View allAll Photos Tagged Edify
Au XVIIe siècle, les architectes sont soumis à des règles strictes de hauteur et de qualité des décors quant à la construction de nouvelles bâtisses. Le rang de maisons est à la mode et participe dès lors à la création d’un nouvel espace urbain, soucieux d’ordre et pourvu d’une valeur décorative accrue. C’est dans ce contexte architectural et urbain que les bourgeois de Lille, alors espagnole, requièrent auprès du roi Philippe IV d’Espagne le droit d’édifier sur la Grand Place une Bourse de Commerce. Le programme général ordonne 24 maisons privées autour d’une cour intérieure publique, bordée d’une galerie.
L’œil est attiré par la variété infinie de cariatides qui ornent les pilastres. La même opulence se retrouve dans le décor des fenêtres, aux frontons tantôt courbés tantôt triangulaires, ornés de cartouches, de guirlandes et de fruits charnus, à la manière de la Renaissance flamande. Les lions de Flandre sculptés sur les portails rappellent l’appartenance de Lille aux Pays-Bas. Aujourd’hui, sur les quatre côtés du bâtiment et au-dessus des fenêtres du deuxième étage, sont peints dans des cartouches aux couleurs vives les blasons d’entreprises contemporaines ayant participé à sa dernière rénovation à la fin du XXe siècle.
Source: www.lilletourism.com/explorer/lille-et-ses-environs/musee...
-------------
In the 17th century, architects were subject to strict rules regarding height and decorative quality when constructing new buildings. Rows of houses were fashionable and thus contributed to the creation of a new urban space, attentive to order and endowed with increased decorative value. It was in this architectural and urban context that the bourgeoisie of Lille, then Spanish, requested from King Philip IV of Spain the right to build a Bourse de Commerce on the Grand Place. The general program ordered 24 private houses around a public interior courtyard, bordered by a gallery.
The eye is drawn to the infinite variety of caryatids that adorn the pilasters. The same opulence is found in the decoration of the windows, with their pediments, sometimes curved, sometimes triangular, adorned with cartouches, garlands, and fleshy fruits, in the manner of the Flemish Renaissance. The lions of Flanders sculpted on the portals recall Lille's belonging to the Netherlands. Today, on the four sides of the building and above the windows of the second floor, the coats of arms of contemporary companies that participated in its last renovation at the end of the 20th century are painted in brightly colored cartouches.
Swanston Academic Building (SAB) is one of the newest and most iconic buildings of RMIT University and houses the College of Business.
SAB was designed by Lyons Architects. Construction began in 2010 and was completed in 2012. The building incorporates a range of environmentally sustainable features resulting in it achieving a Green Building Council of Australia 5-star Green Star Education Design rating.
Freely inspired by:
Come in From the Cold.
Back in 1957
We had to dance a foot apart
And they hawk-eyed us from the sidelines
Holding their rulers without a heart
And so with just a touch of our fingers
I could make our circuitry explode
All we ever wanted
Was just to come in from the cold
Come in
Come in from the cold
(We were so young)
Oh come in
Come in from the cold
We really thought we had a purpose
We were so anxious to achieve
We had hope
The world held promise
For a slave to liberty
Freely I slaved away for something better
And I was bought and sold
And all I ever wanted
Was to come in from the cold
Come in
Come in from the cold
(We were so sure)
Oh come in
Come in from the cold
I feel your leg under the table
Leaning into mine
I feel renewed
I feel disabled
By these bonfires in my spine
I don't know who the arsonist was
Which incendiary soul
But all I ever wanted
Was just to come in from the cold
Come in
Come in from the cold
(You were so warm)
Oh come in
Come in from the cold
I am not some stone commission
Like a statue in a park
I am flesh and blood and vision
I am howling in the dark
Long blue shadows of the jackals
Are falling on a pay phone by the road
Oh, all they ever wanted
Was to come in from the cold
Come in
Come in from the cold
(I was so low)
Oh come in
Come in from the cold
Is this just vulgar electricity
Is this the edifying fire
(It was so pure)
Does your smile's covert complicity
Debase as it admires
(Just a flu with a temperature)
Are you just checking out your mojo
Or am I just fighting off growing old
(Just a high fever)
All I ever wanted
Was just to come in from the cold
Come in
Come in from the cold
(It was so pure)
Oh come in
Come in from the cold
I know we never will be perfect
Never entirely clear
(When the moon shines)
We get hurt and we just panic
And we strike out
Out of fear
(You were only being kind)
I fear the sentence of this solitude
200 years on hold
(For my loving crime)
Oh and all we ever wanted
Was just to come in from the cold
Come in
Come in from the cold
(When the moon shines)
Oh come in
Come in from the cold
When I thought life had some purpose
Then I thought I had some choice
(I was running blind)
And I made some value judgments
In a self-important voice
(I was outa line)
But then absurdity came over me
And I longed to lose control
(Into no mind)
Oh all I ever wanted
Was just to come in from the cold
Come in
Come in from the cold
(You were so kind)
Please come in
(So kind)
Come in from the cold
Come in come in
Come in from the cold
( Joni Mitchell )
Au rez-de-chaussée, le site est connecté directement, en fond de parcelle, à la gare de Lille Flandres: Piétons, automobiles, vélos et taxis sont amenés à transiter par le site : le projet est l’occasion de connecter ses flux entre eux et d’édifier un immeuble de bureaux. Le rez-de-chaussée de l’immeuble accueille une surface de stockage de vélos ainsi que les aires de dépose pour les voyageurs et quelques places de stationnement supplémentaires.
Cette forme fluide, articulée est constituée sur sa face extérieure d’un ensemble de lames verticales. Ces lames, dont le rythme varie selon l’irradiation solaire de façades, jouent le rôle de brise soleils ou raidisseurs verticaux. Calé sur une trame de 1.35m, le nombre et le rythme en est fixé suivant une étude précise de l’ensoleillement des façades.
La peau intérieure est, quant à elle, constituée d’une alternance de panneaux pleins et de panneaux vitrés d’une très grande simplicité de mise en œuvre.
Entre les 2 peaux, quand la volumétrie le permet, des terrasses viennent prendre place et ce à tous les niveaux et pour chacun des 2 blocs prévus par plateau.
Le projet étant situé sur une artère à fort trafic et étant en outre destiné à accueillir , en partie basse des locaux pour la Sncf, il nous a paru judicieux de lui associer une image qui soit celle du mouvement, du déplacement; de fait, nous inspirant de l’art cinétique, nous avons conçu une façade en mouvement permanent, dont l’apparence change selon les points de vue. Les brises soleils verticaux sont laqués d’une couleur différente sur chaque face. Ainsi, en venant du sud-est, l’immeuble, de teinte brune, se mêle aux constructions de brique environnantes , tandis qu’en venant du nord, de la place de la gare, le bâtiment offre une apparence blonde, dans la continuité des constructions de pierre claire contigües.
On the ground floor, the site is directly connected, at the back of the plot, to the Lille Flandres station: Pedestrians, cars, bicycles and taxis are required to pass through the site: the project is an opportunity to connect its flows between them and to build an office building. The ground floor of the building houses a bicycle storage area as well as drop-off areas for travelers and a few additional parking spaces.
This fluid, articulated shape is made up on its outer face of a set of vertical blades. These blades, whose rhythm varies according to the solar irradiation of facades, play the role of sunscreens or vertical stiffeners. Set on a 1.35m grid, the number and rhythm is fixed according to a precise study of the sunshine on the facades.
The inner skin is made up of alternating solid panels and glazed panels that are very easy to install.
Between the 2 skins, when the volume allows it, terraces come to take place and this at all levels and for each of the 2 blocks provided by plateau.
The project being located on a high traffic artery and also being intended to accommodate, in the lower part of the premises for the Sncf, it seemed judicious to us to associate an image which is that of movement, of displacement; in fact, taking inspiration from kinetic art, we designed a constantly moving facade, whose appearance changes depending on the point of view. The vertical brises soleils are lacquered in a different color on each side. Thus, coming from the south-east, the building, brown in color, mingles with the surrounding brick constructions, while coming from the north, from the station square, the building offers a blond appearance, in the continuity adjoining light stone constructions.
Le bâtiment en question est nommé « palais de Tokyo », du nom du « quai de Tokioa » (actuelle avenue de New-York) en bordure de Seine, sur lequel donne sa façade sud-est.
