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7DWF, Saturdays: Landscape
Another one from the photowalk with Flickr friends at an old, abandoned lung sanatorium this March. In this part of one of the main buildings the walls, both inside and outside, were / are adorned with some beautiful old tiles, and especially the tiles inside of this part of the building were / are remarkably well preserved.
Have a wonderful Sunday, dear Flickr friends!
Medicus – geköpft
Eine weitere Aufnahme vom Fotospaziergang mit Flickr-Freunden in einer verfallenen Lungenheilstätte im März. Sowohl im Innen- wie im Außenbereich dieses Gebäudes (eines der Hauptgebäude, wenn ich mich recht erinnere) befanden sich beeindruckende Kacheln, die insbesondere im Innenbereich auch noch besonders gut (nahezu unversehrt!) erhalten waren.
Ich wünsche Euch einen sonnig-warmen Sonntag, liebe Flickr-Freunde!
Oscurita, con alguna mancha y desenfocada... pero con mucho cariño :-)
Y en grande, todo eso, se ve mejor. View On Black
[...]onde a beleza fecha o ciclo
e incendeia
um tórrido colar de diamantes
- no jardim de vênus-
ao caduceu se enroscam
turgescendo
corais gozosos
ópalos coleios
colubrinos enredos
de cetim[...]
[...]donde la belleza cierra el círculo
e incendia
un tórrido collar de diamantes
- en el jardín de venus -
al caduceo se enroscan
hinchando
corales jubilosos
ópalos coleantes
culebrinos enredos
de saten[...]
Haroldo de Campos
Sculpture on Southeast Missouri State University (SEMO) river campus with Bill Emerson Memorial Bridge in background.
Cape Girardeau, Missouri
Barber's poles have a storied, slightly macabre history; during the Middle Ages, barbers performed surgery on customers, as well as tooth extractions.
The original pole had a brassen wash basin at the top (representing the vessel in which leeches were kept) and bottom (representing the basin that received the blood).
The pole itself represents the staff that the patient gripped during the procedure to encourage blood flow, and the twined pole motif is likely related to the Caduceus, the staff of the Greek god of speed and commerce Hermes.
Wellington, Somerset, UK.
Class of 1974 School of Medicine at Temple University
No longer fits but a keepsake nonetheless.
Altadena, California
Glory of Commerce
A large clock and stone sculptural group adorning the building's facade Glory of Commerce, a sculptural group by Jules-Félix Coutan.
The Glory of Commerce sculptural group rests atop the terminal's facade, directly above a broken pediment featuring a large clock.
The work is also known as Progress with Mental and Physical Force or Transportation. It is about 15 m tall, 20 m wide, and weighs about 1,500 short tons (1,400 t).
The work includes representations of Minerva, Hercules, and Mercury. The sculptures were designed by French sculptor Jules-Félix Coutan and carved by the John Donnelly Company. Coutan created the model in his Paris studio and shipped it to New York City later.
Mercury is standing at the top center of the work, depicted traditionally with a caduceus and wearing a winged helmet, with loose drapery concealing otherwise complete nudity.
He is standing in a contrapposto pose in front of an eagle, wings outstretched, peering around his right leg. Two other gods are depicted to Mercury's left and right: the male figure to his right is typically and officially deemed to be Hercules, though he lacks the god's characteristic club and lionskin. Instead, the god is depicted among an anchor, cogwheel, anvil and hammer, a beehive, grapes, wheat ears and a sickle. Many of these are symbols of Vulcan, who is depicted with Minerva and Mercury in other works. He is also nearly naked, staring at Mercury above him. The female figure, Minerva, is resting her head on her left arm, looking down at a roll of parchment on her lap. She is depicted among a globe, a measuring compass, volumes of books and thick wreaths of laurel.
Thanks to all people fighting to keep covid-19 affected patients alive, all around the world.
Mercy aka Angela Ziegler, Overwatch.
Resin statue from my girlfriend's collection (it is a big collection, I might post more).
Cheap continuous lighting setup, 2x135W softboxes + 2x85W umbrellas.
