum dipping to 11.6 °C. The average annual rainfall is 64 cm.
STRUCTURES
The series of palaces packed in the city palace complex, facing east (as customarily appropriate for the Maharana dynasty – the Sun dynasty), behind an exquisite facade of 244 metres length and 30.4 metres height, were built on a ridge on the east of lake Pichola. They were built over a long period, from 1559 onwards, by 76 generations of Sisodia Rajputs or Suryavanshi Rajputs (worshippers of Sun god). Several Maharanas (the title Maharana is distinctly different from Maharajah, as the former connotes a warrior and the latter a ruler or a king) starting with Udai Mirza Singh II, have richly contributed to this edifice, which comprises an agglomeration of structures, including 11 small separate palaces. The unique aspect of this conglomeration is that the architectural design (a rich blend of Rajasthani, Mughal, Medieval, European and Chinese Architecture) is distinctly homogeneous and eye catching. The palace complex has been built entirely in granite and marble. The interiors of the palace complex with its balconies, towers and cupolas exhibit delicate mirror-work, marble-work, murals, wall paintings, silver-work, inlay-work and leftover of colored glass. The complex provides a fine view of the lake and the Udaipur city from its upper terraces.
Located with the picturesque backdrop of rugged mountains, beside the Pichola lake on its shore, the city palace complex painted in gleaming white color has been compared to the Greek islands, such as the Mykonos.
The famous structures or palaces viewed from the Lake Palace appear like a fort. They are interlinked inside the complex through a number of chowks or quadrangles with zigzag corridors (planned in this fashion to avoid surprise attacks by enemies). Erected in the complex, after entering through the main Tripolia (triple) gate, are the Suraj Gokhda (public address facade), the Mor-chowk (Peacock courtyard), the Dilkhush Mahal (heart’s delight), the Surya Chopar, the Sheesh Mahal (Palace of glass and mirrors), the Moti Mahal (Palace of Pearls), the Krishna Vilas (named after Lord Krishna), Shambu Niwas (royal residence now), the Bhim Vilas, the Amar Vilas (with a raised garden) that faces the Badi Mahal (the big palace), the Fateprakash Palace and the Shiv Niwas Palace (the latest addition to the complex); the last two have been converted into heritage hotels. Details of all these structures are elaborated. The vast collection of structures are termed to form ‘a city within a city’ set with facilities of post office, bank, travel agency, numerous craft shops and also an Indian boutique belonging to the World Wildlife Fund (WWF) for Nature. The entire complex is the property of the Mewar royal family and a number of trusts take care of the running and maintenance of the structures. The earliest royal structure built in the complex was the Royal courtyard or Rai Angan.
GATEWAYS
Gateways, colloquially called Pols, are set to the east of Udaipur city that was established by Maharana Udai Singh II, concurrently with the City Palace. A number of impressive gateways provide access to the palace complex.
The main entry from the city is through the 'Bara Pol' (Great Gate), which leads to the first courtyard. Bara Pol (built in 1600) leads to the ‘Tripolia Pol', a triple arched gate built in 1725, which provides the northern entry. The road between this gate and the palace is lined with shops and kiosks owned by craftsmen, book-binders, miniature painters, textile dealers and antique shops. Between these two gates, eight marble arches or Toranas are erected. It is said that the Maharanas used to be weighed here with gold and silver, which was then distributed among the local people. Following the Tripolia gate is an arena in front of the Toran Pol and the facade palace, where elephant fights were staged in the past to test their prowess before starting on war campaigns.
The main block of the city palace at Udaipur is approached through a modest door from the Ganesha Deodhi terrace. The door is flanked by whitewashed walls vibrantly painted with martial animals in the traditional Rajput style.
AMAR VILAS
Amar Vilas is the uppermost court inside the complex, which is a raised garden. It provides entry to the Badi Mahal. It is a pleasure pavilion built in Mughal style. It has cussed arcades enclosing a square marble tub. Amar Vilas' is the highest point of the City palace and has wonderful hanging gardens with fountains, towers and terraces.
