Well, here's the first of my Halo Flood uploads. Though I was planning for three, I made two of these little guys. They've actually been "done" for a while...I just haven't been super happy with them. But now, they're done I guess. :) So please enjoy! Please comment and leave a fav if you'd like! I really love the feedback guys! ;D

-Reference Material:

halo.wikia.com/wiki/Flood_Infection_Form

-Parts used:

Believe it or not, they're almost completely made of cut-up LEGO parts, four to be exact.

- LEGO Spider

- 1x1 tan tooth

- 1x1 tan stud

- LEGO fang

~ paper clips

~ bits of fabric

~ super glue

~ paint

-How it's made:

The legs are LEGO spider legs, cut off and bent. The "face" is actually the body of that spider. The middle is just a 1x1 tooth piece with two opposite sides cut off and the "tooth" removed and glued back on at an angle. The thing that the legs sit on is just a 1x1 stud with the bottom cut off. and glued into the indent on the 1x1. The "feelers" are just bent paperclips that were glued into holes that I drilled into the spider's body. Then I glued bits of fabric onto the ends and painted them red. The whole thing is also painted an off-tan color but actually I used all tan LEGO parts (excluding the spider).

Please give credit and tag me if you happen to make one! I'd love to see it!

-Jesus is the truth, the way, and the life!

Carlisle, Northern England

Picture No: 2019-12-21-7109_P5_FRAMED_S

Edited in Canon DPP, framed in Photoshop 6

Cropped. No photomontage. No Photoshop.

Formed of the usual two Meridian units, the 06.00 Melton Mowbray to London St Pancras accelerates away from the 40mph restriction over Seaton viaduct

rochester, NY

. . . color and shape

Waiting For Alexander Series - Nereus by Daniel Arrhakis (2024 / 2025)

A New Series " Waiting For Alexander - Sculptures Series" - A Creative classic sculptures with a intriguing surrealistic sea elements.

A series of classical sculptures based on the figure of Alexander the Great integrated into an equally classic-baroque environment associated with nautiloid sculptural patterns in both three-dimensional forms and the textures that surround them.

The use of shells, red, blue and tones of copper or gold are one of the differentiating elements in this series created with the help of Artificial Intelligence and digital collage techniques, digital painting and manual digital reconstruction.

FORM

docs.google.com/forms/d/e/1FAIpQLSf_toaMsDFzvqKXkwt7nUB0B...

Pâturage de Chamrousse près de la station de la Croix à 2250 m)

La Fuente de los Galápagos, también llamada Fuente de Isabel II, esta situada actualmente en el "Parque del Retiro", Madrid, España. En ella se pueden observar dos galápagos, con formas parecidas al Galápago Leproso.

Created with Ultra Fractal

Garage (?) auf dem Gelände eines ehemaligen Stützpunktes der sowjetischen Luftstreitkräfte in Ostdeutschland.

Garage (?) in the periphery of a former soviet army airport in eastern Germany

Forms of transportation in Amsterdam, NL.

Abstracted forms, Chicago

www.mingthein.com

www.mingthein.galler

3/4 - The cycle of the redwood forest. Trees falling, forming geometry.

My newest video is out now! A simple trip into a close-by park in my new home, the bay area of California. I hope you enjoy it as much as I did getting out there.

Link is in my bio.

youtu.be/mprRtNiZcVE

Two of the subgroups of Passerella iliaca,

West Cuesta Ridge,

San Luis Obispo Co., California

Firoz's true form

Plaza de María Pita

La plaza de María Pita se llamaba antiguamente Plaza de Alesón; fue proyectada mediado el siglo XIX con el fin de resolver el paso de la cidade vella a la Pescadería.

Forma un gran rectángulo de más de diez mil metros cuadrados, en uno de cuyos frentes se encuentra el Palacio Municipial, mientras que en el resto se alinean edificios porticados, bajo los cuales se encuentran diversos establecimientos donde podemos comer alguna tapa con vino blanco de la tierra.

El edificio del Ayuntamiento data de principios del siglo XX y ocupa uno de los laterales. Su ostentosa fachada tiene tres torreones que están rematados todos por enormes cúpulas. En el cuerpo central hay una balconada de hierro forjado desde la que se presiden los actos municipales.

El edificio combina la monumentalidad con la funcionalidad. De estilo muy ecléctico con lagunas pinceladas modernistas, dispone en su interior de varias estancias: el de plenos, una pinacoteca y el Museo de los Relojes, la mejor colección que existe en España.

www.adondeir.com/plazamariapita

Paris - Antonio Canova.

Antonio Canova (1 November 1757 – 13 October 1822) was an Italian sculptor who became famous for his marble sculptures that delicately rendered nude flesh. The epitome of the neoclassical style, his work marked a return to classical refinement after the theatrical excesses of Baroque sculpture.

Antonio Canova was born in Possagno, a village of the Republic of Venice situated amid the recesses of the hills of Asolo, where these form the last undulations of the Venetian Alps, as they subside into the plains of Treviso. At three years of age Canova was deprived of both parents, his father dying and his mother remarrying. Their loss, however, was compensated by the tender solicitude and care of his paternal grandfather and grandmother, the latter of whom lived to experience in her turn the kindest personal attention from her grandson, who, when he had the means, gave her an asylum in his house at Rome.

His father and grandfather followed the occupation of stone-cutters or minor statuaries; and it is said that their family had for several ages supplied Possagno with members of that calling. As soon as Canova's hand could hold a pencil, he was initiated into the principles of drawing by his grandfather Pasino. The latter possessed some knowledge both of drawing and of architecture, designed well, and showed considerable taste in the execution of ornamental works. He was greatly attached to his art; and upon his young charge he looked as one who was to perpetuate, not only the family name, but also the family profession.

The early years of Canova were passed in study. The bias of his mind was to sculpture, and the facilities afforded for the gratification of this predilection in the workshop of his grandfather were eagerly improved. In his ninth year he executed two small shrines of Carrara marble, which are still extant. Soon after this period he appears to have been constantly employed under his grandfather. Amongst those who patronized the old man was the patrician family Falier of Venice, and by this means young Canova was first introduced to the senator of that name, who afterwards became his most zealous patron.

Between the younger son, Giuseppe Falier, and the artist a friendship commenced which terminated only with life. The senator Falier was induced to receive him under his immediate protection. It has been related by an Italian writer and since repeated by several biographers, that Canova was indebted to a trivial circumstance - the moulding of a lion in butter - for the warm interest which Falier took in his welfare. The anecdote may or may not be true. By his patron Canova was placed under Bernardi, or, as he is generally called by filiation, Giuseppe Torretto, a sculptor of considerable eminence, who had taken up a temporary residence at Pagnano, one of Asolo's boroughs in the vicinity of the senator's mansion.

This took place whilst Canova was in his thirteenth year; and with Torretto he continued about two years, making in many respects considerable progress. This master returned to Venice, where he soon afterwards died; but by the high terms in which he spoke of his pupil to Falier, the latter was induced to bring the young artist to Venice, whither he accordingly went, and was placed under a nephew of Torretto. With this instructor he continued about a year, studying with the utmost assiduity.

After the termination of this engagement he began to work on his own account, and received from his patron an order for a group, Orpheus and Eurydice. The first figure, which represents Eurydice in flames and smoke, in the act of leaving Hades, was completed towards the close of his sixteenth year. It was highly esteemed by his patron and friends, and the artist was now considered qualified to appear before a public tribunal.

