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Am 16. August 2022 wartete ich an der Mainbrücke in Kostheim an der Verbindungsbahn zwischen dem Abzweig Kostheim und Mainz- Bischofsheim auf Güterzüge in Richtung Süden.
Zu meiner Freude kam dann auch die sehr saubere Railpool 193 996 (Werbelok Ökologik) mit dem etwas verspäteten DGS 40671 ihres Mieters TXL aus Köln-Eifeltor nach Curtici in Rumänien.
Markant für diese Relation sind roten Auflieger der Speditionen Filip und die blauen von Routier aus Rumänien.
Der Zug kam von der linken Rheinstrecke (KBS 471) und fuhr planmäßig über Mainz-Mombach und die Kaiserbrücke über den Rhein und weiter über die Verbindungsbahn zum Abzweig Kostheim und befand sich gerade auf der Vorflutbrücke in der Aussenkurve zur Mainbrücke.
The ceiling in the main concourse of Grand Central Terminal in midtown Manhattan is a thing to behold. I've wanted to try a shot like this for a long time.
I had fun finding the exact dead center of this giant space, leaning back and taking the pic. In other news, my chiropractor says only about three more sessions to get my back all squared away. ;)
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If you're interested, here's some history on the ceiling from Wikipedia...
"The Main Concourse has an elaborately decorated astronomical ceiling, conceived in 1912 by Warren with his friend, French portrait artist Paul César Helleu, and executed by James Monroe Hewlett and Charles Basing of Hewlett-Basing Studio, with Helleu consulting. Corps of astronomers and painting assistants worked with Hewlett and Basing.
The starry ceiling is astronomically inaccurate in a complicated way. While the stars within some constellations appear correctly as they would from earth, other constellations are reversed left-to-right, as is the overall arrangement of the constellations on the ceiling.
For example, Orion is correctly and beautifully rendered, but the adjacent constellations Taurus and Gemini are reversed both internally and in their relation to Orion, with Taurus near Orion's raised arm where Gemini should be.
One possible explanation is that the overall ceiling design might have been based on the medieval custom of depicting the sky as it would appear to God looking in at the celestial sphere from outside, but that would have reversed Orion as well.
A more likely explanation is a partially mistaken transcription of the sketch supplied by Columbia Astronomy professor Harold Jacoby. Though the astronomical inconsistencies were noticed promptly by a commuter in 1913, they have not been corrected in any of the subsequent renovations of the ceiling."
Elephants always have a special place in India's history since ages and have a cordial relation with people.Since lord ganesh is blessed with the head of elephant ,the animal is considered sacred among Indians.Here two people share a funny moment with elephant.
Hampi | India | Feb 2015
© Ben Heine || Facebook || Twitter || www.benheine.com
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For more information about my art: info@benheine.com
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Keunikan hunting pada sawah yang masih dalam proses penggenangan.
Inframe: KLB relasi Bandung-Surabaya Pasarturi pp melintasi daerah Rancaekek
Featuring:
Lady Rhapsody by Silvan Moon Designs
Kindi by Calico Creations
Candy #3 by K&S poses
Full credits are at Blue's Fantasy!
No relation to the upcoming movie of course. After doing so mostly Homeworld/Peter Elson inspired Microspace. I wanted to do an homage to Studio Nue and Kazutaka Miyatake in particular.
(Re-edit 01/07, thanks Noel Upfield for the explanation)
Life is really nicely done on earth. You can see there the unique and symbiotic relationship between ants and aphids on a gooseberry: ants protect aphids from predators, and aphids produce/secrete drops of honeydew that feeds the ants (they’re addicted to).
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(Réédité le 01/07, merci Noel Upfield pour l’explication)
La vie est vraiment bien faite sur Terre. Ici, vous pouvez voir la relation unique et symbiotique qu’ont les fourmis et les pucerons, sur une groseille à maquereau: les fourmis protègent les pucerons des prédateurs, et les pucerons produisent/sécrètent des gouttes de miellat qui nourrissent les fourmis (elles en raffolent).
