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Taken in La Ceja, Colombia; Central Andes; 2.300 meters above sea level.
The breeding habitat of Summer Tanager is open wooded areas, especially with oaks, across the southern United States, extending as far north as Iowa. These birds migrate to Mexico, Central America and northern South America. They are often out of sight, foraging high in trees, sometimes flying out to catch insects in flight.
Source: Wikipedia
Plough and Harrow.
Built in circa 1850’s the Plough and Harrow Pub has had an interesting past which extends back as far as 1880 when it gained attention and opposition from publicans and puritans.
From the Dover Express and East Kent Intelligencer, 3 September, 1880. Price 1d.
APPLICATION
Mr. Mowll, solicitor, of Dover, said he was instructed by Messrs. Gardner and Co. Brewers of Ash, to ask permission of the Magistrates to pull down the public-house at Tilmanstone known as the "Plough and Harrow," and erect a new one in its stead. It was at present only a beer-house, and he had therefore to apply to the Bench to grant them a license to sell spirits.
Mr. Edward W. Fry, surveyor and architect, said he had prepared the public plans produced of the house which was proposed to be built, the erection of which would cost £700.
In answer to Mr. D'Aeth, Mr. Gardener (a member of the firm) stated that if the house were fully licensed a new tenant would be found to attend to the business solely, and not go out to work as the present one did. If a spirit license was granted it would not interfere with any other house in the district. There were no fully licensed houses along the main road from the "Coach and Horses" at Eastry to the "Royal Oak," Whitfield, a distance of between six or seven miles.
Mr. Minter, of Folkestone, appeared on behalf of the owner and occupier of the "Three Ravens" public-house, Tilmanstone, to oppose the application on the ground that additional accommodation was not required.
George Atwood, landlord of the public-house mentioned, deposed that the "Three Ravens Inn" was five minutes walk from the house proposed to be erected. He believed the population of the parish had decreased of late, and did not consider that the traffic had increased.
The application was refused.
Today has survived all attempts at opposition and the Plough and Harrow Pub at Tilmanstone had undergone a massive transformation which has reinvigorated the old pub into a stylish place to stop and indulge in a pint.
Tilmanstone, Kent, UK.
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Many of the old houses had the top floors extended out over the streets to cater for the wool looms. At one time much of Suffolk was reliant on the wool trade and the homes were built to accommodate the industry. Being several hundred years old many of these homes exteriors and interiors have structurally moved and many still remain private dwellings.
Taken with my digital Fujifilm X20
On a very extended photo safari, essentially in the middle of no - where, just how I like it!, right about the tree line which is ~1800m in altitude at this place.
It was so peaceful up there, just cows and wide open space and views, with many of those puddles and small nameless lakes surprisingly. I guess the ground is rather rocky, otherwise water does not gather right at the top of a ridge line.
The sun was already casting long shadows and I still had a 2,5h hike (without taking pictures) ahead, so I really soaked up those last moments before I immersed myself in steep forest again..
Wanna see how this scene looks on the near infrared spectrum? Here it is:
www.flickr.com/photos/197010762@N05/53014858409/in/dateta...
Nikon D7200 (APS-C crop sensor / DX)
Samyang 8mm f/3.5 UMC FE CSII prime
ISO100, 8mm, f/8, bracketed (2)
1/800sec (-0,7 EV), 1/100sec (+2.3 EV)
(therefore 12mm full frame equivalent)
one-hand-holded bracketing burst..
ODC Our Daily Challenge: Nearly Done
Christmas Table is extended - only the tablecloths need to be ironed :-)
11-5-2008
Both Suzy and I wish to extend our heartfelt sympathy. These mums are the last flowers in our beds. They survived killing frosts and three inches of snow. It seemed that they were meant for you. I thought this was an appropriate quote for a wonderful couple. Thumbleweed our thoughts are with you.
There is a sacredness in tears.
They are not the mark of weakness,
but of power.
They speak more eloquently
than 10,000 tongues.
They are the messengers
of overwhelming grief,
of deep contrition,
and of unspeakable love.
- Washington Irving
The moon from Sweden. Taken with Canon 80D + Canon 70-200mm f/2.8L IS II USM. I would love to try a Canon x2 extender, or even the x1.4 extender,.
