Italien / Toskana - Siena

Piazza del Campo

Piazza del Campo is the main public space of the historic center of Siena, Tuscany, Italy and is regarded as one of Europe's greatest medieval squares. It is renowned worldwide for its beauty and architectural integrity. The Palazzo Pubblico and its Torre del Mangia, as well as various palazzi signorili surround the shell-shaped piazza. At the northwest edge is the Fonte Gaia.

The twice-a-year horse-race, Palio di Siena, is held around the edges of the piazza. The piazza is also the finish of the annual road cycling race Strade Bianche.

History

The open site was a marketplace established before the thirteenth century on a sloping site near the meeting point of the three hillside communities that coalesced to form Siena: the Castellare, the San Martino and the Camollia. Siena may have had earlier Etruscan settlements, but it was not a considerable Roman settlement, and the campo does not lie on the site of a Roman forum, as is sometimes suggested. It was paved in 1349 in fishbone-patterned red brick with 8 lines of travertine, which divide the piazza into 9 sections, radiating from the mouth of the gavinone (the central water drain) in front of the Palazzo Pubblico. The number of divisions is held to be symbolic of the rule of The Nine (Noveschi) who laid out the campo and governed Siena at the height of its mediaeval splendour between 1292-1355. The Campo was and remains the focal point of public life in the City. From the piazza, eleven narrow shaded streets radiate into the city.

The palazzi signorili that line the square, housing the families of the Sansedoni, the Piccolomini and the Saracini etc., have unified rooflines, in contrast to earlier tower houses — emblems of communal strife — such as may still be seen not far from Siena at San Gimignano. In the statutes of Siena, civic and architectural decorum was ordered :"...it responds to the beauty of the city of Siena and to the satisfaction of almost all people of the same city that any edifices that are to be made anew anywhere along the public thoroughfares...proceed in line with the existent buildings and one building not stand out beyond another, but they shall be disposed and arranged equally so as to be of the greatest beauty for the city."

The unity of these Late Gothic houses is affected in part by the uniformity of the bricks of which their walls are built: brick-making was a monopoly of the commune, which saw to it that standards were maintained.

At the foot of the Palazzo Pubblico's wall is the late Gothic Chapel of the Virgin built as an ex voto by the Sienese, after the terrible Black Death of 1348 had ended.

Fonte Gaia

The Fonte Gaia ("Joyous Fountain") was built in 1419 as an endpoint of the system of conduits bringing water to the city's centre, replacing an earlier fountain completed about 1342 when the water conduits were completed. Under the direction of the Committee of Nine, many miles of tunnels were constructed to bring water in aqueducts to fountains and thence to drain to the surrounding fields. The present fountain, a center of attraction for the many tourists, is in the shape of a rectangular basin that is adorned on three sides with many bas-reliefs with the Madonna surrounded by the Classical and the Christian Virtues, emblematic of Good Government under the patronage of the Madonna. The white marble Fonte Gaia was originally designed and built by Jacopo della Quercia, whose bas-reliefs from the basin's sides are conserved in the Ospedale di St. Maria della Scala in Piazza Duomo. The former sculptures were replaced in 1866 by free copies by Tito Sarrocchi, who omitted Jacopo della Quercia's two nude statues of Rhea Silvia and Acca Larentia, which the nineteenth-century city fathers found too pagan or too nude. When they were set up in 1419, Jacopo della Quercia's nude figures were the first two female nudes, who were neither Eve nor a repentant saint, to stand in a public place since Antiquity.

(Wikipedia)

Die Piazza del Campo ist der bedeutendste Platz der toskanischen Stadt Siena, deren Zentrum er bildet.

Der Platz ist bekannt durch seine beeindruckende Architektur und seine halbrunde Form sowie durch das hier normalerweise jährlich zweimal ausgetragene Pferderennen Palio di Siena.

Geschichte

Das Zentrum der bereits in der Etruskerzeit bedeutenden Stadt lag ursprünglich im Gebiet des heutigen Castelvecchio, während „der Campo“ lediglich ein Stück Land war, das dem Abfluss des Regenwassers diente. Da aber auch die an Siena vorbeiführende Fernstraße über dieses Feld verlief und sich hier mit einer anderen Straße kreuzte, entwickelte sich bald ein Marktplatz.

Der Name „Campo“ wird zum ersten Mal schriftlich 1169 erwähnt in einer Quelle, die sich mit der gesamten Talebene befasst, zu der auch die heutige Piazza del Mercato, heute auf der anderen Seite des Palazzo Comunale, gehörte. Damals erwarb die Stadt Siena das Gelände, das von der Piazza del Mercato bis zur heutigen Logge della Mercanzia reicht. Eine Unterteilung des Geländes in die heutigen zwei Plätze wird 1193 erwähnt, sodass man davon ausgehen kann, dass in der Zwischenzeit zumindest eine Mauer erbaut wurde, die den Platz in zwei Hälften teilte; möglicherweise geschah dies, um das Wasser besser ableiten zu können.

Bis ins Jahr 1270, als die Herrschaft der Vierundzwanzig (1236–1270) zu Ende ging, wurde dann der Platz für Messen und Märkte genutzt. Zwar hatte der Platz noch nicht das heutige Aussehen, er entwickelte sich aber allmählich zum zweiten Mittelpunkt der Stadt neben dem Dom; während dort religiöse Feste im Mittelpunkt standen, dominierten auf der Piazza del Campo der Handel und weltliche Feste. Da sich auch die städtische Obrigkeit immer unabhängiger vom Bischof (und später Erzbischof) machte, kam in der Zeit der Herrschaft der Neun (1289–1355) der Bedarf nach einem eigenen Rathaus auf.

Die Piazza del Campo ist einer der eindrucksvollsten kommunalen Plätze Italiens – im Gegensatz zum Markusplatz Venedigs und zur Piazza dei Miracoli Pisas ist dies ein Platz ohne Kirche, also ein rein politisches Zentrum – und das zeigt sich auch in der Kunst in den Innenräumen des Rathauses. Das Gelände ist leicht abschüssig und der Palazzo Pubblico, der öffentliche Palast, also das Rathaus steht an der tiefsten Stelle. Diese auffallend tief liegende Position im Gegensatz zu den Gepflogenheiten anderer Städte erklärt sich aus dem Bedürfnis, eine neutrale Lage zwischen den Hügeln von Siena zu wählen. Auch hier hat also das Konkurrenzdenken innerhalb der Stadt Konsequenzen gehabt. Das hatte zur Folge, dass der Turm sehr hoch werden musste, damit er trotz seiner niedrigen Lage die Stadt überragen konnte.

Mit dem Bau des Palazzo Comunale wurden dann auch die Impulse für eine architektonische Gestaltung des Platzes gegeben. In den Jahren 1327–1349 erhielt der Platz eine Pflasterung, wobei auch heute noch die Einteilung in neun Segmente an die damalige Herrschaft der Neun erinnert. Die „Skyline“ des Platzes ist allerdings nicht spontan in einem Stück entstanden. Erst mit den Jahren sorgte die Stadtverwaltung durch entsprechende Gesetze dafür, dass die Fassadengestaltung einheitlich gehandhabt wurde. So wurde etwa eine Peter- und Paul-Kirche abgerissen; heute erinnern die Gassen Vicoli di San Pietro e di San Paolo daran.

Nach 1861 wurden, wie auch an anderen Gebäuden in der Altstadt von Siena, Gebäude an der Piazza von ihren barocken Fassaden „befreit“, um dem ursprünglichen, d. h. mittelalterlichen Erscheinungsbild wieder zur Geltung zu verhelfen.

Seit ca. 2017 gehören 15 der 20 Gebäude, die den Platz begrenzen, Igor Bidilo, einem Investor aus Kasachstan.

Fonte Gaia

Auf der höheren Seite des Campo steht der Fonte Gaia, den Jacopo della Quercia von 1409 bis 1419 geschaffen hat. ‚Brunnen der Freude’ heißt er, weil es 1342 zum ersten Mal gelungen war, mithilfe einer 25 km langen Leitung Wasser in die Stadt fließen zu lassen. Der ewige Wassermangel war in der Bergstadt Siena ein großes Problem – besonders in den Sommermonaten. Stilistisch hat della Quercia in den Figuren dieses Brunnens etwas Ähnliches erreicht wie die Sieneser Malerei, nämlich einen Ausgleich zwischen der klassischen Tradition und gotischem Schwung.

Die Figuren des Brunnens sind zwar seit 1858 durch Nachbildungen von Tito Sarrocchi ersetzt, aber trotzdem haben wir hier ein wichtiges Dokument für die Entwicklung der frühen Renaissance-Plastik vor uns. Zur damaligen Zeit, 1409, hatte man angefangen, sich zunehmend für die antike Vergangenheit zu interessieren und dabei natürlich besonders für die Geschichte Roms. Jacopo della Quercia war von der Stadt Siena deshalb beauftragt worden, in diesem Brunnen die angebliche römische Abstammung der Stadt als Gründung der Söhne des Remus und ihre darauf beruhenden Tugenden zu dokumentieren. Die Originalteile des Brunnens sind heute im Museum von Santa Maria della Scala im Raum Fienile zu betrachten.

Gebäude

Blick auf die Piazza del Campo und die umliegenden Gebäude

Palazzo Comunale

Mit dem Bau des Gebäudes der Stadtverwaltung wurde 1297 begonnen. Ursprünglich hatte der Palazzo lediglich drei Stockwerke; später erfolgten weitere Anbauten. Vor allem aber kam im Laufe des 14. Jahrhunderts mit dem Torre del Mangia der 102 Meter hohe Turm hinzu, der das Stadtbild von Siena prägt. Der Name leitet sich von dem Spitznamen Mangiaguadagni (Gewinnfresser) des ersten Glöckners ab.

Cappella di Piazza

Vor dem Eingang zum Palazzo Pubblico wurde als Dank für die überstandene Pest 1352 – also noch in der Gotik – eine kleine Kapelle, die Cappella di Piazza, die Platzkapelle errichtet, die über 100 Jahre später (1463) mit einer Renaissance-Dekoration ihre heutige Gestalt erhielt. Beides passt aber so gut zusammen, als sei es gleichzeitig geschaffen worden. Die Dachkonstruktion stammt von Antonio Federighi und entstand in den 1460er Jahren. Die nordeuropäische Gotik wurde in Italien im 13. und besonders im 14. Jh. in stark veränderter und der italienischen Tradition angepassten Form übernommen. Und später konnte im 15. Jh. die Renaissance auf jahrhundertelange vorbereitende Phasen aufbauen. Beides widersprach sich hier in Italien nicht so wie in Frankreich oder Deutschland. Hier an dieser Kapelle ist in der Gotik also locker der alte Rundbogen verwandt worden und nicht der eigentlich typische gotische Spitzbogen. Und als in der Renaissance der Rundbogen wieder zur Norm wurde, musste hier auch gar nichts geändert werden.

Das Pferderennen

Auf dem Platz wird zweimal im Jahr, am 2. Juli und am 16. August, ein Pferderennen („Palio di Siena“) ausgetragen.

(Wikipedia)

X - X marks the spot

The phrase “X marks the spot” often refers to a specific location, target, or goal. For this theme we want to see what your doll(s) is after. Is your doll a pirate following a map to a hidden treasure chest full of gold? Is your doll vacationing in a foreign city and following his/her visitors map to popular landmarks? Perhaps your doll is an entertainer and an X has been marked on the stage floor to show him/her where to stand. Or maybe your doll is an athlete practicing archery or crossing a finish line of a race. The only requirement for this theme is that there must be a doll and a marked endpoint or desired target somewhere in your photo.

My photo: My Poppy goes for the summit from now!

Fontana di Trevi

A seguir, um texto, em português, do Blog do Noblat:

Nenhuma semana sobre fontes poderia ser feita sem falar na Fontana di Trevi, a linda, a inteiramente diferente de todas as outras fontes. Numa pequena praça, formada pelo cruzamento de três vias, em italiano tre vie, e é daí que vem seu nome, a fonte marca o ponto final do aqueduto Acqua Vergine, um dos mais antigos de Roma.

Reza a lenda que em 19 a.C, uma virgem ajudou os Romanos a encontrar uma fonte de água pura. Essa nascente supriu Roma de água por mais de 400 anos, e isso só terminou entre 537 e 538, quando os visigodos sitiaram Roma e destruíram seus aquedutos.

A reconstrução do aqueduto só terminou em 1453, sob o papa Nicolau V que mandou fazer ali uma bacia em mármore para acolher a água.

Em 1629, o papa Urbano VII pediu a Bernini que embelezasse a fonte; o grande arquiteto começou por mudar o local da escultura: seu projeto a colocava do outro lado da praça e ela ficaria de frente para o Palácio Quirinal, de modo que o papa pudesse apreciar a vista. Mas o papa morreu, o projeto foi abandonado. Ainda assim muitos dos detalhes que Bernini criara foram respeitados pelo arquiteto Nicola Salvi, que assina a fonte.

Em 1730, Salvi recebeu do papa Clemente XII a incumbência de reiniciar a decoração da fonte. Os trabalhos começaram em 1732 e terminaram em 1762, depois da morte de Clemente. A estátua principal, do deus Oceano, só foi colocada após a morte do papa.

O pano de fundo da estrutura é o Palazzo Poli que, para compor o cenário perfeito, recebeu uma nova fachada com colunas gregas que unem os dois andares.

