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The San Jacinto Monument is a 567.31-foot (172.92 m)[2][note 1] high column located on the Houston Ship Channel in unincorporated Harris County, Texas, United States, near the city of La Porte. The monument is topped with a 220-ton star that commemorates the site of the Battle of San Jacinto, the decisive battle of the Texas Revolution. The monument, constructed between 1936 and 1939 and dedicated on April 21, 1939, is the world's tallest monumental column and is part of the San Jacinto Battleground State Historic Site. By comparison, the Washington Monument is 555.427 feet (169.294 m) tall. The column is an octagonal shaft faced with Texas Cordova shellstone, topped with a 34-foot (10 m) Lone Star – the symbol of Texas. Visitors can take an elevator to the monument's observation deck for a view of Houston and the Battleship Texas.
The San Jacinto Museum of History is located inside the base of the monument, and focuses on the history of the Battle of San Jacinto and Texas culture and heritage.
The San Jacinto Battlefield, of which the monument is a part, was designated a National Historic Landmark on December 19, 1960, and is therefore also automatically listed on the National Register of Historic Places.[4] It was designated a Historic Civil Engineering Landmark in 1992.
Playing host to the rescheduled Foo Fighters concert at Wembley (that was cancelled after frontman Dave Grohl broke his leg falling off stage at a show in Gothenburg, Sweden), the National Bowl in Milton Keynes came alive on Sunday, September 6, 2015 with the sound of 65,000 screaming fans. Following sets from rock duo Royal Blood and the eclectic propo-punk icon Iggy Pop, the Foos knew they had to deliver. From the moment the curtain sucked into a black hole vortex to the end of the show, it was obvious it was going to be one hell of a night to remember. Debra, Karl and I had arrived relatively early for the show and, being among the first to enter the MK Bowl, were offered "Inner Pit" passes. Issued on a first-come-first-serve basis, these gave fenced-off access to the stage and were an excellent surprise. We had a great view of the day's action and I was well positioned for photographs. "All My Life" opened the two and a half hour set, with Grohl spending the entire show seated on a most gloriously over-the-top throne, designed by Grohl himself and adorned by guitar necks. It transported the front-man up and down the runway, and was in itself a crowd pleaser! I have wanted to see the Foo Fighters for about two decades - and desperate to do so since "Wasting Light"- and they did not disappoint. A shredding version of "White Limo" alone justified the ticket price, and the rest was a wonderful (and sometimes nostalgic) tour through their back-catalogue. All in all, it was a triumphant, heart-warming singalong set that showed why, for so many, the Foo Fighters have been the soundtrack to the last two decades. Here's the Foo Fighters' set list for the Milton Keynes "Broken Leg" concert.
If I was desperate to see the Foo Fighters, I was absolutely aching to see 69 year old rock legend, Iggy Pop. I narrowly missed one of his gigs in Amsterdam at the end of 1978 and, after this initial disappointment, Iggy stayed on my Bucket List through the late-80's in London, the 90's in Prague and the naughties in the UK. When he was in town, I was always travelling, had other commitments or just had bad luck (i.e. the cancellation of the Foo's concert at Wembley in June where Iggy was on the supporting bill). Well, I finally got to see James Newell Osterberg, Jr. in full, topless, action in Milton Keynes on a fine evening in September 2015! Iggy brought his old school punk snarl to the party, prompting mass singalongs to classic tunes, some of which he penned with his old mate David Bowie in Berlin in the 70's. If I'm still as active as Iggy when I'm almost 70, I'll be more than happy! He made fine use of the runway before him, skipping, kicking, twisting and turning as only Iggy can. He took a breather every now and then, but Iggy still has more energy than any new breed act you care to mention. Fucking hell - he's the man that wrote "Lust for Life"! The snot-noses in the audience didn't know what hit them :-) FYI, here's the Iggy Pop's set list for the night.
A wonderful, sunny day and balmy evening with my family, and a fine way to celebrate the 32nd anniversary of my first date with my future-wife on September 7, 1983.
www.metmuseum.org/art/collection/search/436885 The Chess Players
Artist:Liberale da Verona (Italian, Verona ca. 1445–1527/29 Verona)
Date:ca. 1475
Medium:Tempera on wood
Dimensions:Overall 13 3/4 x 16 1/4 in. (34.9 x 41.3 cm); painted surface 13 1/8 x 15 7/8 in. (33.3 x 40.3 cm)
Classification:Paintings
Credit Line:Maitland F. Griggs Collection, Bequest of Maitland F. Griggs, 1943
Accession Number:43.98.8
On view at The Met Fifth Avenue in Gallery 604
This and its companion panel are from the front of a chest (cassone) and show two episodes from an as yet unidentified story, or novella. In one, a youth is smitten by a maiden who appears at a window. In the other, they engage in an erotically charged game of chess (she is about to lose). Both were common themes in the amatory literature of the Renaissance. The figures’ bleached blond, frizzy hair was the height of fashion in fifteenth-century Siena. Liberale was a brilliant illuminator and worked on choirbooks in Siena between 1467 and 1476.
Catalogue Entry
This charming picture and a companion (1986.147) are fragments from the front of a cassone. A third fragment is in the Berenson Collection at the Harvard Center for Renaissance Studies in Florence. Technical examination demonstrates that the three fragments were unquestionably cut from a single, horizontal plank and formed a continuous scene, with the Berenson fragment between the other two (see Additional Images, fig. 1). The narrative is divided into two episodes, one set in front of a palace with a De Chirico-like view through two portals (one arched, the other rectangular), the other in an interior room seen through a screen of three columns. In the first episode, a bushy-haired, blond youth is seated on a pile of rocks, accompanied by three companions. Dressed in an elaborate, patterned gown, and gazing longingly at a maiden appearing at the palace window, he extends a hand towards her imploringly while, apparently in response, she raises her right hand as though gesturing for him to join her inside. The next episode is set in the interior of the palace. On the Berenson fragment a group of young men watch their companion finishing a game of chess with the maiden, who is observed by female companions. She appears to have lost—the pieces on the board are of one color—and she places one hand on the arm of the victor while coyly turning her head away, her gaze directed upwards. One of her companions looks on fixedly while another has an expression of distress.
Although the elements of the story—the beloved appearing at the window and a chess match between two lovers—are found in a number of chivalric tales and novelle, all attempts to identify the specific literary source have failed. Before it was established that all three scenes formed a single cassone front and thus, contrary to what was sometimes expressed, illustrate a continuous narrative rather than complementary stories, attention focused mainly on identifying possible sources for the chess match. Most frequently suggested is the chivalric tale of Huon of Bordeaux, in which the young knight Huon, disguised as a servant to a minstrel, wins the right to sleep with the daughter of King Ivoryn by winning a chess match; she is distracted by his beauty and, by losing, spares his life. However, the tale contains no episode that matches the earlier scene of the woman appearing at the window and the suitor sitting on a pile of stones. Nonetheless, Simons (1993) has wondered whether a certain amount of poetic license might have been taken, since Huon was observed from a window earlier in the poem by another woman and after the chess game was observed from a window by the daughter of King Ivoryn. However, in both cases he is armed and in the latter departs on his horse. In other words, the dissimilarities with the episode shown would seem to exclude Huon as a possibility, especially as the youth seated on a rock seems likely to signify a sort of trial or penance performed for love.
Simons (1993) has written about the erotic implication of the chess game. The motif of the lover first seeing his beloved at a window was also a topos in medieval chivalric literature. It occurs in a thirteenth-century canzone by Giacomino Pugliese (Ispendiente Stella d' albore) and was notably employed by Dante, who had a vision of Beatrice at a window in the Vita nuova (XXXV). It also occurs in Aeneas Silvius Piccolomini’s Story of Two Lovers, in which there is a description of the handsome Euryalus and his companions that is directly relevant to the figures on the cassone front. Euryalus is described as wearing clothes stamped with gold, and the youths are noted for their crimped hair and pale faces. Blond hair was especially prized in Siena (Saint Bernardino famously inveighed against the pervasive practice of bleaching hair in the sun, and Neroccio de’ Landi’s Portrait of a Lady in the National Gallery of Art, Washington, gives good evidence for this fashion). For the time being, then, all that can be said is that the cassone front incorporates stock motifs from chivalric literature and novellas.
Weller (1940) was the first to note that the Berenson panel completed the left hand composition of the scene of chess playing, though the technical evidence he adduced was in part erroneous (he did not realize that the Chess Game is only cut on the left vertical edge and he therefore wrongly hypothesized additional figures on the right). Only following the acquisition of the fragment with a woman appearing at the window has it been possible to demonstrate definitively that all three fragments are from the same cassone front and did not belong to a companion chest or piece of furniture, as had sometimes been thought (Christiansen 1988). Cassoni were usually commissioned in pairs, but nothing survives from a putative companion of this cassone front. The damages the three fragments have sustained—especially the pitting and intentional scoring in some of the faces—is typical of cassone panels and rules out that the panel could have been intended for display high on a wall or above a cassapanca.
The initial, widespread attribution of the fragments to Francesco di Giorgio, already prevalent by 1928 (Comstock), was first firmly rejected by Zeri (1950), who argued the case for them being by Girolamo da Cremona, to whom he also attributed a cassone panel in the Louvre showing the rape of Europa—also previously ascribed to Francesco di Giorgio—as well as an altarpiece in the church of Santa Francesca Romana in Rome. That these works are all by the same artist is universally accepted, but whether their author is to be identified with Liberale or another north Italian painter active in Siena, Girolamo da Cremona, has been the subject of much debate. Carlo del Bravo (1960, 1967) made a case for Liberale. This attributional confusion can now be seen to be the reflection of the range of influences that shaped Liberale’s nine years of activity in Siena.
Although probably trained in Ferrara, possibly by Michele Pannonio (see L. Bellosi, in De Marchi 1993, pp. 59–61), in 1465 Liberale was working as an illuminator for the Olivetans in Verona. The following year he arrived in Tuscany to illuminate choir books for Monte Oliveto Maggiore, south of Siena. He was then engaged to work on the choir books for the cathedral of Siena, a task for which Girolamo da Cremona was also engaged in 1470. A young artist (he is referred to as "il giovanetto Lombardo" in a document of 1467), Liberale proved responsive to the most diverse stimuli, ranging from the conservative Sano di Pietro to the most progressive and innovative artists in the city: the sculptor Federighi and, above all, Francesco di Giorgio Martini. The artistic exchange with Francesco di Giorgio was reciprocal: Francesco’s altarpiece of the Coronation of the Virgin, painted in 1472–74 for the monastery of Monte Oliveto Maggiore, incorporates some of the most inventive ideas of Liberale, particularly in the upper area, in which an audaciously foreshortened figure of God the Father descends through spiraling clouds. So also, Liberale owed much to Francesco’s work—his sculpture as well as his paintings (see especially Bellosi, in De Marchi 1993, pp. 61–64; and De Marchi 1993, pp. 231–32, 300–304). It is possible that the cassone panels produced by Liberale during these years were the result of some sort of informal association (or compagnia) with Francesco. This would, for example, explain why some of the figurative reliefs in gilded gesso, such as those on a later cassone front in the Castel Vecchio, Verona, are so close in style to Francesco’s work. The other factor in understanding Liberale’s style during these years is Girolamo da Cremona, whose very different, Mantegnesque illuminations, with their carefully described interiors and more static compositions, also influenced Liberale (Girolamo left the city in 1474). Liberale’s work reaches a climax in the years around 1472, the date of his truly extraordinary altarpiece in the cathedral of Viterbo—a work that in its emphasis on artifice looks ahead to aspects of mid-sixteenth-century Mannerism.
The artistic exchange Liberale had with these very different artists explains the confusion that has surrounded the attribution of the cassone panels, and we owe to Hans-Joachim Eberhart (1983) an exemplary analysis of the documents relating to the illuminations for the choir books, thereby providing a firm basis for understanding the character and contribution of Liberale and Girolamo. There is now no question that Liberale was responsible for the design of the cassoni. On the basis of detailed comparisons with documented illuminations, Eberhardt convincingly dates the Berenson-Metropolitan cassone front to 1473 (the illuminations are documented to the period of July to October). His comparisons extend beyond morphology to the particular palette of Liberale at this time, when he was working especially closely with Girolamo.
