View allAll Photos Tagged Simula
phrys apifera grows to a height of 15–50 centimetres (6–20 in). This hardy orchid develops small rosettes of leaves in autumn that continue to grow slowly during winter. Basal leaves are ovate or oblong-lanceolate, and upper leaves and bracts are ovate-lanceolate and sheathing. Leaves exhibit parallel venation. The plant blooms from mid-April in continental Europe, but in the United Kingdom it flowers June to July. A flower spike is produced, composed from one to twelve flowers. Three large, purple sepals surround the base of the flower, which can easily be mistaken for petals. The true petals lie just above the sepals as two short, pubescent green structures protruding laterally from a central column. A third, modified petal, the labellum, sits at the bottom of the column as a landing pad for pollinators. The labellum is trilobed, with two pronounced humps on the hairy lateral lobes and a hairy median lobe having a pattern that mimics the abdomen of a bee.[3] The pattern of labellum colouration is quite variable.
The central column is an adaptation unique to orchids, in which the stamens and pistil fused together to form one central rib.[3] The anther cap can be found at the top, dorsal side of the column, while the stigma is hidden below on the ventral side. Two pollinia hang from the column over the labellum.
Ophrys apifera Huds. és una orquídia monopòdica i terrestre de la subtribu Orchidinae (família Orchidaceae). És l'anomenada orquídia abella. Hi ha dues espècies de les anomenades orquídies abella: una, Ophrys apifera, té potser la distribució més àmplia de les espècies d'Ophrys. L'altra, Ophrys schulzei, és una espècie oriental que està present només a Anatolia i en l'Orient Mitjà.
Reproducció
És l'única espècie del gènere Ophry que preferentment practica l'autopol·linització. Les flors de la planta més distribuïdes al nord es reprodueixen exclusivament per autopol·linització, només a l'àrea del Mediterrani, amb l'espècie abellera vermella ocorre la reproducció per pol·linització de l'abella Eucera. En aquest cas la planta atreu els insectes produint l'olor de l'abella femella, a més a més la forma de la flor simula l'abella femella, de manera que la pol·linització ocorre durant la pseudocopulació.
En el passat, les abelles van promoure l'evolució de les orquídies abella. Les abelles mascles, durant moltes generacions d'evolució cumulativa, han fet que adoptin forma d'abella femella, de manera que quan proven de copular-hi en transporten el pol·len.[1]
Les seves flors, doncs, són l'únic record que ens queda d'aquestes abelles ja extingides.[2]
Sinonímia wikipedia dixit
((Because I told ate V that I will make kwento (story) to this post.. so here goes my possible failed attempt on creating a story))
*wink wink*
After exploring the vast land of Beira da Ribeira, my good ate (older sister) V and I found a familiar oasis in the middle of the jungle, "May tindahan pero walang bantay!" (there is a store without a "watchman") she excitedly exclaimed as she ran to the stairs going to the store, and I, sighing in relief, with heavy steps followed her.
She then immediately checked all that's in the store, giggled as she roll called the familiar brands of our Filipino chichiria (junkfoods) and candies. Her eyes widened as her gaze laid on her favorite Piattos, she opened and quickly munched on it. I was laughing as I watched her from the bangko (bench) in front of the store, smiled as I comfortably sat on a familiar chair, whole scene reminded me of the the good old days of my childhood when I and my kalaros (playmates) would make tambay (hangout) in front of my lola's (grandma's) sari-sari's (a store of every sort of) store.
Suddenly I was startled when I heard ate V shouted with a mouthful of Piattos and a Sarsi on her hand, "Walang may-ari! Simula ngayon, akin na ang tindahang ito!" (No one owns the store, so from now on, I own this!) , then she happily turned her back from me to check further what else was there and made a list of what could be good items to sell in the future. It had become Tindahan ni Aling Linda on that same day.
Then one by one kapitbahays (neighbors) came and bought "Colgate, yung Close-Up", "Safeguard, yung Giv", "Sunsilk, yung conditioner na pink", and so on and on until dapit-hapon (dusk) came, she told me how good this day was, how she missed the Philippines, and how impossible as this may seemed reminded her of the 50% of her genes.
At heart, we will always be a Filipino wherever life takes us. ♥
Thank you again ate V for the kwentos ♥
Reggia di Venaria Reale - Cappella di Sant'Ubaldo
La chiesa, essendo inoltre incastonata tra i palazzi tanto da non permetterne la costruzione della cupola nella zona centrale, ne simula la presenza affrescandola come trompe l'oeil all'interno (opera di Giovanni Antonio Galliari).
La ragione di questo espediente artistico, che ridusse drasticamente i costi residui, è forse da ricercarsi nel progressivo disinteresse dei Savoia nell'abbellimento della Reggia di Venaria come tenuta di caccia.
Le linee pendenti che simulano la discesa di fiocchi di neve credo che siano una integrazione del momento alla esposizione del Presepe del Re.
Royal Palace of Venaria Reale - Chapel of Sant'Ubaldo
The church, being set between the buildings so much that it does not allow the construction of the dome in the central area, simulates its presence by frescoing it as a trompe l'oeil inside (by Giovanni Antonio Galliari).
The reason for this artistic expedient, which drastically reduced the residual costs, is perhaps to be found in the progressive disinterest of the Savoy in the embellishment of the Reggia di Venaria as a hunting lodge.
I think the hanging lines that simulate the descent of snowflakes are an integration of the moment to the exhibition of the King's Nativity.
IMG_2271m
FLOR/FLOWER: 1 cm.
CATALÀ
Muscari bothyroides és una espècie de planta perenne de vistoses flors de color porpra o blau, nativa d'Europa Central i Àsia. És una herba que tot just arriba als 30 cm d'altura en condicions òptimes, amb l'arrel formant bulbs. Les fulles són acanalades o en forma d'O, d'uns 2 cm de llarg per 5 mil·límetres d'ample. Des de finals d'hivern fins a principi de l'estiu presenta flors penjades de color púrpura o blau marí, de fins a 1 cm de grandària, formant raïms compactes d'elles. La corol·la, minúscula, presenta 6 peces amb puntes blanques i curtes. El fruit és una càpsula alada. Prefereix sòls humits, prats i pasturatges. Tolera sòls calisos i temperatures baixes. Està molt estès en jardineria donada la seva facilitat a la naturalització. Les composicions de rocalla, agrupacions; al voltant d'arbusts, formant grups més o menys compactes, etc. En els jardins de Keukenhof (Països Baixos), es planten milers de Muscaris, formant un passadís llarg i estret que simula les aigües d'un riu.
