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

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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

Club d’aviron fondé en 1873, l’Union Nautique de Liège est installée à la pointe de la Boverie, entre la Meuse et sa Dérivation.

Elle jouit d’une situation exceptionnelle, dans un des plus beaux parcs de la Ville de Liège. Bénéficiant à la fois du plan d’eau de la Dérivation, réservé à la pratique de l’aviron et de celui qu’offre la Meuse liégeoise aux évolutions des bateaux à moteur.

Du petit hangar en planches aménagé par les fondateurs dès les premiers mois de la vie du club, on en arriva à la construction du bâtiment qui, agrandissements après agrandissements, est devenu, en 1931, ce qu’il est encore aujourd’hui.

Les succès sportifs ne se firent pas attendre et bientôt les rameurs liégeois remportèrent de nombreuses victoires sur les champs de courses belges et étrangers. Le palmarès de l’Union Nautique est édifiant et nombreux sont les événements du monde sportif amateur où des membres de ce club se sont distingués.

Rowing club founded in 1873, the Union Nautique de Liège is located at the tip of Boverie, between the Meuse and its Diversion.

It enjoys an exceptional location, in one of the most beautiful parks in the City of Liège. Benefiting from both the water body of the Dérivation, reserved for the practice of rowing, and that offered by the Meuse of Liège for developments in motorboats.

From the small plank shed built by the founders in the first months of the club's life, we came to the construction of the building which, expansion after expansion, became, in 1931, what it still is today.

Sporting successes were not long in coming and soon the Liège rowers won numerous victories on Belgian and foreign race courses. The Union Nautique's track record is edifying and there are numerous events in the amateur sporting world where members of this club have distinguished themselves.

It wasn’t the portraits themselves I was trying to capture but their arrangement and alignment. In retrospect, though, I wish I had captured a few more portraits. In museums the collections and history are edifying but I find, as often as not, it is the architecture and displays that offer the most interesting photos.

Here are those ships! Made mostly for MFZ: Alpha Bandit.

Also, my camera is kinda broken so expect some more iPod quality pictures....

(Excuse the random stands as well)

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Hope you enjoyed it!

Maine

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Therefore let us pursue the things which make for peace and the things by which one may edify another. Romans 14:19

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Prosper Mérimée disait que ce château « constitue un résumé des arts du Moyen Âge »

Nous sommes à l'extrémité d'un plateau rocheux dominant le pays des quatre rivières, Cère, Bave, Mamoul et Dordogne, aux confins nord du Quercy et à 25 km de Rocamadour.

Un autre écrivain, Pierre Loti, le décrivait ainsi : « dentelure de pierre de couleur sanguine » .

Mentionnée dans le cartulaire de l'Abbaye de Beaulieu sur Dordogne dès le VIIIe siècle, la baronnie s'affirme avec l'édification du premier château neuf dès 1100, par Hugues, puis Gerbert, puis Gerbert II qui fut évêque de Cahors.

Après d'âpres luttes féodales avec les Turenne, les Castelnau obtinrent de relever directement des Rois de France en 1280 (Philippe II Le Hardi, puis Philippe IV le Bel en 1308).

Castelnau était alors une place stratégique, et c'est au XIIIe siècle que furent édifiés la tour-résidence et le donjon, de pierre rouge et ocre, qui dominent toujours le site.

Cette famille va connaître alors une forte ascension, d'abord par son alliance avec les Calmont d'Olt, seigneurs d'Espalion et de Saint-Côme en Rouergue, puis par le mariage d'Hugues de Castelnau avec la nièce du pape Jean XXII au début du XIVe siècle, enfin au XVe siècle avec les Caylus.

En 1530, l'héritière des Castelnau-Caylus apporte la baronnie aux Clermont-Lodève.

En 1715, la succession échoit à la baronne Jeanne d'Albert de Luynes, puis aux Ducs de Luynes en 1756. Les Luynes vendront finalement le château et les terres en 1830.

Les constructions initiales furent complétées tout au long des XIVe, XVe et XVIe siècles.

Le château acquit alors sa configuration quasi-définitive, avec l'adjonction de trois corps de logis cantonnés de tours, complétés d'une puissante tour d'artillerie, l'ensemble protégé par une enceinte basse et des fossés.

Une troisième enceinte entourait le bourg entier, il en subsiste une porte fortifiée et quelques vestiges.

Les logis est et nord, ajoutés au XVe siècle, ferment la cour intérieure et donnent à l'ensemble son plan triangulaire.

À la fin du XVIe siècle, suivant l'évolution des techniques, des casemates équipées de chambres de tir, et des bastions à canonnières carrées « à la française » ont renforcé le chemisage des tours et les courtines, rendant très difficile toute approche du château.

Les Clermont-Lodève, en particulier Alexandre, menèrent pendant tout le XVIIe siècle d'importants travaux transformant l'austère château-fort en résidence luxueuse, dotée de larges ouvertures, d'un grand balcon d'honneur ouvrant sur la vallée, et d'une grande galerie sur arcades où se donnaient des fêtes dont le poète François de Maynard et des Capitouls Toulousains étaient des habitués.

Leurs descendants se désintéressèrent de Castelnau, préférant leur hôtel parisien et leur château de Clermont (Clermont l'Hérault aujourd'hui), bien que leurs possessions du Quercy continuent à les fournir en paniers de truffes, comme prévu dans les baux à ferme encore en 1782.

Amputé des défenses du châtelet et du pont-levis en 1793, partiellement démantelé et pillé de ses archives, le château évita la démolition totale en 1844 grâce à l'intervention du préfet du Lot, et de l'Inspecteur Calvet, de la récente Commission des monuments historiques.

Puis un incendie le ravage au début de 1851.

Classé monument historique en 1862, le château-fort ruiné fut enfin racheté en 1896 par celui qui allait le sauver, Jean Mouliérat, ténor de l'Opéra-Comique de Paris.

Celui-ci consacra sa fortune et son énergie à relever le château, à en restaurer et aménager l'intérieur, ainsi qu'à le meubler. Il y réunit une importante collection très diverse de mobilier, peintures, tapisseries, statuaire et objets d'art de toutes les époques, ainsi qu'un dépôt lapidaire remarquable.

Jean Mouliérat, artiste, amateur d'art et humaniste, reçut à Castelnau Rodin, Colette, de grands noms de la vie politique et culturelle, ainsi que la dernière reine de Madagascar, Ranavalo.

Il s'éteint en 1932, après avoir, avec l'assistance de son ami Ministre Anatole de Monzie, fait don à l'État du château et des collections. Selon sa volonté, les appartements que l'on visite aujourd'hui présentent l'ensemble du mobilier et des objets d'art dans la disposition qu'il avait lui-même choisie.

Prosper Mérimée said that this castle "constitutes a summary of the arts of the Middle Ages"

We are at the end of a rocky plateau overlooking the land of the four rivers, Cère, Bave, Mamoul and Dordogne, on the northern borders of Quercy and 25 km from Rocamadour.

Another writer, Pierre Loti, described it like this: "stone indentation of blood color".

Mentioned in the cartulary of the Abbey of Beaulieu sur Dordogne from the 8th century, the barony asserted itself with the construction of the first new castle from 1100, by Hugues, then Gerbert, then Gerbert II who was bishop of Cahors.

