View allAll Photos Tagged Harmonizers
Beyond exited to Show you Noni. This Wedding Collections is by hand one of Most Flowery details i created so far. This Collections offer a Set of Flowers Bouquet bento . A range of Colorful Cakes & Fulbright Wall Candle decor to harmonized any Decorations . This set is going to be featured FaMESHed August 1th. I hope you like this collections iv made for you ♥♥♥
Late at night, the facades of the beautiful old town houses around the Münsterhof in the middle of the city of Zurich are reflected in the surface of the fountain, which is a work of art in itself.
The blue facade of the Zunfthaus zur Waag, whose blue harmonizes with the golden yellow of the fountain, is prominently displayed.
Thanks for your criticism and as always, favs, likes and comments are gratefully appreciated!
Interesting Fact: The Brown Thrasher can sing “internal duets” with itself. In the final trilling phrase of its three-part song, it sings pairs of notes simultaneously, one in each branch of its voice box. The two parts harmonize with each other.
As I stepped cautiously into the embrace of the dark forest, the towering trees loomed overhead like ancient sentinels, their gnarled branches intertwining to form a natural cathedral. The air was thick with the earthy scent of damp soil and moss, while a gentle mist rolled in, swirling around my feet and cloaking the surroundings in an ethereal haze. The soft rustle of leaves whispered secrets as I ventured deeper, each footfall accompanied by the subtle echo of calming music that seemed to flow from the shadows, harmonizing with the forest's pulse. Hidden creatures watched me with curious eyes, while the distant howl of wolves punctuated the serene atmosphere, reminding me of the wild mystery that thrived here. In this enchanting realm, nature unfolded its beauty, captivating my senses and inviting me to lose myself in its depths and giving me the inner peace that helped me shut off from the busy world.
CK's Dark Forest Is a beautiful place to go, explore or just relax and listen to the sounds of nature, from the birds in the trees, to the wolves howling, this sim really takes your breath away!
Part of Part of the Nature Collective.
TNC Social Media Info:
Discord • Facebook • Instagram • Primfeed • SL Group • Website
Lungta (Windhorse) are prayer flags made in five cardinal
colours of yellow, green, red, white and blue, symbolizing the
five elements of earth, water, fire, air and earth respectively.
The silent prayers are blessings spoken on the breath of nature. Just as a drop of water can permeate the ocean,
prayers dissolved in the wind extend to fill all of space, quietly harmonizes the environment.
Outer Level: Mythical Creature
On the outer level, the lungta is a mythical Tibetan creature from pre-Buddhist times that combines the speed of the wind and the strength of the horse to carry prayers from earth to the heavens.
Inner Level: Positive Qualities
Lungta is associated with positive energy or ‘life force’ and with ‘good luck’. It is both the subduer of evil and the vehicle of enlightenment.
The lungta symbol is often depicted on prayer flags, which are flown to generate merit and increase one's life force. Lungta prayer flags typically display a tiger, a snow lion, a garuda, and a dragon, (the four dignities) with a lungta in the center. Certain lungta prayers also refer to these four symbols.
The tiger, snow lion, garuda, and dragon are ancient symbols of the qualities of lungta that originate with pre-Buddhist Tibetan and Chinese astrological traditions. Generally, they symbolize the fearlessness and resilience of lungta. (See Shambhala: The Path of the Warrior.)
Manage moments while photography, chose or find some background to accentuate or harmonize. Background adds complementary Colour to the frame.
Siberian Stonechat
21 November, 2022
Rajaji National Park, Haridwar, Uttarakhand
OM1, 300f4-MC14
1/2000, f5.6, ISO640
Excerpt from historicplaces.ca:
Description of Historic Place
The Navy Hall stands alone in a carefully manicured park setting just below Fort George National Historic Site. Designed with clear, clean lines, it is a low, rectangular, stone-clad structure with a hipped-roof clad in copper, and with a symmetrical organization of its windows and entry points. The designation is confined to the footprint of the building.
Heritage Value
The Navy Hall is a Recognized Federal Heritage Building because of its historical associations, and its architectural and environmental values.
Historical Value:
The Navy Hall is a very good example of a building associated with the beginnings of the heritage movement in the first half of the 20th century. It illustrates changing approaches to the management of important historic buildings over time. In particular, it illustrates the role of aesthetics in conservation in the 1930s. Originally a commissariat storehouse, regular troops, the militia and also the Boy Scouts used the building, built in 1815. In the 1930s, the building was taken over by the Niagara Parks Commission.
Architectural Value:
The Navy Hall is valued for its good aesthetic design. The exterior fabric of the structure, the stone cladding, the copper clad roof, and the enhanced symmetry of the fenestration are features of the 1930s intervention. These features, clearly of a later era and philosophy, reflect the classical revival tastes of the period and the design idiom of the Niagara Parks Commission. Good functional design is evidenced in the placement of doors and windows, and in the spatial arrangement and planning of the interior.
Environmental Value:
The Navy Hall reinforces the landscaped parkway that runs along the Niagara lakefront and is a familiar landmark to residents and to visitors.
Character-Defining Elements
The character-defining elements of the Navy Hall should be respected.
Its good aesthetic, good functional design and good quality materials and craftsmanship, for example:
-the simple, rectangular massing.
-the low-pitched hipped roof, the copper roof cladding, and the symmetrically placed chimneys.
-the stone cladding of the exterior walls, the small multi-paned windows and large entrances.
-the interior spatial arrangement of the principal rooms.
