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bit.ly/omfw4F [caption id="attachment_85" align="alignleft" width="286" caption="Smart Tan – Wellesley"][/caption]
Green with envy of attractive and delightful fingernails of your respective friends! You can now alter the wave with the aid of nail cutting treatment.
Nail cutting is really a cosmetic attractiveness strategy for arms and fingernails. Manicure treatment method can treat only hands or fingernails or the two. It can be done your self both at home and a manicurist will do it in your case at his / her hair salon or spa. The word nail cutting comes from the Latin phrase manus, which means fingers and remedy, this means care.
Goal and Advantages of Manicure
The key function of the nail cutting treatment methods are to enhance the look and feel of one's arms and finger nails. An additional objective is to clear, reinforce, form, make appealing and occasionally gown your claws. Another benefits associated with manicure incorporate:
It improves the health insurance and structure of your hands and finger nails.
It can help in protecting against hold - nail formation.
It may help in treating tender or broken pores and skin if existing around the toenails.
It may help in stopping toe nail injuries like fragile suggestions, slashes or divides.
Massage therapy that usually comes with nail cutting helps with increasing the health of skin by raising blood circulation.
By increasing the health of skin, it discourages the wrinkly skin on the skin on palms.
Various kinds of Manicures
There are several types of manicures available. The measures carried out through any of the nail cutting sorts are same. That what separates a kind from amazing . different shaping of the nails and application of distinct natural skin oils and products.
French Manicure: This is the hottest sort of manicure. It involves the application of obvious or nail-coloured toe nail polish on the human body in the nail and pure white-colored toenail gloss in the guidelines of nails. The nails are designed spherical, oval or sq . depending on need.
Paraffin Nail cutting: In this kind of nail cutting, either both hands are dipped into polish or cozy wax is rubbed to your nails. This will make the hands smooth.
Hot Natural stone Nail cutting: In this sort of nail cutting, palm massage therapy emerged by making use of very hot rock treatments.
High end Manicure: This kind of nail cutting involves using paraffin become and heated up mittens for treatment and warming up the arms and hydrating claws.
boston tanning @box @expono @fotki @foursquare @kewego @photobucket @plaxo @shutterfly @sonico @twitpic @twitter @yfrog
Straightened, minor editing.
From end of 2013 to autumn 2015 I kept a kind of a visual, irregular diary on Ipernity. There were only three or four people who knew about it. As Ipernity will close down by end of January 2017, I’m migrating eight sets of photos from that time, hopefully one per day during the next eight days. This second set is devoted to Rigi, Queen of the Mountains. Despite the EXIF info this is a photo taken by me (swapped cameras with a friend who needed mine).
Entry in category 2. ©Bogdan Dereka; See also bit.ly/snsf_comp_copy
Date: 30 January 2017
Focal length: 50 mm
ISO: 800
Exposure: 1/20 s at f/6.3
No flash
No Photoshop modifications
A scientist’s eye who is aligning the optical elements is imaged on the silver spherical mirror on the laser table. He is actively realigning the first spherical mirror with his right hand.
Joe Beckwith, a PhD student in the ultrafast photochemistry group at the University of Geneva aligns spherical silver mirrors on the laser table. Quirky image of his left eye being imaged through the set of two spherical mirrors is seen on the second one of them. [F, 2F] imaging through the mirrors makes his eye to look inverted on the last mirror. ¦ Image#2_9
The prototype installed in the mount. The set screw is replaced with a longer socket cap screw which secures the polar scope. I will make the final spacer with a 1.375 flange where it meets the mount housing to make it look permanent. I am also adding a 'anti-cant' bubble level to the polar scope, like the iEQ45 scope, to allow easy leveling of the scope to the mount.
I was invited to shoot some pictures at the former PTT (PTT, Nederlands) NCO Arnhem communications atomic bunker, built under the "De Leuke Linde" playground during the Cold War (Koude Oorlog). After the Cold War ended, it was used as a high-secure relay station for the Nationaal Noodnet emergency communications network.
Some of my photos will be used for the Stichting NCO Arnhem & Nationaal Noodnet website, brochures and other PR stuff.
I have spent many hours underground, the place is a treasure-trove of history, science, (communications) technology and architecture. It is absolutely amazing. The place will be opened to the public in 2014 and I can highly recommend taking the guided tour.
I have made a couple of mistakes during the first photography session; I should have made more use of my white/greycards, my lenses gathered quite a bit of dust, which I failed to notice.
I think I could spend a week inside, photographing every little detail and awesome piece of technology and history, but you should really go and see for yourself.
I live in a block of flats so this is the only way to get my fix - off road.
Aligning the scope with Polaris is the first job. As this is the first time out with the scope I didn't drive far from home looking for darker skies. Jupiter shines brightly over my head, the Pleiades, or Seven Sisters (Messier object 45), above that, with aircraft zipping to and from Manchester Airport.