O tema principal é “O Domínio das Águas”. A biga de Oceano, em forma de concha, é puxada por cavalos alados dominados por Tritãos. O nicho do deus é um imenso arco do triunfo; nos laterais estão as estátuas da Abundância e da Salubridade.

No alto, em baixo relevo, a origem dos aquedutos romanos e, acima, as armas de Clemente XII. O conjunto mede 25.9m de altura x 19,8m de largura e é a maior fonte barroca dessa cidade com tantas fontes.

Reza a lenda que ao jogar uma moeda na fonte, está assegurada sua volta a Roma. Se jogar três moedas com a mão direita sobre o ombro esquerdo, você garante sua boa sorte. Parece brincadeira? Cerca de 3mil euros são jogados por dia na Fontana di Trevi!

Esse cenário deslumbrante serviu a Federico Fellini para uma das cenas mais famosas de sua obra-prima, o filme La Dolce Vita. Difìcil alguém que não conheça a cena interpretada por Anita Eckberg e Marcello Mastroianni. Pois bem, quando Mastroianni faleceu, desligaram a água e cobriram a fonte de panos negros. Foi o luto de Roma pelo grande ator.

Um texto, em português, da Wikipédia, a Enciclopédia livre:

A Fontana di Trevi (Fonte dos trevos, em português) é a maior (cerca de 26 metros de altura e 20 metros de largura) e mais ambiciosa construção de fontes barrocas da Itália e está localizada na rione Trevi, em Roma.

A fonte situava-se no cruzamento de três estradas (tre vie), marcando o ponto final do Acqua Vergine, um dos mais antigos aquedutos que abasteciam a cidade de Roma. No ano 19 a.C., supostamente ajudados por uma virgem, técnicos romanos localizaram uma fonte de água pura a pouco mais de 22 quilômetros da cidade (cena representada em escultura na própria fonte, atualmente). A água desta fonte foi levada pelo menor aqueduto de Roma, diretamente para os banheiros de Marcus Vipsanius Agrippa e serviu a cidade por mais de 400 anos.

O "golpe de misericórdia" desferido pelos invasores godos em Roma foi dado com a destruição dos aquedutos, durante as Guerras Góticas. Os romanos durante a Idade Média tinham de abastecer-se da água de poços poluídos, e da pouco límpida água do rio Tibre, que também recebia os esgotos da cidade.

O antigo costume romano de erguer uma bela fonte ao final de um aqueduto que conduzia a água para a cidade foi reavivado no século XV, com a Renascença. Em 1453, o Papa Nicolau V determinou fosse consertado o aqueduto de Acqua Vergine, construindo ao seu final um simples receptáculo para receber a água, num projeto feito pelo arquiteto humanista Leon Battista Alberti.

Em 1629, o Papa Urbano VIII achou que a velha fonte era insuficientemente dramática e encomendou a Bernini alguns desenhos, mas quando o Papa faleceu o projeto foi abandonado. A última contribuição de Bernini foi reposicionar a fonte para o outro lado da praça a fim de que esta ficasse defronte ao Palácio do Quirinal (assim o Papa poderia vê-la e admirá-la de sua janela). Ainda que o projeto de Bernini tenha sido abandonado, existem na fonte muitos detalhes de sua idéia original.

Muitas competições entre artistas e arquitetos tiveram lugar durante o Renascimento e o período Barroco para se redesenhar os edifícios, as fontes, e até mesmo a Scalinata di Piazza di Spagna (as escadarias da Praça de Espanha). Em 1730, o Papa Clemente XII organizou uma nova competição na qual Nicola Salvi foi derrotado, mas efetivamente terminou por realizar seu projeto. Este começou em 1732 e foi concluído em 1762, logo depois da morte de Clemente, quando o Netuno de Pietro Bracci foi afixado no nicho central da fonte.

Salvi morrera alguns anos antes, em 1751, com seu trabalho ainda pela metade, que manteve oculto por um grande biombo. A fonte foi concluída por Giuseppe Pannini, que substituiu as alegorias insossas que eram planejadas, representando Agrippa e Trivia, as virgens romanas, pelas belas esculturas de Netuno e seu séquito.

A fonte foi restaurada em 1998; as esculturas foram limpas e polidas, e a fonte foi provida de bombas para circulação da água e sua oxigenação.

A text, in english, From Wikipedia, the free encyclopedia:

The fountain at the junction of three roads (tre vie) marks the terminal point of the "modern" Acqua Vergine, the revivified Aqua Virgo, one of the ancient aqueducts that supplied water to ancient Rome. In 19 BC, supposedly with the help of a virgin, Roman technicians located a source of pure water some 13 km (8 miles) from the city. (This scene is presented on the present fountain's façade.) However, the eventual indirect route of the aqueduct made its length some 22 km (14 miles). This Aqua Virgo led the water into the Baths of Agrippa. It served Rome for more than four hundred years. The coup de grâce for the urban life of late classical Rome came when the Goth besiegers in 537/38 broke the aqueducts. Medieval Romans were reduced to drawing water from polluted wells and the Tiber River, which was also used as a sewer.

The Roman custom of building a handsome fountain at the endpoint of an aqueduct that brought water to Rome was revived in the 15th century, with the Renaissance. In 1453, Pope Nicholas V finished mending the Acqua Vergine aqueduct and built a simple basin, designed by the humanist architect Leon Battista Alberti, to herald the water's arrival.

In 1629 Pope Urban VIII, finding the earlier fountain insufficiently dramatic, asked Bernini to sketch possible renovations, but when the Pope died, the project was abandoned. Bernini's lasting contribution was to resite the fountain from the other side of the square to face the Quirinal Palace (so the Pope could look down and enjoy it). Though Bernini's project was torn down for Salvi's fountain, there are many Bernini touches in the fountain as it was built. An early, striking and influential model by Pietro da Cortona, preserved in the Albertina, Vienna, also exists, as do various early 18th century sketches, most unsigned, as well as a project attributed to Nicola Michetti, one attributed to Ferdinando Fuga and a French design by Edme Bouchardon.

Competitions had become the rage during the Baroque era to design buildings, fountains, and even the Spanish Steps. In 1730 Pope Clement XII organized a contest in which Nicola Salvi initially lost to Alessandro Galilei — but due to the outcry in Rome over the fact that a Florentine won, Salvi was awarded the commission anyway. Work began in 1732, and the fountain was completed in 1762, long after Clement's death, when Pietro Bracci's Oceanus (god of all water) was set in the central niche.

Salvi died in 1751, with his work half-finished, but before he went he made sure a stubborn barber's unsightly sign would not spoil the ensemble, hiding it behind a sculpted vase, called by Romans the asso di coppe, "the "Ace of Cups".

The Trevi Fountain was finished in 1762 by Giuseppe Pannini, who substituted the present allegories for planned sculptures of Agrippa and "Trivia", the Roman virgin.

The fountain was refurbished in 1998; the stonework was scrubbed and the fountain provided with recirculating pumps.

The backdrop for the fountain is the Palazzo Poli, given a new facade with a giant order of Corinthian pilasters that link the two main stories. Taming of the waters is the theme of the gigantic scheme that tumbles forward, mixing water and rockwork, and filling the small square. Tritons guide Oceanus' shell chariot, taming seahorses (hippocamps).

In the center is superimposed a robustly modelled triumphal arch. The center niche or exedra framing Oceanus has free-standing columns for maximal light-and-shade. In the niches flanking Oceanus, Abundance spills water from her urn and Salubrity holds a cup from which a snake drinks. Above, bas reliefs illustrate the Roman origin of the aqueducts.

The tritons and horses provide symmetrical balance, with the maximum contrast in their mood and poses (by 1730, rococo was already in full bloom in France and Germany).

A traditional legend holds that if visitors throw a coin into the fountain, they are ensured a return to Rome. Among those who are unaware that the "three coins" of Three Coins in the Fountain were thrown by three different individuals, a reported current interpretation is that two coins will lead to a new romance and three will ensure either a marriage or divorce. A reported current version of this legend is that it is lucky to throw three coins with one's right hand over one's left shoulder into the Trevi Fountain.

Approximately 3,000 Euros are thrown into the fountain each day and are collected at night. The money has been used to subsidize a supermarket for Rome's needy. However, there are regular attempts to steal coins from the fountain.

The endpoint of the Rabacal levada hike - 25 fontes (springs) waterfall. Water seeps out of the rock in rivulets all around these horseshoe cliffs, but the highest falls are magical when the sun hits them at the top, creating a golden veil of mist. The plant at the top left of the image is a giant dandelion - wouldn't fancy finding one of those in my lawn!

However far the ‘solidification’ of the sensible world may have gone, it can never be carried so far as to turn the world into a ‘closed system’ such as is imagined by the materialists. The very nature of things sets limits to ‘solidification’, and the more nearly those limits are approached the more unstable is the corresponding state of affairs; in actual fact, as we have seen, the point corresponding to a maximum of ‘solidification’ has already been passed, and the impression that the world is a ‘closed system’ can only from now onward become more and more illusory and inadequate to the reality. ‘Fissures’ have been mentioned previously as being the paths whereby certain destructive forces are already entering, and must continue to enter ever more freely; according to traditional symbolism these ‘fissures’ occur in the ‘Great Wall’ that surrounds the world and protects it from the intrusion of malefic influences coming from the inferior subtle domain. (In the symbolism of the Hindu tradition the ‘Great Wall’ is the circular mountain Lokaloka, which divides the ‘cosmos’ (loka) from the ‘outer darkness(aloka).) In order that this symbolism may be fully understood in all its aspects, it is important to note that a wall acts both as a protection and as a limitation: in a sense therefore it can be said to have both advantages and inconveniences; but insofar as its principal purpose is to ensure an adequate defence against attacks coming from below, the advantages are incomparably the more important, for it is on the whole more useful to anyone who happens to be enclosed within its perimeter to be kept out of reach of what is below, than it is to be continuously exposed to the ravages of the enemy, or worse still to a more or less complete destruction. In any case, a walled space as such is not closed in at the top, so that communication with superior domains is not prevented, and this state of affairs is the normal one; but in the modern period the ‘shell’ with no outlet built by materialism has cut off that communication. Moreover, as already explained, because the ‘descent’ has not yet come to an end, the ‘shell’ must necessarily remain intact overhead, that is, in the direction of that from which humanity need not be protected since on the contrary only beneficient influences can come that way; the ‘fissures’ occur only at the base, and therefore in the actual protective wall itself, and the inferior forces that make their way in through them meet with a much reduced resistance because under such conditions no power of a superior order can intervene in order to oppose them effectively. Thus the world is exposed defenceless to all the attacks of its enemies, the more so because, the present-day mentality being what it is, the dangers that threaten it are wholly unperceived.

Nevertheless, although the Kali-Yuga as a whole is intrinsically a period of obscuration, so that ‘fissures’ have been possible ever since it began, the degree of obscuration pervading its later phases is far from having been attained at once, and that is why ‘fissures’ could be repaired relatively easily in earlier times; it was nonetheless necessary to maintain a constant vigilance against them, and this task was naturally among those assigned to the spiritual centers of the various traditions. Later on there came a period when, as a consequence of the extreme ‘solidification’ of the world, these same ‘fissures’ were much less to be feared, at least temporarily; this period corresponds to the first part of modern times, the part that can be defined as being characteristically mechanistic and materialistic, in which the ‘closed system’ alluded to was most nearly realized, at least to the extent that any such thing is actually possible. Nowadays, that is to say in the period which can be called the second part of modern times and which has already begun, conditions are certainly very different from the conditions obtaining in all earlier periods: not only can ‘fissures’ occur more and more extensively, and be much more serious in character, because a greater proportion of the descending course of manifestation has been accomplished, but also the possibilities of repairing them are not the same as they used to be; the action of the spiritual centers has indeed become ever more enclosed, because the superior influences that they normally transmit to our world can no longer be manifested externally, since they are held back by the ‘shell’ alluded to above; and when the whole of the human and cosmic order is in such a condition, where could a means of defence possibly be found such as might be effective in any way against the destructive forces?

***

In passing from philosophy to psychology it will be found that identical tendencies appear once again in the latter, and in the most recent schools of psychology they assume a far more dangerous aspect, for instead of taking the form of mere theoretical postulates they are given practical applications of a very disturbing character; the most ‘representative’ of these new methods, from the point of view of the present study, are those grouped under the general heading of ‘psychoanalysis’. It may be noted that, by a curious inconsistency, their handling of elements indubitably belonging to the subtle order continues to be accompanied in many psychologists by a materialistic attitude, no doubt because of their earlier training, as well as because of their present ignorance of the true nature of the elements they are bringing into play; is it not one of the strangest characteristics of modern science that it never knows exactly what the object of its studies really is, even when only the forces of the corporeal domain are in question? It goes without saying too that there is a kind of ‘laboratory psychology’, the endpoint of the process of limitation and of materialization of which the ‘philosophico-literary’ psychology of university teaching was but a less advanced stage, and now no more than a sort of accessory branch of psychology, which still continues to coexist with the new theories and methods; to this branch apply the preceding observations on the attempts that have been made to reduce psychology itself to a quantitative science.

