View allAll Photos Tagged conserver
en.wikipedia.org/wiki/Marmalade
Marmalade generally refers to a fruit preserve made from the juice and peel of citrus fruits boiled with sugar and water. It can be produced from kumquats, lemons, limes, grapefruits, mandarins, sweet oranges, bergamots, and other citrus fruits, or any combination of them.
For many decades now, the preferred citrus fruit for marmalade production in Britain has been the Spanish Seville orange, Citrus aurantium var. aurantium, prized for its high pectin content, which gives a good set.[clarification needed] The peel imparts a lively bitter taste to the marmalade.
The term "marmalade" is not precise, universal, nor definitive, but unless otherwise stated, marmalade is generally distinguished from jam by its fruit peel. However, it also may be distinguished from jam by the choice of fruit. Historically, the term was more often used in senses other than just citrus conserves.[1]
Contents [hide]
1Origins
2Etymology
2.1International usage
3Dundee Marmalade
3.1Scots legend
4In children's books
5See also
6References
7Further reading
Origins
The Romans learned from the Greeks that quinces slowly cooked with honey would "set" when cool (though they did not know about fruit pectin). Greek μελίμηλον (melimēlon, "honey fruit") transformed into Portuguese "marmelo"— from the Greek μῆλον (mēlon, "apple") stood for all globular fruits, and most quinces are too astringent to be used without honey. A Roman cookbook attributed to Apicius gives a recipe for preserving whole quinces, stems and leaves attached, in a bath of honey diluted with defrutum—Roman marmalade. Preserves of quince and lemon appear—along with rose, apple, plum and pear—in the Book of ceremonies of the Byzantine Emperor Constantine VII Porphyrogennetos, "a book that is not only a treatise on the etiquette of imperial banquetting in the ninth century, but a catalogue of the foods available and dishes made from them."[1]
Medieval quince preserves, which went by the French name cotignac, produced in a clear version and a fruit pulp version, began to lose their medieval seasoning of spices in the 16th century. In the 17th century, La Varenne provided recipes for both thick and clear cotignac.[2]
In 1524, Henry VIII received a "box of marmalade" from Mr Hull of Exeter.[3] As it was in a box, this was probably marmelada, a solid quince paste from Portugal, still made and sold in southern Europe. Its Portuguese origins can be detected in the remarks in letters to Lord Lisle, from William Grett, 12 May 1534, "I have sent to your lordship a box of marmaladoo, and another unto my good lady your wife" and from Richard Lee, 14 December 1536, "He most heartily thanketh her Ladyship for her marmalado".[2]
The English recipe book of Eliza Cholmondeley, dated from 1677 and held at the Chester Record Office in the Cheshire county archivists, has one of the earliest marmalade recipes ("Marmelet of Oranges") which produced a firm, thick dark paste. The Scots are credited with developing marmalade as a spread, with Scottish recipes in the 18th century using more water to produce a less solid preserve.[4]
The first printed recipe for orange marmalade, though without the chunks typically used now, was in Mary Kettilby's 1714 cookery book, A Collection of above Three Hundred Receipts (pages 78–79).[5][6][7] Kettilby called for whole oranges, lemon juice and sugar, with the acid in the lemon juice helping to create the pectin set of marmalade, by boiling the lemon and orange juice with the pulp.[4][7] Kettilby then directs: "boil the whole pretty fast 'till it will jelly" – the first known use of the word "jelly" in marmalade making. Kettilby then instructs that the mixture is then poured into glasses, covered and left until set. As the acid would create a jelly, this meant that the mixture could be pulled from the heat before it had turned to a paste, keeping the marmalade much brighter and the appearance more translucent, as in modern-day marmalade.[4]
The Scots moved marmalade to the breakfast table, and in the 19th century the English followed the Scottish example and abandoned the eating of marmalade in the evening. Marmalade's place in British life appears in literature. James Boswell remarks that he and Samuel Johnson were offered it at breakfast in Scotland in 1773. When American writer Louisa May Alcott visited Britain in the 1800s, she described "a choice pot of marmalade and a slice of cold ham" as "essentials of English table comfort".[7]
Etymology
Antique marmalade cutter, used to cut citrus fruit peel into thin slices
According to the Oxford English Dictionary, "marmalade" appeared in the English language in 1480, borrowed from French marmelade which, in turn, came from the Portuguese language marmelada. According to José Pedro Machado’s Dicionário Etimológico da Língua Portuguesa,[8] the oldest known document where this Portuguese word is to be found is Gil Vicente’s play Comédia de Rubena, written in 1521:
Temos tanta marmelada
Que a minha mãe vai me dar um pouco[9]
The extension of "marmalade" in the English language to refer to a preserve made from citrus fruits occurred in the 17th century, when citrus first began to be plentiful enough in England for the usage to become common.