The Postcard
A postally unused carte postale published by R F and printed by Draeger.
The Gardens of Versailles
The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.
Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.
In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.
The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.
The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.
50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.
On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.
In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.
The Du Bus Plan for the Gardens of Versailles
With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.
Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.
Louis XIV
In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.
With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.
From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.
(a) The First Building Campaign
In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.
Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.
The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.
By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.
Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.
(b) The Second Building Campaign
Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.
Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.
With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.
Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".
The Grotte de Thétys
Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.
It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.
The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.
Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.
The Bassin de Latone
Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.
Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.
This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.
The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.
The Bassin d'Apollon
Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.
The Grand Canal
With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.
In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.
The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.
The Parterre d'Eau
Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.
In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.
Evolution of the Bosquets
One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:
-- The Bosquet du Marais
-- The Bosquet du Théâtre d'Eau, Île du Roi
-- The Miroir d'Eau
-- The Salle des Festins (Salle du Conseil)
-- The Bosquet des Trois Fontaines
-- The Labyrinthe
-- The Bosquet de l'Arc de Triomphe
-- The Bosquet de la Renommée (Bosquet des Dômes)
-- The Bosquet de l'Encélade
-- The Bosquet des Sources
In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.
-- The Bassin des Sapins
In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.
Later modifications in the gardens transformed this fountain into the Bassin de Neptune.
-- Pièce d'Eau des Suisses
Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.
This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.
(c) The Third Building Campaign
Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.
The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.
Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.
In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.
In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.
Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.
With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.
To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.
Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.
Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.
During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.
The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.
Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.
(d) The Fourth Building Campaign
Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.
Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.
Louis XV
With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.
In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.
During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).
Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.
In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.
Louis XVI
Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.
Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.
The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.
However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.
The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.
Revolution
In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.
Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.
These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.
Napoléon I
The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.
Restoration
With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.
The July Monarchy; The Second Empire
While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.
With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.
Pierre de Nolhac
With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.
Bosquets of the Gardens
Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.
Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi
These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.
In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.
During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.
Labyrinthe - Bosquet de la Reine
In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.
Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.
Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.
The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.
Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.
Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.
Bosquet de la Montagne d'Eau - Bosquet de l'Étoile
Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.
The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.
Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon
Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.
The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.
In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.
During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.
Île du Roi - Miroir d'Eau - Jardin du Roi
Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.
The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.
The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.
A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.
Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque
In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.
Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.
Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert
The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.
Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.
In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.
Bosquet des Trois Fontaines - Berceau d'Eau
Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.
Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.
In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.
Bosquet de l'Arc de Triomphe
This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.
As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.
Bosquet de la Renommée - Bosquet des Dômes
Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.
At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.
The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.
The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.
Bosquet de l'Encélade
Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.
From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.
When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.
Bosquet des Sources - La Colonnade
Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.
In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.
In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.
Galerie d'Eau - Galerie des Antiques - Salle des Marronniers
Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.
Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.
The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.
Salle de Bal
This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.
Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.
The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.
Replantations of the Gardens
Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.
During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.
Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.
This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.
Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.
However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.
The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.
The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.
Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.
This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.
Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.
Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.
Problems With Water
The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.
The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.
To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.
Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.
The Grand Canal
By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.
With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.
While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.
While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.
In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.
In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.
The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.
Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.
Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.
The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.
In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.
During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.
With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.
Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.
The Canal de l'Eure
One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.
The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.
Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.
However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.
Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.
Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.
The Versailles Gardens In Popular Culture
The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.
有關 700E DFC HV BEC 電力供應匯整.
亞拓林課長的說明
700DFC HV SUPER COMBO 所搭配的高壓無刷伺服器,可以直接接上7.4V的鋰電池供電,不需經過BEC降壓, 如過不想使用2S鋰電池直接供電的話,當然也可以接上BEC穩壓,規格的話只要是真的能持續耐電流6A的BEC就足夠了. 例如亞拓的B6X BEC ,我們也測試了很久,是足夠供給高壓無刷伺服器的!
鐵漢大對高壓伺服電源的說明
建議你，直接用2S直推就好，飛2趟充電一次即可，比你掛再好的bEC都要來的好，出HV舵機的用意本來就是為了鋰聚電池普及而誕生的。
註：鐵漢的700DFC HV是用海力士高壓BEC.
HOBA大對高壓BEC的看法
2s 其實不是電量問題,
2s 是由 8.4v 一路往下降,到低電壓為止約 7.6v (3.8x2) 這是在地面量測的到的值
但在空中負載時,你能確實的掌握到它的"實供"電壓嗎?(低頭看控,沒那麼猛吧?)