There is certainly something more than a mere question of vocabulary in the fact, very significant in itself, that present-day psychology considers nothing but the ‘subconscious’, and never the ‘superconscious’, which ought logically to be its correlative; there is no doubt that this usage expresses the idea of an extension operating only in a downward direction, that is, toward the aspect of things that corresponds, both here in the human being and elsewhere in the cosmic environment, to the ‘fissures’ through which the most ‘malefic’ influences of the subtle world penetrate, influences having a character than can truthfully and literally be described as ‘infernal ’. (It may be noted in this connection that Freud put at the head of his The Interpretation of Dreams the following very significant epigram: Flectere si nequeo superos, Acheronta movebo - If I cannot move heaven I will raise hell (Virgil ,Aeneid, vii, 312)) There are also some who adopt the term ‘unconscious’ as a synonym or equivalent of ‘subconscious’, and this term, taken literally, would seem to refer to an even lower level, but as a matter of fact it only corresponds less closely to reality; if the object of study were really unconscious it is difficult to see how it could be spoken of at all, especially in psychological terms; and besides, what good reason is there, other than mere materialistic and mechanistic prejudice, for assuming that anything unconscious really exists? However that may be, there is another thing worthy of note, and that is the strange illusion which leads psychologists to regard states as being more ‘profound’ when they are quite simply more inferior; is not this already an indication of the tendency to run counter to spirituality, which alone can be truly profound since it alone touches the principle and the very center of the being? Correspondingly, since the domain of psychology is not extended upward, the ‘superconscious’ naturally remains as strange to it and as cut off from it as ever; and when psychology happens to meet anything related to the ‘superconscious’, it tries to annex it merely by assimilating it to the ‘subconscious’. This particular procedure is almost invariably characteristic of its so-called explanations of such things as religion and mysticism, together with certain aspects of Eastern doctrine such as Yoga ; there are therefore features in this confusion of the superior with the inferior that can properly be regarded as constituting a real subversion.

It should also be noted that psychology, as well as the ‘new philosophy’, tends in its appeal to the subconscious to approach more and more closely to ‘metapsychics’; and in the same way it cannot avoid making an approach, though perhaps unwittingly (at least in the case of those of its representatives who are determined to remain materialists in spite of everything), to spiritualism and to other more or less similar things, all of which rely without doubt on the same obscure elements of a debased psychism. These same things, of which the origin and the character are more than suspect, thus appear in the guise of ‘precursory’ movements and as the allies of recent psychology, which introduces the elements in question into the contemporary purview of what is admitted to be ‘official’ science, and although it introduces them in a roundabout way (nonetheless by an easier way than that of ‘metapsychics’, the latter being still disputed in some quarters), it is very difficult to think that the part psychology is called upon to play in the present state of the world is other than one of active participation in the second phase of anti-traditional action. In this connection, the recently mentioned pretensions of ordinary psychology to annex, by forcible assimilation to the ‘subconscious’, certain things that by their very nature elude it, only belong to what may be called the ‘childish’ side of the affair, though they are fairly clearly subversive in tendency; for explanations of that sort, just like the ‘sociological’ explanations of the same things, are really of a ‘simplistic’ ingenuousness that sometimes reaches buffoonery; but in any case, that sort of thing is far less serious, so far as its real consequences are concerned, than the truly ‘satanic’ side now to be examined more closely in relation to the new psychology.

A ‘satanic’ character is revealed with particular clarity in the psychoanalytic interpretations of symbolism, or of what is held rightly or wrongly to be symbolism, this last proviso being inserted because on this point as on many others, if the details were gone into, there would be many distinctions to make and many confusions to dissipate: thus, to take only one typical example, a vision in which is expressed some ‘supra-human’ inspiration is truly symbolic, whereas an ordinary dream is not so, whatever the outward appearances may be. Psychologists of earlier schools had of course themselves often tried to explain symbolism in their own way and to bring it within the range of their own conceptions; in any such case, if symbolism is really in question at all, explanations in terms of purely human elements fail to recognize anything that is essential, as indeed they do whenever affairs of a traditional order are concerned; if on the other hand human affairs alone are really in question, then it must be a case of false symbolism, but then the very fact of calling it by that name reveals once more the same mistake about the nature of true symbolism. This applies equally to the matters to which the psychoanalysts devote their attention, but with the difference that in their case the things to be taken into consideration are not simply human, but also to a great extent ‘infra-human’; it is then that we come into the presence, not only of a debasement, but of a complete subversion; and every subversion, even if it only arises, at least in the first place, from incomprehension and ignorance (than which nothing is better adapted for exploitation to such ends), is always inherently ‘satanic’ in the true sense of the word. Besides this, the generally ignoble and repulsive character of psychoanalytical interpretations is an entirely reliable ‘mark’ in this connection; and it is particularly significant from our point of view, as has been shown elsewhere, that this very same ‘mark’ appears again in certain spiritualist manifestations— anyone who sees in this no more than a mere ‘coincidence’ must v surely have much good will, if indeed he is not completely blind. In most cases the psychoanalysts may well be quite as unconscious as are the spiritualists of what is really involved in these matters; but the former no less than the latter appear to be ‘guided’ by a subversive will making use in each case of elements that are of the same order, if not precisely identical. This subversive will, whatever may be the beings in which it is incarnated, is certainly conscious enough, at least in those beings, and it is related to intentions that are doubtless very different from any that can be suspected by people who are only the unconscious instruments whereby those intentions are translated into action.

Under such conditions, it is all too clear that resort to psychoanalysis for purposes of therapy, this being the usual reason for its employment, cannot but be extremely dangerous for those who undergo it, and even to those who apply it, for they are concerned with things that can never be handled with impunity; it would not be taking an exaggerated view to see in this one of the means specially brought into play in order to increase to the greatest possible extent the disequilibrium of the modern world and to lead it on toward final dissolution. Those who practice such methods are on the other hand without doubt convinced of the benefits afforded by the results they obtain; theirs is however the very delusion that makes the diffusion of these methods possible, and it marks the real difference subsisting between the intentions of the ‘practitioners’ and the intentions of the will that presides over the work in which the practitioners only collaborate blindly. In fact, the only effect of psychoanalysis must be to bring to the surface, by making it fully conscious, the whole content of those lower depths of the being that can properly be called the ‘subconscious’; moreover, the individual concerned is already psychologically weak by hypothesis, for if he were otherwise he would experience no need to resort to treatment of this description; he is by so much the less able to resist ‘subversion’, and he is in grave danger of foundering irremediably in the chaos of dark forces thus imprudently let loose; even if he manages in spite of everything to escape, he will at least retain throughout the rest of his life an imprint like an ineradicable ‘stain within himself.

Someone may raise an objection here, based on a supposed analogy with the ‘descent into hell’ as is met with in the preliminary phases of the initiatic journey; but any such assimilation is completely false, for the two aims have nothing in common, nor have the conditions of the ‘subject’ in the two cases; there can be no question of anything other than a profane parody, and that idea alone is enough to impart to the whole affair a somewhat disturbing suggestion of ‘counterfeit’. The truth is that this supposed ‘descent into hell’, which is not followed by any ‘re-ascent’, is quite simply a ‘fall into the mire’, as it is called according to the symbolism of some of the ancient Mysteries. It is known that this ‘mire’ was figuratively represented as the road leading to Eleusis, and that those who fell into it were profane people who claimed initiation without being qualified to receive it, and so were only the victims of their own imprudence. It may be mentioned that such ‘mires’ really exist in the macrocosmic as well as in the microcosmic order; this is directly connected with the question of the ‘outer darkness’ (the reader may be referred back to what has been said earlier about the symbolism of the ‘Great Wall’ and of the mountain Lokaloka), and certain relevant Gospel texts could be recalled, the meaning of which agrees exactly with what has just been explained. In the ‘descent into hell’ the being finally exhausts certain inferior possibilities in order to be able to rise thereafter to superior states; in the ‘fall into the mire’ on the other hand, the inferior possibilities take possession of him, dominate him, and end by submerging him completely.

There was occasion in the previous paragraph again to use the word ‘counterfeit’; the impression it conveys is greatly strengthened by some other considerations, such as the denaturing of symbolism previously mentioned, and the same kind of denaturing tends to spread to everything that contains any element of a ‘supra-human’ order, as is shown by the attitude adopted toward religion, and toward doctrines of a metaphysical and initiatic order such as Yoga. Even these last do not escape this new kind of interpretation, which is carried to such a point that some proceed to assimilate the methods of spiritual ‘realization’ to the therapeutical procedures of psychoanalysis. This is something even worse than the cruder deformations also current in the West, such as those in which the methods of Yoga are seen as a sort of ‘physical culture’ or as therapeutic methods of a purely physiological kind, for their very crudity makes such deformations less dangerous than those that appear in a more subtle guise. The subtler kind are the more dangerous not simply because they are liable to lead astray minds on which the less subtle could obtain no hold; they are certainly dangerous for that reason, but there is another reason affecting a much wider field, identical with that which has been described as making the materialistic conception less dangerous than conceptions involving recourse to an inferior psychism. Of course the purely spiritual aim, which alone constitutes the essentiality of Yoga as such, and without which the very use of the word becomes a mere absurdity, is no less completely unrecognized in the one case than in the other. Yoga is in fact no more a kind of psychic therapy than it is a kind of physiological therapy, and its methods are in no way and in no degree a treatment for people who are in any way ill or unbalanced; very far from that, they are on the contrary intended exclusively for those who must from the start and in their own natural dispositions be as perfectly balanced as possible if they are to realize the spiritual development which is the only object of the methods; but all these matters, as will readily be understood, are strictly linked up with the whole question of initiatic qualification.

But this is not yet all, for one other thing under the heading of ‘counterfeit’ is perhaps even more worthy of note than anything mentioned so far, and that is the requirement imposed on anyone who wants to practise psychoanalysis as a profession of being first ‘psychoanalyzed’ himself. This implies above all a recognition of the fact that the being who has undergone this operation is never again the same as he was before, in other words, to repeat an expression already used above, it leaves in him an ineradicable imprint, as does initiation, but as it were in an opposite sense, for what is here in question is not a spiritual development, but the development of an inferior psychism. In addition, there is an evident imitation of the initiatic transmission; but, bearing in mind the difference in the nature of the influences that intervene, and in view of the fact that the production of an effective result does not allow the practice to be regarded as nothing but a mere pretence without real significance, the psycho-analytic transmission is really more comparable to the transmission effected in a domain such as that of magic, or even more accurately that of sorcery. And there remains yet another very obscure point concerning the actual origin of the transmission: it is obviously impossible to give to anyone else what one does not possess oneself, and moreover the invention of psychoanalysis is quite recent; so from what source did the first psychoanalysts obtain the ‘powers’ that they communicate to their disciples, and by whom were they themselves ‘psychoanalyzed’ in the first place? To ask this question is only logical, at least for anyone capable of a little reflection, though it is probably highly indiscreet, and it is more than doubtful whether a satisfactory answer will ever be obtained; but even without any such answer this kind of psychic transmission reveals a truly sinister ‘mark’ in the resemblances it calls to mind: from this point of view psychoanalysis presents a rather terrifying likeness to certain ‘sacraments of the devil’.

Excerpts from:

René Guénon - The Reign of Quantity and the Signs of the Times

There was no formal international agreement on special delivery services between Canada and the United States until 1923. Prior to this date a variety of uses can be found. In this earlier period, special delivery stamps were commonly accepted by both countries on a reciprocal bases. This example with the US 10 cent "Special Delivery" stamp was mailed at Vancouver for Sacramento, California on - 13 May 1908.

US stamp Special Delivery (#E6) - Cycling Messenger (1902) 10¢ - by 1902, that sprinting express delivery mail carrier must have been getting very tired, so, maybe out of sympathy, the U.S. Post Office Department gave him a bicycle to use! Special delivery stamps indicated that the person had paid an extra fee to make sure that once the mail arrived at the post office, it would be immediately delivered to the addressee between 7am and midnight. United States Special Delivery stamps always begin with the letter "E".

To December 31, 1923 - If special delivery service was required for a letter addressed to the United States, the letter had to be franked with a U.S. 10 cent special delivery stamp or 10 cents U.S. postage in addition to the Canadian postage.

January 1, 1924 - Special delivery service to the United States could now be provided with Canadian stamps. The fee was 20 cents.

Vancouver, Canada to Sacramento, California, USA - 13 May 1908 / 17 May 1908

U.S. special delivery stamp (10 cent) affixed and cancelled at Vancouver, B.C. on 13 May 1908. Special Delivery service was provided at Sacramento, California.

- sent from - / VANCOUVER, B.C. / MAY 13 / 1908 / - machine cancel

- via - / PORT. & SAN FRAN. R.P.O. / TR 11 / MAY / 15 / 1908 / N.D. / RMS / - rpo duplex transit backstamp (Portland & San Francisco)

S.D. = Southern Division

N.D. = Northern Division

in 1903 the dividing line was in Ashland, Oregon

RMS = Railway Mail Service

PTS = Postal Transportation Service

George B. Armstrong, the assistant postmaster of Chicago, next took up the idea, and a mail sorting car went into service Aug. 28, 1864, on the Chicago and North Western Railway on the run from Chicago to Clinton, Iowa. Using the technology of the day, railway mail service became the quickest way to deliver a letter from point A to point B. The popularity of the service grew rapidly, and in less than 10 years, 57 railroads were operating mail cars over more than 15,000 miles of track in the United States. The service peaked in 1915, with railways operating more than 1,700 railway mail service routes with more than 20,000 clerks on about 4,000 cars operating over more than 216,000 miles of track. Typical railway mail service duplex cancelers used in the United States had the route endpoints, or an abbreviation for them, at the top of the postmark, the letters "R.P.O." for "railway post office" at the bottom of the postmark and the letters "RMS" for "Railway Mail Service" between the bars of the killer part of the marking. On Nov. 1, 1949, the name of the Railway Mail Service was changed to Postal Transportation Service. New cancelers supplied after that date had "PTS" between the killer bars, but "RMS" cancelers remained in use after the name change.

