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SK: V roku 2022 sa na rušňoch ZSSK začala objavovať nová schéma korporátneho laku nášho národného dopravcu. Jeden z prvých rušňov, ktorý tento lak obdržal bol 361.129, ktorý absolvoval v ŽOS Vrútky hlavnú opravu počas ktorej mu bolo dosadený systém ETCS. V roku 2017 odtiaľ vyšiel ako rušeň radu 361 po rekonštrukcii zo stroja 163.121. Na fotografii z 18. 12. 2022 vedie vlak R 704 zo Žiliny do Bratislavy proti správnemu smeru medzi stanicami Piešťany a Leopoldov z dôvodu zníženej rýchlosti na výhybke v stanici Veľké Kostoľany.
EN: In 2022, a new corporate paint scheme of our national carrier started to appear on ZSSK locomotives. One of the first locomotives to receive this paint was 361.129, which underwent a major overhaul in ŽOS Vrútky during which it was fitted with the ETCS system. In 2017, it came out of there as a 361 series locomotive after reconstruction from 163.121. In the photo from 18.12.2022 the train R 704 from Žilina to Bratislava is running against the correct direction between the stations Piešt'any and Leopoldov due to the reduced speed on the switch at the station Veľké Kostoľany.
Blonski update I.
www.flickr.com/photos/184274212@N05/52277323328/in/datepo...
Rama electrica Softronic Hyperion 001 pregatita pentru remizare pe o tragere din statia Brasov dupa ce a sosit ca tren IR15930 (Craiova - Bucuresti Nord - Brasov).
29.12.2014
ville.montreal.qc.ca/portal/page?_dad=portal&_pageid=...
Lachine Pier
Commonly referred to as the "34th Avenue Pier", the pier dates back to the end of the 19th century. It was originally designed as a mooring place for boats, commercial ships and ferries traveling between Lachine and Caughnawaga. Rebuilt in 1907, it is currently used by amateur sailors and is also popular with anglers. You will find it hard to resist the sight of its majestic lighthouse standing over the shimmering waters of the lake. Don’t forget your camera!
62-1202-1 (dep. Bucuresti Calatori) remizata in fata radialei din depoul Bucuresti Calatori alaturi de alte cateva locomotive.
02.12.2015
Der Dom St. Stephanus und St. Sixtus in Halberstadt ist einer der wenigen großen Kirchenbauten des französischen Kathedralschemas in Deutschland. Er liegt eingebettet in ein Ensemble von romanischen, barocken, neogotischen und modernen Bauten am Rande der Altstadt der im nördlichen Harzvorland gelegenen, im Zweiten Weltkrieg stark zerstörten Stadt.
The cathedrals St. Stephanus and St. Sixtus in Halberstadt are one of the few large church buildings of the French cathedral schema in Germany. It is embedded in an ensemble of Romanesque, Baroque, Neo-Gothic and modern buildings on the outskirts of the old town of the city in the northern Harz foreland, which was severely destroyed in the Second World War.
saluti da lido # 7
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).
Domenico Ghirlandaio (1449-1494) detail of the Birth of Mary - Tornabuoni Chapel (1485-1490) - Santa Maria Novella Florence
La cappella Tornabuoni è la cappella maggiore della basilica di Santa Maria Novella a Firenze. Contiene uno dei più vasti cicli di affreschi di tutta la città, realizzato da Domenico Ghirlandaio e bottega dal 1485 al 1490.
Gli affreschi hanno come tema le Scene della vita della Vergine e di san Giovanni Battista, inquadrate da finte architetture (pilastri con capitelli corinzi dorati e trabeazioni con dentelli, sulle tre pareti disponibili. Le scene si leggono dal basso verso l'alto, da destra a sinistra, secondo uno schema che già all'epoca doveva risultare un po' arcaico.
Le due pareti principali, a destra e a sinistra, presentano tre file di scene ciascuna, a sua volta divise in due scene rettangolari, ed una grande lunetta sulla sommità, per un totale di sette scene a parete.
The Cappella Tornabuoni is the main chapel (or chancel) in the church of Santa Maria Novella, Florence, Italy. It is famous for the extensive and well-preserved fresco cycle on its walls, one of the most complete in the city, which was created by Domenico Ghirlandaio and his workshop between 1485 and 1490.