Le palais de Tokyo est, avec le palais de Chaillot et le palais d’Iéna, l'un des trois édifices permanents résultant de l'Exposition internationale de 1937 et destiné, selon le projet de 1934, à remplacer le musée du Luxembourg. Il a servi initialement à présenter une rétrospective de l'art français depuis le Moyen Âge mais sa véritable inauguration date de 1947, lors du retour des collections délocalisées au cours de la Seconde Guerre mondiale.
En 1932, confronté à l'exiguïté du musée du Luxembourg, et après l'abandon du projet d'Auguste Perret pour une cité des musées à l'emplacement du Trocadéro, l’idée de construire un musée d'Art moderne de la ville de Paris est promue par Louis Hautecœur, conservateur du musée des Artistes vivants. Le terrain choisi comprend une partie du site de l'ancienne manufacture de tapis de la Savonnerie ainsi nommée parce qu'elle s'était installée en 1627 dans un orphelinat dont les pensionnaires fabriquaient du savon.
Le projet de Jean-Claude Dondel, André Aubert, Paul Viard et Marcel Dastugue fut retenu parmi les cent vingt-huit propositions du concours d'architecture.
Celui-ci prend place sur la terrasse dominant le fleuve, en contrebas de l'escalier monumental appuyé sur la colline, qui est décoré des bas-reliefs intitulés « Allégorie à la gloire des Arts » d'Alfred Janniot et de la statue représentant « La France » d'Antoine Bourdelle.
Le palais de Tokyo est l'un des trois édifices permanents édifiés pour l'Exposition internationale de 1937. Le 24 mai 1937, le président Lebrun inaugure le palais des Musées d'art moderne remplaçant le musée du Luxembourg qui est alors fermé.
The building in question was named "Palais de Tokyo", after the "Quai de Tokioa" (now Avenue de New York) on the banks of the Seine, on which its south-east façade overlooks.
The Palais de Tokyo is, along with the Palais de Chaillot and the Palais d'Iéna, one of the three permanent buildings resulting from the 1937 International Exhibition and intended, according to the 1934 project, to replace the Musée du Luxembourg. It was initially intended to present a retrospective of French art from the Middle Ages onwards, but was actually inaugurated in 1947, when the collections relocated during the Second World War were returned.
In 1932, faced with the cramped conditions of the Musée du Luxembourg, and after the abandonment of Auguste Perret's project for a museum city on the site of the Trocadero, the idea of building a museum of modern art for the city of Paris was promoted by Louis Hautecœur, curator of the Musée des Artistes Vivants. The chosen site included part of the former Savonnerie carpet factory, so named because it had been established in 1627 in an orphanage whose boarders made soap.
The project by Jean-Claude Dondel, André Aubert, Paul Viard and Marcel Dastugue was selected from among one hundred and twenty-eight proposals in the architectural competition.
It is located on the terrace overlooking the river, below the monumental staircase supported on the hill, which is decorated with the bas-reliefs entitled "Allegory to the glory of the Arts" by Alfred Janniot and the statue representing "France" by Antoine Bourdelle.
The Palais de Tokyo was one of the three permanent buildings erected for the 1937 International Exhibition. On 24 May 1937, President Lebrun inaugurated the Palais des Musées d'Art Moderne, replacing the Musée du Luxembourg, which was then closed.
L'autel majeur, en marbre de Sarrancolin, a été mis en place en 1737. Séparé de l'autel par un étroit passage, le retable s'adosse au mausolée de saint Bertrand. De la même époque que les stalles, il a été badigeonné et doré tardivement.
À la prédelle, on découvre vingt-sept petits bas-reliefs qui ne comportent pas moins de 115 personnages de 18 centimètres de hauteur. Deux cycles s'entrecroisent dans un désordre qui n'est qu'apparent :
à la base des colonnes du retable, nous trouvons le cycle de la Vierge Marie et de la Nativité de l'enfant Jésus
dans les renfoncements du retable, le cycle de la Passion du Christ
Le désordre n'est qu'apparent, car l'artiste, ou celui qui l'a inspiré, en mélangeant ces deux cycles, illustre magnifiquement une des grandes intuitions de la théologie chrétienne : la Kénose, l'abaissement du Christ qui culmine au moment de la Passion, commence en fait dès la Nativité. Lui, qui est de condition divine n'a pas considéré comme une proie à saisir d'être l'égal de Dieu. Mais il s'est dépouillé, prenant la condition de serviteur, devenant semblable aux hommes et, par son aspect, il était reconnu comme un homme... écrira saint Paul dans son épître aux Philippiens -Ph. 2/6-7 - .
Cela n'empêche pas l'auteur d'aller chercher une partie de son inspiration du côté des Évangiles Apocryphes popularisés à partir du XIIIe siècle par la très fameuse Légende Dorée du dominicain génois Jacques de Voragine. De nombreux détails des stalles, comme des premiers tableaux de la prédelle consacrés aux parents de la Vierge Marie, Anne et Joachim, proviennent en effet de ce best-seller de la littérature populaire édifiante : vendue par les colporteurs en fascicules lue, relue, lors des veillées campagnardes jusqu’au début du XXe siècle, La Légende dorée n’en a pas moins fournie aux artistes, depuis sa parution, les attributs et symboles qui permettaient d’identifier au premier coup d’oeil les saints, les saintes, et les scènes de l’Ancien ou du Nouveau Testament.
The main altar, in Sarrancolin marble, was installed in 1737. Separated from the altar by a narrow passage, the altarpiece leans against the mausoleum of Saint Bertrand. From the same period as the stalls, it was whitewashed and gilded late.
At the predella, we discover twenty-seven small bas-reliefs which include no less than 115 characters 18 centimeters high. Two cycles intersect in a disorder that is only apparent:
at the base of the columns of the altarpiece we find the cycle of the Virgin Mary and the Nativity of the child Jesus
in the recesses of the altarpiece, the cycle of the Passion of Christ
The disorder is only apparent, because the artist, or the person who inspired him, by mixing these two cycles, magnificently illustrates one of the great intuitions of Christian theology: Kenosis, the abasement of Christ which culminates in moment of the Passion, in fact begins at the Nativity. He, who is of divine condition, did not consider it a prey to be seized to be the equal of God. But he stripped himself, taking on the condition of a servant, becoming like men and, by his appearance, he was recognized as a man... wrote Saint Paul in his epistle to the Philippians -Ph. 2/6-7 - .
This does not prevent the author from seeking some of his inspiration from the Apocryphal Gospels popularized from the 13th century onwards by the very famous Golden Legend by the Genoese Dominican Jacques de Voragine. Many details of the stalls, such as the first paintings in the predella devoted to the parents of the Virgin Mary, Anne and Joachim, come from this bestseller of edifying popular literature: sold by peddlers in booklets read, reread, during From country vigils to the beginning of the 20th century, La Légende Dorée has nonetheless provided artists, since its publication, with the attributes and symbols that made it possible to identify at first glance the saints, the saints, and scenes from the Old or New Testament.
The building’s origin lies with the Brethren of Communal Life, who lived here rather modestly around 1436 and rebuilt their home to an impressive church.
In 1569 the complex was rebuilt into an episcopal palace of the first bishop of Groningen and Drenthe. After he deceased, the palace was again rebuilt, this time into the ‘Herenhof’ (Master’s Court), which was home to the governor George Lalaing. This was the beginning of Prinsenhof’s history of being the governors’ residence, among which the princes of Orange-Nassau. In the 17th century, the Prinsentuin, the garden, was edified. The letters W and A, which you can find in the current garden’s box hedges, stem from governor Willem Frederik and his wife Albertine Agnes.
After the last governor left in 1795 as a consequence of the French Revolution, the Prinsenhof was used as a military hospital until 1905. During WWI, the military police stayed at the Prinsenhof.
One of my goals post-hip surgery is to do more environmental portraits of my wonderful travel companions and photo buddies as well as some of the marvelous photographers I've been fortunate enough to meet on scene. Such talent and wonderful times to celebrate!
Garnering one of the initial places of honor in the Spirit Dancing portrait archive is Paul Porter, aka Protagonisto here on Flickr, as well as Lone Pine Gang "Photofool" and protector of "Lucy" our Totem Benefactress at Camp Grok in the Alabama Hills. He is also devoted husband to his beloved wife, Marina and a father who puts family at the top of his priorities.