McDonnell Douglas KC-10A EXTENDER (MSN: 48235) USAF (85-0030) / BASE AÉREA DE MORÓN (LEMO) ESPAÑA-SPAIN
Thank you for extending the deadline. I had to rush the photo a bit because I've been so busy with school these past two week. I think things will ease up next week so, if I stay, I'll definitely give it my all.
"I can't believe it's already down to the top seven. To be honest, I didn't think I would make it this far when I first auditioned but I've been really proud of most of my photos. I just wish I got higher placings for some of them.
When it comes to life in the model house, I must say that things have gone pretty smoothly. There hasn't been much drama, and if there has, I've managed to avoid it entirely. I'm honestly not that close with the girls but I do talk to Carmen sometimes.She's really sweet and very down to earth. I love how she's not afraid to speak her mind. When it comes to modeling, I think she's a really good model, but I feel like her bangs really get in the way of her versatility. Sage keeps to herself a lot of the time but I think that might be because she's so focused on the competition. I would really love to get to know her 'cause she seems like a nice girl and she's an amazing model (such a chameleon). I really feel she doesn't get enough credit in the competition. Noah's pretty up beat and very positive. She and Carmen get along really well but I haven't really talked to her. I also love how she, like Sage, switches her look up so seamlessly each week. When it comes to Lea, I honestly don't know too much about her. I do know that the girl can take some great photos though. May is really sweet and quite friendly but I've just never really clicked with her. When it comes to modeling though, I don't think she's really showed that much. I don't see her as that strong of a model and she hasn't even changed her look up that much from week to week. Finally there's Anahi. She tends to keep to herself but I do really love her look. Model wise, I would say she doesn't change her look up enough. It's always pretty much the same look; black and a pony tail. I do love her eyes though.
So for the girl who I feel deserves to go overseas the most, I would have to go with Sage. I just think she's had some of the best shots of the cycle and she's been the most consistent from week to week (something I know I need to work on).
On the opposite side, the girl who I feel doesn't deserve to go overseas, would have to be May. I think she hasn't really shown much variety in her photos and her look has been the same from week to week."
Port William Harbour
The harbour was extended in 1790 and again in 1848, and it continued to have commercial importance until the end of the First World War.Further work was done to protect the harbour in the 1980s by building a breakwater to the western side of the harbour.It then steadily became what you see today, a haven for small fishing and leisure craft.A recent reflection of Port William's seafaring heritage is found in the life-size fisherman's statue overlooking the harbour. This was once made of concrete, but following a public appeal it has been remade in bronze. The statue was part-funded by the millennium lottery fund. In front of the statue is a plaque with the first verse of the poem Leisure by W. H. Davies.
El macaón (Papilio machaon) es, sin duda alguna, una de las mariposas más conocidas de Europa. Sin embargo, no se encuentra en Irlanda; en Inglaterra apenas está extendida y su existencia se limita a la región de Norfolk; en la Europa templada hay zonas en las que se puede localizar con facilidad; pero este insecto de tan bella apariencia tiende a desaparecer desde hace algunas decenas de años. Por el contrario, se multiplica en el norte de África, en algunas regiones de Europa, en la zona templada de Asia hacia el Himalaya, en distintas partes de América del Norte y por último en Japón.
Su hábitat comprende entre el nivel del mar hasta los 2.000 msnm, en prados y zonas floreadas.
La macaón tiene entre 32 y 56 mm de envergadura y se caracteriza por las colas que posee en las alas posteriores. Su vuelo se comprende para climas más septentrionales de una generación. Dos generaciones (abril-mayo) y (julio-agosto) para climas templados y hasta tres generaciones en lugares más cálidos como el sur de la península Ibérica y el norte de África.
Esta mariposa ha sido descrita muy a menudo, con subespecies y sus formas distintas en función de su pertenencia geográfica. En Europa continental se puede encontrar P. gorganus; en Inglaterra P. britannicus; en América del Norte, P. aliaska y dos de sus subespecies.
La oruga del macaón es muy llamativa y, si se le irrita, puede hacer salir por su extremo anterior un órgano de defensa glandular de color naranja llamado osmaterium. La crisálida es generalmente de color verde o gris pardo.