After bitter feudal struggles with the Turenne, the Castelnau succeeded in directly coming under the Kings of France in 1280 (Philippe II Le Hardi, then Philippe IV le Bel in 1308).

Castelnau was then a strategic place, and it was in the 13th century that the tower-residence and the keep were built, of red and ocher stone, which still dominate the site.

This family will then experience a strong rise, first through its alliance with the Calmont d'Olt, lords of Espalion and Saint-Côme en Rouergue, then through the marriage of Hugues de Castelnau with the niece of Pope John XXII. at the beginning of the 14th century, finally in the 15th century with the Caylus.

In 1530, the heiress of Castelnau-Caylus brought the barony to Clermont-Lodève.

In 1715, the succession fell to Baroness Jeanne d'Albert de Luynes, then to the Dukes of Luynes in 1756. The Luynes finally sold the castle and the land in 1830.

The initial constructions were completed throughout the 14th, 15th and 16th centuries.

The castle then acquired its almost final configuration, with the addition of three main buildings quartered by towers, completed by a powerful artillery tower, the whole protected by a low wall and ditches.

A third enclosure surrounded the entire village, there remains a fortified gate and some vestiges.

The eastern and northern lodgings, added in the 15th century, close the inner courtyard and give the whole its triangular plan.

At the end of the 16th century, following the evolution of techniques, casemates equipped with firing chambers, and bastions with square "French-style" gunboats reinforced the lining of the towers and curtain walls, making any approach to the castle very difficult. .

The Clermont-Lodève, in particular Alexandre, carried out during all the XVIIth century important works transforming the austere castle-fort into a luxurious residence, equipped with large openings, a large balcony of honor opening on the valley, and 'a large arcaded gallery where parties were held, of which the poet François de Maynard and the Capitouls Toulousains were regulars.

Their descendants lost interest in Castelnau, preferring their Parisian hotel and their castle in Clermont (Clermont l'Hérault today), although their possessions in Quercy continue to provide them with baskets of truffles, as provided for in the farm leases still in existence. 1782.

Amputated by the defenses of the châtelet and the drawbridge in 1793, partially dismantled and looted from its archives, the castle avoided total demolition in 1844 thanks to the intervention of the prefect of Lot, and Inspector Calvet, of the recent Commission historical monuments.

Then a fire ravaged it at the beginning of 1851.

Listed as a historic monument in 1862, the ruined castle was finally bought in 1896 by the man who was to save it, Jean Mouliérat, tenor of the Opéra-Comique de Paris.

He devoted his fortune and his energy to raising the castle, restoring and fitting out the interior, as well as furnishing it. It brings together a large and diverse collection of furniture, paintings, tapestries, statuary and works of art from all periods, as well as a remarkable lapidary deposit.

Jean Mouliérat, artist, art lover and humanist, received at Castelnau Rodin, Colette, big names in political and cultural life, as well as the last queen of Madagascar, Ranavalo.

He died in 1932, after having, with the assistance of his friend Minister Anatole de Monzie, donated the castle and the collections to the State. According to his wishes, the apartments that we visit today present all the furniture and works of art in the arrangement that he himself had chosen.

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Son nom : le Fort de Brescou. Son histoire commence en 1586, quand le vicomte de Joyeuse s’empare de l’île pour y édifier le premier fort. Celui-ci est assez grand pour abriter une garnison de 60 hommes et servir de point d’appui à deux frégates qui contrôlent la mer sous le commandement d’un certain Sieur Gaspard Dot, dit “Barberoussette”, pirate de son état.

A partir du XVIIIème siècle, Brescou devient, comme les tours du Pioch et du Castellas, un poste de veille contre les invasions anglaises. Même le cardinal Richelieu s’y intéressera un temps, au point de vouloir le relier à la terre au moyen d’une digue qui ne sera jamais achevée, le Cardinal décédant durant les travaux.

Le Fort Brescou

Brescou restera donc isolé et servira, à partir du XVIIIème siècle, de prison d’Etat et ce, jusqu’au milieu du XIXème. Au cours de son existence, le Fort connaîtra plusieurs phases d’aménagement dont l’une réalisée par l’ingénieur Niquet sur les principes définis par Vauban. Le phare moderne qui s’y trouve aujourd’hui, et qui signalait les rochers aux navigateurs, sera habité par un gardien responsable de sa maintenance jusqu’au milieu du XXème siècle, au moment de son automatisation.

Its name: Fort de Brescou. Its history begins in 1586, when the Viscount of Joyeuse seizes the island to build the first fort there. This is large enough to house a garrison of 60 men and serve as a base for two frigates which control the sea under the command of a certain Sieur Gaspard Dot, known as “Barberoussette”, a pirate by trade.

From the 18th century, Brescou became, like the Pioch and Castellas towers, a watch post against English invasions. Even Cardinal Richelieu was interested in it for a time, to the point of wanting to connect it to the ground by means of a dike which would never be completed, the Cardinal dying during the work.

Fort Brescou

Brescou will therefore remain isolated and will serve, from the 18th century, as a state prison until the middle of the 19th century. During its existence, the Fort will undergo several development phases, one of which was carried out by the engineer Niquet on the principles defined by Vauban. The modern lighthouse that is there today, and which signaled the rocks to navigators, will be inhabited by a guardian responsible for its maintenance until the middle of the 20th century, when it was automated.

Sein Name: Fort de Brescou. Seine Geschichte beginnt im Jahr 1586, als der Viscount of Joyeuse die Insel eroberte, um dort die erste Festung zu errichten. Dieser ist groß genug, um eine Garnison von 60 Mann zu beherbergen und als Stützpunkt für zwei Fregatten zu dienen, die unter dem Kommando eines gewissen Sieur Gaspard Dot, bekannt als „Barberoussette“, ein Pirat von Beruf, die See kontrollieren.

Ab dem 18. Jahrhundert wurde Brescou wie die Türme Pioch und Castellas zu einem Wachposten gegen englische Invasionen. Sogar Kardinal Richelieu interessierte sich eine Zeit lang dafür, dass er es durch einen Deich mit dem Boden verbinden wollte, der nie fertiggestellt werden würde, da der Kardinal während der Arbeiten starb.

Fort Brescou

Brescou wird daher isoliert bleiben und ab dem 18. Jahrhundert bis Mitte des 19. Jahrhunderts als Staatsgefängnis dienen. Während seiner Existenz wird das Fort mehrere Entwicklungsphasen durchlaufen, von denen eine vom Ingenieur Niquet nach den von Vauban definierten Prinzipien durchgeführt wurde. Der moderne Leuchtturm, der heute dort steht und den Seefahrern die Felsen signalisierte, wird bis Mitte des 20. Jahrhunderts, als er automatisiert wurde, von einem Wächter bewohnt, der für seine Wartung verantwortlich ist.

Su nombre: Fuerte de Brescou. Su historia comienza en 1586, cuando el vizconde de Joyeuse se apodera de la isla para construir allí el primer fuerte. Este es lo suficientemente grande para albergar una guarnición de 60 hombres y servir como base para dos fragatas que controlan el mar bajo el mando de un tal Sieur Gaspard Dot, conocido como “Barberoussette”, pirata de profesión.

