ENG photos on Flickr

_I6A2025 by Carl Schönenberger

4

Carl Schönenberger. Zürich. Enge, Mythenquai. Zürichsee. Reiherente.

I'm not a huge football (soccer) fan but you know sometimes you gotta feel a little bit patriotic. Emirates have a whole series of these ads around Sydney featuring various flags of countries on their destination list. I am watching Australia games too of course! Tue 15 Jun

Pfeiferbrunnen ( Brunnen ) in der Spitalgasse in der Stadt / Altstadt von Bern in der Schweiz by Hurni Christoph

Pfeiferbrunnen ( Brunnen Fontaine ) in der Spitalgasse in der Stadt - Altstadt Bern im Kanton Bern der Schweiz

.

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Pfeiferbrunnen Bern

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.

Der Pfeiferbrunnen steht in der Spitalgasse in der Stadt - Altstadt von Bern im Berner

Mittelland im Kanton Bern der Schweiz

.

Der Pfeiferbrunnen ist ein 1545 - 1546 von Hans Gieng geschaffener Brunnen, dessen

Figur sich eng an Dürers «Sackpfeifer» von 1.5.1.4 anlehnt. Der Pfeiferbrunnen stand ur-

sprünglich vor dem G.asthaus zum K.reuz, dem A.bsteigequartier fahrender Spielleute.

Seit 1.5.9.4 heisst dieser G.asthof «zum S.torchen». Der Pfeiferbrunnen heisst von da

aus bis zum Ende des 19. Jahrhundert auch Storchenbrunnen. Bei der Renovation von

1.8.7.4 wurde auf dem Rücken des Pfeifers eine Inschrift angebracht, die Figuren am

Fries wurden verstümmelt.

Das heutige, gekehlte Becken schuf Laurenti 1.8.8.9. 1.9.1.9 wurde der Pfeiferbrunnen

leicht nach O.sten versetzt; dabei wurde der S.udeltrog entfernt.

.

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Standort:

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Vor 1.6.3.8 zwischen R.yffli- und S.torchengässchen, heute vor dem H.aus Spitalgasse 21

.

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Der Pfeiferbrunnen an der Spitalgasse, den man früher allgemein «Storchenbrunnen»

nannte, weil er vor dem H.otel S.torchen stand, ist neben dem K.indlifresserbrunnen

der originellste unserer Stadt.

Es ist möglich, dass die Bruderschaft der Spielleute, die seit 1.5.0.7 einen F.reiheitsbrief

besass, einen Teil an die Kosten bezahlte. Dieser Brunnen ist das Abbild des frohen

Lebens mit Spiel und Tanz und gutem E.ssen. Die Figur ist eine freie Nachgestaltung

eines Dürerschen K.upferstiches.

Der Dudelsackpfeifer auf dem Brunnen lehnt sich lässig an einen B.aumstamm, an

welchem hinten ein P.ergament herunterhängt, das die Aufschrift trägt : «Der Pfyffer

Freiheits Brief 1.5.0.7.»

Auf dem Baumstamm hat sich ein Ä.ffchen niedergelassen, das auf einem F.lageolet ge-

treulich nachpfeift, was sein Meister auf der Sackpfeife bläst.

Vielleicht hat es ihm das Instrument gar gestohlen, um seinem Nachahmungstrieb zu

frönen. Ä.ffchen gab es schon damals im V.olk, und G.änse auch, die einem Spielmann

überall hin nachliefen.

Also hat der Künstler dem Musikanten ein Gänslein beigegeben, das ganz Ohr ist und

vor lauter Verwunderung gar den S.chnabel offen vergisst. Aber das Sackpfeifeblasen

soll auch im 16. Jahrhundert die immer durstige Musikantengurgel ausgetrocknet haben,

und so hat der B.ildhauer auch das K.rüglein mit dem köstlichen Nass am B.aumstamm

nicht vergessen.

Die besonders schön gearbeitete Säule gibt uns in anmutigster Renaissance ein tref-

fliches Bild fröhlichen Lebens. Den unteren Teil des Säulenschaftes umhüpft ein über-

mütiges Völklein im Takt der Pfeiferweise. Ursprünglich waren es erwachsene Menschen;

heute sind es eher Kinder.