A walk along the Watkins Path in Snowdonia, just down from the Copper Mine Crushing Mill there are some lovely pools that are crystal clear but with a colour tint which I presume is from oxidised copper.
I took inspiration for this shot from Nick flic.kr/p/2hdr8mv
A winter storm that moved through the Mid-Atlantic on Feb. 16 and 17, 2015 extended the northeastern U.S. snowcover farther south. Until this storm hit, southern New Jersey and southeastern Pennsylvania appeared snow-free on satellite imagery from the previous week.
The overnight storm blanketed the entire states of New Jersey and Pennsylvania, as seen on this Feb. 16 image. The image was taken from the MODIS or Moderate Resolution Imaging Spectroradiometer instrument that flies aboard NASA's Terra satellite. The snow cover from the storm actually extended even farther south than the image. Snowfall also blanketed West Virginia, Kentucky, Maryland, Delaware and Virginia, while freezing rain and icy conditions affected the Carolinas, Tennessee and Georgia.
On Feb. 17, 2015, NOAA's National Weather Service noted "The winter storm that brought widespread snow, sleet and freezing rain to parts of the south-central U.S. and Mid-Atlantic will wind down as it moves offshore Tuesday. Lingering snow and freezing rain is possible early Tuesday for parts of the Northeast and mid-Atlantic, with rain across parts of the Southeast."
Credit: NASA/GSFC/Jeff Schmaltz/MODIS Land Rapid Response Team
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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The Louvre, is the world's most-visited museum, and a historic landmark in Paris, France. It is the home of some of the best-known works of art, including the Mona Lisa and the Venus de Milo. A central landmark of the city, it is located on the Right Bank of the Seine in the city's 1st arrondissement (district or ward). Approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square meters. , Attendance in 2021 was 2.8 million, the lowest since 1986, due to the COVID-19 pandemic. The museum was closed for 150 days in 2020, and attendance plunged by 72 percent to 2.7 million. Nonetheless, the Louvre still topped the list of most-visited art museums in the world in 2020.
The museum is housed in the Louvre Palace, originally built in the late 12th to 13th century under Philip II. Remnants of the Medieval Louvre fortress are visible in the basement of the museum. Due to urban expansion, the fortress eventually lost its defensive function, and in 1546 Francis I converted it into the primary residence of the French Kings. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of ancient Greek and Roman sculpture. In 1692, the building was occupied by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nation's masterpieces.
The museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum was renamed Musée Napoléon, but after Napoleon's abdication, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic. The collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.
The Musée du Louvre contains more than 380,000 objects and displays 35,000 works of art in eight curatorial departments with more than 60,600 square metres dedicated to the permanent collection. The Louvre exhibits sculptures, objets d'art, paintings, drawings, and archaeological finds.
The Louvre Palace, which houses the museum, was begun by King Philip II in the late 12th century to protect the city from the attack from the West, as the Kingdom of England still held Normandy at the time. Remnants of the Medieval Louvre are still visible in the crypt. Whether this was the first building on that spot is not known, and it is possible that Philip modified an existing tower.
The origins of the name "Louvre" are somewhat disputed. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den (via Latin: lupus, lower Empire: lupara). In the 7th century, Burgundofara (also known as Saint Fare), abbess in Meaux, is said to have gifted part of her "Villa called Luvra situated in the region of Paris" to a monastery, even though it is doubtful that this land corresponded exactly to the present site of the Louvre.
The Louvre Palace changed a lot over the centuries. In the 14th century, Charles V converted the building from its military role into a residence. In 1546, Francis I started its rebuilding in French Renaissance style. After Louis XIV chose Versailles as his residence in 1682, construction works slowed to a halt. The royal move away from Paris resulted in the Louvre being used as a residence for artists, under Royal patronage.
Meanwhile, the collections of the Louvre originated in the acquisitions of paintings and other artworks by the monarchs of the House of France. Francis acquired what would become the nucleus of the Louvre's holdings, his acquisitions including Leonardo da Vinci's Mona Lisa. At the Palace of Fontainebleau, Francis collected art that would later be part of the Louvre's art collections, including Leonardo da Vinci's Mona Lisa.