The kindness of some monks supplied him with his first workshop, which was the vacant cell of a monastery. Here for nearly four years he labored with the greatest perseverance and industry. He was also regular in his attendance at the academy, where he carried off several prizes. But he relied far more on the study and imitation of nature. A large portion of his time was also devoted to anatomy, which science was regarded by him as the secret of the art. He likewise frequented places of public amusement, where he carefully studied the expressions and attitudes of the performers. He formed a resolution, which was faithfully adhered to for several years, never to close his eyes at night without having produced some design. Whatever was likely to forward his advancement in sculpture he studied with ardour. On archaeological pursuits he bestowed considerable attention. With ancient and modern history he rendered himself well acquainted and he also began to acquire some of the continental languages.

Three years had now elapsed without any production coming from his chisel. He began, however, to complete the group for his patron, and the Orpheus which followed evinced the great advance he had made. The work was universally applauded, and laid the foundation of his fame. Several groups succeeded this performance, amongst which was that of Daedalus and Icarus, the most celebrated work of his noviciate. The terseness of style and the faithful imitation of nature which characterized them called forth the warmest admiration. His merits and reputation being now generally recognized, his thoughts began to turn from the shores of the Adriatic to the banks of the Tiber, for which he set out at the commencement of his twenty-fourth year.

Before his departure for Rome, his friends had applied to the Venetian senate for a pension, to enable him to pursue his studies without embarrassment. The application was ultimately successful. The stipend amounted to three hundred ducats (about 60 pounds per annum), and was limited to three years. Canova had obtained letters of introduction to the Venetian ambassador, the Cavaliere Zulian, and enlightened and generous protector of the arts, and was received in the most hospitable manner.

His arrival in Rome, on 28 December 1780, marks a new era in his life. It was here he was to perfect himself by a study of the most splendid relics of antiquity, and to put his talents to the severest test by a competition with the living masters of the art. The result was equal to the highest hopes cherished either by himself or by his friends. The work which first established his fame at Rome was Theseus Vanquishing the Minotaur, now in the collections of the Victoria & Albert Museum, in London. The figures are of the heroic size. The victorious Theseus is represented as seated on the lifeless body of the monster. The exhaustion which visibly pervades his whole frame proves the terrible nature of the conflict in which he has been engaged. Simplicity and natural expression had hitherto characterized Canova's style; with these were now united more exalted conceptions of grandeur and of truth. The Theseus was regarded with fervent admiration.

Canova's next undertaking was a monument in honor of Clement XIV; but before he proceeded with it he deemed it necessary to request permission from the Venetian senate, whose servant he considered himself to be, in consideration of the pension. This he solicited, in person, and it was granted. He returned immediately to Rome, and opened his celebrated studio close to the Via del Babuino. He spent about two years of unremitting toil in arranging the design and composing the models for the tomb of the pontiff. After these were completed, other two years were employed in finishing the monument, and it was finally opened to public inspection in 1787. The work, in the opinion of enthusiastic dilettanti, stamped the author as the first artist of modern times.

After five years of incessant labor, he completed another cenotaph, to the memory of Clement XIII, which raised his fame still higher. Works now came rapidly from his chisel. Amongst these is Psyche, with a butterfly, which is placed on the left hand, and held by the wings with the right. This figure, which is intended as a personification of man's immaterial part, is considered as in almost every respect the most faultless and classical of Canova's works. In two different groups, and with opposite expression, the sculptor has represented Cupid with his bride; in the one they are standing, in the other recumbent. These and other works raised his reputation so high that the most flattering offers were sent to him from the Russian court to induce him to remove to St Petersburg, but these were declined, although many of his finest works made their way to the Hermitage Museum. "Italy", says he, in writing of the occurrence to a friend, "Italy is my country - is the country and native soil of the arts. I cannot leave her; my infancy was nurtured here. If my poor talents can be useful in any other land, they must be of some utility to Italy; and ought not her claim to be preferred to all others?"

Numerous works were produced in the years 1795-1797, of which several were repetitions of previous productions. One was the celebrated group representing the Parting of Venus and Adonis. This famous production was sent to Naples. The French Revolution was now extending its shocks over Italy; and Canova sought obscurity and repose in his native Possagno. Thither he retired in 1798, and there he continued for about a year, principally employed in painting, of which art also he had some knowledge. Events in the political world having come to a temporary lull, he returned to Rome; but his health being impaired from arduous application, he took a journey through a part of Germany, in company with his friend Prince Rezzonico. He returned from his travels much improved, and again commenced his labors with vigour and enthusiasm.

The events which marked the life of the artist during the first fifteen years of the period in which he was engaged on the above-mentioned works scarcely merit notice. His mind was entirely absorbed in the labors of his studio, and, with the exception of his journeys to Paris, one to Vienna, and a few short intervals of absence in Florence and other parts of Italy, he never quit Rome. In his own words, "his statues were the sole proofs of his civil existence."

There was, however, another proof, which modesty forbade him to mention, an ever-active benevolence, especially towards artists. In 1815 he was commissioned by the Pope to superintend the transmission from Paris of those works of art which had formerly been conveyed thither under the direction of Napoleon. By his zeal and exertions - for there were many conflicting interests to reconcile - he adjusted the affair in a manner at once creditable to his judgment and fortunate for his country.

In the autumn of this year he gratified a wish he had long entertained of visiting London, where he received the highest tokens of esteem. The artist for whom he showed particular sympathy and regard in London was Benjamin Haydon, who might at the time be counted the sole representative of historical painting there, and whom he especially honored for his championship of the Elgin marbles, then recently transported to England, and ignorantly depreciated by polite connoisseurs. Among Canova's English pupils were sculptors Sir Richard Westmacott and John Gibson.

Canova returned to Rome in the beginning of 1816, with the ransomed spoils of his country's genius. Immediately after, he received several marks of distinction: he was made President of the Accademia di San Luca, the main artistic institution in Rome, and by the hand of the Pope himself his name was inscribed in "the Golden Volume of the Capitol", and he received the title of Marquis of Ischia, with an annual pension of 3000 crowns.

He now contemplated a great work, a colossal statue of Religion. The model filled Italy with admiration; the marble was procured, and the chisel of the sculptor ready to be applied to it, when the jealousy of churchmen as to the site, or some other cause, deprived the country of the projected work. The mind of Canova was inspired with the warmest sense of devotion, and though foiled in this instance he resolved to consecrate a shrine to the cause. In his native village he began to make preparations for erecting a temple which was to contain, not only the above statue, but other works of his own; within its precincts were to repose also the ashes of the founder. Accordingly he repaired to Possagno in 1819. After the foundation-stone of this edifice had been laid, Canova returned to Rome; but every succeeding autumn he continued to visit Possagno, in order to direct the workmen, and encourage them with pecuniary rewards and medals.

In the meantime the vast expenditure exhausted his resources, and compelled him to labor with unceasing assiduity notwithstanding age and disease. During the period which intervened between commencing operations at Possagno and his decease, he executed or finished some of his most striking works. Amongst these were the group Mars and Venus, the colossal figure of Pius VI, the Pietà, the St John, the recumbent Magdalen. The last performance which issued from his hand was a colossal bust of his friend, the Count Cicognara.

In May 1822 he paid a visit to Naples, to superintend the construction of wax moulds for an equestrian statue of the perjured Bourbon king Ferdinand VII. This journey materially injured his health, but he rallied again on his return to Rome. Towards the latter end of the year he paid his annual visit to the place of his birth, when he experienced a relapse. He proceeded to Venice, and expired there at the age of nearly sixty-five. His disease was one which had affected him from an early age, caused by the continual use of carving-tools, producing a depression of the ribs. The most distinguished funeral honors were paid to his remains, which were deposited in the temple at Possagno on 25 October 1822. His heart was interred in a marble pyramid he designed as a mausoleum for the painter Titian in the church of Santa Maria Gloriosa dei Frari in Venice, now a monument to the sculptor.

