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. . . After a fairly heavy downpour this afternoon, I noticed how the Redbud leaves had beaded up. Many plant leaves have a coating of waxy cells which protects the leaf, and conserves the water on the inside of the leaf. Now you know!
Have a great week Facebook, Flickr, and 500px friends!
.....conserving energy to be able to eat more. lol
They need more sleep than most animals because eucalyptus leaves contain toxins and are very low in nutrition and high in fibrous matter so they take a large amount of energy to digest.
Rome, Esquilino, Villa Palombara (1781). Marbre de Paros.
Seul exemple presque entièrement conservé de ce type, la statue est une copie fidèle de l'une des œuvres les plus admirées de l'Antiquité : le discobole en bronze du sculpteur grec Myron (vers 450 av. J.-C.). Capturé au moment précédant le lancement du disque, l'athlète se déplace dans l'espace environnant avec une action complexe, illustrant l'expérimentation de nouveaux canons pour la représentation plastique du corps humain en mouvement. Milieu du IIe siècle de notre ère.
The only almost fully preserved example of its type, the statue is a faithful copy of one ef the most admired works of antiquity: the bronze discobolus by the Greek sculptor Myron (ca. 450 BC). Captured at the moment preceding the release of the discus, the athlete moves into the surrounding space with a complex action, exemplifying the experimentation with new canons for the palstic representation of the moving human body. Ca. mid-2nd century AD.
Le site de Stonehenge situé à treize kilomètres au nord de Salisbury, comté du Wiltshire, région du Wessex, en Angleterre.
De cet angle, on aperçoit la partie la mieux conservée du cercle extérieur de monolithes surmontés de linteaux. on remarque sur le plus haut monolithe (à droite), le tenon taillé sur lequel s’encrait la mortaise du linteau qui était déposé sur le dessus.
Stonehenge est un monument mégalithique composé d'un ensemble de structures circulaires concentriques, érigé entre -2800 et -11001, du Néolithique à l'âge du bronze. L'ensemble du site de Stonehenge et le cromlech d'Avebury, à une quarantaine de kilomètres au nord, sont inscrits depuis 1986 sur la liste du patrimoine mondial de l'Unesco (WHL-373bis) dans un ensemble intitulé « Stonehenge, Avebury et sites associés ». Le site attire environ un million de visiteurs par an. Il est fort probable que l’alignement des pierres a un lien avec le soleil et l’enchaînement des saisons.
La structure a évolué au fil du temps. Ainsi la phase II, vers -2100/-2000, nous a laissé des pierres bleues formant un cercle et aussi une forme de fer à cheval. On sait depuis 1923 que toutes ces « pierres bleues » étaient probablement issues d'un cromlech aujourd'hui démonté, situé dans les Preseli Mountains, au pays de Galles. Le transport des pierres a pu être effectué entièrement par mer en contournant la péninsule de Cornouailles ou bien, depuis la région de Bristol, par voie fluviale et halage terrestre. La phase III, de l’âge du bronze, vers -2000 / -1100, comprend d’abord les trilithes soit cinq groupes de trois monolithes de grès sarsen levés et disposés comme des portiques selon un plan en forme de fer à cheval laissant au nord-est une ouverture de 13,70 mètres de largeur.
Autour a été formé un grand cercle de grès sarsen constitué de trente monolithes érigés en un cromlech de trente-trois mètres de diamètre et surmontés de trente linteaux, qui tiennent par un système de tenon et de mortaises. Les monolithes ont été extraits de carrières situées à 40 km environ au nord de Stonehenge. L'ensemble forme ainsi un anneau continu suspendu au sommet de la structure. L'effet visuel final a été le souci permanent des constructeurs: les orthostats (pierres verticales) s'élargissent légèrement vers le haut, afin que, vue du sol, leur perspective demeure constante, tandis que les linteaux de pierre sont taillés légèrement en courbe, afin de conserver la disposition circulaire générale du monument.
Herculanum (en latin Herculaneum, en italien Resina puis Ercolano depuis 1969) était une ville romaine antique située dans la région italienne de Campanie, détruite par l'éruption du Vésuve en l'an 79 apr. J.-C., conservée pendant des siècles dans une gangue volcanique et remise au jour à partir du xviiie siècle par les Bourbons qui régnaient sur Naples.
La cité était petite avec une superficie de 12 hectares, dont environ 4,5 ha ont été dégagés, et une population estimée à quatre mille habitantsNote. La cité n'est qu'en partie connue, la plupart des édifices publics ou cultuels étant inconnus à ce jour.
À partir de 1738, les premiers fouilleurs creusèrent des tunnels dans la gangue qui emprisonne la cité, à la recherche d'œuvres d'art et de marbre. Le roi des Deux-Siciles organisa les fouilles de ce premier chantier archéologique du monde occidental, dont les produits contribuèrent à la diffusion du néoclassicisme dans la seconde moitié du siècle. La décision de faire les fouilles à ciel ouvert fut prise en 1828, celles-ci prenant une ampleur particulière au xxe siècle, qui vit des découvertes importantes dont un grand nombre de squelettes dans les abris à bateaux bordant la plage (permettant de mieux appréhender le destin de la population), et le dégagement de la grande villa des Papyrus.