The Cabinet du Roi consisted of seven rooms west of the Galerie d'Apollon on the upper floor of the remodeled Petite Galerie. Many of the king's paintings were placed in these rooms in 1673, when it became an art gallery, accessible to certain art lovers as a kind of museum. In 1681, after the court moved to Versailles, 26 of the paintings were transferred there, somewhat diminishing the collection, but it is mentioned in Paris guide books from 1684 on, and was shown to ambassadors from Siam in 1686.
By the mid-18th century there were an increasing number of proposals to create a public gallery in the Louvre. Art critic Étienne La Font de Saint-Yenne in 1747 published a call for a display of the royal collection. On 14 October 1750, Louis XV decided on a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. A hall was opened by Le Normant de Tournehem and the Marquis de Marigny for public viewing of the "king's paintings" (Tableaux du Roy) on Wednesdays and Saturdays. The Luxembourg gallery included Andrea del Sarto's Charity and works by Raphael; Titian; Veronese; Rembrandt; Poussin or Van Dyck. It closed in 1780 as a result of the royal gift of the Luxembourg palace to the Count of Provence (the future king, Louis XVIII) by the king in 1778. Under Louis XVI, the idea of a royal museum in the Louvre came closer to fruition. The comte d'Angiviller broadened the collection and in 1776 proposed to convert the Grande Galerie of the Louvre – which at that time contained the plans-reliefs or 3D models of key fortified sites in and around France – into the "French Museum". Many design proposals were offered for the Louvre's renovation into a museum, without a final decision being made on them. Hence the museum remained incomplete until the French Revolution.
The Louvre finally became a public museum during the French Revolution. In May 1791, the National Constituent Assembly declared that the Louvre would be "a place for bringing together monuments of all the sciences and arts". On 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property. Because of fear of vandalism or theft, on 19 August, the National Assembly pronounced the museum's preparation as urgent. In October, a committee to "preserve the national memory" began assembling the collection for display.
The museum opened on 10 August 1793, the first anniversary of the monarchy's demise, as Muséum central des arts de la République. The public was given free accessibility on three days per week, which was "perceived as a major accomplishment and was generally appreciated". The collection showcased 537 paintings and 184 objects of art. Three quarters were derived from the royal collections, the remainder from confiscated émigrés and Church property (biens nationaux). To expand and organize the collection, the Republic dedicated 100,000 livres per year. In 1794, France's revolutionary armies began bringing pieces from Northern Europe, augmented after the Treaty of Tolentino (1797) by works from the Vatican, such as the Laocoön and Apollo Belvedere, to establish the Louvre as a museum and as a "sign of popular sovereignty".
The early days were hectic. Privileged artists continued to live in residence, and the unlabeled paintings hung "frame to frame from floor to ceiling". The structure itself closed in May 1796 due to structural deficiencies. It reopened on 14 July 1801, arranged chronologically and with new lighting and columns. On 15 August 1797, the Galerie d'Apollon was opened with an exhibition of drawings. Meanwhile, the Louvre's gallery of Antiquity sculpture (musée des Antiques), with artefacts brought from Florence and the Vatican, had opened in November 1800 in Anne of Austria's former summer apartment, located on the ground floor just below the Galerie d'Apollon.
On 19 November 1802, Napoleon appointed Dominique Vivant Denon, a scholar and polymath who had participated in the Egyptian campaign of 1798–1801, as the museum's first director, in preference to alternative contenders such as antiquarian Ennio Quirino Visconti, painter Jacques-Louis David, sculptor Antonio Canova and architects Léon Dufourny or Pierre Fontaine. On Denon's suggestion in July 1803, the museum itself was renamed Musée Napoléon.