ENGLISH
Muscari botryoides is a bulbous perennial plant of the genus Muscari and one of a number of species and genera known as grape hyacinth. It is sometimes grown as an ornamental plant.
The flowers are close together, and are almost totally round. The lower fertile flowers point downwards, while upper ones, usually paler and sterile, point upwards. The flowers are bright blue with white lobes at the end in the wild species, but other colours are available, including white. M. botryoides is originally from central and south-eastern Europe, growing in open woodland and mountain meadows.
The name botryoides is derived from the appearance of a miniature cluster of grapes. M. botryoides is said to be much less invasive than species such as M. neglectum, nevertheless it is listed as invasive in Tennessee.
CASTELLANO
El jacinto de la uva o jacinto ramoso (Muscari bothyroides) es una hierba perenne de vistosas flores de color púrpura o azul, nativa de Europa Central y Asia.
Es una hierba que apenas llega a los 30 cm de altura en condiciones óptimas, con la raíz formando bulbos. Las hojas son acanaladas o en forma de U, de unos 2 cm de largo por 5 milímetros de ancho. Desde finales de invierno hasta principio del verano presenta flores colgantes de color púrpura o azul marino, de hasta 1 cm de tamaño, formando racimos compactos de ellas. La corola, minúscula, presenta 6 piezas con puntas blancas y cortas. El fruto es una cápsula alada.
WIKIPEDIA
Vista lateral desde la galería de los "grutescos".
Los Alcázares sevillanos han tenido muchos cambios a través del tiempo, en este caso la galería de los "grutescos" es una transformación que se hizo a principios del siglo XVII habilitando parte de la muralla almohade en una loggia o galería.
La galería se extiende hasta el jardín del laberinto a través de un pasillo cubierto con vistas a los jardines, abierta a ambos lados por vanos apoyados en columnas de mármol blanco o rojizo, seguramente de origen califal.
Este estilo manierista, introducido en Sevilla por Vermondo Resta, simula como si la roca emergiera de la muralla, intentando una unión entre la arquitectura y la naturaleza. A esta tendencia se le llama labor de grutesco.
Desde esa galería y enfocando lateralmente , se ve , al fondo, la Giralda, y da lugar a otra perspectiva de la famosa torre.
Side view from the gallery of the "grutescos".
The Sevillian Alcázares have had many transformations over time, in this case the gallery of the "grutescos" is a transformation that was made at the beginning of the 17th century, transforming part of the Almohad wall into a loggia or gallery.
The gallery extends to the garden of the labyrinth through a covered corridor overlooking the gardens, open on both sides by openings supported by columns of white or reddish marble, surely of Caliphal origin.
This Mannerist style, introduced in Seville by Vermondo Resta, simulates as if the rock emerged from the wall, attempting a union between architecture and nature. This trend is called grutesco work.
From that gallery and focusing laterally, you can see, in the background, the Giralda, and gives rise to another perspective of the famous tower.
El tallo oscuro difuminado que aparece a la derecha simula la sombra del tallo donde está posado este macho de Lestes barbarus, fotografiado en una charca próxima a la localidad conquense de Carboneras de Guadazaón.
The dark diffused stem that appears on the right simulates the shadow of the stem where this male of Lestes barbarus is posing, photographed in a pond near the town of Carboneras de Guadazaón in Cuenca.
This is the latest gift from my family, just a week after my appendectomy.
The Chinese brand 7Artisans has just released a new "characterful" lens with a 75mm focal length and a maximum aperture of F1.4, for E/Z/L/R mounts.
It is designed primarily for portraits and still lifes, and is surprisingly affordable.
It doesn't have electronic connection pins, so the camera's autofocus system can't be used, but it does have the new feature offered by electronic viewfinders on new cameras with the focus-assist system called "focus peaking."
The camera doesn't receive aperture information, so you have to rely on the exposure simulated by the electronic viewfinder.
The photo was taken at night, using a small spotlight, an exposure time of 1/100 sec, a manual aperture of F5.6, and an ISO of 1250, without a tripod, but handheld.
I could have opened the aperture wider, losing some sharpness, but my abdominal muscles are still recovering and aren't up to too many unstable balances yet.
Besides, with this type of lens, you're not looking for absolute sharpness, but rather a certain "charm" and beautiful blur (Bokeh).
If I wanted much more perfect sharpness, I would have used another lens.
PROBANDO UNA NUEVA LENTE, 2025
Este es el último regalo de mi familia, justo cuando hace una semana de mi operación de apendicitis.
La marca china 7Artisans acaba de poner a la venta una nueva lente "con carácter" con una distancia focal de 75mm y una máxima apertura de F1.4, para monturas E/Z/L/R
Está diseñado básicamente para retratos y "bodegones", con un precio sorprendente.
No tiene pines de conexión electrónica, con lo que no se puede usar el sistema de autofocus de la cámara, pero sí esa nueva posibilidad que tienen los visores electrónicos de las nuevas cámaras con el sistema de ayuda al enfoque que se denomina "focus peaking".
La cámara no recibe información de apertura de diafragma, con lo que hay que fiarse de la exposición que simula el visor electrónico.
La foto está hecha de noche, usando un pequeño foco de luz, un tiempo de exposición de 1/100 seg, una apertura manual de F5.6 y un ISO de 1250, sin trípode, sino "a pulso".
Podría haber abierto más el diafragma, perdiendo algo de nitidez, pero mis músculos abdominales siguen el proceso de recuperación y todavía no están para demasiados equilibrios inestables.
Además, en este tipo de lentes no se busca una nitidez absoluta, sino algo de "encanto" y de bonito desenfoque (Bokeh)
Si quisiera una nitidez mucho más perfecta, habría usado otra lente.
I nostri cinque cani, Brico Gioia Kitty Kelly e Joy, ripresi con la mia reflex digitale Canon, e poi gli scatti sono stati elaborati con il programma della Nik Collection, Analog Efex Pro, versione multiobiettivo, che simula la macchinetta giocattolo della lomografia, la Supersampler.
Cinque cani in quattro pezzi!
Our five dogs, Brico Gioia Kitty Kelly and Joy, filmed with my Canon digital SLR, and then the shots were processed with the program of the Nik Collection, Analog Efex Pro, multi-lens version, which simulates the toy machine of the Lomography, the Supersampler.
Five dogs in four pieces!