Among Canova's heroic compositions, his Perseus with the Head of Medusa (photo, right) appeared soon after his return from Germany. The moment of representation is when the hero, flushed with conquest, displays the head of the "snaky Gorgon", whilst the right hand grasps a sword of singular device. By a public decree, this fine work was placed in one of the stanze of the Vatican hitherto reserved for the most precious works of antiquity.

In 1802, at the personal request of Napoleon, Canova returned to Paris to model a bust of the first consul. The artist was entertained with munificence, and various honors were conferred upon him. The statue, which is colossal and entitled Napoleon as Mars the Peacemaker, was not finished till four years after. On the fall of the great emperor, Louis XVIII presented this statue to the British government, by whom it was afterwards given to the Duke of Wellington.

Palamedes, Creugas and Damoxenus, the Combat of Theseus and the Centaur, and Hercules and Lichas may close the class of heroic compositions, although the catalogue might be swelled by the enumeration of various others, such as Hector and Ajax, and the statues of George Washington (commissioned by the State of North Carolina to be displayed in its Capitol Building), King Ferdinand of Naples, and others.

Under the head of compositions of grace and elegance, the statue of Hebe takes the first place in point of date. Four times has the artist embodied in stone the goddess of youth, and each time with some variation. The last one is in the Museum of Forlì, in Italy. The only material improvement, however, is the substitution of a support more suitable to the simplicity of the art. Each of the statues is, in all its details, in expression, attitude and delicacy of finish, strikingly elegant.

The Dancing Nymphs maintain a character similar to that of the Hebe. The Three Graces and the Venus are more elevated. The Awakened Nymph is another work of uncommon beauty. The mother of Napoleon, his consort Maria Louise (as Concord), to model whom the author made a further journey to Paris in 1810, the princess Esterhazy and the muse Polymnia (Elisa Bonaparte) take their place in this class, as do the ideal heads, comprising Corinna, Sappho, Laura, Beatrice and Helen of Troy.

Of the cenotaphs and funeral monuments the most splendid is the monument to the archduchess Archduchess Maria Christina, Duchess of Teschen, consisting of nine figures.

Besides the two for the Roman Pontiffs already mentioned, there is one for Alfieri, another for Emo, a Venetian admiral, and a small model of a cenotaph for Horatio Nelson, besides a great variety of monumental relieves.

A BRIEF HISTORY OF THE MUSEUM

The Metropolitan Museum of Art was founded in 1870 by a group of American citizens – businessmen and financiers as well as leading arists and thinkers of the day – who wanted to create a museum to bring art and art education to the American people.

The Metropolitan's paintings collection also began in 1870, when three private European collections, 174 paintings in all, came to the Museum. A variety of excellent Dutch and Flemish paintings, including works by such artists as Hals and Van Dyck, was supplemented with works by such great European artists as Poussin, Tiepolo, and Guardi.

The collections continued to grow for the rest of the 19th century – upon the death of John Kensett, for example, 38 of his canvases came to the Museum. But it is the 20th century that has seen the Museum's rise to the position of one of the world's great art centers. Some highlights: a work by Renoir entered the Museum as early as 1907 (today the Museum has become one of the world's great repositories of Impressionist and Post-Impressionist art)...in 1910 the Metropolitan was the first public institution to accept works of art by Matisse...by 1979 the Museum owned five of the fewer than 40 known Vermeers...the Department of Greek and Roman Art now oversees thousands of objects, including one of the finest collections in glass and silver in the world...The American Wing holds the most comprehensive collection of American art, sculpture, and decorative arts in the world...the Egyptian art collection is the finest outside Cairo...the Islamic art collection is without peer...and so on, through many of the 17 curatorial departments.

In 1880, the Metropolitan Museum moved to its current site in Central Park. The original Gothic-Revival-style building has been greatly expanded in size since then, and the various additions (built as early as 1888) now completely surround the original structure. The present facade and entrance structure along Fifth Avenue were completed in 1926.

A comprehensive architectural plan for the Museum approved in 1971 was completed in 1991. The architects for the project were Kevin Roche John Dinkeloo and Associates, and the overall aim was to make the Museum's collections more accessible to the public, more useful to the scholars and, in general, more interesting and informative to all visitors.

Among the additions to the Museum as part of the master plan are: the Robert Lehman Wing (1975), which houses an extraordinary collection of Old Masters, as well as Impressionist and Post-Impressionist art; the installation in The Sackler Wing of the Temple of Dendur (1978), an Egyptian monument (ca. 15 B.C.) that was given to the United States by Egypt; The American Wing (1980), whose magnificent collection also includes 24 period rooms offering an unparalleled view of American art history and domestic life; The Michael C. Rockefeller Wing (1982) for the display of the arts of Africa, Oceania, and the Americas; the Lila Acheson Wallace Wing (1987), which houses modern art; and the Henry R. Kravis Wing, devoted to European sculpture and decorative arts from the Renaissance to the beginning of the 20th century.

With the building now complete, the Metropolitan Museum continues to refine and reorganize the collections in its existing spaces. In June 1998, the Arts of Korea gallery opened to the public, completing a major suite of galleries – a "museum within the Museum" – devoted to the arts of Asia. In October 1999 the renovated Ancient Near Eastern Galleries reopened. And a complete renovation and reinstallation of the Greek and Roman Galleries is underway: the first phase, The Robert and Renée Belfer Court for early Greek art, opened in June 1996; the New Greek Galleries premiered in April 1999; and in April 2000 the Cypriot Galleries will open to the public.

Antonio Canova (Possagno, 1 de Novembro de 1757 — Veneza, 13 de Outubro de 1822) foi um desenhista, pintor, antiquário e arquiteto italiano, mas é mais lembrado como escultor, desenvolvendo uma carreira longa e produtiva. Seu estilo foi fortemente inspirado na arte da Grécia Antiga, suas obras foram comparadas por seus contemporâneos com a melhor produção da Antiguidade, e foi tido como o maior escultor europeu desde Bernini, sendo celebrado por toda parte. Sua contribuição para a consolidação da arte neoclássica só se compara à do teórico Johann Joachim Winckelmann e à do pintor Jacques-Louis David, mas não foi insensível à influência do Romantismo. Não teve discípulos regulares, mas influenciou a escultura de toda a Europa em sua geração, atraindo inclusive artistas dos Estados Unidos, permanecendo como uma referência ao longo de todo o século XIX especialmente entre os escultores do Academismo. Com a ascensão da estética modernista caiu no esquecimento, mas sua posição prestigiosa foi restabelecida a partir de meados do século XX. Também manteve um continuado interesse na pesquisa arqueológica, foi um colecionador de antiguidades e esforçou-se por evitar que o acervo de arte italiana, antiga ou moderna, fosse disperso por outras coleções do mundo. Considerado por seus contemporâneos um modelo tanto de excelência artística como de conduta pessoal, desenvolveu importante atividade beneficente e de apoio aos jovens artistas. Foi Diretor da Accademia di San Luca em Roma e Inspetor-Geral de Antiguidades e Belas Artes dos estados papais, recebeu diversas condecorações e foi nobilitado pelo papa Pio VII com a outorga do título de Marquês de Ischia.[1][2][3]

