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45-0335-1, fabricație 1977 Electroputere Craiova, repartizată pentru remorcarea trenului InterRegio 12661 "București - Iași" până în stația Tecuci.
În anii 2006-2007 locomotiva a trecut de la schema de vopsire specifică aplicată după modernizarea în parteneriat cu Siemens, alb-vișiniu-alb, la schema actuală.
45-0335-1, built in 1977 by Electroputere Craiova, is assigned for hauling InterRegio train 12661 "Bucharest – Iași" up to Tecuci station.
In the years 2006–2007, the locomotive transitioned from the livery applied after its modernization in partnership with Siemens—white-burgundy-white—to its current paint scheme.
Vadu Pașii, Buzău (RO)
Er gaat niet veel op de foto de laatste tijd, maar voor de tweede keer op rij enorme mazzel met een leuke trein van DB Cargo in de regio. Onderweg terug van de ouwelui naar huis kwam er bericht dat nieuw proefvervoer voor Merkesteijn onderweg was van Eemshaven naar Almelo. Hoewel het weer hopeloos leek, brak de boel even goed open toen de trein gemeld werd voorbij Zwolle, gelukkig wat voor op schema dankzij de uitdunning van de reizigersdienst. In waanzinnig licht passeert de 6454 met een sleepje Eas-wagens met walsdraad bij Duur onder treinnummer 62316. De trein paste ook nog eens precies in het beeld tussen het huis en de krol.
Gelukkig vertrok de 1315 met zijn trein 41784 wat voor op schema uit Bentheim en zou dus in Oldenzaal het ProRail-pad worden afgewacht, iets waar we op gegokt hadden, waardoor we gemakkelijk de trein konden inhalen en nog een keer konden doen. Aanvankelijk hadden we Rijssen in gedachten, maar uiteindelijk kozen we om diverse redenen voor Zenderen. Hier kon de trein in de volle lengte worden vastgelegd met het licht mooi van opzij op de Berlijnsblauwe 1315. Op het grote locnummer in een veel te modern lettertype na een schitterende interpretatie van de kleurstelling van vroeger.
Navata centrale
La navata centrale è larga il doppio delle due laterali ed è, come queste ultime, coperta con volta a crociera; lo schema di ciascuna delle due pareti laterali di ogni campata è il seguente:
- dal basso, l'arco a tutto sesto di comunicazione con la navata laterale;
- sopra di questo, la quadrifora con archetti sorretti da colonnine, che dà sul matroneo;
- in alto, una monofora che dà sull'esterno.
Tra la terza e la quarta campata, a ridosso della semicolonna di destra, si trova il pulpito ligneo riccamente scolpito, opera di Paolo Froni (1613).
Le pareti della navata centrale sono ornate dal ciclo di affreschi, opera di Lattanzio Gambara, che li realizzò tra il 1567 e il 1573.
Essi si sviluppano su tre fasce, ognuna delle quali corrisponde ad una tematica:
- dal basso, tra gli archi di comunicazione fra le navate e il matroneo, episodi dall'Antico Testamento;
- fra il matroneo e le lunette, episodi dal Nuovo Testamento;
- nelle lunette, figure allegoriche; la lunetta della parete sinistra della settima campata, è stata dipinta nel 1585 da Innocenzo Martini.
Sulla controfacciata, vi è un grande affresco raffigurante l'Ascensione di Cristo, dipinto da Lattanzio Gambara tra il 1571 e il 1573.
Gli affreschi della volta sono opera di Girolamo Bedoli-Mazzola, che li dipinse tra il 1555 e il 1557.
Central Nave.
The central nave is twice as wide as the two side ones and is, like the latter, covered with a cross vault; the scheme of each of the two side walls of each span is as follows:
- from below, the round arch communicating with the side nave;
- above this, the four-light window with small arches supported by columns, which overlooks the women's gallery;
- at the top, a single-lancet window overlooking the outside.
Between the third and fourth bay, close to the right semi-column, there is the richly carved wooden pulpit, the work of Paolo Froni (1613).
The walls of the central nave are decorated with a cycle of frescoes, the work of Lattanzio Gambara, who painted them between 1567 and 1573.
They are developed in three bands, each of which corresponds to a theme:
- from below, between the arches connecting the naves and the women's gallery, episodes from the Old Testament;
- between the women's gallery and the lunettes, episodes from the New Testament;
- in the lunettes, allegorical figures; the lunette on the left wall of the seventh bay was painted in 1585 by Innocenzo Martini.
On the counter-façade, there is a large fresco depicting the Ascension of Christ, painted by Lattanzio Gambara between 1571 and 1573.