‘Steenmannetjes’ sieren al sinds mensenheugenis ons landschap. Ze duiken op als opeengestapelde stenen; torentjes als handige ankerpunten voor verdwaalde wandelaars. In verschillende culturen hebben ze een spirituele betekenis. Vooral in Japan worden ze gezien als ceremoniële of sacrale plekken van bezinning. Stilstaand bij de balancerende stenen, erkent de mens overgeleverd te zijn aan de natuur en fluistert haar zachtjes wensen toe. In Oostende verankert Rosa Barba zo’n uitvergroot steenmannetje. De stenen imiteert ze door beton in textiel te gieten: een techniek die voor de architecten en ontwerpers van morgen flexibiliteit belooft. Het textiel doet denken aan de vorm van zandzakken, waarmee Barba een soort denkbeeldige dam creëert tegen de toekomstige stijging van de zeespiegel.
Elke steen staat symbool voor een stad waarvan het lot is overgeleverd aan klimaatverandering. Verschillende wereldsteden - Algiers, Bangkok, Rio de Janeiro, Miami, Jakarta, Havana, Kuweit City, Chennai, Manila, Dublin en Buenos Aires - zijn vertegenwoordigd in een steen die qua grootte overeenkomt met de hoeveelheid mensen die er wonen. De positie van iedere stad in de toren weerspiegelt de feitelijke hoogteligging van de plek, en toont de verhouding tot het zeeniveau dat steeds stijgt.
Doorheen de jaren zal Pillage of the Sea langzaamaan onder water komen te liggen. De sculptuur vormt een visuele meetlat voor de klimaatverandering, terwijl eb en vloed bepalen hoeveel van het kunstwerk op elk moment zichtbaar is. Rosa Barba herinnert er ons met dit werk aan onze kwetsbaarheid te erkennen en de natuur te eren.
Bron: www.beaufort21.be/kunstenaars/rosa-barba
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Since time immemorial, ´cairns´ have graced our landscape. They crop up as piled-up stones; small towers as handy anchor points for lost hikers. They have a spiritual significance in various cultures. Above all in Japan they are seen as ceremonial or sacred places for reflection. Standing before the balancing stones, the individual acknowledges being at the mercy of nature and quietly whispers his wishes to it.
In Ostend, Rosa Barba has anchored such an oversized cairn. She imitates the stones by casting concrete in textile: a technique that promises flexibility for the architects and designers of tomorrow. The textile makes one think of sandbags, with which Barba creates a type of imaginary barrier against the future rise in the sea level.
Each stone symbolises a city whose fate is threatened by climate change. Buenos Aires, Bangkok, Rio de Janeiro, Miami, Jakarta and Chennai are represented by a stone whose size corresponds to the number of people who live there. The position of each city in the tower reflects the actual altitude of the place, and shows the relation to the steadily rising sea level. For example, Amsterdam already lies two metres below the current sea level. (...)
Over the years 'Pillage of the Sea' will gradually be submerged by the water. The sculpture forms a visual yardstick for climate change, while the ebb and flow of the tides determine how much of the artwork is visible at any given moment. With this work Rosa Barba reminds us to acknowledge our vulnerability and to revere nature.
Positioning myself almost sideways in relation the window gave me a different view from the spare room window. This looks past our next door neighbour, across the same garden was we see from the back bedroom but with the end of the houses in Coursey Grove just visible beyond the Mowbray Drive houses. The houses at the top of Jute Road still appear at the room of the drawing. Drawn with a Pilot C-Tec 0.25 pen in an A4 Ebony sketchbook.
in relation to the USA. Not my photo.
A screen capture from --{I forget}.
I’m reading a very good, very new, book about Volodymyr Zelensky, “The Showman”, written by Simon Shuster. 2024.
(Europe is 17 times larger than Ukraine. Europe and the US are about identical in size.)