Noch bis Mitte des 19. Jahrhunderts waren es F.rauen und M.änner, von denen einer

sogar einen B.art trug, wie H.owald berichtet. - «Leider hat in neuester Zeit eine lächer-

liche Prüderie veranlasst, die armen B.uben zu verstümmeln», schreibt v. Rodt in seiner

Stadtgeschichte.

Angeführt vom Stadtnarren tanzen Bürger, Bauer und Bettelmann mit ihren tanzlustigen

M.ägdlein.

Den obern Teil des Säulenschaftes schmücken Girlanden, von T.eufelsmasken gehalten,

F.ische, G.änse, G.locken und leere K.rüge. Am besonders schön gearbeiteten k.orinthi-

sierenden K.apitäl sind die V.oluten durch D.elphinköpfe ersetzt. Die vier aus L.öwen-

m.asken mündenden B.runnenröhren werden wiederum von stilisierten D.elphinen gestützt.

Ähnliche Stützen zeigen viele andere Brunnen auch.

Betrachten wir einmal den Spielmann etwas genauer. Er macht einen recht guten Eindruck.

Im 16. Jahrhundert war ein zerlumpter G.eiger oder Pfeifer keine Seltenheit. Unser Pfeifer

gehört zur Bruderschaft der Spielleute.

Er trägt, gleich den ebenfalls im Solde der Stadt stehenden W.eibeln, L.äufern, Stadt-

knechten, Z.immerleuten und M.aurern, das rot - schwarze Kostüm der Stadt. - Wohl ist

die Spitze seines rechten S.chuhs defekt und lässt die nackten Zehen zutage treten, und

das linke H.osenbein hat über dem K.nie ein Loch. - Es geht sicher nicht mehr lange, so

muss der Herr S.eckelmeister seinen G.eldkasten öffnen, und der S.chreiber eintragen:

«Jakob dem Pfyffer an einen rock ze stüür vier Pfund».

Nach der Stadtrechnung von 1.4.8.2 gab es in der Stadt folgende Spielleute : «T.rummeter

( S.tadttrompeter ), die pfeiffer, der C.antor, der O.rganist und der L.üttenschlaher». Diese

hatten im M.ünster die K.irchenmusik zu machen, waren bei den Empfängen von Fürstlich-

keiten dabei, spielten zum Tanze auf und musizierten bei den Fastnachtsspielen.

Das Pergament hinten am Baumstamm berichtet vom Privileg vom 3. S.eptember 1.5.0.7,

das die staatliche Anerkennung der Pfeiferbruderschaft bestimmte, die von nun an als

eine Art Zunft galt, in die auch die Stadtpfeifer verwiesen wurden. Der Freiheitsbrief ver-

schaffte den Spielleuten ein Monopol:

«So denn wellen wir, das dhein heimbscher noch frömder spilman uff dhein hochzyt

oder brutlouff komen, oder im einiche belonung sölle beschechen, er werde dann von

dem, des die hochzyt ist, berüeft und ervorderet und welicher ouch also berüeft wirdt,

der sol sich zimlicher belonung begnüegen, wie das von alter har komen und gebrucht

ist.».

Nach dem R.atsmanual aus derselben Zeit wissen wir, dass «under myner herren

schalmierpfifferen einer küng und sust zwen schaffner seyn».

In den 70er Jahren des 19. Jahrhunderts war dieser Brunnen in einem sehr schlechten

Zustand. So konnte man zum Beispiel nicht mehr feststellen, was für eine Aufschrift das

Pergament trug, und es fand sich in der Stadt niemand mehr, der darum Bescheid wusste.

Als sich die Stadt anschickte, die Vorbereitungen zur Murtenschlachtfeier zu treffen, wurde

der Brunnen 1.8.7.4 gründlich renoviert, schadhafte Teile ersetzt und neu bemalt. Die Kosten

dieser Arbeiten beliefen sich auf 1352 Franken.

In den spätem Jahren wurde die achteckige Brunnenschale als sehr schadhaft befunden.

Man behalf sich zuerst mit einem Zementmantel auf der Innenseite, der sich anfänglich

sehr gut bewährt haben soll.