The frescoes on the vault are the work of Girolamo Bedoli-Mazzola, who painted them between 1555 and 1557.
IMG_1294m
La Piazza del Comune a Cremona rappresenta uno degli esempi meglio conservati in Italia di spazio pubblico medioevale.
E’ chiusa su tre lati dagli edifici simbolo del potere religioso e civile della città: il Duomo (XII sec.) con la sua torre campanaria (chiamata il Torrazzo, alto 111m), il Battistero (XII sec.), la Loggia dei Militi (non visibile in foto) e il Palazzo Comunale (sulla destra).
La piazza è situata nel punto più alto della città e ad essa convergono numerose vie, secondo il tipico schema urbanistico medioevale.
Non è una piazza molto ampia, per cui se si vuole riprendere i suoi monumenti bisogna affidarsi ad un supergrandangolo con la conseguente distorsione di immagine.
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Cremona is a town in Northern Italy famous for being the country of the violin.
But Cremona is also a town with interesting buildings from the Middle Age which surround the “Town Hall Square”: the Cathedral with the bell tower “Torrazzo” (XII cent.), the Baptistery (same age), the Soldiers’s Loggia (not visible in the photo) and the Town Hall Palace on the right.
Several roads converge to the Square, according to the Middle Age style.
This Square is not so much wide, so if you want take a shot it is necessary to use a very wide angle lens, with the consequent distortion.
Tommaso Comacio plante die bestehende gotische Basilika
umzubauen. Sein Ableben 1679 verhinderte dieses Vorhaben.
5 Jahre später lieferte Michael Thumb ein Holzmodel einer neuen Kirche. Man plante also ein nun ein komplett neues Kloster! 1686 begann man mit dem Bau der Kirche. Diese war bereits 1689 so weit fortgeschritten daß die Türme in Angriff
genommen wurden. Allerdings stürzten diese im gleichen Jahr wieder ein...
Bauleiter Michael Thumb starb 1690. Christian Thumb und Michael Beer übernahmen. Sie führten bis 1692 den Rohbau durch. Ein typisches Werk nach dem Vorarlberger Barockschema. Der Wessobrunner Stuck ist 1689-92 von Johann Schmuzer erbracht worden. Es ist die beste Arbeit der frühen Wessobrunner Schule. Im Chorbereich wurde
1776 durch Guiseppe Antonio Morsini nochmals nachgebessert.
Die Ausstattung wurde von der damalig verfügbaren Kirchenkünstlerelite geschaffen. Dies kann bis zum kleinsten Detail in der Fachliteratur eingesehen werden.
" ...C'era una volta un piccolo e silenzioso villaggio nella campagna francese; gli abitanti credevano nella Tranquilité, la tranquillità. Se vivevi in questo villaggio, sapevi ciò che ci si aspettava da te. Conoscevi il tuo posto nello schema delle cose. E se ti capitava di dimenticarlo, qualcuno ti avrebbe aiutato a ricordarlo. In questo villaggio, se vedevi qualcosa che non avresti dovuto vedere, imparavi a guardare dall'altra parte. E se per caso i tuoi desideri non erano stati soddisfatti, imparavi a non chiedere mai di più. E cosi, nel buono e nel cattivo tempo, nella fame e nelle feste, gli abitanti del villaggio si mantenevano saldi alle loro tradizioni. Finché, un giorno d'inverno, non soffiò uno irrequieto vento del Nord...... "
...
"... There was once a lovely small viallage in the French countryside, the people believed in tranquillité, tranquility. If you lived in this village, you knew what was expected of you. You knew your place in the scheme of things. And if you happened to forget, someone would help him remember. in this village, if you saw something you were not supposed to see, you learned to look the other way. And if your desires were not satisfied, you learned to never ask for more than that. and so, in good and bad times, in hunger and feast, the villagers were kept firm to their traditions. Until, one day in winter, not a restless wind blew North .. .. "
Chocolat
With no words, with no song
You can dance the dream with your body on
And this curve is your smile
And this cross is your heart
And this line is your path
Oh, it's gonna be the way you always thought it would be
But it's gonna be no illusion
Oh, it's gonna be the way you always dreamt about it
But it's gonna be really happenin' to ya
Kate Bush- from 'The red shoes'
Zelden rijdt een Class66 voor de dolimetrein , maar op de Dag van de Arbeid was wel het geval.
Keurig volgens schema is de 513-10 met de lege wagens onderweg naar Belgie hier in Vught.
De twee fotografen waren extra opgetogen doordat een grote gat in het wolkendek ontstond vlak voor de passage.
Il s’agit d’un convoi dans l’esprit des antiques caravanes de la soie. L’oeuvre amplifiera le projet initié par Dominique Matagne, artiste, professeur d’arts plastiques et gérante du Comptoir de la céramique. Elle le complétera « à cent doigts », doigts de ses amis, artistes passionnés, tous porteurs du projet.
A l’heure où les questions du climat et de la mobilité sont au cœur de tous les débats, la « Caravane des Possibles » illustrera une autre façon de se déplacer en dehors des schémas actuels qui sont profondément remis en cause. Elle permettra de mener à bien une réflexion autour d’une mobilité rêvée, voire poétique ou utopique, à laquelle seul l’art peut donner accès.
La caravane questionne sur la problématique des migrants, celle des départs, des fuites de tous ordres. Quelles directions prendra cette caravane ? Pourquoi ? Comment ?
Ce sont peut-être les questions que l’oeuvre éveillera chez le spectateur…
It is a convoy in the spirit of the ancient silk caravans. The work will amplify the project initiated by Dominique Matagne, artist, plastic arts teacher and manager of the Comptoir de la Céramique. She will complete it "with a hundred fingers", fingers of her friends, passionate artists, all carriers of the project.
At a time when climate and mobility issues are at the heart of all debates, the “Caravane des Possibles” will illustrate another way of getting around outside of current patterns that are deeply questioned. It will make it possible to carry out a reflection around a dream mobility, even poetic or utopian, to which only art can give access.
The caravan questions the issue of migrants, that of departures, escapes of all kinds. What directions will this caravan take? For what ? How ?
These are perhaps the questions that the work will awaken in the viewer...
40-0369-1, fabricație 1978, ultima reparație în vara anului 2018 (ocazie cu care a dobândit schema de vopsire "Express"), repartizată pentru remorcarea unei garnituri adecvate a trenului InterRegio Night 406 "Corona".
Locomotive 40-0369-1, built in 1978, last overhauled in the summer of 2018 (when it received the "Express" livery), assigned to haul the full and proper consist of InterRegio Night train 406 “Corona”, unlike on other occasions when the service operated with only two coaches.
Chichiș, Covasna (RO)
Navata centrale
La navata centrale è larga il doppio delle due laterali ed è, come queste ultime, coperta con volta a crociera; lo schema di ciascuna delle due pareti laterali di ogni campata è il seguente:
- dal basso, l'arco a tutto sesto di comunicazione con la navata laterale;
- sopra di questo, la quadrifora con archetti sorretti da colonnine, che dà sul matroneo;
- in alto, una monofora che dà sull'esterno.
Tra la terza e la quarta campata, a ridosso della semicolonna di destra, si trova il pulpito ligneo riccamente scolpito, opera di Paolo Froni (1613).
Le pareti della navata centrale sono ornate dal ciclo di affreschi, opera di Lattanzio Gambara, che li realizzò tra il 1567 e il 1573.
Essi si sviluppano su tre fasce, ognuna delle quali corrisponde ad una tematica:
- dal basso, tra gli archi di comunicazione fra le navate e il matroneo, episodi dall'Antico Testamento;
- fra il matroneo e le lunette, episodi dal Nuovo Testamento;
- nelle lunette, figure allegoriche; la lunetta della parete sinistra della settima campata, è stata dipinta nel 1585 da Innocenzo Martini.
Sulla controfacciata, vi è un grande affresco raffigurante l'Ascensione di Cristo, dipinto da Lattanzio Gambara tra il 1571 e il 1573.
Gli affreschi della volta sono opera di Girolamo Bedoli-Mazzola, che li dipinse tra il 1555 e il 1557.
Central Nave.
The central nave is twice as wide as the two side ones and is, like the latter, covered with a cross vault; the scheme of each of the two side walls of each span is as follows:
- from below, the round arch communicating with the side nave;
- above this, the four-light window with small arches supported by columns, which overlooks the women's gallery;
- at the top, a single-lancet window overlooking the outside.
Between the third and fourth bay, close to the right semi-column, there is the richly carved wooden pulpit, the work of Paolo Froni (1613).
The walls of the central nave are decorated with a cycle of frescoes, the work of Lattanzio Gambara, who painted them between 1567 and 1573.
They are developed in three bands, each of which corresponds to a theme:
- from below, between the arches connecting the naves and the women's gallery, episodes from the Old Testament;
- between the women's gallery and the lunettes, episodes from the New Testament;
- in the lunettes, allegorical figures; the lunette on the left wall of the seventh bay was painted in 1585 by Innocenzo Martini.
On the counter-façade, there is a large fresco depicting the Ascension of Christ, painted by Lattanzio Gambara between 1571 and 1573.
The frescoes on the vault are the work of Girolamo Bedoli-Mazzola, who painted them between 1555 and 1557.
