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the framework of one referencing a plurality as the - framework knowingly - or unknowingly breaking the fourth - wall for all - the world is a stage from one perspective referencing a plurality as the framework
Riserva naturale integrale Saline di Trapani e Paceco is a nature reserve in the Province of Trapani between the municipalities of Trapani, and Paceco at the west coast of Sicily. It was founded in 1995 and in the framework of the Ramsar Convention entrusted to WWF Italy. It has an areal of 987 ha and consists of two zones (Zona A and Zona B). Besides a remarkable Mediterranean flora and fauna there is a saline work museum in an old salt mill.
Dishonored: The Knife of Dunwall - downsampled from ~14MP (Looking Glass and SRWE for borderless windowed mode), ReShade 0.19 w/ Framework and twobthree's custom shaders, in-game FXAA, Cheat Engine (PlayersOnly, Fly, Ghost, notarget).
Borderlands
- 6400x2700 via GeDoSaTo, stitched from 8 shots;
- ReShade framework w/ custom LUT;
- UE3 console commands (Showhud, FOV) unlocked by ZBL patch;
- Sunbeam's cheat table for noclip and timestop.
"Watch_Dogs"
-4800x6400 (Nvidia custom resolutions)
-Natural & Realistic Lighting Mod by Danvsw
-Camera Tools by Otis_Inf
A view through the roof of the new building of the Faculty of Science of the University of Trento, which hosts the lecture rooms.
See also Another Framework by Michele Pedrolli
Obrunnschlucht, Odenwald (Germany)
Zenza Bronica EC-TL
Zenzanon 2.4/80
Agfapan 400, expired 01/93
400 ISO, exposed @ 100 ISO
Rodinal 1+25
7min @ 22°C
The rusted arch framework of New York City Pier 54 is located adjacent to Chelsea Pier along 12th Avenue in Manhattan. The city has a plan to build a wonderful recreational island called Pier 55 but actually spanning this Pier 54 which is used for concerts and other events, the location of where Pier 55 was and also the location of Pier 56 (all that remains of 55 & 56 are the docking posts that can be seen from the shore). The city may probably get rid of this rusted arch, though perhaps someone will move it to museum or memorial site. I’ve seen that some designs where it remains while everything around is changed and that would good to render tribute to those who died in two of the worst maritime tragedies of our modern industrialized era. One can almost see the outline of the Cunard name and White Star name on the long horizontal beam.
Why and what are the tragedies? Well the significance of Pier 54, and probably why it hasn’t been completely torn down like the rest of White Star Line/Cunard piers is that on evening on that 18th day of April of 1912, after stopping at White Star Lines Pier 59 to unload the White Star Lines RMS Titanic’s life boats, the RMS Carpathia, a Cunard ship moored here at Pier 54 where the estimated 705 survivors of the Titanic disembarked and were met by a crowd estimated at 40,000. Pier 59 would have been where the Titanic would have moored if it hadn’t sunk as it was the premier pier for White Star Lines. There is more significance to the framework and Pier 54. Three years later, in May 1st of 1915, the RMS Lusitania which at the time was amongst the fastest, most luxurious and second largest liner in world would unknown to its passengers and crew depart for its final voyage from Pier 54. A German U-boat torpedoed the Lusitania on May 7th which quickly went down to Davy Jones locker sinking in 18 minutes, condemning its 1200 victims to watery grave among whose likes included Alfred Vanderbilt 3rd son of Cornelius Vanderbilt who gave his life jacket to a young mother and her small baby despite the fact that he could not swim.
España - Ciudad Real - Viso del Marqués - Palacio del Marqués de Santa Cruz
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ENGLISH:
It was built at the end of the 16th century by Álvaro de Bazán, first Marquis of Santa Cruz. It is currently the headquarters of the General Archive of the Navy.
It is one of the two palaces built by this sailor, knight of the Order of Santiago, captain of the Ocean Sea and admiral of the Spanish Navy. It is located next to the church of Nuestra Señora de la Asunción, and since 1948 it has been rented by its owners, the Marquises of Santa Cruz, to the Spanish Navy, who first used it as a Museum of the Spanish Navy and later expanded its functions by also establishing the General Archive of the Navy.
The building was frequented by the first marquis thanks to its location, halfway between Madrid, where the Court was, and Seville, whose port he often went to as the Spanish Navy was anchored there, of which he was admiral during the reign of Philip II.
The palace was nearly destroyed by the Austrian troops of Edward Hamilton during the War of the Spanish Succession at the beginning of the 18th century, but was saved by the actions of the Marquis's chaplain, the poet Carlos de Praves, thanks to whom we can admire it today. It suffered some damage due to the Lisbon earthquake in 1755, which collapsed the ceiling of the hall of honour, where the great fresco depicting the Battle of Lepanto had been painted, and toppled the four corner towers, which the chronicles of Philip II described as magnificent.