ntonio Canova era filho de um escultor de algum mérito, Pietro Canova, que faleceu quando o filho tinha cerca de três anos. Um ano depois sua mãe, Angela Zardo, também o deixou, casando com Francesco Sartori e entregando o menino aos cuidados de seu avô paterno, Passino Canova, também escultor, e de sua tia Caterina Ceccato. Teve um meio-irmão das segundas núpcias de sua mãe, o abade Giovanni Battista Sartori, de quem se tornou amigo íntimo, e que foi seu secretário e executor testamentário. Aparentemente seu avô foi o primeiro a notar seu talento, e assim que Canova pôde segurar um lápis foi iniciado nos segredos do desenho. Sua juventude foi passada em estudos artísticos, mostrando desde cedo predileção pela escultura. Com nove anos já foi capaz de produzir dois pequenos relicários em mármore, que ainda existem, e desde então seu avô o empregou para diversos trabalhos. O avô era patrocinado pela rica família Falier de Veneza, e através dele Canova foi apresentado ao senador Giovanni Falier, que se tornou seu assíduo protetor, e cujo filho Giuseppe se tornou um dos seus mais constantes amigos. Através de Falier, Canova, com cerca de 13 anos, foi colocado sob a orientação de Giuseppe Torretto, um dos mais notáveis escultores do Vêneto em sua geração. Seu estudo foi facilitado pelo acesso que teve a importantes coleções de estatuária antiga, como as mantidas pela Academia de Veneza e pelo colecionador Filippo Farsetti, que foi-lhe útil estabelecendo novos contatos com ricos patronos. Logo suas obras foram elogiadas pela precoce virtuosidade, capacitando-o a receber suas primeiras encomendas, entre elas duas cestas de frutas em mármore para o próprio Farsetti, muito admiradas. A cópia que fez em terracota dos célebres Lutadores Uffizi valeu-lhe o segundo prêmio na Academia.[4][5]

Com a morte de Torretto a continuidade da instrução de Canova foi confiada a Giovanni Ferrari, sobrinho do outro, mas permaneceu com ele apenas um ano. Então, com apenas dezesseis anos, decidiu iniciar o trabalho por conta própria, e logo recebeu de Falier a encomenda para estátuas representando Orfeu e Eurídice. O conjunto, acabado entre 1776-77, resultou tão bem e atraiu tanto aplauso que seus amigos já previam para ele um futuro brilhante.[5] Nele, e em outro grupo importante, representando Dédalo e Ícaro (1778-79), o escultor já mostrava grande maturidade. Seu estilo nessa fase, se tinha um caráter ornamental típico do Rococó, era também vigoroso, e ao mesmo tempo se distinguia da tradição naturalista da arte veneziana e evidenciava uma tendência à idealização que adquirira com seus estudos dos clássicos.[4]

O grande progresso de Canova levou Falier a organizar sua ida para Roma, a fim de que se aperfeiçoasse. Roma nessa época era o mais importante centro de peregrinação cultural da Europa e uma meta obrigatória para qualquer artista que aspirasse à fama. Com sua pletora de monumentos antigos e grandes coleções, numa fase em que estava em pleno andamento a formação do Neoclassicismo, a cidade era toda um grande museu, e oferecia inúmeros exemplares autênticos para estudo em primeira mão da grande produção artística do passado clássico. [4] Antes de sua partida seus amigos conseguiram-lhe uma pensão de 300 ducados anuais, que se manteria por três anos. Também obteve cartas de apresentação para o embaixador veneziano na cidade, o Cavalier Girolamo Zulian, um ilustrado patrono das artes, que o recebeu com grande hospitalidade quando o artista chegou ali em torno de 1779 (Cf. nota: [6]), e providenciou a primeira exibição pública, em sua própria casa, de um trabalho do artista, uma cópia do grupo de Dédalo e Ícaro que mandou vir de Veneza e que suscitou a admiração de quantos a viram. Segundo o relato do conde Leopoldo Cicognara, um de seus primeiros biógrafos, apesar da aprovação unânime da obra Canova sentiu enorme embaraço naquele momento, falando muitas vezes dele anos mais tarde como um dos episódios mais tensos de sua vida. Através de Zulian Canova foi assim introduzido, com um sucesso imediato, na populosa comunidade local de intelectuais, onde brilhavam o arqueólogo Gavin Hamilton, os colecionadores sir William Hamilton e o cardeal Alessandro Albani, e o antiquário e historiador Johann Joachim Winckelmann, o principal mentor do Neoclassicismo, entre tantos outros que partilhavam de seu amor aos clássicos.[5][7]

Em Roma Canova pôde aprofundar o estudo das mais importantes relíquias da Antigüidade, completar sua educação literária, aperfeiçoar sua fluência no francês e colocar-se na competição com os melhores mestres da época.[8] O resultado ficou além de suas próprias expectativas. Sua primeira obra produzida em Roma, patrocinada por Zulian, foi Teseu vencendo o Minotauro (1781), que foi recebida com grande entusiasmo, a ponto de ser declarada como o marco inaugural de uma nova era para as artes. Em seguida esculpiu um pequeno Apolo em ato de coroar a si mesmo (1781-82), para o senador Abondio Rezzonico, uma estátua de Psiquê (1793) para Zulian, e passou a contar com o apoio de Giovanni Volpato, que abriu-lhe outras portas, entre elas a do Vaticano. Nesse período estabeleceu uma ligação tumultuada com a filha de Volpato, Domenica.[9][7]

Sua próxima encomenda, acertada por intermédio de Volpato, foi um monumento fúnebre ao papa Clemente XIV, mas para aceitá-la decidiu pedir permissão ao Senado de Veneza, em consideração à pensão que lhe haviam conseguido. Sendo concedida, fechou sua oficina em Veneza e voltou imediatamente para Roma, onde abriu um novo atelier nas imediações da Via del Babuino, onde os dois anos seguintes foram passados para a conclusão do modelo, e outros dois gastos na realização da obra, que foi finalmente inaugurada em 1787, atraindo o elogio dos maiores críticos da cidade. Durante esse período se engajou paralelamente em projetos menores, alguns baixos-relevos em terracota e uma estátua de Psique. Mais cinco anos foram despendidos na elaboração de um cenotáfio para Clemente XIII, entregue em 1792, que levou sua fama a alturas ainda maiores.[9]

Nos anos seguintes, até o encerramento do século, Canova se aplicou com ingente empenho em produzir um significativo conjunto de novas obras, entre elas vários grupos de Eros e Psiquê, em atitudes diferentes, que lhe valeram um convite para que se instalasse na corte russa, mas declarando sua íntima ligação com a Itália, declinou. Outras foram a Despedida de Vênus e Adônis, o grupo Hércules furioso lançando Licas ao mar, uma estátua de Hebe, e uma primeira versão da Madalena penitente. Mas o esforço foi excessivo para sua saúde, e o uso continuado de um apetrecho de escultura chamado trapano, que comprime o peito, provocou o afundamento de seu esterno. Sentindo-se exausto após tantos anos de atividades intensas e ininterruptas, e em vista da ocupação francesa de Roma em 1798, retirou-se para Possagno, onde aplicou-se à pintura, e logo seguiu em uma excursão de recreio pela Alemanha em companhia de seu amigo o Príncipe Rezzonico. Também passou pela Áustria, onde recebeu a encomenda de um cenotáfio para a arquiduquesa Maria Cristina, filha de Francisco I, que resultou anos mais tarde em uma obra majestosa, a melhor que produziu nesse gênero. Nessa mesma ocasião foi induzido a enviar para a capital austríaca o grupo de Teseu matando o centauro, que havia sido destinado para Milão, e que foi instalado em um templo em estilo grego construído especialmente para esse fim nos jardins do Palácio de Schönbrunn.[9]