IMG_1295m
20190905-1974
Schematisch plan van een gigantische woontoren die hier gebouwd gaat worden, pal naast de Utrechtse Baan en naast de Bibliotheek op het toekomstige Maria Stuart Plein.
Bekijk HIER het plan inclusief Artist Impression.
All images are copyrighted by Pieter Musterd. If you want to use or buy any of my photographs, contact me. It is not allowed to download them or use them on any website, blog etc. without my explicit permission.
If you want a translation of the text in your own language, please try "Google Translate".
Vanuit onze Oosterburen bereike me de melding dat LTE met 2 locs via Bad Bentheim naar Nederland zouden komen.
Dus werd er even naar Holten gereden om deze combi op te wachten.
Donkere wolken pakken zich samen als keurig volgens schema de 193 232 "flying dutchman" en de 186 943 in opzending met een graantrein naar de Europoort de bekende Veenweg passeren.
"Le Canal des 2 mers à vélo est un itinéraire cyclable exceptionnel" (sic).
www.velo-territoires.org/schemas-itineraires/schema-natio...
De al jaren trouw door Crossrail gereden gasketelwagentrein tussen Visp en Antwerpen AGT rijdt volgens een vast schema. Aankomst in Antwerpen op dinsdag, vertrek weer op vrijdag richting Zwitserland. Tijdens de feestdagen werd echter volgens een ander schema gereden en werd de PB12 met een lege set op 26 mei opzij getrokken op Antwerpen-Schijnpoort. Tijdens de zonnige morgen van 27 mei werd de lege set doorgevoerd welke daardoor nu eens afwijkend goed voor de zon vast te leggen was ter hoogte van Ekeren. In een lekker zomerzonnetje zien we de Crossrail PB12 passeren met zijn bescheiden sleep wagens op weg richting de Antwerpse Waaslandhaven, waar de set voorlopig nog even zou worden afgesteld.
L'orangerie se compose d’une rotonde centrale à coupole et de deux allées latérales vitrées avec, aux extrémités, deux bâtiments à colonnes. Le schéma de la structure monumentale correspond à celui fréquemment utilisé au XIXe siècle.
La décoration sculptée du Jardin botanique est commandée et réalisée à la fin du XIXe siècle. Il est décidé de doter le parc d’une série de sculptures dans le but à la fois de l’embellir et de stimuler l'art public. Le projet est confié à deux sculpteurs reconnus, Constantin Meunier et Charles Van der Stappen qui se chargent de la conception générale et des esquisses et en confient la réalisation à leurs collaborateurs. L’ensemble comprend 52 sculptures, exécutées entre 1894 et 1898, dont différentes fontaines, des groupes sculptés et des figures évoquant le temps, les saisons, les plantes et les animaux, ainsi que des luminaires électriques.
The orangery consists of a central domed rotunda and two glazed side aisles with, at the ends, two columned buildings. The plan of the monumental structure corresponds to that frequently used in the 19th century.
The sculpted decoration of the Botanical Garden was commissioned and created at the end of the 19th century. It was decided to equip the park with a series of sculptures with the aim of both beautifying it and stimulating public art. The project is entrusted to two recognized sculptors, Constantin Meunier and Charles Van der Stappen, who are responsible for the general design and sketches and entrust its creation to their collaborators. The set includes 52 sculptures, executed between 1894 and 1898, including various fountains, sculpted groups and figures evoking time, the seasons, plants and animals, as well as electric lights.
saluti da lido # 8
Der Himmel über dem Lido: grau und bedeckt. Nebel streicht über das jadegrüne Wasser der Kanäle und zieht von dort weiter durch die Straßen.
Ab einer gewissen Entfernung sind nur noch Schemen zu erkennen. Das venedigtypische Gefühl, in einem Paralleluniversum unterwegs zu sein, wird dadurch noch verstärkt.
Allem melancholischen Zauber zum Trotz, der von solchen Witterungen ausgeht, zeigt sich das Wetter von seiner unge-mütlichen Seite.
Ähnlich durchwachsen scheint die Gesamtverfassung des Lidos zu sein: Ein äußeres Erscheinungsbild, das zwischen Kurort und Unort schwankt.
The sky above the Lido: grey and overcast. Fog sweeps over the jade green water of the canals and from there, it moves on through the streets.
From a certain distance only schemas are visible. The typical Venice feeling of being on the move in a parallel universe is further intensified by this.
In spite of all the melancholic magic that comes from such weather conditions, the weather presents itself from its uncomfortable side.
The overall constitution of the Lido seems to be similarly marbled: an outer appearance that fluctuates between health resort and non-place (babelfish-translation).