" A good traveller has no fixed plans and is not intent on arriving "
My other flickr accounts
One -
www.flickr.com/photos/31673212@N00
Two -
www.flickr.com/photos/24924664@N07
Three -
www.flickr.com/photos/26221240@N03
Four -
www.flickr.com/photos/44080325@N03
Five -
www.flickr.com/photos/normand5
Six -
www.flickr.com/photos/normand6
Seven -
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Eduardo Galeano
Mito de los indios makiritare. Memorias del Fuego
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Eduardo Galeano
Le mythe des indiens makiritaré. Mémoires du feu.
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Photo : La Pointe Nariga (nez) en pleione "Côte de la mort" (ainsi dite à cause des innombrables naufrages causés par ses rochers). La Corogne, Galice. Ce phare est le plus récent des phares galiciens, il a été mis en fonctionnement en 1998. Sa construction figure la proue d'un navire défiant l'océan. Au premier niveau, une sculpture a été installée en 1994 : "Le rêve de l'émigrant", oeuvre de Manolo Coia.
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Foto: Punta Nariga en "Costa da morte", A Coruña. Farallones. Faro. Este faro es el más moderno de Galicia. Entró en funcionamiento en 1998. Se accede al faro desde el pueblo de Barizo, llegando así a la cumbre del monte Nariga (nariz). El faro simula un buque en piedra, proa al horizonte. En su primer nivel está implantado un bronce, un atlante del escultor Manolo Coia “O soño do emigrante” de 1994.
Del pragmatismo natural a la poética visual. El cormorán, extendidas sus alas para secarse al sol, simula ser un galán cautivador. Entre el exhibicionista de gabardina y el oscuro Vlad Tapes, el pájaro seductor pone al ánade en una situación comprometida.
All Rights Reserved. All images on this site are © copyright Juan Pedro Gómez-51.
Please, don’t use this images in websites, blogs or other media without my explicit permission. Use without consent on my part of it, will report the formal complaint to the registration of intellectual property. Thanks.
Looking close... on Friday! Doll .
Jugando con unas piezas de cristal delante del objetivo a modo de OMNI de Lensbaby y una linterna Minimaglite, calida que simula fuego. Un experimento o una tontá¡¡¡
Playing with some pieces of glass in front of the lens as an OMNI of Lensbaby and a Minimaglite flashlight, warm that simulates fire. An experiment or a foolishness!
I nostri cinque cani, Brico Gioia Kitty Kelly e Joy, ripresi con la mia reflex digitale Canon, e poi gli scatti sono stati elaborati con il programma della Nik Collection, Analog Efex Pro, versione multiobiettivo, che simula la macchinetta giocattolo della lomografia, la Supersampler.
Cinque cani in quattro pezzi!
Our five dogs, Brico Gioia Kitty Kelly and Joy, filmed with my Canon digital SLR, and then the shots were processed with the program of the Nik Collection, Analog Efex Pro, multi-lens version, which simulates the toy machine of the Lomography, the Supersampler.
Five dogs in four pieces!
Courtesy from my brother in-law in Bantay, Ilocos Sur
Date taken: 18/08/09
Location: Aniceto Garage, San Julian Sur, Vigan City, Ilocos Sur
I nostri cinque cani, Brico Gioia Kitty Kelly e Joy, ripresi con la mia reflex digitale Canon, e poi gli scatti sono stati elaborati con il programma della Nik Collection, Analog Efex Pro, versione multiobiettivo, che simula la macchinetta giocattolo della lomografia, la Supersampler.
Cinque cani in quattro pezzi!
Our five dogs, Brico Gioia Kitty Kelly and Joy, filmed with my Canon digital SLR, and then the shots were processed with the program of the Nik Collection, Analog Efex Pro, multi-lens version, which simulates the toy machine of the Lomography, the Supersampler.
Five dogs in four pieces!
COMMEMORATIVE PAINTING bilang ala-ala ng TriCentennial Celebrations ng Pagkakaluklok sa Mahal na Birhen ng Soledad na idinaos noong 1992.
INA, REYNA at PATRONA ng buong LALAWIGAN NG KABITE
Simula pa man ng magpakita noong 1667, tinaguriang LA EXCELSA PATRONA de la PROVINCIA DE CAVITE y La Celestial Guardiana y Protectora de la Provincia de Cavite y su Puerto mula pa man noon hanggang ngayon, hindi mabilang na mga himala ang ipinamalas ng Mahal na Ina, dahilan upang lumaganap at lumakas ang pagdedebosyon sa Kanya hindi lamang sa buong lalawigan ng Kabite kundi sa iba't ibang panig ng bansang Pilipinas.
Naging tanggulan at kanlungan ng sambayanang Kabitenyo sa panahon ng himagsikan at pagbabago, kung kaya't tinaguriang ILAW NG PILIPINAS. Nang taong 1883, buong ringal na ipinagdiwang ang kapistahan sa pangunguna ng Gobernador ng Lalawigan na si Don Juan Salcedo y Mantilla de los Rios bilang pasasalamat sa pagliligtas sa Kabite mula sa isang matinding epidemia. Noon pa man, hanggang ngayon, ang SOLEDAD ang kanlungan ng Lalawigan at ng lahat ng mga taong sa kanya'y napaampon.
REINA DE CAVITE,
LUZ DE FILIPINAS,
Tunay kang tanglaw namin!
Nasa pangangalaga ng dating Pangulo ng Cofradia: Bro. Arnel Barrera Berruete
“Karapatan sa Karagatan” or “Maritime Right.”
More from: www.gmanetwork.com/news/story/502486/news/nation/phl-to-l...
Sampaloc Lake , Philippines , Happy Fence Friday
HFF
Sampaloc Lake is an inactive vulcanic lake on Luzon in the Philippines and it's the largest of the seven lakes in San Pablo. In the background you see the mountain called St. Cristobal.
Considered one of the prime tourist spots in the city, Sampaloc Lake is dotted with floating restaurants along its shoreline that serve delectable Filipino and Chinese cuisines. It abounds with tilapia, bangus, carp and several species of shrimps. It is presently lined with fish pens and small cottages built on bamboo stilts.
The legend about Sampaloc Lake tells us that it's name comes of a giant tamarind (sampalok) tree in the garden of a selfish stingy old woman who drove away a fairy disguised as an old man asking for some fruit as a cure for his ailing grandson. Instead of yielding to his appeal for help, the stingy old woman had him driven away by her ferocious dogs. The old man was badly hurt.
Hardly an hour after the old man left, there was a thundering noise followed by the cracking of the earth. The next instant the entire orchard sank into a colossal pit which was eventually filled with water. Henceforth, the villagers called it Lake Sampaloc.