Mail moved by rail fell into three classifications.

(1) - Closed-pouch mail was sorted and postmarked at a post office and shipped as freight. It was not processed by the RPO.

(2) - Initial-terminal mail delivered to the RPO at the beginning point of the line was sorted and postmarked en route by the RPO. Processed mail was bagged and off-loaded at the appropriate stations along the line or passed on at the end of the run for forwarding.

(3) - Between-terminals mail was picked up at stations after the train began its run. This mail was sorted, postmarked, and if appropriate, off-loaded while the train was en route. At stations where the train did not stop, mail pouches were hooked at speed from small cranes. On some trains, passengers could mail letters or postcards by dropping them through a special slot in the mail car.

After the high-water mark of 1915, the Railway Mail Service began to decline. Mail cars were usually attached to passenger trains. As railway passenger volume declined, railroads terminated mail service on less-traveled lines. In 1942, there were still about 1,000 railway mail routes. On April 30, 1971, seven of the last eight railway mail routes were terminated. The last remaining railway post office, a high-speed mail-only train between New York City and Washington, D.C., made its last run June 30, 1977. LINK to the complete article - www.linns.com/news/postal-updates-page/stamp-collecting-b...

Addressed to: Mrs. E.L. Ransdall (Personal) / care - Mr. Bert. Wright / 717 L. Street / Sacramento, California

Note: 717 L. Street in Sacramento was a lodging house / rooming house with several rooms (14 rooms). It was built in the 1880's. In July of 1908 it was purchased by Mrs. Regan. LINKS - www.newspapers.com/clip/119945516/717-l-street/ and www.newspapers.com/clip/119945489/717-l-street/

- arrived at - / SACRAMENTO, CAL. / MAY 17 / 7 AM / 1908 / REC'D . / - cds arrival backstamp

This cover has a - MT. HOOD HOTEL / CHARLES A. BELL, Proprietor / HOOD RIVER, OREGON - corner card (lined out)

The original Mt. Hood Hotel dates back to 1888 the year the town of Hood River was founded. Strategically adjacent to the railroad depot, the hotel formed the social center of Hood River. It was where explorers and settlers alike gathered together to discuss business, eat, drink, and rest. As word spread throughout the country of the region’s successful fruit industry and scenic beauty, the town began to flourish. Finally in 1912, the Mt. Hood Hotel expanded with an Annex which is now today’s Hood River Hotel. LINK to the complete article with excellent photos - hoodriverhotel.com/history/

Charles Alonzo Bell

(b. 28 April 1860 in Taymouth, New Brunswick, Canada - d. 15 April 1925 at age 64 in Hood River, Oregon, USA)

CHARLES A. BELL - No citizen of the Hood River Valley was more widely or more favorably known than was the late Charles A. Bell, who attained a large measure of success in his operation of the Mt. Hood Hotel, at Hood River. A man of initiative ability, progressive ideas and sound business methods, he was also big hearted and generous, his kindly disposition and cordial manner winning for him a warm place in the hearts of all who knew him. Mr. Bell was born at Taymouth, New Brunswick, Canada, in 1860, and was a son of George and Jane (Norman) Bell, both of whom died in that country. Mr. Bell was educated in the public schools of his native town and followed the logging business in Canada until 1878, when he came to the United States, locating near Duluth, Minnesota. He followed the same line of work in that vicinity until 1886, when he was sent to Idaho by the North Powder Lumber Company to break a big log jam in a river, which he successfully accomplished. He was an expert river man and logger and was highly regarded by the companies for which he worked. In 1890 he came to Hood River with the Oregon Lumber Company, being in charge of a large train of oxen and camp equipment, and during the following years, as foreman of the logging camp, he logged off several thousand acres of timber on and around Mt. Hood, as well as across the river in Skamania county, Washington. About 1893 Mr. Bell bought the Mt. Hood Hotel, in Hood River, which he ran until 1901, when he sold it to C. L. Gilbert and returned to the Oregon Lumber Company as camp foreman. He remained with that concern until 1907, when he again bought the Mt. Hood Hotel, running it as it was until 1912, when he made extensive improvements, building a fine annex of forty rooms, the new part being of brick and modern in every respect. The hotel now contains eighty-five rooms and is well equipped for the proper accommodation of its guests. Mr. Bell continued to give his close attention to the operation of the hotel up to the time of his death, which occurred April 15, 1925, and he was more than ordinarily successful in its management.

Mr. Bell was married in 1889, at Pendleton, Oregon, to Miss Roselle Young, who was born at Taymouth, New Brunswick, Canada, and who died in 1896, leaving a son, Fred H., who was educated in the grade and high schools of Hood River and Hill Military Academy at Portland. When the United States entered the World war he enlisted for service in the artillery of the Forty-first Division, of Idaho Volunteers, was sent overseas in 1917 and served in France until the close of the war, after which he spent six months with the Army of Occupation in Germany. He is a member of Hood River post of the American Legion of which he was commander in 1921, as well as the Ancient Free and Accepted Masons and the Knights of Pythias at Hood River. On November 19, 1907, Mr. Bell was married to Miss Ola M. Stryker, who was born in Brownsville, Linn county, Oregon, and is a daughter of Dr. David S. and Celia M. Stryker. Her father, who had received the degree of Doctor of Medicine from the Scudder Medical College, at Cincinnati, Ohio, came to Oregon in 1862, making the journey across the plains with ox teams and covered wagon, and wintered at Boise, Idaho. He brought with him mining machinery and the equipment for a gristmill, all of which he sold in Boise, and in 1864 came on to Linn county, Oregon. Locating first at Brownsville, he practiced medicine there for several years and in 1871 located at Dayton, Washington, being there during the Indian troubles. Later he moved to Portland, Oregon, where he continued the practice of his profession to the time of his death, which occurred in 1899. His wife passed away in 1883. To them were born six children, as follows: Dr. Stanton, who was a prominent physician in Portland, was accidentally killed while climbing Mt. Hood, July 17, 1927; Mrs. Ola M. Bell; Dr. George, who lives in California; Guy, of Portland, Oregon; Ray, who is a practicing dentist in Los Angeles, California, and Mrs. George Wissinger, of Milwaukie, Oregon. All of these children were educated in Willamette University, at Salem. Dr. Stryker was a prominent member of the Independent Order of Odd Fellows. Since her husband's death, Mrs. Bell and her stepson, Fred H. Bell, are continuing the operation of the Mt. Hood Hotel, which ranks among the leading hotels of this part of the state and has become a favorite stopping place for the many tourists who annually visit this section of the country. LINK - genealogytrails.com/ore/hood river/bios.html

Nie jest łatwo, proszę państwa, wracać z knajpy na Żiżkowie. Piwo jest tanie, ale tunel jest długi, duch jest ochoczy, ale ciało mdłe. W pewnym momencie nie widać początku i końca tunelu, w tym momencie idealna geometria nie jest nośnikiem dobrej nadziei, przynosi raczej niepokój podobny do tego z "Odysei kosmicznej 2001".

It's not an easy piece, ladies and gentlemen, to get back from pub on Žižkov (Prague). Beer is cheap, but the tunnel is long, the Spirit is strong, but the flesh is weak. At some stage, while progressing down the tunnel, you cannot see it's endpoints. At this moment these great geometrical proportions fill you with fear like in "Space Odyssey 2001".

A bird of prey flies into the Sun. Shot near End Point, Manipal, India

Sometimes nature presents us with photo opportunities that are too good to be true. This was one such moment for me. I have only cropped the original and "darkened" the bird for emphasis. The original SOOC version is in my flickr comment below.

Some of my photographer friends are too afraid to point their cameras into the sun for fear of stuck pixels!!! Well I believe in taking such risks for the joy of such shots (see flickr comment below). So far my D90 and iPhone sensors have held up well against my "abuse" :)

A must view in large and on black (Press L)

www.flickr.com/photos/sandeepkbhat/5252941523/lightbox/

Dungeons & Dragons

Complete Arcane

Page 28:

Bloodwalk (Su): At 10th level, a blood magus becomes perfectly attuned to the song of blood. He gains the supernatural ability to transport himself great distances via the blood of living creatures. Once per day as a standard action that does not provoke attacks of opportunity, he can seamlessly enter any living creature (except an elemental, ooze, plant, undead, or other creature without blood or a similar fl uid) whose size equals or exceeds his own and pass any distance to another living creature on the same plane in a single round, regardless of the distance separating the two. A blood magus merely designates a direction and distance (“a living creature twenty miles due west of here”), and the bloodwalk ability transports him to a destination creature as close as possible to the desired location. He can’t specify a named individual as the endpoint unless he has previously obtained a sample of that creature’s blood and has it preserved in a vial that he carries. The entry and destination creatures need not be familiar to the blood magus. A blood magus cannot use himself as an entry creature. If an intended entry creature is unwilling, he must make a successful melee touch attack to enter. (A missed touch attack does not use up the ability for that day.) When exiting a creature, a blood magus chooses an adjacent square in which to appear. Entering and exiting a creature is painless unless a blood magus wishes otherwise (see below). In most cases, though, the destination creature finds being the endpoint of a magical portal surprising and quite unsettling. If he desires, a blood magus can attempt to make a bloody exit from the destination creature. He bursts forth explosively from the creature’s body, dealing 10d6 points of damage unless the creature makes a Fortitude save (DC 10 + blood magus’s class level + blood magus’s Con modifier). When he makes a bloody exit, a blood magus must succeed on a DC 15 Fortitude save or be stunned for 1 round from the shock of his expulsion.

Italien / Toskana - Siena

Piazza del Campo - Palazzo Comunale

Piazza del Campo is the main public space of the historic center of Siena, Tuscany, Italy and is regarded as one of Europe's greatest medieval squares. It is renowned worldwide for its beauty and architectural integrity. The Palazzo Pubblico and its Torre del Mangia, as well as various palazzi signorili surround the shell-shaped piazza. At the northwest edge is the Fonte Gaia.

The twice-a-year horse-race, Palio di Siena, is held around the edges of the piazza. The piazza is also the finish of the annual road cycling race Strade Bianche.

History

The open site was a marketplace established before the thirteenth century on a sloping site near the meeting point of the three hillside communities that coalesced to form Siena: the Castellare, the San Martino and the Camollia. Siena may have had earlier Etruscan settlements, but it was not a considerable Roman settlement, and the campo does not lie on the site of a Roman forum, as is sometimes suggested. It was paved in 1349 in fishbone-patterned red brick with 8 lines of travertine, which divide the piazza into 9 sections, radiating from the mouth of the gavinone (the central water drain) in front of the Palazzo Pubblico. The number of divisions is held to be symbolic of the rule of The Nine (Noveschi) who laid out the campo and governed Siena at the height of its mediaeval splendour between 1292-1355. The Campo was and remains the focal point of public life in the City. From the piazza, eleven narrow shaded streets radiate into the city.

The palazzi signorili that line the square, housing the families of the Sansedoni, the Piccolomini and the Saracini etc., have unified rooflines, in contrast to earlier tower houses — emblems of communal strife — such as may still be seen not far from Siena at San Gimignano. In the statutes of Siena, civic and architectural decorum was ordered :"...it responds to the beauty of the city of Siena and to the satisfaction of almost all people of the same city that any edifices that are to be made anew anywhere along the public thoroughfares...proceed in line with the existent buildings and one building not stand out beyond another, but they shall be disposed and arranged equally so as to be of the greatest beauty for the city."

The unity of these Late Gothic houses is affected in part by the uniformity of the bricks of which their walls are built: brick-making was a monopoly of the commune, which saw to it that standards were maintained.

At the foot of the Palazzo Pubblico's wall is the late Gothic Chapel of the Virgin built as an ex voto by the Sienese, after the terrible Black Death of 1348 had ended.

Fonte Gaia

The Fonte Gaia ("Joyous Fountain") was built in 1419 as an endpoint of the system of conduits bringing water to the city's centre, replacing an earlier fountain completed about 1342 when the water conduits were completed. Under the direction of the Committee of Nine, many miles of tunnels were constructed to bring water in aqueducts to fountains and thence to drain to the surrounding fields. The present fountain, a center of attraction for the many tourists, is in the shape of a rectangular basin that is adorned on three sides with many bas-reliefs with the Madonna surrounded by the Classical and the Christian Virtues, emblematic of Good Government under the patronage of the Madonna. The white marble Fonte Gaia was originally designed and built by Jacopo della Quercia, whose bas-reliefs from the basin's sides are conserved in the Ospedale di St. Maria della Scala in Piazza Duomo. The former sculptures were replaced in 1866 by free copies by Tito Sarrocchi, who omitted Jacopo della Quercia's two nude statues of Rhea Silvia and Acca Larentia, which the nineteenth-century city fathers found too pagan or too nude. When they were set up in 1419, Jacopo della Quercia's nude figures were the first two female nudes, who were neither Eve nor a repentant saint, to stand in a public place since Antiquity.