Salomon and Syson (2007) have hypothesized that the cassone panels are not by Liberale himself but by an independent Sienese painter who "clearly looked very closely at Liberale—and may have been provided with designs by him . . . [but who] remained, however, notably eclectic . . ." It is true that there is a notable difference in character between the more decoratively conceived cassone panels ascribed to Liberale and his more concentrated work in the miniatures and in two extremely fine predella panels in the Fitzwilliam Museum, Cambridge, and the Gemäldegalerie, Berlin (for which, see De Marchi 1993, p. 244, cat. no. 39; and Salomon, in Salomon and Syson 2007, p. 156, cat. nos. 29–30). However, the same sort of distinction can be found in the cassone panels of Neroccio de’ Landi (compare, for example, Neroccio’s cassone panels in the North Carolina Museum of Art in Raleigh with his predella panel with three scenes from the life of Saint Benedict in the Uffizi, Florence). The more rapid, abbreviated, and calligraphic manner of the cassone panels and the emphasis on lively poses and highly ornamented surfaces is almost certainly a response to their very different format and function. There is no notable dropping off in quality of invention. It is, moreover, important to remember that the cassone panels have come down to us in seriously compromised condition. An examination of the Metropolitan Museum’s two fragments with infrared reflectography (see Additional Images, fig. 2) reveals a resolute execution and richness of decoration as well as a quality of invention fully in accord with what we would expect of Liberale himself. The figures are described with great assurance and there are indications for the decoration of the costumes that either was not carried over in the painting or has been lost. Mordant gilding and shell gold, sometimes barely visible today, are used to create the elegant patterns on the fabrics, and white is used to define highlights of the faces in a fashion directly comparable to what is found in the Viterbo altarpiece. The very facts that the morphological features of the figures in the various cassone panels align so closely with what is found in Liberale’s documented illuminations and that the stylistic evolution found in the choir books can also be traced in the cassone panels make it extremely unlikely that Liberale merely provided designs that were then executed by another artist.
[Keith Christiansen 2011]
Technical Notes
Infrared examination reveals extensive underdrawing in both panels. The faces and hands were drawn with great precision and sureness of hand, using fluid black paint or ink applied with a brush. Most striking in the infrared reflectogram images are areas of foliate pattern in the costumes of the principal figures. These costumes were originally richly embellished with mordant gilding; the elaborate design seen in the infrared image was the underdrawn guide for the mordant. In the darks, the gilding was applied directly over the underdrawn pattern and then glazed with blue or purple; in normal light this pattern is now completely obscured by the darkening of the paint. In the light areas of the costumes the gilding was applied over pale, opaque paint (which obscures the underdrawn design); due to abrasion only fragments of gilding and the ochre-colored mordant survive.
[Charlotte Hale 2011]
Provenance
?[art dealer, Munich]; Maitland F. Griggs, New York (1926–d. 1943)
Exhibition History
New York. Century Association. "Italian Primitive Paintings," February 15–March 12, 1930, no. 10 (as by Francesco di Giorgio, lent by Maitland Fuller Griggs) [see Zeri and Gardner 1986].
Art Institute of Chicago. "A Century of Progress," June 1–November 1, 1934, no. 28 (as by Francesco di Giorgio, lent by Maitland F. Griggs).
New York. Century Association. "Italian Paintings of the Renaissance," March 2–24, 1935, no. 7 (as by Francesco di Giorgio, lent by Maitland F. Griggs).
Cleveland Museum of Art. "Twentieth Anniversary Exhibition," June 26–October 4, 1936, no. 128 (as by Francesco di Giorgio, lent by Maitland F. Griggs).
New York. The Metropolitan Museum of Art. "The Maitland F. Griggs Collection," Winter 1944, no catalogue.
New York. The Metropolitan Museum of Art. "Art Treasures of the Metropolitan," November 7, 1952–September 7, 1953, no. 81 (as by Francesco di Giorgio).
Brooklyn Museum. "Chess: East and West, Past and Present," April–October 1968, no cat. number (fig. 5, as by Francesco di Giorgio).
New York. The Metropolitan Museum of Art. "Painting in Renaissance Siena: 1420–1500," December 20, 1988–March 19, 1989, no. 57b (as by Liberale da Verona).
London. National Gallery. "Renaissance Siena: Art for a City," October 24, 2007–January 13, 2008, no. 55 (as by a Sienese painter close to Liberale da Verona and Francesco di Giorgio Martini).
References
Bernard Berenson. Letter to Maitland Griggs. May 13, 1926, attributes it to Francesco di Giorgio.
Paul Schubring. "New Cassone Panels—III." Apollo 5 (April 1927), pp. 156, 159, ill., attributes it to Matteo di Giovanni, calls it part of a cassone front, and thinks it probably illustrates a scene from Boccaccio.
Helen Comstock. "Francesco di Giorgio as Painter." International Studio 89 (April 1928), pp. 33–36, ill., attributes it to Francesco di Giorgio, calls it a companion to the ex Wauters panel (MMA 1986.147), and states that the subject must be taken from some unidentified contemporary romance.
F. Mason Perkins. "Three Paintings by Francesco di Giorgio." Art in America 16 (February 1928), pp. 68, 71, fig. 2, attributes it to Francesco di Giorgio; identifies it as a companion to the "Scene from a Novella" (MMA 1986.147; then in a private collection, New York; later in the Wauters collection, Brussels) and calls the two panels part of a cassone or other piece of furniture; cannot identify the subject.
Lilia Marri Martini. "San Bernardino e la donna: II—le ribalde." La Diana 5, no. 2 (1930), p. 104, pl. 4, as by Francesco di Giorgio.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. CCXXXIII, calls it a late work by Francesco di Giorgio.
Raimond van Marle. Iconographie de l'art profane au Moyen-Age et à la Renaissance. Vol. 1, La vie quotidienne. The Hague, 1931, p. 66, as by Francesco di Giorgio.
S[elwyn]. B[rinton]. "Review of Venturi 1931." Apollo 13 (February 1931), p. 129, rejects the attribution to Francesco di Giorgio.
Piero Misciattelli. Studi senesi. Siena, 1931, p. 68, as by Francesco di Giorgio.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 202.
Erwin Panofsky. Letter to Maitland Griggs. April 6, 1932, as by Francesco di Giorgio; states that it is part of a cycle of pictures, probably for a cassone; suggests that the two chess players might be either Tristan and Yseult, Huon of Bordeaux and the daughter of Ivoryn, or Lancelot and Guinevere.
Lionello Venturi. Italian Paintings in America. Vol. 2, Fifteenth Century Renaissance. New York, 1933, unpaginated, pl. 305.
Selwyn Brinton. Francesco di Giorgio Martini of Siena. Vol. 1, London, 1934, p. 109, lists it as by Francesco di Giorgio.
Hans Tietze. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935, p. 327, pl. 55 [English ed., "Masterpieces of European Painting in America," New York, 1939, p. 311, pl. 55], attributes it to Francesco di Giorgio and dates it about 1490.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 174.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 16, The Hague, 1937, p. 262, fig. 141, attributes it to Francesco di Giorgio.
Alfred M. Frankfurter. "The Maitland F. Griggs Collection." Art News 35 (May 1, 1937), p. 156, ill. p. 43, as by Francesco di Giorgio; states that it illustrates "a medieval legend either of the family for which it was painted or one from Boccaccio".
Allen Weller. "A Reconstruction of Francesco di Giorgio's Chess Game." Art Quarterly 3 (Spring 1940), pp. 162–72, figs. 1, 5 (reconstruction), 6 (composite photograph), attributes it to Francesco di Giorgio and calls it a late work; identifies a fragment depicting a group of young men (Villa I Tatti, Florence) as having originally formed the left side of this panel and posits the existence of a lost fragment from the right side of the composition which would have depicted a group of young women; also suggests that there may have been a second picture placed to the right of his reconstructed composition, and that the two works were furniture decorations; favors the story of Huon of Bordeaux as the source of the narrative, but notes that the ex Wauters panel (MMA 1986.147), evidently associated with this work, seemingly depicts no episode from that story.
G. F. Hartlaub. "Zur Würdigung des Francesco di Giorgio als Maler und Bildhauer." Pantheon 13 (February 1940), ill. p. 32, as by Francesco di Giorgio.
Allen Stuart Weller. Francesco di Giorgio, 1439–1501. Chicago, 1943, pp. 92, 198, 234–42, 254, 258, figs. 97, 100 (composite photograph), 101 (reconstruction) [similar text to Ref. Weller 1940].
Francis Henry Taylor. "The Maitland F. Griggs Collection." Metropolitan Museum of Art Bulletin 2 (January 1944), ill. p. 154, as by Francesco di Giorgio.
Conrad Albrizio. "Maitland Griggs Collection Installed at the Metropolitan Museum." Art Digest 18 (January 1, 1944), p. 29, ill. p. 5, as by Francesco di Giorgio.
Robert Langton Douglas. "Review of Weller 1943." Art in America 32 (April 1944), p. 103, accepts the attribution to Francesco di Giorgio, but calls it an early work.
Helen Comstock. "The Connoisseur in America: Part of the Maitland F. Griggs Collection at the Metropolitan." Connoisseur 113 (June 1944), p. 107, ill. p. 108.
John Pope-Hennessy. Sienese Quattrocento Painting. Oxford, 1947, pp. 20–21, 32, pls. 80 (overall), 81 (detail), attributes it to Francesco di Giorgio; dates it after 1485 on p. 20 and 1480–90 on p. 32; connects it with the I Tatti fragment and states that the work decorated the front of a chest or box; adds that the ex Wauters panel illustrates a scene from the same unidentified story.
Harry B. Wehle. "The Chess Players by Francesco di Giorgio." Metropolitan Museum of Art Bulletin 5 (February 1947), pp. 153–56, ill. p. 155 and detail on cover (color), notes that the panel is cut only at the left, and accepts Weller's [see Ref. 1940] identification of the I Tatti fragment as the left portion of the composition; thinks the source is probably the story of Huon of Bordeaux; believes that the ex Wauters panel (MMA 1986.147) probably comes from the same piece of furniture but does not illustrate the same story.
Federico Zeri. Letter. May 27, 1948, rejects the attribution to Francesco di Giorgio, assigning it to Girolamo da Cremona and dating it about 1475–80.
Millia Davenport. The Book of Costume. New York, 1948, vol. 1, p. 275, no. 748, ill. p. 274.
Federico Zeri. "Una pala d'altare di Gerolamo da Cremona." Bollettino d'arte 35 (1950), p. 39, fig. 10 (detail).
Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 224, no. 81, colorpl. 81, as by Francesco di Giorgio.
Michel Laclotte. De Giotto à Bellini: les primitifs italiens dans les musées de France. Exh. cat., Orangerie des Tuileries. Paris, 1956, p. 61, under no. 86, repeats Zeri's [see Ref. 1950] attribution of the three panels to Girolamo da Cremona.
Carlo Del Bravo. "Liberale a Siena." Paragone 11 (September 1960), p. 32, attributes the three related panels to Liberale da Verona and dates them about 1475.
Carlo Del Bravo. "'Neroccio de' Landi', di Gertrude Coor." Paragone 13 (September 1962), p. 72.
Franco Russoli. La raccolta Berenson. Milan, 1962, unpaginated, under pl. LI.
Carlo Del Bravo. "Liberale in patria." Arte veneta 17 (1963), p. 41, compares the figures in the three related panels to Liberale da Verona's fresco in the Piazza delle Erbe, Verona, dating them to the end of Liberale's Sienese period.
Carlo Del Bravo. Liberale da Verona. Florence, 1967, pp. CXIV, CXVI, ill. p. CXVII.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, pp. 140–41, 189–90, 210–11, connects it with the I Tatti and ex Wauters panels and lists all three works as by either Francesco di Giorgio, Liberale da Verona, or Girolamo da Cremona.
Burton B. Fredericksen. The Cassone Paintings of Francesco di Giorgio. Malibu, 1969, pp. 43–44, attributes the three related panels to Girolamo da Cremona.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 92, 498, 608, attribute it to Girolamo da Cremona.
Hans-Joachim Eberhardt in Maestri della pittura veronese. Ed. Pierpaolo Brugnoli. Verona, 1974, p. 111, lists it under works attributed to Liberale da Verona.
Michel Laclotte and Élisabeth Mognetti. Peinture italienne. Paris, 1976, unpaginated, under no. 110.