Ces remarquables vestiges apportèrent une considérable connaissance de terrain sur la civilisation romaine au ier siècle car ils ont livré un matériel archéologique exceptionnel, en particulier en bois, et également des œuvres littéraires inconnues jusqu'alors, dans les papyrus de la bibliothèque de la vaste villa.
La notoriété d'Herculanum est éclipsée par celle de Pompéi, mais le site offre pourtant sur un périmètre concentré des vestiges très évocateurs, grâce à leur élévation et la restauration de nombreuses couvertures. Elle est moins célèbre, moins vaste, et du coup moins visitée que sa voisine. Pourtant, de toutes les cités ensevelies par l'éruption du Vésuve, c'est la mieux préservée.
Herculanum offre un témoignage inestimable sur l'architecture, les objets du quotidien et sa population avec le groupe de cadavres retrouvés sur la plage antique. Il semble cependant qu'à Herculanum le cataclysme de l'an 79 ne fut pas trop meurtrier : une inscription du IVe siècle mentionne l'existence à Naples d'un quartier des Herculanéens, indice qui confirmerait selon l'historien Nicolas Monteix que la plupart des habitants ont pu s'enfuir, au contraire de Pompéi.
Ce site à ciel ouvert subit aujourd'hui les assauts de la pluie, du soleil, du vent. Il souffre en outre des remontées d'humidité : le sol de la cité se trouve tout près de la nappe phréatique, à 25 mètres de profondeur.
Moins d'un quart de la cité antique a été tiré de terre. Les fouilles se sont arrêtées là où commence la commune actuelle d'Ercolano. La majorité des monuments publics et religieux sont toujours recouverts par la ville moderne. Manquent, par exemple, le « macellum » (marché) et les temples.
davebowles.smugmug.com/Animals/Birds/Hooded-Vulture/
Meet Fagin, a Male Hooded Vulture photographed at the Andover Hawk Conservency. Click on the picture for more pictures of this intereresting bird.
Conserve Landscaping and CerberusXing present The Bay Photography Contest.
December 1st - 23rd
Location:
maps.secondlife.com/secondlife/Cats/26/217/25
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(First Place) 8,000L$ + Gift card courtesy of CerberusXing
(Second Place) 3,500L$ + 1/4th sim with 800 prims for 2 weeks
(Third Place) 2,500L$ lindens
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Rules of Participation
**All photos must be taken on -The Bay- Sim.
**Maximum of 3 entries per person (but only one will be eligible to win a prize).
** Photos must be titled; -The Bay- Photography contest (Yourname)
**Entries must be uploaded to the flickr group pool. (www.flickr.com/groups/2719992@N24/)
**Must be a new, original photo. Old photos may not be submitted.
**Photos may not be submitted into any other competition.
**All entries must include a SLURL to The Bay sim in the Flickr description
**By entering you give The Bay permission to modify and display your entry on The Bay’s website and use in any future marketing/advertising.
**Judges highly recommend participants to utilize adult themes and membership to our VIP group.
In Corbigny under an implacable sun.
Pentax ME Super and SMC Pentax 28mm f/2.8 (it has a tiny scratch on the rear element so nobody wanted it, well, it served me wells sofar), Ilford Delta 100 in Rodinal 1+50 for 13min @ 21°C and digitalized using kit zoom and extension tubes.
Thank you everyone for your visits, faves and comments, they are always appreciated :)
Work and weddings and work…. Haven't had much time to shoot or work. That will change here before too long.
Cheers,
-jared ropelato
Acadia National Park is full of amazing scenery. Get out of the car and walk the trails around the many lakes, ponds and streams. Climb a small mountain, walk by the ocean or enjoy a sunset as each second is a symphony of color. We need our wild places to restore our spirits and to preserve and conserve for generations to come.
Eurasian collared dove stocking up with some stones to conserve balance.
Specially for blog:
garmonpictures.blogspot.com/2015/12/late-october-walk-in-...
Bruno Vansina Quartet @ La Conserve Leuven
3MAY2018
Cyrille Obermüller Double bass
Kobe Proesmans Percussion
Bruno Vansina Alt Sax
Teun Verbruggen Drums
Photography: © Patrick Van Vlerken 2018
Un des joyaux sauvages á conserver avant tout dans leurs habitats naturels oú ils intéragissent avec le reste de la vie sauvage. Laissons l'évolution naturelle suivre son cours... La petite Kefersteinia ocellata in situ dans le département du Valle del Cauca, Colombie.
Una de las joyas silvestres por conservar ante todo en sus hábitats naturales donde interactúan con el resto de la vida silvestre. Dejemos la evolución natural seguir su curso... La pequeña Kefersteinia ocellata in situ en el departamento del Valle del Cauca, Colombia.
L'original de ce tableau est conservé au Musée Städel à Francfort.
You should know that it is not the original works that are exhibited at the Jheronimus Bosch Art Center but high quality photos in the original size of the work framed optimally. You can manipulate the triptychs.
In 2016, there was a big exhibition that had a lot of success with the original works at the Noordbrabants museum which adjoins the Stedelijk museum, but you could hardly get close and the cameras were forbidden.