(Wikipedia)

Die Piazza del Campo ist der bedeutendste Platz der toskanischen Stadt Siena, deren Zentrum er bildet.

Der Platz ist bekannt durch seine beeindruckende Architektur und seine halbrunde Form sowie durch das hier normalerweise jährlich zweimal ausgetragene Pferderennen Palio di Siena.

Geschichte

Das Zentrum der bereits in der Etruskerzeit bedeutenden Stadt lag ursprünglich im Gebiet des heutigen Castelvecchio, während „der Campo“ lediglich ein Stück Land war, das dem Abfluss des Regenwassers diente. Da aber auch die an Siena vorbeiführende Fernstraße über dieses Feld verlief und sich hier mit einer anderen Straße kreuzte, entwickelte sich bald ein Marktplatz.

Der Name „Campo“ wird zum ersten Mal schriftlich 1169 erwähnt in einer Quelle, die sich mit der gesamten Talebene befasst, zu der auch die heutige Piazza del Mercato, heute auf der anderen Seite des Palazzo Comunale, gehörte. Damals erwarb die Stadt Siena das Gelände, das von der Piazza del Mercato bis zur heutigen Logge della Mercanzia reicht. Eine Unterteilung des Geländes in die heutigen zwei Plätze wird 1193 erwähnt, sodass man davon ausgehen kann, dass in der Zwischenzeit zumindest eine Mauer erbaut wurde, die den Platz in zwei Hälften teilte; möglicherweise geschah dies, um das Wasser besser ableiten zu können.

Bis ins Jahr 1270, als die Herrschaft der Vierundzwanzig (1236–1270) zu Ende ging, wurde dann der Platz für Messen und Märkte genutzt. Zwar hatte der Platz noch nicht das heutige Aussehen, er entwickelte sich aber allmählich zum zweiten Mittelpunkt der Stadt neben dem Dom; während dort religiöse Feste im Mittelpunkt standen, dominierten auf der Piazza del Campo der Handel und weltliche Feste. Da sich auch die städtische Obrigkeit immer unabhängiger vom Bischof (und später Erzbischof) machte, kam in der Zeit der Herrschaft der Neun (1289–1355) der Bedarf nach einem eigenen Rathaus auf.

Die Piazza del Campo ist einer der eindrucksvollsten kommunalen Plätze Italiens – im Gegensatz zum Markusplatz Venedigs und zur Piazza dei Miracoli Pisas ist dies ein Platz ohne Kirche, also ein rein politisches Zentrum – und das zeigt sich auch in der Kunst in den Innenräumen des Rathauses. Das Gelände ist leicht abschüssig und der Palazzo Pubblico, der öffentliche Palast, also das Rathaus steht an der tiefsten Stelle. Diese auffallend tief liegende Position im Gegensatz zu den Gepflogenheiten anderer Städte erklärt sich aus dem Bedürfnis, eine neutrale Lage zwischen den Hügeln von Siena zu wählen. Auch hier hat also das Konkurrenzdenken innerhalb der Stadt Konsequenzen gehabt. Das hatte zur Folge, dass der Turm sehr hoch werden musste, damit er trotz seiner niedrigen Lage die Stadt überragen konnte.

Mit dem Bau des Palazzo Comunale wurden dann auch die Impulse für eine architektonische Gestaltung des Platzes gegeben. In den Jahren 1327–1349 erhielt der Platz eine Pflasterung, wobei auch heute noch die Einteilung in neun Segmente an die damalige Herrschaft der Neun erinnert. Die „Skyline“ des Platzes ist allerdings nicht spontan in einem Stück entstanden. Erst mit den Jahren sorgte die Stadtverwaltung durch entsprechende Gesetze dafür, dass die Fassadengestaltung einheitlich gehandhabt wurde. So wurde etwa eine Peter- und Paul-Kirche abgerissen; heute erinnern die Gassen Vicoli di San Pietro e di San Paolo daran.

Nach 1861 wurden, wie auch an anderen Gebäuden in der Altstadt von Siena, Gebäude an der Piazza von ihren barocken Fassaden „befreit“, um dem ursprünglichen, d. h. mittelalterlichen Erscheinungsbild wieder zur Geltung zu verhelfen.

Seit ca. 2017 gehören 15 der 20 Gebäude, die den Platz begrenzen, Igor Bidilo, einem Investor aus Kasachstan.

Fonte Gaia

Auf der höheren Seite des Campo steht der Fonte Gaia, den Jacopo della Quercia von 1409 bis 1419 geschaffen hat. ‚Brunnen der Freude’ heißt er, weil es 1342 zum ersten Mal gelungen war, mithilfe einer 25 km langen Leitung Wasser in die Stadt fließen zu lassen. Der ewige Wassermangel war in der Bergstadt Siena ein großes Problem – besonders in den Sommermonaten. Stilistisch hat della Quercia in den Figuren dieses Brunnens etwas Ähnliches erreicht wie die Sieneser Malerei, nämlich einen Ausgleich zwischen der klassischen Tradition und gotischem Schwung.

Die Figuren des Brunnens sind zwar seit 1858 durch Nachbildungen von Tito Sarrocchi ersetzt, aber trotzdem haben wir hier ein wichtiges Dokument für die Entwicklung der frühen Renaissance-Plastik vor uns. Zur damaligen Zeit, 1409, hatte man angefangen, sich zunehmend für die antike Vergangenheit zu interessieren und dabei natürlich besonders für die Geschichte Roms. Jacopo della Quercia war von der Stadt Siena deshalb beauftragt worden, in diesem Brunnen die angebliche römische Abstammung der Stadt als Gründung der Söhne des Remus und ihre darauf beruhenden Tugenden zu dokumentieren. Die Originalteile des Brunnens sind heute im Museum von Santa Maria della Scala im Raum Fienile zu betrachten.

Gebäude

Palazzo Comunale

Mit dem Bau des Gebäudes der Stadtverwaltung wurde 1297 begonnen. Ursprünglich hatte der Palazzo lediglich drei Stockwerke; später erfolgten weitere Anbauten. Vor allem aber kam im Laufe des 14. Jahrhunderts mit dem Torre del Mangia der 102 Meter hohe Turm hinzu, der das Stadtbild von Siena prägt. Der Name leitet sich von dem Spitznamen Mangiaguadagni (Gewinnfresser) des ersten Glöckners ab.

Cappella di Piazza

Vor dem Eingang zum Palazzo Pubblico wurde als Dank für die überstandene Pest 1352 – also noch in der Gotik – eine kleine Kapelle, die Cappella di Piazza, die Platzkapelle errichtet, die über 100 Jahre später (1463) mit einer Renaissance-Dekoration ihre heutige Gestalt erhielt. Beides passt aber so gut zusammen, als sei es gleichzeitig geschaffen worden. Die Dachkonstruktion stammt von Antonio Federighi und entstand in den 1460er Jahren. Die nordeuropäische Gotik wurde in Italien im 13. und besonders im 14. Jh. in stark veränderter und der italienischen Tradition angepassten Form übernommen. Und später konnte im 15. Jh. die Renaissance auf jahrhundertelange vorbereitende Phasen aufbauen. Beides widersprach sich hier in Italien nicht so wie in Frankreich oder Deutschland. Hier an dieser Kapelle ist in der Gotik also locker der alte Rundbogen verwandt worden und nicht der eigentlich typische gotische Spitzbogen. Und als in der Renaissance der Rundbogen wieder zur Norm wurde, musste hier auch gar nichts geändert werden.

Das Pferderennen

Auf dem Platz wird zweimal im Jahr, am 2. Juli und am 16. August, ein Pferderennen („Palio di Siena“) ausgetragen.

(Wikipedia)

Cape Drastis marks the north-western endpoint of Corfu

Como, por ejemplo, que merece la pena vivir. ¿Por qué? Porque la felicidad esta a tres pasos y medio, y la vida tiene algo… no se, tú llámalo X, que engancha. Porque something happens en el mundo mientras nosotros perseguimos something we can't have. Y en realidad siempre acabamos back to black. Pero nuestro last breath deberíamos dedicarlo a ese día que pintemos otra realidad, o a cuando le digamos a alguien “llámame sin elle”. Porque podemos hacer que un día merezca la pena, por ejemplo, yendo a una galería llamada Mikesphot Gallery a ver una exposición de Julián Pavón o de Clau, o podemos quedarnos en casa dibujando estrellas en su espalda. Porque algún día alguna chica de azul nos llamará la atención, y nos hará recapacitar. Porque es verdad que lo prohibido atrae, y que vivimos rozando el límite de lo prohibido y deshojando margaritas de papel, pero inside this city of nightmares puede haber un wonderland, y si no que se lo pregunten a Lunayda. Porque si te cruzas con IsabelitaPul te dirá que dejes de hacer siempre the same, y Cristina, Irene, Sara, Carla y Silvia estarán de acuerdo. Porque aunque Andrea loves playing xylophone, Oscar prefiere escribir pretéritos imperfectos. Porque siempre habrá violent pornography, pero, aún así, el precious love del que hablan los cuentos existe. Porque hay little things que siempre nos harán sonreír, y cuando exclamemos “OMG, Olivia's here” descubriremos muchas maravillas sobre el cielo. Y aunque Perzul, Carulains, Pinflow y Mauri sigan el dulce movimiento de un pestañeo, yo siempre sostendré que hay looks that kill. Porque aunque me encanta dar pasos de equilibrista, reconozco que todos tenemos vices and virtues. Porque tu fucking love estará dispuesto a matar monstruos por ti, pero MariaDC encontrará una Mrs. Exception. Es posible que alguna amazona cronopiana quiera ser simply happy, pero acabe convertida en una chica jueves con un scatterbrain. Yo sigo pensando que no hay nothing like you, y que 14 delirios son pocos a vuestro lado. También es cierto que la única forma de flotar es caer, y que los huracanes de palabras son geniales para los días en los que la inspiración escasea. Porque hay personas como Sara García o Norae Lebowsky que tienen mucho que decir, y no me hagáis hablar de Rocío o no acabaré nunca. Supongo que si grito “Endpoint(me)!” ocho latidos sacudirán mis venas mientras Anna takes photos y la niña imantada le sonríe a Lucas. A pesar de todo, existe una cláusula denominada “Visual Legacy” que establece que photography is our drug, y eso es algo que kills my soul. De todas formas existe un síndrome feliz que nos demuestra que imposible is nothing, y que escribir con rayos es posible. Creo que algún día sufriré un shortcircuited, pero Alex estará ahí para ayudarme. Y cuando mire el reloj y el Tictac me diga “let’s fly” sabré que hay una gran city pop donde lo sweet&strange es normal para Sandra Rodrigo. Porque si the dreams princess hoy tiene ganas de ti, Patricia tendrá que salir de su wonder underground. Y si Amy Bell piensa que esto es amzlicious, yo gritaré “smile me please” porque la antigravedad me deja with no name and no face. Pero pase lo que pase Paul estará ahí, y yo seguiré queriendo mirar la lavadora con vosotros.

Pd: flying high la vida es más fácil.

Malditos flickrianos, me hacéis escribir textos sin sentido! Me he tirado una hora poniendo los enlaces.. espero que os guste ! (:

Press "L". Pärnu jetty.

Fuji GA645i, Fujinon Super-EBC 60mm f4, Tiffen 0.6 GND, Kodak Tri-X 400 (400TX) developed with Ethol UFG, wet-mounted drumscan.

...::: 4nalog :::...

ATTENTION FELLOW FLICKR FRIENDS: Looking for some inspiration? Leslie (Bogostick) and I are excited to announce A-Z Challenge 2.0's September themes! We hope you will consider joining us!

Group Description

A monthly challenge for doll photographers to find inspiration and contribute. Three to four themes based on each letter of the alphabet will be presented each month.

Members can submit a photo for one, two, or all themes. At the end of the month, members will vote for their favorite photos.

Participation is based on your time and inspiration. While we hope everyone can create a photo for each month, it is not required. Come and go as you like!

Submit just one photo per theme. Last day to submit photos for these themes is September 30th!

Read below for information about each theme. You can also visit the following discussion post: www.flickr.com/groups/2962397@N20/discuss/72157700943849545/

Themes for the month of September:

V - Vivia Las Vegas!

The saying goes, “What happens in Vegas, stays in Vegas.” But for this theme, we want to see how your doll spends his/her weekend in Sin City. The Las Vegas Strip is all about flash, pizzazz, and living on the wild side. Think 24-hour casinos, showgirls and concerts, vibrant nightclubs and bars. Aside from the bustling nightlife, there’s plenty to do during the day. Perhaps your doll(s) prefers soaking in the sun at day clubs and hotel pool parties. Maybe visiting museums is on the to-do-list. Or maybe your dolls are on their way to a quickie wedding chapel! How you choose to approach this theme is entirely up to you. There are lots of possibilities for our dolls in a city that never sleeps.

W - Wedge Heel Shoes

“The right shoe can make everything different.” - Jimmy Choo

For this theme, show us that one of your doll’s favorite accessories is her wedge heel shoes. Wedge footwear can be chic or playful. Maybe we'll see her modeling a cute sundress with strappy wedge sandals or a cocktail dress with stylish wedge pumps. Or maybe we see her reaching for her favorite pair of wedge boots by the door before leaving for a walk. You may approach this theme however you like. Just be sure to include a pair of these versatile shoes somewhere in your photo, from on your doll's feet, to beside her bed, to on sale at a department store.