An acrobat of close relation to the golden-winged warbler, the Blue-winged Warbler (Vermivora cyanoptera) wears a black mask and a blue shawl. What a punk! Why is he acrobatic? During breeding season, blue-wings tend to stay in the upper regions of trees, and can often be seen dangling upside down as they glean caterpillars and other insects from leaves. Interestingly, this is one warbler species in which sexual dimorphism isn't all that distinct and the lady and gentleman warblers look nearly identical. Still, the ladies are a bit more drab.
Railfans in Southern California in relation to action on the BNSF all say the same thing something along the lines of "Another Heritage 3 GEVO blah blah blah whatever" then again you could go over to Union Pacific tracks and complain about nothing all day or PSR or whatever, it's not Railfanning until you have a chance to complain. But this time I at least had a chance to throw something out there; with a SD70ACe second out, a damn near spotless 700 series Dash-9 third (even with a matching AC unit) and a 600 series rebuild trailing fourth out, this train had all kind of potential then again it all comes down to how the power gets turned around and setup. Anyways enough with the banter BNSF 8367 leads three slightly more appealing choices for a lead motor, as this West Basin Container to Logistics Park Chicago intermodal train rounds out the top of the short hill at Highgrove on it's way out of Riverside and into San Bernardino a very clear morning.
This pic displays everything a real still-life should not.
The background is complex and attracts attention. The displayed objects are scattered and randomly chosen; they have no relation with each other and their illumination differs.
en.wikipedia.org/wiki/Wentworth_Castle
Wentworth Castle is a grade I listed country house, the former seat of the Earls of Strafford, at Stainborough, near Barnsley in South Yorkshire, England. It is now home to the Northern College for Residential and Community Education.
An older house existed on the estate, then called Stainborough, when it was purchased by Thomas Wentworth, Baron Raby (later Earl of Strafford), in 1711. It was still called Stainborough in Jan Kip's engraved bird's-eye view of parterres and avenues, 1714, and in the first edition of Vitruvius Britannicus, 1715 (illustration, left). The name was changed in 1731. The original name survives in the form of Stainborough Castle, a sham ruin constructed as a garden folly (illustration below) on the estate.
The Estate has been in the care of the Wentworth Castle Heritage Trust since 2001 and is open to the public year round 7 days a week. The castle's gardens were restored in the early 21st century, and are also open to visitors.
History
The original house, known as the Cutler house, was constructed for Sir Gervase Cutler (born 1640) in 1670. Sir Gervase then sold the estate to Thomas Wentworth, later the 1st Earl of Strafford. The house was remodelled in two great campaigns, by two earls, in remarkably different styles, each time under unusual circumstances.
The first building campaign
The first building campaign to upgrade the original structure was initiated c.1711 by Thomas Wentworth, Baron Raby (1672-1739). He was the grandson of Sir William Wentworth, father of Thomas Wentworth, the attainted 1st Earl. Raby was himself created 1st Earl of Strafford (second creation) in 1711.
The estate of Wentworth Woodhouse, which he believed was his birthright, was scarcely six miles distant and was a constant bitter sting, for the Strafford fortune had passed from William Wentworth, 2nd Earl of Strafford, the childless son of the great earl, to his wife's nephew, Thomas Watson; only the barony of Raby had gone to a blood-relation. M.J. Charlesworth surmises that it was a feeling that what by right should have been his that motivated Wentworth's purchase of Stainborough Castle nearby and that his efforts to surpass the Watsons at Wentworth Woodhouse in splendour and taste motivated the man whom Jonathan Swift called "proud as Hell".[1]
Wentworth had been a soldier in the service of William III, who made him a colonel of dragoons. He was sent by Queen Anne as ambassador to Prussia in 1706-11 and on his return to Britain, the earldom was revived when he was created Viscount Wentworth and Earl of Strafford in the Peerage of Great Britain. He was then sent as a representative in the negotiations that led to the Treaty of Utrecht, and was brought before a commission of Parliament in the aftermath. With the death of Queen Anne, he and the Tories were permanently out of power. Wentworth, representing a clannish old family of Yorkshire, required a grand house consonant with the revived Wentworth fortunes, he spent his years of retirement completing it and enriching his landscape.