The original of this painting is kept in musée Städel in Francfort.
Il faut savoir que ce ne sont pas les oeuvres originales qui sont exposées au Jheronimus Bosch Art Center mais bien des photos de grande qualité au format original de l'oeuvre encadrées de façon optimale. Vous pouvez manipuler les triptyques.
En 2016, il y a eu une grande exposition qui a eu énormément de succès avec les oeuvres originales au Noordbrabants museum qui jouxte le Stedelijk museum, mais vous pouviez à peine approcher et les appareils photos étaient interdits.
L'original de ce tableau est conservé au musée du Prado à Madrid.
You should know that it is not the original works that are exhibited at the Jheronimus Bosch Art Center but high quality photos in the original size of the work framed optimally. You can manipulate the triptychs.
In 2016, there was a big exhibition that had a lot of success with the original works at the Noordbrabants museum which adjoins the Stedelijk museum, but you could hardly get close and the cameras were forbidden.
The original of this painting is kept in the museum of Prado in Madrid.
Il faut savoir que ce ne sont pas les oeuvres originales qui sont exposées au Jheronimus Bosch Art Center mais bien des photos de grande qualité au format original de l'oeuvre encadrées de façon optimale. Vous pouvez manipuler les triptyques.
En 2016, il y a eu une grande exposition qui a eu énormément de succès avec les oeuvres originales au Noordbrabants museum qui jouxte le Stedelijk museum, mais vous pouviez à peine approcher et les appareils photos étaient interdits.
Leaf of Hymenaea, enclosed in Amber 25 000 000 years ago somewhere in a land, we now call the Dominican Republic.
The earliest building was erected around 1175. The original Norman nave had a north aisle added 30 years later, in the new Gothic style.
Inside the church the corbel table and doorway exhibit fantastic examples of Romanesque carvings, including that Yorkshire speciality - the ‘beakhead’. The windows have had polycarbonate panels inserted, whose opaque qualities mirror the original horn windows when the building was erected.
St Peter’s Church Old Edlington was the first church to be vested into the care of The Churches Conservation Trust. Declared redundant in the mid 1960’s the roof, windows and the interior furnishings were removed prior to demolition. Rescued in the nick of time, this Grade I building has been carefully conserved for the benefit of future generations.
Please don't use this image on websites, blogs or other media without my explicit permission.
© rogerperriss@aol.com All rights reserved.
On reflection I wasn't 100% happy with the Conserved shoot so I decided to do a reshoot. This feels much more me and more in line with the concept.
Conservée au musée Jacquemart-André à Paris, cette oeuvre de Rembrandt de 1628 représente Jésus de profil à contre-jour à Emmaüs.
En 2025-2026, la peinture est exposée au musée des beaux arts de Rennes en échange du "Nouveau né" de Georges de La Tour.
NEW JERSEY 2017 BALD EAGLE PROJECT REPORT
ANOTHER PRODUCTIVE YEAR FOR NJ’S EAGLES
by Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Endangered and Nongame Species Program has released the 2017 NJ Bald Eagle Project Report. In 2017, 178 eagle nests were monitored during the nesting season. Of these nests 153 were active (with eggs) and 25 were territorial or housekeeping pairs. One hundred and ninety young were fledged.
In 2017 the number of active nests was three more than in 2016, but the number young fledged decreased by 27 from a record high of 216 fledged in 2016. The productivity rate this season of 1.25 young/active nest is still above the required range of 0.0 to 1.1 for population maintenance. Productivity could be lower this season for many reasons including weather, predation and disturbance to the nesting area. In 2017 nest monitors reported several instances of “intruder” eagles at nests which did disrupt the nesting attempts of several pairs. One of these “eagle dramas” unfolded at the Duke Farms eagle cam watched by millions of people. An intruder female attempted to replace the current female. This harassment interrupted the pairs bonding and copulation and no eggs were laid.
This year’s report includes a section on Resightings of banded eagles. Resightings of NJ (green) banded eagles have increased over the years, as well as eagles seen in NJ that were banded in other states. These resightings are important, as they help us to understand eagle movements during the years between fledging and settling into a territory, as well as adult birds at a nest site.
For more info: www.conservewildlifenj.org/blog/2017/12/06/new-jersey-201...
New Jersey Bald Eagle Project Report | 2017 may be downloaded here: www.state.nj.us/dep/fgw/ensp/pdf/eglrpt17.pdf
Sténopé boîte de conserve. Papier Ilford.
8 sec d’exposition.
Pinhole tin can. Paper Ilford.
8 sec of exposure.
Prière du sténopiste :
1,2,3,4, merde, la boîte a bougé, 5, non, 9…, no, 7, 8 9, 10, 11 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, zut, un nuage, j’ajoute 20 secondes… 28, 25, 26, 27, 28, 29, 30, 31, 32, C’est quoi ce type, 34, 35, 36, 37, 38, non, pas ici !, 42, 43, 44, 45, 46, 47, 48, Je parie qu’il va me demander ce que je fait ! 52, 53, 54, 55… (à voix haute : 58, 59, 60, une seconde s’il vous plaît, 63, 64, 65, 66, 67, 68, 69, 70. Ce que je fais ? J’essaie de faire une photo… Oui, monsieur, avec une boite de conserve !)