X - X marks the spot

The phrase “X marks the spot” often refers to a specific location, target, or goal. For this theme we want to see what your doll(s) is after. Is your doll a pirate following a map to a hidden treasure chest full of gold? Is your doll vacationing in a foreign city and following his/her visitors map to popular landmarks? Perhaps your doll is an entertainer and an X has been marked on the stage floor to show him/her where to stand. Or maybe your doll is an athlete practicing archery or crossing a finish line of a race. The only requirement for this theme is that there must be a doll and a marked endpoint or desired target somewhere in your photo.

Make sure to title your photos with the theme you are representing. (example: A-Z challenge: A - All Aboard!)

V - Viva Las Vegas!

W - Wedge Heel Shoes

X - X marks the spot

Most importantly, have lots of fun! Let's get those creative juices flowing! :)

Not a member or missed last month? Not a problem--this group is fluid -- participate when you can. Don't hesitate to ask any questions!

Visit A-Z Doll Photography Challenge to join. Hope to see you there! :)

The collage is my creation, but the photos used are not mine. please see below for web links

Photo credits for the collage:

V - www.designscene.net/2014/12/rianne-ten-haken-madame-figar...

W - www.pinterest.co.uk/pin/301530137532910402/?lp=true

X - www.pinterest.se/pin/862439397367703163/

Færderseilasen, also called Færder'n, is a regatta that held on the second weekend in June by the Royal Norwegian Yacht Club.

The regatta starts in Oslo for ordinary sailboats and in Son for old yachts. The fastest of the sailboats reach Færder Lighthouse. The endpoint is in Horten.[1] Smaller boats turn around at Hollenderbåen or Medfjordbåen. The regatta is open for any member of the Royal Norwegian Yacht Club (KNS), and boats are placed in classes according to their sailing potential. The trip from Oslo to Færder to Horten is about 83 nm long. (Wikipedia)

Best viewed on black.

Mozes en Aäronstraat | Dam 05/12/2020 12h55

The Dam seen from the Mozes en Aäronstraat. A view with the Nieuwe Kerk at the left and the Royal Palace on the right. The tram rails is not in regular use anymore since the Summer of 2018 (tram line 14 used to use this at the time).

Dam

Dam is a town square in Amsterdam, the capital of the Netherlands. Its notable buildings and frequent events make it one of the most well-known and important locations in the city and the country.

Dam Square lies in the historical center of Amsterdam, approximately 750 metres south of the main transportation hub, Centraal Station, at the original location of the dam in the river Amstel. It is roughly rectangular in shape, stretching about 200 metres from west to east and about 100 metres from north to south. It links the streets Damrak and Rokin, which run along the original course of the Amstel River from Centraal Station to Muntplein (Mint Square) and the Munttoren (Mint Tower). The Dam also marks the endpoint of the other well-traveled streets Nieuwendijk, Kalverstraat and Damstraat. A short distance beyond the northeast corner lies the main Red-light district: De Wallen.

On the west end of the square is the neoclassical Royal Palace, which served as the city hall from 1655 until its conversion to a royal residence in 1808. Beside it are the 15th-century Gothic Nieuwe Kerk (New Church) and the Madame Tussauds Amsterdam Wax Museum. The National Monument, a white stone pillar designed by J.J.P. Oud and erected in 1956 to memorialize the victims of World War II, dominates the opposite side of the square. Also overlooking the plaza are the NH Grand Hotel Krasnapolsky and the upscale department store De Bijenkorf. These various attractions have turned the Dam into a tourist zone.

The Dam derives its name from its original function: a dam on the Amstel River, hence also the name of the city.[1] Built in approximately 1270, the dam formed the first connection between the settlements on the sides of the river.

[ Source & More: Wikipedia - Dam (Square) ]

Hilltop Tours, Inc.

Route 5 - Quezon Avenue - Angat (Temporary Bus Route during GCQ and MGCQ)

Original Route: Norzagaray, Bulacan - Baclaran via EDSA/Commonwealth Avenue/PITX

(Endpoint should at PITX once if the old route will active again..

The phrase “X marks the spot” often refers to a specific location, target, or goal. For this theme we want to see what your doll(s) is after. Is your doll a pirate following a map to a hidden treasure chest full of gold? Is your doll vacationing in a foreign city and following his/her visitors map to popular landmarks? Perhaps your doll is an entertainer and an X has been marked on the stage floor to show him/her where to stand. Or maybe your doll is an athlete practicing archery or crossing a finish line of a race. The only requirement for this theme is that there must be a doll and a marked endpoint or desired target somewhere in your photo.

The idea came soon but I had no time to realize it punctual.

Nevertheless I like to show him.

Credits:

X Men Origins, Wolverine, Hot Toys, 2009

Silver Twinkle Stars HD Arrival to the endpoint from Leyte! ✨

Silver Star Shuttle & Tours, Inc. | 201402 | Yutong ZK6122HD9 fleet by Zhengzhou Yutong Bus Co., Ltd. (China)

🚏 Original / Authorized Franchise Route: Tacloban City (Leyte) - Cubao (Quezon City)

🚏 Modified Route Currently Served in PITX (Parañaque City) - Ormoc City (Leyte)

🕚 Date Taken on February 2023

📍 Photo Shot Location @ Diosdado Macapagal Blvd. cor Panay St., Tambo, Parañaque City

️ Landmark: Near Parañaque Integrated Terminal Exchange (PITX)

Gare de Fès 03/07/2023 09h24

Boarding for our train ride of more than 6 hours from Fès to Marrakech via Meknes, Kénitra, Rabat, Casablanca and Settat. Around 520 kilometers.

The service was done by SNCF coaches used in France for the Corail service. En voiture Corail, comfort sur rail...

Gare de Fès

The Fes Railway station is the main station in the Moroccan city of Fes. There are secondary stations for local connections, but this is the station used for the long-distance main-line trains.

Fes lies on the East-West mainline in Northern Morocco and offers direct connections with Oujda and Nador in the East, Tangier in the North and via transfer at Meknes, the main North-West line to Rabat, Casablanca and Marrakech.

A part of the Moroccan mainline network is electrified. On the West to East mainline Fes is the endpoint of the electrified tracks. The trains going to and from Taourirt, Oujda and Nador are powered with diesel-locomotives while trains from the west terminating in Fes or going to Tanger use electric locomotives.

From Nador there are 4 trains per day calling at Fes and the same applies to Oujda. One of the daily trains to/from Oujda is a so-called hoteltrain that offers only couchette places, and with couchette tickets available on all night-trains. Traveltimes from Fes to Nador is approximately 6 hours, and to Oujda approximately 5.5 hours.

The section Fes-Meknes-Rabat and further to Casablanca is by far the busiest long-distance Het traject, with 18 daily trains, of which 8 continue from Casablanca to Marrakech. The journey to Marrakech railway station takes 8.5 hours.

The Office National des Chemins de Fer or ONCF, the state-company operating the railways invests a lot of money and effort to modernize the network. The stations of Marrakech and Fes have been (re)built in the past years, the branch-line Taourirt-Nador was built between 2006 and 2009. And around the city of Meknes a bypass is constructed so that a part of the trains can bypass Meknes

There are plans to construct a highspeed connection between Fès and Rabat.

[ Wikipedia ]

Theme Description: The phrase “X marks the spot” often refers to a specific location, target, or goal. For this theme we want to see what your doll(s) is after. Is your doll a pirate following a map to a hidden treasure chest full of gold? Is your doll vacationing in a foreign city and following his/her visitors map to popular landmarks? Perhaps your doll is an entertainer and an X has been marked on the stage floor to show him/her where to stand. Or maybe your doll is an athlete practicing archery or crossing a finish line of a race. The only requirement for this theme is that there must be a doll and a marked endpoint or desired target somewhere in your photo.

Here's a last one for the week. Words are such a big part of my life. This week has been fun as I look inside and out for words that guide me. Just saw this on our fridge and decided that it would be a fitting endpoint for the mantra week. All you need is love....all I need is love!!

cerro del oso

Sa Pobla 11.07.2016: Der neue Bahnhof von Sa Pobla. Es ist jetzt der dritte Endpunkt der Strecke.

The new station of Sa Pobla. It is now the third endpoint of the Sa Pobla Railway line.

Took my parents to see the "Sensorio, Field of Light" in Paso Robles last night. Fiber optic threads sprouting to endpoints via octopus tentacles connected to buried bulbs - 58,000 of them planted in rolling hills amongst craggy oaks. Scrambled to get there before evening light disappeared, and barely made it. Definitely not part of the Central Coast thing growing up! Really unique experience. iPhone snaps - we'll see how the camera shots turn out later (though they ban tripods, so that was a separate challenge).

LED signage flashing their destinations, the endpoints of the current M-Line, Milwaukee "Hop" streetcars 03 and 02 rest at the system's carbarn at Vel Phillips & Clybourn, directly underneath I-794. Not only is this an efficient use of space, but the freeway above provides some protection from the elements, allowing some cars to be stored outside- it was a stormy evening in this case. It's a little historical irony that this facility is only a block away from the site of the North Shore Line's famous terminal at 6th & Clybourn- today occupied by a parking garage.

Took my parents to see the "Sensorio, Field of Light" in Paso Robles last night. Fiber optic threads sprouting to endpoints via octopus tentacles connected to buried bulbs - 58,000 of them planted in rolling hills amongst craggy oaks. Scrambled to get there before evening light disappeared, and barely made it. Definitely not part of the Central Coast thing growing up! Really unique experience. iPhone snaps - we'll see how the camera shots turn out later (though they ban tripods, so that was a separate challenge).

Sunset along the east endpoint of this region.

The chapel of St Peter-on-the-Wall near Bradwell is one of the oldest ecclesiastical buildings in England. It dates from 654 and was built on the site of the abandoned Roman fort Othona, repurposing Roman stones and bricks. It was established by St Cedd who travelled down to Essex from Lindisfarne to evangelise the East Saxons. Although at one time it served as a barn, the chapel is once again in regular use for worship and is one of the endpoints of St Peter's Way. The other endpoint of this 65 kilometre pilgrimage route is St Andrew's Church at Greensted (the oldest wooden church in the world). For information about St Peter's Way, see:

britishpilgrimage.org/portfolio/st-peters-way/

During departure, train driver, train guard and station staff show green flags to show everything is safe.

We see a train safely leaving Thon Buri railway station, the endpoint of Thai Railways' Southern line.

The mechanical signals seem to be out of order.

SRT 1228, Thon Buri 23.5.2015

tee-man.org: follow the tee-man blog

Like tee-man on facebook

Near endpoint.

Transportpro T13

Company/Owner: Transportpro Services, Inc./GV Florida Transport., Inc.

Route: Batac-Sampaloc

Area of Service: Ilocos Norte, Ilocos Region (R1)

Type of Service: PUB Provincial Operation Bus

Classification: Deluxe Airconditioned Bus

Coachbuilder: Del Monte Motorworks, Inc.

Model: Hino RM DM16S1

Chassis: RM2PSS

Engine: P11C-TH

Transmission: M/T

Speed: 6 Forward, 1 Reverse

Suspension Type: Wide Airsuspension

Seat Configuration: 2x2 with CR

Maximum Capacity: 45+2

Shot Location: A. Bonifacio Ave., Quezon City

Date Taken: July 2, 2023

iPhone camera can not contain the hiviz. Espressogrinder (Endpoint Coffeegrinder with Chorus, 'natch) in winter form with dynamo, PDW Full Metal fenders.

Dynamo is an import Shimano XT DH-T785L to Busch + Müller Lumotec IQ Cyo Plus to a Secula in the rear (seat stay mount version altered to bolt to a disc brake mount)

Bag is an Endpoint Espresso Rando bag:

rideendpoint.com/collections/frontpage/products/espresso-...

Took my parents to see the "Sensorio, Field of Light" in Paso Robles last night. Fiber optic threads sprouting to endpoints via octopus tentacles connected to buried bulbs - 58,000 of them planted in rolling hills amongst craggy oaks. Scrambled to get there before evening light disappeared, and barely made it. Definitely not part of the Central Coast thing growing up! Really unique experience. iPhone snaps - we'll see how the camera shots turn out later (though they ban tripods, so that was a separate challenge).

One of the cool things of working around the "starship" is getting the scoop on the cool comings and goings of trains around the city. I had run this 642-014 towards the BRC when it was quitting time, so a quick dash out of the office got me to 55th Street on the BRC to GTS. Here they slowly roll south near 55th Street on BRC's Kenton Sub. as a CTA Orange line train arrives at its' Midway Airport endpoint. A CP GP38-2 leading 2 CSX units for Canada? No way! I guess when it comes to a Canadian-Qualified leader, geeps are fair game!

Gare de Fès 03/07/2023 09h26

Boarding for our train ride of more than 6 hours from Fès to Marrakech via Meknes, Kénitra, Rabat, Casablanca and Settat. Around 520 kilometers.

The service was done by SNCF coaches used in France for the Corail service. En voiture Corail, comfort sur rail...

Gare de Fès

The Fes Railway station is the main station in the Moroccan city of Fes. There are secondary stations for local connections, but this is the station used for the long-distance main-line trains.