In it we can find maritime objects from the period. A figurehead belonging to a ship commanded by the Marquis is noteworthy. During the War of Independence, the French razed it, and by the time the Civil War came it had served as a granary, school, stable, prison and hospital, until in 1948 and at the request of Julio Guillén Tato, director of the Naval Museum, Mrs. Casilda de Silva Fdez. de Henestrosa, descendant of Álvaro de Bazán, rented it to the Navy for 90 years as a museum-archive, which is its current function. Also, in the adjoining parish church there is a 4m long stuffed crocodile attached to one of the vaults, which was offered by the Marquis as a votive offering upon his return from one of his voyages.
Between March and April 1823, King Ferdinand VII spent the night there, after leaving Madrid for Seville, before the entry of the French contingent called the Hundred Thousand Sons of Saint Louis, about whose stay Ferdinand VII did not write a word in his travel diary. The palace was declared a National Monument in 1931 and was restored from 1948 by the Navy under the direction of Admiral Guillén.
The palace was built between 1564 and 1586 with subsequent modifications. It is a square-shaped building in the Renaissance style, built around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes with two themes: mythological scenes on the one hand and naval battles and Italian cities related to the military career of the Marquis and his family on the other. The frescoes are by Italian Mannerist painters, the Péroli family. Upon seeing them, Philip II commissioned them to do work for El Escorial and the Alcázar of Toledo.
For its construction, the Marquis hired a team of architects, painters and decorators who worked on the building from 1564 to 1586. For some, the design of the building was due to the Italian Giovanni Battista Castello, known as the Bergamasco, who later worked in El Escorial; for others, it was designed, at least in its original plan, by Enrique Egas el Mozo.
The architecture is perceived as typically Spanish, without Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically mannerist ensemble understood as an elegant and courtly style that goes beyond the merely architectural framework.
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ESPAÑOL:
Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Se trata de uno de los dos palacios construidos este marino, caballero de la Orden de Santiago, capitán del Mar Océano y almirante de la Marina española. Está situado al lado de la iglesia de Nuestra Señora de la Asunción, y desde el año 1948 es alquilado por parte de sus propietarios, los marqueses de Santa Cruz, a la Armada Española, quien primero lo destinó a Museo de la Marina Española y más tarde amplió sus funciones estableciendo también el Archivo General de la Marina.
El edificio era frecuentado por el primer marqués gracias a su ubicación, a medio camino entre Madrid, donde estaba la Corte, y Sevilla, a cuyo puerto acudía a menudo al mantener allí anclada la Armada Española, de la cual fue almirante durante el reinado de Felipe II.
El palacio estuvo a punto de ser destruido por las tropas austracistas de Edward Hamilton durante la Guerra de Sucesión Española a principios del siglo XVIII, salvándose por la actuación del capellán del marqués, el poeta Carlos de Praves, gracias a lo cual hoy podemos admirarlo. Sufrió algunos daños a causa del terremoto de Lisboa en 1755: el cual hundió el techo del salón de honor, donde se había pintado el gran fresco que representaba la batalla de Lepanto, y desmochó las cuatro torres de las esquinas, que las crónicas de Felipe II describían como magníficas.
En él podemos encontrar objetos marineros de la época. Llama la atención un mascarón de proa perteneciente a una nave que dirigió el marqués. Durante la Guerra de la Independencia, los franceses lo arrasaron, y para cuando llegó la Guerra Civil había servido de granero, colegio, establo, cárcel y hospital, hasta que en 1948 y a instancias de Julio Guillén Tato, director del Museo Naval, doña Casilda de Silva Fdez. de Henestrosa, descendiente de Álvaro de Bazán se lo rentó a la Armada por 90 años como museo-archivo, que es en la actualidad su función. Asimismo, en la iglesia parroquial aledaña hay un cocodrilo disecado de 4m de largo adosado a una de las bóvedas, que fue ofrecido por el marqués como exvoto al regreso de uno de sus viajes.
Entre marzo y abril de 1823, el rey Fernando VII pernoctó allí, tras abandonar Madrid rumbo a Sevilla, ante la entrada del contingente francés llamado los Cien Mil Hijos de San Luis, de cuya estancia Fernando VII no escribió ni una palabra en su diario del viaje. El palacio fue declarado Monumento Nacional en 1931 siendo restaurado a partir de 1948 por la Armada bajo la dirección del Almirante Guillén.
El palacio fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para su construcción, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico.