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The Eastfold was a region of Rohan which bordered with the Westfold via the Snowbourn River on the west and bordered with Anórien in Gondor to the east.
The areas of the Eastfold that were not within the White Mountains were tall grasslands and had a modest climate. The main parts of this land was the historic region of the Folde which hosted the Rohan's originally capital of Aldburg was part of this land, as with the Irensaga, Dwinorberg, and Dunharrow. The Great West Road that ran from Isengard through Gondor and then into Harad passed through the Eastfold.
Hirgon, an Errand-rider of Gondor, braved his way through the Eastfold to bring the Red Arrow to Théoden at his camp.
These are some of its stables.
This is my 1st entry to the CCCXII - Category: Custom Castle Figure
Custom made: cape, axe, helmet and shield
"They are proud and willful, but they are true-hearted, generous in thought and deed; bold but not cruel; wise but unlearned, writing no books but singing many songs, after the manner of the children of Men before the Dark Years. ''
- Aragorn, The Two Towers
Brown is the new black and thus my new take on the noble horse warriors from the plains of Rohan features a heavy dose of dark brown. Please excuse the absence of actual horses... at least they are featured on the shields and helmets. And the royal Rohirrim commander in the middle is even wearing a ponytail. You just got to take my word for it!
Straßburg - Palais Rohan
seen from the Cathedral
gesehen vom Münster
The Palais Rohan (Rohan Palace) in Strasbourg is the former residence of the prince-bishops and cardinals of the House of Rohan, an ancient French noble family originally from Brittany. It is a major architectural, historical, and cultural landmark in the city. It was built next to Strasbourg Cathedral in the 1730s, from designs by Robert de Cotte, and is considered a masterpiece of French Baroque architecture. Since its completion in 1742, the palace has hosted a number of French monarchs such as Louis XV, Marie Antoinette, Napoleon and Joséphine, and Charles X.
Reflecting the history of Strasbourg and of France, the palace has been owned successively by the nobility, the municipality, the monarchy, the state, the university, and the municipality again. Its architectural conception and its iconography were intended to indicate the return of Roman Catholicism to the city, which had been dominated by Protestantism for the previous two centuries. Thus the prelate's apartments face the cathedral, to the north, and many of the statues, reliefs and paintings reflect Catholic dogma.
Since the end of the 19th century the palace has been home to three of Strasbourg's most important museums: the Archaeological Museum (Musée archéologique, basement), the Museum of Decorative Arts (Musée des arts décoratifs, ground floor) and the Museum of Fine Arts (Musée des beaux-arts, first and second floor). The municipal art gallery, Galerie Robert Heitz, in a lateral wing of the palace, is used for temporary exhibitions. The Palais Rohan has been listed since 1920 as a Monument historique by the French Ministry of Culture.
History
Up to 1871
In 1727 Armand Gaston Maximilien de Rohan, bishop of Strasbourg since 1704 and cardinal since 1712, commissioned the architect Robert de Cotte to design the palace; de Cotte provided initial plans the same year. Seven years prior, in 1720, Cardinal de Rohan had already charged de Cotte with renovation and embellishment works on his castle in Saverne, the predecessor of the current Rohan Castle. De Cotte had also previously designed the Hôtel du grand Doyenné, the first hôtel particulier in Louis Quinze style built in Strasbourg. The Palais Rohan was built on the site of the former residence of the bishop, the "bishop's demesne", which is recorded since at least 1262. The area itself is near the heart of the ancient Argentoratum, first mentioned in 12 BC. Diverse archaeological excavations on Place du Château, the square facing the palace, have unearthed many remains of the Roman camp.
Building work on the Palais Rohan took place from 1732 until 1742 under the supervision of the municipal architect Joseph Massol, who also worked on the Hôtel de Hanau and the Hôtel de Klinglin during the early years of the project. Massol was assisted by the architects Laurent Gourlade and Étienne Le Chevalier. The sculptures, including statues as well as reliefs, were provided by Robert Le Lorrain, assisted by Johann August Nahl, Gaspard Pollet, and Laurent Leprince, and the paintings by Pierre Ignace Parrocel and Robert de Séry. The ébéniste Bernard Kocke and the ironworkers and locksmiths Jean-François Agon and his son Antoine Agon worked on the furnishings of the apartments, while the stucco was the work of the Italians Castelli and Morsegno. A budget of 344,000 French livres had been established for the construction – 200,000 livres lent from the Cathedral chapter (Grand Chapitre) and 144,000 raised as local taxes over a period of twelve years – but the final cost is estimated at one million French livres. The palace is mostly built in yellow sandstone from Wasselonne, with pink sandstone for the less visible parts.