Fes lies on the East-West mainline in Northern Morocco and offers direct connections with Oujda and Nador in the East, Tangier in the North and via transfer at Meknes, the main North-West line to Rabat, Casablanca and Marrakech.

A part of the Moroccan mainline network is electrified. On the West to East mainline Fes is the endpoint of the electrified tracks. The trains going to and from Taourirt, Oujda and Nador are powered with diesel-locomotives while trains from the west terminating in Fes or going to Tanger use electric locomotives.

From Nador there are 4 trains per day calling at Fes and the same applies to Oujda. One of the daily trains to/from Oujda is a so-called hoteltrain that offers only couchette places, and with couchette tickets available on all night-trains. Traveltimes from Fes to Nador is approximately 6 hours, and to Oujda approximately 5.5 hours.

The section Fes-Meknes-Rabat and further to Casablanca is by far the busiest long-distance Het traject, with 18 daily trains, of which 8 continue from Casablanca to Marrakech. The journey to Marrakech railway station takes 8.5 hours.

The Office National des Chemins de Fer or ONCF, the state-company operating the railways invests a lot of money and effort to modernize the network. The stations of Marrakech and Fes have been (re)built in the past years, the branch-line Taourirt-Nador was built between 2006 and 2009. And around the city of Meknes a bypass is constructed so that a part of the trains can bypass Meknes

There are plans to construct a highspeed connection between Fès and Rabat.

[ Wikipedia ]

Gare de Fès 03/07/2023 09h19

Last year I quickly visited Gare de Fès and promissed myself to come back and take the train to discover Morocco. Today I made this happen and took the train from Fès to Marrakesh. Departing at 9h40 and arriving in Marrakech at 16h14 (travel time 6h34).

Gare de Fès

The Fes Railway station is the main station in the Moroccan city of Fes. There are secondary stations for local connections, but this is the station used for the long-distance main-line trains.

Fes lies on the East-West mainline in Northern Morocco and offers direct connections with Oujda and Nador in the East, Tangier in the North and via transfer at Meknes, the main North-West line to Rabat, Casablanca and Marrakech.

A part of the Moroccan mainline network is electrified. On the West to East mainline Fes is the endpoint of the electrified tracks. The trains going to and from Taourirt, Oujda and Nador are powered with diesel-locomotives while trains from the west terminating in Fes or going to Tanger use electric locomotives.

From Nador there are 4 trains per day calling at Fes and the same applies to Oujda. One of the daily trains to/from Oujda is a so-called hoteltrain that offers only couchette places, and with couchette tickets available on all night-trains. Traveltimes from Fes to Nador is approximately 6 hours, and to Oujda approximately 5.5 hours.

The section Fes-Meknes-Rabat and further to Casablanca is by far the busiest long-distance Het traject, with 18 daily trains, of which 8 continue from Casablanca to Marrakech. The journey to Marrakech railway station takes 8.5 hours.

The Office National des Chemins de Fer or ONCF, the state-company operating the railways invests a lot of money and effort to modernize the network. The stations of Marrakech and Fes have been (re)built in the past years, the branch-line Taourirt-Nador was built between 2006 and 2009. And around the city of Meknes a bypass is constructed so that a part of the trains can bypass Meknes

There are plans to construct a highspeed connection between Fès and Rabat.

[ Wikipedia ]

One of the arms / canals seems to be covered with the concrete. The stone seems to have been cut with this face upwards and may have originally been an opening 'dalle de couverture' for one of the massive dolmen corridors that are to be found in the area. There are other cups and 'rigoles' on the same stone with edge basins to let water build up and unplug onto a subject. The stone is currently integrated into the apex of a medieval bridge in a region that has yet to have had significant pressures. The cement does not mark the endpoint of the monolith and is a 'patch'.

AJM 02;08.17

Photographer: Richard Scalzo

Model: Arielle

Editing: Richard Scalzo

My Site richardscalzo.net/

Twitter twitter.com/#!/RichScalzo

Facebook www.facebook.com/pages/RichardScalzonet/130191607014069

Thank you so much for all the comments, criticism and :+fav:'s.

I truly appreciated it!

-This work may not be used by anyone or in any manner without my written Permission

Dam 12/02/2021 11h53

Dam (not: Dam Square!) 5 days after blizzard Darcy. Still covered in snow due to the frost. And not crowded due to the lockdown of the moment (non essential shops closed as well as bars and restaurants).

Winter 2021

(album with all the photos of Darcy blizzard, the frost period, drifting snow, people in the snow, cars in the snow, transport and more)

Dam

Dam is a town square in Amsterdam, the capital of the Netherlands. Its notable buildings and frequent events make it one of the most well-known and important locations in the city and the country.

Dam Square lies in the historical center of Amsterdam, approximately 750 metres south of the main transportation hub, Centraal Station, at the original location of the dam in the river Amstel. It is roughly rectangular in shape, stretching about 200 metres from west to east and about 100 metres from north to south. It links the streets Damrak and Rokin, which run along the original course of the Amstel River from Centraal Station to Muntplein (Mint Square) and the Munttoren (Mint Tower). The Dam also marks the endpoint of the other well-traveled streets Nieuwendijk, Kalverstraat and Damstraat. A short distance beyond the northeast corner lies the main Red-light district: De Wallen.

On the west end of the square is the neoclassical Royal Palace, which served as the city hall from 1655 until its conversion to a royal residence in 1808. Beside it are the 15th-century Gothic Nieuwe Kerk (New Church) and the Madame Tussauds Amsterdam Wax Museum. The National Monument, a white stone pillar designed by J.J.P. Oud and erected in 1956 to memorialize the victims of World War II, dominates the opposite side of the square. Also overlooking the plaza are the NH Grand Hotel Krasnapolsky and the upscale department store De Bijenkorf. These various attractions have turned the Dam into a tourist zone.

The Dam derives its name from its original function: a dam on the Amstel River, hence also the name of the city.[1] Built in approximately 1270, the dam formed the first connection between the settlements on the sides of the river.

[ Source & More: Wikipedia - Dam (Square) ]

Fontana di Trevi

A seguir, um texto, em português, do Blog do Noblat:

Nenhuma semana sobre fontes poderia ser feita sem falar na Fontana di Trevi, a linda, a inteiramente diferente de todas as outras fontes. Numa pequena praça, formada pelo cruzamento de três vias, em italiano tre vie, e é daí que vem seu nome, a fonte marca o ponto final do aqueduto Acqua Vergine, um dos mais antigos de Roma.

Reza a lenda que em 19 a.C, uma virgem ajudou os Romanos a encontrar uma fonte de água pura. Essa nascente supriu Roma de água por mais de 400 anos, e isso só terminou entre 537 e 538, quando os visigodos sitiaram Roma e destruíram seus aquedutos.

A reconstrução do aqueduto só terminou em 1453, sob o papa Nicolau V que mandou fazer ali uma bacia em mármore para acolher a água.

Em 1629, o papa Urbano VII pediu a Bernini que embelezasse a fonte; o grande arquiteto começou por mudar o local da escultura: seu projeto a colocava do outro lado da praça e ela ficaria de frente para o Palácio Quirinal, de modo que o papa pudesse apreciar a vista. Mas o papa morreu, o projeto foi abandonado. Ainda assim muitos dos detalhes que Bernini criara foram respeitados pelo arquiteto Nicola Salvi, que assina a fonte.

Em 1730, Salvi recebeu do papa Clemente XII a incumbência de reiniciar a decoração da fonte. Os trabalhos começaram em 1732 e terminaram em 1762, depois da morte de Clemente. A estátua principal, do deus Oceano, só foi colocada após a morte do papa.

O pano de fundo da estrutura é o Palazzo Poli que, para compor o cenário perfeito, recebeu uma nova fachada com colunas gregas que unem os dois andares.

O tema principal é “O Domínio das Águas”. A biga de Oceano, em forma de concha, é puxada por cavalos alados dominados por Tritãos. O nicho do deus é um imenso arco do triunfo; nos laterais estão as estátuas da Abundância e da Salubridade.

No alto, em baixo relevo, a origem dos aquedutos romanos e, acima, as armas de Clemente XII. O conjunto mede 25.9m de altura x 19,8m de largura e é a maior fonte barroca dessa cidade com tantas fontes.

Reza a lenda que ao jogar uma moeda na fonte, está assegurada sua volta a Roma. Se jogar três moedas com a mão direita sobre o ombro esquerdo, você garante sua boa sorte. Parece brincadeira? Cerca de 3mil euros são jogados por dia na Fontana di Trevi!

Esse cenário deslumbrante serviu a Federico Fellini para uma das cenas mais famosas de sua obra-prima, o filme La Dolce Vita. Difìcil alguém que não conheça a cena interpretada por Anita Eckberg e Marcello Mastroianni. Pois bem, quando Mastroianni faleceu, desligaram a água e cobriram a fonte de panos negros. Foi o luto de Roma pelo grande ator.

Um texto, em português, da Wikipédia, a Enciclopédia livre:

A Fontana di Trevi (Fonte dos trevos, em português) é a maior (cerca de 26 metros de altura e 20 metros de largura) e mais ambiciosa construção de fontes barrocas da Itália e está localizada na rione Trevi, em Roma.

A fonte situava-se no cruzamento de três estradas (tre vie), marcando o ponto final do Acqua Vergine, um dos mais antigos aquedutos que abasteciam a cidade de Roma. No ano 19 a.C., supostamente ajudados por uma virgem, técnicos romanos localizaram uma fonte de água pura a pouco mais de 22 quilômetros da cidade (cena representada em escultura na própria fonte, atualmente). A água desta fonte foi levada pelo menor aqueduto de Roma, diretamente para os banheiros de Marcus Vipsanius Agrippa e serviu a cidade por mais de 400 anos.

O "golpe de misericórdia" desferido pelos invasores godos em Roma foi dado com a destruição dos aquedutos, durante as Guerras Góticas. Os romanos durante a Idade Média tinham de abastecer-se da água de poços poluídos, e da pouco límpida água do rio Tibre, que também recebia os esgotos da cidade.

O antigo costume romano de erguer uma bela fonte ao final de um aqueduto que conduzia a água para a cidade foi reavivado no século XV, com a Renascença. Em 1453, o Papa Nicolau V determinou fosse consertado o aqueduto de Acqua Vergine, construindo ao seu final um simples receptáculo para receber a água, num projeto feito pelo arquiteto humanista Leon Battista Alberti.

Em 1629, o Papa Urbano VIII achou que a velha fonte era insuficientemente dramática e encomendou a Bernini alguns desenhos, mas quando o Papa faleceu o projeto foi abandonado. A última contribuição de Bernini foi reposicionar a fonte para o outro lado da praça a fim de que esta ficasse defronte ao Palácio do Quirinal (assim o Papa poderia vê-la e admirá-la de sua janela). Ainda que o projeto de Bernini tenha sido abandonado, existem na fonte muitos detalhes de sua idéia original.

Muitas competições entre artistas e arquitetos tiveram lugar durante o Renascimento e o período Barroco para se redesenhar os edifícios, as fontes, e até mesmo a Scalinata di Piazza di Spagna (as escadarias da Praça de Espanha). Em 1730, o Papa Clemente XII organizou uma nova competição na qual Nicola Salvi foi derrotado, mas efetivamente terminou por realizar seu projeto. Este começou em 1732 e foi concluído em 1762, logo depois da morte de Clemente, quando o Netuno de Pietro Bracci foi afixado no nicho central da fonte.

Salvi morrera alguns anos antes, em 1751, com seu trabalho ainda pela metade, que manteve oculto por um grande biombo. A fonte foi concluída por Giuseppe Pannini, que substituiu as alegorias insossas que eram planejadas, representando Agrippa e Trivia, as virgens romanas, pelas belas esculturas de Netuno e seu séquito.

A fonte foi restaurada em 1998; as esculturas foram limpas e polidas, e a fonte foi provida de bombas para circulação da água e sua oxigenação.

A text, in english, From Wikipedia, the free encyclopedia:

The fountain at the junction of three roads (tre vie) marks the terminal point of the "modern" Acqua Vergine, the revivified Aqua Virgo, one of the ancient aqueducts that supplied water to ancient Rome. In 19 BC, supposedly with the help of a virgin, Roman technicians located a source of pure water some 13 km (8 miles) from the city. (This scene is presented on the present fountain's façade.) However, the eventual indirect route of the aqueduct made its length some 22 km (14 miles). This Aqua Virgo led the water into the Baths of Agrippa. It served Rome for more than four hundred years. The coup de grâce for the urban life of late classical Rome came when the Goth besiegers in 537/38 broke the aqueducts. Medieval Romans were reduced to drawing water from polluted wells and the Tiber River, which was also used as a sewer.

The Roman custom of building a handsome fountain at the endpoint of an aqueduct that brought water to Rome was revived in the 15th century, with the Renaissance. In 1453, Pope Nicholas V finished mending the Acqua Vergine aqueduct and built a simple basin, designed by the humanist architect Leon Battista Alberti, to herald the water's arrival.

In 1629 Pope Urban VIII, finding the earlier fountain insufficiently dramatic, asked Bernini to sketch possible renovations, but when the Pope died, the project was abandoned. Bernini's lasting contribution was to resite the fountain from the other side of the square to face the Quirinal Palace (so the Pope could look down and enjoy it). Though Bernini's project was torn down for Salvi's fountain, there are many Bernini touches in the fountain as it was built. An early, striking and influential model by Pietro da Cortona, preserved in the Albertina, Vienna, also exists, as do various early 18th century sketches, most unsigned, as well as a project attributed to Nicola Michetti, one attributed to Ferdinando Fuga and a French design by Edme Bouchardon.