John Pope-Hennessy and Keith Christiansen. "Secular Painting in 15th-Century Tuscany: Birth Trays, Cassone Panels, and Portraits." Metropolitan Museum of Art Bulletin 38 (Summer 1980), pp. 17, 53–55, figs. 47, 48 (color, overall and detail), attribute it to Girolamo da Cremona and date it 1468–74; identify the ex Wauters panel as "part of the same cassone or a companion piece," noting that "the protagonists are clearly the same as those who play chess".
Hans-Joachim Eberhardt. Die Miniaturen von Liberale da Verona, Girolamo da Cremona und Venturino da Milano in den Chorbüchern des Doms von Siena: Dokumentation - Attribution - Chronologie. PhD diss., Freie Universität, Berlin. Munich, 1983, p. 219 n. 253, dates the three panels 1473 or a little later; mentions attributions to Francesco di Giorgio, Girolamo da Cremona, and Liberale da Verona, but does not himself assign the works to a particular artist.
Paul F. Watson. "A Preliminary List of Subjects from Boccaccio in Italian Painting, 1400–1550." Studi sul Boccaccio 15 (1985–86), pp. 162–63, as by Girolamo da Cremona; dates it about 1470; states that the subject may be Anichino and Beatrice from the "Decameron".
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, North Italian School. New York, 1986, pp. 26–27, pl. 21, attribute it to Girolamo da Cremona, noting the influence of Liberale da Verona; date it before 1472.
Michel Laclotte and Élisabeth Mognetti. Avignon, musée du Petit Palais: Peinture italienne. 3rd ed. Paris, 1987, p. 124, under no. 110.
Keith Christiansen in Painting in Renaissance Siena: 1420–1500. Exh. cat., The Metropolitan Museum of Art. New York, 1988, pp. 291, 294–96, no. 57b, ill. (overall in color, reconstruction in black and white), attributes it to Liberale da Verona, but notes the influence of Girolamo da Cremona and especially of Francesco di Giorgio, suggesting that it may have been produced in Francesco's workshop; adds that technical analysis has established that the three panels originally formed a complete uninterrupted surface on the front of a cassone, depicting two consecutive episodes of the same story.
Andrea De Marchi in Francesco di Giorgio e il Rinascimento a Siena, 1450–1500. Ed. Luciano Bellosi. Exh. cat., chiesa di Sant'Agostino, Siena. Milan, 1993, pp. 232, 240, 243, as by Liberale.
Patricia Simons. "(Check)Mating the Grand Masters: The Gendered, Sexualized Politics of Chess in Renaissance Italy." Oxford Art Journal 16, no. 1 (1993), pp. 65–69, 73 n. 74, fig. 6, discusses it as an illustration of the story of Huon of Bordeaux.
Graham Hughes. Renaissance Cassoni, Masterpieces of Early Italian Art: Painted Marriage Chests 1400–1550. Alfriston, England, 1997, p. 232.
Michel Laclotte and Esther Moench. Peinture italienne: musée du Petit Palais Avignon. new ed. Paris, 2005, p. 119, under no. 119.
Xavier F. Salomon and Luke Syson in Renaissance Siena: Art for a City. Exh. cat., National Gallery. London, 2007, pp. 213, 215, no. 55, ill. p. 217 (color), date the three panels about 1475 and attribute them to an unknown Sienese painter close to Liberale da Verona and Francesco di Giorgio; assign a recently discovered cassone panel depicting "The Triumphal Procession of a Royal Conqueror" (Marquess of Northampton) to the same artist and date it slightly later, about 1475–80; state that the subject of the MMA and I Tatti panels is taken from an as yet unidentified Italian narrative based on French literature, noting that "the amorous chess game . . . is a feature of several medieval French romances".
Adrian W. B. Randolph. Touching Objects: Intimate Experiences of Italian Fifteenth-Century Art. New Haven, 2014, p. 256 n. 49, suggests that instead of depicting a specific scene from a romance, the three panels may "relate to the symbolic literature on chess that emerged in the late Middle Ages," citing Évrart de Conty (d. 1405), "Le livre des eschez amoureux moralisées" (Bibliothèque Nationale de France, Paris; published Montreal, 1993, ed. Françoise Guichard-Tesson and Bruno Roy).
Keith Christiansen in Carl Brandon Strehlke and Machtelt Brüggen Israëls. The Bernard and Mary Berenson Collection of European Paintings at I Tatti. Florence, 2015, pp. 361–2, 364–65, Companion B under pl. 50, figs. 50.1 (color, reconstruction), 50.2 (infrared reflectogram), notes that Mattia Vinco has suggested that the three panels illustrate the story of "La châtelaine du vergy" (Italian version: "La dama del vergiù"), which includes a chess game played by a duchess and a young knight in a palace.
www.metmuseum.org/art/collection/search/436884
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Беренсон атрибутировал «Шахматистов», впоследствии попавших в собрание музея Метрополитен, художнику Франческо ди Джорджо; первым заявил о том, что эта и ещё две панели составляют единое панно на сюжет неизвестного рыцарского романа.
Франческо ди Джорджо. Шахматисты. Около 1475. Нью-Йорк, Метрополитен ru.wikipedia.org/wiki/Беренсон,_Бернард
From Wikipedia:
The Erdene Zuu Monastery (Mongolian: Эрдэнэ Зуу) is probably the most ancient surviving Buddhist monastery in Mongolia. It is in Övörkhangai Province, near the town of Kharkhorin and adjacent to the ancient city of Karakorum. It is part of the World Heritage Site entitled Orkhon Valley Cultural Landscape.
The Erdene Zuu monastery was built in 1585 by Abtai Sain Khan, upon the (second) introduction of Tibetan Buddhism into Mongolia. Stones from the ruins of Karakorum were used in construction. It is surrounded by a wall featuring 100 stupas. The number 108, being a sacred number in Buddhism, and the number of beads in a Buddhist rosary, was probably envisioned, but never achieved. The monastery temples' wall were painted, and the Chinese-style roof was covered with green tiles. The monastery was damaged by warfare in the 1680s, but was rebuilt in the 18th century and by 1872 had a full 62 temples inside.
In 1939 the Communist leader Khorloogiin Choibalsan had the monastery ruined, as part of a purge that obliterated hundreds of monasteries in Mongolia and killed over ten thousand monks. Three small temples and the external wall with the stupas remained; the temples became museums in 1947. They say that this part of the monastery was spared destruction on account of Joseph Stalin's pressure. One researcher claims that Stalin's pressure was connected to the short visit of US vice president Henry A. Wallace's delegation to Mongolia in 1944.
Erdene Zuu was allowed to exist as a museum only; the only functioning monastery in Mongolia was Gandantegchinlen Khiid Monastery in the capital, Ulaanbaatar. However, after the fall of Communism in Mongolia in 1990, the monastery was turned over to the lamas and Erdene Zuu again became a place of worship. Today Erdene Zuu remains an active Buddhist monastery as well as a museum that is open to tourists.
On a hill outside the monastery sits a stone phallus. The phallus is said to restrain the sexual impulses of the monks and ensure their good behavior.
This 360° panorama was stitched from 60 bracketed photographs with PTGUI Pro, tone-mapped with Photomatix, and touched up in Aperture.
Original size: 18588 × 9294 (172.8 MP; 198.49 MB).
Location: Erdene Zuu Monastery, Kharkhorin, Övörkhangai, Mongolia
Source: en.wikipedia.org/wiki/St._Louis
St. Louis is the second-largest city in Missouri, United States. It sits near the confluence of the Mississippi and the Missouri Rivers, on the western bank of the latter. As of 2020, the city proper had a population of around 301,500, while the bi-state metropolitan area, which extends into Illinois, had an estimated population of over 2.8 million, making it the largest metropolitan area in Missouri, the second-largest in Illinois, the seventh-largest in the Great Lakes Megalopolis, and the 20th-largest in the United States.
Before European settlement, the area was a regional center of Native American Mississippian culture. St. Louis was founded on February 14, 1764, by French fur traders Gilbert Antoine de St. Maxent, Pierre Laclède and Auguste Chouteau, who named it for Louis IX of France. In 1764, following France's defeat in the Seven Years' War, the area was ceded to Spain. In 1800, it was retroceded to France, which sold it three years later to the United States as part of the Louisiana Purchase; the city was then the point of embarkation for the Corps of Discovery on the Lewis and Clark Expedition. In the 19th century, St. Louis became a major port on the Mississippi River; from 1870 until the 1920 census, it was the fourth-largest city in the country. It separated from St. Louis County in 1877, becoming an independent city and limiting its own political boundaries. St. Louis had a brief run as a world-class city in the early 20th century. In 1904, it hosted the Louisiana Purchase Exposition and the Summer Olympics.
A "Gamma" global city with a metropolitan GDP of more than $160 billion in 2017, metropolitan St. Louis has a diverse economy with strengths in the service, manufacturing, trade, transportation, and tourism industries. It is home to nine of the ten Fortune 500 companies based in Missouri. Major companies headquartered or with significant operations in the city include Ameren Corporation, Peabody Energy, Nestlé Purina PetCare, Anheuser-Busch, Wells Fargo Advisors, Stifel Financial, Spire, Inc., MilliporeSigma, FleishmanHillard, Square, Inc., U.S. Bank, Anthem BlueCross and Blue Shield, Federal Reserve Bank of St. Louis, U.S. Department of Agriculture, National Geospatial-Intelligence Agency, Centene Corporation, and Express Scripts.
Major research universities include Saint Louis University and Washington University in St. Louis. The Washington University Medical Center in the Central West End neighborhood hosts an agglomeration of medical and pharmaceutical institutions, including Barnes-Jewish Hospital.
St. Louis has three professional sports teams: the St. Louis Cardinals of Major League Baseball, the St. Louis Blues of the National Hockey League, and the St. Louis BattleHawks of the newly formed XFL. In 2019, the city was awarded a Major League Soccer franchise, St. Louis City SC, which is expected to begin play upon the completion of a 22,500-seat stadium in the city's Downtown West neighborhood in 2023. Among the city's notable sights is the 630-foot (192 m) Gateway Arch in the downtown area. St. Louis is also home to the St. Louis Zoo and the Missouri Botanical Garden, which has the second-largest herbarium in North America.
Source: en.wikipedia.org/wiki/Saint_Louis_Art_Museum
The Saint Louis Art Museum is one of the principal U.S. art museums, with paintings, sculptures, cultural objects, and ancient masterpieces from all corners of the world. Its three-story building stands in Forest Park in St. Louis, Missouri, where it is visited by up to a half million people every year. Admission is free through a subsidy from the cultural tax district for St. Louis City and County.
In addition to the featured exhibitions, the museum offers rotating exhibitions and installations. These include the Currents series, which features contemporary artists, as well as regular exhibitions of new media art and works on paper.
Source: en.wikipedia.org/wiki/Forest_Park_(St._Louis)
Forest Park is a public park in western St. Louis, Missouri. It is a prominent civic center and covers 1,326 acres (5.37 km2). Opened in 1876, more than a decade after its proposal, the park has hosted several significant events, including the Louisiana Purchase Exposition of 1904 and the 1904 Summer Olympics. Bounded by Washington University in St. Louis, Skinker Boulevard, Lindell Boulevard, Kingshighway Boulevard, and Oakland Avenue, it is known as the "Heart of St. Louis" and features a variety of attractions, including the St. Louis Zoo, the St. Louis Art Museum, the Missouri History Museum, and the St. Louis Science Center.
Since the early 2000s, it has carried out a $100 million restoration through a public-private partnership aided by its Master Plan. Changes have extended to improving landscaping and habitat as well. The park's acreage includes meadows and trees and a variety of ponds, manmade lakes, and freshwater streams. For several years, the park has been restoring prairie and wetlands areas of the park. It has reduced flooding and attracted a much greater variety of birds and wildlife, which have settled in the new natural habitats.
copyright: © R-Pe 1764.org All rights reserved. Please do not use this image, or any images from my flickr photostream, fb account or g+, without my permission.
En Biodiversidad virtual y también en Instagram como @proyectoagua.
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Bajo su piel de reptil Cochliopodium esconde el alma de una ameba e igual que tantas otras amebas, reptante, Cochliopodium es tan cambiante como prodigiosa, mientras su piel de escamas fluye libre como río lento, adelantándose a sus pasos líquidos en flujos y reflujos de oleaje que ensanchan y estrechan su borde perlado.
En reposo Cochliopodium se recoge y se hace esfera bajo el manto firme su capa escamosa y uniforme, y desde aquí, tímidamente ,se desflecan algunos de sus pies para palpar el agua y sus peligros. Si no hay ya ni obstáculos ni temores, Cochliopodium se abrirá desgranándose dejando que deslicen sus entrañas en montaña, protegidas por la malla de su armadura fluida y densa.
