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Happy Fence Friday! one of my favorite days here on flickr.
Our life should be getting back to normal here soon. its been a rough few weeks but we are strong and made it through. We are back to homeschooling our sweet one and so happy!!!
Have a great weekend xoxo
pattern by Paisley Pear Quilts
lots more photos on my blog
teaginnydesigns.blogspot.com/2011/04/midwest-metro-link.html
Links vom Winnebachjoch befindet sich der Gleirscher Fernkogel und der Winnebacher Weißerkogel. Rechts ist der westliche Seeblaskogel zu sehen.
To the left of the Winnebachjoch there are Gleirscher Fernkogel und der Winnebacher Weißerkogel. To the right there ist the westliche Seeblaskogel.
Last Sunday I decided to go and shoot sunrise at 'Sculpture by the Sea, Bondi', thinking it was going to be a clear morning - well I was in for a huge surprise when I turned up saw the clouds and then this happened. I was jumping for joy to say the least.
Artist: Inge King, “Link III” (2007 – 08), Sculpture by the Sea, Bondi 2016.
Please check out my website: www.brianbornstein.com to view my online gallery.
You can contact me if you would like to purchase some prints.
Canon 6D
Canon 16-35 f/4L IS USM
ISO 100 | 31mm | F11 | 1/10 sec
Having just exited Mullan Tunnel, a westbound BNSF merchandise train meets a helper set returning to Helena.
Montana Rail Link
3rd Subdivision
Blossburg MT
D7A_6030ef
On October 8, 2023, Montana Rail Link SD45 No. 355 was assigned to a ballast train that was going to dump rock later that afternoon in the railroad’s large yard at Laurel, Montana. Remote MRL SD40-2XR No. 256 switches cars a couple tracks over. Would have been nice to catch this guy after loading at Spire Rock, coming down the Homestake Pass line into Pipestone!
Montana Rail Link ( MRL ) Westbound Night Gas Local R-MRL809 passes through Thompson Falls, MT. on their way to work a gas company there & turn back to Missoula, MT. the next morning.
Helpers at the ready. An early representation of Montana Rail Link's beginning.
250 (MRL's only dash two) came as the result of first day runaway sabotage. Rebuilt from BN 6377 by MRL.
6493, and its partner third in, were purchased from Helm Leasing and the beginning of MRL's sizable fleet of SD45's.
3004 was one a group of four retired former CGW/CNW SD40's rebuilt for lease by Livingston Rebuild Center.
Rear locomotive is a repaint from the original group of SD40's the Burlington Northern provided in the Montana Rail Link sale.
10-13-90
"Kensington Market Toronto" Line and wash Watercolor. New YouTube Video. Just two colors
Latest video posted on YouTube. Link to my YouTube Channel is in my bio or click the following link.
m.youtube.com/c/petersheelerart
My sketches now for sale on Ebay:
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Garden
Link to Cincinnati Zoo..............Male Galah
Also a new group to join for anyone who has Ohio Zoo pictures!
www.flickr.com/groups/ohio_zoos/
Also check out Zoos Around the World group!
www.flickr.com/groups/zoos_around_the_world/
I'm so sorry if I missed some of your photos yesterday. I ended up pretty busy and than encountered a headache. I will be on and off Flickr today so I will try very hard to catch up with all your beautiful photos a little later. I just want to wish you all a very happy Thursday!
Montana Rail Link Westbound Local Freight Train 840 heads back to Helena, MT. after working in Townsend, MT.
Bath, Somerset.
wiki link - Bath, Somerset
Pulteney Bridge is an iconic landmark located in the city of Bath, in the county of Somerset, England. The bridge spans the River Avon and connects the city center with the district of Widcombe.
The bridge was designed by Robert Adam and completed in 1774, and it is considered one of the most beautiful examples of Georgian architecture in England. Its most distinctive feature is the row of shops built into both sides of the bridge, which gives it a unique appearance and has made it a popular spot for photographers and tourists.