Em sua volta a Roma em 1800, revigorado, produziu em poucos meses uma das suas composições mais aclamadas, o Perseu com a cabeça da Medusa (1800-01), inspirado livremente no Apolo Belvedere e julgado digno de ombrear com ele, e que lhe valeu o título de Cavalier, concedido pelo papa. Em 1802 foi convidado por Napoleão Bonaparte para visitar Paris e criar uma estátua sua, e segundo o testemunho de seu irmão, que o acompanhara, o escultor e o estadista mantiveram conversações em um nível de grande franqueza e familiaridade. Também encontrou o pintor Jacques-Louis David, o mais importante dos neoclássicos franceses.[10]

Em 10 de agosto de 1802 o papa Pio VII indicou o artista como Inspetor-Geral das Antiguidades e Belas Artes do Vaticano, posto que conservou até sua morte. Além de ser um reconhecimento de sua obra escultórica, a indicação implicava que ele também era considerado um conhecedor, com a capacidade de julgar a qualidade das obras de arte e um interesse em preservar as coleções papais. Entre as atribuições do cargo estavam a responsabilidade pela emissão de autorizações para escavações arqueológicas e a supervisão dos trabalhos de restauro, aquisição e exportação de antiguidades, além da supervisão sobre a instalação e organização de novos museus nos estados papais. Ele inclusive comprou 80 peças antigas com seus próprios recursos e as doou para os Museus Vaticanos. Entre 1805 e 1814 foi quem decidiu sobre a vinda de todos os artistas bolsistas italianos para aperfeiçoamento em Roma. Em 1810 foi indicado para a presidência da Accademia di San Luca, a mais importante instituição artística da Itália em sua época, e permaneceu como um baluarte de estabilidade na esfera cultural romana ao longo do turbulento período da ocupação francesa, sendo confirmado em suas posições por Napoleão. Sua missão administrativa culminou com a incumbência de resgatar, em 1815, o espólio artístico arrebatado da Itália pelo imperador francês, e por seu zelo e esforço conseguiu resolver o difícil trabalho de acomodar interesses internacionais divergentes e recuperar diversos tesouros para sua pátria, entre eles obras de Rafael Sanzio, o Apolo Belvedere, a Vênus Medici e o Laocoonte.[11][12]

No outono deste ano pôde realizar o sonho há muito acalentado de viajar a Londres, onde foi recebido com grande consideração. Sua viagem tinha dois propósitos primários: agradecer a ajuda que o governo britânico lhe dera da recuperação do acervo italiano confiscado, e conhecer os Mármores de Elgin, um grande conjunto de peças removidas do Partenon de Atenas, criadas por Fídias e seus assistentes, conhecimento que para ele foi uma revelação, contribuindo para confirmar sua impressão de que a arte grega era superior pela qualidade de seu acabamento e pela sua atenção à natureza. Ele também foi solicitado a dar seu parecer de perito sobre a importância do conjunto, que estava sendo posto à venda por Lord Elgin para a Coroa, e expressou-se nos termos mais elogiosos, mas recusou-se a restaurá-las, conforme foi convidado a fazê-lo, considerando que deviam permanecer como testemunhos autênticos da grande arte grega.[13] Voltando a Roma em 1816 com as obras devolvidas pela França, foi recebido em triunfo e recebeu do papa uma pensão de 3 mil escudos, tendo seu nome inscrito no Livro de Ouro do Capitólio com o título de Marquês de Ischia.[3][14]

Então Canova começou a elaborar o projeto para uma outra estátua, monumental, representando a Religião. Não por servilismo, uma vez que era um devoto ardente, mas sua idéia de instalá-la em Roma acabou frustrado mesmo sendo financiado por ele mesmo e estando pronto o modelo em seu tamanho definitivo, que entretanto acabou sendo executado em mármore em tamanho muito reduzido por ordem Lord Brownlow e levado para Londres. Mesmo assim ele decidiu erguer um templo em sua vila natal que conteria aquela escultura conforme seu plano original e outras peças de sua autoria, e nele deveriam, no tempo, repousar suas cinzas. Em 1819 foi lançada a pedra fundamental, e em seguida Canova retornou a Roma, mas a cada outono voltava às obras para acompanhar o seu progresso e instruir os empregados, encorajando-os com recompensas financeiras e medalhas. Mas o empreendimento se revelou excessivamente custoso, e o artista teve de voltar ao trabalho com renovado empenho a despeito de sua idade e doenças. Desta fase são algumas de suas peças mais significativas, como o grupo de Marte e Vênus para a Coroa Inglesa, a estátua colossal de Pio VI, uma Pietà (somente o modelo), outra versão da Madalena penitente. Sua última obra acabada foi um enorme busto de seu amigo o Conde Cicognara.[15]

Em maio de 1822 visitou Nápoles para superintender a construção do modelo para uma estátua eqüestre do Rei Fernando IV de Nápoles, mas o trajeto cobrou caro de sua saúde. Voltando a Roma, recuperou-se, mas em sua visita anual a Possagno já chegou lá doente, e recusando o repouso seu estado piorou. Então foi levado a Veneza, onde faleceu lúcido e serenamente. Suas últimas palavras foram "Anima bella e pura" (alma bela e pura), que pronunciou várias vezes antes de expirar. Testemunhos de amigos presentes em seu transpasse dizem que seu semblante foi adquirindo uma crescente radiância e expressividade, como se estivesse absorvido em uma contemplação extática. A autópsia realizada em seguida revelou uma obstrução do intestino por uma necrose na altura do piloro. Seu funeral, realizado em 25 de outubro de 1822, foi cercado das mais altas honras, entre a comoção de toda a cidade, e os acadêmicos disputaram para carregar seu caixão. Seu corpo foi em seguida sepultado em Possagno e seu coração foi depositado em uma urna de pórfiro mantida na Academia de Veneza. Sua morte gerou luto em toda a Itália, e as homenagens fúnebres ordenadas pelo papa em Roma foram assistidas por representantes de várias casas reais da Europa. No ano seguinte começou a ser erguido um cenotáfio para ele, a partir de um modelo que havia sido criado pelo próprio Canova em 1792 por encomenda de Zulian, originalmente para celebrar o pintor Ticiano, mas que não havia sido realizado. Hoje o monumento pode ser visitado na Basílica de Santa Maria Gloriosa dei Frari, em Veneza.[15]

Segundo a Memória Biográfica sobre o artista deixada pelo seu amigo íntimo o Conde Cicognara, Canova manteve ao longo de toda sua vida hábitos frugais e uma rotina regular. Acordava cedo e imediatamente começava a trabalhar. Após o almoço costumava retirar-se para um breve repouso. Teve uma doença crônica de estômago que permanece não identificada, que causava dores severas em ataques que se sucederam ao longo de toda sua vida. Parece ter nutrido uma fé religiosa profunda e sincera. Não manteve uma vida social especialmente brilhante, embora fosse constantemente solicitado para frequentar os círculos de personalidades ilustres que o admiravam, mas era comum que recebesse amigos em sua própria casa após sua jornada de trabalho, à noite, quando se revelava um anfitrião de modos finos, inteligente, afável e caloroso. Segundo suas próprias palavras, suas esculturas eram a única prova de sua existência civil. Parece que em duas ocasiões esteve perto de contrair matrimônio, mas permaneceu solteiro por toda a vida. Seu grupo de amigos, porém, era grande e a eles dedicava um afeto intenso e elevado. Não manteve discípulos regulares, mas se notava talento superior em algum artista iniciante não poupava bons conselhos e encorajamento. Muitas vezes apoiou financeiramente jovens promissores e buscou-lhes encomendas. Mesmo sempre às voltas com muito trabalho, não hesitava em abandonar seu atelier assim que fosse chamado por outro artista para dar sua opinião sobre assuntos de arte ou oferecer conselhos técnicos.[16]

