View allAll Photos Tagged Reversion
grafted roses will often sprout from the root stock when conditions are dry...this one is just as beautiful as it's neighbors above
Der Propeller der Transall C 160 ist hydromechanisch verstellbar und hat einen Durchmesser von 5,48 m. Die Verstellung der Propeller erfolgt über einen Bereich von +86° (Segelstellung) bis zur Bremsschubstellung (Reversion, −14°).
Angetrieben wird er von einem Turboprop-Triebwerk Rolls-Royce Tyne Mk.2 mit 5.738 PS.
- Engine of the Transall C 160 transport plane -
Hagia Sophia in Istanbul Turkey
Greek Orthodox Cathedral (537–1204)
Roman Catholic Cathedral (1204–1261)
Greek Orthodox Cathedral (1261–1453)
Ottoman Mosque (1453–1935)
Museum (1935–2020)
Closed for reversion into mosque (2020–present)
(refer Wikipedia-Hagia Sophia)
seriously conflicted about the chairs, this one is totally hallmark, though i love the birds and the still-floating tube. we could also revert to resort cynicism. or cynically resort to reversion.
Not to everyone, I'm sure, and honestly a reversion at this time of year which not even I particularly joyfully anticipate. But when the snow is such that it covers every branch and detail with its singular touch, I can't help but go out and wander about, marveling in that magical environment. A good idea when doing so is to keep a scarf around one's neck as the trees have a habit of discarding their accumulated bounty in silent fashion, often seeming to take particular joy in targeting one's head and sending an unexpected and unpleasant jolt of wet and cold down one's collar.
Oh...and happy St. Patrick's Day, tho I would say this image would represent a covering of the green...;-))
[Better larger as usual]
A fancy exterior remains, in the Elaborate Art Nouveau Gothic style, but the pub was victim of one of the worst excesses of brewery greed in the 1980s when its grade II listed high ceilinged interior was destroyed to create “Presleys”. The resulting litigation led to the forced restoration of many original features in 1993 and, following reversion to the original name, the current decor is much more welcoming. The rear is carpeted and mirrored and doubles as a dining area while the outside remains as distinctive as ever.
Licensed in 1730 as the Sun and rebuilt in 1897 by Treadwell & Martin. The rising sun is a natural name for a pub with its associations with good weather and good fortune, but it also forms a large part of the coat of arms of the Distillers' Company which makes it even more popular as a pub name.
Karl Marx is reputed to have used this pub in the 1850s when 18 pubs existed along the length of the Tottenham Court Road (camra.org.uk)
I've been so lucky this summer to visit some truly beautiful places. This was taken in Scotland a few days ago. There was enough of a breeze not to be eaten alive by midges (barely an exaggeration) and I took the opportunity.
Lying in seaweed was super fun.. until I heard manic laughing behind me and turned around to see a fishing boat full of people laughing at me.. (how I suffer for my art)
This is possibly a little out of my normal style; I'll do a blog post soon with more photos from my Scotland trip.
A level results this Thursday, then my 18th next Monday.. everything's a'changin'
<3
instagram: @mynameisrebecca
56045 leads 6Y20 09:51 Cliffe Brett Marine - Chessington South Sidings past Culvert Place in Wandsworth.
56045 has recently been acquired by DC rail (as 56301) from the Class 56 Group and has now been re-painted out of its former 'Fastline' colours into a splendid representation of it's former BR Blue, complete with a reversion to its original number.
56103 in DC Rail's own livery has come along for the ride which will now involve the train travelling up to Willesden for a run round before returning to Clapham Junction, just a couple of hundred meters from this spot!
Esta deteriorada foto tiene el poder de hacer latir con fuerza mi corazón...
La foto es del 1 de abril de 1982...
La reversión del área canalera se hizo en varias etapas iniciando
el 1º de octubre de 1979 y culminando el 31 de diciembre de 1999...
El 1º de abril de 1982 se recuperó la soberanía en temas de aplicación de
Justicia, a partir de ese momento los delitos cometidos en la
franja canalera se juzgan según las leyes panameñas.
El acto se realizó en Balboa y yo estuve allí y en la foto...
Mi Explore # 112!!!
Posición 393 - Agosto 20, 2009
Gracias a mis Flickr Amigos que hicieron posible este Explore!!!
Gracias a todos los que participaron en la lucha
por la recuperación de la Zona Canalera!!!
Mashup is a musical genre which, in its purest form, consists of the combination of the music from one song with the a cappella from another.
Ideally, the music and vocals belong to completely different styles/genres generally considered to be incompatible, yet skillfully and artfully combined into a pleasurably euphonic hybrid.
To view more of my images, of Belton House, please click "here" ! Click any image to view large!