I still have no idea what I am doing with studio lighting 😅
#stayhome
Hair: Caduceus by lock&tuft (at Hair Fair 2019 )
Crown: The King is Dead crown by Cubic Cherry Kre-ations (at Eclipse event)
Shirt: Hide Hanten by Ghoul
Gloves: Sagittarius Archer Bento Gloves by L'Emporio
Pants: Ripped Leggings Latex by TwoSided
Makeup: Starface by (BYRNE)
The Parnassus is a painting by the Italian Renaissance painter Andrea Mantegna, executed in 1497. It is now in the Musée du Louvre, Paris.
The Parnassus is a painting by the Italian Renaissance painter Andrea Mantegna, executed in 1497. It is now in the Musée du Louvre, Paris.
The traditional interpretation of the work is based on a late 15th-century poem by Battista Fiera, which identified it as a representation of Mount Parnassus, culminating in the allegory of Isabella as Venus and Francesco II Gonzaga as Mars.
The two gods are shown on a natural arch of rocks in front a symbolic bed; in the background the vegetation has many fruits in the right part (the male one) and only one in the left (female) part, symbolizing the fecundation. The posture of Venus derives from the ancient sculpture. They are accompanied by Anteros (the heavenly love), opposed to the carnal one. The latter is still holding the arch, and has a blowpipe which aims at the genitals of Vulcan, Venus' husband, portrayed in his workshop in a grotto. Behind him is the grape, perhaps a symbol of the drunk's intemperance.
In a clearing under the arch is Apollo playing a lyre. Nine Muses are dancing, in an allegory of universal harmony. The touch of Pegasus's hoof (right) can generate the spring which fed the falls of Mount Helicon, which can be seen in the background. The Muses danced traditionally in wood of this mount, and thus the traditional naming of Mount Parnassus is wrong.
Near Pegasus is Mercury, with his traditional winged hat, caduceus (the winged staff with entwined snakes), and messenger shoes. He is present to protect the two adulterers.
Mercury, the god of eloquence, underscores that Venice's wise and prudent decisions are eloquently expressed by the nobles. The god is shown with the severed head of Argus at his feet. The caduceus is missing from his right hand.
CREDITS:
lock&tuft - caduceus
[Val'More] - Prototype Jaw AT @MANCAVE
[Val'More] Transcedental Orb - RARE- 1 AT @EPIPHANY
[LOB] GUARD VEST AT @MOM
amias - ELIAS cuffs AT @MOM
SIGNATURE GIANNI BODY
LELUTKA HEAD SKYLER
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The front, which extends 67.1 metres (220 ft), has an Ionic portico (24.4 metres (80 ft) wide), of six fluted Ionic columns, 137.16 centimetres (54 inches) in diameter. The frieze of the entablature is highly enriched, and in the tympanum of the pediment were the royal arms until removed following restoration in the 1920s. On the acroteria of the pediment are three statues by John Smyth:[5] when facing the building Mercury on the left, with his Caduceus and purse; Fidelity on the right, with a hound at her feet and a key held in her right hand (due to these features it is argued[by whom?] that the statue is in fact of Hecate); and Hibernia in the centre, resting on her spear and holding a harp. The entablature, with the exception of the architrave, is continued along the rest of the front; the frieze, however, is not decorated over the portico. A balustrade surmounts the cornice of the building, which is 15.2 metres (50 ft) from the ground.
With the exception of the portico, which is of Portland stone, the main building is of mountain granite. The elevation has three stories, of which the lower or basement is rusticated. The portico occupies the entire height of the structure.
The impressiveness of its architecture is small compared to its history.
Wikipedia
Giovanni Bellini -
The feast of the gods [1514 & additions 1529] -
Washington NGA Inv 1942.9.1
With this painting for the palace of Duke Alfonso I d'Este in Ferrara, the 84-year-old Giovanni Bellini (c. 1430-1516) created his last masterpiece. It was one of the earliest large-format Venetian paintings with antique content and had a great impact, especially on Bellini's pupil Titian.
With unabashed narrative joy, Bellini places a colourful picnic party in a clearing in a poetic atmosphere between mythology and reality. The figures appear to be a court party dressed as gods, served by satyrs and nymphs made of splendid contemporary faience. Zeus (with red doublet & eagle beside him) and Apollo (sitting in front of the tree on the right & holding a Music instrument) drink copiously, Hermes (in front on the left with helmet & caduceus) observes relaxed, Poseidon (the trident lies in front of him on the right) and his Beauty prepare for love. What else happens is reported by the ancient poet Ovid in the "Fasti" (festival calendar). The fertility god Priopos tries to undress the sleeping nymph Lotis, but this is immediately thwarted by the donkey of Silenus with a warning bray - to the amusement of the others.