Diese Renovationen müssen aber nicht sehr sorgfältig durchgeführt worden sein, denn

der Brunnen figuriert schon 1.8.8.9 - 1.8.9.0 unter den schadhaften, die auf die Gründungs-

feier hin renoviert und nach Entwürfen des H.eraldikers B.ühler neu bemalt werden

müssen.

Anlässlich dieser Renovation gab man dem Brunnen die neue, heute noch bestehende

Schale, die von B.ildhauer L.aurenti angefertigt wurde. Diese Restauration kostete 2720

Franken, an welche die Hausbesitzer der Nachbarschaft einen Beitrag von 1700 Franken

zu leisten hatten.

Neu bemalt wurde der Brunnen wiederum im Jahre 1.9.0.5. Anlässlich dieser Neube-

malung wurde wahrscheinlich auch die Aufschrift «Der Pfyffer Freiheits Brief 1.5.0.7» an-

gebracht, die nach dem Text zu einer Postkartenserie von 1.9.1.4 als «neueren Datums»

bezeichnet wird.

Türler veröffentlichte den Freiheitsbrief erstmals 1.8.9.8, so dass unsere Annahme wohl

ihre Richtigkeit hat. Eine letzte Renovation erfuhr der Dudelsackpfeiferbrunnen im Jahre

1.9.2.6. Aus verkehrstechnischen Gründen musste er 1.9.1.9 verschoben werden.

.

( BeschriebPfeiferbrunnen AlbumBrunnenmitBrunnenfigurinderSchweiz AlbumStadtBern

AlbumBernerBrunnen StadtBern Stadt City Ville fountain springvand suihkulähde fontaine

fontana 噴水 fontein fontene fontanna fonte fontän fuente UNESCO Weltkulturerbe Unesco

World Heritage Schweiz Suisse Switzerland Svizzera Suissa Swiss Sveitsi Sviss スイス Sveits

Zwitserland Szwajcaria Suíça Suiza )

.

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N.achte.ssen im C.arponara mit M.ese, N.adia, M.iriam und L.iliana am Samstag den 11. August 2012

.

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Hurni120811 KantonBern StadtBern

E - Mail : chrigu.hurni@bluemail.ch

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Letzte Aktualisierung - Ergänzung des Textes : 240222

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NIF

Officer of the Royal Navy (possibly H.R.H. the Prince of Wales) standing on an iceberg / Officier de la Marine royale (possiblement Son Altesse Royale le prince de Galles) debout sur un iceberg by BiblioArchives / LibraryArchives

2

Title / Titre :

Officer of the Royal Navy (possibly H.R.H. the Prince of Wales) standing on an iceberg /

Officier de la Marine royale (possiblement Son Altesse Royale le prince de Galles) debout sur un iceberg

Creator(s) / Créateur(s) : Unknown / Inconnu

Date(s) : August 12, 1919 / 12 août, 1919

Reference No. / Numéro de référence : ITEM 3194395, 3624611

central.bac-lac.gc.ca/.redirect?app=fonandcol&id=3194...

central.bac-lac.gc.ca/.redirect?app=fonandcol&id=3624...

Location / Lieu : Conception Bay, Newfoundland and Labrador, Canada / baie de la Conception, Terre-Neuve-et-Labrador, Canada

Credit / Mention de source :

Arthur George Doughty fonds. Library and Archives Canada, PA-022323 /

Fonds Arthur George Doughty. Bibliothèque et Archives Canada, PA-022323

A general view of the gallery on the 1st tee ahead of the Sandra Gal group by LET

18/07/2014 Ladies European Tour. Ladies German Open Presented by Marriott, Worthsee Golf Club, Worthsee, Germany. 17-29 July 2014. A general view of the gallery on the 1st tee ahead of the Sandra Gal group. Credit: Tristan Jones

Museum of Spanish Abstract Art - Museo de Arte Abstracto Español by La magia de la luz

2 4

[ENG] The Museum of Spanish Abstract Art of Cuenca shelters and exhibits the permanent form a collection of paintings and sculptures of spanish artists the abstract generation of the 50s and 60s, that formed some of the most significant abstract trends in the spanish art in the middle of the 20th century. It is placed in the Hunging Houses of the city Cuenca, property of the Town hall. The museum opened his doors on July 1, 1966, result of the initiative of Fernando Zobe, who in 1980 donated his collection to the Juan March Foundation.

[ESP] El Museo de Arte Abstracto Español de Cuenca alberga y exhibe de forma permanente una colección de pinturas y esculturas de artistas españoles de la generación abstracta de los años 50 y 60, que configuraron algunas de las tendencias abstractas más significativas del arte en España a mediados del siglo XX. Está situado en las Casas Colgadas de la ciudad de Cuenca, propiedad del Ayuntamiento. El museo abrió sus puertas el 1 de julio de 1966, fruto de la iniciativa de Fernando Zóbe, quien en 1980 donó su colección a la Fundación Juan March.

099974

Red Cross Gala-298 by RedCrossNY

2

Photo Credit: John Eng, American Red Cross

Eddystone Lighthouse, Off Plymouth, England by Karl Agre

1

Arguably the most famous lighthouse ever, and the prototype for building lighthouses on bare rocks in mid-ocean.

The Eddystone Reef lying 14 miles off Plymouth exacted a terrible toll of ships and men in the age of sail, estimated at perhaps one ship per week by Lloyd's of London insurers in 1800.

Finally in 1698 Henry Winstanley a wealthy etcher, showman, publicist , eccentric and ship owner had an 18 foot high wooden lighthouse built on a 16 foot granite base, topped with a wrought iron dome. all with outrageous rococo ornamental designs. In 1703 while visiting his lighthouse Henry Winstanley and his lighthouse were washed off the Eddystone in a furious storm and never seen again.

In 1708 a man named John Rudyerd, a silk merchant who had advanced schooling and a flair for problem solving, oversaw the construction of a new lighthouse, a round wooden tower 91 feet in height on a base of granite and oak anchored to the rock by 36 iron bars in pairs. A wood and lead lantern room constructed with a chandelier of 24 candles topped the tower. Soon after completion of the lighthouse John Rudyerd, in frail health vanished without a trace and is presumed to have died. The new structure weathered multiple storms although requiring extensive repairs in 1723, 1724 and 1744, and the Eddystone was considered conquered at last. However, tragedy struck in 1755, in the form of a major fire in the lantern room. Henry Hall, a 94 year old keeper and two younger colleagues fought valiantly, but unsuccessfully to control the fire which burnt the lighthouse down to it's stone base. The three keepers were rescued by a passing fishing boat the next day. In fighting the fire Henry Hall had swallowed a glob of molten lead from the lantern room. He died after 12 agonizing days and at autopsy a 7.5 ounce piece of lead was found in his stomach.

The next to tackle the Eddystone dilemma was 31 year old John Smeaton, a well trained engineer and member of the Royal Society of Engineers. He was approached by Robert Weston who was chief shareholder of a consortium holding the Eddystone lighthouse patent . The consortium was thinking in terms of a wooden light, considering the relative success of the Rudyerd venture, but Smeaton convinced the Board that a sleek stone tower was the way to build. Smeaton had many revolutionary ideas far ahead of his time, but the most important was the use of carefully dovetailed granite blocks to be fitted together, the use of two 12 man crews of workers and development of much improved cement. The 70 foot tower was first lit on 1759, survived all storms for over 120 years, until dismantled because the rock below was being undermined by the sea.

Much of the the light was moved one block at a time to it's new home on the Hoe in Plymouth in 1882, although a portion of the base is still on the reef.

The fourth and current Eddystone lighthouse pictured in the photo along with the remains of Smeaton's tower was built from 1878 -1882 on a rock adjacent to where Smeaton's tower had stood. The tower is 168 feet tall, constructed of granite blocks, using Smeaton's ideas, and topped with a 16 foot lantern room. The flashing white light is visible for 22 miles. The helipad was added in 1980 and the light was automated in 1982, as the first of England's major lighthouses.Arguably the famous lighthouse ever, and the prototype for building lighthouses on bare rocks in mid-ocean.

The Eddystone Reef lying 14 miles off Plymouth exacted a terrible toll of ships and men in the age of sail, estimated at perhaps one ship per week by Lloyd's of London insurers in 1800.