Belton House is a Grade I listed country house in Belton near Grantham, Lincolnshire, England. The mansion is surrounded by formal gardens and a series of avenues leading to follies within a larger wooded park. Belton has been described as a compilation of all that is finest of Carolean architecture, the only truly vernacular style of architecture that England had produced since the Tudor period. The house has also been described as the most complete example of a typical English country house; the claim has even been made that Belton's principal facade was the inspiration for the modern British motorway signs which give directions to stately homes. Only Brympton d'Evercy has been similarly lauded as the perfect English country house. For three hundred years, Belton House was the seat of the Brownlow and Cust family, who had first acquired land in the area in the late 16th century. Between 1685 and 1688 Sir John Brownlow and his wife had the present mansion built. Despite great wealth they chose to build a modest country house rather than a grand contemporary Baroque palace. The contemporary, if provincial, Carolean style was the selected choice of design. However, the new house was fitted with the latest innovations such as sash windows for the principal rooms, and more importantly completely separate areas for the staff. As the Brownlows rose from baronets to barons upward to earls and then once again became barons, successive generations made changes to the interior of the house which reflected their changing social position and tastes, yet the fabric and design of the house changed little. Following World War I (a period when the Machine Gun Corps was based in the park), the Brownlows, like many of their peers, were faced with mounting financial problems. In 1984 they gave the house away—complete with most of its contents. The recipients of their gift, the National Trust, today fully open Belton to the public. It is in a good state of repair and visited by many thousands of tourists each year The Brownlow family, a dynasty of lawyers, began accumulating land in the Belton area from approximately 1598. In 1609 they acquired the reversion of the manor of Belton itself from the Pakenham family, who finally sold the manor house to Sir John Brownlow I in 1619. The old house was situated near the church in the garden of the present house and remained largely unoccupied, since the family preferred their other houses elsewhere. John Brownlow had married an heiress but was childless. He became attached to two of his more distant blood relations: a great-nephew, also called John Brownlow, and a great-niece, Alice Sherard. The two cousins married each other in 1676 when both were aged 16; three years later, the couple inherited the Brownlow estates from their great-uncle together with an income of £9,000 per annum (about £ 1.17 million in present day terms) and £20,000 in cash (equivalent to about £ 2.59 million now). They immediately bought a town house in the newly fashionable Southampton Square in Bloomsbury, and decided to build a new country house at Belton. Work on the new house began in 1685. The architect thought to have been responsible for the initial design is William Winde, although the house has also been attributed to Sir Christopher Wren, while others believe the design to be so similar to Roger Pratt's Clarendon House, London, that it could have been the work of any talented draughtsman. The assumption popular today, that Winde was the architect, is based on the stylistic similarity between Belton and Coombe Abbey, which was remodelled by Winde between 1682 and 1685. Further evidence is a letter dated 1690, in which Winde recommends a plasterer who worked at Belton to another of his patrons. Whoever the architect, Belton follows closely the design of Clarendon House, completed in 1667. This great London town house (demolished circa 1683) has been one of the most admired buildings of its era due to "its elegant symmetry and confident and common-sensical design". Sir John Summerson described Clarendon House as "the most influential house of its time among those who aimed at the grand manner" and Belton as "much the finest surviving example of its class". John and Alice Brownlow assembled one of the finest teams of craftsmen available at the time to work on the project. This dream team was headed by the master mason William Stanton who oversaw the project. His second in command, John Thompson, had worked with Sir Christopher Wren on several of the latter's London churches, while the chief joiner John Sturges had worked at Chatsworth under William Talman. The wrought-ironworker John Warren worked under Stanton at Denham Place, Buckinghamshire, and the fine wrought iron gates and overthrow at Belton may be his. Thus so competent were the builders of Belton that Winde may have done little more than provide the original plans and drawings, leaving the interpretation to the on-site craftsmen. This theory is further demonstrated by the external appearance of the adjoining stable block. More provincial, and less masterful in proportion, it is known to have been entirely the work of Stanton.
From Wikipedia, the free encyclopedia
Drifting away from its mainstay on the 50, National Express Platinum 6943 approaches Solihull Town Centre with a 6 service for Solihull Station
Though not currently the main allocation, there is wide speculation surrounding this service's reversion to double decker operation.
Forthcoming deliveries, 7518-7538, have been announced for Yardley Wood - where it is assumed they will be allocated to the 6.
Vehicle Details
Operator: National Express West Midlands
Fleet Details: 6943 'Nikki'
Registration: SK68 MJX
Vehicle Type: Alexander Dennis Enviro 400 MMC
Vehicle History
New to Yardley Wood 01/19
--------------------------------------------------------------------------------------
Runa Photography, Daniel © 2016
© All rights reserved, don´t use this image without my permission.
-----------------------------------------------------------------------------------
El solsticio de invierno corresponde al instante en que la posición del Sol en el cielo se encuentra a la mayor distancia angular negativa del ecuador celeste. Dependiendo de la correspondencia con el calendario, el evento del solsticio de invierno tiene lugar entre el 20 y el 23 de diciembre todos los años en el hemisferio norte, y entre el 20 y el 23 de junio en el hemisferio sur.
El significado estacional del solsticio de invierno, se manifiesta en la reversión de la tendencia al alargamiento de la duración de las noches y al acortamiento de las horas diurnas. Distintas culturas definen esto de diversas maneras, puesto que en algunas ocasiones se considera que, astronómicamente, puede señalar, ya sea el comienzo o la mitad del invierno del hemisferio.
El solsticio por sí mismo puede haber sido un momento especial del ciclo anual del año, incluso durante el periodo neolítico. Eventos astronómicos controlados en la antigüedad, como el apareamiento de los animales, la siembra de los cultivos y la medición de las reservas entre las cosechas de invierno muestran cómo las diferentes mitologías y las tradiciones culturales han surgido. Esto es comprobado por la física que se mantiene en los diseños de finales del Neolítico y la Edad de Bronce, como en los sitios arqueológicos de Stonehenge (en Gran Bretaña) y Nueva Grange (Irlanda).
Los aimaras bolivianos celebran el 21 de junio de cada año en la ciudadela preincaica de Tiahuanaco el "Willka Kuti", o "retorno del sol". Cientos de personas, visitan a primera hora el templo de Kalasasaya de Tiahuanaco, para asistir a la conmemoración coincidente con el solsticio del invierno austral y el cambio del ciclo agrícola para la siembra en el campo. Se toma como año 0 el 3508 antes de la Era cristiana. Cada año se identifican a nivel regional los sitios sagrados y wuacas en las que se celebrará el Willka kuti. La cultura occidental lo llama Año Nuevo Andino Amazónico.
Fuente: wikipedia
Finally had the chance to photo 43302 in its new guise (and reversion back to its old number 43102), my oh my was it worth the waiting and the uni work.