A partir del siglo XVIII, Brescou se convirtió, al igual que las torres de Pioch y Castellas, en un puesto de vigilancia contra las invasiones inglesas. Incluso el cardenal Richelieu se interesó por él durante un tiempo, hasta el punto de querer conectarlo al suelo mediante un dique que nunca se completaría, muriendo el cardenal durante la obra.

fuerte brescou

Por lo tanto, Brescou permanecerá aislado y servirá, desde el siglo XVIII, como prisión estatal hasta mediados del siglo XIX. Durante su existencia, el Fuerte pasará por varias fases de desarrollo, una de las cuales fue realizada por el ingeniero Niquet sobre los principios definidos por Vauban. El moderno faro que hoy se encuentra allí, y que señalaba las rocas a los navegantes, estará habitado por un guardián encargado de su mantenimiento hasta mediados del siglo XX, cuando fue automatizado.

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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.

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Annibale Carracci (Bologna, November 3, 1560 - Rome, July 15, 1609) - Susanna and the elders (1604) - oil on panel 86.1 x 56.8 cm. Galleria Doria Pamphilj, Rome

L’opera finì presto a Bologna, per poi ritornare col matrimonio fra Violante Facchinetti e Giovan Battista Pamphilj nel 1671. Per il suo carattere edificante ed il lieto fine che lo caratterizza, l’episodio della casta Susanna divenne un tema iconografico ricorrente nel XVII secolo e l’alta qualità del dipinto di Carracci, eseguito sopra una superficie liscia, e l’iconografia raffinata suggestionarono i contemporanei, che ne replicarono lo schema.

The work ended early in Bologna, only to return with the marriage between Violante Facchinetti and Giovan Battista Pamphilj in 1671. For its edifying character and the happy ending that characterizes it, the episode of the Susanna caste became a recurring iconographic theme in the seventeenth century and the high quality of Carracci's painting, executed on a smooth surface, and the refined iconography inspired the contemporaries, who replicated the pattern.

Avec l'acquisition définitive des îles de la mer Égée établie par le Traité de Lausanne de 1923 et la nomination du gouverneur Mario Lago, Benito Mussolini désire faire du Dodécanèse une vitrine de l'empire colonial italien et y met en œuvre une politique de grands travaux. De nouvelles routes, des constructions massives répondant aux critères de l'architecture fasciste, des aqueducs, des centrales électriques, des hôpitaux et divers bâtiments publics sont ainsi édifiés, parfois avec une main-d'œuvre forcée. Comme les autres îles du Dodécanèse, Léros possède encore aujourd’hui de nombreux édifices de la période italienne et restaure lentement ce patrimoine architectural.

With the definitive acquisition of the Aegean islands established by the Treaty of Lausanne in 1923 and the appointment of the governor Mario Lago, Benito Mussolini wishes to make the Dodecanese a showcase of the Italian colonial empire and implements a policy of major works. New roads, massive constructions meeting the criteria of fascist architecture, aqueducts, power stations, hospitals and various public buildings are built, sometimes with forced labor. Today, as the other islands of the Dodecanese, Leros still owns many buildings of the Italian period and slowly restores this architectural heritage.