The portraits of the members of the Tornabuoni family and of relatives, friends, allies and clients of the Medici and the Tornabuoni are included as spectators to the holy stories.
Ghirlandaio worked to the frescoes from 1485 to 1490, with the collaboration of his workshop artists, who included his brothers Davide and Benedetto, his brother-in-law Sebastiano Mainardi and, probably, the young Michelangelo Buonarroti. The windows were also executed according to Ghirlandaio's design. The complex was completed by an altarpiece portraying the Madonna del Latte in Glory with Angel and Saints, flanked by two panels with St. Catherine of Siena and St. Lawrence. On the recto a Resurrection of Christ was painted. This work is now held divided between the Gemäldegalerie, Berlin and the Alte Pinakothek, Munich.
92 53 0 640 943-2 (dep. Sibiu) apropiindu-se de statia Sibiu dinspre Saliste cu ultimul tren IR347 "Dacia" (Viena - Bucuresti Nord), urmand ca de la noul mers sa revina pe ruta initiala via Sighisoara.
08.12.2018
La pièce met en scène la lutte entre les deux figures animales emblématiques du monde boursier, l'ours et le taureau. Les formes opposées des deux animaux, que l'artiste a construits à partir de sections métalliques ressemblant à des schémas boursiers, représentent la lutte du monde matériel. Les deux figures animales ne sont pas statiques, mais prêtes à sauter du sol et à bondir l'une sur l'autre. Ce n'est qu'un instant, mais aussi un mouvement infini. L'humanité a lutté pour survivre aussi longtemps qu'elle a existé sur Terre, et c'est ce que les premières œuvres d'art, les peintures rupestres et les sculptures totémiques - auxquelles les œuvres de Szőke font allusion - cherchent à capturer. Dans les peintures rupestres, nos ancêtres préhistoriques représentent des figures animales ou humaines du monde matériel, sautant ou nageant généralement dans les airs, pour évoquer une existence d'un autre monde, en rupture avec le monde réel. Ces figures ont peut-être fait partie d'anciens rituels, de mystères, des premières évocations éternelles de la survie humaine, de la lutte. Ce conflit dure depuis que nos ancêtres étaient des cueilleurs et des chasseurs, mais ce n'est pas une chose du passé, mais un éternel présent à chaque époque de l'humanité. Dans notre monde d'aujourd'hui, nous faisons toujours partie de ce conflit permanent pour la survie, entre nos besoins et la satisfaction de nos besoins. Nous sommes toujours confrontés à d'énormes défis et ce n'est pas plus facile pour nous aujourd'hui qu'il y a 40 000 ans. Dans notre civilisation, la bourse a une force motrice similaire à celle de la chasse, la lutte pour l'existence matérielle et le gain matériel. Besoin et accomplissement.
Les figures qui apparaissent au moment du mouvement sont constituées d'un système de milliers de colonnes métalliques monotones, verticales et rigides. Individuellement, les colonnes peuvent être minces, épaisses, courtes ou longues, mais ensemble, les nombreuses colonnes forment une unité super puissante. Leur coupe transversale et leur localisation dans un système de coordonnées imaginaire dessinent le fonctionnement du marché boursier dans les deux espaces étatiques opposés qui personnifient les processus de marché. La sculpture représente un moment figé de lutte continue dans lequel il n'y a pas de victoire éternelle. Le premier l'emporte, puis l'autre. Avec ses surfaces glacées, neutres et froides d'inox brut évoquant un ours des cavernes, la bête s'abat sur le taureau, référence au marché en déclin. Le taureau avec son corps rougeoyant - des sections d'acier oxydé faites sur mesure - est sur le point de charger son adversaire. Il est le processus des tendances montantes. Ensemble feu et eau, énergies destructrices et constructives, éléments naturels de la vie
Les deux bêtes métalliques sont nées du monde matériel, s'affrontant sur la terre mère. L'ajout du sol, le monde terrestre comme site de la lutte, a été conçu par Szőke spécialement pour cette exposition. La sculpture représente ainsi les principaux éléments de l'univers : le feu sous la forme du taureau, l'eau sous la forme de l'ours, l'air établit un lien entre les mondes terrestre (matériel) et céleste (spirituel) et l'élément terre, récepteur passif, est à la fois stable et sûr, maintenant les figures qui s'affrontent et les nourrissant. L'existence des quatre éléments principaux est la condition de la vie. L'artiste a été influencé par le travail d'Empledocle, qui, au 5ème siècle avant JC, dans sa Tetrasomia, ou La Doctrine des Quatre Eléments [Racines], a été le premier à dériver l'univers du mélange des quatre éléments, et est considéré comme un précurseur du matérialisme. Pour Empledocle, les 4 éléments proviennent de 4 dieux. En réfléchissant à cela, Szőke voit les totems de l'âge moderne dans les images de l'ours et du taureau, dont l'affrontement entre le monde spirituel et le monde matériel incarne les affrontements de l'existence elle-même.