In Portuguese, according to the root of the word, which is marmelo, "quince", marmelada is a preserve made from quinces, quince cheese. Marmelo in turn derives from Latin melimelum, "honey apple",[10] which in turn comes from the earlier Greek μελίμηλον (melímēlon),[11] from "μέλι" (meli), "honey"[11] + "μήλον" (mēlon), "apple".[11]
There is an apocryphal story that Mary, Queen of Scots, ate it when she had a headache, and that the name is derived from her maids' whisper of "Marie est malade" (Mary is ill). In reality, the word's origin has nothing to do with Mary.[12]
International usage[edit]
Marmalade spread on bread
In much of Europe, the term "marmalade" and its variations are still used as a generic term for preserves of all fruits, whereas in Britain it refers solely to a citrus preserve.[4] The name originates in Portuguese, where marmelada applies exclusively to quince jam.[13][14] In Spanish the term usually refers to what in English is called jam (and jalea — used in Mexico and Central America — is similar to the American English jelly). In Italian too, marmellata means every jam and marmalade.
Dundee Marmalade[edit]
Jars of homemade marmalade
The Scottish city of Dundee has a long association with marmalade.[15][16] James Keiller and his wife Janet ran a small sweet and preserves shop in the Seagate section of Dundee.[16] In 1797, they opened a factory to produce "Dundee Marmalade",[17] a preserve distinguished by thick chunks of bitter Seville orange rind. The business prospered, and remains a signature marmalade producer today.[18]
Scots legend[edit]
According to a Scottish legend, the creation of orange marmalade in Britain occurred by accident. The legend tells of a ship carrying a cargo of oranges that broke down in the port of Dundee, resulting in some ingenious locals making marmalade out of the cargo.[16][19]
In children's books[edit]
Paddington Bear, a fictional character in children's books, is renowned for his liking for marmalade, particularly in sandwiches, and kept it in his briefcase wherever he went.[20] He is now used on the label of Robertson's Golden Shred marmalade.
Photo: JJ. Briclot
Interdiction de reproduire cette photo à des fins commerciales
Prise le 2 décembre 2020
Voiture B 214 (ex.-M.O.B.)
Six voitures voyageurs du M.O.B. sont parties au Chemin de Fer de La Mure, dont la B214 et la Bd 206
Suite à ces acquisitions, les anciennes voitures voyageurs du Chemin de Fer de La Mure ne seront pas rénovées à part deux baladeuses, dommage.
Il est à signalé que les locomotives 6 et 10 ne seront pas rénovées, la 6 sera conservée en l'état et la 10 a été cannibalisée pour la réfection des motrices 7-8-9.
Pour l'instant, le matériel sera composés de trois locomotives rénovées la 7-8-9 originaires de la ligne, six voitures voyageurs (ex. M.O.B.) et deux baladeuses.
Normalement cette ligne devrait ouvrir en avril, mais j'ai des doutes.
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.
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.
Photo: Auteur inconnu
Interdiction de reproduire cette photo à des fins commerciales
Prise le 16 février 2017
Motrice BDeh 4/4 13
Jenbach
Le premier des huit véhicules provenant de l'Appenzell qui se trouvaient garés sur les voies de l'Achenseebahn a été démantelé hier.
Cinq automotrices et cinq voitures pilotes des Appenzeller Bahnen étaient censées assurer l'avenir de l'Achenseebahn selon des plans antérieurs, dans lesquels l'électrification avait été envisagée.
Rien n'a abouti dans ces projets.
Huit des dix voitures seront mises au rebut la semaine prochaine.
Seules deux voitures pilotes seront conservées, et pourraient servir pour un train de secours, a déclaré hier le directeur Martin Uhlig, alors que le premier véhicule était démonté.
D'ici la fin de la semaine prochaine, chacune des voituress de onze tonnes et des automotrices de 48 tonnes devraient être démolies.
L'État du Tyrol investira dix millions d'euros dans l'Achenseebahn au cours des quatre prochaines années et le sauvera ainsi de la disparition après, la faillite de l'année précédente.
D'après le TT du 16/02/2021
Black-capped Chickadees are permanent residents in our garden,
On cold winter nights, these birds reduce their body temperature to conserve energy.
Fresh filled peanut feeder is a well appreciated by them, they are very sweet little birds,
They will never eat their seeds or peanuts on the feeder, it will fly to a tree branch or a bush hold the seed on their 2 feet and peck away at it, thats why is very important to have trees or bushes around the feeders that is their shelter from predators,
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.
A camel is an even-toed ungulate within the genus Camelus, bearing distinctive fatty deposits known as "humps" on its back. The two surviving species of camel are the dromedary, or one-humped camel (C. dromedarius), which inhabits the Middle East and the Horn of Africa; and the Bactrian, or two-humped camel (C. bactrianus), which inhabits Central Asia. Both species have been domesticated; they provide milk, meat, hair for textiles or goods such as felted pouches, and are working animals with tasks ranging from human transport to bearing loads.
The term camel is derived via Latin and Greek (camelus and κάμηλος kamēlos respectively) from Hebrew or Phoeniciangāmāl.
"Camel" is also used more broadly to describe any of the six camel-like mammals in the family Camelidae: the two true camels and the four New World camelids: the llama, alpaca, guanaco, and vicuña of South America.
Biology
The average life expectancy of a camel is 40 to 50 years.A full-grown adult camel stands 1.85 m (6 ft 1 in) at the shoulder and 2.15 m (7 ft 1 in) at the hump. Camels can run at up to 65 km/h (40 mph) in short bursts and sustain speeds of up to 40 km/h (25 mph). Bactrian camels weigh 300 to 1,000 kg (660 to 2,200 lb) and dromedaries 300 to 600 kg (660 to 1,320 lb).
The male dromedary camel has in its throat an organ called a dulla, a large, inflatable sac he extrudes from his mouth when in rut to assert dominance and attract females. It resembles a long, swollen, pink tongue hanging out of the side of its mouth.[ Camels mate by having both male and female sitting on the ground, with the male mounting from behind.The male usually ejaculates three or four times within a single mating session. Camelids are the only ungulates to mate in a sitting position.
Ecological and behavioral adaptations
Camels do not directly store water in their humps as was once commonly believed. The humps are actually reservoirs of fatty tissue: concentrating body fat in their humps minimizes the insulating effect fat would have if distributed over the rest of their bodies, helping camels survive in hot climates. When this tissue is metabolized, it yields more than one gram of water for every gram of fat processed. This fat metabolization, while releasing energy, causes water to evaporate from the lungs during respiration (as oxygen is required for the metabolic process): overall, there is a net decrease in water.
Camels have a series of physiological adaptations that allow them to withstand long periods of time without any external source of water. Unlike other mammals, their red blood cells are oval rather than circular in shape. This facilitates the flow of red blood cells during dehydration and makes them better at withstanding high osmotic variation without rupturing when drinking large amounts of water: a 600 kg (1,300 lb) camel can drink 200 L (53 US gal) of water in three minutes.
Camels are able to withstand changes in body temperature and water consumption that would kill most other animals. Their temperature ranges from 34 °C (93 °F) at dawn and steadily increases to 40 °C (104 °F) by sunset, before they cool off at night again.] Maintaining the brain temperature within certain limits is critical for animals; to assist this, camels have a rete mirabile, a complex of arteries and veins lying very close to each other which utilizes countercurrent blood flow to cool blood flowing to the brain. Camels rarely sweat, even when ambient temperatures reach 49 °C (120 °F). Any sweat that does occur evaporates at the skin level rather than at the surface of their coat; the heat of vaporization therefore comes from body heat rather than ambient heat. Camels can withstand losing 25% of their body weight to sweating, whereas most other mammals can withstand only about 12–14% dehydration before cardiac failure results from circulatory disturbance.
When the camel exhales, water vapor becomes trapped in their nostrils and is reabsorbed into the body as a means to conserve water.Camels eating green herbage can ingest sufficient moisture in milder conditions to maintain their bodies' hydrated state without the need for drinking.
Camels' immune system differs from those of other mammals. Normally, the Y-shaped antibody molecules consist of two heavy (or long) chains along the length of the Y, and two light (or short) chains at each tip of the Y. Camels, in addition to these, also have antibodies made of only two heavy chains, a trait that makes them smaller and more durable. These "heavy-chain-only" antibodies, discovered in 1993, are thought to have developed 50 million years ago, after camelids split from ruminants and pigs.The kidneys and intestines of a camel are very efficient at reabsorbing water. Camel urine comes out as a thick syrup, and camel feces are so dry that they do not require drying when the Bedouins use them to fuel fires.
more candids here
www.flickr.com/photos/23502939@N02/albums/72157622769131641
More Morocco here
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
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
T. E. Lawrence
“perhaps the best preserved and most wholly admirable castle in the world.”