rivage sud ile Ste Marguerite, Cannes, France

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

~~~~

south wild seashore of Ste Marguerite island, Cannes city, France

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

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Le site du jardin des Tuileries, inscrit en 1991 sur la Liste du patrimoine mondial de l'UNESCO, est intégré en 2005 au domaine national du musée du Louvre.

Plusieurs fabriques de tuiles se tenaient à l'endroit où Catherine de Médicis fit édifier à partir de 1564 le palais des "Tuileries", pourvu d'un somptueux jardin compartimenté, parallèle à la Seine.

En 1664, LE NOTRE le redessine à la française et fait ouvrir la perspective à l'ouest qui deviendra les Champs-Elysées. Créé à la fin du XIXème siècle à l'emplacement du palais des Tuileries, incendié pendant la Commune (1871), le jardin du Carrousel vient d'être redessiné par Jacques Wirtz et reconstruit sur dalle au-dessus des galeries du Louvre.

Le plan actuel des Tuileries s'organise autour d'une large allée centrale marquant la perspective du Grand Axe qui s'étend aujourd'hui du Louvre à la Grande Arche de la Défense.

De très beaux arbres représentent plus de vingt essences (pin larcicio, mûrier blanc, arbre de Judée etc...). Une riche statuaire orne les différents secteurs des lieux. Mises en place en 1964 et 1965, à l'initiative d'André Malraux, dix-huit statues de Maillol sont installées dans le jardin du Caroussel. L'on découvre aussi des oeuvres de Coustou, de Rodin, de Coysevox, de Carpeaux, mais aussi de sculpteurs modernes comme Max Ernst, Henri Laurens, Giacometti et bientôt des oeuvres contemporaines.

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In the early 16th century the area was a clay quarry for tiles (tuilerie in French, hence the name). After the death of her husband Henri II in 1559, Catherine de Médicis had a Palace built at the tuileries, the Palais de Tuileries. The palace featured a large garden in Italian style, reminding her of her native Tuscany.

Between 1660 and 1664 the garden was redesigned in French formal style by André Le Nôtre, the celebrated gardener of the Sun King, best known for his design of the gardens at the Versailles Palace. Le Nôtre built a terrace along the riverbank and opened up a central axis which he extended three years later with the creation of the Champs-Elysées.

The Jardin des Tuileries was one of the first parks to open to the public and it quickly became a place to see and be seen. Even in the 18th century the park featured amenities such as cafes, kiosks, deck chairs and public toilets.

The Palais des Tuileries, situated near the Arc du Carrousel, was razed in 1871 by the Communards, opening up the view from the Louvre to the Arc de Triomphe.

Most recently renovated in 1990, Le Nôtre's formal design of the Tuileries garden has been kept intact. At the same time the park was separated from car traffic. Many modern sculptures were added and in 1999 the Passerelle de Solférino (now the Passerelle Léopold-Sédar-Senghor), a footbridge across the Seine opened, linking the Tuileries with the Musée d'Orsay.

Like the Jardin du Luxembourg, Jardin des Tuileries is one of those parks where you can grab a chair for free and sit wherever you like.

It also features several fountains, two large basins, numerous sculptures and two museums, the Galerie Nationale du Jeu de Paume and the Musée de l'Orangerie, which displays Claude Monet's large water lily paintings . Those two buildings are the only remains of the original Palais de Tuileries.

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I was riding the metro in Washington, D.C. yesterday and I sat down on one of the old, faded orange seats and gazed out the window, watching the lights blur by like the rush of the wings of a bird. Just a few moments later, I felt a tap on my shoulder and I turned to see a man, his teeth crooked, but forming into a smile. I listened as he asked me a question: when the stop for King street was. I thought for a moment and responded apologetically, explaining I was not from around D.C. and had no idea where the stop was.

Sometimes, I think, God uses those lonely people on the metro to edify me. Revealing to me the power in being quick to listen and slow to speak. Even though the only words I could speak to him was a simple goodbye and best wishes with the dinner he was going to, I could tell that he took my small words and found hope in them.

“My dear brothers, take note of this: Everyone should be quick to listen, slow to speak and slow to become angry.”

- James 1:9

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.

Paolo Caliari known as Paolo Veronese (Verona, 1528 - Venice, 1588) - Mystical wedding of Saint Catherine (1565 - 1575 circa) - Oil on canvas 377 x 241 cm - Galleria dell'Accademia - Venice

la pala presenta la straordinaria varietà tecnica e stilistica del pittore veronese nella resa variegata delle stoffe eleganti, rese con sorprendente preziosità cromatica, così come la sua capacità di mettere in scena una figurazione complessa, nel ritmo diagonale ascensionale conferito al gruppo centrale. Caterina, regina d’Alessandria vissuta secondo la leggenda nel III secolo, è qui raffigurata nell’episodio più conosciuto che la riguarda – ma non confermato dal diritto canonico – ovvero il suo “matrimonio mistico” con Cristo, simboleggiato dall’anello posto dal Bambino alla sua mano destra. Tale episodio forniva alle monache agostiniane di Santa Caterina dei Sacchi, così come alle giovani nobili che al monastero venivano educate e preparate al matrimonio, un esempio edificante su cui riflettere e forgiare la propria devozione. ​

this altarpiece displays the Verona artist’s extraordinary technical and stylistic variety in the motley rendering of the elegant fabrics, expressed through a surprising chromatic preciousness, as well as his ability to represent complex figurations, organised according to a rising diagonal rhythm conferred on the central group. Catherine, the queen of Alexandria who, according to legend, lived in the third century, is depicted here in the most famous episode of her life (though it has not been confirmed by canonical law): her “mystic marriage” with Christ, symbolised by the lamb placed by the Child in her right hand. The episode afforded the Augustinian nuns of Santa Caterina dei Sacchi, as well as the young girls of the local nobility who were educated and prepared for marriage at the monastery, an edifying example on which to reflect and forge their own devotion.

Gradually expanded from a 16th Century core and now beneath a 19th Century façade, Rydal Hall was the home of the Le Fleming family until passing to the Diocese of Carlisle in 1970 as a conference/retreat centre. It has a café, and the grounds are open to the public. Most of the complex is Grade II* Listed (as eight separate listings), including the garden terraces, small buildings rather well hidden in the grounds, the visible bridge and the viewpoint from which this photo was taken

Beyond the Italiate formal garden (designed by Thomas Mawson 1909-11, restored by Tom Attwood 2005-07) is the wooded 'quiet' garden, which leads, via a tunnel, to 'The Grot'. This small building is one of the first purpose-built viewing stations, built in 1668 to present and frame the definitive angle from which to see Lower Rydal Beck Falls; the precise view someone had defined as the most aesthetically pleasing. Amongst many other 'Picturesque' artists seeking inspiration, John Constable is known to have sketched here, and Wordworth visited frequently (he did live next door, at Rydal Mount, 1813-50).

So I hope you're suitably edified.

In Old Strathcona, previously a scary lowclass zone of funky shops, a cool repertory theatre and a grungy blues bar across from a popular tavern for local rubbies - now a trendoid zone for the monied, the devout, and the rainbow kidlets. Still edifying to wander through, but spend money there? Probably not.

PSA: Freely use the word NO. It can help if preceded by Fuck or Oh Hell.

À Old Strathcona, auparavant une zone effrayante de boutiques funky, un théâtre de répertoire cool et un bar de blues grungy en face d'une taverne populaire pour les alcooliques locaux - maintenant une zone tendance pour les riches, les dévots et les enfants arc-en-ciel. Toujours édifiant de s'y promener, mais dépenser de l'argent là-bas? Probablement pas.

Un message d'intérêt public : utilisez librement le mot NON. Il peut aider s'il est précédé de "maudit" ou "l'enfer".

Please, read my profile, or visit my website!

SVP, lire mon profil, ou visiter mon page sur Web!

#LGBminusTQI2Setc

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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.

//07

//fifty-two weeks of design

“Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres. Love never fails.” I Corinthians 13:4-8

A lot of different sources are the cause of this artwork. I was planning on doing something completely different for this week's 52WOD, but yesterday and today took a sudden change of turns resulting in the theme I felt the need to cover: LOVE.

What made me stumble upon those Bible verses I quoted atop was Joe's beautifully written post. When he said "I encourage you to peel it apart," I truly sat down and ingested every single word of those verses that appeared before my eyes. Indeed, what beautiful words they are.

I've also realized how often we're used to hate, and how it's so prevalent in our day-to-day lives, in the media and in our relationships. It's so easy for us to bash on another person, another public figure, another opposing viewpoint, but so immensely difficult for us to say something that would edify another's life. We forget too often the eternal truth: Love never fails. No matter what, it will never fail. Never.

(Everything was hand-drawn this week. I feel like what I wanted to achieve called for something imperfect. Also, the photograph belongs to me).

Galerie Véro-Dodat