The landscape was added later by Dosso Dossi (right) and Titian (left).
The gate is surmounted by Armed Peace (to the left with a helmet and an olive branch) and Public Happiness (to the right with the caduceus and a cornucopia).
Que peu d'historique sur ce bâtiment d'angle fort intéressant.
Du fait de la présence d'Hermès sur le mur droit, on peut penser que des la construction ,l'immeuble devait être lié au commerce dont le dieu grec est le protecteur. Le style architectural est assez particulier également, l'édifice est assez épuré pour une construction d'avant guerre mondiales, mais les quelques ornements bien carrés et loin des canons habituels permet de proposer le Jugendstil (allemand lapalissade) dont la ville faisait partit du Reichsland Elsaß-Lothringen.
A negative so weakly exposed that bringing out the detail brings out every flaw.
Or perhaps it was the ghost of Bellocq...
The Pillars stand again and frame the Shekinah.
If and only if your QBL, or Qabalah takes you to Tarot then maybe you might wish to think of The Fool as Aleph being able to see all potential and never need for it to be made material, as the all and nothing with some of everything fulfils in harmonic continuing equilibrium both with and without matter and The Fool is always looking upon The House of God that is The Magician as Beth is the Aleph-Beth progress of the Hebrew Letters.
This is only a vision that is complete within itself. The Holiest of Holies is ever held and adored within. When it finds and fits elements from the without to meet and match the within there is a harmonic balance. The Hermit meets and matches two selves and the possibility of sharing with others in self and in person. [Maybe also think Yod and not one Hermit looking, but two together finding, when The Pillars are standing they create the essence aethyrically betwixt them that is the cloud, the shroud the of the cloaked Hermit from the dowd, cowed and bowed stance the so proud so loud and so avowed can become the endowed over loud unbowed thundercloud that can become vibrant mist capable of all potential. The grey cowl can become the Coat of Many Colours when the situation calls for the transformation.]
Boaz is forever broken and Jachin has gone, but their essence can be seen wherever you wish to find your Temple Rise and your Tabernacle host four pillars and veil.
Your own Ephod Apron and Hoshen Breast Plate being yours to activate and energise at your will with love such that through love your will is proof enough.
Please forgive me for using older religious terms to feature in completely new settings with radically different uses. The language of our forefathers gives us foundation to explore. We are forever searching as The Hermit does, he searches til he finds a span to lower his head, only to raise it again and adore in the threefold pose of Pillars, Branches, The Caduceus and such.
The 4 Picture Production is presentation on which Qabalah and Tarot have been placed and set down in the description that hopefully reveals the open potential to the finding everything all the time as the ultimate that can ever be in own individual perception just wherever we wish to choose and to focus.
© PHH Sykes 2022
phhsykes@gmail.com
On reconnaît Mercure a ses attributs, objets qui permettent de l'identifier. Il porte le chapeau à petites ailes (le pétase) et tient une bourse dans la main droite et un caducée dans la gauche. Cet instrument constitué d'une branche de laurier se finissant par deux serpents enlacés, ici en forme de huit, symbolise la paix et le commerce.
Mercury can be recognised by his attributes, objects that allow him to be identified. He wears a hat with small wings (the petasus) and holds a purse in his right hand and a caduceus in his left. This instrument, consisting of a laurel branch ending in two entwined snakes, here in the shape of a figure eight, symbolises peace and trade.
I wasn't sure what I was going to do with this image of the medical crest on a building in Ormond Beach until I started working on it. The red gave it more of a wow factor, and an oriental feel.
The image is one that has ancient roots and is often shown as a stick with two snakes entwining, called the Caduceus. This is the Rod of Asclepius, which has only a single snake. If you've always wondered why a snake on a stick is a medical insignia, you might want to read this: en.wikipedia.org/wiki/Caduceus
Toujours dans cette troisième cour du château, la prévôté/presbytère/siège épiscopale comme je l'avais énoncé précédemment était situé juste à coté de la cathédrale et servait notamment de résidence pour le prévôt.