Alimentou um perene entusiasmo pelo estudo da arte antiga e pela arqueologia. Gostava da literatura clássica e fazia frequentes leituras, mas de hábito alguém lia para ele enquanto trabalhava. Considerava a leitura de bons autores um recurso indispensável para aperfeiçoamento pessoal e de sua arte. Não foi um escritor, mas manteve profusa correspondência com amigos e intelectuais, onde se evidencia um estilo de escrita claro, simples e vívido, que foi-se refinando ao longo dos anos sem perder sua força e espontaneidade. Uma de suas cartas de 1812 atesta que chegou a pensar em publicar algo sobre sua arte em seus princípios gerais, mas não o concretizou. Contudo, em segredo muitas de suas observações e idéias foram registradas por seu círculo de associados e tornadas públicas mais tarde. Parecia ser imune à inveja, à crítica e à bajulação, e nunca se afligiu com o sucesso alheio; ao contrário, não economizava elogios quando percebia grandeza na obra de seus colegas de ofício, e manifestava gratidão por conselhos ou reparos que julgava justos e apropriados. Quando uma crítica contundente apareceu publicada em um jornal de Nápoles, dissuadiu seus amigos que queriam prover uma réplica, dizendo que seu trabalho se encarregaria de dar a resposta adequada.[17] As relações de Canova com a política de seu tempo são exemplificadas nas obras que criou para a Casa da Áustria e a Casa de Bonaparte, onde os desejos de legitimação e glorificação dos governantes entraram em conflito com a postura politicamente neutra que o escultor desejava manter. Teve obras recusadas ou severamente criticadas por ambas por não se enquadrarem naqueles desejos, como o grupo de Hércules furioso que lança Licas ao mar (1795), rejeitado pelo imperador austríaco, e o mesmo acontecendo com o retrato alegórico que fez para Napoleão como Marte pacificador.[18] Sua opinião a respeito de Napoleão tem sido descrita como ambígua, sendo ao mesmo tempo um admirador, aceitando da sua família várias encomendas, e um crítico, especialmente pela sua invasão da Itália e o confisco de um grande acervo de obras de arte italianas.[19]

Apreciava o sucesso de suas obras e era vivamente grato por isso, mas nunca evidenciou que um desejo de glória pessoal fosse seu objetivo primário, apesar de ter sido um dos artistas de seu tempo mais expostos aos perigos da celebridade, pois recebeu diversas condecorações e a proteção de muitos nobres importantes, foi ele mesmo nobilitado em vários Estados da Europa, incumbido de altos cargos públicos e incluído como membro em muitas academias de arte mesmo sem jamais tê-lo solicitado. Gastou boa parte da fortuna que veio a acumular em obras de caridade, no fomento de associações de classe e no apoio aos jovens artistas. Em várias ocasiões adquiriu com recursos próprios obras de arte para museus públicos e coleções de livros para bibliotecas, não raro fazendo suas doações anonimamente. Também em vários momentos precisou ser alertado para não dissipar seus rendimentos com os problemas alheios.[20][8]

Seu permanente fascínio pela antiguidade clássica fez com que ele acumulasse uma significativa coleção de peças arqueológicas de mármore e terracota. Sua coleção de placas de terracota da Campania era especialmente interessante, embora nunca citada nas suas primeiras biografias. As peças eram em sua maioria fragmentárias, mas muitas estavam íntegras e eram de alta qualidade, e as tipologias que ele preferiu reunir evidenciam que ele estava à frente das tendências museológicas e colecionistas de seu tempo. O seu interesse pelo material estava ligado ao uso da argila para criar os modelos de suas obras em mármore, e ele a preferia antes do que o gesso por ser mais fácil de trabalhar, e a empregava também para a elaboração dos relevos que ele chamava "de recreação privada", onde representava cenas que encontrava em suas leituras de Homero, Virgílio e Platão.[21]

Acontias lineatus Striped Dwarf Legless Skink melanistic form. From Cederberg, Western Cape. www.tyroneping.co.za/lizards/acontias-lineatus-striped-dw...

Surrey Box Hill

This free form embroidery is stitched on raw cotton canvas and framed with a 12x12 inch frame. I used satin, chain, running stitch and French knots.

Imagine a world before the Internet, where there was hardly any form of communication amongst the crossdressing/transvestite community. All was not completely lost however. One single light in the UK during the 1980's and 90's was Swish Publications's "World of Transvestism" (or WOTV as it became abbreviated). A successor to the much earlier "Tranz" magazine, WOTV was published monthly, inside was an "Aladin's Cave" of letters, photos (black and white), occasionally stories and illustrations. The publishing quality was quite poor and WOTV was not cheap (I think it was £6 when I first started to acquire my own personal copies).The cover usually graced some of the more photogenic girls, many of whom I am pleased to say are on Flickr. In view of their privacy I shall not post those, but I would like to share this cover showing an example of the sorts of illustrations that were often printed.

Stockists were few in fact in my area there was only one newsagent that stocked maybe one or two copies a month, but one could travel to Swish's main store in Greek Street London, to purchase missing copies or "bargain bundles".

Sadly I now longer have the magazines, but I did scan all the covers and most of the images of some of the girls from those magazines. If you did appear and would either like a scan, or have no objection to your cover (or image) being published here, by all means get in touch. The issues I have scans from are below.

Vol 11_10, Vol 12_01, Vol 12_02, Vol 12_03, Vol 12_05, Vol 12_09, Vol 13_01, Vol 13_02, Vol 13_04, Vol 13_08, Vol 13_09, Vol 13_10, Vol 13_11, Vol 13_12, Vol 14_01, Vol 14_02, Vol 14_03, Vol 14_04, Vol 14_05, Vol 14_06, Vol 14_07, Vol 14_08, Vol 14_09, Vol 14_10, Vol 14_11, Vol 14_12, Vol 15_01, Vol 15_02, Vol 15_03, Vol 15_04, Vol 15_05, Vol 15_06, Vol 15_07, Vol 15_08, Vol 15_09, Vol 15_10, Vol 15_12, Vol 16_01, Vol 16_02, Vol 16_03, Vol 16_04, Vol 16_06, Vol 16_11, Vol 17_04, Vol 17_05, Vol 17_07, Vol 18_10, Vol 19_03, Vol 20_06, Vol 21_01, Vol 21_04, Vol 21_05, Vol 21_12, Vol 22_02.

DISCLAIMER: I am not the copyright owner of the image and my publication on flickr is not intended to infringe any such copyright. I seek to make no financial gain from the reproduction. If you are the original copyright owner and wish the image to be removed, please contact myself.

En el recinto del Castillo, con forma de polígono irregular, se distinguen dos partes diferenciadas: la parte norte, del siglo XII, y el resto, construido a lo largo del siglo XV, con algunas obras realizadas en los siglos XIX y XX. En tiempos pretéritos el castillo estuvo rodeado por un foso, excepto en el lienzo noroccidental, donde el río cumplía esa misma función.

En el interior existe un grupo de fortificaciones del siglo XII de origen templario: los restos de una barbacana en el acceso a un patio, al que abren la torre elíptica, parte del paseo de ronda, una torre que tuvo tres pisos, la torre del Malvecino y otra torre en la que destaca una puerta de arco apuntado, de gran valor artístico.

La fachada noroeste constituye un parapeto corrido que termina en la torre del Moclín, de planta hexagonal irregular. Bajo él se abría una nueva ronda que defendía el subterráneo que unía el castillo con un aljibe, situado en una torre albarrana.

La portada principal, de mampostería, está compuesta por dos torreones que flanquean un amplio arco de medio punto. Tras este arco se alzaban las puertas de acceso al patio en el que, a la izquierda, se sitúa la torre del homenaje, desde la que se accede a la patio de armas, hoy cubierto de escombros.