La réalisation de ce passage est caractéristique des opérations immobilières spéculatives de la Restauration. En 1826, deux investisseurs, le charcutier Benoît Véro et le financier Dodat, firent édifier ce passage entre les rues du Bouloi et Jean-Jacques-Rousseau, entre le Palais-Royal et les Halles. Il offrait un raccourci plaisant entre ces deux lieux alors très fréquentés et fut rapidement adopté par le public (la rue du Colonel-Driant ne fut percée qu'en 1915).

De style néoclassique, la Galerie Véro-Dodat doit son animation et sa réputation à la présence des « Messageries Laffitte et Gaillard », situées à l’entrée du passage sur la rue Jean-Jacques-Rousseau. Les voyageurs qui attendaient leurs diligences allaient flâner parmi les magasins à la mode et contribuèrent pour une large part au succès de ce passage. Le marchand d'estampes Aubert, éditeur du Charivari et de La Caricature, s'y installa également et y exposa les plus célèbres caricaturistes de l'époque. Puis c'est la tragédienne Rachel qui occupa un appartement du passage de 1838 à 1842.

Le Second Empire et la disparition des « Messageries » amorcèrent le déclin de la galerie. Relativement boudée aujourd'hui, la galerie Véro-Dodat est pourtant une des plus charmantes de Paris et possède plusieurs attraits outre son architecture élégante, dont des galeries d'art contemporain ou des boutiques anciennes de décoration ou d'ameublement.

La galerie Véro-Dodat fait l'objet d'une inscription au titre des monuments historiques depuis le 9 juin 1965. Il a ensuite été proposé au classement, et malgré l'accord de la commission supérieure des monuments historiques le 18 mai 1998, la copropriété a refusé son classement. Elle fut entièrement restaurée en 1997.

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Galerie Véro-Dodat was built by two charcutiers between the Rue Bouloi and Rue de Jean-Jacques Rousseau, between the Palais Royal and Les Halles, in 1826. This was during the Bourbon restoration dynasty in the early 1800s, when covered passages or galeries in Paris were growing quickly in popularity. They provided warm, dry places for the wealthy to shop and dine on rainy, muddy days. In a time before paved streets and sewers, the galeries’ billiards, bistros and public baths served as a grown-up playground for the emerging middle class. At the height of their popularity in the mid 19th century, there were more than 150 passages. However, with the advent of the department store around 1850, the galeries begin to decline. Today, eighteen passages remain.

Véro-Dodat was one of the first of Paris's passageways to get gas lighting in 1830, and one of the last to fall into decline. Its decline began during the Second Empire with the demise of the Messageries Laffitte et Gaillard. It was listed as a French historical landmark on June 9, 1965, and was restored in 1997 to its former nineteenth-century, neo-classical glory, complete with its elegant shops specializing in antiques, objets d’art, art books and fashion accessories.

It is said this is where French writer Gérard de Nerval would often drink at the restaurant Café de l'Époque, located on the Rue Croix-des-Petits-Champs entrance of the gallery, and that is where he took his last drink before committing suicide by hanging in Châtelet. The actress Rachel occupied an apartment in the passage of 1838 in 1842. The print-seller Gabriel Aubert, editor of Le Charivari and of La Caricature, also settled there and introduced the gallery to the most famous caricaturists of the time.

The Galerie is neoclassical in style, with marble columns, gold trim, frescoes, and a black and white tiled floor. The passage is arranged to give an illusion of depth, the diagonal grid of black and white tiles, the low height of the ceiling decorated with paintings of landscapes where it is not glass, for shops on the alignment of a strict horizontal plane. The entries in the gallery are ionic arcades closed by gates. Entries are crowned with a balcony. The façade of the gallery on the Rue Bouloi is decorated with two statues in niches representing Hermes with his winged helmet and a Caduceus hand, god of merchants, and Hercules dressed in the skin of Nemean lion.

Clic ! - See it in large - Clic !

CaméraSony DSLR-A850

Exposition0,077 sec (1/13)

Ouverturef/4.5

Longueur focale20 mm

Vitesse ISO200

Détection du degré d'exposition+0.7 EV

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"Love does not consist of gazing at each other, but in looking together in the same direction. " -

Antoine de Saint-Exupery:

Ce qui impressionne particulièrement en entrant dans l'église, ce sont les extraordinaires fresques qui la décorent...nous percevons immédiatement pourquoi elle est retenue comme Patrimoine mondial et fut restaurée sous l'égide de l'Unesco à partir de 1972...

Mais au tout début du 19ième s. plus personne ne connaissait l'existence de ces fresques !

Et c'est en effet par hasard qu'un occasionnel « nettoyage » des murs enduits alerta un ouvrier plus attentif (d'autant plus qu'on commençait à cette époque à « découvrir » des fresques « cachées « et à s'y intéresser). Nous sommes en 1860, un artiste liégeois peintre de néo-gothique, Jules HELBIG , (1821-1906) se passionne directement pour la découverte et il entreprend avec les moyens de

l'époque une première mise au jour. Mais, ce sera 70 ans plus tard, en 1934, que la première grande restauration commencera menée par un artiste et archéologue brugeois Camille TULPINCK(1861-1946) ; il commencera par dessiner soigneusement tout ce qui a été trouvé par J. Helbig et tentera de restaurer le plus fidèlement possible les différents personnages en s'aidant des iconographies connues dans le monde de l'art : il est archéologue !

C'est avec l'appui de l'UNESCO que, de 1972 à 1984, Cornelis LEEGENHOEK donnera aux fresques de Sainte Agnès leur splendeur actuelle tout en respectant scrupuleusement l'état initial, sans aucun ajout nouveau.

Au premier plan : Sainte Agathe de Sicile

rès visible, dès l'entrée dans l'église, Agathe montre clairement une résistance de femme aux bourreaux masculins qui la martyrisent plus particulièrement dans sa féminité...peut-on y voir un sous-entendu adressé au Clergé misogyne de l'époque (dont certains « mystiques » comme Jan van Ruysbroek !) ?

Morte en 251, sous la préfecture du romain Quintianus, elle est très rapidement objet d'un culte important en Sicile. Son histoire est édifiante :

Agathe est la plus belle femme de Catania, village au pied de l'Etna. Le préfet de l'île, Quintianus, débauché notoire, entend bien la posséder mais...ni cadeaux, ni menaces ne font céder la pieuse Agathe...

Pour l'humilier et l'enlaidir, l'ordre est donné à ses bourreaux, après de multiples supplices, de lui couper les deux seins (un des seins se trouve à ses pieds)...à plusieurs reprises, un ange serait venu les remettre en place durant la nuit ...Excédé de son obstination, Quintianus donne l'ordre de la placer sur un gril bardé de crochets acérés , scène que l'on voit dans le coin supérieur droit de la fresque. Mais, en mourant, son martyre déchaîne la colère de Dieu et l'Etna entre en éruption ...c'est la panique : le village est menacé ... on ramasse alors le vêtement d'Agathe ( visible sous l'arbre) et on le jette devant la lave qui s'arrête par miracle et épargne Catania.

Encore actuellement, dans le folklore religieux de Sicile, une procession fait la route de paroisse en paroisse, là où sont conservées diverses reliques de sainte Agathe.

What particularly impresses when entering the church are the extraordinary frescoes that decorate it ... we immediately perceive why it is retained as World Heritage and was restored under the auspices of Unesco from 1972 ...

But at the very beginning of the 19th century. nobody knew the existence of these frescoes!

And it is indeed by chance that an occasional "cleaning" of the coated walls alerted a more attentive worker (especially since we were beginning at that time to "discover" "hidden" frescoes and to take an interest in them. ). We are in 1860, a neo-Gothic painter from Liège, Jules HELBIG, (1821-1906) is directly passionate about discovery and he undertakes with the means of

the time a first update. But it will be 70 years later, in 1934, that the first major restoration will begin, led by an artist and archaeologist from Bruges Camille TULPINCK (1861-1946); he will start by carefully drawing everything that has been found by J. Helbig and will try to restore the different characters as faithfully as possible using iconographies known in the art world: he is an archaeologist!

It was with the support of UNESCO that, from 1972 to 1984, Cornelis LEEGENHOEK gave the frescoes of Saint Agnes their current splendor while scrupulously respecting the initial state, without any new additions.

In the foreground: Saint Agatha of Sicily

Very visible, upon entering the church, Agathe clearly shows a woman's resistance to male executioners who martyred her more particularly in her femininity ... can we see an implication addressed to the misogynistic clergy of the time? (including some "mystics" like Jan van Ruysbroek!)?

Died in 251, under the prefecture of the Roman Quintianus, she quickly became the object of an important cult in Sicily. Its story is edifying:

Agathe is the most beautiful woman in Catania, a village at the foot of Mount Etna. The prefect of the island, Quintianus, notorious debauchery, intends to own it but ... neither gifts nor threats make the pious Agatha give way ...

To humiliate and make him ugly, the order is given to his executioners, after multiple tortures, to cut off both breasts (one of the breasts is at his feet) ... on several occasions, an angel would have come put them back in place during the night ... Exasperated by his obstinacy, Quintianus gives the order to place it on a grill covered with sharp hooks, a scene that can be seen in the upper right corner of the fresco. But, by dying, his martyrdom unleashes the wrath of God and Etna erupts ... it is panic: the village is threatened ... we then pick up Agatha's clothing (visible under the tree) and one throws it in front of the lava which stops by miracle and spares Catania.

Still today, in the religious folklore of Sicily, a procession goes from parish to parish, where various relics of Saint Agatha are kept.

The Perturbed Sanctum

récif côtier au sud de l'ile Ste Marguerite, Cannes, France

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