Finally in1698 Henry Winstanley a wealthy etcher, showman, publicist , eccentric and ship owner had an 18 foot high wooden lighthouse built on a 16 foot granite base, topped with a wrought iron dome. all with outrageous rococo ornamental designs. In 1703 while visiting his lighthouse Henry Winstanley and his lighthouse were washed off the Eddystone in a furious storm and never seen again.

In 1708 a man named John Rudyerd, a silk merchant who had advanced schooling and a flair for problem solving, over saw the construction of a new lighthouse, a round wooden tower 91 feet in height on a base of granite and oak anchored to the rock by 36 iron bars in pairs. A wood and lead lantern room constructed with a chandelier of 24 candles topped the tower. Soon after completion of the lighthouse John Rudyerd, in frail health vanished without a trace and is presumed to have died. The new structure weathered multiple storms although requiring extensive repairs in 1723, 1724 and 1744, and the Eddystone was considered conquered at last. However, tragedy struck in 1755, in the form of a major fire in the lantern room. Henry Hall, a 94 year old keeper and two younger colleagues fought valiantly, but unsuccessfully to control the fire which burnt the lighthouse down to it's stone base. The three keepers were rescued by a passing fishing boat the next day. In fighting the fire Henry Hall had swallowed a glob of molten lead from the lantern room. He died after 12 agonizing days and at autopsy a 7.5 ounce piece of lead was found in his stomach.

The next to tackle the Eddystone dilemma was 31 year old John Smeaton, a well trained engineer and member of the Royal Society of Engineers. He was approached by Robert Weston who was chief shareholder of a consortium holding the Eddystone lighthouse patent . The consortium was thinking in terms of a wooden light, considering the relative success of the Rudyerd venture, but Smeaton convinced the Board that a sleek stone tower was the way to build. Smeaton had many revolutionary ideas far ahead of his time, but the most important was the use of carefully dovetailed granite blocks to be fitted together, the use of two 12 man crews of workers and development of much improved cement. The 70 foot tower was first lit on 1759, survived all storms for over 120 years, until dismantled because the rock below was being undermined by the sea.

Much of the the light was moved one block at a time to it's new home on the Hoe in Plymouth in 1882, although a portion of the base is still on the reef.

The fourth and current Eddystone lighthouse pictured in the photo, along with the remnants of Smeaton's tower was built from 1878 -1882 on a rock adjacent to where Smeaton's tower had stood. The tower is 168 feet tall, constructed of granite blocks, using Smeaton's ideas, and topped with a 16 foot lantern room. The flashing white light is visible for 22 miles. The helipad was added in 1980 and the light was automated in 1982, as the first of England's major lighthouses.

CCVFD Eng 652 2012 Int'l 7400/Pierce 1250/1000 D/A 4X4 sn 142768(RR) by Jay Thomson

3

Coker Creek(TN) VFD Engine 652 is a 2012 International 7400/Pierce pumper. It is equipped with a 1000 gpm pump and carries 1000 gallons of water. It is diesel-powered with an automatic transmission and is an all-wheel drive vehicle. It carries sn 142768. This truck replaces a 1967 Int'l Loadstar/Bean 750/750 pumper. Photo taken 14 April 2013,

Canon PowerShot A570 IS

@Post It Up 2011 #1 by BN POST IT UP! BN POST IT UP!

1

“POST IT UP!” - International Urban Art Exhibition 2011

Exhibition of posters, stickers, stencils, sketches, prints, canvas, toys, decks, vynils, photos and more...

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[ENG]

...Even if winter is freezin' us cold with his breath,

"Post it Up" will be warm enough. Thanks to the new

artworks by artists from all over the world.

You are all invited to the third edition of this event,

giving you the chance to see the real urban art coming

from different places and cultures!

The artworks all contain different meaning

but share the common ground of placing art in the public realm without looking for monetary gain.

You will enjoy the expressions of the contemporary art in unexpected forms,

with live performances found only at cutting edge venues for contemporary art.

The artist showing their works and those in attendance are friends of not only our project in Italy but offer a selection of the best emerging talent in the street art world today.