The House of Rohan owned the palace until the French Revolution, when it was confiscated, declared bien national ("state owned"), and finally auctioned off on 8 August 1791. Bought by the municipality, it became the new town hall (hôtel de ville) the same year, succeeding the Neubau. Much of the furniture and many of the works of art in the Palais were sold, and in 1793 the eight life-sized mural portraits of prince-bishops decorating the Salle des évêques (Bishops' Hall) were destroyed. They were replaced in 1796 by allegories of civic virtues painted by Joseph Melling. Only the portrait of Armand Gaston, the builder of the palace, was later restored to its original place with a 1982 replica of Hyacinthe Rigaud's lost painting. Melling also replaced the overdoor portraits of kings of France, decorating the same room with paintings of vases.
The Palais Rohan remained the hôtel de ville until 1805. That year, the municipality presented it to Napoleon, who returned the Hôtel de Hanau in exchange. Like the palace, the hôtel had been state-owned since the Revolution. The 1805 arrangement proved favourable for the municipality: the maintenance of the Hôtel de Hanau was less costly than that of the larger Palais Rohan. It pleased Napoleon, for whom the palace was the more conspicuous display of grandeur. As for the palace, imperial ownership meant renewed splendour. The present to Napoleon was officially accepted by decree on 21 January 1806; the interiors were then refurbished by the architect Pierre-François-Léonard Fontaine. In the years before the Franco-Prussian War and the return of Alsace to Germany, the Palais Rohan was the property of the French state, which was in turn an empire, a kingdom, a monarchy, a republic, and again an empire.
Since 1871
The year 1871 signified the end of French rule and the beginning of German rule over Alsace, which had until 1681 been linked to Germany through the Holy Roman Empire. Having lost the Franco-Prussian War, France had to cede the departments of Bas-Rhin, Haut-Rhin, and Moselle (the territory also known as Alsace-Lorraine, or Elsass-Lothringen in German) to the newly created German Empire. Now under new administration and having lost its residential purpose, the Palais Rohan had to be assigned a new role. Between 1872 and 1884, until the opening of the Palais universitaire, it was used by the newly established Kaiser-Wilhelms-Universität, the Imperial German version of the University of Strasbourg, as the seat of the faculties of law, philosophy, and sciences. The palace then served as the university's library until the opening of the National and University Library in 1895. After this, the palace again became the property of the city and was adapted to receive the municipal art collections that were being built up again by director Wilhelm von Bode after their total destruction during the Siege of Strasbourg (see below, Musée des beaux-arts). The first section of the new Kunstmuseum der Stadt Strassburg, established in 1898, was inaugurated in 1899.
After the return of Alsace to French rule in 1918, the new director of the Musée des beaux-arts and the Musée des arts décoratifs, Hans Haug (1890–1965), put major efforts into presenting the Palais Rohan as a coherent whole again. Strasbourg suffered during World War II, and on 11 August 1944 the palace was damaged by British and American bombs. After the war, restoration measures were soon undertaken under the supervision of the architects Robert Danis (1879–1949) and Bertrand Monnet (1910–1989), but in 1947 a fire broke out and devastated a significant part of the collections of the Museum of Fine Arts. This fire was an indirect consequence of the bombing raids: because of the destruction inflicted on the palace, the building had suffered from damp, which was treated with welding torches, and poor handling of these caused the fire.
Rebuilding and refurbishing the palace took until well into the 1950s, with full restoration not completed until the 1990s. In 1989 a large trompe-l'œil fresco depicting the Roman goddess Ceres was rediscovered behind layers of plaster and white paint in the former dining hall, the eastern wing of the Synod Hall (see below, Apartments). It is thought to have been concealed under Napoleonic ownership, and had been forgotten since.
Notable guests
King Louis XV of France stayed in the palace from 5 to 10 October 1744. Maria Josepha of Saxony, Dauphine of France, spent two nights in the palace from 27 to 29 January 1747. Queen Marie Antoinette spent her first night on French soil there on 7 to 8 May 1770. In 1805, 1806, and 1809 Emperor Napoleon spent several nights in the palace; his wife, Empress Josephine stayed for longer periods, from September 1805 until January 1806 (Battle of Austerlitz), and from May until July 1809 (Battles of Aspern-Essling and of Battle of Wagram).