Prayer of pinholer :
1,2,3,4, shit, the box has moved, 5, no 9 ..., no, 7, 8, 9, 10, 11 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, heck, a cloud, I add 20 seconds ... 28, 25, 26, 27, 28, 29, 30, 31, 32, What is this man, 34, 35, 36, 37, 38, no, not here !, 42, 43, 44, 45, 46, 47, 48, I bet he will ask me what I did! 52, 53, 54, 55 ... (out loud: 58, 59, 60, one second please, 63, 64, 65, 66, 67, 68, 69, 70. What I do? I trying to get a picture ... Yes, sir, with a tin!)
dépôt de l'Eglise Saint Denis - Rocquemont
bois polychrome
XVIème siècle
Musée de l'Archerie et du Valois
Kr_08-05-19 15-20-06
Erigé en 1905 pour l’exposition universelle de Liège, le musée d’art moderne a conservé toute sa majesté. Construit dans un écrin de verdure, il trône depuis un siècle au milieu du parc de la Boverie et a abrité les collections des beaux-arts de la ville. Mais il avait besoin d’une sérieuse rénovation pour pouvoir rivaliser avec les plus grands.
C’est au célèbre architecte français Rudy Ricciotti (à qui on doit le musée des Civilisations de Marseille) et au bureau pHD de Liège que le chantier a été confié.
Soucieux de préserver la beauté du bâtiment historique et du parc qui l’entoure, le seul changement qu’ils se soient permis est cette annexe construite sur la façade arrière du bâtiment, face à la Dérivation.
Grande de 1.000 m² et haute de huit mètres, toute vitrée, elle semble flotter dans l’air. Elle propose un espace d’exposition unique où la lumière arrive de partout.
la Ville de Liège et le musée du Louvre ont décidé d’unir leurs efforts en matière de programmation artistique et de présentation des collections.
Le Louvre, afin de se rapprocher de ses publics et dans le cadre d’une politique d’action internationale contribuant ainsi au rayonnement culturel de la France, s’engage dans cette collaboration pour une durée de 4 ans.
www.liege.be/culture/musees/boverie-beaux-arts-expos-liege
Erected in 1905 for the Universal Exhibition of Liege, the museum of modern art has retained all its majesty. Built in a green setting, he sits in a century in the middle of the Boverie park and housed the collections of fine arts in the city. But it needed a serious renovation to be able to compete with larger ones.
This is the famous French architect Rudy Ricciotti (who must be the Museum of Civilization from Marseille) and pHD office Liège that the site has been entrusted.
Anxious to preserve the beauty of the historic building and the surrounding park, the only change is that they are allowed this annex built onto the rear facade of the building, facing the Bypass.
Large 1,000 m² and eight meters high, all glass, she seems to float in the air. It offers a unique exhibition space where light comes from everywhere.
Cork City and the Louvre Museum have joined their efforts in artistic programming and collections presentation.
The Louvre, to be closer to its public and as part of an international action policy contributing to the cultural influence of France, engages in this collaboration for a period of 4 years.
The Musée des Augustins de Toulouse is a fine arts museum in Toulouse, France which conserves a collection of sculpture and paintings from the Middle Ages to the early 20th century. The paintings are from throughout France, the sculptures representing Occitan culture of the region with a particularly rich assemblage of Romanesque sculpture. The building in which the museum is sited was built in 1309 in the Gothic style and prior to the French Revolution housed Toulouse's Augustinian convent. The convent was secularized in 1793 and first opened to the public as a museum on 27 August 1795 by decree of the French Convention, very shortly after the opening of the Louvre, making it one of the oldest museums in France after the Louvre and the Musée des Beaux Arts in Besançon. It at first housed the Muséum Provisoire du Midi de la République and the école des Beaux-Arts. The Musée des Augustins de Toulouse was one of fifteen museums founded in provincial centres, by a decree of 13 Fructidor year IX (31 August 1801), which was promulgated by the minister of the interior, Jean-Antoine Chaptal (Arrêté Chaptal du 14 fructidor an IX). At the start of the 19th century several medieval buildings (notably the refectory) were demolished and in their place Viollet-le-Duc and his pupil Darcy put up new exhibition galleries, accessed by a Gothic Revival monumental stair offering an interplay of richly complicated vaulting systems. The works continued from 1873 to 1901, when the museum reopened. In effect, Toulouse commissioned Urbain Vitry to ensure remove all the convent's religious characteristics. The archaeologist Alexandre Du Mège occupied the cloister and rebuilt it to be able to house the medieval collections gathered from Toulouse's destroyed religious buildings such as the basilique Saint-Sernin. Today the cloister houses a reconstructed medieval garden. The building was classed as a Monument historique in 1840. en.wikipedia.org/wiki/Musée_des_Augustins
Un autre endrot incroyablement conservé que j'ai visité il y a presque 10 ans, durant mes trekkings dans la Grande Savane, est "El Abismo" (L'abîme) C'est un tepuy bas dont le flanc sud tombe dans le début de l'Amazonie (oú je suis aussi descendu) juste á la frontiêre avec le Brésil dans l'état de Bolivar au Venezuela.