L'orangerie se compose d’une rotonde centrale à coupole et de deux allées latérales vitrées avec, aux extrémités, deux bâtiments à colonnes. Le schéma de la structure monumentale correspond à celui fréquemment utilisé au XIXe siècle.
La décoration sculptée du Jardin botanique est commandée et réalisée à la fin du XIXe siècle. Il est décidé de doter le parc d’une série de sculptures dans le but à la fois de l’embellir et de stimuler l'art public. Le projet est confié à deux sculpteurs reconnus, Constantin Meunier et Charles Van der Stappen qui se chargent de la conception générale et des esquisses et en confient la réalisation à leurs collaborateurs. L’ensemble comprend 52 sculptures, exécutées entre 1894 et 1898, dont différentes fontaines, des groupes sculptés et des figures évoquant le temps, les saisons, les plantes et les animaux, ainsi que des luminaires électriques.
The orangery consists of a central domed rotunda and two glazed side aisles with, at the ends, two columned buildings. The plan of the monumental structure corresponds to that frequently used in the 19th century.
The sculpted decoration of the Botanical Garden was commissioned and created at the end of the 19th century. It was decided to equip the park with a series of sculptures with the aim of both beautifying it and stimulating public art. The project is entrusted to two recognized sculptors, Constantin Meunier and Charles Van der Stappen, who are responsible for the general design and sketches and entrust its creation to their collaborators. The set includes 52 sculptures, executed between 1894 and 1898, including various fountains, sculpted groups and figures evoking time, the seasons, plants and animals, as well as electric lights.
92 53 0 640943-2 apropiindu-se de halta Vestem dinspre Talmaciu cu cele 8 vagoane ale trenului IR346 "Dacia" (Bucuresti Nord - Viena).
09.04.2017
92 53 0 651013-0 a DBSR trecand prin orasul Victoria spre statia de destinatie cu cel de-al doilea cuplu format din 7 Tals-uri pline cu produse chimice pentru Viromet.
24.07.2016
Nadat we van de treindienstleider even boven mochten kijken vertelde hij ons wat er vandaag nog op de planning stond. Zo stond er na de RBH treinen ook nog een interessante Captrain trein op het schema. De overweg ging dicht en zo konden we de Captrain 0650 006-6 fotograferen met een keteltrein die vanaf Ineos richting Gladbeck West reed.
Op deze zonnige en warme zomerdag werd er naar Horst-Sevenum gereden. Er was gemeld dat RFO 193er onderweg was naar Blerick. Op de stek aldaar was het gezellig druk. En dan mooi volgens schema passeert hier RFO 193 623 met de volbeladen Cabooter-Blerick Shuttle. Vanaf hier naar Venlo. Daar zou de tegentrein al gereed staan. Na deze plaat gingen de fotografen naar div. stekken bij America..
Ventspils felől Jelgava irányába halad egységes tartályvonattal a BE (Baltijas Ekspresis) magánvasút 2M62-ese a márciusi nem kimondottan fotós időben 2016-ban. Érdekesség, hogy Lettországban a magánvasutak nem foglalkoztak a gépeik egyedire színtervűre változtatásával, maradt rajtuk az állami (ez esetben az eredeti szovjet duplagépes) színterv, egyedül a gépek oldalán középen lévő kis cégér/embléma alapján tudja megmondani a szemlélő, hogy adott esetben magángépet lát-e és ha igen, melyik társaságét.
Ők tudják, hogy nem a mindenféle elborult festési séma a lényeg...
Unified tankertrain comes from Ventspils and goes towards Jelgava with 2M62-0739 of BE (Baltijas Ekspresis) private company in March of 2016, in a not so trainspotting friendly weather. Intresting about the loco, that in Latvia private companies did not consider it important to change their locos painting schema, they remained the state painting schema on them, which is in this case the original soviet 2M62 schema. If somebody saw locos like this, only a little company sign in the middle of the loco could show whether that loco belongs to LDZ or to a private company and if so, which company.
Schema für den Kittel. Auf die 1m x 2,80 m große Stoffbahn für den Kittel wird der Hansl mittig aufgenäht.
CD Skoda 380 011-7 imortalizata pe timp de noapte in Brno hlavni nadrazi. Cu ocazia implinirii a 170 de ani de la infiintarea caii ferate Olomouc - Praha (1845 - 2015), locomotiva a fost special colantata in schema "Nostalgie".
19.09.2016
60-1697-1, Rail Force, RR în anul 2017 (vopsită în cromatică retro), RG în primăvara anului 2024 (ocazie cu care a primit schema actuală de vopsire), atașată la coada unui tren (inactivă/în stare rece) încărcat cu piatră spartă ce vine dinspre Bicsadu Oltului.