BADI MAHAL
Badi Mahal (Great Palace) also known as Garden Palace and is the exotic central garden palace that is situated on a 27 metres high natural rock formation bis-a-bis the rest of the palace. The rooms on the ground floor appear to be at the level of the fourth floor in view of the height difference to its surrounding buildings. There is a swimming pool here, which was then used for Holi festival (festival of colors) celebration. In an adjoining hall, miniature paintings of 18th and 19th centuries are displayed. In addition, wall paintings of Jag Mandir (as it appeared in the 18th century), Vishnu of Jagdish temple, the very courtyard and an elephant fight scene are depicted.
The elephant fight depicted in a painting on the wall was a representation of the real elephant fights, which used to be organized by the Maharanas. It is mentioned that the elephants used to be fed hashish (opium) before arranging the fights. An interesting observation is that the word ‘assassin’ is a derivative of the word ‘hashish’. The last such fight was reported in 1995.
BHIM VILAS
Bhim Vilas has a gallery of a remarkable collection of miniature paintings that depict the real life stories of Radha-Krishna.
CHINI CHITRASHALA
Chini Chitrashala (Chinese art place) depicts Chinese and Dutch ornamental tiles.
CHOTI CHITRASHALI
Choti Chitrashali or 'Residence of Little Pictures', built in early 19th century, has pictures of peacocks.
DILKHUSHA MAHAL
Dilkhusha Mahal or ‘Palace of Joy’ was built in 1620.
DURBAR HALL
Durbar Hall was built in 1909 within the Fatepraksh Palace (now a heritage hotel) Official functions such as State banquets and meetings were held here. The gallery of the hall was used by the Royal ladies to observe the Durbar proceedings. This hall has luxuriant interior with some unusually large chandeliers. Weapons of the maharanas and also some of their unique portraits are also depicted here. The foundation stone for this hall was laid by Lord Minto, the Viceroy of India, in 1909, during the rule of Maharana Fateh Singh and was then called Minto Hall.
FATEPRAKASH PALCE
Fateprakash Palace, which is now run as a luxury hotel, has a crystal gallery that consists of crystal chairs, dressing tables, sofas, tables, chairs and beds, crockery, table fountains which were never used. There is also a unique jewel studded carpet here. Maharaja Sajjan Singh had ordered these rare items in 1877 from F& C Osler & Co of London but he died before they arrived here. It is said that the packages containing these crystals remained unopened for 110 years.
JAGDISH MANDIR
Jagdish Mandir, located 150 metres north of the city palace, was built in 1652 in Indo-Aryan architectural style. It is a large and aesthetically elegant temple where an idol of Lord Jagannath, a form of Lord Vishnu made in black stone is deified in the sanctum. The temple walls and the sikhara or tower are decorated with carvings of Vishnu, scenes from Lord Krishna’s life and figurines of nymphs or apsaras. A brass image of Garuda (half-bird, half-man image, which is Lord Vishnu’s vehicle), is placed in a separate shrine in front of the temple. Flanking the steps up the temple decoration of statues of elephants are seen. The street square, where the temple is located, is also known as Jagdish Chowk from where several roads radiate in different directions.
KRISHNA VILAS
Krishna Vilas is another chamber, which has rich collection of miniature paintings that portray royal processions, festivals and games of the Maharanas. However, there is tragic story linked to this wing of the City Palace. In the 19th century, a royal princess was unable to choose from two suitors seeking her hand in marriage, one from the royal family of Jaipur and another from Jodhpur, and hence in a state of dilemma, she poisoned herself to death.
LAXMI VILAS CHOWK
Laxmi Vilas Chowk is an art gallery with a distinctive collection of Mewar paintings.
MANAK MAHAL
The Manek mahal approached from the Manak Chowk is an enclosure for formal audience for the Udaipur rulers. It has a raised alcove inlaid completely in mirror glass. Sun-face emblems, in gleaming brass, religious insignia of the Sisodia dynasty are a recurring display at several locations in the City Palace; one of these prominent emblems is depicted on the façade of the Manak Chowk, which can also be seen from the outermost court below. The largest of such an emblem is also seen on the wall of the Surya Chopar, a reception centre at the lower level. Surya or Sun emblem of the Mewar dynasty depicts a Bhil, the Sun, Chittor Fort and a Rajput with an inscription in Sanskrit of a quotation from the Bhagavad Gita (Hindu holy scripture), which means “God Helps those who do their duty". It was customary for the Maharanas to offer obeisance to the Sun facing east, every morning before taking breakfast.