Otro lugar increíblemente conservado que visité hace casi 10 años, durante mis trekkings en la Gran Sabana, se llama "El Abismo". Esto es un tepuy bajo de cual el flanco sur cae al principio de la Amazonia (allí bajé también) justo a la frontera con Brasil en el estado de Bolivar, Venezuela.
2018 NJ BALD EAGLE PROJECT REPORT
by: Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Division of Fish and Wildlife, Endangered and Nongame Species Program, has released the 2018 NJ Bald Eagle Project Report.
“Two hundred-four nest sites were monitored during the nesting season, of which 185 were documented to be active (with eggs) and 19 were territorial or housekeeping pairs. Thirty new eagle pairs were found this season, 20 in the south, nine in central and one in the north. One hundred-twenty-one nests (66%) of the 182 known-outcome nests produced 172 young, for a productivity rate of 0.94 young per active/known-outcome nest. The failure rate was well above average with 61 nests (33%) failing to produce. The Delaware Bay region remained the state’s eagle stronghold, with roughly half of nests located in Cumberland and Salem counties and the bayside of Cape May County.”
The number of active nests has increased while the number of young eagles fledged has decreased since a high of 216 young fledged in 2016. During the 2018 eagle nesting season there was an abundance of cold, wet, windy and snowy weather which was the cause for a portion of the nest failures. As the eagle population increases, there are more eagles competing for territories. This can also be a contributing factor in nest failures. NJ is still in the range of 0.9 to 1.1 young per nest which is needed for population maintenance with a productivity rate of 0.94 young per known-outcome/active nest in 2018. The 2018 NJ Eagle Project Report has all the details on the project including telemetry, re-sightings and recoveries.
The success of the eagle project is due to the tremendous dedication of the NJ Eagle Project Volunteers. They monitor the nests in all types of conditions and education people about the eagles with enthusiasm.
Link to the 2018 NJ Bald Eagle Project Report: www.conservewildlifenj.org/downloads/cwnj_852.pdf
J'ai placé cette rose dans ce pot il y a deux jours. À l'extérieur sur la neige. Il a neigé et le mercure a marqué moins 6° c. La rose est toujours aussi jolie que lorsque je l'ai mise. Peut-être que le pot Mason a reproduit les conditions comme dans une serre. Enfin je ne comprends exactement. Elle y est toujours,alors à voir demain...Red rose.
A Fox Squirrel conserves energy and relies on its insulated fur to thrive during cold winter days: stevecreek.com/winter-survival-adaptations-how-birds-and-...
2018 NJ BALD EAGLE PROJECT REPORT
by: Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Division of Fish and Wildlife, Endangered and Nongame Species Program, has released the 2018 NJ Bald Eagle Project Report.
“Two hundred-four nest sites were monitored during the nesting season, of which 185 were documented to be active (with eggs) and 19 were territorial or housekeeping pairs. Thirty new eagle pairs were found this season, 20 in the south, nine in central and one in the north. One hundred-twenty-one nests (66%) of the 182 known-outcome nests produced 172 young, for a productivity rate of 0.94 young per active/known-outcome nest. The failure rate was well above average with 61 nests (33%) failing to produce. The Delaware Bay region remained the state’s eagle stronghold, with roughly half of nests located in Cumberland and Salem counties and the bayside of Cape May County.”
The number of active nests has increased while the number of young eagles fledged has decreased since a high of 216 young fledged in 2016. During the 2018 eagle nesting season there was an abundance of cold, wet, windy and snowy weather which was the cause for a portion of the nest failures. As the eagle population increases, there are more eagles competing for territories. This can also be a contributing factor in nest failures. NJ is still in the range of 0.9 to 1.1 young per nest which is needed for population maintenance with a productivity rate of 0.94 young per known-outcome/active nest in 2018. The 2018 NJ Eagle Project Report has all the details on the project including telemetry, re-sightings and recoveries.
The success of the eagle project is due to the tremendous dedication of the NJ Eagle Project Volunteers. They monitor the nests in all types of conditions and education people about the eagles with enthusiasm.
Link to the 2018 NJ Bald Eagle Project Report: www.conservewildlifenj.org/downloads/cwnj_852.pdf
Un siècle après sa découverte, la villa des Mystères est toujours la plus grande, la mieux conservée et la plus fascinante des peintures antiques. Cette demeure reconvertie en exploitation agricole tire notamment son nom d’une fresque de 17 m de long et 3,30 m de haut, située dans une petite salle de 7,10 m de long x 4,93 m de large, datant de 70 avant notre ère. Elle se déroule sur les quatre murs du triclinium (n'en sont ici visibles que trois, ceux du nord à gauche, de l'est au centre et du sud à droite), la salle à manger de la maison, et divisés en trois parties : la première imitant le marbre peint, puis la frise de grands panneaux rouge pompéien (ponctuée de pilastres plus sombres) et au-dessus en couronnement une frise de motifs géométriques surmontée d’une imitation de marbres de couleur. La frise dépeint 29 personnages, de tailles différentes, figurés un peu plus petit que nature. Afin de séparer la dizaine de scènes les unes des autres, la frise est régie par une fonction de transition superposant les personnages pour ensuite les orienter dans des directions opposées, marquant ainsi le passage d’une scène à l’autre. Le couple divin au centre de la paroi du fond représente le point de convergence des deux frises parallèles qui courent le long des quatre murs depuis la porte principale.