The shops on Pulteney Bridge originally sold everyday goods like groceries, but today they are home to a variety of boutiques, art galleries, and gift shops, making it a popular destination for shopping in Bath.
The bridge is also home to several elegant archways, which provide stunning views of the River Avon and the surrounding countryside. Visitors can take a stroll across the bridge and admire its beauty, or take a boat tour along the river for a unique perspective on this iconic landmark.
Overall, Pulteney Bridge is a must-see attraction for anyone visiting Bath, offering a unique blend of history, architecture, and shopping in a beautiful and picturesque setting.
Música (abrir en nueva pestaña) / Music (Open link in new tab): Helium Vola - Dormi.
(Please see below for English Text)
La comunicación a larga distancia a una relativa gran velocidad (comparada con el transporte convencional de los mensajes), surgió con la invención del telégrafo óptico en Francia, cincuenta años antes de la del telégrafo eléctrico.
La red de telégrafos ópticos consistía en una serie de líneas de torres, colocadas a una distancia de entre 5 y 20 kilómetros cada una de la siguiente. Cada torre estaba dotada de telescopios y un dispositivo de señales ópticas que se conocía con el nombre de “semáforo”.
La imagen muestra la torre de telégrafo óptico de Motilla del Palancar (Cuenca) situada en el paraje de la Cuesta de Juan Bueno, del que toma el nombre, conociéndosele como “Torre Juan Bueno”. Pertenecía a la línea Madrid-Valencia, en funcionamiento desde 1849 hasta 1856, en que fue sustituida por el telégrafo eléctrico.
Era la torre Nº 18 de la línea, encontrándose entre la de Olmedilla de Alarcón (17), conocida como “Torre Atajollano”, y la de Iniesta (19), denominada “Atalayón”, con las que se comunicaba mediante un dispositivo de señales ópticas codificadas, el "semáforo" más arriba ya referido.
Actualmente se encuentra en un estado ruinoso, con los muros este y oeste muy deteriorados, tal y como puede contemplarse en la fotografía. Como curiosidad, cabe mencionar que en el zócalo del muro oriental, hay restos de impactos de postas, lo que indica que, en el mejor de los casos, en él pudieron darse prácticas de tiro o, en el peor, ejecuciones por fusilamiento en los tiempos de la Guerra Civil.
-English:
Long-distance communication at a relatively high speed (compared to carrying messages) came about with the invention of the optical telegraph in France, fifty years before the electrical telegraph.
The optical telegraph network consisted of a chain of towers, each placed 5 to 20 kilometres apart from each other. On each of these towers a wooden semaphore and two telescopes were mounted
The picture shows the optical telegraph tower of Motilla del Palancar (Cuenca, Spain) located in a place named “Cuesta de Juan Bueno”, so this tower is also known as “Juan Bueno Tower”. This tower belonged to the Madrid-Valencia line, which operated from 1849 to 1856, when it was replaced by the electric telegraph.
This was the 18th tower in the Madrid-Valencia line, between Olmedilla de Alarcon Tower (17th) (also known as “Atajollano Tower”) and Iniesta Tower (19) (also known as “Atalayón”) with which it communicated with the semaphore when it was required.
It is currently in a dilapidated state, with east and west walls badly damaged, as can be seen in the picture. Curiously, it is noteworthy that in the eastern wall base, there are some bullet marks, indicating that, In the best possible scenario, it could be target practice or, at worst, executions by firing squad during the Civil War.
Imagen protegida por Plaghunter / Image protected by Plaghunter
© Francisco García Ríos 2015- All Rights Reserved / Reservados todos los derechos.
El contenido de estas imágenes no puede ser copiado, distribuido ni publicado por ningún medio, bien sea electrónico o de cualquier otra naturaleza.
Su utilización en otras páginas web sin el consentimiento expreso del autor está PROHIBIDO y es sancionable por ley.