The piece depicts the fight between the two animal figures emblematic of the stock market, the bear and the bull. The opposing shapes of the two animals, which the artist constructed from metal sections resembling stock market diagrams, represent the struggle of the material world. The two animal figures are not static, but ready to jump off the ground and pounce on each other. It is only a moment, but also an infinite movement. Humanity has struggled to survive for as long as it has existed on Earth, and that is what early artworks, cave paintings and totemic carvings – alluded to in Szőke's works – seek to capture. In cave paintings, our prehistoric ancestors depict animal or human figures from the material world, usually jumping or swimming through the air, to evoke an otherworldly existence, a break from the real world. These figures may have been part of ancient rituals, mysteries, the first eternal evocations of human survival, of struggle. This conflict has been going on since our ancestors were gatherers and hunters, but it is not a thing of the past, but an eternal present in every age of mankind. In our world today, we are still part of this constant conflict for survival, between our needs and the satisfaction of our needs. We still face enormous challenges and it is no easier for us today than it was 40,000 years ago. In our civilization, the stock market has a driving force similar to that of the hunt, the struggle for material existence and material gain. Need and Fulfillment.
The figures that appear at the moment of movement are made up of a system of thousands of monotonous, vertical and rigid metal columns. Individually the columns can be thin, thick, short or long, but together the many columns form a super powerful unit. Their cross-section and location in an imaginary coordinate system outlines the functioning of the stock market in the two opposing state spaces that personify market processes. The sculpture represents a frozen moment of continuous struggle in which there is no eternal victory. The first wins, then the other. With its glazed, neutral and cold surfaces of raw stainless steel evoking a cave bear, the beast descends on the bull, a reference to the declining market. The bull with its glowing body - custom-made sections of oxidized steel - is about to charge its opponent. It is the process of rising trends. Together fire and water, destructive and constructive energies, natural elements of life
The two metallic beasts were born from the material world, clashing on mother earth. The addition of the ground, the terrestrial world as the site of the struggle, was designed by Szőke especially for this exhibition. The sculpture thus represents the main elements of the universe: fire in the form of the bull, water in the form of the bear, air establishes a link between the earthly (material) and celestial (spiritual) worlds and the earth element, a passive receiver, is both stable and sure, maintaining the figures which clash and nourishing them. The existence of the four main elements is the condition of life. The artist was influenced by the work of Empledocles, who in the 5th century BC, in his Tetrasomia, or The Doctrine of the Four Elements [Roots], was the first to derive the universe from the mixture of the four elements, and is considered a forerunner of materialism. For Empledocle, the 4 elements come from 4 gods. Reflecting on this, Szőke sees the totems of the modern age in the images of the bear and the bull, whose clash between the spiritual world and the material world embodies the clashes of existence itself.
Tijdens de suikerbietencampagne in Oostenrijk zijn er altijd interessante treinen onderweg naar en van de beide suikerfabrieken in Tulln en Leopoldsdorf.
De treinen worden volgens vaste schema’s beladen op regionale overslagpunten, waarna het vervoer verder gaat per vrachtauto of trein. Zo ook ten oosten van Eferding op het overslagpunt bij Emling waar Stern & Hafferl de suikerbietentreinen op werkdagen afwikkelt met de 65 jarige loc 20 007 die zorgdraagt voor de treinen tussen Eferding en Emling, en de 108 jarige (!) locs 22 001 of 22 005 die voor het nodige rangeerwerk in Eferding worden ingezet. (Op zaterdagen wordt hiervoor een 2016 ingezet, en hebben de veteranen pauze)
Zo ook op maandag 30 oktober waar in de ochtend loc 22 005 met lege wagens die even daarvoor zijn aangeleverd met de buurtgoederentrein uit Wels klaar staat om deze later in de ochtend uit te wisselen tegen de beladen wagens. Eferding, 30 oktober 2023
60-1693-5 a GFR manevrand la linia 8 a statiei Sibiu 2 cazane pline de motorina pentru depoul Sibiu.