"Certainement le château au monde le mieux préservé et le mieux conservé dans son entité" Laurence d'Arabie
Le Krak des Chevaliers, ou Krak de l'Hospital — krak dérive du syriaque karak signifiant forteresse ,
Qal`at al-Hosn (La forteresse imprenable) ou
Hisn al-Akrād (forteresse des Kurdes)
La forteresse est construite sur une colline de 750 mètres de haut aux flancs abrupts
Les chevaliers de l'Hôpital (ou Hospitaliers) gérèrent le fort de 1142 - offert par Raymond II, Comte de Tripoli - jusqu' à 1271, date de sa conquête par Az-Zâhir Rukn ad-Dîn Baybars al-Bunduqdari - Baybars Ier - sultan des Mamelouks. Il ne put malgré tout s'emparer du krak que par la ruse : il envoya une fausse missive, émanant prétendument du Grand Maître des Templiers, enjoignant aux assiégés de se rendre.
En 1157, un important tremblement de terre ébranla le château et Raymond du Puy, le grand maître des Hospitaliers, le fit restaurer et agrandir, nouveau tremblement de terre en 1170
Saladin (mort en 1193) eut beau infliger de nombreuses défaites aux croisés, ne put s'emparer du krak des Chevaliers
un des châteaux médiévaux les mieux préservé au monde
13 tours, écuries, salles, magasins, citernes, passages et ponts
à 40 km à l'ouest de la ville de Homs, proche de la frontière du Liban, à 30 km à vol d'oiseau de la mer
Le 20 mars 2014, le château, jusque-là tenu par la rébellion, est repris par les forces gouvernementales
surface totale de 2,5 hectares protégée par deux enceintes concentriques entièrement indépendantes.
13 tours, écuries, salles, magasins, citernes, ponts et passages. Le krak hébergeait une garnison de 2 000 hommes et possédait des vivres pour cinq ans.
Krak des Chevaliers - Crusader castle - one of the most important preserved medieval castles in the world. The site was first inhabited in the 11th century by a settlement of Kurds; as a result it was known as Hisn al Akrad, meaning the Castle of the Kurds;. In 1142 given by Raymond II, Count of Tripoli, to the Knights Hospitaller.
Due to an earthquake in 1157, followed by another one in 1170, the castle was restored and enlarged,
It remained in their possession until it fell in 1271.
after a siege lasting 36 days, supposedly by way of a forged letter purportedly from the Hospitallers' Grand Master that caused the Knights to surrender.
It became known as Crac de l'Ospital; the name Krak des Chevaliers was coined in the 19th century.
could house up to 2.000 men and food for 5 years
located 40 kilometres (25 mi) west of the city of Homs, close to the border of Lebanon, 30 km from the sea, the castle sits atop a 750-metre-high (2,130 ft) hill
13 towers, cisterns, barrracks, shops, stables, bridges
The Syrian Arab Army recaptured the castle and the village of al-Hosn from rebel forces on March 20, 2014
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!)
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.
Maerlaendica poplars alongside the "Damse Vaart". These trees grow for about 90 years and then they are "harvested". New ones are planted to replace them. So this typical landscape in the area of Damme is conserved.
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.
Travel Memories / Souvenirs de voyage
(French follows)
The Iglesia de Santa María la Mayor (also known locally as the Real Colegiata de Santa María de la Encarnación la Mayor), is a historic church built upon the site of a 13th-century mosque, the La Medina High Mosque, following the Christian reconquest in 1485. The church retains significant elements of its Islamic past, most notably in the bell tower, which was originally the minaret of the mosque. Construction spanned nearly two centuries, blending Gothic, Renaissance, and Moorish styles.
While the structure has a Gothic foundation (seen in the three naves), it also incorporates significant Renaissance wood carving elements added to replace a part of the church destroyed by an earthquake in 1580 – particularly the main alter in the head of the church, the two-level choir, which was built from cedar and walnut, and the golden retable on the rearmost side altar on the Epistle Side. It was officially elevated to a collegiate church in the 16th century.
Today, the church stands as a testament to the layered history of Ronda, where Moorish architectural foundations were repurposed into a grand Catholic, Renaissance-style place of worship. In 1931, it was designated as a Building of Cultural Interest.