Cualquiera que quiera usar mis fotografías debe ponerse en contacto conmigo primero para acordar los términos de uso; así pues, para informarse acerca de copias, licencias, utlilización en blogs o cualquier otro uso, por favor, envíe un mensaje o correo electrónico (recesvintus(at)yahoo.es).
Gracias.
The content of these images cannot be copied,distributed or published for any media, electronic or otherwise.
The utilization in other web pages without the express written consent of the author is PROHIBITED and punishable by law.
Anyone wanting to use my photographs should contact me first to discuss the terms; so to enquire about prints, licensing, blogging and so on, please send an e-mail or message (recesvintus(at)yahoo.es).
Rural Link - Optare Solo - YB06 VOM seen at Bishop Auckland Bus Station between trips on service 104 between Newfield and Ramshaw on April 1st 2021
I have created a group for Midjourney Niji images here: www.flickr.com/groups/niji/ If you are working in Niji please consider joining the group or stop by for a pleasant visit.
Many thanks for your visit and your support!!
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Just as a shadow, beyond black and white,
Can hide sometimes only an ephemeral light,
Likewise beyond a charming glance
Is nothing but an absurd chance...
El origen del Palacio de Carlos V se debe a la necesidad de un lugar que reuniese todas las comodidades de la época para el emperador y su familia, ya que el Alcázar, que era su residencia de verano, no cubría sus necesidades.
El emperador ordenó la construcción del palacio junto a la Alhambra para poder disfrutar de sus maravillas. El arquitecto encargado de la obra fue Pedro Machuca, un enamorado del renacimiento de acreditada experiencia. La construcción del palacio comenzó en 1527 y financió en su totalidad en 1957. La construcción pasó por varias etapas, falta de fondos, sublevaciones que pararon las obras, etcétera. Los techos llegaron a hundirse por abandono.
El palacio es cuadrado, con una fachada principal de 63 metros de ancho por 17 metros de alto. Destaca su patio circular en el centro, único en su estilo y la obra más destacada del renacimiento en España. Sólo están decoradas las fachadas sur y oeste en su totalidad. La norte y este sólo en parte, debido a que el edificio está unido al Alcázar de la Alhambra.
El edificio, de cantería, es cuadrado, y mide 63 m. de longitud y 17,40 de altura en las fachadas principales, quedando inscrito en el interior su patio circular, lo que determina una planta extraña y de difícil aprovechamiento, sin precedentes construidos. El edificio consta de dos cuerpos: el inferior de orden toscano, de obra almohadillada, con sillares picados y muy salientes pilastras en las que se insertan grandes anillones de bronce para atar los caballos. En los espacios intermedios de las pilastras se abren ventanas rectangulares y, sobre ellas, otras circulares (acristaladas recientemente), entendiéndose a lo largo de este cuerpo un amplio poyo que forma el zócalo del palacio.
Análoga disposición de huecos y pilastras ofrece el cuerpo segundo, aunque está mucho más ornamentado y, en él, bajo las ventanas circulares, se abren balcones con adornados dinteles. Las pilastras son de orden jónico, apoyando un entablamento corintio.
La parte central de las dos fachadas principales las ocupan magníficas portadas de mármol de Sierra Elvira, que son de lo más bello del Renacimiento español. La portada del lado occidental, que se considera la principal entrada del Palacio, es de orden dórico, con cuatro grupos de columnas dobles estriadas, cuyas basas y capiteles están preciosamente adornados. Entre las columnas se abren tres puertas: la central, de gran tamaño, sirve de apoyo a la estatua de una mujer que sostiene una granada simbólica en una de sus manos y extiende la otra en ademán de señalar, como haciendo al Emperador la ofrenda del palacio. Las otras dos puertas son más pequeñas y están adornadas con grupos de frutas en ménsulas y con medallas en sus tímpanos.