Sampaloc Lake, Pilipinas , Masaya Bakod Biyernes
Sampaloc Lake ay isang di-aktibong vulkanik lake sa Luzon sa Pilipinas at ito ay ang pinakamalaking ng pitong lawa sa San Pablo. Ang mga bundok na nakikita mo ay tinatawag na St. Cristobal.
Itinuturing na isa sa mga kalikasan spot turista sa lungsod, Sampalok Lake ay may tuldok na may lumulutang restaurant sa kahabaan ng baybayin nito na maghatid ng napakasarap na pagkaing Filipino at mga lutuin ng Intsik. Ito tigib sa tilapia, bangus, pamumula at ilang mga species ng hipon. Ito ay kasalukuyang may linya sa panulat isda at maliit na cottages binuo sa stilts kawayan.
Ang alamat tungkol sa Sampaloc Lake ay nagsasabi sa amin na ito ay pangalan ng dumating ng isang higanteng sampalok (Sampalok) puno sa hardin ng isang makasarili maramot na matandang babae na kawan ang layo ng isang engkanto disguised bilang isang matandang lalaki na humihingi para sa ilang mga prutas bilang isang lunas para sa kanyang sakit na apong lalaki. Sa halip na pagbibigay-daan sa kanyang apila para sa tulong, ang maramot matandang babae, siya ay hinahamon ang layo sa pamamagitan ng kanyang galit na galit na mga aso. Ang matandang tao ay masama nasaktan.
Bahagya isang oras pagkatapos ay iniwan ang matandang tao, may isang ingay dumadagundong na sinusundan ng mga lindol sa lupa. Ang susunod na pangyayari ang buong halamanan lumubog sa isang napakalaki na hukay kung saan ay sa wakas napuno ng tubig. Simula ngayon, tinatawag na, ng mga tagabaryo na ito ay Lake Sampaloc.
I nostri cinque cani, Brico Gioia Kitty Kelly e Joy, ripresi con la mia reflex digitale Canon, e poi gli scatti sono stati elaborati con il programma della Nik Collection, Analog Efex Pro, versione multiobiettivo, che simula la macchinetta giocattolo della lomografia, la Supersampler.
Cinque cani in quattro pezzi!
Our five dogs, Brico Gioia Kitty Kelly and Joy, filmed with my Canon digital SLR, and then the shots were processed with the program of the Nik Collection, Analog Efex Pro, multi-lens version, which simulates the toy machine of the Lomography, the Supersampler.
Five dogs in four pieces!
Sampaloc Lake , San Pablo City , Philippines
Sampaloc Lake is an inactive vulcanic lake on Luzon in the Philippines and it's the largest of the seven lakes in San Pablo. In the background you see the mountain called St. Cristobal.
Considered one of the prime tourist spots in the city, Sampaloc Lake is dotted with floating restaurants along its shoreline that serve delectable Filipino and Chinese cuisines. It abounds with tilapia, bangus, carp and several species of shrimps. It is presently lined with fish pens and small cottages built on bamboo stilts.
The legend about Sampaloc Lake tells us that it's name comes of a giant tamarind (sampalok) tree in the garden of a selfish stingy old woman who drove away a fairy disguised as an old man asking for some fruit as a cure for his ailing grandson. Instead of yielding to his appeal for help, the stingy old woman had him driven away by her ferocious dogs. The old man was badly hurt.
Hardly an hour after the old man left, there was a thundering noise followed by the cracking of the earth. The next instant the entire orchard sank into a colossal pit which was eventually filled with water. Henceforth, the villagers called it Lake Sampaloc.
Sampaloc Lake, San Pablo City, Pilipinas
Sampaloc Lake ay isang di-aktibong vulkanik lake sa Luzon sa Pilipinas at ito ay ang pinakamalaking ng pitong lawa sa San Pablo. Ang mga bundok na nakikita mo ay tinatawag na St. Cristobal.
Itinuturing na isa sa mga kalikasan spot turista sa lungsod, Sampalok Lake ay may tuldok na may lumulutang restaurant sa kahabaan ng baybayin nito na maghatid ng napakasarap na pagkaing Filipino at mga lutuin ng Intsik. Ito tigib sa tilapia, bangus, pamumula at ilang mga species ng hipon. Ito ay kasalukuyang may linya sa panulat isda at maliit na cottages binuo sa stilts kawayan.
Ang alamat tungkol sa Sampaloc Lake ay nagsasabi sa amin na ito ay pangalan ng dumating ng isang higanteng sampalok (Sampalok) puno sa hardin ng isang makasarili maramot na matandang babae na kawan ang layo ng isang engkanto disguised bilang isang matandang lalaki na humihingi para sa ilang mga prutas bilang isang lunas para sa kanyang sakit na apong lalaki. Sa halip na pagbibigay-daan sa kanyang apila para sa tulong, ang maramot matandang babae, siya ay hinahamon ang layo sa pamamagitan ng kanyang galit na galit na mga aso. Ang matandang tao ay masama nasaktan.
Bahagya isang oras pagkatapos ay iniwan ang matandang tao, may isang ingay dumadagundong na sinusundan ng mga lindol sa lupa. Ang susunod na pangyayari ang buong halamanan lumubog sa isang napakalaki na hukay kung saan ay sa wakas napuno ng tubig. Simula ngayon, tinatawag na, ng mga tagabaryo na ito ay Lake Sampaloc.
Isang masaya at mahirap n laru. kung saan dapat iniicp lahat bagu may gawin.
Para ring tulad ng pagdessesisyon sa buhay natin. ang kaibahan lng e sa laro pag gumuho n lahat,pwede mo ulit simulan sa simula. sana ganito n lng ang buhay.n pag may pagkakamali ka magawa e pwede mo ulitin at mabago.
Yun ang kaibahan ng laro sa pag dedesisyon sa buhay
kung sa laro natatakot ka matalo,sa buhay mas nakakatakot magkamali.nakakatakot na may masaktan sa padalos dalos mo.at ang masama pa,di ka pwede mag tym out o bumawi sa round 2. kasi lahat ng desisyon na gagawin mo e may kaukulang kahahantungan. maaaring maging maayos,pwede ring may masaktan,o pinakamahirap e kung sa huli e pagsisisihan mo ung isang desisyon lng n un.. ganun kahirap laruin ang buhay kaya lagi magisip.d lng ang manalo kundi pati mga maaring kahantungan ng bawat desisyon.
my lil bro playin uno stacko w/ his friends...his last attempt before this pile of plastic bricks finally collapsed.. ;-)
Ang maringal na likod ng Mahal na Poon San Juan Nepomuceno
Ang Bisperas Mayores ay ginaganap tuwing ika-15 ng Mayo sa patio ng Simbahan. Ito ay naguumpisa sa ganap na 11:30 ng umaga. Dito, tinutugtugan ng dalawang banda ng musiko si Tata Juan Ang imagen ay ginagawan ng isang altar sa pintuan ng simbahan. Ito ang simula ng kapistahan sa Malibay.