Ronda, Andalusia, Province of Málaga, Spain
**************
L'Iglesia de Santa María la Mayor (également connue localement sous le nom de Real Colegiata de Santa María de la Encarnación la Mayor) est une église historique construite sur l'emplacement d'une mosquée du XIIIe siècle, la Haute Mosquée de La Medina, après la Reconquista en 1485. L'église conserve d'importants éléments de son passé islamique, notamment le clocher, qui était à l'origine le minaret de la mosquée. Sa construction s'est étendue sur près de deux siècles, mêlant les styles gothique, Renaissance et mauresque.
Bien que la structure repose sur des fondations gothiques (visibles dans les trois nefs), elle intègre également d'importants éléments de sculpture sur bois de style Renaissance, ajoutés pour remplacer une partie de l'église détruite par un tremblement de terre en 1580 – en particulier le maître-autel dans la nef, le chœur à deux niveaux, construit en cèdre et en noyer, et le retable doré de l'autel latéral le plus éloigné, côté Épître. Elle fut officiellement élevée au rang de collégiale au XVIe siècle.
Aujourd'hui, l'église témoigne de la riche histoire de Ronda, où des fondations architecturales mauresques ont été réinterprétées pour créer un magnifique lieu de culte catholique de style Renaissance. En 1931, elle a été classée monument historique.
Ronda, Andalousie, province de Málaga, Espagne
An older photo of the bark or lack of bark on a tree on Maui in Hawaii. Photo was taking in 2007. Cheers.
Jared Ropelato
www.facebook.com/RopelatoPhotography
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
- Erfurt, Petersberg Citadel, BUGA 2021: The electronic illusion of a waterfall dominates the nave of former St. Peter's Church during the exposition "Paradise Gardens - Garden Paradises"
Der Peterskirche kommt im Rahmen der BUGA Erfurt 2021 eine zentrale Bedeutung auf dem Petersberg zu. In der ehemaligen Klosterkirche wird eine Ausstellung zum Thema "Paradiesgärten - Gartenparadiese" präsentiert. Vorbereitend wurde die Peterskirche mit Sondermitteln des Freistaats Thüringen teilrestauriert und teilweise instandgesetzt. Sichtbares Zeichen sind die gereinigten und konservierten Außenfassaden, deren Mauerwerk von bemerkenswerter Qualität ist. Im Innenraum erfolgte eine Teilöffnung des hölzernen Lagerbodens aus dem 19. Jahrhundert und das Erdgeschoss wurde für die Ausstellung nutzbar gemacht.
Die Peterskirche (St. Peter und Paul) am südöstlichen Teil des früheren Petersklosters gelegen, ist eine dreischiffige romanische Pfeilerbasilika. Die ehemalige Kirche des einst einflussreichen Benediktinerklosters St. Peter und Paul ist einer der frühesten und bedeutendsten romanischen Kirchenbauten in Thüringen.Sie entstand in den Jahren 1103 bis 1147. Neben Dom und Severikirche bestimmte sie mit ihren der Stadt zugewandten Osttürmen jahrhundertlang das Erfurter Stadtbild. Hier fanden bis zum Ende des 13. Jahrhunderts zahlreiche Reichs- und Hoftage der deutschen Kaiser und Könige sowie Synoden statt.
1803 wurde das Kloster säkularisiert. Bei der Beschießung der von französischen Truppen besetzten Zitadelle Petersberg durch die Preußen im Jahr 1813 geriet das Kloster in Brand und die Kirche brannte aus. Die Klostergebäude wurden danach vollständig abgetragen. Die Peterskirche selbst wurde 1820 militärisches Proviantmagazin. Dazu wurden Ihre Türme abgebrochen und der Obergaden bis auf die Höhe der Seitenschiffe abgetragen. Das ehemalige Kirchengebäude, in das man drei Lagerebenen eingebaut hatte, erhielt darüber hinaus einen neuen Dachstuhl.
www.buga2021.de/pb/buga/home/gartenschau/die+peterskirche
www.erfurt.de/ef/de/erleben/sehenswertes/dom/108144.htm
St. Peter's Church is of central importance on Petersberg hill in the context of the BUGA (Federal Horticulture Show) Erfurt 2021. An exhibition on the theme of "Gardens of Paradise - Garden Paradises" is presented in the former monastery church. In preparation, St. Peter's Church was partially restored and repaired with special funds from the Free State of Thuringia. Visible signs are the cleaned and conserved exterior façades, whose masonry is of remarkable quality. In preparation, St. Peter's Church was partially restored and partially repaired with special funds from the Free State of Thuringia. Visible signs are the cleaned and conserved exterior facades, whose masonry is of remarkable quality. Inside, the wooden storage floor from the 19th century was partially opened up and the ground floor was made usable for the exhibition.