A l'origine en bois avant l'an mil, il fut reconstruit en style roman au milieu du XIe siècle. Victime d'un incendie au XIIe, puis reconstruit, à nouveau lorsque le chapitre l'acquiert au XVe. Ensuite, il connu une dernière monture avec le baroque (primitif) au XVIIe siècle sous l'égide du prévôt Jan František d'Aschenfeld par Francesco Caratti. Il garde pour autant ses fondations romane ce qui en fait l'un des bâtiments les plus ancienne de Bohême.
Le bâtiment était accompagné d'une petit chapelle romane ayant traversée les siècles avec robustesse. Néanmoins, elle était sur le tracé de la forme finale de la cathédrale, et schlack.
Et comme d'habitude, il fut confisqué par l'état communiste pour le compte du président de la république dont ses bureaux ne sont pas très loin.
Un consensus a été trouvé depuis 2010 pour que le chapitre puisse réintégrer les lieux à titre gratuit et sert maintenant de poste et de bureau pour certains employés du chapitre, assurément privilégiés au vu de l'emplacement.
Sources : Wikipédia (Muti) && Bibliothèque capitulaire métropolitaine de Prague (CZ) && Site participatif autour des châteaux (CZ) && Site participatif autour du tourisme (CZ)
Old Provincial Museum built in (1892-1893) now Employment Centre located on Ductworth Street in the City of St. John's on the Avalon Peninsula in Newfoundland and Labrador Canada
The Old Provincial Museum is a large Classical Revival brick and sandstone building located at 285 Duckworth Street in downtown St. John’s, NL. The designation is confined to the footprint of the building.
The Old Provincial Museum was designated a municipal heritage structure by the City of St. John’s because it has aesthetic, historic and cultural values.
The Old Provincial Museum has aesthetic value because it is architecturally unique in St. John’s. Built in classical revival style, the front façade of the building bears a strong resemblance to the Roman triumphal arch. Two large brick end towers flank the central sandstone arch and frieze, and each tower is topped with a copper roof dome. Each end tower has a series of stone banding, with two bands near the top, one at the middle and one at the bottom. The towers are punctuated by a single window in each and they are decorated with a stone sill and a single stone keystone above each. More remarkably, the sandstone frieze that graces the front of the building features important icons of Newfoundland’s identity and history. Manufactured in England in 1907 the stone components are 8.5m by 2.1m, and occupy pride of place over the lintel of the main doorway. Above the arch and frieze are three side by side windows and above them is a balustrade. The whole effect is a balanced and symmetrical appearance. The main door has been modernized with glass and metal, but it encompasses the entire stone arch opening with a large half circle window at the top. The archway has a keystone and it features stone supports that span the opening: one horizontal and two vertical.
The Provincial Museum is historically valuable because of its age, having been constructed in 1907 – the same year that the colony of Newfoundland was conferred dominion status. The front facade features a frieze depicting icons of Newfoundland. The central section features the Royal Coat of Arms, sculpted figures and mottos taken from the Grand Seal of Newfoundland. The scene depicts Mercury, God of Trade and Merchandise, presenting to Britannia (representing Britain) a kneeling fisherman offering a catch of newly harvested fish. Britannia also carries a shield embossed with an image of the British flag and a trident. Mercury, in keeping with his role as messenger of the gods and protector of trade and merchants, carries a caduceus, a wand entwined with serpents, capped with wings. This symbolizes commerce, travel and communication. The mottos are highly significant, “Haec tibi dona fero” (I bring you these gifts), symbolizes the wealth of the fishery resource Newfoundland provided for the British Empire at that time. “Terrae Novae” (for or of Newfoundland) indicates the museum’s role of keeping important items of Newfoundland heritage for the benefit of Newfoundlanders. Scenes showing other aspects of Newfoundland’s resource wealth are featured on either side of the central section. To the left is a section devoted to the importance to the lumber industry, while on the right is shown a mining scene.