Cuando se abre y camina Cochliopodium es una fina lámina suavemente recortada que dibuja una silueta de bordes planos y granados. Traza así el contorno de una diminuta isla de vida, cambiante en cada momento en cuyo centro, una elevación de apenas unas micras, se levanta como montaña de volcán que bulle de actividad.
Suavemente la ameba Cochliopodium se va deslizando casi imperceptible sobre la superficie de los fondos, cubriendo con su fina capa todo lo que encuentra a su paso, y recogiendo las algas, bacterias y restos de vida con las que su vida se fundirá.
El finísimo borde cambiante de Cochliopodium se abre a su alrededor como un abanico para explorar el territorio sumergido. A diferencia de otras amebas lo hace sin los dedos gruesos de Amoeba y sin los pies de hilo de las amebas sol, todo su borde es pies y manos como el borde del mar y apenas unos finos flecos se aventuran en territorio por conquistar.
Cochliopodium tiene algo excepcional y es la estructura de ese reborde que forma su ancho contorno y su línea de avance. El microscopio óptico descubre en él un encaje minucioso y bello construido por delicadas escamams de azúcares que recubren su dorso dejando sobre él la marca de una finísima malla que se ve con dificultad.
Las amebas del género Cochliopodium , presentan formas discoidales o esféricas, con una notable joroba central que se eleva sobre su cuerpo. Esta prominencia central se encuentra rodeada por un margen más o menos ancho e hialino. Pero su característica más notable es esa fina capa de encaje -téctum- fabricada de minúsculas escamas de azúcares complejos que recuubre todo su cuerpo por la parte dorsal de la célula.
Cada una de esas invisibles escamas forma parte de una malla protectora de prodigiosa complejidad: una placa basal cuadrangular, 4 columnas verticales conectadas transversalmente a dos niveles y una amplia parte superior en forma de embudo formado por 4 anillos concéntricos y 24 radios que nacen a partir de cada una de las columnas verticales. Centenares de estas piezas distribuidas ordenadamente constituyen una especie de esqueleto flexible que le permite a Cochliopodium desplazarse y crear cualquier forma en su contorno.
En épocas de dificultad, igual que muchas otras amebas, Cochliopodium puede formar quistes para volver a la vida normal una vez que pasan sus malos momentos.
Con cerca de veinte especies, este género de amebas habita tanto en las aguas dulces como las saladas o salobres, y en las turberas de Hoyos de Iregua sobre el lecho de su fondo, va recogiendo grumos y transformándolos los convierte en perlas para su manto
Por su apariencia, esta especie, recuerda a Cochliopodium bilimbosum , carece de las espinas características de Cochliopodium vestitum pero solo un estudio morfológico de sus escamas con microscopía electrónica, permitiría cerciorarse de su correcta determinación...
Cochliopodium ha sido fotografiada en vivo a 1000 aumentos empleando la técnica de contraste de interferencia y procede de una muestra de agua recogida en las turberas de Hoyos de Iregua el día 12 de agosto de 2019
Unesco Tentative List;
whc.unesco.org/en/tentativelists/5409/
The archaeological site of Sagalassos is located in southwest Turkey, near the present town of Ağlasun (Burdur province); roughly 110 km to the north of the well-known port and holiday resort of Antalya. The ancient city was founded on the south facing slopes of the Taurus mountain range and was the metropolis of the Roman province of Pisidia. Next to its mountainous landscape, a series of lakes form another typical feature of the regional geography. Today this region is known as the Lake District.
The first traces of hunter/gatherers in the territory of Sagalassos date back to some 12 000 years BP. During the eighth millennium BC, farmers settled along, the shores of Lake Burdur. During the Bronze Age, territorial "chiefdoms" developed in the region, whereas Sagalassos itself was most probably not yet occupied. This may have changed by the 14th century BC, when the mountain site of Salawassa was mentioned in Hittite documents, possibly to be identified with the later Sagalassos. Under Phrygian and Lydian domination the site gradually developed into an urban centre. During the Persian period, Pisidia became known for its warlike and rebellious factions; a reputation to which the region certainly lived up in 332 BC, when Alexander the Great experienced fierce resistance at Sagalassos while conquering the region as part of his conquest of the Persian kingdom.
Pisidia changed hands many times among the successors of Alexander, being incorporated into the kingdom Antigonos Monopthalmos (321-301 BC), perhaps regaining its autonomy under Lysimachos of Thrace (301-281 BC), and then being conquered again by the Seleucids of Syria (281-189 BC) and later given to Attalids of Pergamon (189-133 BC). The use of Greek, the development of Municipal institutions and material culture of Greek origin seem to testify to fairly quick Hellenisation, but the recent discovery at Tepe Düzen of an indigenous city, with a possible Hellenistic date makes clear that Hellenisation must have been a complex process. After the Attalids bequeathed their kingdom to Rome, Pisidia at first became part of the newly created Roman province of Asia, then, around 100 BC of the coastal province of Cilicia and once more of Asia around the middle of that century.
Sagalassos and its territory turned into dependable and very prospering Roman partners. In fact, the control of an extremely fertile territory with a surplus production of grain and olives, as well as the presence of excellent clay beds allowing an industrial production of high quality table ware ("Sagalassos red slip ware"), made the export of local products possible. Rapidly, under Roman Imperial rule, Sagalassos became the metropolis of Pisidia. Trouble only started around 400 AD, when the town had to fortify its civic centre against, among others, rebellious Isaurian tribes. Sagalassos seems to have remained rather prosperous even under these conditions. After the earthquake around 500 AD, it was restored with a great sense of monumentality.
As a result of recurring epidemics after the middle of the 6th century and related general decline of the economic system in Asia Minor, the city started to lose population. Large parts of the town were abandoned and the urban life was replaced by a more rural way of living.
In the 7th century AD, the situation had further aggravated due to continuous Arab raids and new epidemics when the city was struck once more with a heavy earthquake, most probably around 590 AD. Despite this disaster, recent research has proven that the city remained occupied until the 13th century in the form of isolated and well-defended hamlets, located on some promontories which maintained the name of the former ancient city. One of these hamlets found on the Alexander's Hill of Sagalassos was destroyed in mid 13th century, by which time Seljuk's had already build a bath and a caravanserai in the village in the valley (Ağlasun).
The abandoned ancient city was then rapidly covered under vegetation and erosion layers. As a result of its remote location, Sagalassos was not really looted in later periods and remained to be one of the best preserved ancient cities in the Mediterranean.
en.wikipedia.org/wiki/Sagalassos
Sagalassos (Greek: Σαγαλασσός) is an archaeological site in southwestern Turkey, about 100 km north of Antalya (ancient Attaleia), and 30 km from Burdur and Isparta. The ancient ruins of Sagalassos are 7 km from Ağlasun (as well as being its namesake) in the province of Burdur, on Mount Akdağ, in the Western Taurus mountains range, at an altitude of 1450–1700 metres. In Roman Imperial times, the town was known as the "first city of Pisidia", a region in the western Taurus mountains, currently known as the Turkish Lakes Region. During the Hellenistic period it was already one of the major Pisidian towns.
Source: en.wikipedia.org/wiki/St._Louis
St. Louis is an independent city and inland port in the U.S. state of Missouri. It is situated along the western bank of the Mississippi River, which marks Missouri's border with Illinois. The Missouri River merges with the Mississippi River just north of the city. These two rivers combined form the fourth longest river system in the world. The city had an estimated 2017 population of 308,626 and is the cultural and economic center of the St. Louis metropolitan area (home to nearly 3,000,000 people), which is the largest metropolitan area in Missouri, the second-largest in Illinois (after Chicago), and the 22nd-largest in the United States.
Before European settlement, the area was a regional center of Native American Mississippian culture. The city of St. Louis was founded in 1764 by French fur traders Pierre Laclède and Auguste Chouteau, and named after Louis IX of France. In 1764, following France's defeat in the Seven Years' War, the area was ceded to Spain and retroceded back to France in 1800. In 1803, the United States acquired the territory as part of the Louisiana Purchase. During the 19th century, St. Louis became a major port on the Mississippi River; at the time of the 1870 Census it was the fourth-largest city in the country. It separated from St. Louis County in 1877, becoming an independent city and limiting its own political boundaries. In 1904, it hosted the Louisiana Purchase Exposition and the Summer Olympics.
The economy of metropolitan St. Louis relies on service, manufacturing, trade, transportation of goods, and tourism. Its metro area is home to major corporations, including Anheuser-Busch, Express Scripts, Centene, Boeing Defense, Emerson, Energizer, Panera, Enterprise, Peabody Energy, Ameren, Post Holdings, Monsanto, Edward Jones, Go Jet, Purina and Sigma-Aldrich. Nine of the ten Fortune 500 companies based in Missouri are located within the St. Louis metropolitan area. The city has also become known for its growing medical, pharmaceutical, and research presence due to institutions such as Washington University in St. Louis and Barnes-Jewish Hospital. St. Louis has two professional sports teams: the St. Louis Cardinals of Major League Baseball and the St. Louis Blues of the National Hockey League. One of the city's iconic sights is the 630-foot (192 m) tall Gateway Arch in the downtown area.
Source: en.wikipedia.org/wiki/The_Grove,_St._Louis
The Grove is a business district located along Manchester Avenue (Missouri Route 100) between Kingshighway Boulevard and Vandeventer Avenue in the Forest Park Southeast (FPSE) neighborhood of St. Louis, Missouri. Formerly known as the Manchester Strip, the retail drag was first developed in the late 19th century to serve the working-class population of Forest Park Southeast. Today, the Grove is home to a variety of restaurants, bars, and clubs, including a significant number of LGBT-oriented establishments. The district is supported by a community improvement district (CID), created in 2009, which levies an additional sales tax on businesses within its boundaries to fund infrastructure and branding services.
The Grove is within walking distance of the Washington University Medical Center, Forest Park, and the Central West End and Cortex MetroLink light rail stations.
En Biodiversidad virtual y también en Twiter
Ella fue quien dio la voz de alarma hace ya unos años, fue en el 2012 al crecer masivamente y florecer con sus cuerpos de tabla de cristal en signos infinitos que pedían auxilio para el Lago de Sanabria, un auxilio que nunca llegó y todavía no ha llegado aunque haya aún esperanza. Y cuando la corrupción llegue a su ocaso, también llegará la salvación para sus aguas que fueron limpias como el aire, entonces no harán falta signos de alarma y Tabellaria fenestrata discretamente, se retirará.
Tabellaria fenestrata es la diatomea, ya casi olvidada, que durante dos años conquistó la superficie y el fondo del Lago de Sanabria, las profundidades iluminadas y todas aquellas también a las que no llega la luz. Lo hizo de manera intensa, cubriendo de niebla verde todo, como la oscuridad llega en la noche.
Se hizo con el Lago gracias a la particular configuración de sus agrupaciones coloniales, que adoptando formas estrelladas, ascienden hacia la superficie, mientras que cuando se disponen en zigzag se sumergen hacia los fondos.
El flexible metabolismo de este organismo, que es capaz de nutrirse a base de compuestos orgánicos sin necesidad de realizar la fotosíntesis cuando le falta la luz (mixotrofia), hizo que su dominancia en las aguas del lago fuese absoluta y que la biodiversidad del fitoplancton quedase reducida a la mínima expresión en poco más de dos años.
El enriquecimiento en nutrientes de las aguas del Lago fue la causa de esta violenta transformación. Sin embargo, el reinado de Tabellaria , que prometía ser eterno, duró poco. Un hongo quitridial se extendió como un relámpago y en mayo de 2014, en poco más de dos semanas acabó con la presencia de esta diatomea, causando su muerte repentina y masiva y casi su total desaparición.
Hoy, cinco años después, tras esta tregua pasajera, y tras el envenamiento continuado con alguicidas en 2017, Tabellaria fenestrata se recompone en los fondos a los que llega la luz donde al mismo tiempo que reposa se reproduce, y hoy, en los inicios de la primavera, ya está lista para iniciar su despegue hacia la superficie donde verá la luz entre las tinieblas de estas aguas que han perdido su transparencia de cristal.