The manner in which the Navy Hall reinforces the landscaped setting and is a familiar landmark, as evidenced by:
-its simple design and materials that harmonize with the landscaped parkway consisting of well-maintained lawns and walks, all introduced as part of the Niagara Park Commission’s parkway landscaping in the 1930s.
-its visibility and recognition by those frequenting the parkway and the National Historic Site.
I said it's enough
I begged and I ran in circles
I climbed to the sun
And fell in a concrete jungle
I said it's done
You never know if you'll get what you wish for
I climbed to the sun
And I fell, I fell in a concrete jungle
The coyotes cry
And the sirens pass and harmonize
Fires starting every day and night
Burn around us while we're trapped inside
Wouldn't it be nice
To play the game without a crooked die
In a world where you don't have to hide?
You don't have to live in a disguise
We spent a lovely Saturday afternoon picking 8 pounds of plump blueberries in a wonderful U-Pick farm called Jensen Blueberries. It is all certified organic and you can bring your dog! They have a huge Bloodhound who comes to greet everybody. There are sooooo many berries ... I might have to return and get more! It is a miraculously grounding and harmonizing activity to be doing. It just makes you feel good!
I offered Blanca some berries (and the owners don't mind if you or your dog sample plenty) ... but she didn't even want to try a single one!
ANSH 121 # 14 "Harmony of colors"
123 Pictures in 2023 #12 "Biscuits (Cookies)
These are some shortbread Valentines Day cookies I got at the grocery store (made in the store's main bakery in San Antonio). The pink icing harmonizes with the red and white winter motif of the plate (actually a Christmas snack plate we've had for years).
This plane is an original WW1 machine that dates from 1917.
The gun-aiming apparatus can clearly be seen in this shot.
The pilot looks down the Aldis tube (same manufacturer as the Aldis signalling lamp) which is a non-magnifying scope, and lines up the bead (that metal point sticking upwards), the circular rings and the target, beyond. When they are all in line, he pulls the wire to fire the gun, mounted above the top wing. Bound to get a hit every time! Presumably, the gun and sights are harmonized a set distance ahead - maybe 50 yards or so.
This aircraft is owned by the Shuttleworth Collection and seen here displaying at its Old Warden base.
photo rights reserved by Ben
The stone sculptures in Sno, a small village in the Kazbegi region of Georgia, are part of a remarkable art project in the Caucasus. These sculptures consist of impressive stone artworks depicting giant faces, often with a melancholic or mysterious expression. They were created by local artist Merab Piranishvili, who is renowned for his unique ability to bring faces and emotions to life in natural stone. Working primarily with local stones, he carves expressive facial features that tell stories about life, the soul, and the deep connection with nature. The sculptures symbolize the ancient wisdom of the mountain dwellers and the spirit of the past. The faces sometimes appear sad or contemplative, reflecting both the challenges and the beauty of life in the Caucasus. Fully integrated into the surrounding landscape, the sculptures stand among the mountains, hills, and rugged grasslands, blending seamlessly with their natural environment. This is what makes Piranishvili’s work so unique: he respects the natural shapes of the stones and subtly adds human characteristics without compromising their raw, natural beauty. Piranishvili often works directly in the field, selecting local stones and carving them with a hammer and chisel. He carefully considers the natural form of each stone, adapting his designs to create a result that looks organic and harmonizes with the surrounding environment.
Sno is located near the breathtaking Stepantsminda area and the imposing Mount Kazbegi. The stone sculptures are a hidden gem in this region, attracting an increasing number of art enthusiasts and travelers. The site exudes a serene, almost meditative atmosphere—perfect for those seeking something unique off the beaten path. If you ever find yourself near Kazbegi, these sculptures are well worth a visit. They offer a truly unique experience where art and nature come together in perfect harmony.
De stenen sculpturen in Sno, een klein dorpje in de Kazbegi-regio van Georgië, maken deel uit van een bijzonder kunstproject in de Kaukasus. De sculpturen bestaan uit indrukwekkende stenen kunstwerken van gigantische gezichten, die vaak een melancholische of mysterieuze uitstraling hebben. Ze zijn gecreëerd door de lokale kunstenaar Merab Piranishvili, die bekendstaat om zijn unieke vaardigheid om gezichten en emoties tot leven te brengen in natuursteen. Hij werkt voornamelijk met lokale stenen en geeft ze expressieve gezichtsuitdrukkingen die verhalen vertellen over het leven, de ziel en de diepe verbondenheid met de natuur. De sculpturen symboliseren de oude wijsheid van de bergbewoners en de geest van het verleden. De gezichten tonen soms een droevige of reflectieve uitdrukking, wat de uitdagingen én de schoonheid van het leven in de Kaukasus weerspiegelt. De beelden zijn volledig geïntegreerd in het omringende landschap: ze staan tussen de bergen, heuvels en het ruige grasland, waardoor ze naadloos opgaan in hun natuurlijke omgeving. Dit maakt het werk van Piranishvili zo uniek: hij respecteert de oorspronkelijke vormen van de stenen en voegt subtiel menselijke kenmerken toe, zonder hun ruwe, natuurlijke schoonheid aan te tasten. Sno ligt vlakbij het adembenemende berggebied Stepantsminda en de imposante Kazbegi-berg. De stenen sculpturen zijn een verborgen juweel in deze regio en trekken steeds meer kunstliefhebbers en reizigers aan. De plek straalt een rustige, bijna meditatieve sfeer uit, ideaal voor wie op zoek is naar iets unieks buiten de gebaande paden. Piranishvili werkt meestal direct in het veld, waarbij hij natuursteen uit de regio selecteert en met hamer en beitel bewerkt. Hij houdt rekening met de oorspronkelijke vormen van de steen en past zijn ontwerpen hierop aan, zodat het eindresultaat natuurlijk oogt en harmonieert met de omgeving. Als je ooit in de buurt van Kazbegi bent, mag je deze sculpturen zeker niet missen. Ze bieden een bijzondere ervaring waarin kunst en natuur op een unieke manier samensmelten!
Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.
Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.
Parlamentsgebäude, in the Museumsquartier district of Vienna in Austria.
It is where the two houses of the Austrian Parliament conduct their sessions. The building is located on the Ringstraße boulevard, near Hofburg Palace and the Palace of Justice. It was built to house the two chambers of the Imperial Council (Reichsrat), the bicameral legislature of the Cisleithanian (Austrian) part of the Austro-Hungarian Empire. Since its construction, the Parliament Building has been the seat of these two houses, and their successors—the National Council (Nationalrat) and the Federal Council (Bundesrat)—of the Austrian legislature.
The foundation stone was laid in 1874; the building was completed in 1883. The architect responsible for its Greek Revival style was Theophil Hansen. He designed the building holistically, aiming to have each element harmonizing with all the others. He was therefore also responsible for the interior decoration, such as statues, paintings, furniture, chandeliers, and numerous other elements. Hansen was honored by Emperor Franz Joseph with the title of Freiherr (Baron) after its completion. Following heavy damage and destruction in World War II, most of the interior has been restored to its original splendour.
The parliament building covers over 13,500 square meters, making it one of the largest structures on Ringstraße. It contains over one hundred rooms, the most important of which are the Chambers of the National Council, the Federal Council, and the former Imperial House of Representatives (Abgeordnetenhaus). The building also includes committee rooms, libraries, lobbies, dining rooms, bars and gymnasiums. One of the building's most famous features is the Pallas Athena fountain in front of the main entrance, built by Carl Kundmann after plans from Hansen, from 1898 to 1902 and it is a notable Viennese tourist attraction.
The Parliament Building is the site of important state ceremonies, most notably the swearing-in ceremony of the President of Austria and the state speech on National Day each October 26. The building is closely associated with the two parliamentary bodies, as is shown by the use of the term Hohes Haus as a metonym for "Parliament". Parliamentary offices spill over into nearby buildings, such as the Palais Epstein.
Information Source:
Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.
Magnetite for Smile on Saturday
It is one of just a few minerals that are attracted to a common magnet. It is a black, opaque, submetallic to metallic mineral with a Mohs hardness between 5 and 6.5. It is often found in the form of isometric crystals. It is the most strongly magnetic mineral found in nature.
Not good IN our body, but useful on the skin for harmonizing, balancing, pain relief ...
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PS: Mi scuso con gli amici e i visitatori, ma sono costretta a venirvi a trovare solo un po' per volta ...
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Sorry, to me is very difficult to visit people that always only leave a fav without commenting...
Do not use any of my images on websites, blogs or other media without my explicit written permission.
All rights reserved - Copyright © fotomie2009 - Nora Caracci
This image shows the famous Golden Pavilion, or Kinkaku-ji, located in Kyoto, Japan. The temple’s exterior is covered in brilliant gold leaf, and it sits peacefully beside a reflective pond, surrounded by meticulously manicured trees and traditional Japanese gardens. The architecture is a striking example of Muromachi period design, characterized by harmony with nature, elegance, and a balanced blend of simplicity and grandeur. The top two floors of the pavilion are entirely gilded, and a golden phoenix perches atop the roof, symbolizing rebirth and immortality.
Historically, Kinkaku-ji was originally built in the 14th century as a retirement villa for the shogun Ashikaga Yoshimitsu, and later converted into a Zen Buddhist temple. The current structure is a post-war reconstruction from 1955, as the original was tragically burned down in 1950. Despite this, Kinkaku-ji remains one of Japan's most iconic and visited landmarks, representing not only Kyoto's rich feudal history but also the resilience of Japanese cultural preservation.
Geographically, Kyoto is nestled in a valley surrounded by mountains in the Kansai region of Japan. Once the imperial capital for over a millennium, the city is now a major cultural hub known for its temples, shrines, traditional tea houses, and seasonal beauty—especially during cherry blossom season and autumn foliage. Kyoto's climate, with its distinct seasons, enhances the scenic splendor of landmarks like Kinkaku-ji, making them feel different and magical in each part of the year.
Culturally and gastronomically, Kyoto is revered for its refined and elegant cuisine, known as kaiseki. This multi-course meal emphasizes seasonal ingredients and artistic presentation. Visitors to the area can also enjoy specialties such as yudofu (boiled tofu), matcha (green tea) from nearby Uji, and traditional sweets called wagashi. Kyoto’s food scene harmonizes beautifully with its temples and gardens, offering not just nourishment but a deep sensory connection to the land and its long-standing traditions.
20191003_RX_02218
A stone train from Hanson quarry in Jamesville crawls up the grade at Onativia on 22 August 1998. With Lenny at the throttle, the two big Alco products - ex-CP M636 No. 4743, leased from GVT, and NYSW's own C430 No. 3006, make an impressive sound as they harmonize in Run 8 with their heavy loads.