It is also historically valuable because it was once the provincial museum. The museum opened in 1911, under the directorship of James Howley – Newfoundland’s second director of the Geological Survey. Howley died on January 1, 1918, and the museum went without a director for some time. The Museum appears to have closed in the late 1920s, as a reopening was announced for May 1928. The Museum was closed to the public in October 1930 due to significant leaks in the roof. The Commission of Government years were the darkest in the Museum’s long history, as it was totally shut down for many years and its collections dispersed. In 1946, responsibility for the Museum was transferred to the Department of Home Affairs. The Public Libraries Board moved to the lower floors of the Museum building and the top floor served as exhibit space. In 1955, “An Act respecting the Preservation of Historic Objects” assured the Museum’s provincial status and it reopened in 1957. In 1971, the entire building was made available for exhibits. In 1976 the Museum closed for major reconstruction – reopening in 1979. In 2005, the provincial museum was moved to The Rooms.
Source: Heritage Foundation of Newfoundland and Labrador
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The Market Square of Lądek Zdrój is one of the most magnificent market places in the Land of Kłodzko. The two- and three-bay tenements located on the western and the northern frontage, built in the gable convention with Baroque pediments, are especially attractive. In building no. 1 (Zur Korneckie) Michael Klahr used to live; he was the one who placed a sculpture of Our Lady of the Snows with Child on the façade. On the façade of building no. 3 there are stone plaques with the marks of the Baker’s Guild (a pretzel, 1581) and the Blacksmith’s Guild (a horseshoe, 1789). The elevation of building no. 4 is richly decorated and is crowned with the Eye of God’s Providence. Building no. 5 is decorated with merchants’ trademarks, a caduceus and scales. On house no. 9 there is an interesting Renaissance portal. Buildings 7-11 and 13-14 are equipped with arcades. Probably this is what the settlement looked like in the 18th century, however, after a fire in 1739, the tenements lost their features. In the west-north corner is Kościelna Street where some more Baroque houses can be found.
Most of the houses situated on the southern and the western frontage date back to the 19th century, however – what is interesting – on the façade of house no. 24 there is the date 1784.
The Town Hall in Lądek Zdrój was built in 1872, on the site of two former buildings – a town hall from the first half of the 16th century, which had burned down completely in a fire in 1739, and a brick building with a central tower. Above the entrance to the Town Hall there is the lion of Lądek Zdrój (placed on the front of the coat-of-arms of the town, used until the late 1980’s). The lion in the coat-of-arms had two tails. Legend has it that the coat-of-arms arrived in Lądek Zdrój damaged – without it’s tail. The local counsellors went to Prague to ask the king to grant them a new one. The king wanted to make sure that the lion would not lose its tail, and thus granted the town a two-tailed lion.
On the right side of the Market Square there is a pillory, probably constructed in the 16th century. The original municipal pillory went missing, the one that is situated in the Market Square today, comes from the village of Skrzynka. According to some sources, however, it is still the original pillory - found in 1966.
www.szlakikulturowe.dolnyslask.pl/en/about-routes/trail-o...
The Pillars stand again and frame the Shekinah.
If and only if your QBL, or Qabalah takes you to Tarot then maybe you might wish to think of The Fool as Aleph being able to see all potential and never need for it to be made material, as the all and nothing with some of everything fulfils in harmonic continuing equilibrium both with and without matter and The Fool is always looking upon The House of God that is The Magician as Beth is the Aleph-Beth progress of the Hebrew Letters.
This is only a vision that is complete within itself. The Holiest of Holies is ever held and adored within. When it finds and fits elements from the without to meet and match the within there is a harmonic balance. The Hermit meets and matches two selves and the possibility of sharing with others in self and in person. [Maybe also think Yod and not one Hermit looking, but two together finding, when The Pillars are standing they create the essence aethyrically betwixt them that is the cloud, the shroud the of the cloaked Hermit from the dowd, cowed and bowed stance the so proud so loud and so avowed can become the endowed over loud unbowed thundercloud that can become vibrant mist capable of all potential. The grey cowl can become the Coat of Many Colours when the situation calls for the transformation.]
Boaz is forever broken and Jachin has gone, but their essence can be seen wherever you wish to find your Temple Rise and your Tabernacle host four pillars and veil.
Your own Ephod Apron and Hoshen Breast Plate being yours to activate and energise at your will with love such that through love your will is proof enough.