The collection grew through successful military campaigns. Acquisitions were made of Spanish, Austrian, Dutch, and Italian works, either as the result of war looting or formalized by treaties such as the Treaty of Tolentino. At the end of Napoleon's First Italian Campaign in 1797, the Treaty of Campo Formio was signed with Count Philipp von Cobenzl of the Austrian Monarchy. This treaty marked the completion of Napoleon's conquest of Italy and the end of the first phase of the French Revolutionary Wars. It compelled Italian cities to contribute pieces of art and heritage to Napoleon's "parades of spoils" through Paris before being put into the Louvre Museum. The Horses of Saint Mark, which had adorned the basilica of San Marco in Venice after the sack of Constantinople in 1204, were brought to Paris where they were placed atop Napoleon's Arc de Triomphe du Carrousel in 1797. Under the Treaty of Tolentino, the two statues of the Nile and Tiber were taken to Paris from the Vatican in 1797, and were both kept in the Louvre until 1815. (The Nile was later returned to Rome, where the Tiber has remained in the Louvre to this day.) The despoilment of Italian churches and palaces outraged the Italians and their artistic and cultural sensibilities.
After the French defeat at Waterloo, the looted works' former owners sought their return. The Louvre's administrator Denon was loath to comply in absence of a treaty of restitution. In response, foreign states sent emissaries to London to seek help, and many pieces were returned, though far from all. In 1815 Louis XVIII finally concluded agreements with the Austrian government for the keeping of works such as Veronese's Wedding at Cana which was exchanged for a large Le Brun or the repurchase of the Albani collection.
For most of the 19th century, from Napoleon's time to the Second Empire, the Louvre and other national museums were managed under the monarch's civil list and thus depended much on the ruler's personal involvement. Whereas the most iconic collection remained that of paintings in the Grande Galerie, a number of other initiatives mushroomed in the vast building, named as if they were separate museums even though they were generally managed under the same administrative umbrella. Correspondingly, the museum complex was often referred to in the plural ("les musées du Louvre") rather than singular.
During the Bourbon Restoration (1814–1830), Louis XVIII and Charles X added to the collections. The Greek and Roman sculpture gallery on the ground floor of the southwestern side of the Cour Carrée was completed on designs by Percier and Fontaine. In 1819 an exhibition of manufactured products was opened in the first floor of the Cour Carrée's southern wing and would stay there until the mid-1820s. Charles X in 1826 created the Musée Égyptien and in 1827 included it in his broader Musée Charles X, a new section of the museum complex located in a suite of lavishly decorated rooms on the first floor of the South Wing of the Cour Carrée. The Egyptian collection, initially curated by Jean-François Champollion, formed the basis for what is now the Louvre's Department of Egyptian Antiquities. It was formed from the purchased collections of Edmé-Antoine Durand, Henry Salt and the second collection of Bernardino Drovetti (the first one having been purchased by Victor Emmanuel I of Sardinia to form the core of the present Museo Egizio in Turin). The Restoration period also saw the opening in 1824 of the Galerie d'Angoulême, a section of largely French sculptures on the ground floor of the Northwestern side of the Cour Carrée, many of whose artefacts came from the Palace of Versailles and from Alexandre Lenoir's Musée des Monuments Français following its closure in 1816. Meanwhile, the French Navy created an exhibition of ship models in the Louvre in December 1827, initially named musée dauphin in honor of Dauphin Louis Antoine, building on an 18th-century initiative of Henri-Louis Duhamel du Monceau. This collection, renamed musée naval in 1833 and later to develop into the Musée national de la Marine, was initially located on the first floor of the Cour Carrée's North Wing, and in 1838 moved up one level to the 2nd-floor attic, where it remained for more than a century.
Following the July Revolution, King Louis Philippe focused his interest on the repurposing of the Palace of Versailles into a Museum of French History conceived as a project of national reconciliation, and the Louvre was kept in comparative neglect. Louis-Philippe did, however, sponsor the creation of the musée assyrien to host the monumental Assyrian sculpture works brought to Paris by Paul-Émile Botta, in the ground-floor gallery north of the eastern entrance of the Cour Carrée. The Assyrian Museum opened on 1 May 1847. Separately, Louis-Philippe had his Spanish gallery displayed in the Louvre from 7 January 1838, in five rooms on the first floor of the Cour Carrée's East (Colonnade) Wing, but the collection remained his personal property. As a consequence, the works were removed after Louis-Philippe was deposed in 1848, and were eventually auctioned away in 1853.