Dare to Shine – The Nomi Bodysuit by Enchantress
The moment I slip into the Nomi Bodysuit, I transform. The way this high-shine latex caresses my body, molding every curve, is pure temptation. The sleek, liquid finish reflects the light with every move—an irresistible dance of allure and attitude.
This isn’t just a bodysuit—it’s a statement. With daring cutouts sculpting my silhouette, I decide exactly how to own the night. And the best part? The fully customizable HUD lets me mix and match 30 stunning colors separately for the bodysuit, sleeves, and boots to complement my accessories perfectly. Tonight, I indulge in lustrous lavender, a hypnotic shade that harmonizes effortlessly with my wide-brimmed hat and intricate jewelry. Every detail, every shimmer, is curated—elevating the look from merely stunning to completely unforgettable.
Designed for the perfect fit, the Nomi Outfit is compatible with Maitreya (Petite), Legacy (Perky), Reborn, Waifu, Kupra (Kups), Khara, and GenX (Classic & Curvy). Whether I slip into it for a night of seduction or pair it with statement accessories for high-fashion drama, I command attention with every step.
Tonight, I don’t just dress. I captivate.
Taxi to Mainstore: maps.secondlife.com/secondlife/LeLa%20Island/48/141/2232
Is not this a true autumn day? Just the still melancholy that I love—that makes life and nature harmonize."
~George Elliot~
Chest deep, a density and diversity of native wildflowers that would thrill any naturalist. Blacktip senecio (yellow), alpine larkspur (dark blue/purple), Porter lovage (white) and bluebells (light blue) harmonize to form a pleasing landscape. Governor Basin, San Juan Mountains
Le bâtiment Richard Meier, d'un blanc éclatant, se dresse au cœur de la nature environnante. Que les visiteurs se réjouissent : là où l'art et le nouveau bâtiment du musée s'harmonisent, ils seront les gagnants. Ici, pas de compétition pour occuper la vedette, mais un lieu empreint d'art, un lieu qui révèle sa vraie nature et offre un écrin aux œuvres de l'artiste-mécène du musée ainsi qu'à l'art contemporain.
« Mon architecture ouverte et transparente crée des transitions fluides entre l'intérieur et l'extérieur et reflète le même lien avec la nature que celui exprimé dans les œuvres de Hans Arp. »
En tant que l'un des plus grands architectes de musées internationaux, Richard Meier se réfère dans son architecture aux principes du modernisme classique, un style qui a connu son apogée au début du XXe siècle. Cette époque a également façonné l'œuvre du duo d'artistes Hans Arp et Sophie Taeuber-Arp. Le bâtiment de Meier est baigné de lumière et semble emmener les visiteurs hors de leur quotidien. Ici, les œuvres trouvent un espace propice à leur épanouissement.
The dazzling white Richard Meier Building stands out in the heart of the surrounding nature. Visitors can rejoice: wherever art and the new museum building harmonize, they will be the winners. Here, there's no competition for the spotlight, but a place imbued with art, a place that reveals its true nature and provides a showcase for the works of the museum's artist-patron as well as contemporary art.
"My open and transparent architecture creates seamless transitions between indoors and outdoors and reflects the same connection with nature expressed in the works of Hans Arp."
As one of the greatest international museum architects, Richard Meier refers in his architecture to the principles of classical modernism, a style that reached its peak in the early 20th century. This era also shaped the work of the artist duo Hans Arp and Sophie Taeuber-Arp. Meier's building is bathed in light and seems to transport visitors away from their everyday lives. Here, the works find a space conducive to their development.
Modern architecture captivates with its sleek lines, innovative materials, and minimalist designs, harmonizing form and function.
It emphasizes open spaces, natural light, and sustainable practices, creating elegant structures that blend seamlessly with their surroundings while pushing creative boundaries.
In the past few days, an intriguing idea struck me. What if each week I came up with a different theme? This notion seemed both exciting and promising, offering a fresh perspective and a constant source of novelty. I imagined diving into a new world every seven days, exploring diverse themes.
Seen while walking in our Botanic Gardens which are full of azaleas flowering. I guess the guy in the red skirt was harmonizing with the colours? Maybe?? Or maybe red and blue can hold hands in NZ?
A lot going on here, yet it harmonizes nicely. Please view on black (press "L")
EXPLORED: February 6, 2012 #67
Created for Abstractartangel77 for her birthday ( Oct 9 ) with enormous gratitude for all that she has done for me here on Flickr in this past year ! Happy Birthday, Sandy !!!!!!
When I first arrived in New York in June 2019, I stumbled across one of the most beautiful and character-filled enclaves that I have ever seen by taking the wrong set of steps off of 42nd street, on my way, I had hoped, to First Avenue. Up I went and I came across a breathtaking oasis of old, classic, New York beauty. I stopped dead in my tracks and my mouth dropped.
Tudor City is a small 'pocket' neighbourhood in Midtown, on the east side, across from the UN ( that's it peeking through the trees near the centre of the image ). It absolutely EXUDES the classic New York of film and literature. You could imagine a young Paul Simon sitting in it's tree-filled park, playing guitar and writing a song there. Maybe his friend Art sitting next to him, harmonizing, before anyone knew who they were ... I was so stunned by Tudor City's beauty and my good fortune for having taken the wrong steps that lead me to it.
I came back a few days later to spend some time in there, to sit quietly in the beautifully landscaped park and just absorb this miracle of New York. I took quite a few photographs, both Pano and "straight". This is a blend of one main shot, as is my wont, and 2 ancillary pieces for border and overlay use.
Images shot on June 12, 2019.