Although we'd met through Flickr, then Facebook, and had been corresponding online for quite a while, we met in person for the first time this past April in Lone Pine. Since then, he has become one of my dearest friends, and although I believe he coined the marvelous expression "photofool", he's no fool when it comes to having an eye for a great composition and the ability to become completely immersed in the moment.
He's also one of the finest writers I've ever known. Getting a comment from him on an image is a work of art in itself. (I confess I've actually collected the comments he's so generously left for me and put them into a document I can look at whenever I feel frustrated or discouraged. His ever-so-poetic prose re-inspires me to get out there and keep the passion and creativity flowing.)
On a more personal level, our humor-laced conversations have on occasion become so deeply profound that I feel as though I've known him for lifetimes, and who knows, perhaps I have. I've certainly learned so much more about myself as an artist and as a spiritual being on an oft-times challenging, always edifying, human journey.
Thank you, Paul. Because of you, I see even more of the world with my heart as well as my eyes. Here's to many more adventures!
Rien ne saurait être trop beau pour Mumtaz Mahal, "l'élue du palais", de son vrai nom Arjumand Bânu Begam.
Issue de la noblesse perse, elle se fiance à l'âge de 14 ans avec le prince Khurram qui deviendra l'empereur Moghol Shah Jahan.
Mariée à 19 ans, elle est la 3ème épouse de l'empereur mais deviendra aussitôt sa favorite, le suivant dans tous ses déplacements, contrairement à la tradition de l'époque. Ce couple est emblématique de par la profondeur et la pérennité de l'amour qui lie les époux l'un à l'autre. Mumtaz mettra au monde 14 enfants (un par année pour les 8 premiers, puis chaque 2 ans pour les suivants).
Elle meurt en mettant au monde son 14ème enfant, durant une campagne militaire sur le plateau du Deccan, en 1631, à l'âge de 37 ans. Fou de douleur d'avoir perdu "la lumière de ses yeux", Shah Jahan consacrera les 22 années suivantes à lui faire construire un mausolée à la hauteur de la passion qui les liait.
L'empereur sillonne le pays pour trouver l'architecte idéal et finit par le trouver à Lahore. Il s'agit de Ustad Ahmad Lahauri. L'histoire raconte que Shah Jahan, pour faire comprendre à l'architecte l'intensité du chagrin qui était le sien, et donc le rendre capable d'édifier un mausolée qui en soit digne, n'a rien trouvé de mieux que de faire tuer la jeune épouse de l'architecte (enceinte à leur arrivée à Agra) !!!
Les travaux ont duré 22 ans et vidé les caisses du royaume. De très nombreux ouvriers y ont laissé leur vie.
En 1658, l'un de de ses fils, Aurangzeb, qui s'est emparé du pouvoir, fait emprisonner Shah Jahan au fort d'Agra jusqu'à sa mort, en 1666. De sa chambre, il pouvait admirer le Taj Mahal.......
__________________________________________________
Nothing could be too good for Mumtaz Mahal, "the elect of the palace", whose real name is Arjumand Bânu Begam.
From the Persian nobility, she became engaged at the age of 14 with Prince Khurram who became the Mughal Emperor Shah Jahan.
Married at the age of 19, she is the Emperor's third wife, but will immediately become his favorite, the next in all his travels, contrary to the tradition of the time. This couple is emblematic of the depth and durability of the love that binds the couple to each other. Mumtaz will give birth to 14 children (one per year for the first 8, then every 2 years for the next).
She died giving birth to her 14th child during a military campaign on the Deccan Plateau in 1631 at the age of 37. Mad with pain of having lost "the light of his eyes", Shah Jahan will dedicate the next 22 years to make him build a mausoleum at the height of the passion which bound them.
The emperor travels the country to find the ideal architect and ends up finding it in Lahore. This is Ustad Ahmad Lahauri. The story tells that Shah Jahan, to make the architect understand the intensity of the grief that was his, and thus make it able to build a mausoleum that is worthy, has found nothing better than to do kill the young wife of the architect (pregnant on arrival in Agra).
The work lasted 22 years and emptied the caisses of the kingdom. Many workers have left their lives.
In 1658, one of the sons, Aurangzeb, who took power, imprisoned Shah Jahan at Agra Fort until his death in 1666. From his room, he could admire the Taj Mahal. ...
Self-portrait using a cable shutter release. The X-Pro1 does have AF, but no face or eye recognition, so one has to set up the camera before shooting. One LED daylight lamp and one LED spotlight; edited in Fuji's raw converter and refined in Luminar. Self-portraits are not always edifying. When you release the shutter, you may release the shudder too.
is simply to reproduce in other minds the impression which a scene has made upon him. a work of art does not appeal to the intellect. it does not appeal to the moral sense. its aim is to instruct, not to edify, but to awaken an emotion. [george innes quote]
[droid-a-day keeps the doctor away... ]
L'autel majeur, en marbre de Sarrancolin, a été mis en place en 1737. Séparé de l'autel par un étroit passage, le retable s'adosse au mausolée de saint Bertrand. De la même époque que les stalles, il a été badigeonné et doré tardivement.
À la prédelle, on découvre vingt-sept petits bas-reliefs qui ne comportent pas moins de 115 personnages de 18 centimètres de hauteur. Deux cycles s'entrecroisent dans un désordre qui n'est qu'apparent :
à la base des colonnes du retable, nous trouvons le cycle de la Vierge Marie et de la Nativité de l'enfant Jésus
dans les renfoncements du retable, le cycle de la Passion du Christ
Le désordre n'est qu'apparent, car l'artiste, ou celui qui l'a inspiré, en mélangeant ces deux cycles, illustre magnifiquement une des grandes intuitions de la théologie chrétienne : la Kénose, l'abaissement du Christ qui culmine au moment de la Passion, commence en fait dès la Nativité. Lui, qui est de condition divine n'a pas considéré comme une proie à saisir d'être l'égal de Dieu. Mais il s'est dépouillé, prenant la condition de serviteur, devenant semblable aux hommes et, par son aspect, il était reconnu comme un homme... écrira saint Paul dans son épître aux Philippiens -Ph. 2/6-7 - .
Cela n'empêche pas l'auteur d'aller chercher une partie de son inspiration du côté des Évangiles Apocryphes popularisés à partir du XIIIe siècle par la très fameuse Légende Dorée du dominicain génois Jacques de Voragine. De nombreux détails des stalles, comme des premiers tableaux de la prédelle consacrés aux parents de la Vierge Marie, Anne et Joachim, proviennent en effet de ce best-seller de la littérature populaire édifiante : vendue par les colporteurs en fascicules lue, relue, lors des veillées campagnardes jusqu’au début du XXe siècle, La Légende dorée n’en a pas moins fournie aux artistes, depuis sa parution, les attributs et symboles qui permettaient d’identifier au premier coup d’oeil les saints, les saintes, et les scènes de l’Ancien ou du Nouveau Testament.
The main altar, in Sarrancolin marble, was installed in 1737. Separated from the altar by a narrow passage, the altarpiece leans against the mausoleum of Saint Bertrand. From the same period as the stalls, it was whitewashed and gilded late.
At the predella, we discover twenty-seven small bas-reliefs which include no less than 115 characters 18 centimeters high. Two cycles intersect in a disorder that is only apparent:
at the base of the columns of the altarpiece we find the cycle of the Virgin Mary and the Nativity of the child Jesus
in the recesses of the altarpiece, the cycle of the Passion of Christ
The disorder is only apparent, because the artist, or the person who inspired him, by mixing these two cycles, magnificently illustrates one of the great intuitions of Christian theology: Kenosis, the abasement of Christ which culminates in moment of the Passion, in fact begins at the Nativity. He, who is of divine condition, did not consider it a prey to be seized to be the equal of God. But he stripped himself, taking on the condition of a servant, becoming like men and, by his appearance, he was recognized as a man... wrote Saint Paul in his epistle to the Philippians -Ph. 2/6-7 - .
This does not prevent the author from seeking some of his inspiration from the Apocryphal Gospels popularized from the 13th century onwards by the very famous Golden Legend by the Genoese Dominican Jacques de Voragine. Many details of the stalls, such as the first paintings in the predella devoted to the parents of the Virgin Mary, Anne and Joachim, come from this bestseller of edifying popular literature: sold by peddlers in booklets read, reread, during From country vigils to the beginning of the 20th century, La Légende Dorée has nonetheless provided artists, since its publication, with the attributes and symbols that made it possible to identify at first glance the saints, the saints, and scenes from the Old or New Testament.