Taking charge of 1D43 (14:34 London St. Pancras - Nottingham), the record-holding power car and 43295 (also a renumbered power car, from 43095) leaves St. Pancras behind for a charge down the Midland Mainline.
toniduartefotografia.blogspot.com.es
Toni Duarte Freelance Photographer
Please don't use this image on websites, blogs or other media
without my explicit permission.
© All rights reserved
Contac: fotografia@toniduarte.tk
El solsticio de invierno corresponde al instante en que la posición del Sol en el cielo se encuentra a la mayor distancia angular negativa del ecuador celeste. Dependiendo de la correspondencia con el calendario, el evento del solsticio de invierno tiene lugar entre el 20 y el 23 de diciembre todos los años en el hemisferio norte, y entre el 20 y el 23 de junio en el hemisferio sur.
El significado estacional del solsticio de invierno se manifiesta en la reversión de la tendencia al alargamiento de la duración de las noches y al acortamiento de las horas diurnas. Distintas culturas definen esto de diversas maneras, puesto que en algunas ocasiones se considera que, astronómicamente, puede señalar, ya sea el comienzo o la mitad del invierno del hemisferio. El invierno es una palabra de significado subjetivo, puesto que no tiene un principio o mitad que esté científicamente establecido, sin embargo en el caso del solsticio de invierno podemos calcular con exactitud el segundo en el que ocurre. Aunque en teoría el solsticio de invierno solo dura un instante, este término también se usa normalmente para referirse a las 24 horas del día en que tiene lugar.
El significado o interpretación de este evento ha variado en las distintas culturas del mundo, pero la mayoría de ellas lo reconoce como un período de renovación y re-nacimiento, que conlleva festivales, ferias, reuniones, rituales u otras celebraciones.
La palabra solsticio se deriva del latín sol (‘Sol’) y sístere (‘permanecer quieto’).
This vehicle carries what I call the 'intermediate' style of OK livery, basically a simplification of the traditional version, which was replaced by the post-deregulation 'stripey' style - only to be replaced itself by a reversion to the plainer style by new owners Go-Ahead, in order to apply 'between decks' advertising. And that really was the end of OK's previously superb standard of presentation.
STRICTLY COPYRIGHT: You may download a copy for your personal use, but it would be an offence to remove the coyright information or post elsewhere without the express permission of the copyright owner
An after school detention and the reversion to standard time meant I caught the sun setting on my way home. Pulled over to get this one.
I hope to god they never attempt to remake this in live-action. It's already perfect as-is, and there's no way the homogenized visual style of these soulless live action remakes could ever do it justice.
Oh, is this thing on? Ahem.
I love this movie. Just all of it. I've been sitting on these figs for a while, thinking about em off and on and how possible they were. Then I had the idea for Scroop while in the shower today and figured I'd just go for it. I think the results worked out pretty well.
Also my friend and I have a working theory that this movie takes place a hundred years after Lilo and Stitch, and that the reversion back to solar-technology and pirates and such is due to a galactic dept after a massive, all-encompassing war started just shortly after humans were allowed into the Galactic Federation.
Anyways,
Mister Arrow: Probably the best of these besides Scroop.
Captain Amelia: Not very cat-like, but at least I got the ears.
Doctor Doppler: Dang it Jim, he's not a doctor. Well he is a doctor but with his doctorate you just sit around and you're useless.
Jim Hawkins: He hasn't got the rat-tail but the front of that hairpiece was too good to pass up.
BEN: I've had this figure built for like eight years.
Morph: Cleverly disguised as a minifigure head.
John Silver: Maybe the least-accurate of these, but he's got such a specific design he's hard to replicate. I honestly feel like a Flintstones head would fit him well.
Scroop: My favorite of these. It's hard to see but his thorax is made from one of those Nexo-Knight shield pieces in black.
Aquanog: Had to look up this dude's name. Just one of the crew members who participates in the mutiny. The head-piece was too good to pass up.
That's all for now, lemme know what you think!
Este sábado me toca a mi con los chicos de la Reacción y la Moral, con los que vengo compartiendo fechas bellisimas. Más allá de las ambientaciones de siempre en la casa, pueden chequear aquó o en /chatperche como queda todo, la idea es volver a producir recitales intimos, para pocas personas, para resaltar la escucha, para motivar el cariño
www.myspace.com/lareaccionylamoral
www.myspace.com/losgalgoslosgalgos
El 10 llega Rubín con un solo-set acústico, intimo/hiperactivo. El mismo día pasa música Leo Aguirre y expone sus bellas creaciones Nenet en la biblioteca personal del ph más lindo de Boedo
El 17 viene Federico Barabino con un solo set y leen un grupo de poetas, cosas propias y de otros. Poeta no soy, a menos no me enteré aún, pero voy a leer bellas cosas de los otros, seguramente de Roberto.
www.myspace.com/federicobarabino
El 24 vuelvo a tocar con Los Galgos, ahora sí con la formación completa, con las canciones reversionadas en inglés y una banda invitada sorpresa
Las reservas para todas las fechas se hacen a:
losgalgoslosgalgos@gmail.com
"Un solo week-end no revolucionario es infinitamente más sangriento que un mes de revolución permanente."
::
El flyer lo hizo Bruno con mucho amor
Got my festival hat on today (borrowed from my father-in-law!) - this weekend the Acoustic Festival Of Britain 2009 has been taking place as Catton Hall in South Derbyshire, and seeing as how it was such a beautiful early summer's day, and it's only a gentle ten minute drive from the in-law's house, Heather and I decided to pop along for the afternoon.
The highlight was undoubtedly Adrian Edmondson and The Bad Shepherds with their unique folk reversionings of some punk and new wave classics (including White Riot, The Model, and God Save The Queen). Stomp-a-long-tastic! Couldn't stay for too long though, as I've pulled something in my back again and was in some discomfort (yes, I know I just got back from honeymoon but it's more than likely to do with lugging the huge suitcase up the stairs than anything else!) Beautiful day though, and if anyone is looking for anything to do tomorrow I recommend popping along to the final day!