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Music Link: "For Emily, Whenever I May Find Her" - Simon & Garfunkel, from their album "Parsley, Sage, Rosemary & Thyme"
www.youtube.com/watch?v=WaWrdwP1YH0
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© 2019, Richard S Warner ( Visionheart ). All rights reserved. This image may not be used in any form here or elsewhere without express, written permission.
In the heart of a dense, ancient forest, where the trees whispered secrets and the air hummed with magic, there lived a fantastical gypsy. Cloaked in an air of mystery and adorned with enchanting attire, she wore the irrISIStible Fortune Teller Full Outfit with Skin + Accessories, a garment that seemed to have been woven from dreams and stardust. Tailored for both Legacy and Maitreya, the outfit bestowed upon her an aura of otherworldly elegance, making her presence in the woods even more enchanting.
Her attire was a vibrant tapestry of colors – a blend of blues, purples, and yellows that harmonized with the natural hues of the forest. Adorned with intricate accessories, each piece told a story of ancient wisdom and mystical knowledge. Her skin, touched by the glow of the woodland spirits, radiated a gentle, ethereal light, making her seem like a living embodiment of the forest’s magic.
But the gypsy was more than just a vision of beauty; she possessed a profound connection with the mystical forces that dwelled in the woods. Among the ancient trees stood the irrISIStible Gypsy Wagons + Furnitures and Anim 2023, their shades of Blue, Purple, and Yellow blending seamlessly with the natural surroundings. These magical carriages were not just inanimate objects; they were living entities, pulsating with the essence of the forest itself. Within their ornate interiors lay a world of wonders – aromatic herbs, shimmering crystals, and ancient artifacts, all carefully curated by the gypsy.
Located amidst the whispering leaves and rustling branches, the irrISIStible Shop was a haven for seekers of magic and wonder. It was here that the gypsy’s creations came to life, where the Fortune Teller Full Outfit and the Gypsy Wagons found their way into the hands of those who longed for a touch of the fantastical in their lives.
Visitors from far and wide would make pilgrimages to the irrISIStible Shop, drawn by the allure of the gypsy’s mystical offerings. They marveled at her attire, enchanted by the vibrant colors and intricate details. The wagons, with their bewitching shades, captured their imaginations, inviting them to step into a world where reality and fantasy merged seamlessly.
The tale of the enchanting gypsy in the woods spread far and wide, carried on the whispers of the wind and the songs of the birds. She became a legend, a symbol of the hidden wonders that the world held for those who dared to believe in the fantastical. In the heart of the ancient forest, where the mystical and the mundane coexisted, the enchanting gypsy continued to weave her magic, reminding the world that sometimes, all it took to experience wonder was a little belief and a dash of imagination.
Photo of oil droplets from the oil & water macro abstract photography assignment captured via Minolta MD Macro Rokkor-X 100mm F/4 lens. Inside the creative halls of the 494 ∞ Labs. Early October 2020.
Exposure Time: 1/4 sec. * ISO Speed: ISO-100 * Aperture: F/8 * Bracketing: None * Color Temperature: 3500 K * Mood: Kodak Vision 2383 * Adaptor: 1:1 Extension Tube
Le bâtiment Richard Meier, d'un blanc éclatant, se dresse au cœur de la nature environnante. Que les visiteurs se réjouissent : là où l'art et le nouveau bâtiment du musée s'harmonisent, ils seront les gagnants. Ici, pas de compétition pour occuper la vedette, mais un lieu empreint d'art, un lieu qui révèle sa vraie nature et offre un écrin aux œuvres de l'artiste-mécène du musée ainsi qu'à l'art contemporain.
« Mon architecture ouverte et transparente crée des transitions fluides entre l'intérieur et l'extérieur et reflète le même lien avec la nature que celui exprimé dans les œuvres de Hans Arp. »
En tant que l'un des plus grands architectes de musées internationaux, Richard Meier se réfère dans son architecture aux principes du modernisme classique, un style qui a connu son apogée au début du XXe siècle. Cette époque a également façonné l'œuvre du duo d'artistes Hans Arp et Sophie Taeuber-Arp. Le bâtiment de Meier est baigné de lumière et semble emmener les visiteurs hors de leur quotidien. Ici, les œuvres trouvent un espace propice à leur épanouissement.
The dazzling white Richard Meier Building stands out in the heart of the surrounding nature. Visitors can rejoice: wherever art and the new museum building harmonize, they will be the winners. Here, there's no competition for the spotlight, but a place imbued with art, a place that reveals its true nature and provides a showcase for the works of the museum's artist-patron as well as contemporary art.
"My open and transparent architecture creates seamless transitions between indoors and outdoors and reflects the same connection with nature expressed in the works of Hans Arp."
As one of the greatest international museum architects, Richard Meier refers in his architecture to the principles of classical modernism, a style that reached its peak in the early 20th century. This era also shaped the work of the artist duo Hans Arp and Sophie Taeuber-Arp. Meier's building is bathed in light and seems to transport visitors away from their everyday lives. Here, the works find a space conducive to their development.
Is not this a true autumn day? Just the still melancholy that I love — that makes life and nature harmonize. The birds are consulting about their migrations, the trees are putting on the hectic or the pallid hues of decay, and begin to strew the ground, that one’s very footsteps may not disturb the repose of earth and air, while they give us a scent that is a pefect anodyne to the restless spirit. Delicious autumn! My very soul is wedded to it, and if I were a bird I would fly about the earth seeking the successive autumns. ~George Eliot, letter to Miss Lewis, 1st October 1841
As the sun bathes the Jellybean Cabana in its golden light, a sense of tranquility envelops the air. The gentle rustle of palm trees harmonizes with the soothing melody of waves caressing the shore, creating a serene ambiance. Stepping closer, two tortoises bask lazily in the warmth, their slow movements echoing the unhurried pace of life in this coastal retreat.