Videos:
Annibale Carracci (Bologna, November 3, 1560 - Rome, July 15, 1609) - Triumph of Bacchus and Ariadne (1597-1600) - fresco of the vault of the Galleria Farnese - Palazzo Farnese (French Embassy), Rome
immagine scaricata dal sito dell'ambasciata di Francia
image downloaded from the website of the French Embassy
L’affresco, commissionato dal cardinale Odoardo Farnese, è la parte centrale della volta della Galleria Farnese a Roma, dipinta fra il 1597 e il 1600. Diversamente da altre scene, il Trionfo non è un quadro riportato ma è inquadrato da una finta cornice architettonica che simula lo sfondamento del soffitto verso lo spazio esterno. Il corteo nuziale irrompe con una gioiosa danza che coinvolge Polifemo e Galatea, Paride e Mercurio, Diana e Pan in un tripudio manierista di colori e panneggi.
L’immagine procede da sinistra verso destra: Bacco, dio del vino, con la testa cinta d’edera e il tirso in mano, avanza su un cocchio dorato trainato da tigri; al suo fianco Arianna indossa una veste turchese che le lascia scoperte le spalle mentre un puttino le porge una corona di stelle, ad evocare il diadema che Bacco lanciò in cielo e trasformò in costellazione.
Al corteo partecipano eroti, menadi, satiri danzanti con strumenti musicali, stoviglie, ceste colme di cibarie e Sileno ebbro sorretto su un asino. Lo spazio vuoto al centro contribuisce a dare respiro alla composizione.
The fresco, commissioned by Cardinal Odoardo Farnese, is the central part of the vault of the Galleria Farnese in Rome, painted between 1597 and 1600. Unlike other scenes, the Triumph is not a reported painting but is framed by a false architectural frame that simulates the breakthrough of the ceiling to outer space. The nuptial procession bursts in with a joyful dance involving Polyphemus and Galatea, Paris and Mercury, Diana and Pan in a Mannerist jubilation of colors and drapery.
The image proceeds from left to right: Bacchus, god of wine, with his head girded with ivy and the tyrus in his hand, advances on a golden chariot pulled by tigers; by his side Ariadne wears a turquoise dress that leaves her shoulders uncovered while a cherub holds out a crown of stars, evoking the diadem that Bacchus threw into the sky and transformed into a constellation.
Participating in the procession are erots, maenads, dancing satyrs with musical instruments, crockery, baskets full of food and intoxicated Silenus supported on a donkey. The empty space in the center helps to give breath to the composition.
de la serie:
►¡No utilizar mis imagenes en web sites sin previa autorización! ◄
►Don't use my pictures on websites without prior authorization! ◄
*** 14 JUILLET ***
~ CARCASSONNE ~ FRANCE ~
por: Marco Vianna©
** Todos los derechos reservados **
Mis Imagenes publicadas en TheDphoto, by Diana Eftaiha:
"Beautiful Photography of Marco Vianna"
~ 14 de Julio, el dia nacional de Francia ~
Fiesta pirotecnica anual en las murallas del castillo medieval de Carcasona.
Serie de tomas realizadas durante la noche del 14 de julio de 2008 en "CARCASSONNE".
La exibición pirotécnica simula un gran incendio, donde en el pasado ardió la ciudadela
convertiéndola en un enorme bloque de piedra incandescente.
Más de 700 mil personas se asoman a las orillas del AUDE para contemplar este
fantastico espetáculo de luz y pirotecnia.
# Para esta toma:
Canon EOS 400D Digital + Canon EF-S 18 ÷ 55mm f/3.5 ÷ 5.6
# Obturada a f/6.7 y una exposición a 1.6 seg. + Tripode.
Vea tambien:
"My Gear" Album
Aqui mi paso del analogico al formato digital:
Saltar. La acción de despegar con fuerza los pies de la tierra y por una fracción de segundos sentir la felicidad de ser libre mientras simulas un vuelo al infinito.
Para el proyecto "Cosas de Cronopios"
Juntas en nuestro blog:
proyecto fotográfico donde participo con
Davinia Muñoz (Me llaman Octubre)
Aglaia Berlutti (Miss Aster)
NOT ACCEPTING comments with big icons awards, multiply invites or big graphic related posts, OR YOUR LAST PICTURE OF THE DAY, thank you!!!!
Sampaloc Lake , San Pablo City , Philippines
Sampaloc Lake is an inactive vulcanic lake on Luzon in the Philippines and it's the largest of the seven lakes in San Pablo. In the background you see the mountain called St. Cristobal.
Considered one of the prime tourist spots in the city, Sampaloc Lake is dotted with floating restaurants along its shoreline that serve delectable Filipino and Chinese cuisines. It abounds with tilapia, bangus, carp and several species of shrimps. It is presently lined with fish pens and small cottages built on bamboo stilts.
The legend about Sampaloc Lake tells us that it's name comes of a giant tamarind (sampalok) tree in the garden of a selfish stingy old woman who drove away a fairy disguised as an old man asking for some fruit as a cure for his ailing grandson. Instead of yielding to his appeal for help, the stingy old woman had him driven away by her ferocious dogs. The old man was badly hurt.
Hardly an hour after the old man left, there was a thundering noise followed by the cracking of the earth. The next instant the entire orchard sank into a colossal pit which was eventually filled with water. Henceforth, the villagers called it Lake Sampaloc.
The church of Iglesia ni Cristo is an international Christian denomination religion that originated in the Philippines
Sampaloc Lake, San Pablo City, Pilipinas
Sampaloc Lake ay isang di-aktibong vulkanik lake sa Luzon sa Pilipinas at ito ay ang pinakamalaking ng pitong lawa sa San Pablo. Ang mga bundok na nakikita mo ay tinatawag na St. Cristobal.