Tabellaria fenestrata tiene para vivir en el Lago lo que el río Tera no le dio de manera natural, y se alimenta ahora de todos los nutrientes que llegan a él a través de las depuradoras que no funcionan y las de los vertidos, a los que por arte de magia, en un ejercicio de completo cinismo, el organismo que debiera protegerlo llama "estaciones depuradoras de aguas residuales" también pudiera alimentarse de las mentiras de aquellos que hicieron el estudio del parto de los montes con siglas de la USAL, MAGRAMA, CHD, para limpiar su indecencia que Tabellaria fenestrata quiere limpiar. Con tan buenos amigos, siempre oficiales, el Lago ya no necesita de ningún enemigo para que sus aguas continúen deteriorándose.
Siempre en grupos y dibujando signos incomprensibles de cristal, en forma de estrella o de zig-zag, la diatomea Tabellaria fenestrata se prepara para su viaje primaveral hacia la superficie del Lago, rememorando el tiempo en que ganó su batalla, la batalla de lo excesivo y de la monotonía frente a la del equilibrio y la diversidad .
La fotografía, tomada a 400 aumentos con la técnica de contraste de interferencia, procede de una muestra de agua tomada a dos metros de profundidad en el Lago de Sanabria junto a la Isla de Moras, y recogida por María José Orozco y Tomás Pérez el 18 de febrero de 2018 desde el catamarán Helios Sanabria el primer catamarán del mundo propulsado por energía eólica y solar.
LIBRO: Lago de Sanabria 2015, presente y futuro de un ecosistema en desequilibrio
Presentación ponencia congreso internacional de Limnología de la AIL
Informes de contaminación en el Lago de Sanabria
informe de evolución de la contaminación en el Lago de Sanabria
Source: en.wikipedia.org/wiki/Baltimore
Baltimore is the most populous city in the U.S. state of Maryland, as well as the 30th most populous city in the United States, with a population of 593,490 in 2019 and also the largest independent city in the country. Baltimore was established by the Constitution of Maryland as an independent city in 1851. As of 2017, the population of the Baltimore metropolitan area was estimated to be just under 2.802 million, making it the 21st largest metropolitan area in the country. Baltimore is located about 40 miles (64 km) northeast of Washington, D.C., making it a principal city in the Washington-Baltimore combined statistical area (CSA), the fourth-largest CSA in the nation, with a calculated 2018 population of 9,797,063.
The city's Inner Harbor was once the second leading port of entry for immigrants to the United States. In addition, Baltimore was a major manufacturing center. After a decline in major manufacturing, heavy industry, and restructuring of the rail industry, Baltimore has shifted to a service-oriented economy. Johns Hopkins Hospital (founded 1889) and Johns Hopkins University (founded 1876) are the city's top two employers.
With hundreds of identified districts, Baltimore has been dubbed a "city of neighborhoods." Famous residents have included writers Edgar Allan Poe, Edith Hamilton, Frederick Douglass, W.E.B. Du Bois, Ogden Nash, Gertrude Stein, F. Scott Fitzgerald, Dashiell Hammett, Upton Sinclair, Tom Clancy, Ta-Nehisi Coates, and H. L. Mencken; musicians James "Eubie" Blake, Billie Holiday, Cab Calloway, Tori Amos, Frank Zappa, Tupac Shakur, Dan Deacon, Robbie Basho, Bill Frisell, Philip Glass, Cass Elliot, and Ric Ocasek ; actors and filmmakers John Waters, Barry Levinson, Divine, David Hasselhoff, Don Messick, John Kassir, Jada Pinkett Smith, and Mo'Nique; artist Jeff Koons; baseball player Babe Ruth; swimmer Michael Phelps; radio host Ira Glass; television host Mike Rowe; Supreme Court Justice Thurgood Marshall; Speaker of the United States House of Representatives Nancy Pelosi; and United States Secretary of Housing and Urban Development Ben Carson. During the War of 1812, Francis Scott Key wrote "The Star-Spangled Banner" in Baltimore after the bombardment of Fort McHenry. His poem was set to music and popularized as a song; in 1931 it was designated as the American national anthem.
Baltimore has more public statues and monuments per capita than any other city in the country, and is home to some of the earliest National Register Historic Districts in the nation, including Fell's Point, Federal Hill, and Mount Vernon. These were added to the National Register between 1969 and 1971, soon after historic preservation legislation was passed. Nearly one third of the city's buildings (over 65,000) are designated as historic in the National Register, which is more than any other U.S. city.
Source: www.guinnessbrewerybaltimore.com/our-story
The Guinness Open Gate Brewery is on the site of the historic Calvert distillery in Baltimore County, 10 miles from downtown Baltimore and 30 miles northeast of Washington DC.
The distillery, originally called the Maryland Distilling Company, was the first opened after prohibition in Maryland, in 1933. For decades it distilled, barrel-aged and bottled several spirits brands, notably the Lord Calvert Whisky brand. In 2001 the site was acquired by Diageo as part of the purchase of Seagram, and spirits aging and bottling continued at scale until 2015 (and actually continues to this day as a live production site).
The site itself is almost 62 acres in size and is adjacent to Route 1, is minutes from the I-95, I-195 and I-895 freeways, and is 4 miles from BWI International Airport. It has a long history, integral to the local area, just off the Civil War trail and even has a protected pre-Civil War graveyard on its grounds.
Geographically, the site is fantastically situated, with several large cities within a 300 mile radius of the brewery and excellent transport links, by air, rail, sea and road. It's also a large brownfield site with wonderful history and heritage and enormous potential to be redeveloped.
But also, we love the area. Baltimore is an amazing city with respect for the past combined a sense of dynamism and excitement for the future. The brewing industry in Maryland is growing fast with several notable breweries making a name for themselves locally and nationally. We hope we can help the industry prosper and achieve the recognition we think it deserves. We also believe there is huge potential for increased tourism in the area. We look forward to working in concert with local partners to bring about a significant impact from increased visitors who will be able not just to experience what we hope is a best-in-class brewery visit, but everything else Maryland has to offer.
Caspar David Friedrich (1774 - 1840) was one of Germany's most popular and important painters, but his works have only very rarely been used for jigsaw puzzles (his most well-known painting, the 'Wanderer Above the Sea of Fog' would make a great 3,000 piece ..)
This painting, one of the few more uplifting images among the mostly bleak northern landscapes Friedrich favoured, was inspired by the 1818 honeymoon excursion of Friedrich and his wife to the famous chalk cliffs of Rügen island.
These - due to erosion - ever changing chalk cliffs are the centrepiece of Jasmund National Park, so it's plain to see why the souvenir shop of said park offers this charming 1,000 piece. No producer is listed on the outer box, but manufacturing quality is top-notch. The 25 x 40 grid proves that Ravensburger was not responsible here, but I can't tell whether it was Schmidt, Heye or another plant, as I'm not familiar with their piece shapes.
This puzzle marks a debut for me in more than one way: It's the first puzzle I ever assembled while not at home. In fact, I did it almost 'on site', during an early spring vacation in Rügen, which is Germany's largest island, although being just a quarter the size of Majorca or Long Island. And it's the first puzzle I have photographed with my newly acquired Canon PowerShot G7X, a huge improvement to the ageing Canon Powershot SX120 I used before. This means, after a 4,000 piece pushed my old cam to its limits last year, I'm technically ready to tackle larger piece counts now ..
The puzzle wasn't difficult at all, only the foliage required a certain amount of concentration.
Puzzle time 5:15 h (190 pph)
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Tableau méthodique et descriptif des mollusques terrestres et d'eau douce de l'Agenais
Paris,J.-B. Baillière; [etc., etc.]1849.
(RO) Situată la altitudinea de 1360 m, Fundata este cea mai înaltă localitate din țară. Aflată la mijlocul distanței intre Bran și Rucăr, pe culoar, aceasta este străjuită de munții Bucegi și munții Piatra Craiului.
În apropierea localității Fundata se pot vizita numeroase obiective naturale: Parcul Național Piatra Craiului - Trasee în Piatra Craiului, Prăpăstiile Zărneștilor, Cheile Moieciului, Cheile Grădiștei, Rezervațiile naturale La Chișătoare, Peștera și Cheile Dâmbovicioara, Peștera cu lilieci din satul Peștera, Satul Sirnea, Barajul Pecineagu, Lacul Vidraru.
(EN) Fundata is located at 40 km distance from Brasov, between Rucar and Bran, in the Rucar-Bran pass. Practically, it is situated at the highest point of the pass, with an altitude which varies between 1300–1400 meters. It is the highest settlements in Romania.
It's an ideal place to spend your vacation. Many foreign people have houses here, especially form GB.
Sites nearby are the Bran Castle (Dracula's Castle), Brasov City and Sinaia resort, where the former king's palace is (Peles Castle). There are also many mountain trails to go hiking.
(DE) Fundata liegt im äußersten Südosten Siebenbürgens, unmittelbar an der Grenze zur Walachei. Zur Gemeinde gehört der verkehrstechnisch wichtige Pasul Bran (Törzburger Pass). Westlich der Gemeinde befindet sich das Piatra Craiului-, östlich das Bucegi-Gebirge und das Leaota-Gebirge.
Die Region oberhalb der Törzburg und in der Region des Törzburger Passes wurde vermutlich etwa am Ende des 17. Jahrhunderts besiedelt. Der Ort Fundata wurde im Jahr 1732 erstmals urkundlich erwähnt. Es war ein Dorf rumänischer Bauern und Viehhirten.
Nachdem der Ort Fundata bis zum Ende des Ersten Weltkrieges zum Königreich Ungarn, zum Fürstentum Siebenbürgen bzw. zu Österreich-Ungarn gehört hatte, ist es seitdem ein Teil des Staates Rumänien. Teile des heutigen Gemeindegebietes zählten bereits vor 1918 zum Fürstentum Walachei bzw. zu Rumänien.
en.wikipedia.org/wiki/Almudena_Cathedral
© 2018 xacobeo4 photography - All rights reserved.
When the capital of Spain was transferred from Toledo to Madrid in 1561, the seat of the Church in Spain remained in Toledo and the new capital had no cathedral. Plans to build a cathedral in Madrid dedicated to the Virgin of Almudena were discussed as early as the 16th century but even though Spain built more than 40 cities in the new world during that century and plenty of cathedrals, the cost of expanding and keeping the Empire came first and the construction of Madrid's cathedral was postponed. Making the cathedral the largest that the world had ever seen was then a priority, all other main Spanish cities had centuries old cathedrals, Madrid also has old churches but the construction of Almudena only began in 1879.
The cathedral seems to have been built on the site of a medieval mosque that was destroyed in 1083 when Alfonso VI reconquered Madrid.
Francisco de Cubas, the Marquis of Cubas, designed and directed the construction in a Gothic revival style. Construction ceased completely during the Spanish Civil War, and the project was abandoned until 1950, when Fernando Chueca Goitia (es) adapted the plans of de Cubas to a baroque exterior to match the grey and white façade of the Palacio Real, which stands directly opposite. The cathedral was not completed until 1993, when it was consecrated by Pope John Paul II. On May 22, 2004, the marriage of King Felipe VI, then crown prince, to Letizia Ortiz Rocasolano took place at the cathedral.
The Neo-Gothic interior is uniquely modern, with chapels and statues of contemporary artists, in heretogeneous styles, from historical revivals to "pop-art" decor. The Blessed Sacrament Chapel features mosaic from known artist Fr. Marko Ivan Rupnik.
The Neo-Romanesque crypt houses a 16th-century image of the Virgen de la Almudena. Nearby along the Calle Mayor excavations have unearthed remains of Moorish and medieval city walls.
Ichtyologie, ou, Histoire naturelle, générale et particulière des poissons :
A Berlin :Chez l'auteur, & chez François de la Garde libraire,1785-1797.
The Nile is a major north-flowing river in northeastern Africa. It flows into the Mediterranean Sea. The Nile is the longest river in Africa and has historically been considered the longest river in the world, though this has been contested by research suggesting that the Amazon River is slightly longer. Of the world's major rivers, the Nile is one of the smallest, as measured by annual flow in cubic metres of water. About 6,650 km (4,130 mi) long, its drainage basin covers eleven countries: the Democratic Republic of the Congo, Tanzania, Burundi, Rwanda, Uganda, Kenya, Ethiopia, Eritrea, South Sudan, Sudan, and Egypt. In particular, the Nile is the primary water source of Egypt, Sudan and South Sudan. Additionally, the Nile is an important economic river, supporting agriculture and fishing.
The Nile has two major tributaries: the White Nile and the Blue Nile. The White Nile is traditionally considered to be the headwaters stream. However, the Blue Nile is the source of most of the water of the Nile downstream, containing 80% of the water and silt. The White Nile is longer and rises in the Great Lakes region. It begins at Lake Victoria and flows through Uganda and South Sudan. The Blue Nile begins at Lake Tana in Ethiopia and flows into Sudan from the southeast. The two rivers meet at the Sudanese capital of Khartoum.[
The northern section of the river flows north almost entirely through the Nubian Desert to Cairo and its large delta, and the river flows into the Mediterranean Sea at Alexandria. Egyptian civilization and Sudanese kingdoms have depended on the river and its annual flooding since ancient times. Most of the population and cities of Egypt lie along those parts of the Nile valley north of the Aswan Dam. Nearly all the cultural and historical sites of Ancient Egypt developed and are found along river banks. The Nile is, with the Rhône and Po, one of the three Mediterranean rivers with the largest water discharge.
The standard English names "White Nile" and "Blue Nile" refer to the river's source, derived from Arabic names formerly applied to only the Sudanese stretches that meet at Khartoum.
The Nile word (pronounced Nil or Neel in Arabic) is derived from the Arabic word for the indigo (Añil) color made from the indigo dye that Arabs extracted from the indigo plant that grew by the River Euphrates, where indigo dye was the most common natural dye used by the Ancients. This is how the Nile river looked to Arabs when they first discovered it looking at the river from distance as an indigo snake in the yellow background of desert.
In the ancient Egyptian language, the Nile is called Ḥꜥpy (Hapy) or Jtrw (Iteru), meaning "river". In Coptic, the word ⲫⲓⲁⲣⲟ, pronounced piaro (Sahidic) or phiaro (Bohairic), means "the river" (lit. p(h).iar-o "the.canal-great"), and comes from the same ancient name. In Nobiin the river is called Áman Dawū, meaning "the great water" In Luganda the river is called Kiira or Kiyira. In Runyoro it is called Kihiira. In Egyptian Arabic, the Nile is called en-Nīl, while in Standard Arabic it is called an-Nīl. In Biblical Hebrew, it is הַיְאוֹר, Ha-Ye'or or הַשִׁיחוֹר, Ha-Shiḥor.
The English name Nile and the Arabic names en-Nîl and an-Nîl both derive from the Latin Nilus and the Ancient Greek Νεῖλος. Beyond that, however, the etymology is disputed. Homer called the river Αἴγυπτος, Aiguptos, but in subsequent periods, Greek authors referred to its lower course as Neilos; this term became generalised for the entire river system. Thus, the name may derive from Ancient Egyptian expression nꜣ rꜣw-ḥꜣw(t) (lit. 'the mouths of the front parts'), which referred specifically to the branches of the Nile transversing the Delta, and would have been pronounced ni-lo-he in the area around Memphis in the 8th century BCE. Hesiod at his Theogony refers to Nilus (Νεῖλος) as one of the Potamoi (river gods), son of Oceanus and Tethys.
Another derivation of Nile might be related to the term Nil (Sanskrit: नील, romanized: nila; Egyptian Arabic: نيلة),[17] which refers to Indigofera tinctoria, one of the original sources of indigo dye. Another may be Nymphaea caerulea, known as "The Sacred Blue Lily of the Nile", which was found scattered over Tutankhamun's corpse when it was excavated in 1922. Another possible etymology derives from the Semitic term Nahal, meaning "river". Old Libyan has the term lilu, meaning water (in modern Berber ilel ⵉⵍⴻⵍ means sea).[
Courses
With a total length of about 6,650 km (4,130 mi)[a] between the region of Lake Victoria and the Mediterranean Sea, the Nile is among the longest rivers on Earth. The drainage basin of the Nile covers 3,254,555 square kilometers (1,256,591 sq mi), about 10% of the area of Africa. Compared to other major rivers, though, the Nile carries little water (5% of that of the Congo River, for example). The Nile basin is complex, and because of this, the discharge at any given point along the main stem depends on many factors including weather, diversions, evaporation and evapotranspiration, and groundwater flow.
Upstream from Khartoum (to the south), the river is known as the White Nile, a term also used in a limited sense to describe the section between Lake No and Khartoum. At Khartoum, the river is joined by the Blue Nile. The White Nile starts in equatorial East Africa, and the Blue Nile begins in Ethiopia. Both branches are on the western flanks of the East African Rift.
Sources
"Source of the Nile" redirects here. For other uses, see Source of the Nile (board game) and Source of the Nile Bridge.
Spring at Lake Victoria
The source of the Blue Nile is Lake Tana in the Gish Abay region in the Ethiopian Highlands.
The source of the White Nile, even after centuries of exploration, remains in dispute. The most remote source that is indisputably a source for the White Nile is the Kagera River; however, the Kagera has tributaries that are in contention for the farthest source of the White Nile. Two start in Burundi: the Ruvyironza River (also known as the Luvironza) and the Rurubu River. In addition, in 2010, an exploration party in Rwanda went to a place described as the source of the Rukarara tributary, and by hacking a path up steep jungle-choked mountain slopes in the Nyungwe Forest found (in the dry season) an appreciable incoming surface flow for many kilometres upstream, and found a new source, giving the Nile a length of 6,758 km (4,199 mi).[citation needed]
In Uganda
The White Nile leaves Lake Victoria at Ripon Falls near Jinja, Uganda, as the "Victoria Nile." It flows north for some 130 kilometers (81 mi) to Lake Kyoga. The last part of the approximately 200 kilometers (120 mi) river section starts from the western shores of the lake and flows at first to the west until just south of Masindi Port, where the river turns north, then makes a great half circle to the east and north to Karuma Falls. For the remaining part, it flows westerly through the Murchison Falls until it reaches the northern shores of Lake Albert where it forms a significant river delta. Lake Albert is on the border of the Democratic Republic of the Congo, but the Nile is not a border river at this point. After leaving Lake Albert, the river continues north through Uganda and is known as the Albert Nile.
In South Sudan
The White Nile flows into South Sudan just south of Nimule, where it is known as the Bahr al Jabal ("Mountain River"). Just south of the town is the confluence with the Achwa River. The Bahr al Ghazal, 716 kilometers (445 mi) long, joins the Bahr al Jabal at a small lagoon called Lake No, after which the Nile becomes known as the Bahr al Abyad, or the White Nile, from the whitish clay suspended in its waters. When the Nile floods it leaves a rich silty deposit which fertilizes the soil. The Nile no longer floods in Egypt since the completion of the Aswan Dam in 1970. An anabranch river, the Bahr el Zeraf, flows out of the Nile's Bahr al Jabal section and rejoins the White Nile.
The flow rate of the Bahr al Jabal at Mongalla is almost constant throughout the year and averages 1,048 m3/s (37,000 cu ft/s). After Mongalla, the Bahr Al Jabal enters the enormous swamps of the Sudd region. More than half of the Nile's water is lost in this swamp to evaporation and transpiration. The average flow rate of the White Nile at the tails of the swamps is about 510 m3/s (18,000 cu ft/s). From here it meets with the Sobat River at Malakal. On an annual basis, the White Nile upstream of Malakal contributes about 15% of the total outflow of the Nile.
The average flow of the White Nile at Lake Kawaki Malakal, just below the Sobat River, is 924 m3/s (32,600 cu ft/s); the peak flow is approximately 1,218 m3/s (43,000 cu ft/s) in October and minimum flow is about 609 m3/s (21,500 cu ft/s) in April. This fluctuation is caused by the substantial variation in the flow of the Sobat, which has a minimum flow of about 99 m3/s (3,500 cu ft/s) in March and a peak flow of over 680 m3/s (24,000 cu ft/s) in October. During the dry season (January to June) the White Nile contributes between 70% and 90% of the total discharge from the Nile.
In Sudan
The course of the Nile in Sudan is distinctive. It flows over six groups of cataracts, from the sixth at Sabaloka just north of Khartoum northward to Abu Hamad. The tectonic uplift of the Nubian Swell diverts the river south-west for over 300 km, following the structure of the Central African Shear Zone embracing the Bayuda Desert. At Al Dabbah it resumes its northward course towards the first cataract at Aswan forming the S-shaped Great Bend of the Nile mentioned by Eratosthenes.
In the north of Sudan, the river enters Lake Nasser (known in Sudan as Lake Nubia), the larger part of which is in Egypt.
In Egypt
Below the Aswan Dam, at the northern limit of Lake Nasser, the Nile resumes its historic course. North of Cairo, the Nile splits into two branches (or distributaries) that feed the Mediterranean: the Rosetta Branch to the west and the Damietta to the east, forming the Nile Delta.
Sediment transport
Nile Delta from space
The annual sediment transport by the Nile in Egypt has been quantified.
At Aswan: 0.14 million tonnes of suspended sediment and an additional 28% of bedload
At Beni Sweif: 0.5 million tonnes of suspended sediment and an additional 20% of bedload
At Qena: 0.27 million tonnes of suspended sediment and an additional 27% of bedload
At Sohag: 1.5 million tonnes of suspended sediment and an additional 13% of bedload
Tributaries
Red Nile
Below the confluence with the Blue Nile the only major tributary is the Atbarah River, also known as the Red Nile. Roughly halfway to the sea, it originates in Ethiopia north of Lake Tana, and is around 800 kilometers (500 mi) long. The Atbarah flows only while there is rain in Ethiopia and dries very rapidly. During the dry period of January to June, it typically dries up north of Khartoum.
Blue Nile
The Blue Nile (Amharic: ዓባይ, ʿĀbay) springs from Lake Tana in the Ethiopian Highlands. The Blue Nile flows about 1,400 kilometres to Khartoum, where the Blue Nile and White Nile join to form the Nile. Ninety percent of the water and ninety-six percent of the transported sediment carried by the Nile originates in Ethiopia, with fifty-nine percent of the water from the Blue Nile (the rest being from the Tekezé, Atbarah, Sobat, and small tributaries). The erosion and transportation of silt only occurs during the Ethiopian rainy season when rainfall is especially high in the Ethiopian Highlands; the rest of the year, the great rivers draining Ethiopia into the Nile have a weaker flow. In harsh and arid seasons and droughts, the Blue Nile dries out completely.
The flow of the Blue Nile varies considerably over its yearly cycle and is the main contribution to the large natural variation of the Nile flow. During the dry season the natural discharge of the Blue Nile can be as low as 113 m3/s (4,000 cu ft/s), although upstream dams regulate the flow of the river. During the wet season, the peak flow of the Blue Nile often exceeds 5,663 m3/s (200,000 cu ft/s) in late August (a difference of a factor of 50).
Before the placement of dams on the river the yearly discharge varied by a factor of 15 at Aswan. Peak flows of over 8,212 m3/s (290,000 cu ft/s) occurred during late August and early September, and minimum flows of about 552 m3/s (19,500 cu ft/s) occurred during late April and early May.
Bahr el Ghazal and Sobat River
The Bahr al Ghazal and the Sobat River are the two most important tributaries of the White Nile in terms of discharge.
The Bahr al Ghazal's drainage basin is the largest of any of the Nile's sub-basins, measuring 520,000 square kilometers (200,000 sq mi) in size, but it contributes a relatively small amount of water, about 2 m3/s (71 cu ft/s) annually, because tremendous volumes of water are lost in the Sudd wetlands.
The Sobat River, which joins the Nile a short distance below Lake No, drains about half as much land, 225,000 km2 (86,900 sq mi), but contributes 412 cubic meters per second (14,500 cu ft/s) annually to the Nile. When in flood the Sobat carries a large amount of sediment, adding greatly to the White Nile's color.
Yellow Nile
The Yellow Nile is a former tributary that connected the Ouaddaï highlands of eastern Chad to the Nile River Valley c. 8000 to c. 1000 BCE. Its remains are known as the Wadi Howar. The wadi passes through Gharb Darfur near the northern border with Chad and meets up with the Nile near the southern point of the Great Bend.
History
The Nile has been the lifeline of civilization in Egypt since the Stone Age, with most of the population and all of the cities of Egypt developing along those parts of the Nile valley lying north of Aswan. However, the Nile used to run much more westerly through what is now Wadi Hamim and Wadi al Maqar in Libya and flow into the Gulf of Sidra. As the sea level rose at the end of the most recent ice age, the stream which is now the northern Nile captured the ancestral Nile near Asyut. This change in climate also led to the current extents of the Sahara desert, around 3400 BCE.