The raw essence of the streets and the artist generosity and friendliness in sharing their works with the public in their countries, as well as now in Italy enthusiastically participate with the only purpose to share their feelings, their sensations, their nonsense, their logic, and their techniques.

We are proud to say that their artworks are meant to share the art itself and their heart as well.

Even the artists whose works have come from all over the world, sometimes to distant for themselves to attend, will be with us through the spirit of their masterpieces.

A truly valid award for the artists will be your presence to this free event and extraordinary exhibition to held the 26th of February, 2011 19:00h at "L@P Asilo 31" - Firenze Street, 1 - Benevento (campania) - Italy.

-

(-Thank you Hugh Leeman-)

----------------------

[ITA]

Anche se l'inverno ci sta seguendo con un profondo respiro freddo il

"Post it Up" sarà abbastanza caldo grazie alle nuove opere inviate da artisti di tutto il mondo!

Siete tutti invitati alla terza edizione di questo evento pressoché unico nel genere,

che vi darà l'opportunità di vedere la vera arte urbana proveniente da diversi luoghi e culture!

Tutti i lavori sono rappresentativi dei più disparati significati ma di sicuro privi dell'egoismo spesso imposto da un possibile lucro.

Potrete godere delle espressioni più disparate dell'arte contemporanea in forme inaspettate,

con performance dal vivo che vengono riproposte solo in pochi altri eventi.

Gli artisti che interverranno in "carne e ossa" sono cordiali ed allo stesso tempo fuori dagli schemi,

a differenza di un certo tipo di persone del settore che presumono di essere "i migliori" solo perché noti alle masse.

La vera essenza delle strade è l'affabilità di quegli artisti contemporanei che hanno partecipato con entusiasmo,

con il solo scopo di condividere i loro sentimenti, le loro sensazioni, il loro nonsense, la loro logica, le proprie tecniche.

Con certezza è possibile affermare che condividono la loro arte ed il loro cuore.

Tutti gli artisti lontani con il corpo saranno concretamente presenti grazie ai loro capolavori.

Un valido riconoscimento per l'impegno degli artisti sarà la vostra presenza a questa straordinaria mostra gratuita che si terrà il 26 febbraio 2011, ore 19.00, presso "L@P Asilo 31" - Via Firenze, 1 - Benevento (Campania) - Italia.

----------------------

Summary of the event:

* Live Painting/Pasting - Korvo, Biodpi, Naf, Cheko’s Art, Stencilnoire, Urban Crucefixion (Audio-Visual-Painting) and more...

* Sound - Diego and Vittorio De Rienzo from 3DMCrew, glitch-ambient / techno-dub / dubstep / d'n'b

* Movie Screenings - Banksy: Exit Trought The Gift Shop, Beautiful Losers, Guerrilla Art

* Free distribution of Mašta, the magazine for creative activism

* Art and Cool Stuff Market, Mattia Amf Onlus Fagnoni Info Corner.

* Extra Happenings: Urban Photography Expo, Vinyl Disc Art Attack.

* Free Appetizer at the beginning of the event!

* Live Streaming Cam

--------------------------

---

List of the Artists (Daily Updated)

--------------------------

---

Fenek (FR) - www.flickr.com/phot

os/nekfe

Ollio (SWE) - www.ollio.blogspot.