Antes de entrar en el patio hay un recinto defensivo que conduce a la torre Cabrera, situada al sur y comunicada con la primera línea defensiva del lado este, en cuyo punto medio se alza una torre semicircular, destinada a calabozos y a la comunicación con la segunda línea de defensa. El paramento continúa hacia el norte, encontrándose otra torre cuadrada, antes de acceder a la torre de Malvecino, del siglo XV.

En el patio de armas, adosadas a otra línea defensiva, se encuentran varias dependencias, como la Galería de los Azulejos, derruidas y cubiertas de escombros debido a que 1811 una orden de la Regencia del Reino manda que vuelen las dependencias interiores (el daño no debió ser muy grande porque en 1815 se ofreció en sus salones un baile de sociedad) y a que desde que en 1848 el Ayuntamiento de Ponferrada, con la oposición frontal de la Comisión de Monumentos de Ponferrada, la empezase a utilizar como cantera local y mil otras felonías que culminaron en 1923 cuando se volaron sus muros para la construcción de un campo deportivo.

En micamara.es/antequera/ pueden ver más fotos de lugares de interés de Antequera

En esta página micamara.es/ disfruten del país que deseen conocer o recordar,

In 1931, industrialist and philanthropist Charles Stewart Mott purchased assets near Clewiston, Florida from a 1920s bankrupt sugarcane company, Southern Sugar Company, to form the United States Sugar Corporation. In the 1940s, U.S. Sugar was charged with slavery violation.

Mott later transferred shares to his Charles Stewart Mott Foundation. In 1969 with a law passed limiting private family foundations could hold of a corporation, the foundation gave a large number of shares to the Mott Children's Health Center, a Flint charitable medical organization founded in 1939, to be below the 35% limit.

In 1962, the company opened the Bryant Sugar House, which at the time was the largest and most advanced sugarcane processing mill in the world. The mill had a capacity of 5,000 tons of sugarcane per day.

After C.S. Mott died in 1973, C.S. Harding Mott, his son, took over as chairman of the corporation. With sugar at 60 cents a pound in the 1970s and purchasers switching to corn syrup, the company expanded into other areas of farming including cattle, citrus and vegetables. In 1980, U.S. acquired South Bay Growers. South Bay Growers produced 13% of the US's leafy vegetables growing lettuce, celery and others. In late 1985, U.S. Sugar began planting orange trees. In 1983, the company formed an Employee stock ownership plan (ESOP) in an attempt to go private. U.S. Sugar borrowed millions in long-term debt to create the ESOP. Some shareholders did not sell out believing the price per share to be too low triggering a class action law suit.

The ESOP and Mott group of owners in October 1987 offered $80 per share for the other 110,000 voting shares held by 500 public shareholders. This took the company private and reduced its reporting costs.

Most of South Bay Growers was closed down on September 4, 1994 after four out of five prior years of losses including 10 million in 1994. South Bay's salad processing plant with customers like McDonald's and Burger King and 146 employees would continue to operate while seeking new ownership.

Big sugar moved in the early 1990s to mechanical cane harvesters. The displaced cane field workers filed a class action lawsuit in which the company paid $5 million plus in 1998. In 2004, U.S. Sugar closed a mill and laid off workers. Its Bryant mill was closed in 2007.

In February 2008, the corporation, CEO Robert Buker, Chairman William S. White and his family and Charles Stewart Mott Foundation were sued by employees claiming that they were not getting full value for the ESOP stock given two bids for the company stock for amounts more than ESOP redemption were offered by outside parties. Employees alleged that the Gaylor Lawrence family agro-conglomerate offered $293 per share for the company twice, once in August 2005 and in January 2007. Supposedly US Sugar president was terminated and paid hush money to hide the offer. At the time, share redemption was from $193 to $200.

On 24 June 2008, Florida's Governor, Charlie Crist, announced the state was in negotiations to buy 187,000 acres (760 km2) of land and all of its manufacturing and production facilities for an estimated $1.7 billion from the company as part of the Comprehensive Everglades Restoration Plan. Under the proposals, the company would continue to farm the land for the next six years and convert the land back to its original natural marshland state. In November 2008, the agreement was revised to offer $1.34 billion, allowing sugar mills in Clewiston to remain in production. Critics of the revised plan say that it ensures sugarcane will be grown in the Everglades for at least another decade.

In October 2010 the company sold 26,800 acres of land to the South Florida Water Management District for the "River of Grass" Restoration Project.

U.S. Sugar powers its facilities with renewable resources – the residual sugarcane fiber after juice is extracted, known as bagasse. Bagasse is a clean, fibrous biofuel that results from the sugarcane extraction process. Every ton of bagasse powers the equivalent of 50 gallons of fuel oil.

A boiler produces steam during the milling process by burning bagasse. Steam is co-generated into electricity on-site. In essence, each year's cane crop provides power for both the sugar factory and U.S. Sugar's refinery operations.

U.S. Sugar's farmers have been integral to the success of sending cleaner water to the Everglades since 1994. The company, along with other Glades-area farmers, worked with the University of Florida's Institute of Food and Agricultural Sciences (UF/IFAS) to develop soil and water cleansing techniques called best management practices (BMPs). These techniques include holding farm runoff on company property, laser leveling fields, and the growth of foliage along drainage canals bordering farms to help absorb nutrients. The BMP program has helped to yield tremendous success. According to the South Florida Management District, in 2017, Everglades Agricultural Area farmers achieved a 70 percent annual reduction in phosphorus – nearly three times higher than the 25 percent required by the 1994 Everglades Forever Act. Additionally, more than 95 percent of the Everglades is meeting the stringent 10 parts per billion clean water standard for phosphorus.

Despite claims made by environmental activists over air quality, according to the Robert Wood Johnson Foundation, Glades communities such as Clewiston enjoy some of the cleanest air quality in the state of Florida. In its rankings, the foundation lists Hendry County in the lower third of counties experiencing the worst incidences of particulate matter in the air.

According to the Florida Sugarcane League, sugarcane farming has a $3.2 billion impact and supports more than 12,500 jobs. With more than 2,500 employees, U.S. Sugar is one of the "largest agribusiness employers in the Everglades region."

Credit for the data above is given to the following websites:

en.wikipedia.org/wiki/U.S._Sugar

www.ussugar.com/

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Built by Walter Klepzig in 1928, Klepzig Mill sits on a rocky outcrop overlooking shut-ins on Rocky Creek in Shannon County, Missouri. Klepzig purchased the land in 1912 for $5.50 per acre. The son of a Prussian German immigrant, Klepzig sawed logs into boards to build this small turbine mill and nearby out-buildings. Klepzig was also known to routinely save "good boards" for use in constructing coffins for his neighbors. He was one of the first in the area to introduce both barbed and woven wire fences and to raise a refined breed of milking cow. With the mill running at times at full capacity and his progressive agricultural methods, Klepzig and his family enjoyed some degree of prosperity. The family was reported to have purchased the first radio in the county. They often shared their prosperity by grinding corn for neighbors who were “on starvation.”

Walter Klepzig picked one of the most beautiful spots in the rugged Missouri Ozarks to build his mill. Isolated in a narrow gorge between two high bluffs rising up to 1140 feet, with Buzzard Mountain on one side and Mill Mountain on the other, the Mill is located just off of a ten-foot wide dirt road. Below the mill, Rocky Creek tumbles through a series of waterfalls and pools formed by igneous rock as it travels eventually to join the Current River several miles downstream.