The short-lived Second Republic had more ambitions for the Louvre. It initiated repair work, the completion of the Galerie d'Apollon and of the salle des sept-cheminées, and the overhaul of the Salon Carré (former site of the iconic yearly Salon) and of the Grande Galerie. In 1848, the Naval Museum in the Cour Carrée's attic was brought under the common Louvre Museum management, a change which was again reversed in 1920. In 1850 under the leadership of curator Adrien de Longpérier, the musée mexicain opened within the Louvre as the first European museum dedicated to pre-Columbian art.
The rule of Napoleon III was transformational for the Louvre, both the building and the museum. In 1852, he created the Musée des Souverains in the Colonnade Wing, an ideological project aimed at buttressing his personal legitimacy. In 1861, he bought 11,835 artworks including 641 paintings, Greek gold and other antiquities of the Campana collection. For its display, he created another new section within the Louvre named Musée Napoléon III, occupying a number of rooms in various parts of the building. Between 1852 and 1870, the museum added 20,000 new artefacts to its collections.
The main change of that period was to the building itself. In the 1850s architects Louis Visconti and Hector Lefuel created massive new spaces around what is now called the Cour Napoléon, some of which (in the South Wing, now Aile Denon) went to the museum. In the 1860s, Lefuel also led the creation of the pavillon des Sessions with a new Salle des Etats closer to Napoleon III's residence in the Tuileries Palace, with the effect of shortening the Grande Galerie by about a third of its previous length. A smaller but significant Second Empire project was the decoration of the salle des Empereurs below the Salon carré.
The Louvre narrowly escaped serious damage during the suppression of the Paris Commune. On 23 May 1871, as the French Army advanced into Paris, a force of Communards led by Jules Bergeret set fire to the adjoining Tuileries Palace. The fire burned for forty-eight hours, entirely destroying the interior of the Tuileries and spreading to the north west wing of the museum next to it. The emperor's Louvre library (Bibliothèque du Louvre) and some of the adjoining halls, in what is now the Richelieu Wing, were separately destroyed. But the museum was saved by the efforts of Paris firemen and museum employees led by curator Henry Barbet de Jouy
Following the end of the monarchy, several spaces in the Louvre's South Wing went to the museum. The Salle du Manège was transferred to the museum in 1879, and in 1928 became its main entrance lobby. The large Salle des Etats that had been created by Lefuel between the Grande Galerie and Pavillon Denon was redecorated in 1886 by Edmond Guillaume, Lefuel's successor as architect of the Louvre, and opened as a spacious exhibition room. Edomond Guillaume also decorated the first-floor room at the northwest corner of the Cour Carrée, on the ceiling of which he placed in 1890 a monumental painting by Carolus-Duran, The Triumph of Marie de' Medici originally created in 1879 for the Luxembourg Palace.
Meanwhile, during the Third Republic (1870–1940) the Louvre acquired new artefacts mainly via donations, gifts, and sharing arrangements on excavations abroad. The 583-item Collection La Caze, donated in 1869 by Louis La Caze, included works by Chardin; Fragonard, Rembrandt and Watteau. In 1883, the Winged Victory of Samothrace, which had been found in the Aegean Sea in 1863, was prominently displayed as the focal point of the Escalier Daru. Major artifacts excavated at Susa in Iran, including the massive Apadana capital and glazed brick decoration from the Palace of Darius there, accrued to the Oriental (Near Eastern) Antiquities Department in the 1880s. The Société des amis du Louvre was established in 1897 and donated prominent works, such as the Pietà of Villeneuve-lès-Avignon. The expansion of the museum and its collections slowed after World War I, however, despite some prominent acquisitions such as Georges de La Tour's Saint Thomas and Baron Edmond de Rothschild's 1935 donation of 4,000 prints, 3,000 drawings, and 500 illustrated books.
From the late 19th century, the Louvre gradually veered away from its mid-century ambition of universality to become a more focused museum of French, Western and Near Eastern art, covering a space ranging from Iran to the Atlantic. The collections of the Louvre's musée mexicain were transferred to the Musée d'Ethnographie du Trocadéro in 1887. As the Musée de Marine was increasingly constrained to display its core naval-themed collections in the limited space it had in the second-floor attic of the northern half of the Cour Carrée, many of its significant holdings of non-Western artefacts were transferred in 1905 to the Trocadéro ethnography museum, the National Antiquities Museum in Saint-Germain-en-Laye, and the Chinese Museum in the Palace of Fontainebleau. The Musée de Marine itself was relocated to the Palais de Chaillot in 1943. The Louvre's extensive collections of Asian art were moved to the Guimet Museum in 1945. Nevertheless, the Louvre's first gallery of Islamic art opened in 1922.
In the late 1920s, Louvre Director Henri Verne devised a master plan for the rationalization of the museum's exhibitions, which was partly implemented in the following decade. In 1932–1934, Louvre architects Camille Lefèvre and Albert Ferran redesigned the Escalier Daru to its current appearance. The Cour du Sphinx in the South Wing was covered by a glass roof in 1934. Decorative arts exhibits were expanded in the first floor of the North Wing of the Cour Carrée, including some of France's first Period Room displays. In the late 1930s, The La Caze donation was moved to a remodeled Salle La Caze above the salle des Caryatides, with reduced height to create more rooms on the second floor and a sober interior design by Albert Ferran.
During World War II, the Louvre conducted an elaborate plan of evacuation of its art collection. When Germany occupied the Sudetenland, many important artworks such as the Mona Lisa were temporarily moved to the Château de Chambord. When war was formally declared a year later, most of the museum's paintings were sent there as well. Select sculptures such as Winged Victory of Samothrace and the Venus de Milo were sent to the Château de Valençay. On 27 August 1939, after two days of packing, truck convoys began to leave Paris. By 28 December, the museum was cleared of most works, except those that were too heavy and "unimportant paintings [that] were left in the basement". In early 1945, after the liberation of France, art began returning to the Louvre.
New arrangements after the war revealed the further evolution of taste away from the lavish decorative practices of the late 19th century. In 1947, Edmond Guillaume's ceiling ornaments were removed from the Salle des Etats, where the Mona Lisa was first displayed in 1966. Around 1950, Louvre architect Jean-Jacques Haffner streamlined the interior decoration of the Grande Galerie. In 1953, a new ceiling by Georges Braque was inaugurated in the Salle Henri II, next to the Salle La Caze. In the late 1960s, seats designed by Pierre Paulin were installed in the Grande Galerie. In 1972, the Salon Carré's museography was remade with lighting from a hung tubular case, designed by Louvre architect Marc Saltet with assistance from designers André Monpoix, Joseph-André Motte and Paulin.
In 1961, the Finance Ministry accepted to leave the Pavillon de Flore at the southwestern end of the Louvre building, as Verne had recommended in his 1920s plan. New exhibition spaces of sculptures (ground floor) and paintings (first floor) opened there later in the 1960s, on a design by government architect Olivier Lahalle.
In 1981, French President François Mitterrand proposed, as one of his Grands Projets, the Grand Louvre plan to relocate the Finance Ministry, until then housed in the North Wing of the Louvre, and thus devote almost the entire Louvre building (except its northwestern tip, which houses the separate Musée des Arts Décoratifs) to the museum which would be correspondingly restructured. In 1984 I. M. Pei, the architect personally selected by Mitterrand, proposed a master plan including an underground entrance space accessed through a glass pyramid in the Louvre's central Cour Napoléon.
The open spaces surrounding the pyramid were inaugurated on 15 October 1988, and its underground lobby was opened on 30 March 1989. New galleries of early modern French paintings on the 2nd floor of the Cour Carrée, for which the planning had started before the Grand Louvre, also opened in 1989. Further rooms in the same sequence, designed by Italo Rota, opened on 15 December 1992.
On 18 November 1993, Mitterrand inaugurated the next major phase of the Grand Louvre plan: the renovated North (Richelieu) Wing in the former Finance Ministry site, the museum's largest single expansion in its entire history, designed by Pei, his French associate Michel Macary, and Jean-Michel Wilmotte. Further underground spaces known as the Carrousel du Louvre, centered on the Inverted Pyramid and designed by Pei and Macary, had opened in October 1993. Other refurbished galleries, of Italian sculptures and Egyptian antiquities, opened in 1994. The third and last main phase of the plan unfolded mainly in 1997, with new renovated rooms in the Sully and Denon wings. A new entrance at the porte des Lions opened in 1998, leading on the first floor to new rooms of Spanish paintings.