Napoleon's second wife, Empress Marie Louise, spent her first nights on French soil in the palace, from 22 to 25 March 1810; she came from Austria like Marie-Antoinette. Other royal French guests were Charles X, on 7 and 8 September 1828, and Louis Philippe I from 18 to 21 June 1831.
In the early 20th century, the sculptor Ringel d′Illzach used one of the rooms of the palace as an atelier. After World War II, the first great art exhibition in the palace, "L'Alsace française 1648–1948", was inaugurated on 13 June 1948 by Jean de Lattre de Tassigny, one of the chief artisans of the Liberation of Alsace (1944–45).
On 8 May 1985, American President Ronald Reagan dined in the Palace and signed the official Strasbourg guestbook, on the occasion of his visit to the European Parliament. In December 1989, the Palais Rohan hosted the dinner parties of the heads of state of the European Council, including François Mitterrand, Helmut Kohl, Margaret Thatcher, Giulio Andreotti and Felipe González. Twenty years later, before the 2009 Strasbourg–Kehl summit, it was the site of a meeting between French President Nicolas Sarkozy and his American counterpart Barack Obama as well as their wives Carla Bruni and Michelle Obama. In the 21st century, the palace was the setting for the official dinner for the 2016 Fed Cup finalists, the gala dinners for the 20th and the 25th anniversary of Eurimages, as well as other festive receptions, since it can be booked for such occasions from the municipality.
Structure
The palace is structured around a large and paved courtyard. It has a trapezoidal plan, and the land falls away toward the river Ill. To compensate for the slope, the riverside (southern) façade of the main wing has four floors (including the Mansard roof), while the courtyard (northern) façade has three floors. The half-buried floor corresponds to the basement and now houses the archaeological museum (see below, Museums). The riverside façade is thus both the highest and the widest of the palace. The terrace before it, facing the quai des Bateliers, is closed at both ends by elaborate wrought-iron gates adorned with the coat of arms of the House of Rohan.
The riverside façade is formed by the main residential bulk and the library wing on the west side, which offers a contrast in shape and design, notably through its single, very large window. The main part of the façade is symmetrically arranged around an avant-corps of four columns with Corinthian capitals. The avant-corps is crowned with a voluminous triangular pediment, again adorned with the coat of arms of the House of Rohan, while the library wing is crowned with a semicircular pediment. That pediment was originally surmounted by two copper statues of angels, now lost. The library wing was not part of the original 1727 plan but was conceived in 1733, after the cardinal bought up and demolished a row of houses on the current rue de Rohan. The architect, Robert de Cotte, was thus able to distribute the interior spaces of the residential bulk on an even grander and also more practical plan, notably putting the main staircase to the left (east) of the apartment wing instead of the centre.
The courtyard façade of the main wing, in the same classical style as its counterpart facing the Ill, is narrower. A strong emphasis is put on the verticality of the windows, by which means the impression of height is accentuated. Again, a central avant-corps is crowned with a triangular pediment bearing reliefs and in this case also statues. Both façades are richly decorated with allegorical mascarons (depicting seasons, temperaments, continents and elements), eighteen in all on the riverside façade and nine in all on the courtyard façade, to which the riverside façade adds a pair of broad wrought-iron balconies. Due to the difference in width and the trapezoidal plan, the centres of the façades are not aligned-
The courtyard is divided in three sections separated by a row of arches. The left section (as seen from the cathedral) belongs to the Communs wing, which housed the servants. The right section belongs to the stables wing. Left and right of the façade are exedras decorated with busts of Roman emperors. The entrance to the palace is through the left exedra. Facing the courtyard façade is a peristyle with five arches. The central arch, the highest and widest, faces the centre of the façade and opens on the palace's main gate.
The front of the palace on Place du Château (called Place de l'Évêché between 1740 and 1793), designed in a more Baroque style than the rest of the palace, is wide and curved. The central gate is framed by two pairs of columns and juts out in the shape of a Triumphal arch. The upper part of the front section is crowned with statues representing allegories of faith such as "Religion" and "Eucharist", and personifications of Christian virtues such as "Mercy" and "Penance". Plaster casts of some of these statues are displayed in the lapidarium inside the Barrage Vauban. The wooden portal (oak) and the walls east and west of the gate are decorated with trophies and heraldic symbols relating to the House of Rohan and the episcopal polity. The two pavilions connecting the Communs and the stable wings with the gate section are decorated with sixteen mascarons representing male and female Old Testament prophets, and with crescent-shaped pediments, in contrast to the triangular pediments of the façades. The east (left) pavilion housed the palace's kitchens while the west (right) pavilion housed the offices of the ecclesiastical court.