Au XVIIe siècle, les architectes sont soumis à des règles strictes de hauteur et de qualité des décors quant à la construction de nouvelles bâtisses. Le rang de maisons est à la mode et participe dès lors à la création d’un nouvel espace urbain, soucieux d’ordre et pourvu d’une valeur décorative accrue. C’est dans ce contexte architectural et urbain que les bourgeois de Lille, alors espagnole, requièrent auprès du roi Philippe IV d’Espagne le droit d’édifier sur la Grand Place une Bourse de Commerce. Le programme général ordonne 24 maisons privées autour d’une cour intérieure publique, bordée d’une galerie.
L’œil est attiré par la variété infinie de cariatides qui ornent les pilastres. La même opulence se retrouve dans le décor des fenêtres, aux frontons tantôt courbés tantôt triangulaires, ornés de cartouches, de guirlandes et de fruits charnus, à la manière de la Renaissance flamande. Les lions de Flandre sculptés sur les portails rappellent l’appartenance de Lille aux Pays-Bas. Aujourd’hui, sur les quatre côtés du bâtiment et au-dessus des fenêtres du deuxième étage, sont peints dans des cartouches aux couleurs vives les blasons d’entreprises contemporaines ayant participé à sa dernière rénovation à la fin du XXe siècle.
Source: www.lilletourism.com/explorer/lille-et-ses-environs/musee...
-------------
In the 17th century, architects were subject to strict rules regarding height and decorative quality when constructing new buildings. Rows of houses were fashionable and thus contributed to the creation of a new urban space, attentive to order and endowed with increased decorative value. It was in this architectural and urban context that the bourgeoisie of Lille, then Spanish, requested from King Philip IV of Spain the right to build a Bourse de Commerce on the Grand Place. The general program ordered 24 private houses around a public interior courtyard, bordered by a gallery.
The eye is drawn to the infinite variety of caryatids that adorn the pilasters. The same opulence is found in the decoration of the windows, with their pediments, sometimes curved, sometimes triangular, adorned with cartouches, garlands, and fleshy fruits, in the manner of the Flemish Renaissance. The lions of Flanders sculpted on the portals recall Lille's belonging to the Netherlands. Today, on the four sides of the building and above the windows of the second floor, the coats of arms of contemporary companies that participated in its last renovation at the end of the 20th century are painted in brightly colored cartouches.
La chapelle Notre-Dame-des-Sans-Logis-et-de-Tout-le-Monde est une chapelle située sur le territoire de la commune de Noisy-le-Grand.
Bâtie en 1957 sur le lieu-dit "Château de France" et déplacée en 1970, la chapelle ressemble à une hutte et rappelle les abris sommaires mis en place pour abriter des familles sans habitation après l’hiver 1954. Sa construction a été rendue possible grâce au financement de l'acteur britannique Charlie Chaplin.
Les pratiquants de la paroisse Saint Sulpice de Noisy éprouvant de la répulsion au contact des familles du camp, le père Joseph Wresinski décide d'édifier une chapelle qui sera la leur. Elle est donc construite avec l'aide des habitants du camp des sans-logis au plus haut du terrain. Les bâtisseurs sont les bénévoles de divers pays, des non-croyants et croyants de différentes religions.
Monique Midy, peintre et sculpteur en sera le maître d'œuvre. L'architecture rappelle la forme des "igloos" et la structure est constituée des mêmes matériaux trouvés et utilisés, à l'époque, par les sans-logis pour la construction de leurs abris de fortune: Des moellons, du bois, des galets qui serviront de dalles pour le sol, des bouts de tôles dont la plupart ont été récupérés dans une décharge.
Le 29 avril 2016, elle est classée au titre des monuments historiques.
The Notre-Dame-des-Sans-Logis-et-de-Tout-le-Monde chapel is a chapel located in the commune of Noisy-le-Grand.
Built in 1957 on the site known as "Château de France" and moved in 1970, the chapel resembles a hut and is reminiscent of the rough shelters set up to house homeless families after the winter of 1954. Its construction was made possible by funding from the British actor Charlie Chaplin.
The parishioners of Saint Sulpice de Noisy were repulsed by contact with the families in the camp, so Father Joseph Wresinski decided to build a chapel for them. It was built with the help of the inhabitants of the homeless camp at the top of the hill. The builders are volunteers from various countries, non-believers and believers of different religions.
Monique Midy, painter and sculptor, will be the master builder. The architecture is reminiscent of the shape of "igloos" and the structure is made of the same materials found and used, at the time, by the homeless for the construction of their makeshift shelters: rubble stones, wood, pebbles which will be used as slabs for the floor, pieces of metal sheeting, most of which were recovered from a dump.
On 29 April 2016, it was classified as a historical monument.
惟 用 愛 心 說 誠 實 話 、 凡 事 長 進 、 連 於 元 首 基 督 ．
But speaking the truth in love, may grow up into him in all things, which is the head, even Christ:
全 身 都 靠 他 聯 絡 得 合 式 、 百 節 各 按 各 職 、 照 著 各 體 的 功 用 、 彼 此 相 助 、 便 叫 身 體 漸 漸 增 長 、 在 愛 中 建 立 自 己 。
From whom the whole body fitly joined together and compacted by that which every joint supplieth, according to the effectual working in the measure of every part, maketh increase of the body unto the edifying of itself in love.
Cologne cathedral; (Germany)
edified 1248 till 1880, masterwork Gothic architecture;
This photo is better you look large version!
Hohe Dom- und Metropolitankirche zu Köln Sankt Petrus und Sankt Maria
Deutsch & English
Won!!!
Καταπολέμηση νόμων κρέμονται κανόνες σίγαση χορδές που λαμβάνουν σύγχρονη φρέσκια μουσική edifying μυαλά εκλεκτική ενώσεις δόγμα αέρα,
transformations excès musique artistique volontaire poésie laborieuse douleurs colossales travaux damnés travail de compositeur averti protestations fort,
orchestrale produktionen unabhängige freuden abstrakte sonate schwierige probleme die ankündigung von revolutionen der gewissenhaften theorie flackert falscher nebel,
la semplicità della società d'oro vivido desideri maltrattamenti restrizioni liriche eccezioni fantastiche disgustosi nemici salto professionale,
SNOBS latrans exsanguis terreat, et deinceps ingentes artus totius corporis diabolicas volubilisque vulgarians caricatures answering animarum litterarum pactiones,
أرباع متحمسين إنتاج تدهور حركة المرور الغريبة وجهات النظر الساخرة من الصعب الفن الحيل الغرق يبتسم السماء,
平凡な弁護士神秘主義の墓参り現在の巨大な強み飲み込む声勝利作家蓄音機星.
Steve.D.Hammond.
Le château de Cassis est un ancien château fort de l'Empire carolingien du VIIIe siècle. Bâti sur une falaise qui surplombe le port de la cité, la mer Méditerranée, le vignoble de cassis, entre les Calanques et le Cap Canaille, à 20 km au sud-est de Marseille.
Au VIIIe siècle durant la conquête musulmane de la péninsule Ibérique, et les invasions sarrasines de l'Empire carolingien, une première enceinte fortifiée est construite, dont subsiste à ce jour une tour dite « sarrasine ». En 1223 la puissante famille des seigneurs des Baux prend possession de la seigneurie de Cassis et de son château. Durant la guerre de Cent Ans (1337 à 1453) ils font édifier l'enceinte actuelle : un ensemble de murailles et quatre tours carrées de 8,5 m de haut autour de plusieurs dizaines d´habitations pour renforcer ses défenses maritimes. Un puits à eau au milieu de la cour, un four à pain, et une église dédiée à l'archange saint Michel sont construits entre 1372 et 1380. Le blason des seigneurs des Baux (une étoile à 16 rayons) subsiste depuis, au-dessus de la porte principale du château. En 1426 Cassis est rattaché au Comté de Provence de Louis III d'Anjou. En 1473 le roi René d'Anjou (frère du précédent) transmet la seigneurie de Cassis aux évêques de Marseille jusqu'à la Révolution française de 1789 (la crosse épiscopale des armoiries de la ville, témoignent de cette époque). En 1524 l'empereur du Saint-Empire romain germanique Charles Quint fait détruire le château et met la cité à feu et à sang. À la fin du XVIIe siècle le comte de Grignan, gouverneur adjoint de la province, renforce les défenses du château et y fait installer de nouveaux canons d'artillerie. Au XVIIIe siècle Cassis s'étend au-delà de ses remparts, et se développe autour du port. Le 10 février 1794, le jeune général Bonaparte fait une halte historique au château pour inspecter les batteries militaires de l'armée française, qui seront détruites le 17 avril 1813 par un commando de la Royal Navy.