04.01.2016
Dans la série "schémas contre-intuitifs" :
"Within S. salamandra, two main clades can be distinguished: one clade with the Apenninic subspecies S. s. gigliolii nested within the Iberian S. s. bernardezi/fastuosa; and a second clade comprising all other Iberian, Central and East European subspecies."
Op 2 augustus 2011 hebben we de mooie rotsformaties van Adršpach bekeken. Terwijl mijn vrouw, dochter en mijn schoonouders op een terrasje op de hamburger en de patat zaten te wachten, ging ik nog even snel naar het nabij gelegen spoorlijntje. Als echte treinenspotter had ik het treinenschema in mijn broekzak en kon ik mooi op schema dit mooie oude treintje fotograferen die net vertrekt van het midden in het bos gelegen stationnetje Adršpach.
De 810 565-2 met Os 15764 Teplice nad Metuji -Trutnov Hlavní Nádraží bij Adršpach op 2-8-2011.
Junge Menschen haben diese Gedenkstätte als Mahnmal für die Opfer des Terroranschlags an der neuen Kaiser-Wilhelm-Gedächtniskirche im Dezember 2016 auf dem Weihnachtsmarkt gestaltet. Es steht in der Eingangshalle, der als Ruine erhaltenen alten Kaiser-Wilhelm-Gedächtniskirche, die als Mahnmal für die Opfer des 2.Weltkrieges erhalten wurde.
www.inforadio.de/programm/schema/sendungen/forum/201705/1...
Young people have designed this memorial as a memorial for the victims of the terrorist attack on the new Kaiser Wilhelm Memorial Church in December 2016 on the Christmas market. It stands in the entrance hall, the old Kaiser-Wilhelm-Gedächtniskirche, which was preserved as a ruin, which was preserved as a memorial for the victims of the Second World War.
Les jeunes ont conçu ce monument comme un mémorial pour les victimes de l'attentat terroriste contre la nouvelle église Kaiser Wilhelm Memorial en Décembre 2016, le marché de Noël. Il se trouve dans le hall d'entrée, l'ancien Kaiser Wilhelm Memorial Church conservée comme une ruine, qui a été obtenu comme un mémorial aux victimes de la seconde guerre mondiale.
Los jóvenes han diseñado este monumento como un memorial para las víctimas del ataque terrorista en la nueva Iglesia Memorial Kaiser Wilhelm en diciembre el año 2016 El mercado de Navidad. Se encuentra en el hall de entrada, la antigua Iglesia Memorial Kaiser Wilhelm preservado como una ruina, el cual fue obtenido como un monumento a las víctimas de la segunda guerra mundial.
Os jovens têm concebido este memorial como um memorial para as vítimas do ataque terrorista na nova Igreja Memorial Kaiser Wilhelm, em Dezembro de 2016, a mercado de Natal. Ele fica no hall de entrada, a antiga Igreja Memorial Kaiser Wilhelm preservado como uma ruína, que foi obtida como um memorial para as vítimas da segunda guerra mundial.
I giovani hanno progettato questo monumento in memoria delle vittime dell'attentato terroristico sulla nuova Chiesa della Rimembranza dicembre 2016 il mercatino di Natale. Si trova nella sala d'ingresso, l'antica Chiesa commemorativa dell'Imperatore Guglielmo conservato come una rovina, che è stato ottenuto in un memoriale per le vittime della seconda guerra mondiale.
Ich danke Euch für Eure schönen Kommentare, Eure Besuche, über die ich mich freue.
Merci pour vos beaux commentaires, que je suis heureux de vos visites.
Gracias por sus lindos comentarios, que estoy contento de que sus visitas.
Obrigado por seus comentários adoráveis, que estou contente por as suas visitas.
Grazie per la vostra bella commenti, che mi fa piacere le vostre visite.
