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Probe zum Stück "F.A.U.S.T. III - The Price Of Happiness" des freien Frankfurter Tanz- und Performancetheaters antagon theaterAKTion. www.antagon.de
Probe samples taken from the modern colorwashes on the ceiling of the Amboise Gallery revealed a Renaissance-era decor which is fully intact. The paint was removed, and ceiling restored.
The Palais de la Berbie, and its gardens, a prestigious setting.
Musée Toulouse-Lautrec is in The Palais de la Berbie.
The palace is located next to the tourist office of Albi (in the Tarn region), and Sainte-Cecile Cathedral.
In the second half of the 13th century, the Bishops of Albi undertook the construction of the Palais de la Berbie close to the cathedral of Sainte-Cécile and the banks of the Tarn. A true fortress, the palace is a testimony to the bygone power of the Bishops of Albi. This medieval architecture, with its walls of extraordinary height and thickness, encloses a court of honour and a keep.
The prelates who followed from the Renaissance to the 18th century transformed and enlarged it into a stately palace with sumptuous salons and French style formal gardens. Situated in the very heart of the cityâs historical centre, the Palais de la Berbie, listed as a historical monument, is one of Franceâs best preserved episcopal residences.
www.museetoulouselautrec.net/the-palais-de-la-berbie-and-...
To mount the probe onto the ship, a molded plastic plug has to be removed. It is provided for display purposes and removes by twisting it to disengage the lugs and then punching it out. I poked it out with a rod pushed through the motor mount. The probe was then inserted into the hole and twisted to engage the plastic lugs on the collar. A previous EMRR review indicated some problems with the alignment but I had no problems.
There were so many dunlin in this field outside of Bombay Hook NWR, along with hundreds of black-bellied plover, semipalmated plover and ring-billed gulls. It was pretty cool to see.
Photographed at the Lexington Wildlife Management Area, Oklahoma, on 24 May 2020.
Photographs and text © Bryan Reynolds
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