Itinuturing na isa sa mga kalikasan spot turista sa lungsod, Sampalok Lake ay may tuldok na may lumulutang restaurant sa kahabaan ng baybayin nito na maghatid ng napakasarap na pagkaing Filipino at mga lutuin ng Intsik. Ito tigib sa tilapia, bangus, pamumula at ilang mga species ng hipon. Ito ay kasalukuyang may linya sa panulat isda at maliit na cottages binuo sa stilts kawayan
Ang simbahan ng Iglesia ni Cristo ay isang internasyonal na Christian taguri relihiyon na nagmula sa Pilipinas
Ang alamat tungkol sa Sampaloc Lake ay nagsasabi sa amin na ito ay pangalan ng dumating ng isang higanteng sampalok (Sampalok) puno sa hardin ng isang makasarili maramot na matandang babae na kawan ang layo ng isang engkanto disguised bilang isang matandang lalaki na humihingi para sa ilang mga prutas bilang isang lunas para sa kanyang sakit na apong lalaki. Sa halip na pagbibigay-daan sa kanyang apila para sa tulong, ang maramot matandang babae, siya ay hinahamon ang layo sa pamamagitan ng kanyang galit na galit na mga aso. Ang matandang tao ay masama nasaktan.
Bahagya isang oras pagkatapos ay iniwan ang matandang tao, may isang ingay dumadagundong na sinusundan ng mga lindol sa lupa. Ang susunod na pangyayari ang buong halamanan lumubog sa isang napakalaki na hukay kung saan ay sa wakas napuno ng tubig. Simula ngayon, tinatawag na, ng mga tagabaryo na ito ay Lake Sampaloc.
Un Airbus A400M simula respostaje a un EF18 y un Eurofighter 2000.
Desfile del 12 de Octubre de 2022.
I nostri cinque cani, Brico Gioia Kitty Kelly e Joy, ripresi con la mia reflex digitale Canon, e poi gli scatti sono stati elaborati con il programma della Nik Collection, Analog Efex Pro, versione multiobiettivo, che simula la macchinetta giocattolo della lomografia, la Supersampler.
Cinque cani in quattro pezzi!
Our five dogs, Brico Gioia Kitty Kelly and Joy, filmed with my Canon digital SLR, and then the shots were processed with the program of the Nik Collection, Analog Efex Pro, multi-lens version, which simulates the toy machine of the Lomography, the Supersampler.
Five dogs in four pieces!
simula na ng tag-ulan
Today Daily Verse :
Strengthening the disciples and encouraging them to remain true to the faith. "We must go through many hardships to enter the kingdom of God," they said.
Acts 14:22
Ika 17 ng Hulyo- Simula ng Nobenary sa Kapistahan nina Santa Ana at San Joaquin
Santa Ana, La Callejera
.
La bella durmiente del bosque y el príncipe
*
La belle au bois dormant et le prince charmant
Marco Denevi (Argentina, 1922-1998)
*
Photo : Château d’Ussé à Rigny-Ussé (Indre et Loire). Charles Perrault se serait inspiré de ce château pour le conte de la Belle au bois dormant. Le château contient d'ailleurs une mise en scène du conte cité.
Foto : Castillo de Ussé (Castillos del Loira) en la comuna de Rigny-Ussé. Según la leyenda, este castillo ha inspirado a Charles Perrault para su cuento de La bella durmiente del bosque.
Fiesta del Señor Santo Niño de Malibay
Patron Tercera de Malibay
Parokya ni San Juan Nepomuceno
Videos:
Pagtugtog sa Bahay ng Hermano Mayor
Simula sa pagkabata..
Salamat sa pagbibigay ng liwanag..
Salamat sa pag akay sa paglakad...
Salamat sa paghubog ng aking isipan....
Salamat sa lahat ng patnubay....
At para naman sa yo..salamat din sa pagview nito....
Sampaloc Lake , San Pablo City , Philippines
Sampaloc Lake is an inactive vulcanic lake on Luzon in the Philippines and it's the largest of the seven lakes in San Pablo. In the background you see the mountain called St. Cristobal.
Considered one of the prime tourist spots in the city, Sampaloc Lake is dotted with floating restaurants along its shoreline that serve delectable Filipino and Chinese cuisines. It abounds with tilapia, bangus, carp and several species of shrimps. It is presently lined with fish pens and small cottages built on bamboo stilts.
The legend about Sampaloc Lake tells us that it's name comes of a giant tamarind (sampalok) tree in the garden of a selfish stingy old woman who drove away a fairy disguised as an old man asking for some fruit as a cure for his ailing grandson. Instead of yielding to his appeal for help, the stingy old woman had him driven away by her ferocious dogs. The old man was badly hurt.
Hardly an hour after the old man left, there was a thundering noise followed by the cracking of the earth. The next instant the entire orchard sank into a colossal pit which was eventually filled with water. Henceforth, the villagers called it Lake Sampaloc.
Sampaloc Lake, San Pablo City, Pilipinas
Sampaloc Lake ay isang di-aktibong vulkanik lake sa Luzon sa Pilipinas at ito ay ang pinakamalaking ng pitong lawa sa San Pablo. Ang mga bundok na nakikita mo ay tinatawag na St. Cristobal.
Itinuturing na isa sa mga kalikasan spot turista sa lungsod, Sampalok Lake ay may tuldok na may lumulutang restaurant sa kahabaan ng baybayin nito na maghatid ng napakasarap na pagkaing Filipino at mga lutuin ng Intsik. Ito tigib sa tilapia, bangus, pamumula at ilang mga species ng hipon. Ito ay kasalukuyang may linya sa panulat isda at maliit na cottages binuo sa stilts kawayan.
Ang alamat tungkol sa Sampaloc Lake ay nagsasabi sa amin na ito ay pangalan ng dumating ng isang higanteng sampalok (Sampalok) puno sa hardin ng isang makasarili maramot na matandang babae na kawan ang layo ng isang engkanto disguised bilang isang matandang lalaki na humihingi para sa ilang mga prutas bilang isang lunas para sa kanyang sakit na apong lalaki. Sa halip na pagbibigay-daan sa kanyang apila para sa tulong, ang maramot matandang babae, siya ay hinahamon ang layo sa pamamagitan ng kanyang galit na galit na mga aso. Ang matandang tao ay masama nasaktan.
Bahagya isang oras pagkatapos ay iniwan ang matandang tao, may isang ingay dumadagundong na sinusundan ng mga lindol sa lupa. Ang susunod na pangyayari ang buong halamanan lumubog sa isang napakalaki na hukay kung saan ay sa wakas napuno ng tubig. Simula ngayon, tinatawag na, ng mga tagabaryo na ito ay Lake Sampaloc.
alessioneroni©
Si prega di non utilizzare le mie immagini su siti web, blog o altri mezzi senza il mio esplicito permesso. © Tutti i diritti riservati.
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Please don't use my images on websites, blogs or other media without my explicit permission. © All rights reserved .