3514 has been coloured in the designs of the predecessors of the RhB. I would have loved, if they had done a full train in yellow or the cream/blue schema.
Here the EMU is with its regional train down towards Bernina Lagalb and then St. Moritz.
So hieß die 1898 in Betrieb gegangene Städteverbindung zwischen Düsseldorf über Meerbusch nach Krefeld. 1980 erhielt die Verbindung eine Ziffer nach VRR-Schema (U75). Der Arbeitstriebwagen 5164 passiert hier das Stationsgebäude Fischeln, das, in den 1980er Jahren saniert, nichts von dem Kleinbahn-Flair der Jugendstilzeit verloren hat (Scan vom Dia).
Natürlich sind Papageienfische alles andere als klein, aber hier war eine perspektivische Stauchung am Werk, und er bedient fast das Kindchen-Schema :-)
Am Südhang entlang erklimmt der 612er die Schiefe Ebene nach Marktschorgast hinauf, so dass die erhöhten Fotostandpunkte zum größeren Teil nördlich der Strecke liegen und man etwas vom normalen Motivsuch-Schema abweichen muss. Besonders komfortabel ist es, dem "Lehrpfad Schiefe Ebene" einfach zu folgen, da dieser direkt zu einem großen Teil der Fotostandpunkte führt. Eine tolle Sache, nebenbei kann man an einem modifizierten F-Kasten den Dampflokgeräuschen früherer Zeiten lauschen oder eine eigens eingerichtete Aussichtsplattform besteigen (von der aus man sogar gut fotografieren kann!). Letztlich gibt es auch - sehr nützlich für Fotografen - eine Infotafel mit den Zeiten und Fahrzeugen (612 oder 641) der vorbeifahrenden Züge.
20130411-8821
Eind van de middag werd het plotseling heel erg mistig. Ben meteen naar Meer en Bos gegaan voor wat sfeervolle plaatjes.
Genomen op 11 april 2013, de natuurlijk ligt 3 weken achter op schema.
Slyly, she realized that her body envelope and her mind were unsatisfactory overall. Second identification of schemas
Tijdens de suikerbietencampagne in Oostenrijk zijn er altijd interessante treinen onderweg naar en van de beide suikerfabrieken in Tulln en Leopoldsdorf.
De treinen worden volgens vaste schema’s beladen op regionale overslagpunten, waarna het vervoer verder gaat per vrachtauto of trein. Zo ook ten oosten van Eferding op het overslagpunt bij Emling waar Stern & Hafferl de suikerbietentreinen op werkdagen afwikkelt met de 65 jarige loc 20 007 die zorgdraagt voor de treinen tussen Eferding en Emling, en de 108 jarige (!) locs 22 001 of 22 005 die voor het nodige rangeerwerk in Eferding worden ingezet. (Op zaterdagen wordt hiervoor een 2016 ingezet, en hebben de veteranen pauze)
Bij aankomst in Eferding is de mist opgetrokken als loc 20 007 de negen beladen Eanos'en vanuit Emling direct door het station heen rijdt, om de wagens terug te duwen op een nevenspoor. Het hoofdspoor moet snel worden vrijgemaakt want de volgende personentrein komt over enkele minuten binnen.
Eferding, 30 oktober 2023
477-498-6, fabricație 1980, modernizare în anul 2008 la Softronic și reparație RR la Reloc Craiova finalizată în septembrie 2022, în serviciu cu trenul IC 532 Cluj-Napoca - București.
Locomotiva a efectuat serviciu în schema clasică a CFR cu dungă albastră până la momentul modernizării.
Electric locomotive 477-498-6, built in 1980, modernized by Softronic in 2008, and subjected to a RR (revision repair) at Reloc Craiova, completed in September 2022. Currently in operation with InterCity service, hauling train IC 532 on the Cluj-Napoca – Bucharest route.
The locomotive was in service in CFR's standard livery with a blue stripe until its modernization.
Racoș, Brașov
Un des rames SNCF Régiolis B 84500, la rame 84631 avec le schéma TER institutionnel, traverse sans s'arrêter sur la gare de Couzon-au-Mont-d'Or, en charge du service TER AURA Lyon-Perrache - Clermont-Ferrand.