Locomotive 60-1697-1, operated by Rail Force, underwent a mid-level overhaul in 2017, during which it was painted in a retro livery. It received a general overhaul in the spring of 2024, at which time it was repainted in its current livery. The locomotive is currently coupled at the rear of a freight train, loaded with crushed stone and arriving from Bicsadu Oltului, in an inactive and cold state.
Hărman, Brașov (RO)
Navata centrale
La navata centrale è larga il doppio delle due laterali ed è, come queste ultime, coperta con volta a crociera; lo schema di ciascuna delle due pareti laterali di ogni campata è il seguente:
- dal basso, l'arco a tutto sesto di comunicazione con la navata laterale;
- sopra di questo, la quadrifora con archetti sorretti da colonnine, che dà sul matroneo;
- in alto, una monofora che dà sull'esterno.
Tra la terza e la quarta campata, a ridosso della semicolonna di destra, si trova il pulpito ligneo riccamente scolpito, opera di Paolo Froni (1613).
Le pareti della navata centrale sono ornate dal ciclo di affreschi, opera di Lattanzio Gambara, che li realizzò tra il 1567 e il 1573.
Essi si sviluppano su tre fasce, ognuna delle quali corrisponde ad una tematica:
- dal basso, tra gli archi di comunicazione fra le navate e il matroneo, episodi dall'Antico Testamento;
- fra il matroneo e le lunette, episodi dal Nuovo Testamento;
- nelle lunette, figure allegoriche; la lunetta della parete sinistra della settima campata, è stata dipinta nel 1585 da Innocenzo Martini.
Sulla controfacciata, vi è un grande affresco raffigurante l'Ascensione di Cristo, dipinto da Lattanzio Gambara tra il 1571 e il 1573.
Gli affreschi della volta sono opera di Girolamo Bedoli-Mazzola, che li dipinse tra il 1555 e il 1557.
Central Nave.
The central nave is twice as wide as the two side ones and is, like the latter, covered with a cross vault; the scheme of each of the two side walls of each span is as follows:
- from below, the round arch communicating with the side nave;
- above this, the four-light window with small arches supported by columns, which overlooks the women's gallery;
- at the top, a single-lancet window overlooking the outside.
Between the third and fourth bay, close to the right semi-column, there is the richly carved wooden pulpit, the work of Paolo Froni (1613).
The walls of the central nave are decorated with a cycle of frescoes, the work of Lattanzio Gambara, who painted them between 1567 and 1573.
They are developed in three bands, each of which corresponds to a theme:
- from below, between the arches connecting the naves and the women's gallery, episodes from the Old Testament;
- between the women's gallery and the lunettes, episodes from the New Testament;
- in the lunettes, allegorical figures; the lunette on the left wall of the seventh bay was painted in 1585 by Innocenzo Martini.
On the counter-façade, there is a large fresco depicting the Ascension of Christ, painted by Lattanzio Gambara between 1571 and 1573.
The frescoes on the vault are the work of Girolamo Bedoli-Mazzola, who painted them between 1555 and 1557.
IMG_1296m
Vi chiedo cortesemente di non pubblicare gli schemi su altri siti, per la pubblicazione è necessaria la mia autorizzazione.
vi ringrazio...
Spero vi piacciano
come sempre la legenda è sul mio blog.
Vi chiedo cortesemente di non pubblicare gli schemi su altri siti... o se proprio, citate cortesemente la fonte... vi ringrazio...
Spero vi piacciano
don't publish the material on other site without citing the source. Please
I have created this image.
the legend is on my blog:
Krátce poté, co lokomotiva 754.047 obdržela nový lak v Krnově, připomínající do detailu tehdejší barevné schéma 754.067, zamířila do Brna. Zde lokomotiva dlouho neotálela a hned následující den 11. března, se vydala na Sp 1771 do Starého Města u Uherského Hradiště, kde jí již čekaly výkony na luhačovických rychlících. Na jednom z nich se krátce po výjezdu z lázeňského města láme společně se soupravou R 884 v protiobloucích před zastávkou Biskupice.
Connu et reconnu pour son patrimoine industriel remarquable, le site de Tour & Taxis est en pleine reconversion. L’objectif principal est d’en faire un quartier durable exemplaire, au bénéfice de tous, privilégiant un aménagement urbain se réappropriant les rives du canal.
De par sa localisation stratégique, en bordure du canal et à proximité immédiate du centre historique de Bruxelles, l'ancien site ferroviaire de Tour & Taxis possède un énorme potentiel et connaît un véritable renouveau. L’Entrepôt Royal, les Magasins ainsi que la Gare Maritime, trois bâtiments d’une valeur patrimoniale inestimable, constituent un pôle primordial de ce renouveau.