Lighting: 430EX on light stand to camera left, 580EXII on light stand to camera right. Fired with ST-E2. Sun, high in the perfect blue sky!
The Bad Shepherds: Promo Video
Law's Notes, 09-27-XX, supplemental.
I finally met Zep, or Sister D, and Cupcake, or Elise today. Well... again. Last time I met D it was under a much more enjoyable circumstance, and honestly, so was the last time I met Elise. At least we were all under the same spell from which I generated my consciousness.
It seems like an eternity ago. In my mind, I was a cocky soon-to-be pilot who was always on top of his game, arrogant, brash. I was given a chance to glimpse into my future, and I took ample opportunity to do so... until I realized it wasn't time travel, it was chemical reversion on the part of the Old Man and everyone else in Midian. Then things got real.
After the sort of survival quest I've been on, not to mention being birthed and baptized in blood by Two - aka, Volpe- I have to say I've lost a lot of swagger.
It's hard to not learn humility in my shoes. Even regret. It's transitional. The hole left in me doesn't really allow much feeling about this one way or another, so my reflection is mostly a distant one... I still use arrogant brash comedian like I would use a familiar, comfortable sweater. I know it, I know how it moves.
But this meeting was awkward. I felt it somewhat, which meant it must have really broken past whatever emotional straight-jacket circumstances have put me in.
They were both kind enough. D, even had an active interest in pursuing a friendship on some level.
I may take her up on it.
To view more of my images, of Belton House, please click "here" !
From the Achieves, reprocessed using using Photoshop CC 2023"!
Please, do not insert images, or group invites, thank you!
Belton House is a Grade I listed country house in Belton near Grantham, Lincolnshire, England. The mansion is surrounded by formal gardens and a series of avenues leading to follies within a larger wooded park. Belton has been described as a compilation of all that is finest of Carolean architecture, the only truly vernacular style of architecture that England had produced since the Tudor period. The house has also been described as the most complete example of a typical English country house; the claim has even been made that Belton's principal facade was the inspiration for the modern British motorway signs which give directions to stately homes. Only Brympton d'Evercy has been similarly lauded as the perfect English country house. For three hundred years, Belton House was the seat of the Brownlow and Cust family, who had first acquired land in the area in the late 16th century. Between 1685 and 1688 Sir John Brownlow and his wife had the present mansion built. Despite great wealth they chose to build a modest country house rather than a grand contemporary Baroque palace. The contemporary, if provincial, Carolean style was the selected choice of design. However, the new house was fitted with the latest innovations such as sash windows for the principal rooms, and more importantly completely separate areas for the staff. As the Brownlows rose from baronets to barons upward to earls and then once again became barons, successive generations made changes to the interior of the house which reflected their changing social position and tastes, yet the fabric and design of the house changed little. Following World War I (a period when the Machine Gun Corps was based in the park), the Brownlows, like many of their peers, were faced with mounting financial problems. In 1984 they gave the house away—complete with most of its contents. The recipients of their gift, the National Trust, today fully open Belton to the public. It is in a good state of repair and visited by many thousands of tourists each year The Brownlow family, a dynasty of lawyers, began accumulating land in the Belton area from approximately 1598. In 1609 they acquired the reversion of the manor of Belton itself from the Pakenham family, who finally sold the manor house to Sir John Brownlow I in 1619. The old house was situated near the church in the garden of the present house and remained largely unoccupied, since the family preferred their other houses elsewhere. John Brownlow had married an heiress but was childless. He became attached to two of his more distant blood relations: a great-nephew, also called John Brownlow, and a great-niece, Alice Sherard. The two cousins married each other in 1676 when both were aged 16; three years later, the couple inherited the Brownlow estates from their great-uncle together with an income of £9,000 per annum (about £ 1.17 million in present day terms) and £20,000 in cash (equivalent to about £ 2.59 million now). They immediately bought a town house in the newly fashionable Southampton Square in Bloomsbury, and decided to build a new country house at Belton. Work on the new house began in 1685. The architect thought to have been responsible for the initial design is William Winde, although the house has also been attributed to Sir Christopher Wren, while others believe the design to be so similar to Roger Pratt's Clarendon House, London, that it could have been the work of any talented draughtsman. The assumption popular today, that Winde was the architect, is based on the stylistic similarity between Belton and Coombe Abbey, which was remodelled by Winde between 1682 and 1685. Further evidence is a letter dated 1690, in which Winde recommends a plasterer who worked at Belton to another of his patrons. Whoever the architect, Belton follows closely the design of Clarendon House, completed in 1667. This great London town house (demolished circa 1683) has been one of the most admired buildings of its era due to "its elegant symmetry and confident and common-sensical design". Sir John Summerson described Clarendon House as "the most influential house of its time among those who aimed at the grand manner" and Belton as "much the finest surviving example of its class". John and Alice Brownlow assembled one of the finest teams of craftsmen available at the time to work on the project. This dream team was headed by the master mason William Stanton who oversaw the project. His second in command, John Thompson, had worked with Sir Christopher Wren on several of the latter's London churches, while the chief joiner John Sturges had worked at Chatsworth under William Talman. The wrought-ironworker John Warren worked under Stanton at Denham Place, Buckinghamshire, and the fine wrought iron gates and overthrow at Belton may be his. Thus so competent were the builders of Belton that Winde may have done little more than provide the original plans and drawings, leaving the interpretation to the on-site craftsmen. This theory is further demonstrated by the external appearance of the adjoining stable block. More provincial, and less masterful in proportion, it is known to have been entirely the work of Stanton.
I love this image:
www.flickr.com/photos/dancehard/227416166/in/set-72057594...
but wasn't happy with the first editing I did to it.