St. Peter's Church (St. Peter and Paul), located on the south-eastern part of the former St. Peter's Monastery, is a three-nave Romanesque pillar basilica. The former church of the once influential Benedictine monastery of St. Peter and Paul is one of the earliest and most important Romanesque church buildings in Thuringia.I t was built between 1103 and 1147. Alongside the Cathedral and St. Severin's Church, it defined Erfurt's cityscape for centuries with its eastern towers facing the city. Until the end of the 13th century, numerous Diets and Court Assemblies of the German emperors and kings as well as synods were held here.
The monastery was secularised in 1803. During the shelling of the Petersberg citadel, occupied by French troops, by the Prussians in 1813, the monastery caught fire and the church burnt out. The monastery buildings were then completely demolished. St. Peter's Church itself became a military storehouse for provisions in 1820. For this purpose, its towers were demolished and the clerestory was taken down to the level of the side aisles.The former church building, into which three storage levels had been built, was also given a new roof truss.
Calle Huertas, Madrid.
La calle de las Huertas es una calle de Madrid del barrio de Cortes (en el reducto urbano del barrio de las Letras, también llamado de las Musas y de los comediantes), en el distrito Centro. Desciende paralela a la calle de Atocha, desde la plaza del Ángel a la plaza de la platería de Martínez. Toma su nombre de las "huertas del prado" que había en el siglo xvii en los terrenos vecinos al prado de los Jerónimos). En su recorrido se conservan edificios como el que fuera llamado Nuevo Rezado, los palacios de Santoña y Molins, algunos de ellos ocupados luego por instituciones como la Real Academia de la Historia.
Calle de las Huertas is a street in Madrid in the neighborhood of Cortes (in the urban district of Las Letras, also known as Las Musas and comedians), in the district of Centro. It descends parallel to the street of Atocha, from the place of the Angel to the place of the silverware of Martinez. It takes its name from the "orchards of the meadow" that had in the seventeenth century in the lands next to the meadow of the Jeronimos. In its route are conserved buildings like the one that was called Nuevo Rezado, the palaces of Santoña and Molins, some of them later occupied by institutions like the Real Academy of History.
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.
Boat Quay 驳船码头
Boat Quay is a historical quay in Singapore which is situated upstream from the mouth of the Singapore River on its southern bank. It spans from the shophouses near UOB Centre, stretching along one bank of the Singapore River, all the way till Elgin Bridge.
It was the busiest part of the old Port of Singapore, handling three-quarters of all shipping business during the 1860s. Because the south of the river here resembles the belly of a carp, which according to Chinese belief is where wealth and prosperity lay, many shophouses were built, crowded into the area.
Though serving aquatic trade is no longer Boat Quay's primary role, the shophouses on it have been carefully conserved and now house various bars, pubs and restaurants. Therefore, Boat Quay's social-economic role in the city has shifted away from that of trade and maritime commerce, and now leans towards more of a role accommodated for tourism and aesthetics for the commercial zone of which encloses the Singapore River. It is the soft front to the cosmopolitan banking and financial sectors lying immediately behind it.
Boat Quay is also the name of the road along the quay, which has since been converted into a pedestrian mall.
History
The quay and the Singapore skyline at night
During the 1800s, Boat Quay was used to transfer various goods onto cargo ships, such as porcelain, rubber and spices. Trading in Boat Quay reached a peak in the mid 1800s.
Adaptive re-use of the historic buildings
Since the 1990s, Boat Quay has been transformed into a pedestrian mall with restaurants, pubs, cafes and clubs.
The Singapore government cleaned-up the river in 1983 and moved the remaining shipping industry's lighters were moved to a new quay near Pasir Panjang. Therefore, the Boat Quay was deserted and unused from 1983 to 1989.
In 1986, the Urban Redevelopment Authority announced plans to preserve Boat Quay as part of a master plan for conserving the whole of the Singapore River and its environs.
On 7 July 1989, an area encompassing South Bridge Road, Circular Road, Lorong Telok and North Canal Road was gazetted. The two- and three-storey shophouses in that area, with their characteristic five-foot way beneath projecting upper floors, were preserved and transformed into new businesses. The shophouses and godowns along the river bank were restored in the 1990s and are now bustling shops, restaurants and bars.