Le développement de ce site de 45 ha, entouré de quartiers denses et animés (les quartiers Maritime et Marie-Christine) a été planifié par un schéma directeur, nourri par des réflexions participatives. Celui-ci été adopté par la Région de Bruxelles-Capitale en décembre 2008. Il porte une attention toute particulière aux espaces verts, à la mobilité active, la mixité, la valorisation du patrimoine ainsi qu’au développement durable.
Known and recognized for its remarkable industrial heritage, the Tour & Taxis site is undergoing full conversion. The main objective is to make it an exemplary sustainable district, for the benefit of all, favoring urban development that reclaims the banks of the canal.
Due to its strategic location, along the canal and in the immediate vicinity of the historic center of Brussels, the former Tour & Taxis railway site has enormous potential and is undergoing a real revival. The Royal Warehouse, the Stores and the Gare Maritime, three buildings of inestimable heritage value, are a key focus of this renewal.
The development of this 45 ha site, surrounded by dense and lively districts (the Maritime and Marie-Christine districts) was planned by a master plan, fed by participatory reflections. This was adopted by the Brussels-Capital Region in December 2008. It pays particular attention to green spaces, active mobility, diversity, enhancement of heritage and sustainable development.
Onderkelderde eenheidsbebouwing van elf woningen in repeterend schema, gebouwd in opdracht van provinciale raadsheer Ch. Cools; bouwaanvraag van 1905 naar ontwerp van. E. Careels.
Ensemble in art-nouveaustijl met Moorse invloed (zie koepel, hoefijzerbogen en wanddecoratie). Lijstgevels met verspringende kroonlijsthoogte en een parement van decoratief verwerkte en gekleurde baksteen (wit, geel, groen), onder meer voor muurbanden, boogvelden en kruismotieven ter hoogte van de hoefijzerbogen. Middentravee verhoogd met zware octogonale koepel onder uivormige spits, aan vier zijden geflankeerd door kleinere, half uivormige spitsen (leien); leeuwenkopversiering onder de daklijsten. Gevarieerde venstervormen: rechthoekig op de begane grond; hogerop hoefijzervormige deurvensters, soms dubbele deurvensters met als zuil uitgewerkte penanten en sierlijke smeedijzeren leuningen, laatstgenoemde als vereenvoudiging van de oorspronkelijke driezijdige balkons op ijzeren consoles (zie bouwaanvraag en oude foto's). Op de bovenverdieping: rechthoekige drielichten met fraai uitgewerkte art-nouveau-onderdorpels; in de uiterste en drie centrale traveeën: middenvenster onder boogveld met pauwenmotief. Rechthoekige deuren. Houten kroonlijsten.
Bedankt voor uw bezoek , commentaar of favoriet maken .
thanks for all your visits, favs or comments .
MS Mester: Kálvária (részlet)
Lower panel of the right movable wing, Banska Stavnica altarpiece, 1506. Christian Museum, Esztergom
The schema of the whole altarpiece is here: flic.kr/p/2rbyW7M
Il grande viadotto vicino alla stazione di Rohrbach-Vorau forma una spettacolare silhouette con un regionale Wiener Neustadt-Hartberg, sotto forma di Desiro nel nuovo schema di verniciatura.
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The large viaduct near the Rohrbach-Vorau train station forms a spectacular silhouette with a Wiener Neustadt-Hartberg service in the form of a Desiro in the new OBB paint scheme.
Gisteren, 7 augustus, zou het volgens het KMI in de namiddag moeten opklaren vanuit het westen. Al lang willen we nog eens de steenslagtrein van Europorte op foto gaan zetten. Daar hij de avond voordien netjes op schema naar Lessines was opgereden, waagde ik gisteren dus mijn kans. Dit bleek niet meteen de beste keuze te zijn, want van mijn kameraad Bram kreeg ik de horen dat de wagons niet werden geladen. Dat betekende dus dat de terugkerende, geladen trein naar Frankrijk niet zou rijden. Na een eerdere tegenslag met de trein van op deze foto, waarbij er geen last klaarstond in Aalst-Oost en dus de SNCF Traxx op haar eentje naar Tergnier spoorde, gaf ik het op en keerde ik terug naar huis. Soms slaat het aleens tegen…
Kent u deze trein nog? Wat ooit met BB67000 en HLD57 reed, rijdt tegenwoordig met de Traxx’en landenpakket DBF en een ingehuurde SNCF Traxx. Je moet al veel geluk hebben om eens een HLE13 op kop van deze trein te zien. Eergisteren precies een jaar geleden hadden we nog het geluk dat er een type 13 de trein tot Tergnier verzekerde. Vanaf Tergnier doet Lineas France de last-mile met haar ‘Prima-diesels’ in Lineas-livrei. Lange tijd reed deze trein via lijn 75. Het was er vrijwel een dagdagelijks zicht met de 57’ers van het toenmalige B-Logistics. Na het verdwijnen van de HLD 57 werd ervoor gekozen de trein langs de grensovergang van Quévy te laten rijden. Toen kwam de geladen trein nog steeds via Moeskroen, maar ook daar kwam na een tijdje een einde aan. Heden ten dage rijdt deze trein in beide richtingen via Quévy. We missen deze trein toch op lijn 75!