Adorned with charming cane furniture and framed by a shimmering pool, the Cabana exudes a laid-back elegance that invites relaxation. The weather beckons for an afternoon dip, promising refreshing relief from the tropical heat. Embrace the idyllic allure of seaside living and unwind in the blissful sanctuary of the Jellybean Cabana.
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It’s the last week to grab the Jellybean cabana - a sizzling new release by Dead Unicorn, out at Cosmopolitan now! 🔥
In addition to Dead Unicorn. Thanks to my sponsors Rezz Room, Bricolage and Pitaya. 🙏💕
(Side note - this picture took forever to decorate - thanks for the help Kaelyn!)
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Credits
∘ Dead Unicorn
Dead Unicorn - Jellybean Cabana (Green) - available exclusively at Cosmopolitan Event - {Round 22/12} 19th February - 2nd March
Dead Unicorn - Beach Fence
Dead Unicorn - Armoire (Beachy)
∘ [Rezz Room]
[Rezz Room] Tortoise Animesh (Companion)
∘ Bricolage
Bricolage Mango Sectional Sofa_PG
Bricolage Mango Rattan Armchair - PG
Bricolage Mango Rattan Coffee Table
Bricolage Mango Lantern 1
Bricolage Seashell Collection II
Bricolage Coastal Magazines
∘ Pitaya
Pitaya - Lazy Hanging Planter
Pitaya - Bohemian Desert - Pergola
Pitaya - Bohemian Desert - Pergola lights
Pitaya - Bohemian Desert - Rug light
Pitaya - Bohemian Desert - Rug natural
Pitaya - Bohemian Desert - Wicker chair raw RARE
Pitaya - Bohemian Desert - Coffee table natural
Pitaya - Flowing curtains 03 SHEER
Pitaya - Rustic fall - table
Pitaya - Rustic fall - chair (white)
Pitaya - Rustic fall - centerpiece
Pitaya - Rustic fall - tableware
∘ Merak
[Merak] - Summer Chill - PG
[Merak] - Eloise Cozy Corner - PG
[Merak] - Potted Plant A
[Merak] - Potted Plant B
[Merak] - Potted Plant C
[Merak] - Woven Baskets
∘ ~BAZAR~
~BAZAR~ Cloud lounger V1 ADULT
~BAZAR~ Cloud cocktail
~BAZAR~ Cloud pitcher
~BAZAR~ Cloud oranges
~BAZAR~ Ibiza Parasol
~BAZAR~ Ibiza Sunglasses
~BAZAR~ Ibiza Beach bag 01
~BAZAR~ Ibiza Beach bag 02
~BAZAR~ Ibiza Towel 01
~BAZAR~ Ibiza Towel 02
~BAZAR~ Ibiza Crates
~BAZAR~ Ibiza Lime Crate
~BAZAR~ Ibiza Watermelon
~BAZAR~ Ibiza Watermelon slice
∘ What Next
{what next} Kentia Palm Plant (ceramic)
{what next} Kentia Palm Plant (basket)
{what next} Fiddle Leaf Plant (ceramic)
{what next} Fiddle Leaf Plant (basket)
{what next} Bird of Paradise Plant (rattan)
{what next} Bird of Paradise Plant (basket)
{what next} Bird of Paradise Plant (pot)
{what next} Kentia Palm Plant (rattan)
∘ Fundati
(Fundati) Tropical Palm I
(Fundati) Tropical Palm II
(Fundati) rock I -SAND-
(Fundati) Sand Beaches I,II,IV -waves-
∘ Studio Skye
Skye Bamboo Palm
Skye Temperate Shrubs - Hebe
Skye Temperate Shrubs - Buckeye
Skye Temperate Shrubs - Fern Type 2
Skye Temperate Shrubs - Ash
Skye Temperate Shrubs - Hosta Leaf 3
∘ Caboodle
Caboodle. - Pool Floaty - Frog
Caboodle. - Pool Floaty - Ruffled
∘ Nutmeg
Nutmeg. Clean Laundry Rack
Nutmeg. Clean Laundry Ironing Board
∘ KIDD GRASS Garden
KIDD GRASS GARDEN - PAMPAS Grass * Trio Bush *
KIDD GRASS GARDEN LONG GRASS * Wild Sword *
∘ Misc
Amelia's Coastal Treasures - Welcome to the Beach Bar & Stools
DAD "Hammock w Heart Palm Trees 2023" PG v.1.0 c/m
Little Branch _LipstickPalm.v2{Animated}
{YD} Diamond Laundry - Laundry cabinet sink PG/A
Petite Mort- Cottage Vintage Stove Cream
MINIMAL - Beach Palmtree -1 & 3-
- Legna - Deby Collection (Gold Turtle)
hive // palm tree with base . A & B
dust bunny . areca palm plant
Da Vinci Gardens. Group of 12 seagulls with sounds 5prims
The winner is Ms. Mallard incredibly harmonizing with the rocks and tucked behind Mr. Mallard. Sorry beautiful Mute Swan :)
Pocos lugares recrean tan perfectamente la simbiosis cultural hispánica como la mezquita de Córdoba, donde el gótico armoniza increíblemente con el arte hispanomusulmán.