Khufu branch
The Giza pyramid complex originally overlooked a branch of the Nile that no longer exists. This branch was highest during the African Humid Period.
Ancient Niles
The existing Nile has five earlier phases;
i) the Upper Miocenian Eonile, of about 6 million years BP,
ii) the Upper Pliocenian Paleonile, commencing about 3.32 million years BP, and during the Pleistocene, the Nile phases
iii) Proto-Nile, commencing about 600,000 years BP,
iv) Pre-Nile, transitioning at about 400,000 years BP to the
v) Neo-Nile.
Flowing north from the Ethiopian Highlands, satellite imagery was used to identify dry watercourses in the desert to the west of the Nile. A canyon, now filled by surface drift, represents the Eonile that flowed during 23–5.3 million years before present. The Eonile transported clastic sediments to the Mediterranean; several natural gas fields have been discovered within these sediments.
During the late-Miocene Messinian salinity crisis, when the Mediterranean Sea was a closed basin and evaporated to the point of being empty or nearly so, the Nile cut its course down to the new base level until it was several hundred metres below world ocean level at Aswan and 2,400 m (7,900 ft) below Cairo. This created a very long and deep canyon which was filled with sediment after the Mediterranean was recreated. At some point the sediments raised the riverbed sufficiently for the river to overflow westward into a depression to create Lake Moeris.
Lake Tanganyika drained northwards into the Nile until the Virunga Volcanoes blocked its course in Rwanda. The Nile was much longer at that time, with its furthest headwaters in northern Zambia. The currently existing Nile first flowed during the former parts of the Würm glaciation period.
Affad 23 is an archaeological site located in alluvial deposits formed by an ancient channel of the Nile in the Affad region of southern Dongola Reach, Sudan.
Integrated Nile
There are two theories about the age of the integrated Nile. One is that the integrated drainage of the Nile is of young age and that the Nile basin was formerly broken into series of separate basins, only the most northerly of which fed a river following the present course of the Nile in Egypt and Sudan. Rushdi Said postulates that Egypt supplied most of the waters of the Nile during the early part of its history.
The other theory is that the drainage from Ethiopia via rivers equivalent to the Blue Nile, the Atbara and the Takazze flowed to the Mediterranean via the Egyptian Nile since well back into Tertiary times.
Salama suggests that during the Paleogene and Neogene Periods (66 million to 2.588 million years ago) a series of separate closed continental basins each occupied one of the major parts of the Sudanese Rift System: Mellut rift, White Nile rift, Blue Nile rift, Atbara rift and Sag El Naam rift. The Mellut Basin is nearly 12 kilometers (7.5 mi) deep at its central part. This rift is possibly still active, with reported tectonic activity in its northern and southern boundaries. The Sudd swamp which forms the central part of the basin may still be subsiding. The White Nile Rift system, although shallower than the Bahr el Arab rift, is about 9 kilometers (5.6 mi) deep. Geophysical exploration of the Blue Nile Rift System estimated the depth of the sediments to be 5–9 kilometers (3.1–5.6 mi). These basins were not interconnected until their subsidence ceased, and the rate of sediment deposition was enough to fill and connect them.
The Egyptian Nile connected to the Sudanese Nile, which captures the Ethiopian and Equatorial headwaters during the current stages of tectonic activity in the Eastern, Central and Sudanese Rift systems. The connection of the different Niles occurred during cyclic wet periods. The Atbarah overflowed its closed basin during the wet periods that occurred about 100,000 to 120,000 years ago. The Blue Nile connected to the main Nile during the 70,000–80,000 years B.P. wet period. The White Nile system in Bahr El Arab and White Nile Rifts remained a closed lake until the connection of the Victoria Nile to the main system some 12,500 years ago during the African humid period.
The Greek historian Herodotus wrote that "Egypt was the gift of the Nile". An unending source of sustenance, it played a crucial role in the development of Egyptian civilization. Because the river overflowed its banks annually and deposited new layers of silt, the surrounding land was very fertile. The Ancient Egyptians cultivated and traded wheat, flax, papyrus and other crops around the Nile. Wheat was a crucial crop in the famine-plagued Middle East. This trading system secured Egypt's diplomatic relationships with other countries and contributed to economic stability. Far-reaching trade has been carried on along the Nile since ancient times.[citation needed] A tune, Hymn to the Nile, was created and sung by the ancient Egyptian peoples about the flooding of the Nile River and all of the miracles it brought to Ancient Egyptian civilization.
Water buffalo were introduced from Asia, and the Assyrians introduced camels in the 7th century BCE. These animals were raised for meat and were domesticated and used for ploughing—or in the camels' case, carriage. Water was vital to both people and livestock. The Nile was also a convenient and efficient means of transportation for people and goods.
The Nile was also an important part of ancient Egyptian spiritual life. Hapi was the god of the annual floods, and both he and the pharaoh were thought to control the flooding. The Nile was considered to be a causeway from life to death and the afterlife. The east was thought of as a place of birth and growth, and the west was considered the place of death, as the god Ra, the Sun, underwent birth, death, and resurrection each day as he crossed the sky. Thus, all tombs were west of the Nile, because the Egyptians believed that in order to enter the afterlife, they had to be buried on the side that symbolized death.
As the Nile was such an important factor in Egyptian life, the ancient calendar was even based on the three cycles of the Nile. These seasons, each consisting of four months of thirty days each, were called Akhet, Peret, and Shemu. Akhet, which means inundation, was the time of the year when the Nile flooded, leaving several layers of fertile soil behind, aiding in agricultural growth. Peret was the growing season, and Shemu, the last season, was the harvest season when there were no rains.
European search for the source
Owing to their failure to penetrate the Sudd wetlands of South Sudan, the upper reaches of the White Nile remained largely unknown to the ancient Greeks and Romans. Vitruvius thought that source of the Nile was in Mauritania, on the "other" (south) side of the Atlas Mountains. Various expeditions failed to determine the river's source. Agatharchides records that in the time of Ptolemy II Philadelphus, a military expedition had penetrated far enough along the course of the Blue Nile to determine that the summer floods were caused by heavy seasonal rainstorms in the Ethiopian Highlands, but no European of antiquity is known to have reached Lake Tana. The Tabula Rogeriana depicted the source as three lakes in 1154.
Europeans began to learn about the origins of the Nile in the 14th century when the Pope sent monks as emissaries to Mongolia who passed India, the Middle East and Africa, and described being told of the source of the Nile in Abyssinia (Ethiopia). Later in the 15th and 16th centuries, travelers to Ethiopia visited Lake Tana and the source of the Blue Nile in the mountains south of the lake. Supposedly, Paolo Trevisani (circa 1452–1483), a Venetian traveller in Ethiopia, wrote a journal of his travels to the origin of the Nile that has since been lost. Although James Bruce claimed to be the first European to have visited the headwaters, modern writers give the credit to the Jesuit Pedro Páez. Páez's account of the source of the Nile is a long and vivid account of Ethiopia. It was published in full only in the early 20th century, although it was featured in works of Páez's contemporaries, including Baltazar Téllez, Athanasius Kircher and Johann Michael Vansleb.
Europeans had been resident in Ethiopia since the late 15th century, and one of them may have visited the headwaters even earlier without leaving a written trace. The Portuguese João Bermudes published the first description of the Tis Issat Falls in his 1565 memoirs, compared them to the Nile Falls alluded to in Cicero's De Republica. Jerónimo Lobo describes the source of the Blue Nile, visiting shortly after Pedro Páez. Telles also uses his account.
The White Nile was even less understood. The ancients mistakenly believed that the Niger River represented the upper reaches of the White Nile. For example, Pliny the Elder writes that the Nile had its origins "in a mountain of lower Mauretania", flowed above ground for "many days" distance, then went underground, reappeared as a large lake in the territories of the Masaesyli, then sank again below the desert to flow underground "for a distance of 20 days' journey till it reaches the nearest Ethiopians."
Modern exploration of the Nile basin began with the conquest of the northern and central Sudan by the Ottoman viceroy of Egypt, Muhammad Ali, and his sons from 1821 onward. As a result of this, the Blue Nile was known as far as its exit from the Ethiopian foothills and the White Nile as far as the mouth of the Sobat River. Three expeditions under a Turkish officer, Selim Bimbashi, were made between 1839 and 1842, and two got to the point about 30 kilometres (20 miles) beyond the present port of Juba, where the country rises and rapids make navigation very difficult.
Lake Victoria was first sighted by Europeans in 1858 when British explorer John Hanning Speke reached its southern shore while traveling with Richard Francis Burton to explore central Africa and locate the great lakes. Believing he had found the source of the Nile on seeing this "vast expanse of open water" for the first time, Speke named the lake after Queen Victoria. Burton, recovering from illness and resting further south on the shores of Lake Tanganyika, was outraged that Speke claimed to have proven his discovery to be the true source of the Nile when Burton regarded this as still unsettled. A quarrel ensued which sparked intense debate within the scientific community and interest by other explorers keen to either confirm or refute Speke's discovery. British explorer and missionary David Livingstone pushed too far west and entered the Congo River system instead. It was ultimately Welsh-American explorer Henry Morton Stanley who confirmed Speke's discovery, circumnavigating Lake Victoria and reporting the great outflow at Ripon Falls on the lake's northern shore.
Since 1950
The Nile has long been used to transport goods along its length. Winter winds blow south, up river, so ships could sail up river using sails and down river using the flow of the river. While most Egyptians still live in the Nile valley, the 1970 completion of the Aswan Dam ended the summer floods and their renewal of the fertile soil, fundamentally changing farming practices. The Nile supports much of the population living along its banks, enabling Egyptians to live in otherwise inhospitable regions of the Sahara. The river's flow is disturbed at several points by the Cataracts of the Nile which form an obstacle to navigation by boats. The Sudd also forms a formidable navigation obstacle and impedes water flow, to the extent that Sudan had once attempted to build the Jonglei Canal to bypass the swamp.
Nile cities include Khartoum, Aswan, Luxor (Thebes), and the Giza – Cairo conurbation. The first cataract, the closest to the mouth of the river, is at Aswan, north of the Aswan Dam. This part of the river is a regular tourist route, with cruise ships and traditional wooden sailing boats known as feluccas. Many cruise ships ply the route between Luxor and Aswan, stopping at Edfu and Kom Ombo along the way. Security concerns have limited cruising on the northernmost portion for many years.
A computer simulation study to plan the economic development of the Nile was directed by H.A.W. Morrice and W.N. Allan, for the Ministry of Hydro-power of Sudan, during 1955–57[83][84][85] Morrice was their hydrological adviser, and Allan his predecessor. The calculations were enabled by accurate monthly inflow data collected for 50 years. The underlying principle was the use of over-year storage, to conserve water from rainy years for use in dry years. Irrigation, navigation and other needs were considered. Each computer run postulated a set of reservoirs and operating equations for the release of water as a function of the month and the levels upstream. The behavior that would have resulted given the inflow data was modeled. Over 600 models were run. Recommendations were made to the Sudanese authorities. The calculations were run on an IBM 650 computer. Simulation studies to design water resources are discussed further in the article on hydrology transport models, which have been used since the 1980s to analyze water quality.
Despite the development of many reservoirs, drought during the 1980s led to widespread starvation in Ethiopia and Sudan, but Egypt was nourished by water impounded in Lake Nasser. Drought has proven to be a major cause of fatality in the Nile river basin. According to a report by the Strategic Foresight Group around 170 million people have been affected by droughts in the last century with half a million lives lost.[86] From the 70 incidents of drought which took place between 1900 and 2012, 55 incidents took place in Ethiopia, Sudan, South Sudan, Kenya and Tanzania.
Water sharing dispute
The Nile's water has affected the politics of East Africa and the Horn of Africa for many decades. The dispute between Egypt and Ethiopia over the $4.5 billion Grand Ethiopian Renaissance Dam has become a national preoccupation in both countries, stoking patriotism, deep-seated fears and even murmurs of war. Countries including Uganda, Sudan, Ethiopia and Kenya have complained about Egyptian domination of its water resources. The Nile Basin Initiative promotes a peaceful cooperation among those states.
Several attempts have been made to establish agreements between the countries sharing the Nile waters. On 14 May 2010 at Entebbe, Uganda, Ethiopia, Rwanda, and Tanzania signed a new agreement on sharing the Nile water even though this agreement raised strong opposition from Egypt and Sudan. Ideally, such international agreements should promote equitable and efficient usage of the Nile basin's water resources. Without a better understanding about the availability of the future water resources of the Nile, it is possible that conflicts could arise between these countries relying on the Nile for their water supply, economic and social developments.