我也曾經目擊過 2s 直上的前輩就這樣兩眼開開的看機子往地上砸
也沒多少錢啦,大概一萬大洋就這樣給它企了...(這還不包含新機被開苞的心裡傷害,只計算物理價格)
後來檢測那顆電池,用力壓 ccpm 時壓降到 5.?v (用測電表大致量一下而已,不算準啦)
卡斯特
我有寫信去問卡斯特, 有關 BEC Pro 是否可以使用 3S Lipo 的問題.回文如下.
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By all means use a 3s 2200 mah lipo with the BEC Pro. This makes a great set
up and the BEC will be under less stress reducing 11.1 volts instead of 22.2
(half of 12s) or 45 volts (12s). It will be a full 20 amps for 30 second
burst on 3s, way more than any 700 sized heli servos will draw.
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大意是說,
BEC Pro 使用 3S Lipo 是一個不錯的組合設定, 相較於使用 6S, 12S 做為輸入電源, BEC Pro 的負擔會來得輕的許多. 而在 3S 做為電源時,最大電流可以到20A 並持續30杪, 足夠提供任何700級直昇機的動力.
在組裝700E DFC的感想
1. 主橫軸在在穿拆其中一邊旋翼夾時,須要輕敲才能拆裝.
2. H座射出成型精準度不夠,致使 Gyro 座即使在調整後,中間接合處依然略高.
解決方式：在黏完3GX後,已用數位螺距規量是在零度,暫沒有必要調整.
3. 十字盤已調在主軸行程中點,但調集體螺距0度時,DFC連桿A跟連桿頭只吃了一半的螺紋,令人很不放心.但在調整升降邊界極限時,預設的70%在集體螺距打到+12度時,會干涉,只好調到60%.
2012/8/4
拉高十字盤,二邊拉桿各二圈來補-3度的螺距，來加深DFC拉桿頭吃螺紋的深度.
主要是螺距、副翼伺服固定座比實際伺服長度略長，於是鎖伺服便有上下的差距，也影響到連桿長度
分析原因
因為 Pitch, AILE二個伺服器是固定在第一主軸固定座及第二主軸固定座,而第一主軸固定座及第二固定座間的鎖伺服孔位距離略大於伺服器中心孔位.伺服器在上了工字形伺服器及銅環後,二端銅環中心孔的距離較短.所以上方銅環鎖上第一主軸固定座時,下方就會離第二主軸固定座有段距離.
所以如您選擇中間的位置,也就是把伺服略低的位罝.這大約是拉桿4圈的距離.這4圈的距離約是集體螺距3度的距離.因此,當CCPM拉桿按照說明書長度調好,DFC拉桿轉到低時,這時在調機時,集體螺距在遙控器中立點時,會是-3度.這時如調DFC拉桿頭時,會致使DFC拉桿頭只吃約一半的螺紋.於是,這時只好把CCPM三支拉桿長度由原來說明書的長度再拉長3-4圈的距離,使得DFC拉桿頭可以吃到更多的螺紋(幾乎到底)而降低風險.
4. 在組尾雙推時,用來連接尾T型控制臂及尾控制連桿頭的軸套螺絲-銀(牙長3mm) M2x8mm, 未鎖到底,只能靠螺絲膠鎖定.還未鎖到底,就會干涉到尾控制連桿頭的活動了.後來詢問亞拓,此為正常設計.
5. 尾波箱在裝上尾管後,無論怎利用間隙調整,都無法保持水平,也就是看起來垂直尾翼下方會有點向左外翻的角度.
目前僅能儘量在可調範圍內調水平, 再看試機狀況.
6. 用亞拓2S/1900/40C電池直推,尾伺服及螺距伺服器在地面調機時,一開始會有快速小幅抖動的現象.一段時間就會消失.尾舵不定時也會小抖一下.
2012/8/4
隔天再次測試，尾舵竟然不抖了，正常了。只有剩副翼伺服在中立點會小幅＂微震＂。不同是，昨天2S充飽，電壓XG11回傳8.4V，調了二小時機到8.0V.
今天第二次試機，約一小時，電壓由7.9->7.7V，難道直推電壓太高？要用BEC穩壓？現在所以打算使用分離式3S供電加高壓BEC。由11.1/12V降至7.4V是安全又有效率的做法。像JR的高壓伺服及Server King 695規格上就標明耐壓到8.4V.這也是為何我決定上Castle BECPro的原因。因為電是沒有模擬二可的，必須很精準。因為但長期處於超壓工作的舵機，就算不故障。那天要罷工也不知。高壓伺服最近才開始普及，大家包含我自己也沒有經驗，只能邊試邊累積經驗。除了Castle BEC Pro外，JETI SBEC也是不錯的選擇。
2012/8/6
今天用充飽的2S/1900/40C再測試，一送電沒有抖。接著操作控，在36分鐘內XG11回傳的電壓由8.5->8.0, 沒有抖動。
結論
700DFC HV 我個人覺是架CP值很高的機子.相較於其他品牌700級的機子.亞拓在品質,功能及技術支援上都不錯.只是小弟第一次接觸到高壓伺服器及700等級, 每一地方都小心研究.或許它不完美,但亞拓即時不斷的連絡解決我的問題.我仍對它很滿意..