The castle of Cassis is a former fortified castle of the Carolingian Empire from the 8th century. Built on a cliff overlooking the port of the city, the Mediterranean Sea, the Cassis vineyard, between the Calanques and Cap Canaille, 20 km south-east of Marseille. In the 8th century during the Muslim conquest of the Iberian Peninsula, and the Saracen invasions of the Carolingian Empire, a first fortified enclosure was built, of which a so-called "Saracen" tower remains to this day. In 1223 the powerful family of the lords of Les Baux took possession of the lordship of Cassis and its castle. During the Hundred Years War (1337 to 1453) they built the current enclosure: a set of walls and four square towers 8.5 m high around several dozen dwellings to strengthen its maritime defences. A water well in the middle of the courtyard, a bread oven, and a church dedicated to the Archangel Saint Michael were built between 1372 and 1380. The coat of arms of the lords of Les Baux (a star with 16 rays) has survived since, above the main gate of the castle. In 1426 Cassis was attached to the County of Provence of Louis III of Anjou. In 1473 King René of Anjou (brother of the previous) transmitted the lordship of Cassis to the bishops of Marseille until the French Revolution of 1789 (the episcopal crosier of the coat of arms of the city, testifies to this period). In 1524 the Holy Roman Emperor Charles V had the castle destroyed and set the city on fire. At the end of the 17th century, the Count of Grignan, deputy governor of the province, reinforced the castle's defenses and had new artillery guns installed there. In the 18th century Cassis extended beyond its ramparts and developed around the port. On February 10, 1794, the young General Bonaparte made a historic stop at the castle to inspect the military batteries of the French army, which were destroyed on April 17, 1813 by a Royal Navy commando.
Tourism enjoyed a great success until 1914, thanks in particular to the presence of the castle and the spa establishment; but the site's popularity declines after the transformation of the Hotel des Bains into a military hospital during the First World War, during which Pierrefonds hosts fewer travelers. The passenger line is closed in 1940; freight traffic ceases in 1966 and the line is dismantled the following year. In 1977, the municipality sold the station and the surrounding 6 hectares. The passenger building is listed in the Supplementary Inventory of Historic Monuments the same year. The castle, which receives many visitors each year, is partially occupied by the National Archives. Today, free visit or guided tour, the castle is open to the public. Since 2008, "the ball of the recumbent" leads the public in the authentic cellars of the castle.
Le tourisme connait un fort succès jusqu’en 1914, grâce, notamment, à la présence du château et de l’établissement thermal ; mais la fréquentation du site décline après la transformation de l’Hôtel des Bains en hôpital militaire durant la Première Guerre Mondiale, période au cours de laquelle Pierrefonds accueille moins de voyageurs. La ligne du trafic voyageurs est fermée en 1940 ; le trafic marchandises cesse en 1966 et la ligne est démantelée l’année suivante. En 1977, la municipalité vend la gare et les 6 hectares l’entourant. Le bâtiment des voyageurs est inscrit à l’Inventaire Supplémentaire des Monuments Historiques la même année. Le château, qui reçoit de nombreux visiteurs chaque année, est partiellement occupé par les Archives nationales. Aujourd’hui, visite libre ou visite guidée, le château est ouvert au public. Depuis 2008, « le bal des gisants » entraîne le public dans les caves authentiques du château.
Source : Picardia
Thanks Edified for modeling with me ;)
Group Gifts - Little Bones & SU!
Jumpsuit & Shoes Ricielli 15L. what a steal!!
Stowe Landscape Gardens, Buckinghamshire.
Classical Ionic temple originally known as The Grecian Temple comprising a pedimented portico leading to an internal cella and flanked by a peristyle. Built between 1747-9, modified between 1751-55, and re-edified as Temple of Concord and Victory between 1761-64. Built according to strict archaeological principles. Restored to 1760s arrangement by N.T. between 1994- 96. Site:150281*0 [National Trust Heritage Records].
Hefty lunar magnetism edifies cosmic Caribbean style beach break on Scotland’s Ardnamurchan peninsula (it’s as far west as you can travel on the British mainland, apparently). That’s where the comparison ends though, as here the chilly water temperature means even the local penguins* swim through grimaced teeth. (*Escaped penguins from Edinburgh Zoo)
Listen along with 'Hebridean Hale-Bop' by Cappercaillie
open.spotify.com/track/5mVVTeviUV7imOW6NLhw50?si=00d73db1...
Finally, I made it out to take pictures somewhere other than my back garden. Only as far as Bognor beach but that beats doing nothing. Of course, at this time of year, the sun is in completely the wrong place, (or more to the point I was) for a decent sunset over the beach. The town isn't pretty enough to carry a glorious sunset on its shoulders. The fabulous pinks that came as I was driving home were blazing above building sites and peoples houses. Not that edifying. Hope you like this though.
The building was constructed from 1933 to 1937 following plans of architect Paul Ludwig Troost as the Third Reich's first monumental structure of Nazi architecture and as Nazi propaganda. The museum, then called Haus der Deutschen Kunst ("House of German Art"), was opened on 18 July 1937 as a showcase for what the Third Reich regarded as Germany's finest art. The inaugural exhibition was the Große Deutsche Kunstausstellung ("Great German art exhibition"), which was intended as an edifying contrast to the condemned modern art on display in the concurrent Degenerate Art Exhibition.
Le monastère royal de Brou est un complexe religieux situé à Bourg-en-Bresse dans le département de l'Ain, en région Auvergne-Rhône-Alpes.
Ses bâtiments monastiques abritent le musée municipal de Bourg-en-Bresse.
Le monastère royal de Brou est un chef-d'œuvre de style gothique brabançon du début du xvie siècle. Il se compose d'un ensemble de bâtiments monastiques construits entre 1506 et 1512, et de l'église Saint-Nicolas-de-Tolentin de Brou, édifiée de 1513 à 1532 sur les plans de Louis van Bodeghem dont c'est la seule réalisation connue en dehors des anciens Pays-Bas.
Cet ensemble architectural rare a été bâti à grands frais par la très puissante Marguerite d'Autriche, duchesse de Savoie, gouvernante des Pays-Bas bourguignons, marraine et tante de Charles Quint.
Elle fit édifier l'ensemble en mémoire de son époux Philibert le Beau et pour respecter le vœu fait par sa belle-mère Marguerite de Bourbon, pour y abriter son tombeau, celui de sa mère et le sien propre
-----------------------------------------------------------------------------------------
The Royal Monastery of Brou is a religious complex located in Bourg-en-Bresse in the department of Ain, in the Auvergne-Rhône-Alpes region.
Its monastic buildings house the municipal museum of Bourg-en-Bresse.
The Royal Monastery of Brou is a masterpiece of Brabant Gothic style from the early sixteenth century. It consists of a set of monastic buildings built between 1506 and 1512, and the church of Saint-Nicolas-de-tolentin de Brou, built from 1513 to 1532 on the plans of Louis van Bodeghem, of which it is the only known achievement outside the ancient Netherlands.
This rare architectural ensemble was built at great expense by the powerful Margaret of Austria, Duchess of Savoy, governess of the Burgundian Netherlands, godmother and aunt of Charles V.
She built the whole in memory of her husband Philibert le Beau and to respect the wish made by her mother-in-law Marguerite de Bourbon, to shelter her tomb, that of her mother and her own
The Power And Electricity
The power and electricity
In order to turn things on
Have the determination
To make your mind strong
Continue to edify yourself
Soar to the sky
Be driven from within
You can do it, just aim high
The Brooklyn Six Project
Benjamin Franklin who invented the electricity from the flow of electrons.
En 1587, Raymond Phélypeaux d'Herbault fait édifier un premier hôtel.