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Un minuscolo cimitero sorveglia silenzioso quello che è rimasto di Gibellina, paese di circa 6000 anime, distrutto la notte tra il 14 e il 15 Gennaio 1968 da un terribile terremoto.
Considerate le disperate condizioni del centro abitato e delle località limitrofe, si abbandona subito l’idea di restaurare e ridare vita all’antico nucleo, e si decide di ricostruire altrove la Nuova Ghibellina. Gli abitanti superstiti, sistemati in baracche in attesa della nuova città, non cessano di recarsi ai ruderi, Gibellina fa sempre parte del loro presente.
Ludovico Corrao, sindaco di Gibellina incontra l’artista Alberto Burri, e nasce l’idea di realizzare un grande cretto, il grande Cretto di Gibellina nell’area devastata dal sisma. Un quadrilatero irregolare, gettato come sudario sui resti della città morta. Un omaggio alle vittime, ma anche ai viventi, sradicati dal loro passato, dalla loro vita contadina.
Il cretto di Burri ricorda e simula la crepa del terreno causata dal terremoto, immortala il momento del disastro inserendosi in un paesaggio dal terreno brullo e incolto. Parte del centro distrutto è ora coperta da una delle più celebri (e estese) realizzazioni di Land-Art esistenti al mondo; una coltre di cemento bianco, che solo a distanza restituisce la percezione dei cretti di Burri. La struttura asseconda la forma urbana con i suoi isolati e l’assetto viario, che possiamo ripercorrere, come un labirinto cieco che non porta a nulla, se non a restituire un inquietante senso di morte.
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A tiny cemetery silent monitor what's left of Gibellina town of about 6,000 souls, destroyed the night between 14 and 15 January 1968 by a terrible earthquake.
Given the desperate conditions of the village and neighboring towns, it immediately abandons the idea of restoring and reviving the old core, and you decide to rebuild New Ghibellina elsewhere. The surviving inhabitants, housed in barracks waiting for the new city, do not cease to go to the ruins, Gibellina is always part of their present.
Ludovico Corrao, Mayor of Gibellina meets the artist Alberto Burri, and the idea of creating a large crack, the great Cretto Gibellina in the area devastated by the earthquake. An irregular quadrilateral, such as shroud thrown over the remains of the dead city. A tribute to the victims, but also to the living, uprooted from their past, their country life.
The crack of Burri points and simulates the crack in the ground caused by the earthquake, captures the moment of disaster in a landscape from the ground bare and uncultivated. Part of the center is destroyed now covered by one of the most famous (and extended) realizations of Land-Art in the world, a blanket of white cement, which returns only after the perception of the cracks of butter. The structure follows the shape of urban blocks and stance with its road network, we can trace, like a blind maze that leads nowhere except to return an eerie sense of death.
It was the mascot of the World Cup in Qatar. La'eeb simulates the figure of a white turban, smiling and playing soccer. Its meaning is 'skilled player' and is inspired by the culture and customs of Qatar. This statue is more than three meters high, located on Lussail Boulevard, Lussail, Qatar.
Fue la mascota del mundial de Qatar.La'eeb simula la figura de un turbante de color blanco, sonriente y que juega al fútbol. Su significado es el de 'jugador habilidoso' y está inspirado en la cultura y las costumbres de Qatar. Esta estatua tiene mas de tres metros de altura, situada en el Lussail Boulevard, Lussail, Qatar.
Fiesta del Señor Santo Niño de Malibay
Patron Tercera de Malibay
Parokya ni San Juan Nepomuceno
Videos:
Pagtugtog sa Bahay ng Hermano Mayor
I nostri cinque cani, Brico Gioia Kitty Kelly e Joy, ripresi con la mia reflex digitale Canon, e poi gli scatti sono stati elaborati con il programma della Nik Collection, Analog Efex Pro, versione multiobiettivo, che simula la macchinetta giocattolo della lomografia, la Supersampler.
Cinque cani in quattro pezzi!
Our five dogs, Brico Gioia Kitty Kelly and Joy, filmed with my Canon digital SLR, and then the shots were processed with the program of the Nik Collection, Analog Efex Pro, multi-lens version, which simulates the toy machine of the Lomography, the Supersampler.
Five dogs in four pieces!
Flak towers (German: Flaktürme) were eight complexes of large, above-ground, anti-aircraft gun blockhouse towers constructed in several the cities of Berlin (3), Hamburg (2), and Vienna (3) from 1940 onwards.
The towers were used by the Luftwaffe to defend against Allied air raids against these cities during World War II.
They also served as air-raid shelters for tens of thousands of local civilians.
Each tower had a radar installation with a radar dish which could be retracted behind a thick concrete and steel dome for protection.
The priority of the project was such that the German national rail schedule was altered to facilitate the shipment of concrete, steel and timber to the construction sites.
With concrete walls up to 3.5 m (11 ft) thick and ceilings of 1.5 m (5 ft), flak towers were considered by their designers to be invulnerable to attack by the standard ordnance carried by RAF heavy bombers at the time of their construction.
Despite the dense reinforced concrete shielding of the walls, however, the Flaktowers were designed with windows, since there were projects for civil use after the end of war.
To protect those windows from attacks with heavy ordnance, steel frames and shutters weighing more than a ton were designed.
Only the 128 mm (5.0 in) guns had effective vertical range of up to 14 km (8.7 mi, 46,000 ft) in a 360-degree field of fire to defend against the RAF and USAAF heavy bombers.
The three flak towers around the outskirts of Berlin created a triangle of anti-aircraft fire that covered the centre of Berlin.
Some important works of art of Berlin museums were guarded in these buildings, such as the Bust of Nefertiti or the disassembled Altar of Zeus from Pergamon, which for some time were protected in the G Tower of the Zoo. (Flakturm Tiergarten)
The flak towers had also been designed with the idea of using the above-ground bunkers as a civilian shelter, with room for 10,000 civilians and a hospital ward inside.
The towers, during the fall of Berlin, formed their own communities, with up to 30,000 Berliners taking refuge in one tower during the battle. These towers, much like the keeps of medieval castles, were some of the safest places in a fought-over city and so the flak towers were some of the last places to surrender to the Red Army, eventually being forced to capitulate as supplies dwindled.
The Soviets, in their assault on Berlin, found it difficult to inflict significant damage on the flak towers, even with some of the largest Soviet guns, such as the 203 mm howitzers.
Soviet forces generally manoeuvred around the towers, and eventually sent in envoys to seek their surrender.
Unlike much of Berlin, the towers tended to be fully stocked with ammunition and supplies, and the defenders used 2 cm Flak cannon to defend against assault by ground units.