MOR CHOK
Mor Chok or Peacock square is integral to the inner courts of the palace. The elaborate design of this chamber consists of three peacocks (representing the three seasons of summer, winter and monsoon) modeled in high relief and faced with coloured glass mosaic, built into successive niches in the wall area or jharoka, These were built during Maharana Sajjan Singh’s reign, 200 years after the palace was established. The peacocks have been crafted with 5000 pieces of glass, which shine in green, gold and blue colours. The apartments in front of the Chowk are picturesquely depicted with scenes of Hindu god Lord Krishna’s legends. At the upper level, there is a projecting balcony, which is flanked by inserts of coloured glass. In an adjoining chamber, called the Kanch-ki-Burj, mosaic of mirrors adorn the walls. The Badi Charur Chowk within this chowk is a smaller court for private use. Its screen wall has painted and inlaid compositions depicting European men and Indian women. Proceeding further from the Mor-Chowk, in the Zenana Mahal or women’s quarters exquisitely designed alcoves, balconies, colored windows, tiled walls and floors are seen.
MUSEUM
n 1974, a part of the city palace and the 'Zenana Mahal' (Ladies Chamber) were converted into a museum. The museum is open for public. There is an interesting exhibit of a freaky monkey holding a lamp and also portraits of maharajas displaying a spectacular array of mustaches. ‘Lakshmi Chowk' is an elegant white pavilion in the same precinct.
RANG BHAWAN
Rang Bhawan is the palace that used to contain royal treasure. There are temples of Lord Krishna, Meera Bai and Shiva, located here.
SHEESH MAHAL
Sheess Mahal or Palace of Mirrors and glasses was built in 1716.
A shrine of Dhuni Mata is also located in the complex. This location is considered as the oldest part of the Palace, where a sage spent his entire life meditating.
THE PALACE IN FILM & TELEVISION
The palace was used as a hotel in the 1985 James Bond film Octopussy, where Bond (played by Roger Moore) stayed as he began his quest to apprehend the villainous Kamal Khan (Louis Jordan).
A 1991 documentary film directed for television by Werner Herzog is called Jag Mandir and consists of footage of an elaborate theatrical performance for the Maharana Arvind Singh Mewar at the City Palace staged by André Heller.
The palace was used for filming part of Goliyon Ki Raasleela Ram-Leela (English: A Play of Bullets: Ram-Leela) 2013 directed by Sanjay Leela Bhansali.
WIKIPEDIA
[ ph.584 ]- Mosteiro de Alcobaça
Nave central
O Mosteiro de Alcobaça e a regularidade cisterciense
Fernanda Conrado
O recurso à bibliografia existente sobre Alcobaça mostra uma série dde afirmações repetidas de geração em geração de estudiosos, sendo, curiosamente, um monge de Cister - Dom Maur Cocheril - o único autor a basear as suas afirmações na observação directa do monumento e na sua vivência pessoal, embora recorra a outros autores para apoiar a sua análise. No entanto, este investigador da arquitectura de Cister não ousou tirar conclusões dos dados que recolheu sobre Alcobaça, deixando pistas que eu retomei e desenvolvi.
A austeridade e o ascetismo eram marca dominante da Ordem de Cister que impunha o trabalho, o silêncio absoluto e um completo domínio do espírito sobre o corpo.
O silêncio apenas era interrompido pela leitura em voz alta no refeitório ou no claustro da leitura, pelos ofícios litúrgicos, ou por algum problema comunicado ao Abade no Parlatório ou em Capítulo. As trocas de impressões mais rotineiras faziam-se por meio de gestos codificados e comuns a todas as abadias.