The Mill itself is not much to look at. The very simple building houses one room with portions of the millworks still inside. The Mill is made from plain wooden boards, the scrap metal hinge from the hood of a Model "A" Ford truck, and an old corrugated iron roof. In addition to the doorway, one window punctuates each of the east and west walls. The Mill is located in a spectacular setting, clinging to the rocky south bank of Rocky Creek surrounded by the rhyolite rock of the "shut-in" canyon. Shut-ins occur when a stream is “shut in” to a narrow canyon-like valley. The stream flows through softer sedimentary bedrock materials such as dolomite or sandstone, but encounters more resistant igneous rock, thus forming waterfalls and pools.

In addition to the mill building, a small springhouse, chicken laying house and smokehouse are still standing. However, fires have destroyed all but the concrete foundations of the 1 ½ story Klepzig House and 2 ½ story barn that once stood nearby.

Klepzig Mill is located in the Ozark National Scenic Riverways near Eminence, Missouri, and is on the National Register of Historic Places. It was acquired by the National Park Service in 1974. The mill structure has been partially restored by the Parks Service over the years. According to its registration with the National Register of Historic Places: “Standing at the Klepzig mill or house site today, one will see in any direction essentially the same vista viewed in 1930.” The landscape today is “substantially unchanged since the years of the mill’s operation.”

© All rights reserved - - No Usage Allowed in Any Form Without the Written Consent of the photographer, Mark S. Schuver.

The best way to view my photostream is on Flickriver: Nikon66's photos on Flickriver

Misano Adriatico

Salles-Arbuissonnas-en-Beaujolais

Rare_form_21

Trebnitz wurde erstmals im Jahr 1224 urkundlich erwähnt. Im April 1432 wurde Trebnitz durch plündernde Hussiten zerstört, während des Dreißigjährigen Krieges wurde Trebnitz mehrfach zerstört und jeweils wieder neu aufgebaut.

Gegen Ende des Zweiten Weltkrieges wurde Trebnitz bei der Offensive auf Berlin im April 1945 von der vorrückenden Roten Armee zum großen Teil zerstört und später erneut wieder aufgebaut.

Der Trebnitzer Schlosspark erstreckt sich heute über etwa 27 Hektar und geht auf den Pflanzenliebhaber Georg Friedrich von Ziethen zurück, der ab 1707 Grundherr in Trebnitz war. Bereits um 1736 verfügte der Park über fast alle der damals in Mitteleuropa kultivierten Gartenpflanzen sowie über einige eingeführte seltene Gewächse – insgesamt über 3025 Sippen, darunter so exotische Gewächse wie beispielsweise der Tulpenbaum oder der aus Südafrika stammende Honigstrauch. Dieser große Artenreichtum machte den Park zur damaligen Zeit über die Grenzen der Mark hinaus bekannt. Zu Beginn des 18. Jahrhunderts noch im barocken Stil mit strengen geometrischen Formen angelegt, wurde der Park nach Aufkommen der englischen Landschaftsgärten im 19. Jahrhundert zu einer offenen strukturieren Parkanlage mit einzelnen Sichtachsen umgestaltet.ange Zeit ließ sich die einstige Pracht nur erahnen – doch seit 2011 bemühen sich die „Parkhelden“, eine Gruppe engagierter Bürgerinnen und Bürger, um die gartendenkmalgerechte Wiederbelebung des historisch bedeutsamen Landschaftsparks. Ziel ist es, ihn als offenen Ort der Naherholung, mit Naturlehrpfad und Gelegenheiten für sportliche und kulturelle Aktivitäten sowie durch die Nähe zur Bildungsstätte Schloß Trebnitz als internationalen Begegnungsort zu erschließen.

Quelle: Wikipedia.de, leicht bearbeitet und gekürzt

Trebnitz was first documented in 1224. In April 1432 Trebnitz was destroyed by plundering Hussites, during the Thirty Years' War Trebnitz was destroyed several times and rebuilt each time.

Towards the end of the Second World War, Trebnitz was largely destroyed during the offensive on Berlin in April 1945 by the advancing Red Army and later rebuilt.

Today, Trebnitz Manor Park extends over about 27 hectares and goes back to the plant lover Georg Friedrich von Ziethen, who was landlord in Trebnitz from 1707. By 1736, the park already had almost all the garden plants cultivated in Central Europe at that time, as well as some rare plants that had been introduced - a total of 3025 families, including such exotic plants as the tulip tree or the giant honey flower from South Africa. This great variety of species made the park famous beyond the borders of the Brandenburg at that time. At the beginning of the 18th century, the park was laid out in the Baroque style with strict geometric forms, but after the emergence of English landscape gardens in the 19th century, it was redesigned into an openly structured park with individual lines of sight. For a long time, the former splendour could only be guessed at - but since 2011, the "Park Heroes", a group of committed citizens, have been striving for the revival of the historically significant landscape park in accordance with the regulations for a listed garden. The aim is to make it accessible as an open place for local recreation, with a nature trail and opportunities for sports and cultural activities, as well as an international meeting place due to its proximity to the educational institution of Trebnitz Manor.

Source: Wikipedia.de, redacted and abbreviated

This image from the Hubble Space Telescope looks at two spiral galaxies, collectively known as Arp 303. The pair, individually called IC 563 (bottom right) and IC 564 (top left), are 275 million light-years away in the direction of the constellation Sextans.

The image holds data from two separate Hubble observations of Arp 303. The first used Hubble’s Wide Field Camera 3 (WFC3) to study the pair’s clumpy star-forming regions in infrared light. Galaxies like IC 563 and IC 564 are very bright at infrared wavelengths and host many bright star-forming regions.

The second used Hubble’s Advanced Camera for Surveys (ACS) to take quick looks at bright, interesting galaxies across the sky. The observations filled gaps in Hubble’s archive and looked for promising candidates that Hubble, the James Webb Space Telescope, and other telescopes could study further.

The colors red, orange, and green represent infrared wavelengths taken with WFC3, and the color blue represents ACS visible light data.

Credit: NASA, ESA, K. Larson (STScI), and J. Dalcanton (University of Washington); Image Processing: G. Kober (NASA Goddard/Catholic University of America)

Visit Hubble's Galaxies: www.nasa.gov/content/discoveries-hubbles-galaxies

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“Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern.” - Oscar Wilde

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[I had this image in my head for well over a month, and it came out absolutely nothing like how it looked in my head, but I'm happy with it anyway. Many thanks to my amazing friend Malarie for helping me shoot this one.]

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water drop works

The white form of Calopogon tuberosus or Common Grass-pink orchid is currently blooming in my bog garden.

Snowfall warning in effect for Calgary-----currently light snow ---wishing for Spring

en.wikipedia.org/wiki/Carmel-by-the-Sea,_California

Carmel-by-the-Sea (/kɑːrˈmɛl/),[8] commonly known simply as Carmel, is a city in Monterey County, California, located on the Central Coast of California. As of the 2020 census, the town had a total population of 3,220, down from 3,722 at the 2010 census. Situated on the Monterey Peninsula, Carmel is a popular tourist destination, known for its natural scenery and rich artistic history.

The Spanish founded a settlement in 1797, when Mission San Carlos Borromeo de Carmelo was relocated by St. Junípero Serra from Monterey. Mission Carmel served as the headquarters of the Californian mission system, until the Mexican secularization act of 1833, when the area was divided into rancho grants. The settlement was largely abandoned by the U.S. Conquest of California in 1848 and stayed undeveloped until Santiago J. Duckworth set out to build a summer colony in 1888. When the Carmel Development Company was formed in 1902, Carmel came to grow and prosper as an art colony and seaside resort, which incorporated in 1916.

Port de plaisance de Perros-Guirec dans les Côtes-d'Armor en Bretagne,

-warten auf verjüngung-