~~~~

south coast reef of Ste Marguerite island, Cannes city, France

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

Avec l'acquisition définitive des îles de la mer Égée établie par le Traité de Lausanne de 1923 et la nomination du gouverneur Mario Lago, Benito Mussolini désire faire du Dodécanèse une vitrine de l'empire colonial italien et y met en œuvre une politique de grands travaux. De nouvelles routes, des constructions massives répondant aux critères de l'architecture fasciste, des aqueducs, des centrales électriques, des hôpitaux et divers bâtiments publics sont ainsi édifiés, parfois avec une main-d'œuvre forcée. Comme les autres îles du Dodécanèse, Léros possède encore aujourd’hui de nombreux édifices de la période italienne et restaure lentement ce patrimoine architectural.

With the definitive acquisition of the Aegean islands established by the Treaty of Lausanne in 1923 and the appointment of the governor Mario Lago, Benito Mussolini wishes to make the Dodecanese a showcase of the Italian colonial empire and implements a policy of major works. New roads, massive constructions meeting the criteria of fascist architecture, aqueducts, power stations, hospitals and various public buildings are built, sometimes with forced labor. Today, as the other islands of the Dodecanese, Leros still owns many buildings of the Italian period and slowly restores this architectural heritage.

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.

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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...

Paolo Caliari known as Paolo Veronese (Verona, 1528 - Venice, 1588) - Mystical wedding of Saint Catherine (1565 - 1575 circa) - Oil on canvas 377 x 241 cm - Galleria dell'Accademia - Venice

la pala presenta la straordinaria varietà tecnica e stilistica del pittore veronese nella resa variegata delle stoffe eleganti, rese con sorprendente preziosità cromatica, così come la sua capacità di mettere in scena una figurazione complessa, nel ritmo diagonale ascensionale conferito al gruppo centrale. Caterina, regina d’Alessandria vissuta secondo la leggenda nel III secolo, è qui raffigurata nell’episodio più conosciuto che la riguarda – ma non confermato dal diritto canonico – ovvero il suo “matrimonio mistico” con Cristo, simboleggiato dall’anello posto dal Bambino alla sua mano destra. Tale episodio forniva alle monache agostiniane di Santa Caterina dei Sacchi, così come alle giovani nobili che al monastero venivano educate e preparate al matrimonio, un esempio edificante su cui riflettere e forgiare la propria devozione. ​

this altarpiece displays the Verona artist’s extraordinary technical and stylistic variety in the motley rendering of the elegant fabrics, expressed through a surprising chromatic preciousness, as well as his ability to represent complex figurations, organised according to a rising diagonal rhythm conferred on the central group. Catherine, the queen of Alexandria who, according to legend, lived in the third century, is depicted here in the most famous episode of her life (though it has not been confirmed by canonical law): her “mystic marriage” with Christ, symbolised by the lamb placed by the Child in her right hand. The episode afforded the Augustinian nuns of Santa Caterina dei Sacchi, as well as the young girls of the local nobility who were educated and prepared for marriage at the monastery, an edifying example on which to reflect and forge their own devotion.

Nantes, France’s largest slave port. Between the 15th and 19th centuries, numerous European ports such as Liverpool, London, Bristol, Nantes, La Rochelle, Bordeaux, Amsterdam and Lisbon were involved in the slave trade. During the 18th century, Nantes became France’s largest slave port. Shipowners, bankers, industrialists, traders, shopkeepers, shipbuilders and sailors all benefited to varying degrees from the trade.

Forgotten for a long time. In 1848, after a drawn-out battle and thanks in no small part to the campaign led by Victor Schœlcher, the abolition of slavery was voted. Nantes moved on, but between cynicism and a guilty conscience, a cloak of silence fell over the subject and it was forgotten.

It was not until the 1990s that the people of Nantes, along with the town council, actively sought to face up to their history. In 1992, with more than 400,000 visitors, the exhibition « Les Anneaux de la Mémoire » facilitated an understanding and analysis of these historical events.

Nantes comes to terms with its memories and begins new struggles for today and the future.Since, Nantes has continued to move along the path of these new-found memories. Over twenty years, this path has been punctuated with local and international projects: cooperation and twinning with African and South-American towns, support for associations, organisation of the World Forum on Human Rights, opening of rooms dedicated to the slave trade at the Nantes History Museum, opening of the Institute for Advanced Studies with its original approach to North-South relations, etc. Finally, in 2012, the building of a Memorial in homage to all those who fought in the past, fight today and will fight in the future against slavery marks the end of one cycle and the beginning of another: that of the present and future.

Mémorial de l'Abolition de l'esclavage

Lors du 150e anniversaire de l’abolition de l’esclavage en 1998, le Conseil municipal de Nantes adopte le principe d’édifier un monument commémoratif sur le quai de la Fosse. Par un acte politique fort, la Ville entend assumer son passé et donner une forme à la mémoire, inscrite dans l’espace public.

Conçu par l’artiste Krzysztof Wodiczko et l’architecte Julian Bonder, il marque symboliquement une période de plus de vingt-cinq ans d’action publique pour développer la connaissance et la reconnaissance du passé négrier nantais. Au-delà de la mémoire des victimes de la traite atlantique, il s’agit de rendre hommage aux luttes contre les traites et les esclavages dans le monde.

Aujourd’hui, l’Organisation des Nations Unies et l’Organisation Internationale du Travail estiment que l’esclavage contemporain et le travail forcé concernent au moins 200 à 250 millions de personnes, dont une grande part d’enfants.

Implanté sur et sous le quai de la Fosse, le Mémorial de l’abolition de l’esclavage n’a pas pour vocation d’expliquer et d’exposer l’histoire, mais de se souvenir, d’alerter et de transmettre un message universel.

Un parcours urbain composé de 11 panneaux d’information relie symboliquement le Mémorial, monument commémoratif, au musée d’histoire de Nantes, situé au Château des ducs de Bretagne. Le Mémorial est implanté à proximité immédiate de sites et de monuments en relation avec le passé négrier nantais. Ces panneaux permettent aux lecteurs de décrypter les traces de ce qui fut une activité majeure de Nantes aux 18e et 19e siècles. Sont ainsi mis en valeur et analysés les hôtels d’armateurs négriers, le quai d’où partaient les navires négriers vers l’Afrique et les Antilles, des lieux symboliques comme la passerelle Schoelcher ou économiques comme la Bourse…

Jizō est l'un des huit grands bodhisattvas de la religion bouddhique.

Pour sauver sa mère des souffrances de l'enfer il sacrifia son opportunité d'accéder au niveau suprême de l'éveil et fit le vœu d'atteindre le stade ultime uniquement lorsque l'enfer sera vide (selon certaines croyances jusqu'à l'arrivée du nouveau bouddha).

En attendant, Jizō (appellé aussi Jizō bosatsu (地蔵菩薩, bodhisattva Jizō ou O-Jizō-san ou O-Jizō-sama) décida de se mettre au service des âmes errantes et en souffrance et de les guider sur le chemin du paradis. Tout particulièrement celles des bébés et des jeunes enfants morts en couche ou en bas âge.

L'équivalent chrétien de Jizō pourrait être saint-Nicolas qui lui aussi protège les enfants.

Selon certaines croyances bouddhiques l'âme des jeunes bébés est envoyée dans des sortes de limbes à mi-chemin entre l'enfer et le paradis.

Ils y trouvent le Sanzu-no-kawa (三途の川), ou « fleuve des trois chemins» une sorte de rivière du Styx qu'ils doivent absolument traverser.

Cette rivière des morts est censée se trouver près du Mont Osore (恐山, Osorezan, littéralement « Mont de la peur »), une région désolée et isolée au nord du Japon.

Arrivés devant cette rivière les âmes des défunts se voient dépouillées de leurs vêtements par une vieille femme démon Datsue-ba (奪衣婆, littéralement, « la vieille qui déshabille ») et jugées par son mari Keneō (懸衣翁) un vieux démon qui pèse leurs vêtements pour calculer leurs péchés.

Lorsque les âmes des bébés arrivent devant la femme démon celle-ci les déshabille et les incite à former des tas de pierres suffisamment hauts pour atteindre le paradis. Mais cette horrible femme démon, avec la complicité d'autres monstres, détruit régulièrement les tas de galets et cherche à les frapper à coups de massues de fer… heureusement O-Jizō-sama les sauve en les cachant dans ses larges manches.

En habillant les petites statues de Jizō et en posant des pierres près d'elles les japonais pensent pouvoir réhabiller leur bébé en utilisant Jizō-sama comme intermédiaire et aider leurs enfants à édifier leur tas de cailloux jusqu'au paradis.

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Jizō is one of the eight great bodhisattvas of the Buddhist religion.

To save his mother suffering in hell he sacrificed his opportunity to access the highest level of enlightenment and vowed to reach the final stage only when Hell is empty (according to some beliefs to the arrival of the new Buddha).

Meanwhile, Jizō (also called Jizō bosatsu (地 蔵 菩薩, Jizō bodhisattva or O-Jizō-san or O-Jizō-sama) decided to serve wandering souls and suffering and guide them on the way to paradise. especially those of babies and young children dead in bed or in infancy.

The Christian equivalent of Jizō could be saint-Nicolas, who also protects children.

According to Buddhist beliefs, the soul of young babies is sent in a kind of limbo halfway between heaven and hell.

There they find the Sanzu-no-kawa (三 途 の 川), or "river of three paths," a sort of river Styx that they absolutely must cross.

This river of the dead is supposed to be near the Mount Osore (恐 山, Osorezan, literally "Mountain of Fear"), a desolate and isolated region in northern Japan.

When they reached the river the departed souls are being robbed of their clothes by an old woman Datsue-ba daemon (奪 衣 婆, literally, "the old woman who undresses") and judged by her husband Keneo (懸 衣 翁) an old demon hanging their clothes to calculate their sins.

When the souls of babies arrive before the woman demon it undresses them and encourages them to train enough high stone piles to reach paradise. But this horrible demon woman, with the complicity of other monsters, regularly destroyed piles of pebbles and seeks to strike the blows of iron maces ... thankfully O-Jizō-sama saved by hiding them in his wide sleeves.

Dressing them small statues of Jizō and laying stones near them Japanese think they can réhabiller their baby using Jizō-sama as an intermediary and help their children build their pile of rocks to heaven.

Traanslated from:

espacelanguetokyo.tumblr.com/post/101836755106/lors-de-vo...

"Ancestral Guardian Sculpture by Allen Uzikee Nelson"

“Vision is the art of seeing what is invisible to others.”

Paolo Caliari known as Paolo Veronese (Verona, 1528 - Venice, 1588) - Mystical wedding of Saint Catherine (1565 - 1575 circa) - Oil on canvas 377 x 241 cm - Galleria dell'Accademia - Venice

la pala presenta la straordinaria varietà tecnica e stilistica del pittore veronese nella resa variegata delle stoffe eleganti, rese con sorprendente preziosità cromatica, così come la sua capacità di mettere in scena una figurazione complessa, nel ritmo diagonale ascensionale conferito al gruppo centrale. Caterina, regina d’Alessandria vissuta secondo la leggenda nel III secolo, è qui raffigurata nell’episodio più conosciuto che la riguarda – ma non confermato dal diritto canonico – ovvero il suo “matrimonio mistico” con Cristo, simboleggiato dall’anello posto dal Bambino alla sua mano destra. Tale episodio forniva alle monache agostiniane di Santa Caterina dei Sacchi, così come alle giovani nobili che al monastero venivano educate e preparate al matrimonio, un esempio edificante su cui riflettere e forgiare la propria devozione. ​

this altarpiece displays the Verona artist’s extraordinary technical and stylistic variety in the motley rendering of the elegant fabrics, expressed through a surprising chromatic preciousness, as well as his ability to represent complex figurations, organised according to a rising diagonal rhythm conferred on the central group. Catherine, the queen of Alexandria who, according to legend, lived in the third century, is depicted here in the most famous episode of her life (though it has not been confirmed by canonical law): her “mystic marriage” with Christ, symbolised by the lamb placed by the Child in her right hand. The episode afforded the Augustinian nuns of Santa Caterina dei Sacchi, as well as the young girls of the local nobility who were educated and prepared for marriage at the monastery, an edifying example on which to reflect and forge their own devotion.

Avec l'acquisition définitive des îles de la mer Égée établie par le Traité de Lausanne de 1923 et la nomination du gouverneur Mario Lago, Benito Mussolini désire faire du Dodécanèse une vitrine de l'empire colonial italien et y met en œuvre une politique de grands travaux. De nouvelles routes, des constructions massives répondant aux critères de l'architecture fasciste, des aqueducs, des centrales électriques, des hôpitaux et divers bâtiments publics sont ainsi édifiés, parfois avec une main-d'œuvre forcée. Comme les autres îles du Dodécanèse, Léros qui possède encore aujourd’hui de nombreux édifices de la période italienne et restaure lentement ce patrimoine architectural.

With the definitive acquisition of the Aegean islands established by the Treaty of Lausanne in 1923 and the appointment of the governor Mario Lago, Benito Mussolini wishes to make the Dodecanese a showcase of the Italian colonial empire and implements a policy of major works. New roads, massive constructions meeting the criteria of fascist architecture, aqueducts, power stations, hospitals and various public buildings are built, sometimes with forced labor. Today, as the other islands of the Dodecanese, Leros still owns many buildings of the Italian period and slowly restores this architectural heritage.

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.

Things have been so so busy, and I haven't make any photographs in a while. So a couple days ago I took out my camera with no real intentions and made this.

wedding plannng + real life planning + school + senior exhibition has taken over my life in the most stressful way, but also in the most edifying way. Things are good.

"Ancestral Guardian Sculpture by Allen Uzikee Nelson"

This is a scanned image of Thomas Drain's icon from the March/April 1989 issue of The Orthodox Word.

"Silence of lips is better and more wonderful than any edifying conversation.

Strive to acquire humility and submissiveness.

Never insist that anything should be according to your will, for this gives birth to anger.

Do not judge or humiliate anyone, for this gives birth to anger.

Do not judge or humiliate anyone, for this exhausts the heart and blinds the mind,

and thereon leads to negligence and makes the heart unfeeling."

St. Barsanuphius and St. John (6th cent.)

We can leave but in car.

in color or monochrome.

The Devil's Bridge is a natural limestone rock formation located on a peninsula of the town of Saint-Palais-sur-Mer, on the massif of Pierrieres, in Charente-Maritime, and near the conche of Platin.