Començo a publicar fotos del passat viatge a Lió i voltants feta la darrera Setmana Santa. A la imatge, veiem la branca Régiolis B 84500, concretament la 84631, passant sense efectuar parada per l'estació de Couzon-au-Mont-d'Or, a càrrec d'un servei TER Auvergne-Rhône-Alpes Lyon-Perrache - Clermont-Ferrand. Foto dedicada sobretot a la persona que ens va fer de guia tots aquells dies, sense ell, aquesta foto no hagués estat possible!
Empiezo a publicar fotos del pasado viaje a Lyon y alrededores realizado la pasada Semana Santa. En la imagen, vemos la rama Régiolis de 4 coches, la B 84500, concretamente la 84631, pasando sin efectuar parada por la estación de Couzon-au-Mont-d'Or, a cargo de un servicio TER Auvergne-Rhône-Alpes Lyon-Perrache - Clermont-Ferrand.
The Alstom Coradia Polyvalent (Régiolis) BMU unit, SNCF B 84500, the unit 84631, is crossing the station of Couzon-au-Mont-d'Or, in a TER Auvergne-Rhône Alpes regional service Lyon-Perrache - Clermont-Ferrand.
Master of Magdalene (active late 13th century) - Penitent Magdalene and eight stories from her life, (c. 1280-1285) tempera and gold on panel size 178×90 cm- Accademia Gallery, Florence
Lo schema della tavola riprende quello delle pale dedicate a san Francesco e le sue storie, per esempio nella pala a Pescia di Bonaventura Berlinghieri (1235) o in quella della cappella Bardi di Santa Croce a Firenze del Maestro del San Francesco Bardi.
Al centro si trova, a piena figura, una Maria Maddalena monumentale e ieratica, dalle forme del corpo allungate e interamente avvolte da una coltre fittissima di capelli, un attributo iconografico - quello dei lunghi capelli sciolti - che identifica la santa nelle raffigurazioni artistiche e che, in quest'opera, diviene elemento dominante. La mano destra distesa riecheggia le icone francescane e ne conferma l'ispirazione, mentre la sinistra regge un cartiglio srotolato contenente una lunga iscrizione che invita il fedele all'espiazione dei peccati seguendo l'esempio della santa.
Le storie laterali rappresentano:
Maria Maddalena unge i piedi di Cristo
Noli me tangere
Maria Maddalena portata in cielo dagli angeli
Ultima comunione di Maria Maddalena
Resurrezione di Lazzaro
Predica della Maddalena
Maria Maddalena nel deserto sfamata da un angelo
Esequie della Maddalena
In queste storielle l'artista rivela una certa vivacità narrativa, arricchita da sintetiche notazioni ambientali (tra cui spicca lo sforzo di rendere il paesaggio naturale nel Noli me tangere), che lo allontana dal classicismo di ascendenza bizantina, pondendolo tra le figure preminenti nell'ambiente fiorentino del secondo Duecento.
The panel's pattern echoes that of altarpieces dedicated to St. Francis and his stories, for example in the altarpiece in Pescia by Bonaventura Berlinghieri (1235) or the one in the Bardi chapel in Santa Croce in Florence by the Master of St. Francis Bardi.
In the center is a full-figured, monumental and hieratic Mary Magdalene, with elongated body forms and entirely enveloped in a thick blanket of hair, an iconographic attribute-that of long, loose hair-that identifies the saint in artistic depictions and which, in this work, becomes a dominant element. The outstretched right hand echoes Franciscan icons and confirms the inspiration, while the left hand holds an unrolled scroll containing a long inscription inviting the faithful to atone for sins by following the saint's example.
The side stories depict:
Mary Magdalene anointing Christ's feet.
Noli me tangere
Mary Magdalene carried to heaven by angels
Last Communion of Mary Magdalene
Resurrection of Lazarus
Sermon of Mary Magdalene
Mary Magdalene in the desert fed by an angel
Funeral of Mary Magdalene
In these little stories the artist reveals a certain narrative vivacity, enriched by concise environmental notations (among which the effort to render the natural landscape in the Noli me tangere stands out), which distances him from the classicism of Byzantine descent, pondering him among the preeminent figures in the Florentine milieu of the second thirteenth century.