Le 22 juin 1769, Alexandre-Jean Boula de Mareüil, avocat général en la Cour des Aides de Paris, fait l'acquisition de l'hôtel de Fieubet auprès d'Elisabeth Roussel, veuve du fermier général Dedelay de La Garde.
En 1676, l'hôtel est acquis par le chancelier de la reine Marie-Thérèse, Gaspard Fieubet. Celui-ci le fait rénover et décorer par Le Sueur et Vicotte suivant des plans de Jules Hardouin-Mansart. Les travaux s'achèvent en 1681.
Le 22 juin 1769, Alexandre-Jean Boula de Mareüil, avocat général en la Cour des Aides de Paris, fait l'acquisition de l'hôtel de Fieubet auprès d'Elisabeth Roussel, veuve du fermier général Dedelay de La Garde. L'hôtel reste propriété de la famille Boula jusqu'en 1816.
En 1816, l’hôtel est utilisé comme raffinerie de sucre.
En 1857, il est acheté par le comte de Lavalette qui le fait transformer par Jules Gros dans un style néo-baroque italo-espagnol, notamment pour les façades sur rue et sur cour.
Depuis 1877, l’école Massillon y est installée.
(Wikipedia)
In 1587, Raymond Phélypeaux d'Herbault had a first hotel built.
On June 22, 1769, Alexandre-Jean Boula de Mareüil, Advocate General in the Court of Aid of Paris, acquired the Hôtel de Fieubet from Elisabeth Roussel, widow of the farmer general Dedelay de La Garde.
In 1676, the hotel was acquired by the Chancellor of Queen Marie-Thérèse, Gaspard Fieubet. He had it renovated and decorated by Le Sueur and Vicotte according to plans by Jules Hardouin-Mansart. The work was completed in 1681.
On June 22, 1769, Alexandre-Jean Boula de Mareüil, Advocate General in the Court of Aid of Paris, acquired the Hôtel de Fieubet from Elisabeth Roussel, widow of the farmer general Dedelay de La Garde. The hotel remained in the property of the Boula family until 1816.
In 1816 the hotel was used as a sugar refinery.
In 1857, it was bought by the Comte de Lavalette, who had it transformed by Jules Gros in an Italian-Spanish neo-baroque style, in particular for the facades on the street and on the courtyard.
Since 1877, the Massillon school has been located there.
L'autel majeur, en marbre de Sarrancolin, a été mis en place en 1737. Séparé de l'autel par un étroit passage, le retable s'adosse au mausolée de saint Bertrand. De la même époque que les stalles, il a été badigeonné et doré tardivement.
À la prédelle, on découvre vingt-sept petits bas-reliefs qui ne comportent pas moins de 115 personnages de 18 centimètres de hauteur. Deux cycles s'entrecroisent dans un désordre qui n'est qu'apparent :
à la base des colonnes du retable, nous trouvons le cycle de la Vierge Marie et de la Nativité de l'enfant Jésus
dans les renfoncements du retable, le cycle de la Passion du Christ
Le désordre n'est qu'apparent, car l'artiste, ou celui qui l'a inspiré, en mélangeant ces deux cycles, illustre magnifiquement une des grandes intuitions de la théologie chrétienne : la Kénose, l'abaissement du Christ qui culmine au moment de la Passion, commence en fait dès la Nativité. Lui, qui est de condition divine n'a pas considéré comme une proie à saisir d'être l'égal de Dieu. Mais il s'est dépouillé, prenant la condition de serviteur, devenant semblable aux hommes et, par son aspect, il était reconnu comme un homme... écrira saint Paul dans son épître aux Philippiens -Ph. 2/6-7 - .
Cela n'empêche pas l'auteur d'aller chercher une partie de son inspiration du côté des Évangiles Apocryphes popularisés à partir du XIIIe siècle par la très fameuse Légende Dorée du dominicain génois Jacques de Voragine. De nombreux détails des stalles, comme des premiers tableaux de la prédelle consacrés aux parents de la Vierge Marie, Anne et Joachim, proviennent en effet de ce best-seller de la littérature populaire édifiante : vendue par les colporteurs en fascicules lue, relue, lors des veillées campagnardes jusqu’au début du XXe siècle, La Légende dorée n’en a pas moins fournie aux artistes, depuis sa parution, les attributs et symboles qui permettaient d’identifier au premier coup d’oeil les saints, les saintes, et les scènes de l’Ancien ou du Nouveau Testament.
The main altar, in Sarrancolin marble, was installed in 1737. Separated from the altar by a narrow passage, the altarpiece leans against the mausoleum of Saint Bertrand. From the same period as the stalls, it was whitewashed and gilded late.
At the predella, we discover twenty-seven small bas-reliefs which include no less than 115 characters 18 centimeters high. Two cycles intersect in a disorder that is only apparent:
at the base of the columns of the altarpiece we find the cycle of the Virgin Mary and the Nativity of the child Jesus
in the recesses of the altarpiece, the cycle of the Passion of Christ
The disorder is only apparent, because the artist, or the person who inspired him, by mixing these two cycles, magnificently illustrates one of the great intuitions of Christian theology: Kenosis, the abasement of Christ which culminates in moment of the Passion, in fact begins at the Nativity. He, who is of divine condition, did not consider it a prey to be seized to be the equal of God. But he stripped himself, taking on the condition of a servant, becoming like men and, by his appearance, he was recognized as a man... wrote Saint Paul in his epistle to the Philippians -Ph. 2/6-7 - .
This does not prevent the author from seeking some of his inspiration from the Apocryphal Gospels popularized from the 13th century onwards by the very famous Golden Legend by the Genoese Dominican Jacques de Voragine. Many details of the stalls, such as the first paintings in the predella devoted to the parents of the Virgin Mary, Anne and Joachim, come from this bestseller of edifying popular literature: sold by peddlers in booklets read, reread, during From country vigils to the beginning of the 20th century, La Légende Dorée has nonetheless provided artists, since its publication, with the attributes and symbols that made it possible to identify at first glance the saints, the saints, and scenes from the Old or New Testament.
.🇫🇷..../ suite..... Puis, après la croisade contre les Albigeois, au milieu du XIIIème siècle, le bourg est réaménagé en bastide,(*) en raison de son positionnement stratégique dans le Midi. C’est Alphonse de Poitiers, frère du roi Saint Louis, qui y fait édifier le château royal sur les bases du précédent. Najac devient alors une ville importante : c’est le siège de la sénéchaussée du Rouergue, jusqu’à ce que celle-ci ne s’installe à Villefranche-de-Rouergue.
(*) une bastide est construite à partir d'un plan d'agglomération, conçu pour mettre le marché au cœur de la cité.
🇬🇧 ..../ more..... Then, after the crusade against the Albigensians, in the middle of the 13th century, the town was redeveloped as a bastide(*) because of its strategic position in the Midi. It was Alphonse de Poitiers, brother of King Saint Louis, who had the royal castle built there on the foundations of the previous one. Najac then became an important town: it was the seat of the Seneschaussée of Rouergue, until the Seneschaussée moved to Villefranche-de-Rouergue.
(*) A bastide town is built according to an urban plan, designed to place the market at the heart of the town.
🇩🇪 ..../ suite..... Nach dem Kreuzzug gegen die Albigenser Mitte des 13. Jahrhunderts wurde der Ort aufgrund seiner strategischen Lage im Süden zu einer Bastide umgestaltet(*). Alphonse de Poitiers, der Bruder des Königs Saint Louis, ließ dort auf den Grundmauern des vorherigen Schlosses das königliche Schloss errichten. Najac wurde zu einer wichtigen Stadt: Es war der Sitz des Seneschalls des Rouergue, bis dieser nach Villefranche-de-Rouergue umzog.
(*) Eine Bastide wurde auf der Grundlage eines Siedlungsplans errichtet, der darauf ausgelegt war, den Markt in den Mittelpunkt der Stadt zu stellen.
🇪🇸 ..../ más..... Posteriormente, tras la cruzada contra los albigenses, a mediados del siglo XIII, la ciudad se reconvirtió en bastida(*) debido a su posición estratégica en el Midi. Fue Alfonso de Poitiers, hermano del rey San Luis, quien hizo construir allí el castillo real sobre los cimientos del anterior. Najac se convirtió entonces en una ciudad importante: fue la sede de la Seneschaussée de Rouergue, hasta que ésta se trasladó a Villefranche-de-Rouergue.