So I revisited it.
Para el grupo reversiones.
A lot bigger if you would like to see it, here:
audio at nnnnnnnn.org/file/tehn_reversion.mp3
This is a frame from a video. You can watch it on Vimeo.
it is supposed to be a seedless variety Himrod but about 75% of the grapes do actually have seeds in them. Not sure if it was mislabelled or it is some sort of reversion phenomenon or a reaction to stress (although the plant looks good)
tbh i dont mind the seeds anyway.
Great to grow grapes in Ireland, albeit in a greenhouse.
I took this weird color photo well over a year ago. It's of the Imnaha River way off in the distance. There's an incredibly slim chance I'll be returning there in a handful-ish (hand-foolish?) of days. I have some spare time and might just make it happen.
There maybe a 10% chance. That's not a good amount of percent, but we shall see. Clearly the problem is that I need more precent. Maybe I'll find some somewhere.
It depends largely on the weather and now I feel at the time. This is probably my last chance to make it happen this year though.
.
.
.
'Reversion'
Camera: Intrepid Mk3 4×5 (2018)
Lens: Schneider-Kreuznach Super-Angulon 8/90mm
Film: Kodak Commercial Internegative (4325); x-09/2004; 12iso
Exposure: f/8; 1/8sec
Process: HC-110; 1+200; 18min
Buckhorn Overlook, Oregon
July 2019
Cuando la faja canalera estaba bajo la jurisdicción de los Estados Unidos...
(No sé quién tomó la foto...)
Ayer, 7 de septiembre, conmemoramos 34 años de la firma de los Tratados Torrijos Carter... que establecieron los términos de la reversión de la Zona del Canal a Panamá...
Y, cómo son las cosas... ayer me encontré unas fotos de hace muchos, muchos años...
We went to Knebworth for the flower show & plant sale (Bought quite a lot) so I didn`t have my camera, this was taken with my phone
.The home of the Lytton family since 1490, when Thomas Bourchier sold the reversion of the manor to Sir Robert Lytton, Knebworth House was originally a red-brick Late Gothic manor house, built round a central court as an open square. In 1813-16 the house was reduced to its west wing,[2] which was remodelled in a Tudor Gothic style by John Biagio Rebecca for Mrs Bulwer-Lytton,[3] and then was transformed in 1843-45 by Henry Edward Kendall Jr. into the present Tudor Gothic structure.[4] In 1913-1914 it was leased for ₤3,000 per year by Grand Duke Michael Alexandrovich of Russia and his morganatic wife Natalia Brasova.[5] Its most famous resident was Edward Bulwer-Lytton, the Victorian author, dramatist and statesman, who embellished the gardens in a formal Italianate fashion. Much of the interior was redesigned by Sir Edwin Lutyens, who simplified the main parterre. A herb garden, with an interlaced quincunx design, was drawn by Gertrude Jekyll in 1907, although not planted until 1982.
Seht ihr die winzig kleine Schnecke oben am Holz, sie trägt ein verhältnismäßig langes dünnes Haus ?! Ob die "Rote Wegschnecke" (Arion rufus) Angst vor ihr hat und deshalb kehrt macht, haben Schnecken überhaupt Angst ..
Angst ist immer ein schlechter Ratgeber.
Do you see the tiny snail on top of the wood, she wears a relatively long thin house ?! Whether the "Red Slug" (Arion rufus) is afraid of her and therefore turns around, have snails at all anxiety ..
Fear is always a bad counselor.
Please press L (or click on the photo for an enlargement)
SONY NEX-7 & SEL18200 (18-200mm F3.5-6.3 OSS, E-Mount)
96 mm _ f/10 _ 1/13s (handheld) _ ISO800
June 02 2016 / 11:21 CEST / MESZ
DSC01671a.jpg
© all rights reserved / Lutz Koch 2016
For personal display only !
All other uses, including copying or reproduction of this photograph or its image, in whole or in part, or storage of the image in any medium are expressly forbidden.
Written permission for use of this photograph must be obtained from the copyright holder !
para Lío de Fotos - reto 134 [cumple: el juego del liante invisible]
cuando abri mi correo y me encontré que mi liante invisible era Ali di una pirueta de felicidad ya que para mi no sólo es un honor homenajearla a ella en nombre de todo el grupo sino que creo que es una de las que mejor representa el espíritu de lo que es Lío. Alguien que está en el grupo desde los orígenes, que nos da tanto para que aprendamos de ella y que siempre humilde y agradecida aprende también
En su galería hay cantidad de fotos que quisiera saber reversionar pero por el momento muchas se me hacen imposible y otras tal vez nunca lo logre. Su cajita de lapices azules fue una de las que me enamoró desde que la vi por primera vez y hoy le hago honor en forma de corazón para darle tanto a ella como a todo el grupo el mío. Y es verde porque representa vida, crecimiento y renovación, algo que creo todos aquí buscamos permanentemente.
Muchas gracias a todos y FELIZ CUMPLE LIO!
CAMPILLO DE RANAS
Campillo de Ranas es un municipio español del noroeste de la provincia de Guadalajara, en la comunidad autónoma de Castilla-La Mancha.
Se encuentra en la zona influenciada por la arquitectura negra, que engloba los conocidos como pueblos negros.
El municipio de Campillo de Ranas engloba las pedanías de Campillejo, El Espinar, Roblelacasa y Robleluengo, además de los despoblados de El Vado, Matallana y La Vereda.
Está incluido en el área del parque natural de la Sierra Norte de Guadalajara.
Cabe destacar de este municipio el paisaje, con el pico Ocejón, uno de los más altos de la provincia, como accidente geográfigo más destacable. Cercano a la zona están dos de los hayedos más meridionales de Europa, el de Montejo de la Sierra y el de la Tejera Negra, así como el nacimiento del río Jarama en el municipio de El Cardoso de la Sierra.