Der Dom St. Stephanus und St. Sixtus in Halberstadt ist einer der wenigen großen Kirchenbauten des französischen Kathedralschemas in Deutschland. Er liegt eingebettet in ein Ensemble von romanischen, barocken, neogotischen und modernen Bauten am Rande der Altstadt der im nördlichen Harzvorland gelegenen, im Zweiten Weltkrieg stark zerstörten Stadt.
The cathedrals St. Stephanus and St. Sixtus in Halberstadt are one of the few large church buildings of the French cathedral schema in Germany. It is embedded in an ensemble of Romanesque, Baroque, Neo-Gothic and modern buildings on the outskirts of the old town of the city in the northern Harz foreland, which was severely destroyed in the Second World War.
House of Small fountain - Pompeii
Pezzo pregiato della domus è la fontana-ninfeo riccamente decorata da mosaici e sculture. proprio questa fontana ha dato il nome alla domus chiamata della fontana piccola per distinguerla dalla casa della fontana grande. Lo schema della casa è quello tipico delle abitazioni costruite agli inizi I a.C. ovvero ingresso atrio con impluvium ,(la vasca usata per raccogliere l'acqua piovana), e tablinio. Il giardino ha i muri del peristilio dipinti con paesaggi ed edifici affacciati sul mare
A precious piece of the domus is the fountain-nymphaeum richly decorated with mosaics and sculptures. just this fountain gave the name to the domus called the small fountain to distinguish it from the house of the large fountain. The scheme of the house is typical of the houses built at the beginning I a.C. or atrium entrance with impluvium, (the tank used to collect rainwater), and tablinio. The garden has peristyle walls painted with landscapes and buildings overlooking the sea
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.
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_1293m
Master of Magdalene (active late 13th century) - Penitent Magdalene and eight stories from her life, (c. 1280-1285) tempera and gold on panel size 178×90 cm- Accademia Gallery, Florence
Lo schema della tavola riprende quello delle pale dedicate a san Francesco e le sue storie, per esempio nella pala a Pescia di Bonaventura Berlinghieri (1235) o in quella della cappella Bardi di Santa Croce a Firenze del Maestro del San Francesco Bardi.
Al centro si trova, a piena figura, una Maria Maddalena monumentale e ieratica, dalle forme del corpo allungate e interamente avvolte da una coltre fittissima di capelli, un attributo iconografico - quello dei lunghi capelli sciolti - che identifica la santa nelle raffigurazioni artistiche e che, in quest'opera, diviene elemento dominante. La mano destra distesa riecheggia le icone francescane e ne conferma l'ispirazione, mentre la sinistra regge un cartiglio srotolato contenente una lunga iscrizione che invita il fedele all'espiazione dei peccati seguendo l'esempio della santa.
Le storie laterali rappresentano:
Maria Maddalena unge i piedi di Cristo
Noli me tangere
Maria Maddalena portata in cielo dagli angeli
Ultima comunione di Maria Maddalena
Resurrezione di Lazzaro
Predica della Maddalena
Maria Maddalena nel deserto sfamata da un angelo
Esequie della Maddalena
In queste storielle l'artista rivela una certa vivacità narrativa, arricchita da sintetiche notazioni ambientali (tra cui spicca lo sforzo di rendere il paesaggio naturale nel Noli me tangere), che lo allontana dal classicismo di ascendenza bizantina, pondendolo tra le figure preminenti nell'ambiente fiorentino del secondo Duecento.
The panel's pattern echoes that of altarpieces dedicated to St. Francis and his stories, for example in the altarpiece in Pescia by Bonaventura Berlinghieri (1235) or the one in the Bardi chapel in Santa Croce in Florence by the Master of St. Francis Bardi.
In the center is a full-figured, monumental and hieratic Mary Magdalene, with elongated body forms and entirely enveloped in a thick blanket of hair, an iconographic attribute-that of long, loose hair-that identifies the saint in artistic depictions and which, in this work, becomes a dominant element. The outstretched right hand echoes Franciscan icons and confirms the inspiration, while the left hand holds an unrolled scroll containing a long inscription inviting the faithful to atone for sins by following the saint's example.
The side stories depict:
Mary Magdalene anointing Christ's feet.