When the area became a conservation area in 1989, redevelopment began and by 1993 all historic shophouses were under reconstruction. The Singapore Urban Redevelopment Authority issued stringent guidelines for the restoration but did not provide cash grants or tax relief for conservation projects but waived some of the development charges, car parking requirements and car park deficiency charges.
The historic shophouses could now easily be re-used for modern businesses, such as restaurants, cafes, bars and small shops. The interior of the buildings could be modified with the new use in mind, in some cases using new non-traditional interior ornamentation, materials, and colours. For instance, the interior of the Opera Cafe at No. 40 Boat Quay was modified to create an ambiance similar to an opera stage-set. The ground floor of the Lim Family Shophouse at No. 58 Boat Quay was converted into a Japanese restaurant. The upper floor is used as a weekend flat for the Lim family, who lived in the building since 1908. The architect Mok Wei Wei created more open space by demolishing some of the original partition walls, but kept and restored the original teak floors, paint colour on the window frames, wooden balcony doors, and tile roofs. The historic blackwood furniture and art pieces were also restored and re-used.
Multiple startup companies also rent offices around the Boat Quay and nearby Circular Road area.
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
🇫🇷 ¤ Le trésor de la cathédrale
Le trésor de la cathédrale de Brixen fait partie des biens conservés au fil des siècles, par traditon, dans la sacristie. Des textiles médiévaux, comme la chasuble millénaire d'Albuin (soie pourpre bysantine avec un dessin d'aigle) ou les vêtements de Hartmann ont été révérés comme reliques et conservés en tant que telles. La majorité des travaux d'orfèvrerie gothiques et du début du baroque n'ont pas été fabriquée à Brixen mais ont été importée de centres culturels européens tels Limoges, Venise, Constance et Augsbourg.
La pièce la plus ancienne est le calice funéraire de l'évêque Altwin datant de la fin du XIe siècle.
¤ La collection d'objets d'art présente
de précieuses sculptures et de tableaux médiévaux, ainsi que d'œuvres modernes de l'époque baroque, du classicisme et du romantisme.
Les pièces essentielles de la collection sont les Vièrges et les crucifix de la fin de l'art roman, les sculptures et les peintures d'artistes tyroliens du Moyen Åge.
A l'époque du baroque, des statues d'autel d'Adam Baldauf, des peintures à l'huile de Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger et Paul Troger passent au premier plan. etc …..
🇩🇪 ¤ Der Domschatz
Der Domschatz von Brixen gehört zu den Gütern, die über die Jahrhunderte hinweg traditionsgemäß in der Sakristei aufbewahrt wurden. Mittelalterliche Textilien wie die tausendjährige Kasel von Albuin (purpurne bysantinische Seide mit Adlermuster) oder die Gewänder von Hartmann wurden als Reliquien verehrt und als solche aufbewahrt. Die meisten Goldschmiedearbeiten der Gotik und des Frühbarocks wurden nicht in Brixen hergestellt, sondern aus europäischen Kulturzentren wie Limoges, Venedig, Konstanz und Augsburg importiert. Das älteste Stück ist der Grabkelch des Bischofs Altwin vom Ende des 11. Jahrhunderts.
¤ Die Kunstsammlung zeigt wertvolle mittelalterliche Skulpturen und Gemälde sowie moderne Werke aus der Zeit des Barock, des Klassizismus und der Romantik.
Die wichtigsten Stücke der Sammlung sind spätromanische Vièrgen und Kruzifixe, Skulpturen und Gemälde von Tiroler Künstlern des Mittelalters.
In der Barockzeit treten Altarfiguren von Adam Baldauf, Ölgemälde von Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger und Paul Troger in den Vordergrund. usw.
🇮🇹 ¤ Il tesoro della cattedrale
Il tesoro della cattedrale di Bressanone è uno degli oggetti conservati da secoli, per tradizione, nella sacrestia. Tessuti medievali come la casula millenaria di Albuin (seta viola bissantina con disegno di aquila) o i paramenti di Hartmann sono stati venerati come reliquie e conservati come tali. La maggior parte dell'argenteria gotica e del primo barocco non è stata prodotta a Bressanone, ma importata da centri culturali europei come Limoges, Venezia, Costanza e Augusta. Il pezzo più antico è il calice funerario del vescovo Altwin, risalente alla fine dell'XI secolo.
La collezione d'arte comprende preziose sculture e dipinti medievali, oltre a opere moderne del periodo barocco, classicista e romantico.
I pezzi forti della collezione sono la Vergine e il Crocifisso tardo-romanici, nonché sculture e dipinti di artisti tirolesi del Medioevo.