As of 2002, the Louvre's visitor count had doubled from its pre-Grand-Louvre levels.
President Jacques Chirac, who had succeeded Mitterrand in 1995, insisted on the return of non-Western art to the Louvre, upon a recommendation from his friend the art collector and dealer Jacques Kerchache [fr]. On his initiative, a selection of highlights from the collections of what would become the Musée du Quai Branly – Jacques Chirac was installed on the ground floor of the Pavillon des Sessions and opened in 2000, six years ahead of the Musée du Quai Branly itself.
The main other initiative in the aftermath of the Grand Louvre project was Chirac's decision to create a new department of Islamic Art, by executive order of 1 August 2003, and to move the corresponding collections from their prior underground location in the Richelieu Wing to a more prominent site in the Denon Wing. That new section opened on 22 September 2012, together with collections from the Roman-era Eastern Mediterranean, with financial support from the Al Waleed bin Talal Foundation and on a design by Mario Bellini and Rudy Ricciotti.
In 2010, American painter Cy Twombly completed a new ceiling for the Salle des Bronzes (the former Salle La Caze), a counterpoint to that of Braque installed in 1953 in the adjacent Salle Henri II. The room's floor and walls were redesigned in 2021 by Louvre architect Michel Goutal to revert the changes made by his predecessor Albert Ferran in the late 1930s, triggering protests from the Cy Twombly Foundation on grounds that the then-deceased painter's work had been created to fit with the room's prior decoration
On 6 June 2014, the Decorative Arts section on the first floor of the Cour Carrée's northern wing opened after comprehensive refurbishment.
The Louvre, like many other museums and galleries, felt the impact of the COVID-19 pandemic on the arts and cultural heritage. It was closed for six months during French coronavirus lockdowns and saw visitor numbers plunge to 2.7 million in 2020, from 9.6 million in 2019 and 10.2 million in 2018, which was a record year.
Much of the present church dates from the 15th century. It is a wool church, vastly extended with profits from the medieval wool trade. About 1490 the nave was reconstructed with its magnificent arcading built on the foundations of the old Norman nave. The great window over the chancel arch was added, a rare feature of church architecture, which provides wonderful light for the nave.
The fine East Window by Henry Payne was completed in 1925 in memory of those who fell in the Great War. The window over the chancel arch represents the last judgment. Preserved behind glass are wonderful survivals from the days before the Reformation: the unique pair of Altar Frontals (c.1500) and the Cope (c.1400). The Altar Frontals were copied by command of Queen Mary for the High Altar of Westminster Abbey for the coronation ceremony in 1912.There are fine 15th century brasses, now secured to the Chancel Floor, the largest of which commemorates William Grevel "...flower of the wool merchants of all England..." The finely carved canopied tomb of Sir Thomas Smythe is on the North wall in the sanctuary and is the most remarkable in the church. He was Lord of the Manor of Campden until his death in 1593. He lived at the court of Henry VIII and was the first Governor of the East India Company.
The Jacobean pulpit and Flemish lectern are gifts from Sir Baptist Hicks, whose ornate tomb is in the Gainsborough Chapel.
The church is regarded by Simon Jenkins as being in the top hundred of England's Thousand Best Churches.
This was taken with Judy's i-Phone.
From large hoses extending into the Bali Sea, these villagers collect the salt water, dry it on large pans to dry, and gather the precipitate into baskets for subsequent sale.
Amed.
Bali, Indonesia.
Not had much time to get out recently, so it's Woody again I'm afraid. Taken yesterday testing the new camera with my 1.4x Extender, which tbh was very hit and miss.... more miss with the 1DX MKi, but with the Mkii it performs so much better in my view.
A7, Empire Builder with 300, 301, 53 hang out in Lakota, waiting for a couple of service interruptions at Leeds, North Dakota…Shelby Crew with BNSF Pilot Crew was vanned to Lakota from Minot as the St Cloud crew died HOS..The Shelby Crew made it to Minot before they also died HOS..great day on the Devils Lake Sub… not what I had wanted, but what are you going to do…at Minot, BNSF furnished a new leader to move the extremely late A7 to Lines west