Please forgive me for using older religious terms to feature in completely new settings with radically different uses. The language of our forefathers gives us foundation to explore. We are forever searching as The Hermit does, he searches til he finds a span to lower his head, only to raise it again and adore in the threefold pose of Pillars, Branches, The Caduceus and such.
The 4 Picture Production is presentation on which Qabalah and Tarot have been placed and set down in the description that hopefully reveals the open potential to the finding everything all the time as the ultimate that can ever be in own individual perception just wherever we wish to choose and to focus.
© PHH Sykes 2022
phhsykes@gmail.com
Like a serpentine asklepian, a vine has wound itself tightly about a tree.
Seminary Wood
Decatur (Legacy Park), Georgia, USA.
12 September 2019.
***************
▶ "In Greek mythology, the Rod of Asclepius (the asklepian) is a single serpent-entwined rod wielded by the Greek god Asclepius, a deity associated with healing and medicine. The symbol has continued to be used in modern times, where it is associated with medicine and health care."
▶ "In the United States, however, the asklepian is frequently confused with the staff of the god Hermes, the caduceus, two snakes entwining a staff: a symbol of commerce. This erroneous usage was first popularized when the U.S. Army Medical Corps adopted the caduceus as its insignia in 1902. Many consider this use of the caduceus to be inappropriate as a symbol for those engaged in the healing arts."
— Wikipedia.
***************
▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
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▶ Camera: Olympus OM-D E-M10 II.
---> Exposure bracketing: 1/80, 1/160, 1/320.
▶ Commercial use requires explicit permission, as per Creative Commons.
The Pillars stand again and frame the Shekinah.
If and only if your QBL, or Qabalah takes you to Tarot then maybe you might wish to think of The Fool as Aleph being able to see all potential and never need for it to be made material, as the all and nothing with some of everything fulfils in harmonic continuing equilibrium both with and without matter and The Fool is always looking upon The House of God that is The Magician as Beth is the Aleph-Beth progress of the Hebrew Letters.
This is only a vision that is complete within itself. The Holiest of Holies is ever held and adored within. When it finds and fits elements from the without to meet and match the within there is a harmonic balance. The Hermit meets and matches two selves and the possibility of sharing with others in self and in person. [Maybe also think Yod and not one Hermit looking, but two together finding, when The Pillars are standing they create the essence aethyrically betwixt them that is the cloud, the shroud the of the cloaked Hermit from the dowd, cowed and bowed stance the so proud so loud and so avowed can become the endowed over loud unbowed thundercloud that can become vibrant mist capable of all potential. The grey cowl can become the Coat of Many Colours when the situation calls for the transformation.]
Boaz is forever broken and Jachin has gone, but their essence can be seen wherever you wish to find your Temple Rise and your Tabernacle host four pillars and veil.
Your own Ephod Apron and Hoshen Breast Plate being yours to activate and energise at your will with love such that through love your will is proof enough.
Please forgive me for using older religious terms to feature in completely new settings with radically different uses. The language of our forefathers gives us foundation to explore. We are forever searching as The Hermit does, he searches til he finds a span to lower his head, only to raise it again and adore in the threefold pose of Pillars, Branches, The Caduceus and such.
The 4 Picture Production is presentation on which Qabalah and Tarot have been placed and set down in the description that hopefully reveals the open potential to the finding everything all the time as the ultimate that can ever be in own individual perception just wherever we wish to choose and to focus.
© PHH Sykes 2022
phhsykes@gmail.com
Fuente de Las Ocho Calles, Palacio Real de La Granja de San Ildefonso, Segovia.
El Palacio Real de La Granja de San Ildefonso es una de las residencias de la familia Real Española y se halla situado en la localidad segoviana de Real Sitio de San Ildefonso. Está gestionado por Patrimonio Nacional y se encuentra abierto al público.
El Real Sitio de La Granja está situado en la vertiente norte de la sierra de Guadarrama, a 13 kilómetros de Segovia, y a unos 80 kilómetros de Madrid. Su nombre proviene de una antigua granja que los monjes jerónimos del monasterio de El Parral tenían en las inmediaciones.
Con una extensión de ciento cuarenta y seis hectáreas, los jardines rodean el palacio y son uno de los mejores ejemplos del diseño de jardines de la Europa del siglo XVIII.