He had broken his tour of duty at Berlin to conclude the purchase of Stainborough in the summer of 1708, and returned to Berlin, armed with sufficient specifications of the site to engage the services of a military architect who had spent some years recently in England, Johann von Bodt. who provided the designs.[2] Wentworth was in Italy in 1709, buying paintings for the future house: "I have great credit by my pictures," he reported with satisfaction: "They are all designed for Yorkshire, and I hope to have a better collection there than Mr. Watson."[3] To display them a grand gallery would be required, for which James Gibbs must have provided the designs, since a contract for wainscoting "as desined by Mr Gibbs" survives among Wentworth papers in the British Library (Add. Mss 22329, folio 128). The Gallery was completed in 1724.[4] There are designs, probably by Bodt, for an elevation and a section showing the gallery at Wentworth Castle in the Victoria and Albert Museum (E.307-1937), in an album of mixed drawings which belonged to William Talman's son John.[5] the gallery extends one hundred and eighty feet, twenty-four feet wide, and thirty high, screened into three divisions by veined marble Corinthian columns with gilded capitals, and with corresponding pilasters against projecting piers: in the intervening spaces four marble copies of Roman sculptures on block plinths survived until the twentieth century.[6] Construction was sufficiently advanced by March–April 1714 that surviving correspondence between Strafford and William Thornton concerned the disposition of panes in the window sashes: the options were for windows four panes wide, as done in the best houses Thornton assured the earl, for which crown glass would do, or for larger panes, three panes across, which might requite plate glass: Strafford opted for the latter.[7] The results, directed largely by letter from a distance,[8] are unique in Britain. Sir Nikolaus Pevsner found the east range "of a palatial splendour uncommon in England."[9] The grand suite of parade rooms on the ground floor extended from the room at the north end with a ceiling allegory of Plenty to the south end, with one of a Fame.
Bodt's use of a giant order of pilasters on the front and other features, suggested to John Harris that Bodt, who had been in England in the 1690s, had had access to drawings by William Talman. Talman was the architect of Chatsworth, considered to be England's first truly Baroque house. Indeed there are similarities of design between Wentworth's east front and Chatsworth. Both have a distinctly Continental Baroque frontage. Wentworth has been described as "a remarkable and almost unique example of Franco-Prussian architecture in Georgian England".[10] The east front was built upon a raised terrace that descended to sweeps of gravelled ramps that flanked a grotto and extended in an axial vista framed by double allées of trees to a formal wrought iron gate, all seen in Jan Kip's view of 1714, which if it is not more plan than reality, includes patterned parterres to the west of the house and an exedra on rising ground behind, all features that appear again in Britannia Illustrata, (1730).[11] An engraving by Thomas Badeslade from about 1750 still shows the formal features centred on Bodt's façade, enclosed in gravel drives wide enough for a coach-and-four. The regular plantations of trees planted bosquet-fashion have matured: their edges are clipped, and straight rides pierce them.[12] All these were swept away by the second earl after mid-century, in favour of an open, rolling "naturalistic" landscape in the manner of Capability Brown.[13]
The first earl's landscape
Strafford planted avenues of trees in great quantity in this open countryside, and the sham castle folly (built from 1726 and inscribed "Rebuilt in 1730", now more ruinous than it was at first) that he placed at the highest site, "like an endorsement from the past"[14] and kept free of trees (illustration, left) missed by only a few years being the first sham castle in an English landscape garden.[15] For its central court where the four original towers were named for his four children, the earl commissioned his portrait statue in 1730 from Michael Rysbrack, whom James Gibbs had been the first to employ when he came to England;[16] the statue has been moved closer to the house.
A staunch Tory,[17] Lord Strafford remained in political obscurity during Walpole's Whig supremacy, for the remainder of his life. An obelisk was erected to the memory of Queen Anne in 1736, and a sitting room in the house was named "Queen Anne's Sitting Room" until modern times. Other landscape features were added, one after the other, with the result that today there are twenty-six listed structures in what remains of the parkland.
The second earl at Wentworth Castle
The first earl died in 1739 and his son succeeded him. William Wentworth, 2nd Earl of Strafford (1722-1791) rates an entry in Colvin's Biographical Dictionary of British Architects as the designer of the fine neo-Palladian range, built in 1759-64 (illustration, upper right). He married a daughter of the Duke of Argyll[18] and spent a year on the Grand Tour to improve his taste; he eschewed political life. At Wentworth Castle he had John Platt (1728–1810)[19] on the site as master mason and Charles Ross ( -1770/75) to draft the final drawings and act as "superintendent"; Ross was a carpenter and joiner of London who had worked under the Palladian architect and practiced architectural ammanuensis, Matthew Brettingham, at Strafford's London house, 5, St James's Square, in 1748-49. Ross's proven competency in London in London doubtless recommended him to the Earl for the building campaign in Yorkshire.[20] At Wentworth Castle it was generally understood, as Lord Verulam remarked in 1768, "'Lord Strafford himself is his own architect and contriver in everything."[21] Even in the London house, Walpole tells us, "he chose all the ornaments himself".
Horace Walpole singled out Wentworth Castle as a paragon for the perfect integration of the site, the landscape, even the harmony of the stone:
"If a model is sought of the most perfect taste in architecture, where grace softens dignity, and lightness attempers magnificence... where the position is the most happy, and even the colour of the stone the most harmonious; the virtuoso should be directed to the new front of Wentworth-castle:[22] the result of the same judgement that had before distributed so many beauties over that domain and called from wood, water, hills, prospects, and buildings, a compendium of picturesque nature, improved by the chastity of art."[23]
Later history
With the extinction of the earldom with the third earl in 1799, the huge family estates were divided into three, one third going to the descendants of each daughter of the 1st Earl. Wentworth Castle was left in trust for Lady Henrietta Vernon's grandson Frederick Vernon, (of Hilton Hall, Staffordshire) whose trustees were William, 4th Earl Fitzwilliam, and Walter Spencer Stanhope. Frederick Vernon added Wentworth to his surname and took charge of the estate in 1816. Between 1820 and 1840 the old chapel of St. James was replaced with the current building and the windows of the Baroque Wing were lowered on either side of the entrance hall. Frederick Vernon Wentworth also amalgamated two ground floor rooms to make what is now the blue room. In July of 1838 a freak hail storm badly damaged the cupola and windows of the house as well as all the greenhouses within the walled gardens, yet this pales into insignificance when compared with the nearby Huskar Colliery disaster where 26 child miners lost there lives due to flooding following the hail storm. In May of 1853 a freak snow storm also caused severe damage, particularly to the mature trees within the gardens, some of them rare species from America planted by the 1st and 2nd earls. Frederick Vernon Wentworth was succeeded by his son Thomas in 1885 who added the iron framed Conservatory and electric lighting by March of the following year. The Victorian Wing also dates from this decade and its construction allowed the Vernon-Wentworths to entertain the young Duke of Clarence and his entourage during the winters of 1887 and 1889. The estate was inherited by Thomas' eldest son Captain Bruce Canning Vernon Wentworth, M.P. for Brighton, in 1902. Preferring his Suffolk estates, the Captain put the most valuable of his Wentworth Castle house contents up for sale at auction with Christies after the First World War. The paintings sold at Christie's on 13 November 1919.[24] Bruce Vernon-Wentworth, who had no direct heirs, sold the house and its gardens to Barnsley Corporation in 1948, while the rest of his estates, in Yorkshire, Suffolk and Scotland were left to a distant cousin.[25] The remaining contents of Wentworth Castle were emptied at a house sale,[26] and the house became a teacher training college, the Wentworth Castle College of Education, until 1978. It was then used by Northern College.[27] It was featured in the Victoria and Albert Museum's exhibition "The Country House in Danger". The great landscape that Walpole praised in 1780 was described in 1986 as now "disturbed and ruinous", the second earl's sinuous river excavated in the 1730s reduced to a series of silty ponds,.[28]
Wentworth Castle is the only Grade I Listed Gardens and Parkland in South Yorkshire. The Wentworth Castle Heritage Trust was formed in 2002 as a charity with the aim “To undertake a phased programme of restoration and development works which will provide benefit to the general public by providing extensive access to the parkland and gardens and the built heritage, conserving these important heritage assets for future generations”. Today, the landscape is gradually being restored by the Trust. The restoration of the Rotunda was completed in 2010, the parkland has been returned to deer park. The restoration of the Serpentine will form a future project as funding allows.