Concurremment, le peintre a joué sur les correspondances sémantiques de groupes qui se font face d'un mur
à l'autre, en se servant habilement de la configuration de la pièce. Le panneau du mur est devait autrefois fortement impressionner celles et ceux qui pénétraient sans la pièce, mais c'est malheureusement aujourd'hui le plus endommagé de la dizaine de scènes représentées des quatre murs, où se trouve justement celle du Couple divin. Si les spécialistes divergent sur le sens à donner à cette fresque, leurs interprétations pointent cependant des éléments communs, une cérémonie de passage initiatique où le thème du mariage est également récurent, une composition à composante onirique, mais étrangère au temps d'aujourd’hui et difficile dès lors à comprendre. La pièce du triclinium ou salle à manger était dévolue à un culte dionysiaque dans le cadre privé, où figure la Domina (maîtresse de maison) sur laquelle la fresque semble se focaliser avec un enchaînement de représentations la mettant en scène.
Le dionysisme mis en scène dans cette fresque, comme sur bien d'autres documents pompéiens contemporains ou postérieurs de quelques années, est celui d'un univers associant un idéal mythique à la réalité humaine, quotidienne et cultuelle, établissant un lien harmonieux dans la vie d'une matrone entre ses valeurs aristocratiques de vertu et de culture et ses croyances en une religion dionysiaque pratiquée et vécue (cf. Charlotte Sammarcelli et Martijn Stoll : La fresque de la villa des mystères : le culte dionysiaque dans le domaine privé, 2018 ; Stéphanie Wyler : Actualité de la fresque de la Villa des Mystères, 2002 ; Gilles Sauron : La grande fresque de la villa des Mystères à Pompéi, mémoires d'une dévote de Dionysos, 2000 ; Jean-Marie Pailler ; Mystères dissipés ou mystères dévoilés ?, 2000 ; Paul Veyne, François Lissarrague et Françoise Frontisi-Ducroux : Les mystères du gynécée, 1998 ; merci veroeddy.be pour la photo).
"Trooper with prey delivery."
2018 NJ BALD EAGLE PROJECT REPORT
by: Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Division of Fish and Wildlife, Endangered and Nongame Species Program, has released the 2018 NJ Bald Eagle Project Report.
“Two hundred-four nest sites were monitored during the nesting season, of which 185 were documented to be active (with eggs) and 19 were territorial or housekeeping pairs. Thirty new eagle pairs were found this season, 20 in the south, nine in central and one in the north. One hundred-twenty-one nests (66%) of the 182 known-outcome nests produced 172 young, for a productivity rate of 0.94 young per active/known-outcome nest. The failure rate was well above average with 61 nests (33%) failing to produce. The Delaware Bay region remained the state’s eagle stronghold, with roughly half of nests located in Cumberland and Salem counties and the bayside of Cape May County.”
The number of active nests has increased while the number of young eagles fledged has decreased since a high of 216 young fledged in 2016. During the 2018 eagle nesting season there was an abundance of cold, wet, windy and snowy weather which was the cause for a portion of the nest failures. As the eagle population increases, there are more eagles competing for territories. This can also be a contributing factor in nest failures. NJ is still in the range of 0.9 to 1.1 young per nest which is needed for population maintenance with a productivity rate of 0.94 young per known-outcome/active nest in 2018. The 2018 NJ Eagle Project Report has all the details on the project including telemetry, re-sightings and recoveries.
The success of the eagle project is due to the tremendous dedication of the NJ Eagle Project Volunteers. They monitor the nests in all types of conditions and education people about the eagles with enthusiasm.
Link to the 2018 NJ Bald Eagle Project Report: www.conservewildlifenj.org/downloads/cwnj_852.pdf
You can read more about this pair of American Bald Eagles at Conserve Wildlife Foundation of New Jersey www.conservewildlifenj.org/blog/2017/11/20/w34-a-ny-bande...
SPOTLIGHT ON THE BALD EAGLE’S ALL-AMERICAN COMEBACK IN NEW JERSEY
by Lindsay McNamara, Communications Manager
June 20th 2016
In 1985 — just 31 years ago — a single bald eagle nest remained in the state of New Jersey. In 2015, CWF and partners monitored 161 nests throughout the Garden State. Just this year (as of June 20, 2016), over 50 young eagles have already fledged from their nests! What sparked this All-American comeback of the United States’ National Bird?
DDT use was banned in the United States in 1972. That ban combined with restoration efforts by biologists within the NJ Division of Fish and Wildlife’s Endangered and Nongame Species Program (ENSP) resulted in 25 bald eagle pairs by 2000.
In 2017 the number of New Jersey active bald eagle pairs was 170.
For more info: www.conservewildlifenj.org/blog/tag/new-jersey-bald-eagle...
New Jersey Bald Eagle Project Report | 2016
New Jersey Bald Eagle Project Report | 2016 may be downloaded here: docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYX...