Museums
Musée des beaux-arts
The Musée des beaux-arts (Museum of Fine Arts), on the first and second floors of the palace, is the successor of the Musée de peinture et de sculpture (Museum of painting and sculpture), established in 1803 and entirely destroyed by Prussian artillery shelling and the subsequent violent fire during the night of 24–25 August 1870. The new museum was opened in 1899. The collections present an overview of European art from the 13th century to 1871, with considerable weight given to Italian as well as Flemish and Dutch paintings, with artists such as Hans Memling, Correggio, Anthony van Dyck, Giotto, Pieter de Hooch, Botticelli, Jacob Jordaens, and Tintoretto, among many others. The collections of Upper Rhenish art until 1681 (Baldung, Hemmel, Stoskopff, Witz, and others) had been moved into the dedicated Musée de l'Œuvre Notre-Dame in 1931.
Musée des arts décoratifs
The Musée des arts décoratifs (Museum of Decorative arts) is on the ground floor. It was established in its current form in the years 1920–1924, when the collections of the Kunstgewerbe-Museum Hohenlohe, originally established in 1887, were relocated in the stables wing adjacent to the palace apartments. The collections had previously been in the Renaissance former municipal slaughterhouse Grandes Boucheries or Große Metzig, which now hosts the Musée historique de Strasbourg.) The Musée des arts décoratifs suffered in the World War II bombing raids of 1944 but the building has since been restored and the collections replenished. Besides the furniture and decoration of the cardinals' apartments, the collections focus on the local production of porcelain (Strasbourg faience), silver-gilt, and clockmaking, with original parts of the medieval Strasbourg astronomical clock including the automaton rooster from 1354. The reconstructed living room of a former hôtel particulier, the 1750s Hôtel Oesinger, displays 18th-century furniture in situ on a more intimate scale than the rooms of the palace.
Musée archéologique
The Musée archéologique (Archaeological Museum) is in the basement. The former archaeological collections of the city had been entirely destroyed, along with the municipal library, during the Siege of Strasbourg in 1870. A new collection was started in 1876 on behalf of the "Society for the preservation of the historical monuments of Alsace" (French: Société pour la conservation des Monuments historiques d'Alsace, German: Gesellschaft zur Erhaltung der geschichtlichen Denkmäler im Elsass). It was moved into the palace in 1889, first opened to the public in 1896, and moved to its present location in 1907. The museum displays finds from northern Alsace from the Paleolithic Era to the Merovingian dynasty, with a special focus on Argentoratum.
(Wikipedia)
Le palais Rohan se situe dans le centre-ville de Strasbourg, Bas-Rhin, à côté de la cathédrale. Il abrite aujourd'hui trois musées, le musée des Arts décoratifs, le musée des Beaux-Arts et le Musée archéologique.
Il fait l’objet d’un classement au titre des monuments historiques depuis le 20 janvier 1920.
Histoire
Ce bâtiment du XVIIIe siècle a été construit entre 1732 et 1742 par l'architecte Robert de Cotte pour le prince-évêque Armand-Gaston-Maximilien de Rohan pour remplacer le précédent palais épiscopal. Il est bâti dans le style classique, devenu à la mode après la conquête française de Strasbourg.
Dès 1704, Armand-Gaston-Maximilien de Rohan fait acheter plusieurs immeubles proches de la cathédrale. En 1727, il fait démolir les vieux bâtiments sur les bords de l'Ill et fait construire le palais. Robert de Cotte élabore les plans, Laurent Gourlade conduit les travaux. Il sera remplacé plus tard par Joseph Massol. Les bâtiments commencés en 1732 furent finis dix ans plus tard.
Pendant la Révolution française, le bâtiment sert de lieu de détention. Le 21 décembre 1794 consacre l’ouverture solennelle de l’École impériale du Service de santé militaire de Strasbourg destinée à former des Officiers de Santé. Les cours ont lieu au palais Rohan. Après la défaite de 1870, l’école est transférée à Lyon.
Après l'annexion allemande de Strasbourg, le palais abrite les cours de la nouvelle Kaiser-Wilhelms-Universität (université empereur Guillaume) de 1872 jusqu'à l'ouverture du nouveau Palais universitaire en 1884.