Las entidades de La Vereda y Matallana, pertenecientes al antiguo municipio de El Vado, que fue anexionado al de Campillo de Ranas en la década de los 70, al igual que la población de ese nombre, que fue en parte sumergida bajo el embalse de su nombre, se encuentran despobladas tras la expropiación forzosa realizada por parte del antiguo Instituto de Conservación de la Naturaleza para su repoblación forestal. No obstante, la Asociación Amigos de La Vereda, con ayuda de la Consejería de Agricultura de Castilla-La Mancha, ha puesto en marcha un proyecto para la recuperación del enclave de La Vereda.
Desde 1988 la Asociación Cultural Hijos de La Vereda, conformada por los antiguos vecinos de El Vado, Matallana y La Vereda, y sus descendientes, organizan desde esa fecha las festividades patronales de San Pedro, San Juan y la Inmaculada Concepción. Igualmente, desde dicha fecha, los antiguos vecinos y propietarios de La Vereda, Matallana y El Vado, tienen planteado ante la Junta de Comunidades de Castilla-La Mancha y los Tribunales de Justicia, la reversión de las propiedades, incluidas las edificaciones de los cascos urbanos, que no han sido utilizadas para los fines de repoblación forestal que preveía la expropiación forzosa de 1972.
RUTA DE LA ARQUITECTURA NEGRA
La pizarra es el elemento estructural fundamental en las construcciones de este tipo de arquitectura, sirviendo para cubiertas y paramentos. El uso de la pizarra provoca que sus pueblos presenten un aspecto negruzco en sus vistas.
Estas construcciones se asientan en prados formando pequeños núcleos o grupos aislados de elementos auxiliares.
Los elementos más peculiares y llamativos de la arquitectura negra son las pequeñas edificaciones usadas para guardar el material tanto agrícola como ganadero y las tainas y las majadas utilizadas como cobertizos para el ganado en lugares aislados en la montaña. Estos elementos junto con las viviendas y los edificios comunitarios constituyen todo el elenco arquitectónico.
Son las viviendas los edificios más elaborados con múltiples recursos para la utilidad y comodidad de los habitantes de una zona que sufre de un clima de montaña muy frío y tendente a las nevadas.
La vivienda representa el elemento constructivo más importante de la arquitectura negra. Se adaptan a las duras condiciones climáticas que tienen que soportar sus inquilinos, sobre todo, en invierno. Tradicionalmente las viviendas se han mezclado con unas dependencias para los animales domésticos, quedando normalmente la planta baja separada en dos dependencias: una para ovejas, vacas, cabras y gallinas y, otra, para los sus dueños; y la planta alta para reservas de alimentos, paja y leña que permitan sobrevivir los meses más crudos del invierno.
Los recursos disponibles hace que su construcción se base en la pizarra, el barro y la madera, ya sea de roble, pino, chopo u olmo, según la zona en la que se encuentra la vivienda. Los volúmenes compactos de estas construcciones sólo se abren al exterior con ventanales muy pequeños en la fachada sur que responden únicamente a un mínimo de ventilación e iluminación de la estancia. El resto de las fachadas quedan ciegas por no recibir a penas luz solar durante buena parte del año. Estos ventanales y la puerta de acceso que se abren en la fachada sur se recuadran con grandes refuerzos de madera.
Calle de Umbralejo. La construcción de la vivienda comienza con la ejecución de los muros sobre el terreno asentando pizarra sobre barro y cantos rodados, mezclados con paja, consiguiendo un espesor de unos cincuenta o sesenta centímetros. Los tabiques interiores se construyen con armazón de palos verticales, llamados colondas, entre los que se colocan adobes. La estructura interior se realiza a base de postes sobre los que se sitúan las vigas horizontales. Sobre los muros descansan las vigas horizontales de los forjados y, sobre ellas, el entablado del piso superior.
La planta superior se contruye con postes de distintos tamaños, según la inclinación de la cubierta, que soportan tanto las vigas longitudinales, llamadas sopandas, como la viga de la cumbrera de la cubierta, normalmente paralela a la fachada. Sobre las sopandas se apoyan los cuartones que forman los faldones de la cubierta, construida con lajas de pizarra extendidas sobre una capa de barro mezclado conpaja para dar mayor consistencia, soportada por un entablado asentado en los cuartones.
Normalmente se presentan en las viviendas cubiertas a dos aguas, siendo el faldón de la parte norte, que se extiende diagonalmente desde la parte más alta de la vivienda hasta casi el suelo mostrando un desnivel ciertamente pronunciado, de mucho mayor tamaño que el de la parte sur, permitiendo así la extensión de la fachada meridional. En muchas ocasiones, la vivienda carece de faldón en la parte sur.
Pórtico de entrada a un edificio en Majaelrayo. Bajo la cubierta, en el piso superior, se sitúa el desván que se presenta llena de alimentos, paja, forrajes y leña en los meses más crudos del invierno. En la planta baja es donde residen habitualmente el ganado y los moradores separados en dos estancias. Una sola puerta sirve de entrada tanto para animales domésticos como para sus dueños. La puerta se sitúa siempre en la fachada sur y se cubre por un pequeño tejado independiente o por la prolongación de la cubierta. Está hecha o bien de una sola hoja de madera labrada con hacha, o bien de hoja partida horizontalmente en dos mitades. Por ella se accede al zaguán, solado con lajas de pizarra y provisto de poyos adosados a las paredes. Desde aquí se accede, por un lado, a la cuadra, por otro, a los dormitorios, por unas escaleras que ascienden al desván y como habitáculo central de la casa, la cocina, que sirve, a parte de lugar donde preparar los alimentos, como sala de estar, comedor y recibidor y, a demás, en ella se encuentra el horno para el pan y, con ello, la chimenea y es, también, donde cura la matanza.