A Regra, que era de clausura, determinava que as abadias deviam situar-se isoladas das cidades ou castelos e em locais onde os monges pudessem bastar-se a si próprios " sem andarem por fora". Assim era necessário, visto que o trabalho dos monges era interrompido sete vezes por dia para se reunirem nos ofícios religiosos. Inicialmente, este trabalho consistia em dirigir as obras de construção da Abadia, enquanto os copistas desenhavam os livros sagrados a fim de divulgar as bases da fé cristã, e outros orientavam os trabalhos de secagem e preparação dos terrenos pantanosos de Alcobaça, transformando-os num dos solos mais ricos do território português, até aos nossos dias. Por esse motivo se rodearam de frades conversos que os ajudavam nos trabalhos campestres e se distinguiam dos monges pelo hábito castanho, barba crescida e um menor rigor litúrgico. Com a iniciação à fé Cristã, esses conversos podiam ascender a noviços e, com tempo e austeridade sempre crescentes, tornar-se monges.
No caso de Portugal, os primeiros monges tiveram também uma acção evangelizadora e cultural, visto que lhes foi doado um vasto domínio de "terras de ninguém", escarsamente habitadas por gente muito primitiva que formou o núcleo dos primeiros conversos.
Os monges de S. Bernardo adoptaram o hábito branco, de pano crú, em sinal de humildade, enquanto os monges de Cluny continuavam a usar o hábito negro.
Nos primeiros tempos, quando o trabalho manual era essencial para a expansão da Ordem, os conversos tornavam-se indispensáveis para trabalhar os terrenos mais afastados e apascentar os rebanhos, pelo que viviam em granjas afastadas das abadias. Só os noviços e monges habitavam as abadias, mas havia normas rigorosas que separavam monges, noviços e conversos, na igreja, refeitório, dormitórios, e mesmo nos claustros.
A austeridade cisterciense reflectia-se não só na rotina quotidiana dos monges, mas também na própria lógica racionalidade da articulação dos espaços arquitecturais e no despojamento de elementos decorativos, quer na arquitectura, quer nos manuscritos:
"Nos mosteiros não haverá pinturas nem esculturas, apenas cruzes de madeira(...) As portas serão pintadas unicamente de branco (...). Os calígrafos escreverão apenas numa côr, e as letras sem pinturas(...) Não se farão torres de pedra para os sinos, nem de madeira demasiado altas."
É sabida a maneira ardilosa como os monges-escribas contornavam a proibição cromática, escrevendo cada letra com sua côr, e desenhando as letras capitulares com uma só côr, mas pintando e ornamentando os espaços deixados entre as linhas.
Os edifícios cistercienses eram erguidos segundo uma planta-padrão que respondia às exigências de funcionalidade e economia de espaço e de movimentos, abolindo todo o supérfluo e apenas admitindo soluções de pormenor segundo os locais geográficos, os materiais disponíveis e as tradições culturais existentes. A planta-padrão destinava-se a articular a vida dos monges, noviços e conversos que, vivendo em conjunto, tinham obrigações distintas, horários e regime alimentar diferentes, com instalações separadas.
A igreja devia ficar sempre no ponto mais elevado e orientada, no verdadeiro sentido da palavra.
Mesmo na igreja, monges, noviços e conversos tinham coros separados. Os refeitórios eram separados pela cozinha, pois que a dieta dos monges era muito mais rígida do que a dos noviços ou dos conversos.
Os restantes edifícios eram erguidos do lado sul da igreja, por ser o que apanha mais horas de sol, e as diferentes dependências eram articuladas em volta do claustro, de acordo com as deslocações normais dos monges e com as necessidades de luz e calor. Assim, os refeitórios, cozinha e sala de trabalho deviam ficar anexos à galeria sul do claustro, enquanto o dormitório ficava virado a Este, para ter sol logo de manhã, e o celeiro virado a Oeste, apanhando apenas o sol fraco do entardecer. A corrente de água era condição obrigatória na escolha da localização da Abadia e devia passar primeiro pela cozinha e refeitórios, escorrendo depois para as latrinas situadas abaixo dos dormitórios.
Foi precisamente esta necessidade de concordância com a orientação da corrente de água, a par da configuração do terreno de Alcobaça, que determinou que a planta-padrão aqui ficasse invertida em relação aos pontos cardeais, no que consistiu a primeira "irregularidade".