For more info: www.conservewildlifenj.org/blog/tag/new-jersey-bald-eagle...
There were once so many Asiatic lions on our planet that they roamed from north-east India to the Mediterranean but today there are only about 350 left in the wild and all of them live in India’s Gir Forest.
Iblis, the nine year old male at Chester Zoo, is an important part of the European Endangered Species Breeding Programme. This is a carefully managed scheme overseeing the breeding of zoo animals in different
Lions have few sweat glands so they wisely tend to conserve their energy by resting during the day to conserve their energy at night for when it is cooler.
The Asiatic lion is listed as endangered on the International Union for the Conservation of Nature (IUCN) Red list.
Osprey of the Jersey Shore | 2018
The 2017 Osprey Project in New Jersey:
www.conservewildlifenj.org/downloads/cwnj_802.pdf
Despite New Jersey being the most densely populated state, it holds tremendous diversity in preserved open space, especially our coastal salt marshes. The preservation of these wetland areas has played a huge role in the recovery of the osprey population in New Jersey. Today, they are home to the majority of ospreys (86%) who nest along the Atlantic Coast. Osprey nests define our coast and colonies are located along the entire coast from Sandy Hook to Cape May and west on the Delaware Bayshore up the Maurice River to Salem. This year a total of 668 active nests were recorded in New Jersey, with 75 of those being new nests from various regions of the state. This is well above the historic pre-DDT estimate of 500 nesting pairs and goes to show that ospreys and humans can coexist in New Jersey as long as we continue to protect wetland areas and conserve our natural resources, like forage fish, that ospreys need to thrive. The largest population gains in the state, from 2013 to 2017, were observed in both Monmouth and Ocean Counties, from 130 in 2013 to 207 in 2017.
The Osprey (Pandion haliaetus), sometimes known as the Sea Hawk, Fish Eagle or Fish Hawk, is a diurnal, fish-eating bird of prey. It is a large Raptor, reaching more than 24 inches in length and a 71 inches wingspan. It is brown on the upper parts and predominantly greyish on the head and under parts, with a black eye patch and wings. In 1994, the osprey was declared the provincial bird of Nova Scotia, Canada.
For more info: en.wikipedia.org/wiki/Osprey
Happy Earth Day!!!
Reduce. Reuse. Recycle.
Going green is not so much about what you conserve so much as it is about what you choose to not abuse.
Remember, we only have one planet. Be good to it.
Anyways, she's just sew damn cute. I love the littles so much. They're adorable!!
davebowles.smugmug.com/Animals/Birds/Hooded-Vulture/
Meet Fagin, a Male Hooded Vulture photographed at the Andover Hawk Conservency. Click on the picture for more pictures of this intereresting bird.
"Mr. & Mrs. W34"
NEW JERSEY 2017 (Year End) BALD EAGLE PROJECT REPORT
ANOTHER PRODUCTIVE YEAR FOR NJ’S EAGLES
by Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Endangered and Nongame Species Program has released the 2017 NJ Bald Eagle Project Report. In 2017, 178 eagle nests were monitored during the nesting season. Of these nests 153 were active (with eggs) and 25 were territorial or housekeeping pairs. One hundred and ninety young were fledged.
In 2017 the number of active nests was three more than in 2016, but the number young fledged decreased by 27 from a record high of 216 fledged in 2016. The productivity rate this season of 1.25 young/active nest is still above the required range of 0.0 to 1.1 for population maintenance. Productivity could be lower this season for many reasons including weather, predation and disturbance to the nesting area. In 2017 nest monitors reported several instances of “intruder” eagles at nests which did disrupt the nesting attempts of several pairs. One of these “eagle dramas” unfolded at the Duke Farms eagle cam watched by millions of people. An intruder female attempted to replace the current female. This harassment interrupted the pairs bonding and copulation and no eggs were laid.
This year’s report includes a section on Resightings of banded eagles. Resightings of NJ (green) banded eagles have increased over the years, as well as eagles seen in NJ that were banded in other states. These resightings are important, as they help us to understand eagle movements during the years between fledging and settling into a territory, as well as adult birds at a nest site.
For more info: www.conservewildlifenj.org/blog/2017/12/06/new-jersey-201...
New Jersey Bald Eagle Project Report | 2017 may be downloaded here: www.state.nj.us/dep/fgw/ensp/pdf/eglrpt17.pdf
Le temple de la Concorde est, avec l'Héphaïstéion (Théséion) d'Athènes et le temple de Poséidon à Paestum, l'un des temples les mieux conservés de l'antiquité grecque. Son appellation arbitraire n'est due qu'à une inscription romaine trouvée à proximité, où figurait le mot latin concordia. Il a été construit dans les années -440 à -430.
Les inégalités du terrain sur lequel il est édifié sont compensées par un soubassement (krépis) important. Son plan correspond à la forme la plus classique des temples d'Agrigente : pronaos, naos, opisthodome et péristyle de 6 × 13 colonnes.