Las viviendas modernas de la arquitectura negra muestran construcciones más propias de la época actual respondiendo al estilo de vida de hoy, manteniendo como característica común a las viejas construcciones el hecho de cubrir los muros con lajas de pizarra negra, las grandes cubiertas y las fachadas, olvidándose, por desuso, de las estancias dedicadas al cobertizo del ganado y al almacenaje de víveres.
To view more of my images, of Belton House, please click "here" !
From the Achieves, reprocessed using using Photoshop CC 2023"!
Please, do not insert images, or group invites, thank you!
Belton House is a Grade I listed country house in Belton near Grantham, Lincolnshire, England. The mansion is surrounded by formal gardens and a series of avenues leading to follies within a larger wooded park. Belton has been described as a compilation of all that is finest of Carolean architecture, the only truly vernacular style of architecture that England had produced since the Tudor period. The house has also been described as the most complete example of a typical English country house; the claim has even been made that Belton's principal facade was the inspiration for the modern British motorway signs which give directions to stately homes. Only Brympton d'Evercy has been similarly lauded as the perfect English country house. For three hundred years, Belton House was the seat of the Brownlow and Cust family, who had first acquired land in the area in the late 16th century. Between 1685 and 1688 Sir John Brownlow and his wife had the present mansion built. Despite great wealth they chose to build a modest country house rather than a grand contemporary Baroque palace. The contemporary, if provincial, Carolean style was the selected choice of design. However, the new house was fitted with the latest innovations such as sash windows for the principal rooms, and more importantly completely separate areas for the staff. As the Brownlows rose from baronets to barons upward to earls and then once again became barons, successive generations made changes to the interior of the house which reflected their changing social position and tastes, yet the fabric and design of the house changed little. Following World War I (a period when the Machine Gun Corps was based in the park), the Brownlows, like many of their peers, were faced with mounting financial problems. In 1984 they gave the house away—complete with most of its contents. The recipients of their gift, the National Trust, today fully open Belton to the public. It is in a good state of repair and visited by many thousands of tourists each year The Brownlow family, a dynasty of lawyers, began accumulating land in the Belton area from approximately 1598. In 1609 they acquired the reversion of the manor of Belton itself from the Pakenham family, who finally sold the manor house to Sir John Brownlow I in 1619. The old house was situated near the church in the garden of the present house and remained largely unoccupied, since the family preferred their other houses elsewhere. John Brownlow had married an heiress but was childless. He became attached to two of his more distant blood relations: a great-nephew, also called John Brownlow, and a great-niece, Alice Sherard. The two cousins married each other in 1676 when both were aged 16; three years later, the couple inherited the Brownlow estates from their great-uncle together with an income of £9,000 per annum (about £ 1.17 million in present day terms) and £20,000 in cash (equivalent to about £ 2.59 million now). They immediately bought a town house in the newly fashionable Southampton Square in Bloomsbury, and decided to build a new country house at Belton. Work on the new house began in 1685. The architect thought to have been responsible for the initial design is William Winde, although the house has also been attributed to Sir Christopher Wren, while others believe the design to be so similar to Roger Pratt's Clarendon House, London, that it could have been the work of any talented draughtsman. The assumption popular today, that Winde was the architect, is based on the stylistic similarity between Belton and Coombe Abbey, which was remodelled by Winde between 1682 and 1685. Further evidence is a letter dated 1690, in which Winde recommends a plasterer who worked at Belton to another of his patrons. Whoever the architect, Belton follows closely the design of Clarendon House, completed in 1667. This great London town house (demolished circa 1683) has been one of the most admired buildings of its era due to "its elegant symmetry and confident and common-sensical design". Sir John Summerson described Clarendon House as "the most influential house of its time among those who aimed at the grand manner" and Belton as "much the finest surviving example of its class". John and Alice Brownlow assembled one of the finest teams of craftsmen available at the time to work on the project. This dream team was headed by the master mason William Stanton who oversaw the project. His second in command, John Thompson, had worked with Sir Christopher Wren on several of the latter's London churches, while the chief joiner John Sturges had worked at Chatsworth under William Talman. The wrought-ironworker John Warren worked under Stanton at Denham Place, Buckinghamshire, and the fine wrought iron gates and overthrow at Belton may be his. Thus so competent were the builders of Belton that Winde may have done little more than provide the original plans and drawings, leaving the interpretation to the on-site craftsmen. This theory is further demonstrated by the external appearance of the adjoining stable block. More provincial, and less masterful in proportion, it is known to have been entirely the work of Stanton.
CAMPILLO DE RANAS
Campillo de Ranas es un municipio español del noroeste de la provincia de Guadalajara, en la comunidad autónoma de Castilla-La Mancha.
Se encuentra en la zona influenciada por la arquitectura negra, que engloba los conocidos como pueblos negros.
El municipio de Campillo de Ranas engloba las pedanías de Campillejo, El Espinar, Roblelacasa y Robleluengo, además de los despoblados de El Vado, Matallana y La Vereda.
Está incluido en el área del parque natural de la Sierra Norte de Guadalajara.
Cabe destacar de este municipio el paisaje, con el pico Ocejón, uno de los más altos de la provincia, como accidente geográfigo más destacable. Cercano a la zona están dos de los hayedos más meridionales de Europa, el de Montejo de la Sierra y el de la Tejera Negra, así como el nacimiento del río Jarama en el municipio de El Cardoso de la Sierra.
Las entidades de La Vereda y Matallana, pertenecientes al antiguo municipio de El Vado, que fue anexionado al de Campillo de Ranas en la década de los 70, al igual que la población de ese nombre, que fue en parte sumergida bajo el embalse de su nombre, se encuentran despobladas tras la expropiación forzosa realizada por parte del antiguo Instituto de Conservación de la Naturaleza para su repoblación forestal. No obstante, la Asociación Amigos de La Vereda, con ayuda de la Consejería de Agricultura de Castilla-La Mancha, ha puesto en marcha un proyecto para la recuperación del enclave de La Vereda.