Modern achievements and exploration
White Nile
In 1951, American John Goddard together with two French explorers became the first to successfully navigate the entire Nile from its source in Burundi at the potential headsprings of the Kagera River in Burundi to its mouth on the Mediterranean Sea, a journey of approximately 6,800 km (4,200 mi). Their 9-month journey is described in the book Kayaks down the Nile.
The White Nile Expedition, led by South African national Hendrik Coetzee, navigated the White Nile's entire length of approximately 3,700 kilometres (2,300 mi). The expedition began at the White Nile's beginning at Lake Victoria in Uganda, on 17 January 2004 and arrived at the Mediterranean in Rosetta, four and a half months later.
Blue Nile
The Blue Nile Expedition, led by geologist Pasquale Scaturro and his partner, kayaker and documentary filmmaker Gordon Brown became the first known people to descend the entire Blue Nile, from Lake Tana in Ethiopia to the beaches of Alexandria on the Mediterranean. Their approximately 5,230-kilometre (3,250 mi) journey took 114 days, from 25 December 2003 to 28 April 2004. Though their expedition included others, Brown and Scaturro were the only ones to complete the entire journey. Although they descended whitewater manually, the team used outboard motors for much of their journey.
On 29 January 2005, Canadian Les Jickling and New Zealander Mark Tanner completed the first human-powered transit of Ethiopia's Blue Nile. Their journey of over 5,000 kilometres (3,100 mi) took five months. They recount that they paddled through two war zones, regions notorious for bandits, and were arrested at gunpoint.
Crossings
Crossings from Khartoum to the Mediterranean Sea
The following bridges cross the Blue Nile and connect Khartoum to Khartoum North:
Mac Nimir Bridge
Blue Nile Road & Railway Bridge
Burri Bridge
Elmansheya Bridge
Soba Bridge
The following bridges cross the White Nile and connect Khartoum to Omdurman:
White Nile Bridge
Fitayhab Bridge
Al Dabbaseen Bridge (under construction)[when?]
Omhuraz Bridge (proposed)[citation needed]
The following bridges cross from Omdurman: to Khartoum North:
Shambat Bridge
Halfia Bridge
The following bridges cross to Tuti from Khartoum state's three cities
Khartoum-Tuti Bridge
Omdurman-Tuti Suspension Bridge (proposed)[citation needed]
Khartoum North-Tuti Bridge (proposed)[citation needed]
Other bridges
Shandi Bridge, Shendi
Atbarah Bridge, Atbarah
Merowe Dam, Merowe
Merowe Bridge, Merowe
Aswan Bridge, Aswan
Luxor Bridge, Luxor
Suhag Bridge, Suhag
Assiut Bridge, Assiut
Al Minya Bridge, Minya
Al Marazeek Bridge, Helwan
First Ring Road Bridge (Moneeb Crossing), Cairo
Abbas Bridge, Cairo
University Bridge, Cairo
Qasr al-Nil Bridge, Cairo
6th October Bridge, Cairo
Abu El Ela Bridge, Cairo (removed in 1998)
New Abu El Ela Bridge, Cairo
Imbaba Bridge, Cairo
Rod Elfarag Bridge, Cairo
Second Ring Road Bridge, Cairo
Banha Bridge, Banha
Samanoud Bridge, Samanoud
Mansoura 2 Bridges, Mansoura
Talkha Bridge, Talkha
Shirbine high Bridge
Shirbine Bridge
Kafr Sad – Farscor Bridge
International Coastal Road Bridge
Damietta high Bridge, Damietta
Damietta Bridge, Damietta
Kafr El Zayat Bridges, Kafr El Zayat
Zefta Bridge, Zefta
Crossings from Jinja, Uganda to Khartoum
Source of the Nile Bridge, Jinja, Uganda
River Nile Railway Bridge, Jinja, Uganda
Nalubaale Bridge, Jinja, Uganda (Formerly Owen Falls Bridge)
Karuma Bridge, Karuma, Uganda
Pakwach Bridge, Uganda
En Biodiversidad virtual y también en Instagram como @proyectoagua.
Nadie sabe como aprendió la ameba Mayorella a fluir contracorriente a escalar granos de arena como montañas de cumbres inalcanzables a colarse entre rendijas imposibles, a caminar viendo sin ver, a abrazar los fondos de las charcas con mil brazos que son alas, siendo como es una gota líquida animada por la vida.
Y así, sobre los fondos, desnuda, sin más protección que su capa invisible dentro del agua invisible Mayorella se adelanta al agua entre el lecho que la acoge palpando hasta el último rincón y con sus dedos agudos y extendidos que van cambiendo a cada paso recoge con su cuerpo y lame lo que el agua dejó a merced del viento, y que esta ameba, discreta, y amorosamente recoge para que el agua sea solo agua.
Igual que cualquier otra ameba de los fondos, Mayorella va limpiando todos los lugares por donde pasa y se va cargando de bacterias, pequeñas algas y otros diminutos seres y restos que pueda encontrar depositados en su camino, mientras en su interior ruedan hoy los cascarones huecos y rojizos de cianobacterias que naufragaron.
Mayorella penardi es una especie de ameba de mediano tamaño, y como todas sus hermanas de brazos cónicos algo afilados de borde hialino y plano y un solo núcleo. Se trata de una ameba muy extendida en cualquier medio de agua dulce donde las aguas corran lentamente o se encuentren estancadas.
Hoy en el interior de Mayorella rueda su núcleo, en él está el centro vital de este ser, que organiza todas sus funciones y que es alma, corazón, mente y aparato reproductor al mismo tiempo; este núcleo y el de muchos de estos organismos microscópicos encierra el secreto, el misterio y la belleza de la vida.
En el agua de una pequeña pila de roca caliza con mucha historia que descansa en los jardines del Museo Cívico de la Antigüedad de Trieste, , Mayorella agita el agua en su universo. Una muestra recogida allí el día 9 de diciembre de 2018 y fotografiada a 400 aumentos con la técnica de contraste de interferencia, permite acercarnos a ella y a su fluir silencioso.
-->> Click , click
© View LARGE on BLACK
or white, or grey
__ For your Eyes only ©
-->> Click , click
xplor-stats.com/index.php?id=40036489@N00&mod=home
Highest position: #140 on Thursday, November 28, 2013
2013-11-27
#140- #329
dropped #315
...
xplor-stats.com/index.php?id=40036489@N00&mod=history
...
ps
mother-shot
Highest position: #464 on Wednesday, November 27, 2013
Taken on November 26, 2013 at 9.08AM
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Morgens plus
LED - Leuchte - 38 LEDs
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Vor 1737 ist die Gerbera als Afrikanische / Äthiopische Aster bekannt; im Jahre 1737 wurde sie erstmals vom Holländer Jan Frederik Gronovius beschrieben und zu Ehren des Mediziners und Botanikers Traugott Gerber (1710–1743) mit dem Namen „Gerbera“ versehen. Ein Jahr später nahm dessen Freund Carl von Linné die Art in seine Systematik auf.
Gerbera in diversen Farben
1884 fand Robert James, ein Pflanzenhändler aus Durban in Südafrika, die Art auf den Goldfeldern von Barberton in Transvaal. Er schenkte die „Barberton Daisy“, das Barberton-Gänseblümchen, dem Botanischen Garten in Durban; dessen Leiter erkannte in ihr die Gerbera. 1886 gelangte ein erstes Herbar-Exemplar in den königlichen Garten nach Kew bei London. 1889 wurden die ersten Gerbera registriert, beschrieben und der Öffentlichkeit vorgestellt. Diese erste wissenschaftliche Beschreibung stammt von J.D. Hooker im Curtis Botanical Magazine. Er beschreibt die südafrikanische „Barberton Daisy“ (heute Gerbera jamesonii).
1890 begannen erste Kreuzungsversuche durch Irwin Lynch am Botanischen Garten von Cambridge. 1893 gelangten die Gerbera nach Deutschland.
Die Gerbera gehört heute weltweit zu den beliebtesten Schnittblumen. Es gibt etwa 45 Arten mit diversen Hybriden.
Seit den 1990er Jahren werden einige Sorten auch als Zimmerpflanzen angeboten. 2009 begannen Händler eine Art der Gerbera anzubieten, welche winterhart ist (Garvinea ®). Sie kann im Freien ungeschützt jedoch nur bis −5 °C überwintern.
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EXIF:
iA -
Tripod
Settings: 1/60 ƒ/3.7 ISO 400
Color Effect Happy
Focal Length (35mm format) 35 mm
Tripod: seftimer ( 10 sec, 2 sec) - plus tapping on the sensitive screen of the camera to set exact the focus area.
Then >click<.
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Stativ: Selbstauslöser (10 Sek.) - Auf den empfindlichen Bildschirm der Kamera tippen. So können Sie den genauen den Fokuspunkt festlegen.
Dann auslösen >click<.
Source: en.wikipedia.org/wiki/St._Louis
St. Louis is the second-largest city in Missouri, United States. It sits near the confluence of the Mississippi and the Missouri Rivers, on the western bank of the latter. As of 2020, the city proper had a population of around 301,500, while the bi-state metropolitan area, which extends into Illinois, had an estimated population of over 2.8 million, making it the largest metropolitan area in Missouri, the second-largest in Illinois, the seventh-largest in the Great Lakes Megalopolis, and the 20th-largest in the United States.
Before European settlement, the area was a regional center of Native American Mississippian culture. St. Louis was founded on February 14, 1764, by French fur traders Gilbert Antoine de St. Maxent, Pierre Laclède and Auguste Chouteau, who named it for Louis IX of France. In 1764, following France's defeat in the Seven Years' War, the area was ceded to Spain. In 1800, it was retroceded to France, which sold it three years later to the United States as part of the Louisiana Purchase; the city was then the point of embarkation for the Corps of Discovery on the Lewis and Clark Expedition. In the 19th century, St. Louis became a major port on the Mississippi River; from 1870 until the 1920 census, it was the fourth-largest city in the country. It separated from St. Louis County in 1877, becoming an independent city and limiting its own political boundaries. St. Louis had a brief run as a world-class city in the early 20th century. In 1904, it hosted the Louisiana Purchase Exposition and the Summer Olympics.
A "Gamma" global city with a metropolitan GDP of more than $160 billion in 2017, metropolitan St. Louis has a diverse economy with strengths in the service, manufacturing, trade, transportation, and tourism industries. It is home to nine of the ten Fortune 500 companies based in Missouri. Major companies headquartered or with significant operations in the city include Ameren Corporation, Peabody Energy, Nestlé Purina PetCare, Anheuser-Busch, Wells Fargo Advisors, Stifel Financial, Spire, Inc., MilliporeSigma, FleishmanHillard, Square, Inc., U.S. Bank, Anthem BlueCross and Blue Shield, Federal Reserve Bank of St. Louis, U.S. Department of Agriculture, National Geospatial-Intelligence Agency, Centene Corporation, and Express Scripts.
Major research universities include Saint Louis University and Washington University in St. Louis. The Washington University Medical Center in the Central West End neighborhood hosts an agglomeration of medical and pharmaceutical institutions, including Barnes-Jewish Hospital.
St. Louis has three professional sports teams: the St. Louis Cardinals of Major League Baseball, the St. Louis Blues of the National Hockey League, and the St. Louis BattleHawks of the newly formed XFL. In 2019, the city was awarded a Major League Soccer franchise, St. Louis City SC, which is expected to begin play upon the completion of a 22,500-seat stadium in the city's Downtown West neighborhood in 2023. Among the city's notable sights is the 630-foot (192 m) Gateway Arch in the downtown area. St. Louis is also home to the St. Louis Zoo and the Missouri Botanical Garden, which has the second-largest herbarium in North America.
Source: saintlouisautoshow.com/show-history/
It’s time to start your engines and gear up for the future at the 2021 St. Louis Auto Show. Whether you consider yourself a car enthusiast or not, this event has something for everyone — including children. As the largest automobile event in the St. Louis area, the Saint Louis Auto Show features more than 500 new cars, pickup trucks and SUVs from over 25 manufacturers all under one roof. The 2021 St. Louis Auto Show lets you preview the latest models, learn about new safety technology and preview some of the world’s most expensive vehicles, all without the pressure of making a vehicle purchase!
2021 STL Auto Show