(*) Una ciudad bastida se construye según un plan urbanístico, concebido para situar el mercado en el centro de la ciudad.
Villa Trissino Marzotto
(North-east Italy, Veneto region, near Vicenza, on Iberici hills)
was built on an ancient fortress, from which it dominates a park and the surrounding landscape. The original building was edified by a family of Germanic origins, the Trissinos, who arrived in the Vicenza area during the 11th century; the fortress was transformed into a Venetian Villa in the 18th century by the architect Mattoni. The Villa was inherited by the Da Porto earls and, in 1951, the estate – abandoned and damaged during WWII – was purchased by the Earl Giannino Marzotto, who restored it to its original splendor. The Villa hosts frescoes, statues, a collection of Pannemaker tapestry pieces commissioned by the Gonzagas, drawings on cardboard by Raffaello and Giulio Romano, as well as a collection of Macchiaioli paintings. The historical gardens feature centuries-old plants, alleys lined with trees and a pond. Today Villa Trissino Marzotto is open to visitors for guided tours, educational activities, exhibitions and events. The Villa also hosts a winery.
FOR MORE INFORMATIONS:
villevenetetour.com/en/villas/50/villa-trissino-marzotto....
The building in my photo is the upper villa which is located inside the upper garden; This building was burnt several times in mysterious circumstances and many times rebuilt but each time burnt again...
it is like a romantic ruin making a magic scenery in this part of the large garden...
THE MYSTERY BEGINS AND ENDS HERE...
EACH TIME A NEW MYSTERIOUS PROJECT.....
*************************************************************************************
“It is an illusion that photos are made with the camera…
they are made with the eye, heart and head.”
[Henry Cartier Bresson]
*************************************************************************************
Please don't use any of my images on websites, blogs or other media without my explicit written permission.
© All rights reserved
Was aimlessly scrolling youtube video thumbnails back in mid-January. That's what it's come to for me lately. An attention span too short to even watch a ten minute video, I'm reduced to scrolling the thumbnails of recommended videos. Often that's as edifying as watching the actual clip. Every once in a while I stumble upon a thumbnail tantalizing enough to open. One that caught my eye was a horoscope video for Capricorn (my birth sign). These are normally glib and way over-promise specific (generally wonderful) outcomes. But this one was not that. Quite the opposite it cautioned of an imminent and drastic change in my life. It seemed Pluto was closely conjoined with my birth sign at the time of the new moon. Pluto can often bring about a feeling of purging; sort of a creative destruction, hopefully leading to a regeneration. Great in theory but rooted in an underlying ordeal. I tried to take this with a grain of salt. But my apprehension began to grow as the date of the new moon drew near. I remember being very cautious that day trying hard not to be careless or inattentive lest I cause my own hardship. The day passed without incident and I felt relieved.
Two more care-free days and by then I had pretty much forgotten the video. But disaster struck on the third day. I was processing a photo when I noticed a dramatic slowdown in my computer. Didn't think much of it until I began hearing a clicking sound emanating from inside the machine. The hard drive had corrupted! Panic began to set in as I realized my entire photo archive was in jeopardy. I took stock of my file backup situation and it was virtually nonexistent. Some files existed in the cloud, and some on a backup computer. But I had become complacent on routine backup, and had procrastinated setting up a safety net. I'd been skating on thin ice for years and it finally caught up with me. I rebuilt the system and was able to restore a few thousand images from SD cards, and thousands more from iPhone. Yet tens of thousands of images had simply vanished. There is some hope that files from the old hard drive can be recovered. But I've resigned myself to the probability that they will not. This acceptance did not come overnight. The archives was vast and there was just no way to absorb the extent of the loss all at once. Every few hours I would recall another shoot that was lost, and these pangs kept hitting me like a series of waves, one after another. They're still coming, but less frequently. I assume this all happened for good reason. Much the way the universe guided me to take the photos in the first place, perhaps this was its way of telling me it was time to let go and head in a new direction. That's fine, I put my faith in the universe. But I now also have a 2Tb external drive backing up every pixel I create, just in case the universe decides I need another intervention.
In the midst of getting my system running again (also a huge ordeal that could have been avoided with a proper backup), I inadvertently smashed this antique doll. Something in my hatchback fell onto a box full of dolls and I heard a pop as if a lightbulb had shattered. I couldn't imagine what had caused the sound because the dolls were all cloth and plastic. But when I looked into the box I found one doll's head was made of porcelain and of course that's the one that shattered. Remarkably the face was largely intact. I carefully gathered all the fragments in hopes of gluing them back together. But much like my photo archives, I realized that neither would ever be the same.
Le château de Cassis est un ancien château fort de l'Empire carolingien du VIIIe siècle. Bâti sur une falaise qui surplombe le port de la cité, la mer Méditerranée, le vignoble de cassis, entre les Calanques et le Cap Canaille, à 20 km au sud-est de Marseille.
Au VIIIe siècle durant la conquête musulmane de la péninsule Ibérique, et les invasions sarrasines de l'Empire carolingien, une première enceinte fortifiée est construite, dont subsiste à ce jour une tour dite « sarrasine ». En 1223 la puissante famille des seigneurs des Baux prend possession de la seigneurie de Cassis et de son château. Durant la guerre de Cent Ans (1337 à 1453) ils font édifier l'enceinte actuelle : un ensemble de murailles et quatre tours carrées de 8,5 m de haut autour de plusieurs dizaines d´habitations pour renforcer ses défenses maritimes. Un puits à eau au milieu de la cour, un four à pain, et une église dédiée à l'archange saint Michel sont construits entre 1372 et 1380. Le blason des seigneurs des Baux (une étoile à 16 rayons) subsiste depuis, au-dessus de la porte principale du château. En 1426 Cassis est rattaché au Comté de Provence de Louis III d'Anjou. En 1473 le roi René d'Anjou (frère du précédent) transmet la seigneurie de Cassis aux évêques de Marseille jusqu'à la Révolution française de 1789 (la crosse épiscopale des armoiries de la ville, témoignent de cette époque). En 1524 l'empereur du Saint-Empire romain germanique Charles Quint fait détruire le château et met la cité à feu et à sang. À la fin du XVIIe siècle le comte de Grignan, gouverneur adjoint de la province, renforce les défenses du château et y fait installer de nouveaux canons d'artillerie. Au XVIIIe siècle Cassis s'étend au-delà de ses remparts, et se développe autour du port. Le 10 février 1794, le jeune général Bonaparte fait une halte historique au château pour inspecter les batteries militaires de l'armée française, qui seront détruites le 17 avril 1813 par un commando de la Royal Navy.
The castle of Cassis is a former fortified castle of the Carolingian Empire from the 8th century. Built on a cliff overlooking the port of the city, the Mediterranean Sea, the Cassis vineyard, between the Calanques and Cap Canaille, 20 km south-east of Marseille. In the 8th century during the Muslim conquest of the Iberian Peninsula, and the Saracen invasions of the Carolingian Empire, a first fortified enclosure was built, of which a so-called "Saracen" tower remains to this day. In 1223 the powerful family of the lords of Les Baux took possession of the lordship of Cassis and its castle. During the Hundred Years War (1337 to 1453) they built the current enclosure: a set of walls and four square towers 8.5 m high around several dozen dwellings to strengthen its maritime defences. A water well in the middle of the courtyard, a bread oven, and a church dedicated to the Archangel Saint Michael were built between 1372 and 1380. The coat of arms of the lords of Les Baux (a star with 16 rays) has survived since, above the main gate of the castle. In 1426 Cassis was attached to the County of Provence of Louis III of Anjou. In 1473 King René of Anjou (brother of the previous) transmitted the lordship of Cassis to the bishops of Marseille until the French Revolution of 1789 (the episcopal crosier of the coat of arms of the city, testifies to this period). In 1524 the Holy Roman Emperor Charles V had the castle destroyed and set the city on fire. At the end of the 17th century, the Count of Grignan, deputy governor of the province, reinforced the castle's defenses and had new artillery guns installed there. In the 18th century Cassis extended beyond its ramparts and developed around the port. On February 10, 1794, the young General Bonaparte made a historic stop at the castle to inspect the military batteries of the French army, which were destroyed on April 17, 1813 by a Royal Navy commando.