Desde 1988 la Asociación Cultural Hijos de La Vereda, conformada por los antiguos vecinos de El Vado, Matallana y La Vereda, y sus descendientes, organizan desde esa fecha las festividades patronales de San Pedro, San Juan y la Inmaculada Concepción. Igualmente, desde dicha fecha, los antiguos vecinos y propietarios de La Vereda, Matallana y El Vado, tienen planteado ante la Junta de Comunidades de Castilla-La Mancha y los Tribunales de Justicia, la reversión de las propiedades, incluidas las edificaciones de los cascos urbanos, que no han sido utilizadas para los fines de repoblación forestal que preveía la expropiación forzosa de 1972.
RUTA DE LA ARQUITECTURA NEGRA
La pizarra es el elemento estructural fundamental en las construcciones de este tipo de arquitectura, sirviendo para cubiertas y paramentos. El uso de la pizarra provoca que sus pueblos presenten un aspecto negruzco en sus vistas.
Estas construcciones se asientan en prados formando pequeños núcleos o grupos aislados de elementos auxiliares.
Los elementos más peculiares y llamativos de la arquitectura negra son las pequeñas edificaciones usadas para guardar el material tanto agrícola como ganadero y las tainas y las majadas utilizadas como cobertizos para el ganado en lugares aislados en la montaña. Estos elementos junto con las viviendas y los edificios comunitarios constituyen todo el elenco arquitectónico.
Son las viviendas los edificios más elaborados con múltiples recursos para la utilidad y comodidad de los habitantes de una zona que sufre de un clima de montaña muy frío y tendente a las nevadas.
La vivienda representa el elemento constructivo más importante de la arquitectura negra. Se adaptan a las duras condiciones climáticas que tienen que soportar sus inquilinos, sobre todo, en invierno. Tradicionalmente las viviendas se han mezclado con unas dependencias para los animales domésticos, quedando normalmente la planta baja separada en dos dependencias: una para ovejas, vacas, cabras y gallinas y, otra, para los sus dueños; y la planta alta para reservas de alimentos, paja y leña que permitan sobrevivir los meses más crudos del invierno.
Los recursos disponibles hace que su construcción se base en la pizarra, el barro y la madera, ya sea de roble, pino, chopo u olmo, según la zona en la que se encuentra la vivienda. Los volúmenes compactos de estas construcciones sólo se abren al exterior con ventanales muy pequeños en la fachada sur que responden únicamente a un mínimo de ventilación e iluminación de la estancia. El resto de las fachadas quedan ciegas por no recibir a penas luz solar durante buena parte del año. Estos ventanales y la puerta de acceso que se abren en la fachada sur se recuadran con grandes refuerzos de madera.
Calle de Umbralejo. La construcción de la vivienda comienza con la ejecución de los muros sobre el terreno asentando pizarra sobre barro y cantos rodados, mezclados con paja, consiguiendo un espesor de unos cincuenta o sesenta centímetros. Los tabiques interiores se construyen con armazón de palos verticales, llamados colondas, entre los que se colocan adobes. La estructura interior se realiza a base de postes sobre los que se sitúan las vigas horizontales. Sobre los muros descansan las vigas horizontales de los forjados y, sobre ellas, el entablado del piso superior.
La planta superior se contruye con postes de distintos tamaños, según la inclinación de la cubierta, que soportan tanto las vigas longitudinales, llamadas sopandas, como la viga de la cumbrera de la cubierta, normalmente paralela a la fachada. Sobre las sopandas se apoyan los cuartones que forman los faldones de la cubierta, construida con lajas de pizarra extendidas sobre una capa de barro mezclado conpaja para dar mayor consistencia, soportada por un entablado asentado en los cuartones.
Normalmente se presentan en las viviendas cubiertas a dos aguas, siendo el faldón de la parte norte, que se extiende diagonalmente desde la parte más alta de la vivienda hasta casi el suelo mostrando un desnivel ciertamente pronunciado, de mucho mayor tamaño que el de la parte sur, permitiendo así la extensión de la fachada meridional. En muchas ocasiones, la vivienda carece de faldón en la parte sur.
Pórtico de entrada a un edificio en Majaelrayo. Bajo la cubierta, en el piso superior, se sitúa el desván que se presenta llena de alimentos, paja, forrajes y leña en los meses más crudos del invierno. En la planta baja es donde residen habitualmente el ganado y los moradores separados en dos estancias. Una sola puerta sirve de entrada tanto para animales domésticos como para sus dueños. La puerta se sitúa siempre en la fachada sur y se cubre por un pequeño tejado independiente o por la prolongación de la cubierta. Está hecha o bien de una sola hoja de madera labrada con hacha, o bien de hoja partida horizontalmente en dos mitades. Por ella se accede al zaguán, solado con lajas de pizarra y provisto de poyos adosados a las paredes. Desde aquí se accede, por un lado, a la cuadra, por otro, a los dormitorios, por unas escaleras que ascienden al desván y como habitáculo central de la casa, la cocina, que sirve, a parte de lugar donde preparar los alimentos, como sala de estar, comedor y recibidor y, a demás, en ella se encuentra el horno para el pan y, con ello, la chimenea y es, también, donde cura la matanza.
Las viviendas modernas de la arquitectura negra muestran construcciones más propias de la época actual respondiendo al estilo de vida de hoy, manteniendo como característica común a las viejas construcciones el hecho de cubrir los muros con lajas de pizarra negra, las grandes cubiertas y las fachadas, olvidándose, por desuso, de las estancias dedicadas al cobertizo del ganado y al almacenaje de víveres.