Few places recreate so perfectly cultural simbiosis Hispanic as the mosque of Cordova, where the Gothic harmonizes incredibly with the "hispanomusulmán" art .
Esta foto tiene derechos de autor. Por favor, no la utilice sin mi conocimiento y autorización. Gracias.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reservats. Thanks.
Diese Aufnahme eines ausgewachsenen Kormoran entstand am 7. Januar. Mir kommt das etwas früh vor für das Prachtkleid aber vielleicht ist das bei Kormoranen ja die normale Zeit dafür. Man sieht jedenfalls sehr schön die weissen Federn an Hinterkopf und am Hals, sowie den weißen Fleck vor dem Schenkel. Die bronzefarbenen Federn der Flügel harmonieren farblich sehr schön mit dem auf dem Wasser reflektierten Braun der Baumstämme im Wald hinter dem See. Der Kormoran saß relativ entspannt auf den Resten eines versunkenen Baumstammes weil er wußte, dass ich ihm auf seinem Inselchen nichts kann.... 😋
Tech. Detail: Die 1/60 Sekunde war freihand. Gerettet hat mich (mal wieder) die Bildstabilisierung des Objektivs.
Um das Bild besonders detailreich sehen zu können, drückt die Tasten l (kleines L) und F11. Beim vergrößern nur durch Anklicken gehen viele Details verloren.
This picture of an adult cormorant was taken on January 7th. It seems a bit early for the breeding plumage to me, but maybe that's the normal time for cormorants. You can see the white feathers on the back of the head and on the neck, as well as the white spot in front of the thigh. The bronze coloured feathers of the wings harmonize beautifully with the reflected brown of the tree trunks in the forest behind the lake. The cormorant sat relatively relaxed on the remains of a sunken tree trunk because he knew that I couldn't do anything to him on his little island....😋
To view this picture with the best resolution in full screen press the "l" (small L) and F11 keys. When enlarging the pic by just mouse clicking you lose quality. Enjoy!
Can't think of many better ways to spend a Saturday evening.
Image imagined in MidJourney AI and finished with Topaz Studio 2.0 and Lightroom Classic.
♫♫ Orianthi - "Light It Up" - Official Music Video
♫♫
Skye's entry into “The Riot Girls” was purely serendipitous, a fortunate accident in the grand theater of virtual existence. Ronnie, a soul seeking refuge from the relentless cacophony of the outside world, found solace within the velvet embrace of the BlackHouse club. It was there, amidst the swirling digital smoke and pulsing rhythms, that fate orchestrated a chance encounter with Skye. Initially, their connection was a fragile seedling of friendship, tenderly nurtured by shared laughter and whispered confidences, prompting Ronnie to move to Skye's Sim, where she presided over a bustling rental enterprise, a vibrant tapestry woven with the threads of commerce and camaraderie. Their bond deepened over time, like roots intertwining beneath the soil, growing stronger with each passing season.
Skye's captivating conversational skills, a veritable symphony of wit and wisdom, instantly charmed Ambre, elevating her to the status of one of her dearest friends. Mornings often found Ambre and Skye entwined in animated discourse over steaming cups of coffee, their voices dancing through the air as they delved into the kaleidoscopic tapestry of diverse topics, exchanging tales of the vibrant happenings that painted the canvas of their SL life. Given Skye's undeniable passion for music Ronnie extended an invitation to join the band. Their collaboration proved to be a period of unparalleled joyous creativity, a symphony of collaboration where individual notes harmonized to create a masterpiece of collective expression.
Skye distinguished herself as a gifted rhythm guitarist, her fingers dancing across the fretboard with the grace of a seasoned maestro, her rhythmic precision and chordal command captivating audiences, weaving spells of sonic enchantment that left them breathless and yearning for more. Regrettably, as life's unrelenting demands tightened their grip, pulling Skye back to the mundane realities of the physical world, her participation in concerts became impossible, a bittersweet farewell to the stage that had so readily embraced her talent. However, Ronnie and Ambre will forever cherish the treasured memories of performing alongside their dear friend Skye, a radiant star, a constant reminder of the power of friendship, creativity, and the enduring magic of "The Riot Girls."
(To be continued)
Devoted to the Riot Girls band
This image captures the tranquil and majestic beauty of the Grüner See in Austria, surrounded by the steep, rugged Alps. The crystal-clear water reflects the surrounding trees and mountains, enhancing the breathtaking natural scenery. The deep greens of the water harmonize perfectly with the lush forest that stretches up to the craggy rocks in the background. The serene, cloud-covered sky adds a calming, almost meditative mood to the scene, inviting the viewer to immerse themselves in the untouched nature.
Cloudless sunrises are the horror of every photographer. However, on the opposite horizon there is usually a pastel-colored pink color that harmonized wonderfully with the snow mountains. Fortunately, this was the only day of my Iceland vacation that it didn't storm, so I was able to use the drone.
Are you awake? You were talking recently about the meaning... of our... life... unselfishness of art... Let's take music... It's really least of all connected; to say the truth, if it is connected at all, then in an idealess way, mechanically, with an empty sound... Without... without associations... Nonetheless the music miraculously penetrates into the very soul! What is resonating in us in answer to the harmonized noise? And turns it for us into the source of great delight... And unites us, and shakes us? What is its purpose? And, above all, for whom? You will say: for nothing, and... and for nobody, just so. Unselfish. Though it's not so... perhaps... For everything, in the end, has its own meaning... Both the meaning and the cause...