EDIFY is an interpretive dance group with its main focus on a creative fusion of various dance styles. Under the creative direction of Stacy-Ann Vassell, the group works in disciplines such as jazz, tap, contemporary, modern, lyrical and Afro-Caribbean dance styles. Mime is also used as an interpretive dramatic form.
IRIE Music Festival 2019,Mississauga,Ontario.
The “Théâtre du Gymnase Marie-Bell” is an 800-seat Parisian theater located at 38 boulevard Bonne-Nouvelle in the 10th arrondissement. The theater has two other small rooms: the Marie-Bell studio (90 seats) and the Petit-Gymnase (160 seats). The theater is listed as a historical monument from 1 February 19941
Located on the site of the gardens of the Baron Louis hotel, and on part of the cemetery of the parish of Bonne-Nouvelle (closed before the revolution), the theater was inaugurated on December 23, 1820 by Delestre-Poirson. The Dramatic Gymnasium was to serve as a place of training for the students of the Conservatory, representing first only plays of one act or reduced to a single act.
Poirson quickly recited pieces of two acts, then three, and entered into an exclusive contract with Eugene Scribe. It had the gas lighting installed in 1823 and, thanks to the graces of the Duchess of Berry, the place took first place in 1824 as Madame theater.
Closed in June 1830 for renovations, the theater resumed, after the July revolution, the name of Gymnase-Dramatique.
In 1844, Montigny took over the theater and, to attract a wider audience, gradually abandoned the repertoire of moral and edifying passages to favor the sentimental genre, more fashionable, playwrights are Balzac, Emile Augier, George Sand, Edmond About, Victorien Sardou, Octave Feuillet, Meilhac and Halevy, Alexandre Dumas father and son.
In 1926, playwright Henry Bernstein became the director and created most of his most famous works.
Then, from 1939, the Gymnase allows the creation of many works by Marcel Pagnol, Jean Cocteau, Marc-Gilbert Sauvajon, Sacha Guitry, Félicien Marceau and Jean Genet. The tragedy Marie Bell took the lead in 1962; she particularly interprets a particularly remarkable Phèdre. He directed the theater until his death, August 15, 1985.
The Théâtre du Gymnase works in collaboration with the new theater, Comédie des boulevards, since September 2010.
Antoine de Caunes filmed his film Coluche in 2007 ..
Il “Théâtre du Gymnase Marie-Bell”è un teatro parigino da 800 posti, situato a 38, boulevard Bonne-Nouvelle nel 10 ° arrondissement. Il teatro ha altre due piccole sale: lo studio Marie-Bell (90 posti) e il Petit-Gymnase (160 posti). Il teatro è elencato come monumento storico dal 1 ° febbraio 19941
Situato sul sito dei giardini dell'hotel Baron Louis, e su parte del cimitero della parrocchia di Bonne-Nouvelle (chiuso prima della rivoluzione), il teatro è inaugurato il 23 dicembre 1820 da Delestre-Poirson. Il Drammatico Ginnasio doveva servire come luogo di addestramento per gli studenti del Conservatorio, rappresentando prima solo opere teatrali di un atto o ridotte a un singolo atto.
Poirson recitò rapidamente pezzi di due atti, poi tre, e stipulò un contratto esclusivo con Eugene Scribe. Ha avuto l'illuminazione a gas installato nel 1823 e, grazie alle grazie della Duchessa di Berry, il posto ha preso il primo posto nel 1824 come teatro di Madame.
Chiuso nel giugno 1830 per lavori di ristrutturazione, il teatro riprese, dopo la rivoluzione di luglio, il nome di Gymnase-Dramatique.
Nel 1844, Montigny prese la direzione del teatro e, per attrarre un pubblico più vasto, abbandonò gradualmente il repertorio di brani morali ed edificanti per favorire il genere sentimentale, più alla moda, drammaturghi sono Balzac, Emile Augier, George Sand, Edmond About, Victorien Sardou, Octave Feuillet, Meilhac e Halevy, Alexandre Dumas padre e figlio.
Nel 1926, il drammaturgo Henry Bernstein divenne il regista e creò la maggior parte delle sue opere più famose.
Poi, dal 1939, il Gymnase consente la creazione di molte opere di Marcel Pagnol, Jean Cocteau, Marc-Gilbert Sauvajon, Sacha Guitry, Félicien Marceau e Jean Genet. La tragedia Marie Bell assume la guida nel 1962; lei interpreta in particolare un Phèdre particolarmente notevole. Ha diretto il teatro fino alla sua morte, il 15 agosto 1985.
Il Théâtre du Gymnase lavora in collaborazione con il nuovo teatro, Comédie des boulevards, dal settembre 2010.
Antoine de Caunes ha girato il suo film Coluche nel 2007..
L’église Saint-Guillaume (également appelée Wilhelmerkirche en allemand) est une église gothique de Strasbourg, affectée au culte luthérien.
Le chevalier Henri de Müllenheim, revenant indemne de la croisade, entreprend d'édifier vers 1298 un couvent de moines mendiants, des Guillemites, dans ce quartier marécageux alors situé extra muros. L'édifice allongé, consacré en 1301 et achevé en 1307, est le seul vestige de cet ensemble.
The Church of St. William (also called Wilhelmerkirche in German) is a Gothic church in Strasbourg, dedicated to Lutheran worship.
The knight Henri de Müllenheim, who had returned from the crusade unscathed, undertook to build a convent of mendicant monks, the Guillemites, in this marshy district, which was then located outside the city walls. The elongated building, consecrated in 1301 and completed in 1307, is the only vestige of this complex.
(Wikipedia)
Due to her many works for God and a high degree of holiness, Teresa de Jesus of Spain was declared a Saint by the Roman Catholic Church. Due to her Wisdom recorded, she is one of the three named female Doctors of the Church. She was born at Avila in Spain in 1515. She joined the Carmelite Order, made great progress in the way of perfection and enjoyed mystical revelations. When she reformed the Order, she met with much resistance, but she succeeded with undaunted courage. She also wrote books filled with sublime doctrine, the fruit of her own spiritual life. She died in Avila in 1582. Our class is beginning reading her book "The Way of Perfection" (2000 study edition with English text prepared by Kieran Kavanaugh, O.C.D., whom I have known for many years. It will be my second read of this classic). If you care to also read this edifying masterpiece on bettering your life spiritually, order from
For more information on this marvelous woman, start at en.wikipedia.org/wiki/Teresa_of_avila
On the seventh day of Lego Star Wars Advent Calendar we witness a not very edifying event.
A First Order Stormtrooper is arrested by Boba Fett for having attempted to steal the gifts from the Gingerbread House.
There was a time when characters were either good or evil but they were professional. They played their role but they respected the spirit of the Holidays.
Boba is disgusted. He remembers the old times, the times when troopers were accurately selected, trained and turned into serious professionals.
They don't make them like they used to.
May the Brick be with you :)
Pointe du Batéguier, ile Ste Marguerite, Cannes, France
En second plan sur le continent : le massif de l'Estérel, Miramar Théoule et Mandelieu
Estérel : pic du Cap Roux à ll'extrême gauche, pic de l'Ours avec son antenne et dent de l'Ours à sa droite,
sommets des grues en pointe avec antenne, le Pellet au centre (derrière Théoule) et Mandelieu complètement à droite
Les iles de Lérins, Ste Marguerite et Ste Honorat, occupées dès le Ve siècle av. J.-C.
Premiers forts édifiés par les espagnols puis renforcés par Vauban
Prison d'Etat dont le célèbre et énigmatique homme Masque de fer.
Des bunkers allemand y sont également construits durant la seconde guerre et n'ont pas servi car jamais équipé de canon.
Aujourd'hui un véritable paradis
~~~~
In the background on the continent: the Estérel massif, Miramar Théoule and Mandelieu cities
Estérel : Cap Roux peak on the far left, Pic de l'Ours (Bear peak) with its antenna and Dent de l'Ours (Bear's tooth rock) on its right,
Grues summits in pyramidal form with antenna, the Pellet summit in the center (behind Théoule) and Mandelieu completely on the right
Lérins's islands, Ste Marguerite and Ste Honorat, occupied from the 5th century BC. J.-C.
First forts built by the spanish army then reinforced by Vauban famous military engineer
State prison including the famous and enigmatic Man in the Iron Mask
German bunkers were also built there during the WWII and were not used because they were never equipped with guns.
Today a true paradise