The Zoo Tower was one of the last points of defence, with German armoured units rallying near it at Tiergarten, before trying to break out of the encircling Soviet Red Army.
After the war, the demolition of the towers was often considered not feasible and many remain to this day, with some having been converted for alternate use.
Each flak tower complex consisted of a pair of towers:
* a G-Tower (German: Gefechtsturm) or Combat Tower, also known as the Gun Tower, Battery Tower or Large Flak Tower, and
* an L-Tower (German: Leitturm) or Lead Tower also known as the Fire-control tower, command tower, listening bunker or small flak tower.
The First Generation G-Towers were 70.5 m × 70.5 m × 39 m (231 ft × 231 ft × 128 ft), usually armed with eight (four twin) 128mm FlaK 40 and numerous 37 mm and 32 (eight quad) 20mm guns.
In present picture you can see the remains of Flakturm III – Humboldthain Park, Berlin.
This is a 1st Generation model G-Tower that was partially demolished after the war; north side remains visible.
The interior can be visited with tours organized by the Berliner Unterwelten association.
The southern part of the tower was demolished and the exterior today simulates a hill with trees, like most of the hills in central Berlin that are actually accumulation of debris resulting from the aerial bombardments and artillery battles of the final struggle in Berlin.
Humboldthain Park L-Tower was partially demolished after the war; some walls remain visible in the top of another accumulation of debris hill full of trees.
Source: Wikipedia and Berliner Unterwelten Web.
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Las torres antiaéreas (alemán: Flaktürme) eran ocho complejos de grandes torres de fortines de armas antiaéreas sobre el suelo construidas en varias ciudades de Berlín (3), Hamburgo (2) y Viena (3) desde 1940 en adelante.
Las torres fueron utilizadas por la Luftwaffe para defenderse de los ataques aéreos aliados contra estas ciudades durante la Segunda Guerra Mundial. También sirvieron como refugios antiaéreos para decenas de miles de civiles vecinos.
Cada torre tenía una instalación de radar con un plato de radar que podía retraerse detrás de una gruesa cúpula de hormigón y acero para su protección. La prioridad del proyecto era tal que se modificó el horario ferroviario nacional alemán para facilitar el envío de hormigón, acero y madera a las obras de construcción.
Con paredes de hormigón de hasta 3,5 m (11 pies) de espesor y techos de 1,5 m (5 pies), sus diseñadores consideraron que las torres antiaéreas eran invulnerables al ataque de las bombas estándar que llevaban los bombarderos pesados de la RAF en el momento de su construcción.
Sin embargo, a pesar del denso blindaje de hormigón armado de las paredes, las Flaktowers se diseñaron con ventanas, ya que había proyectos para uso civil después del final de la guerra. Para proteger esas ventanas de los ataques con artillería pesada, se diseñaron marcos de acero y contraventanas que pesaban más de una tonelada cada una.
Solo los cañones de 128 mm (5,0 pulgadas) tenían un alcance vertical efectivo de hasta 14 km de altitud (8,7 millas, 46 000 pies) en un campo de fuego de 360 grados para defenderse de los bombarderos pesados de la RAF y la USAAF. Las tres torres antiaéreas alrededor de las afueras de Berlín crearon un triángulo de fuego antiaéreo que cubrió el centro de Berlín.
En estos edificios se custodiaban importantes obras de arte de los museos de Berlín, como el Busto de Nefertiti o el Desmontado Altar de Zeus de Pérgamo, que durante algún tiempo estuvieron resguardados en la Torre G del Zoo. (Flakturm Tiergarten)
Las torres antiaéreas también se diseñaron con la idea de utilizar los búnkeres sobre el suelo como refugio civil, con espacio para 10.000 civiles y una sala de hospital en el interior.
Las torres, durante la caída de Berlín, formaron sus propias comunidades, con hasta 30.000 berlineses refugiándose en una torre durante la batalla.
Estas torres, al igual que las torres de los castillos medievales, eran algunos de los lugares más seguros en una ciudad disputada y, por lo tanto, las torres antiaéreas fueron algunos de los últimos lugares en rendirse al Ejército Rojo, y finalmente se vieron obligados a capitular a medida que disminuían los suministros.
A los soviéticos, en su asalto a Berlín, les resultó difícil infligir daños significativos a las torres antiaéreas, incluso con algunas de las armas soviéticas más grandes, como los obuses de 203 mm.
Las fuerzas soviéticas generalmente maniobraron alrededor de las torres y finalmente enviaron emisarios para buscar su rendición.
A diferencia de gran parte de Berlín, las torres solían estar completamente abastecidas con municiones y suministros, y los defensores usaban cañones antiaéreos de 2 cm para defenderse del asalto de unidades terrestres. La Torre del zoológico fue uno de los últimos puntos de defensa, con unidades blindadas alemanas reunidas cerca de ella en Tiergarten, antes de intentar escapar del Ejército Rojo soviético que la rodeaba.
Después de la guerra, la demolición de las torres a menudo se consideró inviable y muchas permanecen hasta el día de hoy, y algunas se han convertido para un uso alternativo.
Cada complejo de torre antiaérea constaba de un par de torres:
* una Torre G (en alemán: Gefechtsturm) o Torre de combate, también conocida como Torre de armas, Torre de baterías o Torre antiaérea grande, y
* una L-Tower (en alemán: Leitturm) o Lead Tower, también conocida como torre de control de incendios, torre de mando, búnker de escucha o pequeña torre antiaérea.
Las torres G de primera generación tenían 70,5 m × 70,5 m × 39 m (231 pies × 231 pies × 128 pies), generalmente armadas con ocho (cuatro gemelos) FlaK 40 de 128 mm y numerosos cañones de 37 mm y 32 (ocho cuádruples) de 20 mm.
En la imagen actual se pueden ver los restos de Flakturm III – Parque Humboldthain, Berlín.
Este es un modelo G-Tower de primera generación que fue parcialmente demolido después de la guerra; el lado norte permanece visible.
El interior se puede visitar con tours organizados por la asociación Berliner Unterwelten.
La parte sur de la torre fue demolida y el exterior hoy simula una colina con árboles, como la mayoría de las colinas del centro de Berlín que en realidad son acumulación de escombros producto de los bombardeos aéreos y batallas de artillería de la lucha final en Berlín.
Humboldthain Park L-Tower fue demolido parcialmente después de la guerra; quedan visibles algunas paredes en lo alto de otro montículo de escombros repleto de árboles.
Fuente: Wikipedia y Berliner Unterwelten Web.