Na época medieval era de Regra que, quando uma Abadia se tornava demasiado populosa, saíam nove monges para filiar ou fundar uma nova Abadia num local não cristianizado e mais ou menos isolado. No caso de uma fundação, como foi o de Alcobaça, no início da nacionalidade, os monges-construtores levavam consigo um desenho da planta-padrão que lhes servia de base à nova construção. Mas eles não eram arquitectos, nem no período românico havia uma grande preocupação com o rigor arquitectónico que o equilíbrio das forças do gótico nascente exigia. Deste modo, as medições e marcações do terreno eram feitas com uma corda, sem grande controle de esquadrias nem de pontos de descarga das abóbadas. Por outro lado, se na França, de onde vieram os primeiros nove monges, já se construíam igrejas góticas, em que as coberturas ogivais descarregavam as suas forças sobre arcos-butantes permitiam abrir as paredes em largos vitrais, em Portugal existia ainda um grande apego à solidez românica das igrejas-fortaleza, e um desconhecimento técnico que não permitia introduzir novas formas. Os monges eram pobres e tinham de construir com a mão-de-obra disponível, pelo que a Abadia primitiva foi construída com paredes românicas de grossos contrafortes, coroadas por ameias, embora as coberturas já fossem ogivais.
No entanto, numa nação em plena expansão cristã, os monges revelaram-se úteis ao domínio Real, tendo sido muito protegidos, pelo que o edifício da Abadia rapidamente foi alargando as suas instalações para acolher o crescente número de monges e noviços. Por outro lado, a construção do mosteiro foi iniciada num período de transição artística, pelo que, tendo sido começada com técnicas e formas românicas, com as demoras da construção acabou por assimilar as formas góticas e, mais tarde, as renascentistas. No apogeu da vida do edifício, quando Alcobaça chegou a ser Casa-Mãe da Ordem de Cister, o Barroco também ali deixou as suas marcas, fazendo letra-morta da austeridade da Regra, tanto no rigor da vida monástica como na austeridade das formas.
Como o costume determinava que durante o mesmo dia não se podia celebrar missa duas vezes no mesmo altar, inicialmente abriam-se duas a seis capelas no transepto, e por fim optaram por um deambulatório com capelas irradiantes. Ainda hoje se percebem as marcas da cabeceira primitiva, e as coberturas das capelas irradiantes, em abóboda de berço, não são adequadas à planta trapezoidal das capelas, revelando um desconhecimento das soluções de cobertura mais adequadas a cada planta.
Os próprios tramos das naves laterais e central não têm forma regular, apresentando diferenças de vários centímetros nas distâncias entre os pilares, o que acusa uma distorção na descarga das forças apenas possível devido à robusta estrutura românica das paredes que suportam as abóbadas. Tendo feito a medição dos espaços entre os pilares, verifiquei que os tramos não são quadriláteros regulares, mas sim a trapézios escalenos.
Havia um alçado de madeira, ou "Teia" que separava o coro dos monges do dos noviços, e este do dos conversos. Com o rápido aumento dos monges e noviços (que chegaram a ser 999), a nave foi-se alongando à medida das necessidades, deixando marcas das várias fases de construção nos diferentes formatos das consolas dos pilares a que se adossavam os cadeirais.
No braço do transepto adjacente ao claustro , uma porta baixa ligava à sacristia, e uma escada dava acesso directo ao dormitório dos monges, para os ofícios noturnos. No outro braço do transepto havia a porta que ligava ao cemitério.
Junto ao transepto encontra-se a galeria do claustro que dá acesso às dependências exclusivas dos monges: sacristia, capítulo, parlatório e sala de trabalho ou scriptorium.
Os claustros tinham quatro galerias construídas ao longo de vários séculos, começando pela galeria adjacente à nave da Igreja, e que crescia com ela, o que deixou marcas na irregularidade formal e ritmo das arcadas e até na sua assimetria, visto que as arcadas medianas foram ficando deslocadas em consequência do alongamento das galerias, de acordo com a necessidade de maiores dormitórios, sala do capítulo e refeitórios. As arcadas do famoso claustro de D. Diniz apresentam arcos de volta inteira, ogivais e trilobados, sendo umas de três luzes, outras de duas luzes, e outras ainda de abertura única, com diferenças formais e rítmicas ao longo de uma mesma galeria. Até a austeridade decorativa que ditava um exclusivo de folhagem e figuras geométricas deu lugar a uma maior permissividade patente nos capitéis com figuras fantásticas de grifos, carrancas e dragões.