La del mediodía (mirando a la Torre de la Justicia) tiene el cuerpo inferior jónico; los pedestales que se prolongan a los lados para sostener dos leones tendidos tienen en sus netos bajo-relieves con trofeos guerreros, romanos, árabes, turcos y cristianos; la puerta tiene una cornisa y frontón con un relieve de la Abundancia en su tímpano y, sobre él, figuras aladas de la Fama y la Victoria ofreciendo coronas al vencedor y acompañadas de geniecillos. El segundo cuerpo de esta portada es corintio, y sus dobles columnas se apoyan en pedestales con relieves que forman una balconada.
Sobre estas portadas aparecen medallones enmarcados en piedra serpentina.
El patio, en alto, es por su grandeza y suntuosidad, una de las más bellas creaciones del Renacimiento. Su amplio círculo, de 30 m. de diámetro, ocupa el centro de la construcción y le rodea un ancho pórtico con 32 columnas dóricas. Las columnas, de piedra pudinga del Turro (Loja), corresponden a otras tantas pilastras que decoran el muro del claustro, entre las que se abren arcos, hornacinas y puertas para
www.alhambra.org/palacio-carlos-v.html
The origin of the Palace of Charles V is due to the need for a place that would meet all the comforts of the time for the emperor and his family, as the Alcazar, which was his summer residence, did not meet their needs.
The emperor ordered the construction of the palace next to the Alhambra so that he could enjoy its wonders. The architect in charge of the work was Pedro Machuca, a Renaissance lover of proven experience. The construction of the palace began in 1527 and was fully financed in 1957. The construction went through several stages, lack of funds, uprisings that stopped the works, and so on. The roofs even collapsed due to neglect.
The palace is square, with a main façade measuring 63 metres wide by 17 metres high. The circular courtyard in the centre is unique in its style and the most outstanding work of the Renaissance in Spain. Only the south and west façades are decorated in their entirety. The north and east façades are only partially decorated, due to the fact that the building is linked to the Alcazar of the Alhambra.
The building, made of stone, is square and measures 63 m. long and 17.40 m. high on the main façades, with a circular courtyard inside, which makes for a strange floor plan that is difficult to make use of, with no precedents ever built. The building consists of two sections: the lower section is of Tuscan order, with cushioned brickwork, with ashlars and very protruding pilasters in which large bronze rings are inserted for tying up the horses. Rectangular windows open in the spaces between the pilasters and, above them, other circular windows (recently glazed), with a wide base along this body forming the base of the palace.
The second section has a similar arrangement of openings and pilasters, although it is much more ornamented and, below the circular windows, there are balconies with ornate lintels. The pilasters are Ionic, supported by a Corinthian entablature.
The central part of the two main façades are occupied by magnificent Sierra Elvira marble façades, which are among the most beautiful of the Spanish Renaissance. The façade on the western side, which is considered the main entrance to the palace, is of Doric order, with four groups of double fluted columns, whose bases and capitals are beautifully ornamented. Three doors open between the columns. The central door, which is large, supports a statue of a woman holding a symbolic pomegranate in one hand and extending the other in a pointing gesture, as if making the offering of the palace to the Emperor. The other two gates are smaller and are decorated with groups of fruit on corbels and medals on their tympani.
The lower part of the doorway on the south (facing the Tower of Justice) is Ionic; the pedestals that extend to the sides to support two lions lying on their bases have bas-reliefs with Roman, Arab, Turkish and Christian war trophies; the doorway has a cornice and pediment with a relief of Abundance on its tympanum and, above it, winged figures of Fame and Victory offering crowns to the victor and accompanied by small genii. The second body of this doorway is Corinthian, and its double columns are supported by pedestals with reliefs that form a balcony.
Above these doorways are medallions framed in serpentine stone.
The high courtyard is one of the most beautiful creations of the Renaissance for its grandeur and sumptuousness. Its wide circle, 30 m in diameter, occupies the centre of the building and is surrounded by a wide portico with 32 Doric columns. The columns, made of pudinga stone from El Turro (Loja), correspond to as many pilasters that decorate the cloister wall, between which are arches, niches and doors to
Translated with www.DeepL.com/Translator (free version)