Le 3 avril 2009, en marge du sommet de l'OTAN Strasbourg-Kehl 2009, la première rencontre du président de la République française Nicolas Sarkozy et du président américain Barack Obama, nouvellement élu, a eu lieu au palais Rohan.
En 2015, du 26 juin au 29 novembre, la terrasse du palais Rohan accueille les œuvres des lauréats du concours Verre et Architecture, organisé dans le cadre de la Biennale Internationale du Verre.
Origine du nom actuel
Le palais a pris le nom de « palais Rohan » car quatre prince-évêques issus de la famille de Rohan, se sont succédé au XVIIIe siècle au diocèse de Strasbourg :
le cardinal Armand-Gaston-Maximilien de Rohan ;
Armand de Rohan-Soubise (petit-neveu du précédent) ;
le cardinal Louis-Constantin de Rohan (cousin du premier) ;
le cardinal Louis-René de Rohan (neveu du précédent, compromis dans l'affaire du collier de la reine).
Architecture
Le visiteur pénètre dans la cour d’honneur en passant par le grand portail, véritable arc monumental surmonté de statues représentant la Clémence et la Religion. La cour d’honneur donne à gauche et à droite sur les bâtiments administratifs et utilitaires du palais. Le corps principal est à deux étages, le rez-de-chaussée était réservé à l’évêque, l’étage à son personnel.
La façade principale (côté Ill) est à dix-sept axes (fenêtres), entourant un corps central à quatre colonnes engagées et coiffé d'un fronton triangulaire. À l'ouest se trouve une grande bibliothèque à grande baie appareillée qui atténue la symétrie de l'ensemble. La façade sur cour est plus intime et s'anime de pilastres. Deux ailes courtes en retour abritent les vestibules d'entrée. Au nord, face à la cathédrale, le monumental portail à colonnes s'ouvre entre deux somptueux pavillons d'angle. On estime le coût de l'ensemble à un million de livres, le mobilier à trois cent mille.
Musées
Le palais Rohan abrite aujourd’hui trois musées différents en sus du palais en lui-même :
le musée des Arts décoratifs contient, d'une part, les appartements royaux et cardinalices d'origine et, d'autre part, une collection de céramiques, de pièces d'orfèvrerie et de mobilier, ainsi qu'une salle d'horlogerie présentant des vestiges de la première ou de la seconde horloge astronomique de la cathédrale de Strasbourg ;
le musée des Beaux-Arts, qui présente une très belle collection de peintures du XIVe au XIXe siècle (Botticelli, Giotto, Memling, El Greco, Canaletto, Le Corrège, Corot, Van Dyck, Goya, Rubens…) ;
le Musée archéologique, installé depuis la fin du XIXe siècle dans le sous-sol du palais Rohan. Ce musée est un des plus riches de France dans son domaine, celui des « Antiquités nationales ». Rouvert en 1992 après un réaménagement muséographique complet de ses collections, il propose de découvrir le passé le plus lointain de l’Alsace, de la préhistoire (600000 av. J.-C.) à l’aube du Moyen Âge (800 apr. J.-C.).
(Wikipedia)
Der Rohan-Palast (französisch: Palais Rohan) ist eines der bedeutendsten Bauwerke der Stadt Straßburg im Elsass. Er stellt nicht nur nach verbreiteter kunsthistorischer Ansicht den Höhepunkt örtlicher Barockarchitektur dar, sondern beherbergt auch seit Ende des 19. Jahrhunderts drei der wichtigsten Museen der Stadt: das Archäologische Museum (Musée archéologique; im Untergeschoss), das Kunstgewerbemuseum (Musée des Arts décoratifs; im Erdgeschoss) und das Museum für schöne Künste (Musée des Beaux-arts; im ersten und zweiten Stock). In einem Seitenflügel befindet sich zudem die städtische Galerie Robert Heitz.
Geschichtlicher Überblick
Der Palast wurde 1731 bis 1742 im Auftrag des Kardinals Armand-Gaston-Maximilien de Rohan-Soubise vom Architekten Joseph Massol (1706–1771) nach einer Bauvorlage von Robert de Cotte an der Stelle errichtet, auf der sich zuvor die ehemalige erzbischöfliche Residenz erhoben hatte, das sogenannte Palatium (erbaut ab 1262). Der neue Palast diente den vier (von 1704 bis 1803) aufeinander folgenden Fürstbischöfen und Kardinälen aus der Familie Rohan als Stadtresidenz, während das Schloss Mutzig und das Schloss Saverne fürstbischöfliche Landsitze waren.