O Scriptorium era uma larga sala com o chão em degraus, como um anfiteatro académico, onde um monge ditava um livro sagrado enquanto numerosos monges-copistas escreviam novos exemplares e os mais habilidosos desenhavam as letras capitulares. Porque os dedos enregelavam nesta minuciosa tarefa, visto que a sala estava virada a Norte, e não a Sul, como era de Regra, na sala anexa - o calefactorium - havia um fogão a lenha para aquecer as mãos e misturar os pigmentos das tintas com o aglutinante, a qual servia também para encebar as sandálias para que não se encharcassem, de inverno. Com o advento da imprensa, estas salas deixaram de ser usadas para este efeito e, como estavam orientadas a Norte, o scriptorium passou a servir de adega e celeiro, enquanto o calefactorium foi transformado na grande cozinha que hoje vemos.
Ao contrário da regularidade de formas repetidamente exaltada pela maioria dos investigadores de Alcobaça, as condições rudimentares e a lentidão da construção inicial provocaram irregularidades na traça do mosteiro. O rápido crescimento do número de monges e correspondente adaptação dos edifícios que cresceram como um corpo orgânico, bem como a própria evolução dos gostos artísticos e relaxamento dos princípios de austeridade levaram a que, ainda no final da Idade Média (para não mencionar as grandes alterações decorativas introduzidas no período Barroco), o Mosteiro de Alcobaça não fosse, de modo nenhum, um exemplo de regularidade arquitectónica, a não ser na racional distribuição das dependências, mesmo essas em posição invertida em relação ao movimento solar.
É apenas nessa distribuição das dependências que podemos considerar que a "regularidade cisterciense" está presente em Alcobaça, apesar das transformações operadas nos antigos scriptorium e calefactorium, e das novas ocupações dos monges-copistas, que passaram a monges-barristas, vivendo numa casa onde a mesa era mais farta do que a do próprio Palácio Real.
Mas nem por isso o edifício deixa de ser um exemplo admirável de funcionalidade e de adaptação racional à rotina diária e às condições do terreno, qualidades que foram apanágio da arquitectura cisterciense.
On Thursday, June, 20, 2019, Archbishop Elpidophoros gathered together with clergy and their families from the Direct Archdiocesan District at Terrace on the Park. Photo: John Mindala
SARDI KLEIN
"Jenny With Apple" (2009)
DIGITAL C PRINT, 12" X 12" (30CM X 30CM)
IMAGING THE APPLE
AC INSTITUTE [DIRECT CHAPEL]
547 W27th St. 5th and 6th floors
New York 10001
New York
Curated by:
JOHN R. NEESON
ELIZABETH GOWER
Exhibition dates:
MARCH 25 - MAY 1, 2010
imagingtheapple.com/pages/pressrelease1
IMAGING THE APPLE
PRESS RELEASE
Forty-eight artists have been invited to exhibit responses to IMAGING THE APPLE.
The exhibition is scheduled from March 25 to May 1, 2010 at AC Institute [Direct Chapel] 547 West 27th Street, 5th & 6th floors, New York. www.artcurrents.org
IMAGING THE APPLE is a development of a successful show that toured the Eastern states of Australia in 2004 . 2005. The original exhibition was organized by artist/curator John R. Neeson who is co-curating the New York version with Elizabeth Gower also a Melbourne based artist/curator.
The New York show includes Artists from Stockholm, Beijing, Pittsburg, New York, Toledo, Hollywood, Auckland, Plymouth, Melbourne and Sydney; and in the case of Billy Tjampijinpa Kenda from an area in Central Australia as geographically remote from New York City as it's possible to get.
The Artists represent a cross generational group, with established and well known Artists such as Yoko Ono and Billy Apple, exhibiting alongside mid-career and emerging Artists, using a diverse range of media including text, photography, installation, video, sound and painting.
The conceptual basis for IMAGING THE APPLE references Paul Cézanne's ambition to 'astound Paris with the painting of a single apple'.
The apple has been a significant and reoccurring emblem in factual stories, legends and myths throughout western history.
Never actually identified as the guilty 'fruit of temptation' in the Garden of Eden, an apple nevertheless has been universally represented as the culprit for twenty centuries.