A legend reports that in the Middle Ages a fisherman in distress during a violent storm would have failed with his boat on the reefs at the end of the peninsula, and he would have sold his soul to the devil in exchange for life saved The devil built a stone bridge for him to return to the mainland.

The rocks of this peninsula have many size lines. 300 stones were indeed extracted from the massif, and allowed to build the lighthouse of Cordouan located off the estuary of the Gironde, between 1584 and 1611.

Le Pont du Diable est une formation rocheuse calcaire naturelle située sur une péninsule de la commune de Saint-Palais-sur-Mer, sur le massif des Pierrières, en Charente-Maritime, et à proximité de la conche du Platin.

Une légende rapporte qu'au Moyen Âge un pêcheur en perdition lors d'une violente tempête aurait échoué avec sa barque sur les récifs à l'extrémité de la péninsule, et qu'il aurait vendu son âme au diable en échange de la vie sauve : le diable construisit pour lui un pont de pierre lui permettant de revenir sur la terre ferme1.

Les rochers de cette péninsule présentent de nombreuses lignes de tailles. 300 pierres furent en effet extraites du massif, et permirent d'édifier le phare de Cordouan situé au large dans l'estuaire de la Gironde, entre 1584 et 1611.

Nantes, France’s largest slave port. Between the 15th and 19th centuries, numerous European ports such as Liverpool, London, Bristol, Nantes, La Rochelle, Bordeaux, Amsterdam and Lisbon were involved in the slave trade. During the 18th century, Nantes became France’s largest slave port. Shipowners, bankers, industrialists, traders, shopkeepers, shipbuilders and sailors all benefited to varying degrees from the trade.

Forgotten for a long time. In 1848, after a drawn-out battle and thanks in no small part to the campaign led by Victor Schœlcher, the abolition of slavery was voted. Nantes moved on, but between cynicism and a guilty conscience, a cloak of silence fell over the subject and it was forgotten.

It was not until the 1990s that the people of Nantes, along with the town council, actively sought to face up to their history. In 1992, with more than 400,000 visitors, the exhibition « Les Anneaux de la Mémoire » facilitated an understanding and analysis of these historical events.

Nantes comes to terms with its memories and begins new struggles for today and the future.Since, Nantes has continued to move along the path of these new-found memories. Over twenty years, this path has been punctuated with local and international projects: cooperation and twinning with African and South-American towns, support for associations, organisation of the World Forum on Human Rights, opening of rooms dedicated to the slave trade at the Nantes History Museum, opening of the Institute for Advanced Studies with its original approach to North-South relations, etc. Finally, in 2012, the building of a Memorial in homage to all those who fought in the past, fight today and will fight in the future against slavery marks the end of one cycle and the beginning of another: that of the present and future.

Mémorial de l'Abolition de l'esclavage

Lors du 150e anniversaire de l’abolition de l’esclavage en 1998, le Conseil municipal de Nantes adopte le principe d’édifier un monument commémoratif sur le quai de la Fosse. Par un acte politique fort, la Ville entend assumer son passé et donner une forme à la mémoire, inscrite dans l’espace public.

Conçu par l’artiste Krzysztof Wodiczko et l’architecte Julian Bonder, il marque symboliquement une période de plus de vingt-cinq ans d’action publique pour développer la connaissance et la reconnaissance du passé négrier nantais. Au-delà de la mémoire des victimes de la traite atlantique, il s’agit de rendre hommage aux luttes contre les traites et les esclavages dans le monde.

Aujourd’hui, l’Organisation des Nations Unies et l’Organisation Internationale du Travail estiment que l’esclavage contemporain et le travail forcé concernent au moins 200 à 250 millions de personnes, dont une grande part d’enfants.

Implanté sur et sous le quai de la Fosse, le Mémorial de l’abolition de l’esclavage n’a pas pour vocation d’expliquer et d’exposer l’histoire, mais de se souvenir, d’alerter et de transmettre un message universel.

Un parcours urbain composé de 11 panneaux d’information relie symboliquement le Mémorial, monument commémoratif, au musée d’histoire de Nantes, situé au Château des ducs de Bretagne. Le Mémorial est implanté à proximité immédiate de sites et de monuments en relation avec le passé négrier nantais. Ces panneaux permettent aux lecteurs de décrypter les traces de ce qui fut une activité majeure de Nantes aux 18e et 19e siècles. Sont ainsi mis en valeur et analysés les hôtels d’armateurs négriers, le quai d’où partaient les navires négriers vers l’Afrique et les Antilles, des lieux symboliques comme la passerelle Schoelcher ou économiques comme la Bourse…

O primeiro prédio da Sé de Olinda, construído no período 1537/1540, era simples, mal construído, feito de taipa de mão em estilo barroco, e tendo como patrono o Santíssimo Salvador do Mundo Jesus Cristo. Como o prédio ameaçava desabar, foi edificada, em seu lugar, uma outra construção em estilo gótico, a qual foi concluída em 1584, graças à intervenção do Frei Antônio Barreiro, o terceiro bispo do Brasil. Nesse segundo projeto, foram erguidas várias capelas laterais, como as de São João e a dos Reis Magos.

Em 1591, um pedreiro e mestre de obra lisboeta - Braz da Mata - realizava uma "obra de abóbada" na capela-mor da igreja. Oito anos depois (1599), a nave do templo era ampliada. As obras prosseguiram até 1616, quando o engenheiro Cristóvão Álvares edificava a sacristia e uma barbacã.

Em 1631, como tantos outros monumentos religiosos, a Sé ficou em ruínas após o grande incêndio que houve em Olinda, por ocasião da presença holandesa em Pernambuco. No entanto, o prédio foi reconstruído na segunda metade do século XVII.

Fonte: VAINSENCHER, Semira Adler. Sé de Olinda, Pernambuco. Pesquisa Escolar On-Line, Fundação Joaquim Nabuco, Recife. Disponível em: basilio.fundaj.gov.br/pesquisaescolar/ . Acesso em:13.11.2011.

The first building of the Cathedral of Olinda, built in the period 1537/1540, it was simple, poorly constructed, made of mud from hand in Baroque style, and with the patronage of the Blessed Savior of the World Jesus Christ . As the building threatened to collapse, was built in its place, another building in the Gothic style, which was completed in 1584, thanks to the intervention of Friar Antonio Barreiro, the third bishop of Brazil. In this second project, several chapels were erected, such as St. John of the Magi.

In 1591, a master mason and works from Lisbon - Braz da Mata - performed a "work of vault" in the chancel of the church. Eight years later (1599), the nave of the church was enlarged. The works continued until 1616, when the engineer Christopher Alvares edified the sacristy and a barbican.

In 1631, like many other religious monuments, the cathedral was in ruins after the great fire which broke out in Olinda, on the occasion of the Dutch presence in Pernambuco. However, the building was rebuilt in the second half of the seventeenth century.

Source: VAINSENCHER, Semira Adler. See of Olinda, Pernambuco. School Research Online, Joaquim Nabucco Foundation in Recife. Available at: basilio.fundaj.gov.br/pesquisaescolar/ . Access in: November 13, 2011

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récif côtier ile Ste Marguerite, Cannes, France

cap d'Antibes au fond

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

~~~~

coast reef of Ste Marguerite island, Cannes city, France

Antibes cape in background

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

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...or two