A group of core networking volunteers and friends from past events (like What the Hack 2005, Hacking at Random 2009, Chaos Communication Camp 2011, Observe. Hack. Make 2013) needed to make alterations to a few kilometers of fiber optic cable to be ready for upcoming events such as Chaos Communication Camp 2015, Campzone 2015 and SHA2017.
This turned into a fusion splicing (fiber splicing) workshop.
The 10-point program of the Patriot Party, a white left-wing revolutionary organization aligned with the Black Panther Party, was published in October 1969..
The Patriot Party was initially formed as the Young Patriots Organization in Chicago and later expanded nationwide as the Patriot Party. It was one of the component organizations of Black Panther Fred Hampton’s Rainbow Coalition in Chicago.
They rejected white supremacy but wore a confederate flag patch on their shirts.
They organized in the Washington, D.C. area 1970-71 out of the Panther office and the Panther’s Community Center focusing on far southeast Washington where working class whites still lived and the inner suburbs of Prince George’s County.
The Patriots struggled in the D.C. as Arthur Turco, one of the leaders of the national organization, was indicted in May 1970 for ordering the killing of Baltimore Black Panther suspected of being an informant. The indictment of Turco and a number of Baltimore Panthers consumed much of the effort by Patriot organizers in the Washington area.
The organization was not related to the later right wing organization of the same name.
For a PDF of this 1-page flyer, see washingtonspark.files.wordpress.com/2019/09/1969-10-patri...
For more information and related images, see flic.kr/s/aHsjBUuu3J
Donated by Robert “Bob” Simpson
Cocktail tomato peel surface. Nikon Eclipse 90i, 10x N.A. 0.45 Plan Apo objective. Canon 5D II. The image was composed of several shots using Helicon Focus software, Method B. Step 2 um.
Soldiers from the 1st Brigade Combat Team, 1st Cavalry Division, prepare equipment during Exercise Combined Resolve III at Grafenwoehr, Germany, Oct. 6. The equipment is part of the European Activity Set), a battalion-sized set of equipment pre-positioned on the Grafenwoehr Training Area to outfit and support U.S. Army forces rotating to Europe for training and contingency missions. The 1st Cav currently serves as the Army's Regionally Aligned Force in support of the U.S. European Command. Combined Resolve III is a U.S. Army Europe-led, multinational exercise at the Joint Multinational Training Command's Hohenfels and Grafenwoehr Training Areas focused on maintaining and enhancing interoperability during unified land operations in a decisive action training environment. (Photo by Gertrud Zach)
ETA: When I saw the challenge over at Curtain Call I just had to link up:
curtaincallchallenge.blogspot.ca/2016/01/curtain-call-ins...
Blogged here:
This is how I aligned the rib attachments to the centerline. I think it worked well.
First I pre aligned the rib attachment, then I screwed one end in. Then I readjusted it so it was more or less perfect and screwed the other end in. That way seemed to be the easiest.
The metronome clock art installation (apparently the hole in the middle aligns with the clock on the facade of Grand Central Station at the other end of Park Avenue.
With the Public Art Fund acting as a consultant, the developer Stephen M. Ross went through over 200 submissions before choosing “Metronome” by Kristin Jones and Andrew Ginzel. Installed in 1999, the $3 million dollar piece is meant to symbolize the intangibility of time.
The central component, measuring 100 feet high and 60 feet wide, is formed of an undulating brick wall emanating a dark circular void surrounded by gold leaf overlay that dissipates across the panel into gold fragments. Below, a massive rock juts out through the brick wall, and to the left on the glass façade, is a digital time piece which counts the twenty-four hours of the day while simultaneously subtracting the time remaining in the day. To the right, is the lunar timepiece, composed of a sphere set into a socket, which is synchronized to revolve with the phases of the moon.
Source: art-nerd.com/newyork/metronome/
March 15, 2014, New York, New York, taken here
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A group of core networking volunteers and friends from past events (like What the Hack 2005, Hacking at Random 2009, Chaos Communication Camp 2011, Observe. Hack. Make 2013) needed to make alterations to a few kilometers of fiber optic cable to be ready for upcoming events such as Chaos Communication Camp 2015, Campzone 2015 and SHA2017.
This turned into a fusion splicing (fiber splicing) workshop.
A pair of class 156s at Lincoln Central in platforms 1 and 2, perfectly aligned so it looks as if they are coupled to each other.
27.2.21