1744 hielt sich Ludwig XV. im Palast auf, 1770 Marie-Antoinette auf ihrem Brautzug von Wien nach Versailles. 1805, 1806 und 1809 hielt sich Napoleon Bonaparte im Palast auf und ließ einige Räume nach seinem Geschmack und jenem seiner Frau Joséphine de Beauharnais umgestalten. 1810 verbrachte seine zukünftige zweite Frau Marie-Louise von Österreich ihre erste Nacht auf französischem Boden in dem Palast. 1828 hielt sich dort auch König Charles X. auf.
1872 bis 1898 diente der Palast, bis zur Er- und Einrichtung der neuen Kaiser-Wilhelms-Universität als Hauptgebäude der nunmehr kaiserlich-deutschen Universität Straßburg. Ab 1898, und im Zuge der Neuherstellung der im Deutsch-Französischen Krieg vollständig vernichteten Kunstsammlungen der Stadt (die zuvor in der am 24. August 1870 nach preußischem Artilleriebeschuss abgebrannten Aubette am Kléberplatz aufbewahrt waren) wurde der Palast zum Sitz der nunmehr kaiserlichen Museen Straßburgs.
Am 11. August 1944 wurde das Gebäude von britischen und amerikanischen Bomben beschädigt. Die Wiederherstellung der Räumlichkeiten wurde erst in den 1990er Jahren abgeschlossen.
Anlage
Der auf einer nahezu quadratischen, zur Ill abfallenden Grundfläche errichtete Palast gliedert sich um einen durch eine Galerie dreigeteilten Innenhof herum. Südlich davon und über die ganze Breite des Gebäudes erstreckt sich der erzbischöflich-fürstliche Haupttrakt mit seinen zwei repräsentativen klassizistischen Fassaden. Am aufwändigsten gestaltet und vom Gesamteindruck her überwältigender ist dabei die zur Ill hin errichtete Fassade, vor der sich eine kleine Flachterrasse mit schmiedeeisernen Gittern zu beiden Seiten erstreckt. Das Hoftor zum Münster hin ist als breite, geschwungene Anlage mit religiös programmatischen Skulpturendach gestaltet.
Die erzbischöflich-fürstlichen Gemächer, die heute in nahezu originalgetreuem Zustand zu besichtigen sind, gliedern sich wie im Schloss Versailles in Grand appartement (Schauräume, zum Fluss hin) und Petit appartement (Wohnräume, zum Innenhof hin). Beidseitig von den zwei Zimmerfluchten befinden sich die zwei weiträumigsten Räume des Palastes, der Speisesaal und die Bibliothek, die sich beide über die gesamte Längsachse des Trakts erstrecken. Die Bibliothek dient zudem der sehr klein angelegten Schlosskapelle als Kirchenschiff.
(Wikipedia)
Posting and running - going out for dinner =)
This is, once again, the first tarn used in the Two Towers when the Rohan refugees are fleeing to Helms Deep. This is almost the exact spot (I'm pretty sure) that one of the cameras was set up to film the extras making their way around the edge of the tarn.
Taken at Deer Park Heights, with the Remarkables in the background.
Standing at the observation hill, overlooking Stawell, Rohan has returned to his hometown to look after his 83 year old mother. Rohan left school when he was 15 and has worked in a variety of jobs throughout Australia since.
Small scene from LOTR "The Two Towers"
Éomer "What business does an Elf, a Man and a Dwarf have in the Riddermark? ..speak quickly!"
Canon EOS 550D with Tokina 11-16mm f:/2,8. Panorama merged in Photoshop CS5 from 8 frames (24 handheld shots at f:/6,3 1/100s, 1/200s and 1/400s @11mm). Processed to HDR in Photomatix Pro.
The Uruk-hai of Isengard are on the move! Here they are attacking a Rohirrim outpost. Éomer the Third Marshal of the Riddermark is leading the defense against these foul creatures.
Wow! I am so glad this is done! After several months of building, the masterpiece is finally completed! I hope you enjoy it!
This didn't start out as being a huge MOC, but it just kind of expanded as I kept working on it.
The problem with a huge MOC like this is that is is hard to get a good background. I'm for a better editing program, the old one I used wasn't the best. Does anyone know of a good one?
@mainstore
including
-10 different fabric colors and two metal colors
-resize options
Mesh item
marketplace.secondlife.com/p/Bens-Beauty-Rohan-Necklaces/...