Es un conjunto de ocho fuentes parecidas situadas alrededor de la Gran Plaza Circular. Están formadas por un arco cada uno y debajo de este un grupo escultórico diferente. Están dedicadas a La Victoria, Hércules, Minerva, Marte, Neptuno, Ceres, Saturno y Cibeles. En el centro de la plaza una gran escultura de mármol representa a Mercurio, con el caduceo en la mano derecha, alas en cabeza y talones, izando a Pandora o Psiquis. El agua de esta fuente proviene de la fuente de El Canastillo y desagua en un pequeño estanque que surte de agua a los chorros más pequeños de la fuente de La Fama.
The Royal Palace of La Granja de San Ildefonso is one of the residences of the Royal Spanish family and is located in the Segovian town of Real Sitio de San Ildefonso. It is managed by National Heritage and is open to the public.
The Real Sitio de La Granja is located on the northern slopes of the Sierra de Guadarrama, 13 kilometers from Segovia, and about 80 kilometers from Madrid. Its name comes from an old farmhouse that the monastic Jerónimos monastery of El Parral had in the vicinity.
Covering a hundred and forty-six hectares, the gardens surround the palace and are one of the best examples of 18th-century European garden design.
It is a set of eight similar sources located around the Great Circular Square. They are formed by an arc each and underneath this a different sculptural group. They are dedicated to Victory, Hercules, Minerva, Mars, Neptune, Ceres, Saturn and Cibeles. In the center of the square a large marble sculpture depicts Mercury, with the caduceus in his right hand, wings on his head and heels, raising Pandora or Psiquis. The water from this source comes from the source of El Canastillo and empties into a small pond that supplies water to the smaller jets of the fountain of La Fama.
Fuente de Las Ocho Calles, Palacio Real de La Granja de San Ildefonso, Segovia.
El Palacio Real de La Granja de San Ildefonso es una de las residencias de la familia Real Española y se halla situado en la localidad segoviana de Real Sitio de San Ildefonso. Está gestionado por Patrimonio Nacional y se encuentra abierto al público.
El Real Sitio de La Granja está situado en la vertiente norte de la sierra de Guadarrama, a 13 kilómetros de Segovia, y a unos 80 kilómetros de Madrid. Su nombre proviene de una antigua granja que los monjes jerónimos del monasterio de El Parral tenían en las inmediaciones.
Con una extensión de ciento cuarenta y seis hectáreas, los jardines rodean el palacio y son uno de los mejores ejemplos del diseño de jardines de la Europa del siglo XVIII.
Es un conjunto de ocho fuentes parecidas situadas alrededor de la Gran Plaza Circular. Están formadas por un arco cada uno y debajo de este un grupo escultórico diferente. Están dedicadas a La Victoria, Hércules, Minerva, Marte, Neptuno, Ceres, Saturno y Cibeles. En el centro de la plaza una gran escultura de mármol representa a Mercurio, con el caduceo en la mano derecha, alas en cabeza y talones, izando a Pandora o Psiquis. El agua de esta fuente proviene de la fuente de El Canastillo y desagua en un pequeño estanque que surte de agua a los chorros más pequeños de la fuente de La Fama.
The Royal Palace of La Granja de San Ildefonso is one of the residences of the Royal Spanish family and is located in the Segovian town of Real Sitio de San Ildefonso. It is managed by National Heritage and is open to the public.
The Real Sitio de La Granja is located on the northern slopes of the Sierra de Guadarrama, 13 kilometers from Segovia, and about 80 kilometers from Madrid. Its name comes from an old farmhouse that the monastic Jerónimos monastery of El Parral had in the vicinity.
Covering a hundred and forty-six hectares, the gardens surround the palace and are one of the best examples of 18th-century European garden design.
It is a set of eight similar sources located around the Great Circular Square. They are formed by an arc each and underneath this a different sculptural group. They are dedicated to Victory, Hercules, Minerva, Mars, Neptune, Ceres, Saturn and Cibeles. In the center of the square a large marble sculpture depicts Mercury, with the caduceus in his right hand, wings on his head and heels, raising Pandora or Psiquis. The water from this source comes from the source of El Canastillo and empties into a small pond that supplies water to the smaller jets of the fountain of La Fama.