The 'apple' features in the Judgment of Paris from Ancient Greece; in the various legends of William Tell and Snow White and the poison apple from central Europe, in Isaac Newton's revelation on gravity from England, in the origin of the Granny Smith apple from Australia, and from America, Johnny Apple seed.
There is also considerable mythology surrounding why New York City became known as the .big apple.. One story is, that in the jargon of US jazz musicians a gig was an .apple. and a gig in New York City, the big apple. A second tale. dating from the 19th Century concerns a high-class bordello, run by Eve, who had the best .apples. in town.
In colloquial Australian "she'll be apples" translates, as "it will be fine" while 'an Apple a day keeps the doctor away', 'an apple for the teacher' and 'the apple of my eye' are epithets common in the English-speaking world that associates the apple with health and goodness.
Finally 'apple' has become an enduring contemporary icon associated with the legendary Beatles company, the personal computers and ipod.
All these associations resonate in various degrees of intensity through the forty-eight responses in IMAGING THE APPLE.
IMAGING THE APPLE is accompanied by a catalogue, documenting the works, and including a project essay by John R.Neeson. It is published by AC Institute and distributed by Amazon and Barnes & Noble.
IMAGING THE APPLE has received a grant through the Dame Joan Sutherland Fund from the Australian American Association and in-kind sponsorship from Chapman & Bailey, an Australian based Art materials company.
Artists presenting responses: -
Billy Apple, Peter Burke, Jon Campbell, Ross Coulter, Holly Crawford, Penelope Davis, Kate Daw, Kim Donaldson, Janenne Eaton, Steve Ellis, Andrew Erdos, Juan Ford, Sue Ford, Clark V. Fox, Timothy Gaewsky, Martin Gantman, Michael Georgetti, Elizabeth Gower, Denise Green, Hao Guo & Thea Rechner, Jayne Holsinger, Natasha Johns-Messenger, Kate Just, Larry Kagan, Billy Tjampijinpa Kenda, Sardi Klein, Richard Kostelanetz, Kevin Laverty, Deven Marriner, Ben Matthews, Rob McKenzie & Kain Picken, My Dog Sighs, John R. Neeson, Yoko Ono, Mary Lou Pavlovic, Amy Pivak, Paul Ross, Andreas Söderberg, Spoonbill, Charles Tashiro, Brie Trenerry, Nico Vassilakis, Dan Waber, Cara Wood-Ginder, Max Yawney, Anne Zahalka.
Contact:
theappleprojects@gmail.com
info@artcurrents.com
DIRECTEMENT DE MON CONTAINER-RADIOPHONIQUE !
CFLS 1981, PAUL PAQUIN EN STANBY… pour une petite production avec un de ses personnages, dans le studio de production avec vu (fenêtre) sur le restaurant « Marie Antoinette » rond-point Lévis et (vu) sur Jean-Paul Lemire-réalisateur.
*INFO- RAPPEL ! CFLS 92 : PAUL PAQUIN-animateur (6h. à 9h. lundi-vendredi). -Dès son arrivée en onde en septembre 1978, son succès fut instantané. Il a contribué à une augmentation dans les sondages radio, qui ont suivi en décembre, de 60 000 auditeurs, et permettre CFLS, d’être au 3e rang avec 289 300 auditeurs, à Québec.
-Paul Paquin a transporté les baby-boomers dans son univers humoristique avec ces personnages comme Mme Turcot, Albert Dumouchelle, Ronnie Talbot(te) et bien d’autres. Ah oui, il y avait Claude Raillin, une parodie de Claude Ryan « La main de Dieu », qui a débouché, à un 45 tours, « Le rigodon du dindon » en 1982. 10 milles copies ont été vendu.
-Entouré par « monsieur Moquin » très documenté dans l’information, mais il était finalement un personnage dans l’émission avec son rire impressionnant, provoqué par des mises en situation de Paul, et accompagné par Christian Riverin aux sports. C’était vraiment drôle. Une belle époque radio. Beaucoup de bons souvenirs aux fidèles auditeurs de CFLS 92 AM (Québec).
Toujours drôle et aimé de tous, ce Paul Paquin.
PHOTO DAN BEAUMONT.