Competitions had become the rage during the Baroque era to design buildings, fountains, and even the Spanish Steps. In 1730 Pope Clement XII organized a contest in which Nicola Salvi initially lost to Alessandro Galilei — but due to the outcry in Rome over the fact that a Florentine won, Salvi was awarded the commission anyway. Work began in 1732, and the fountain was completed in 1762, long after Clement's death, when Pietro Bracci's Oceanus (god of all water) was set in the central niche.

Salvi died in 1751, with his work half-finished, but before he went he made sure a stubborn barber's unsightly sign would not spoil the ensemble, hiding it behind a sculpted vase, called by Romans the asso di coppe, "the "Ace of Cups".

The Trevi Fountain was finished in 1762 by Giuseppe Pannini, who substituted the present allegories for planned sculptures of Agrippa and "Trivia", the Roman virgin.

The fountain was refurbished in 1998; the stonework was scrubbed and the fountain provided with recirculating pumps.

The backdrop for the fountain is the Palazzo Poli, given a new facade with a giant order of Corinthian pilasters that link the two main stories. Taming of the waters is the theme of the gigantic scheme that tumbles forward, mixing water and rockwork, and filling the small square. Tritons guide Oceanus' shell chariot, taming seahorses (hippocamps).

In the center is superimposed a robustly modelled triumphal arch. The center niche or exedra framing Oceanus has free-standing columns for maximal light-and-shade. In the niches flanking Oceanus, Abundance spills water from her urn and Salubrity holds a cup from which a snake drinks. Above, bas reliefs illustrate the Roman origin of the aqueducts.

The tritons and horses provide symmetrical balance, with the maximum contrast in their mood and poses (by 1730, rococo was already in full bloom in France and Germany).

A traditional legend holds that if visitors throw a coin into the fountain, they are ensured a return to Rome. Among those who are unaware that the "three coins" of Three Coins in the Fountain were thrown by three different individuals, a reported current interpretation is that two coins will lead to a new romance and three will ensure either a marriage or divorce. A reported current version of this legend is that it is lucky to throw three coins with one's right hand over one's left shoulder into the Trevi Fountain.

Approximately 3,000 Euros are thrown into the fountain each day and are collected at night. The money has been used to subsidize a supermarket for Rome's needy. However, there are regular attempts to steal coins from the fountain.

Fontana di Trevi

Um texto, em português, da Wikipédia, a Enciclopédia livre:

A Fontana di Trevi (Fonte dos trevos, em português) é a maior (cerca de 26 metros de altura e 20 metros de largura) e mais ambiciosa construção de fontes barrocas da Itália e está localizada na rione Trevi, em Roma.

A fonte situava-se no cruzamento de três estradas (tre vie), marcando o ponto final do Acqua Vergine, um dos mais antigos aquedutos que abasteciam a cidade de Roma. No ano 19 a.C., supostamente ajudados por uma virgem, técnicos romanos localizaram uma fonte de água pura a pouco mais de 22 quilômetros da cidade (cena representada em escultura na própria fonte, atualmente). A água desta fonte foi levada pelo menor aqueduto de Roma, diretamente para os banheiros de Marcus Vipsanius Agrippa e serviu a cidade por mais de 400 anos.

O "golpe de misericórdia" desferido pelos invasores godos em Roma foi dado com a destruição dos aquedutos, durante as Guerras Góticas. Os romanos durante a Idade Média tinham de abastecer-se da água de poços poluídos, e da pouco límpida água do rio Tibre, que também recebia os esgotos da cidade.

O antigo costume romano de erguer uma bela fonte ao final de um aqueduto que conduzia a água para a cidade foi reavivado no século XV, com a Renascença. Em 1453, o Papa Nicolau V determinou fosse consertado o aqueduto de Acqua Vergine, construindo ao seu final um simples receptáculo para receber a água, num projeto feito pelo arquiteto humanista Leon Battista Alberti.

Em 1629, o Papa Urbano VIII achou que a velha fonte era insuficientemente dramática e encomendou a Bernini alguns desenhos, mas quando o Papa faleceu o projeto foi abandonado. A última contribuição de Bernini foi reposicionar a fonte para o outro lado da praça a fim de que esta ficasse defronte ao Palácio do Quirinal (assim o Papa poderia vê-la e admirá-la de sua janela). Ainda que o projeto de Bernini tenha sido abandonado, existem na fonte muitos detalhes de sua idéia original.

Muitas competições entre artistas e arquitetos tiveram lugar durante o Renascimento e o período Barroco para se redesenhar os edifícios, as fontes, e até mesmo a Scalinata di Piazza di Spagna (as escadarias da Praça de Espanha). Em 1730, o Papa Clemente XII organizou uma nova competição na qual Nicola Salvi foi derrotado, mas efetivamente terminou por realizar seu projeto. Este começou em 1732 e foi concluído em 1762, logo depois da morte de Clemente, quando o Netuno de Pietro Bracci foi afixado no nicho central da fonte.

Salvi morrera alguns anos antes, em 1751, com seu trabalho ainda pela metade, que manteve oculto por um grande biombo. A fonte foi concluída por Giuseppe Pannini, que substituiu as alegorias insossas que eram planejadas, representando Agrippa e Trivia, as virgens romanas, pelas belas esculturas de Netuno e seu séquito.

A fonte foi restaurada em 1998; as esculturas foram limpas e polidas, e a fonte foi provida de bombas para circulação da água e sua oxigenação.

A text, in english, From Wikipedia, the free encyclopedia:

The fountain at the junction of three roads (tre vie) marks the terminal point of the "modern" Acqua Vergine, the revivified Aqua Virgo, one of the ancient aqueducts that supplied water to ancient Rome. In 19 BC, supposedly with the help of a virgin, Roman technicians located a source of pure water some 13 km (8 miles) from the city. (This scene is presented on the present fountain's façade.) However, the eventual indirect route of the aqueduct made its length some 22 km (14 miles). This Aqua Virgo led the water into the Baths of Agrippa. It served Rome for more than four hundred years. The coup de grâce for the urban life of late classical Rome came when the Goth besiegers in 537/38 broke the aqueducts. Medieval Romans were reduced to drawing water from polluted wells and the Tiber River, which was also used as a sewer.

The Roman custom of building a handsome fountain at the endpoint of an aqueduct that brought water to Rome was revived in the 15th century, with the Renaissance. In 1453, Pope Nicholas V finished mending the Acqua Vergine aqueduct and built a simple basin, designed by the humanist architect Leon Battista Alberti, to herald the water's arrival.

In 1629 Pope Urban VIII, finding the earlier fountain insufficiently dramatic, asked Bernini to sketch possible renovations, but when the Pope died, the project was abandoned. Bernini's lasting contribution was to resite the fountain from the other side of the square to face the Quirinal Palace (so the Pope could look down and enjoy it). Though Bernini's project was torn down for Salvi's fountain, there are many Bernini touches in the fountain as it was built. An early, striking and influential model by Pietro da Cortona, preserved in the Albertina, Vienna, also exists, as do various early 18th century sketches, most unsigned, as well as a project attributed to Nicola Michetti, one attributed to Ferdinando Fuga and a French design by Edme Bouchardon.

Competitions had become the rage during the Baroque era to design buildings, fountains, and even the Spanish Steps. In 1730 Pope Clement XII organized a contest in which Nicola Salvi initially lost to Alessandro Galilei — but due to the outcry in Rome over the fact that a Florentine won, Salvi was awarded the commission anyway. Work began in 1732, and the fountain was completed in 1762, long after Clement's death, when Pietro Bracci's Oceanus (god of all water) was set in the central niche.

Salvi died in 1751, with his work half-finished, but before he went he made sure a stubborn barber's unsightly sign would not spoil the ensemble, hiding it behind a sculpted vase, called by Romans the asso di coppe, "the "Ace of Cups".

The Trevi Fountain was finished in 1762 by Giuseppe Pannini, who substituted the present allegories for planned sculptures of Agrippa and "Trivia", the Roman virgin.

The fountain was refurbished in 1998; the stonework was scrubbed and the fountain provided with recirculating pumps.

The backdrop for the fountain is the Palazzo Poli, given a new facade with a giant order of Corinthian pilasters that link the two main stories. Taming of the waters is the theme of the gigantic scheme that tumbles forward, mixing water and rockwork, and filling the small square. Tritons guide Oceanus' shell chariot, taming seahorses (hippocamps).

In the center is superimposed a robustly modelled triumphal arch. The center niche or exedra framing Oceanus has free-standing columns for maximal light-and-shade. In the niches flanking Oceanus, Abundance spills water from her urn and Salubrity holds a cup from which a snake drinks. Above, bas reliefs illustrate the Roman origin of the aqueducts.

The tritons and horses provide symmetrical balance, with the maximum contrast in their mood and poses (by 1730, rococo was already in full bloom in France and Germany).

A traditional legend holds that if visitors throw a coin into the fountain, they are ensured a return to Rome. Among those who are unaware that the "three coins" of Three Coins in the Fountain were thrown by three different individuals, a reported current interpretation is that two coins will lead to a new romance and three will ensure either a marriage or divorce. A reported current version of this legend is that it is lucky to throw three coins with one's right hand over one's left shoulder into the Trevi Fountain.

Approximately 3,000 Euros are thrown into the fountain each day and are collected at night. The money has been used to subsidize a supermarket for Rome's needy. However, there are regular attempts to steal coins from the fountain.

290/365

A goal can be defined as the state of affairs that a plan is intended to achieve and that (when achieved) terminates behavior intended to achieve it.

A little Background:

On Day 98 (12/27/09) of this project, I became irritated with my weight and set a goal to lose 25lbs from 224.5 to 199.5lbs. Over the next few months I tried to do this with diet alone losing 18 lbs but lapsed into some old habits and by day 218 (4/26/10) I had gained 6 of those pounds back then weighing 213.3lbs. The diet alone approach continued to not work until day 255 (6/2/10) weighing 216lbs I became furious with myself. From that day until today I have counted every calorie, worked out every day, and on Day 290 my scale read 199.5.

When I set that “goal” I assumed that when I reached it you would see a triumphant image, me celebrating, or sitting on a bench taking in the accomplishment, but as I looked at that number on the scale I realized something about myself. That number no longer is as important to me because over a week ago I had reset the “goal” weight to 185lbs.

So I began thinking about the way goals have played into my life. Graduating high school was never a goal, it was a given I was going to college. By the time I was graduating from college I had set my sights on graduate school. By the time I was handed the document proclaiming I had an MBA I was focused on furthering my career and landing the next job. My work career has progressed in the same manor, from accounting manager, to Manager of Finance and HR to Corporate Controller.

I have realized that my “goal” has never been to reach an endpoint and terminate, it has always been to be on a path, passing milestones along the way, noticing them pass and finding the new direction I will be taking. As I get closer to the end of this project I find myself dreading it, wondering “what will I do next”, “where will I go from here”?

So Day 290 is symbolized in this image by me walking past the bench, in the direction of the light, not knowing the final destination but knowing I am on the right path, and being comfortable never reaching the light as I will continually adjust my goal to remain on “The Journey”.

Dam 14/12/2017 21h23

Christmas tree in front of the Koninklijk Paleis (royal palace).

Dam

Dam (somtimes referred as 'Dam Square' by tourists) is a town square in Amsterdam, the capital of the Netherlands. Its notable buildings and frequent events make it one of the most well-known and important locations in the city and the country.

Dam Square lies in the historical center of Amsterdam, approximately 750 meters south of the main transportation hub, Centraal Station, at the original location of the dam in the river Amstel. It is roughly rectangular in shape, stretching about 200 meters from west to east and about 100 meters from north to south. It links the streets Damrak and Rokin, which run along the original course of the Amstel River from Centraal Station to Muntplein (Mint Square) and the Munttoren (Mint Tower). The Dam also marks the endpoint of the other well-traveled streets Nieuwendijk, Kalverstraat and Damstraat. A short distance beyond the northeast corner lies the main red-light district: de Wallen.

On the west end of the square is the neoclassical Royal Palace, which served as the city hall from 1655 until its conversion to a royal residence in 1808. Beside it are the 15th-century Gothic Nieuwe Kerk (New Church) and the Madame Tussaud's Wax Museum. The National Monument, a white stone pillar designed by J.J.P. Oud and erected in 1956 to memorialize the victims of World War II, dominates the opposite side of the square. Also overlooking the plaza are the NH Grand Hotel Krasnapolsky and the upscale department store De Bijenkorf. These various attractions have turned the Dam into a tourist zone.

The Dam derives its name from its original function: a dam on the Amstel River, hence also the name of the city. Built in approximately 1270, the dam formed the first connection between the settlements on the sides of the river.

As the dam was gradually built up to it became wide enough for a town square, which remained the core of the town developing around it. Dam Square as it exists today grew out of what was originally two squares: the actual dam, called Middeldam; and Plaetse, an adjacent plaza to the west. A large fish market arose where ships moored at the dam to load and unload goods. The area became a centre not only of commercial activity but also of the government, as the site of Amsterdam's town hall.

[ Source: Wikipedia ]