The estate opened fully to visitors in 2007, following the completion of the first phase of restoration, which cost £15.2m.[29] The Gardens at Wentworth Castle and Stainborough Park are open 7 days a week year round (closed Christmas Day and Boxing Day). Information for visitors, groups and schools and the latest information on restoration progress is available from the Trust's website. Tours of the house are available by arrangement.
Wentworth Castle was featured on the BBC TV show Restoration in 2003, when a bid was made to restore the Grade II* Listed Victorian conservatory to its former glory, though it[30] did not win in the viewers' response. Subsequently, the Wentworth Castle Heritage Trust took the decision in 2005 to support the fragile structure further with a scaffold in order to prevent its total collapse. The Trust succeeded in raising the £3.7 million needed to restore the conservatory in 2011 and work began in 2012, with grants from English Heritage, the Country Houses Foundation, the Heritage Lottery Fund and the European Regional Development Fund. The Trust completed the restoration of its fragile Victorian glasshouse in October 2013 – 10 years after its first TV appearance the Restoration series. It was opened by the Mayor of Barnsley on 7 November 2013 and opened to the general public the following day.
I took this picture in the street of North Kolkata few days ago. The family in the picture lives in a narrow lane in North Kolkata, West Bengal. He earns a little by daily wage. He almost starves the days on which he cannot manage to find a job.
Due to poverty, this man married late in life. He and his wife were blessed by two beautiful children. They now hope that these two angles will be the ones filling the hole in their parents' deprived life.
A large and complex station that links to Flinders Street Station. It will take several visits for me to orient myself in relation to the various exits in this station.
Monumento a Felipe IV, Madrid.
El monumento a Felipe IV o fuente de Felipe IV ocupa el centro de la plaza de Oriente, uno de los recintos de mayor interés histórico-artístico de Madrid (España). Fue levantado a instancias de la reina Isabel II en la primera mitad del siglo xix, si bien su pieza más relevante, la estatua ecuestre del rey Felipe IV, data del siglo xviii.
La base, hecha en piedra de granito, está custodiada por cuatro leones de bronce, ubicados en posición de descanso en cada esquina. Un bloque rectangular, dispuesto oblicuamente en relación con el pedestal, les sirve de asiento. Las figuras fueron fundidas por Elías Vallejo.
The monument to Felipe IV or fountain of Felipe IV occupies the center of the Plaza de Oriente, one of the most interesting historical and artistic sites in Madrid (Spain). It was raised at the behest of Queen Elizabeth II in the first half of the nineteenth century, although its most important piece, the equestrian statue of King Philip IV, dates from the eighteenth century.
The base, made of granite stone, is guarded by four bronze lions, located in a resting position at each corner. A rectangular block, disposed obliquely in relation to the pedestal, serves as a seat. The figures were cast by Elías Vallejo.
In relation to the "Tribunal de las Aguas", in the northern half of the square is the "Fuente del Turia", with a central male figure that allegorically represents, in bronze, the Turia river, surrounded by eight female figures, naked and with headdresses of valencian farmers, who represent the eight main ditches that irrigate the garden. The fountain is the work of the sculptor Manuel Silvestre Montesinos and was inaugurated in 1976.
En relación con el Tribunal de las Aguas, en la mitad norte de la plaza se encuentra la Fuente del Turia, con una figura masculina central que representa alegóricamente, en bronce, el río Turia, rodeado por ocho figuras femeninas, desnudas y con tocado de labradoras valencianas, que representan a las ocho acequias principales que irrigan la huerta. La fuente es obra del escultor Manuel Silvestre Montesinos y fue inaugurada en 1976.
Ciutat Vella de Valéncia (Spain)
2015 08 27
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