com/

Vidalooka (SPA) - www.vidalooka.com/

Vinylone (NED) - www.skygazer.nl/

iwillnot (USA) - www.flickr.com/peop

le/iwillnot/

FRAMMENTI (ITA) -

Koso! (ITA) - www.flickr.com/phot

os/koso_hardcore/

La Firma (SPA) - www.la-firma.es/

Ebony-R Inc (USA) -

Tona (GER) - www.flickr.com/phot

os/tonastreetarts

KissMama (DK) - www.kissmama.dk/

Creature Ink (GER) - creature-ink.blogsp

ot.com/

M,Val (FRA) - www.flickr.com/phot

os/58465458@N00/

Lofgnatael r (SPA) -

Neromonga (GER) - www.neromonga.de/

William Vecchietti (ITA) - www.williamvecchiet

ti.com/

Bartotainment (GER) - www.bartotainment.c

om/

Lastplak (NED) - www.lastplak.nl/

Wojo (NED) - www.flickr.com/phot

os/wolfgangjosten/

Charstarr (USA) - www.flickr.com/phot

os/charstarr77

T-Ninja (RUS) - www.flickr.com/phot

os/t-ninja/

Mister P (FRA) - www.flickr.com/phot

os/mrpsticker/

C Designs (USA) - www.flickr.com/phot

os/c_atvillain/

Artprojectbrockman (GER) - artprojectbrockmann

.wordpress.com/

Elizabeth Roman (FRA) - www.arteroman.com/

Gorillarms (USA) - gorillarms.com/

Stelleconfuse (ITA) - www.flickr.com/phot

os/stelleconfuse/

Punk Robot (BRA) - rebelyeah.tumblr.co

m/

Zabratta Studio (ITA) - www.zabrattastudio.

org/

VR (PHI) -

Roberta Feoli (ITA) -

AGONISTICKo (ITA) - www.flickr.com/phot

os/agonisticko/

3MS (USA) - www.flickr.com/phot

os/3_ms/

B-Wolfe (USA) - www.waynewolfson.co

m/

Jason Ruggler (USA) -

Goiaba (GER) - www.goiaba.de/

Pidzotto (LVA) - www.flickr.com/phot

os/7251020@N02/

Claudio Parentela (ITA) - www.claudioparentel

a.net/

Ariane Pasco (FRA) - www.flickr.com/phot

os/la-fusee/

Melodreama (USA) - www.flickr.com/phot

os/melodreama/

El Niño 37 (FRA) - artofnino.blogspot.

com/ | www.flickr.com/phot

os/artofnino/

Fabio Sassi (ITA) - fabiosassi.blogspot

.com/

Adrian (SWI) - adrian-art.ch/

Andalltha (BEL) - andalltha.blogspot.

com/

Oh, No! John (ITA) -

Fonzy Cirillo - fonzyart.blogspot.c

om/

ALX (ITA) - www.flickr.com/phot

os/-alx-/

Dott. Porka’s P-Proj (ITA) - www.porka.biz/

El_even (ITA) - www.flickr.com/phot

os/el_even/

Platform 58 (UK) - www.platform58.com/

Wolf (SPA) - www.flickr.com/phot

os/wolf_street_artist/

Noke (GER) - www.flickr.com/phot

os/33117516@N04/

NOx ART (ITA) - www.flickr.com/phot

os/noxarte/

Dario Molinaro (ITA) - www.flickr.com/phot

os/dariomolinaro/

TECLOGIC (USA) - www.flickr.com/phot

os/teclogic/

Nevre (ITA) - www.myspace.com/len

evralgiecostanti

Hugh Leeman (USA) - hughleeman.com/

Carambole (ITA) -

R.A.B. (ITA) - www.myspace.com/rab

rixia

DYOUNGV (USA) - www.dyoungv.com/

Poska (ITA) - www.fotolog.com/1po

ska | www.flickr.com/phot

os/poskazp/

Mose Onetwenty (UK) - www.flickr.com/phot

os/mose120/

Sam Punzina (ITA) -

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Isola Bella - Lake Maggiore - views from the Borromeo Palace - Isola Madre in the distance by Elliott Brown

On Isola Bella in Lake Maggiore.

Views taken from inside the Borromeo Palace, of the other islands, and areas around the palace.

Isola Bella (Lago Maggiore)

Isola Bella (lit. 'beautiful island') is one of the Borromean Islands of Lago Maggiore in north Italy. The island is situated in the Borromean Gulf 400 metres from the lakeside town of Stresa. Isola Bella is 320 metres long by 400 metres wide and is divided between the Palace, its Italianate garden, and a small fishing village.

Until 1632 the island—known only as l’isola inferiore or isola di sotto—was a rocky crag occupied by a tiny fishing village: but that year Carlo III of the influential House of Borromeo began the construction of a palazzo dedicated to his wife, Isabella D'Adda, from whom the island takes its name. He entrusted the works to the Milanese Angelo Crivelli, who was also to be responsible for the planning the gardens. The works were interrupted around middle of the century when the Duchy of Milan was struck by a devastating outbreak of the plague.