Horowitz - Scriabin: Etude for piano in C# minor, Op. 2 no. 1
Introducing "Revival," a Japandi bedroom set that transcends ordinary decor. Immerse your space in the warmth of natural wood tones, harmonized with a wall piece inspired by the Koi fish. A symbolism of perseverance and courage, the Koi swimming upstream mirrors the transformative journey of resilience and beauty. Elevate your sanctuary with a set that embodies the spirit of revival. Available at The Dubai Event 01/20
First time I have ever seen one of these birds. At first I thought it was some sub-species of Robin. I had to look it up. From The Cornell Lab of Ornithology:
"One of the most common woodland birds of the East, the Wood Thrush is best known for its hauntingly beautiful song. Thrushes have a complicated syrinx (song box) that allows them to sing two notes at the same time and harmonize with their own voice. A large and heavily spotted thrush, it is a bird of the interior forest, seldom seen outside the deep woods."
I can attest that their song is quite beautiful.
For more information check out Cornell's website at:
www.allaboutbirds.org/guide/Wood_Thrush/id/
This was a difficult shot, the dense forest didn't let in much light. I switched to ISO 3200, turned on the HI ISO noise reduction and switched to AV mode (varying light and jumping birds made manual exposure almost impossible). I also used spot metering then ran this through Topaz Denoise.
New skin for Synnove. Very happy with it.
"Hear my call Great Old One!
Feel my Thirst in this Invocation
and the Terror of my Transcendental Act!
Devour this Sacrifice beyond the Mind of Reason
Through the Transcendence of Lawless Manifestations!
Through the Call of Terrifying Names, through webs of the Parallel Universes
I lie and remember the First Birth in the Blood
I crossed Seven Constellations
to Meet Your Flaming Breaths at Twilight and be purified.
I pray to your Abyss.
The key to becoming and the Key to Awareness
in the ocean of the bottomless Abyss
the wandering in the road to ceremony.
Magnificence and contemplation of the Universes
Coronation of the dethroned Sovereignity.
The Alignment of the Houses of causality and the Fallen Kingdoms
The End of the Eternal Emanation
The Eternal Return…
The ideal and the harmonization of Starlit Exaltation
The old and familiar in consciousness, the Work of Scarlet restoration
Psalms of the seven Houses
resound and mumble
The terrible secrets in absurd Languages unknown to me
The wings of Angels
the caress of an Orgiastic purification
Memories of an experience
that I live again and again
Fumes of a new Age
So familiar and pure
through the Pits of Demons
and the Five Towers..."
Spring is coming at the speed of color… and, since color is light, that’s pretty fast. You’d better get out of the way! This is not only big, bold primary color, it’s complementary color. Remember Billy Crystal as Fernando? “You look mahhvelous!” Yes, read it the way it’s spelled… and then, “To look good is to feel good, dahhling!” That’s complimentary, but it’s not complementary. Do you remember learning about the color wheel? Colors on opposite sides of the wheel are complementary, or harmonizing. It involves a bit of science as to how the various photoreceptors in your eyes perceive contrastive colors… your brain just goes along with the ride and is quite often happy to do so. The most contrastive of the complementary colors are yellow/blue and red/green. Such colors have superpowers, able to lift one from a deep funk in a single bound! Hmmm… that seems familiar for some reason. The “deep funk” of winter’s grays and browns go ‘poof’ in the light of spring’s color BOOM.
This image was taken April 20th of 2013 at Biltmore gardens. It’s shot from the ground up with a polarizing filter to take out reflective color. Reflective color… that’s a story for another time. The floor is now open for complimentary discussion… go!
It's surprising how the bluest flowers arrive in spring, harmonizing with the blue skies that come with it.
One Lily is joy and several are a pleasure. In the wondrous white flowering there was an unfocused centre ready to be composed into a Heart. The Heart was all ready fading, the bright petals were gently time spent mouldering back to soil from where they had sprouted with their moment of splendid presentation now fading into degradation. One picture repeated and repeated to release the central pulse from the Heart of Death and of Life to fulfil the flowering out of The Lily of Life not unlike the sephira of Tiphareth on The Tree of Life.
© PHH Sykes 2025
phhsykes@gmail.com
Tiferet (Hebrew: תִּפְאֶרֶת Tip̄ʾereṯ, in pausa: תִּפְאָרֶת Tip̄ʾāreṯ, lit. 'beauty, glory, adornment')[1] alternatively Tifaret, Tiphareth, Tifereth or Tiphereth, is the sixth sefira in the kabbalistic Tree of Life. It has the common association of "Spirituality", "Balance", "Integration", "Beauty", "Miracles", and "Compassion".[2]
Description
In the Bahir it states: "Sixth is the adorned, glorious, delightful throne of glory, the house of the world to come. Its place is engraved in wisdom as it says 'God said: Let there be light, and there was light.'" [3]
Tiferet is the force that integrates the sefira of Chesed ("Kindness") and Gevurah ("Strength", also called Din, "Judgement"). These two forces are, respectively, expansive (giving) and restrictive (receiving). Either of them without the other could not manifest the flow of Divine energy; they must be balanced in perfect proportion by balancing compassion with discipline. This balance can be seen in the role of Tiferet, wherein the conflicting forces are harmonized, and creation flowers forth. Tiferet also similarly balances Netzach and Hod. In that case, Hod can be seen as the intellect whereas Netzach is seen as emotion.