Noli me tangere
Mary Magdalene carried to heaven by angels
Last Communion of Mary Magdalene
Resurrection of Lazarus
Sermon of Mary Magdalene
Mary Magdalene in the desert fed by an angel
Funeral of Mary Magdalene
In these little stories the artist reveals a certain narrative vivacity, enriched by concise environmental notations (among which the effort to render the natural landscape in the Noli me tangere stands out), which distances him from the classicism of Byzantine descent, pondering him among the preeminent figures in the Florentine milieu of the second thirteenth century.
Malebným údolím řeky Jihlava poblíž obce Přímělkov projížděl v pátek 5. července 2025 rychlík Rožmberk 652. Naštěstí včas, a tak stíny od kopce nestihly v nejdelší dny dosáhnout až do tratě, kde by zastínily průjezd lokomotivy 750.705, která po úpravě ve společnosti CZ LOKO obdržela netradiční nátěr připomínající schéma z devadesátých let.
Red Scale is considered the best of Elmars, with an optical schema originally recomputed in 1951 and made with rare glass elements. Developed by Max Berek in the 1920s, the lens is composed of four elements in a cemented rear group triplet. I have used many 50mm lens variants, but last year I started using a red scale collapsible 50/3.5 and I have grown to love it. While Noctis and Summiluxes are fantastic lenses, they are simply too big and heavy for me at the moment. A great travel kit for me now would be a super small 2 lens set with the Summaron 28/5.6 .
LEITZ ELMAR 50/3.5 Red Scale 1952 on M10
Giotto (1267 circa - 8 January 1337) - Dormitio Virginis (or the Transit of the Virgin or the Death of Mary) (circa 1312-1314) - Technique: tempera and gold on board - dimensions: 74.7 × 173.4 cm - Gemäldegalerie, Berlin
La Dormitio Virginis, ovvero il Transito della Vergine, è rappresentato con uno schema di base tradizionale, col cataletto di Maria circondato da angeli e dagli Apostoli, mentre al centro si leva il Cristo che ne regge l'"animula" rappresentata come una bambina. Il momento è quello della deposizione quando la Vergine morta è calata nel sepolcro con l'aiuto degli angeli che reggono i lembi del sudario e un apostolo che si piega per sostenerla abbracciandone il busto.
Innovativo è l'efficace utilizzo dello spazio in profondità, con i personaggi che si dispongono su più piani in maniera molto naturale, a differenza delle opere di tradizione duecentesca. Si tratta di un espediente già usato nella Maestà di Ognissanti, ma qui appare applicato in maniera più matura, con le figure più lontane che scompaiono dietro le aureole dei personaggi in primo e secondo piano. Inoltre il gruppo dei personaggi asseconda elegantemente la forma del dossale e con pose, gesti e sguardi indirizza inevitabilmente l'occhio dello spettatore verso il fulcro centrale della scena.
Dopo il Concilio di Trento, che comportò la ristrutturazione degli altari nelle chiese, la tavola venne trasferita in un luogo imprecisato e se ne persero le tracce fino al 1841, quando ricomparve nella raccolta del cardinale Fesch, passando poi per le collezioni Davenport Bromley e Langton Dougles. Dal 1913 è al Kaiser Friedrich Museum, confluendo poi nei Musei Statali di Berlino.
The Dormitio Virginis, or the Transit of the Virgin, is represented with a traditional basic scheme, with the catalet of Mary surrounded by angels and the Apostles, while at the center rises the Christ who holds the "animula" represented as a child. The moment is that of the deposition when the dead Virgin fell into the sepulcher with the help of the angels holding the edges of the shroud and an apostle who bends to support her by embracing the bust.
The use of the space in depth is innovative, with the characters that are arranged on several levels in a very natural way, unlike the works of the thirteenth century tradition. It is an expedient already used in the Maestà of Ognissanti, but here it appears to be applied in a more mature way, with the most distant figures that disappear behind the haloes of the characters in the first and second floor. Furthermore, the group of characters elegantly favors the shape of the dossal and with poses, gestures and looks inevitably directs the viewer's eye towards the central fulcrum of the scene.
After the Council of Trent, which involved the restructuring of the altars in the churches, the table was transferred to an unspecified place and traces of it were lost until 1841, when it reappeared in the collection of Cardinal Fesch, then passing through the Davenport Bromley and Langton collections Dougles. Since 1913 he has been at the Kaiser Friedrich Museum, later merging into the Berlin State Museums.