Construction resumed when the island passed to Carlo’s sons, Cardinal Giberto III (1615–1672) and Vitaliano VI (1620–1690); the latter in particular, with the financial backing of his elder brother, entrusted the completion of the works to the Milanese architect Carlo Fontana and turned the villa into a place of sumptuous parties and theatrical events for the nobility of Europe.

The completion of the gardens, however, was left to his nephew Carlo IV (1657–1734). They were inaugurated in 1671.

The island achieved its highest level of social success during the period of Giberto V Borromeo (1751–1837) when guests included Edward Gibbon, Napoleon and his wife Joséphine de Beauharnais, and Caroline of Brunswick, the Princess of Wales. It is said that Caroline, having fallen in love with the place, did her best to convince the Borromeo family to sell her Isola Madre or the Castelli di Cannero islands; her request being turned down, she established herself on the banks of Lake Como at Cernobbio in the Villa d’Este.

Isola Madre in the distance.

Isola Madre, at 220 m wide and 330 m long, is the largest island of the Isole Borromee archipelago which falls within the Italian part of the Alpine Lake Maggiore, in the Province of Verbano Cusio Ossola, Piedmont. The island is occupied by a number of buildings and architectural structures and is especially well known for its gardens. In the past it was known as Isola di San Vittore and later as Isola Maggiore.

The available historical sources indicate that in the middle of the ninth century the island had a church, a cemetery (whose existence is recalled by the current garden’s so-called scala dei morti, or “Staircase of the Dead”). It is known for certain that olives were cultivated here; the produce may have been employed for sacred purposes.

In 1501 Lancillotto Borromeo, one of the five children of Giovanni III Borromeo and Cleofe Pio di Carpi, introduced the cultivation of citrus fruit to the island, the plants being brought from Liguria, along with a gardener (or hortolano) to tend them. Lancillotto began the construction of the family residence on the island, which in the 1580s was extended in the renaissance style by Renato I Borromeo.

The Palazzo Borromeo was built in the sixteenth century on the remains of the early church, cemetery and perhaps castle of San Vittore (named after the martyr Victor Maurus).

The palace is surrounded by impressive gardens, the Giardini Botanici dell'Isola Madre, covering an area of eight hectares whose construction all’Inglese (in the English style) began in the late eighteenth century on the site of a citrus orchard. Particularly prized is the scala dei morti, or staircase of the dead, which in recent decades has been embellished with an important collection of Wisterias.

The family chapel of 1858 is also noteworthy; by contrast to that of Isola Bella, it contains no tombs or funerary monuments.

Fire Apparatus thru the Years. by Terry Spirek

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CFD. 1921 Seagrave pumper. Eng.22.

The church of San Michele Arcangelo in Anacapri at the artificial lighting of the square by Alessandro Scoppa

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The little window you see on the right of the picture seems part of the church, but it isn't. It's the suite "Il Coretto" of the Bed and Breakfast Antico Monastero di Anacapri, a B&B located in the former monastery of San Michele. Annexed to the church, the monastery was suppressed during the Napoleonic Wars and subsequently became a private residence. The B&B Monastery occupies the oldest part, and the suite "The Coretto" (that means "little choir") is even in what was the nuns' choir, for this is surprisingly incorporated into the church. B&B Antico Monastero di Anacapri

La piccola finestra che vedete sulla destra della foto sembra essere parte della chiesa, ma non lo è. Infatti, è la suite "Il Coretto" del Bed and Breakfast Antico Monastero di Anacapri, un B&B situato nell'ex monastero di San Michele. Annesso alla chiesa, il monastero fu soppresso durante le guerre napoleoniche e successivamente divenne una residenza privata. Il B&B Antico Monastero si trova nella la parte più antica, e la suite "Il Coretto" (che significa "piccolo coro") è nientemeno in quello che era il coro delle monache, per questo è sorprendentemente incorporata nella chiesa. B&B Antico Monastero di Anacapri

Charley Hull of England with the trophy and cheque, presented by Kate Rose by LET

18/06/2020. Rose Ladies Series 2020. Brokenhurst Manor Golf Club. Brockenhurst, Hampshire, England.18 June 2020 Charley Hull of England with the trophy and cheque, presented by Kate Rose. Credit: Tristan Jones