Le temple de la Concorde est de tous ceux d'Agrigente celui qui a été réalisé avec le plus de précision. Le problème des extrémités propre aux temples doriques (conflit entre la régularité des métopes et des triglyphes d'une part, et l'espacement régulier des colonnes d'autre part) a été résolu d'une manière inhabituelle : il a été procédé tout à la fois au rétrécissement de l'espace entre les deux dernières colonnes et à l'allongement de la métope extrême, pour un meilleur effet visuel.
Les recherches ont également montré que les parties inférieures du temple étaient ornées de stucs blancs, tandis que les frises, métopes et parties hautes étaient peintes de couleurs vives. Le toit était couvert de tuiles de marbre.
En 597, l'évêque Grégoire d'Agrigente a fait du temple une basilique chrétienne consacrée aux apôtres Pierre et Paul, après en avoir chassé les démons païens Eber et Raps qui y demeuraient11. Chacun des murs de la cella fut alors percé de douze arcatures, et les entrecolonnements furent murés, tout comme on peut encore le voir de nos jours à la cathédrale de Syracuse. L'entrée fut reportée sur le côté ouest, ce qui entraîna la suppression de la cloison entre le naos et l'opisthodome, tandis que la sacristie trouvait sa place dans l'ancien pronaos.
La découverte dans le temple de deux figures de dieux puniques mises de côté a fait déduire que déjà les Grecs y honoraient deux divinités, peut-être les Dioscures.
Après l'abandon de la cité, l'église fut à nouveau remise en usage, jusqu'au XVIIe siècle. Elle est désaffectée en 1748. En 1788, les dernières structures appartenant à l'église chrétienne sont enlevées par ordre du prince de Torremuzza. Depuis lors, le temple a été restauré dans son état initial.
The Temple of Concord is, along with the Hephaestion (Thesion) of Athens and the Temple of Poseidon at Paestum, one of the best-preserved temples of Greek antiquity. Its arbitrary name is only due to a Roman inscription found nearby, where the Latin word concordia appeared. It was built in the years -440 to -430.
The unevenness of the land on which it is built is compensated by a significant base (krépis). Its plan corresponds to the most classic form of the temples of Agrigento: pronaos, naos, opisthodome and peristyle of 6 × 13 columns.
The temple of Concord is of all those of Agrigento the one that was created with the most precision. The problem of extremities proper to Doric temples (conflict between the regularity of the metopes and triglyphs on the one hand, and the regular spacing of the columns on the other hand) has been solved in an unusual way: both by narrowing the space between the last two columns and by lengthening the extreme metope, for a better visual effect.
Research has also shown that the lower parts of the temple were decorated with white stucco, while the friezes, metopes and upper parts were painted in bright colors. The roof was covered with marble tiles.
In 597, Bishop Gregory of Agrigento made the temple a Christian basilica dedicated to the apostles Peter and Paul, after having driven out the pagan demons Eber and Raps who lived there11. Each of the cella's walls was then pierced with twelve arches, and the intersections were walled, just as we can still see today in the cathedral of Syracuse. The entrance was moved to the west side, which led to the removal of the partition between the naos and the opisthodome, while the sacristy found its place in the old pronaos.
The discovery in the temple of two figures of Punic gods put aside made it deduce that already the Greeks honored two deities there, perhaps the Dioscuri.
After the abandonment of the city, the church was again put back into use, until the 17th century. It was abandoned in 1748. In 1788, the last structures belonging to the Christian church were removed by order of the prince of Torremuzza. Since then, the temple has been restored to its original state.
The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.
It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.
The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.
The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.
The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.
Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X (Giovanni di Lorenzo de' Medici), who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II (Giuliano della Rovere) who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.
Already in the Gallerie Degli Uffizi, it was then moved to the Pitti Palace by the beginning of the eighteenth century. It was listed in inventories in 1723 and 1761 as being on display in the Grand Prince Ferdinando's bedroom. It was later moved throughout the Rooms of the Planets, starting with the Room of Jupiter (c. 1771) and later the Room of Mars (c. 1793), after the Leopoldine rearrangement of the picture gallery. Towards the end of the eighteenth century, it was taken during the Napoleonic looting of Florence and was in Paris from 1799 to 1815. Back in Florence, the painting has been in the Room of Saturn since 1882.
The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione (c. 1514–1515). The painting is oil on panel, with St John the Baptist painted in a different key range. The painted black background is lacking the usual landscape, which typically would harmonize all the colors and figures. The composition is entirely from Raphael's hand, which was a result of him shuddering off the legacies of Leonardo da Vinci and Pietro Perugino, who early on had influenced his career and style substantially. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna (c. 1510).
The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.
The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas. There are a few enchanting legends connected to the Madonna della Sedia painting, one being about a beautiful Urbino peasant girl, who was as good as she was beautiful, charitable, and pious, who gave her assistance to an ill hermit she had stumbled upon. The hermit rewarded the girl by blessing her and stating that she would be painted as the mother of God. Many years later, on a sunny day holding her infant in the garden and with her toddler son playing at her knees, she was spotted by a handsome young man at her garden gate. That young man was Raphael Sanzio who immediately said he would like to paint her as she sat there with her two sons, later represented as the original Virgin, Christ child, and St. John.
Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.
Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and La Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.
Johann Zoffany also included this painting along with many others in his 1770s painting of the Tribuna of the Uffizi.
In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".
The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.