Deze trein rijdt al ruim 10 jaar tussen de vestigingen van Tereos Syral in Aalst en Nesle (département de la Somme). Steevast worden de bruine, vuile ketels gebruikt voor het vervoer van glucosesiroop. De vestigingen van Tereos-Syral staan bekend voor het verwerken van graanproducten. Tereos heeft wereldwijd 9 vestigingen en heeft een jaaromzet van ruim 1,5 miljard euro. Men schat het jaarlijks vermogen op 3,9 megaton graan. Laten we niet vergeten dat er vanuit Tereos Aalst nog een trein met graanproducten vertrekt richting het Franse rangeerstation Tergnier. Tegenwoordig wordt er voor deze trein beroep gedaan op een nieuw type wagons van VTG. Ze zijn bijna identiek, maar toch schuilt er een klein verschil. Wie heeft het al gezien?
Het verkeer via de grensovergang Quévy is ook niet meer wat het ooit was. Herinnert u zich nog de tijden dat er diversie locwissels gebeurden in het stationnetje van Quévy? Heden ten dage zijn de seinen en wissels in Quévy al EBP gestuurd. Wij namen op 6 augustus van vorig jaren, samen met TrainBelge positie in vlak voor de landsgrens. Zo’n 100 meter achter ons bevindt zich de grens met Frankrijk waar de gemeente Feignies zich situeert. We kozen ervoor plaats te nemen op Belgische bodem met reeds Franse bovenleiding onder 25kV.
We zien de 1342, dewelke nu of reeds een revisie ondergaat/onderging, passeert bijna de grensovergang in Quévy om zijn reis naar Tergnier verder te zetten. Men is reeds verwisseld van voltage aan het perron in Quévy.
6/08/2018
[E49804]: Aalst-bundel Oost → Nesle-Somme
Kindchen-Schema, peace, reconciliation, love, a new beginning, and even Salvation. A 'baby-face' triggers archaic evolutionary reactions. It does not surprise that some religions have adopted this image to spread their message. We know that this is just symbolic imagery. But why does it speak to me nevertheless?
92 53 0 640 943-2 (dep. Sibiu) & 92 53 0 640 990-3 (dep. Cluj Napoca) in apropiere de statia Avrig cu trenul special Connecting Europe Express, urmand ca in scurt timp sa opreasca in urmatoarea statie, Sibiu.
18.09.2021
"Psychology"
a schema describes patterns of thinking and behavior that people use to interpret the world. We use schemas because they allow us to take shortcuts in interpreting the vast amount of information that is available in our environment.
Theorist Jean Piaget introduced the term schema, and its use was popularized through his work. According to his theory of cognitive development, children go through a series of stages of intellectual growth.
In Piaget's theory, a schema is both the category of knowledge as well as the process of acquiring that knowledge. He believed that people are constantly adapting to the environment as they take in new information and learn new things.
quote
Everything which distinguishes man from the animals depends upon this ability to volatilize perceptual metaphors in a schema, and thus to dissolve an image into a concept.
Friedrich Nietzsche
Western philosophy
Druhý prototypový stroj řady 350, se vrátil téměř po 15 letech ke svému prvnímu, tzv. veletržnímu nátěru. Červenobílé schéma lokomotivní skříně si lokomotiva obhájila za svůj život celkem čtyřikrát. Poprvé to bylo v roce 1974, přímo z výrobního závodu v Plzni. Podruhé v listopadu roku 1991. Potřetí se vrátila po čtyřleté odmlce v roce 2001, kdy lokomotiva prošla tzv. modernizací II., kde mimo jiné došlo k otočení polopantografů. A nyní v roce 2020 v ŽOS Vrútky.
Za zmínku stojí i jiné barevné kombinace. Jeden z nich byl například v roce 1989. Při opravě EG ve Vrútkách to byl unifikovaný nátěr vícesystémových lokomotiv, tedy modrý se žlutým pruhem.
Na snímku již v plném nasazení na vlaku 124, projíždí zastávkou Černotín.