Nel periodo barocco sono protagoniste le statue d'altare di Adam Baldauf e i dipinti a olio di Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger e Paul Troger. etc .....
🇬🇧 ¤ The treasure of the cathedral
The treasure of Brixen Cathedral is one of the items that have been preserved over the centuries, by tradition, in the sacristy. Medieval textiles such as Albuin's thousand-year-old chasuble (Bysantine purple silk with an eagle design) or Hartmann's vestments were revered as relics and preserved as such. The majority of Gothic and early Baroque silverware was not made in Brixen, but was imported from European cultural centres such as Limoges, Venice, Constance and Augsburg. The oldest piece is the funerary chalice of Bishop Altwin, dating from the end of the 11th century.
¤ The art collection features precious medieval sculptures and paintings, as well as modern works from the Baroque, Classicist and Romantic periods.
The highlights of the collection are the late Romanesque Virgin and Crucifixes, and sculptures and paintings by Tyrolean artists from the Middle Ages.
In the Baroque period, altar statues by Adam Baldauf and oil paintings by Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger and Paul Troger take centre stage. etc .....
🇪🇸 ¤ El tesoro de la catedral
El tesoro de la catedral de Brixen es uno de los objetos que se han conservado a lo largo de los siglos, por tradición, en la sacristía. Tejidos medievales como la casulla milenaria de Albuin (seda púrpura bizantina con diseño de águila) o los ornamentos de Hartmann fueron venerados como reliquias y conservados como tales. La mayor parte de la platería gótica y barroca temprana no se fabricó en Brixen, sino que se importó de centros culturales europeos como Limoges, Venecia, Constanza y Augsburgo. La pieza más antigua es el cáliz funerario del obispo Altwin, de finales del siglo XI.
La colección de arte incluye valiosas esculturas y pinturas medievales, así como obras modernas de los periodos barroco, clasicista y romántico.
Lo más destacado de la colección son la Virgen y los Crucifijos del Románico tardío, así como esculturas y pinturas de artistas tiroleses de la Edad Media.
En el periodo barroco, destacan las estatuas de altar de Adam Baldauf y los óleos de Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger y Paul Troger. etc .....
Le hameau de Kerouat est situé près de Commana, au fond d'une petite vallée verdoyante, au coeur des "Monts d'Arrée", au centre de la Bretagne.
Le premier moulin à eau fut bâti par des moines en 1610.
Le village qui est devenu en 1969 l'écomusée des monts d'arrée est remarquablement conservé.
Il permet de se replonger dans la vie rurale bretonne du 19ème siècle.
Les derniers occupants du hameau, Jeanne-Yvonne et Jean-François Fagot, ont disparu en 1961 et 1965. Ils ont laissé une maison telle que leur ancêtre l'avait construite en 1831. Ils étaient les derniers maillons d’une longue lignée de meuniers, née au XVIIe siècle avec Paul Keriel, premier meunier connu à Kerouat.
The hamlet of Kerouat is located near Commana, at the bottom of a small green valley, in the heart of "Monts d'Arrée", in the center of Brittany.
The first water mill was built by monks in 1610.
The village which became in 1969 the Ecomuseum of the Monts d'Arrée is remarkably preserved.
It allows to dive back into the Breton rural life of the 19th century.
The last occupants of the hamlet, Jeanne-Yvonne and Jean-François Fagot, disappeared in 1961 and 1965. They left a house as their ancestor built it in 1831. They were the last links of a long line of millers , born in the 17th century with Paul Keriel, the first miller known in Kerouat.
Chapelle conservée dans l'alpage du Fond d'Aussois à 2330m. (Savoie-Parc National de la Vanoise)
Les documents anciens, les lieu-dits, les ruines rappellent au randonneur attentif que ces chapelles d'alpages étaient très nombreuses dans toutes les vallées alpines.
Once broken ribs and a piece of spine of a huge petrified Temnodontosaurus trigonodon, 200 - 175 000 000 years old...
Catching and conserving moments.
Sometimes I need to remember myself why I fell in love with photography. And basically, that's why.
I took this picture two years ago and always liked the moment, but not the technical quality. So I kept it hidden.
Today I told myself to stop being overcritical with myself (talking about non-commissional work here), what might lead to an upload overkill in the near future, because there are a lot of photos that have been on hold for quite a while.
This hen escapes the chicken enclosure every day, but doesn't go far. She may be resting the other leg or trying to conserve heat. I lured her back inside by opening the door and throwing some chicken scratch inside.
The American kestrel (Falco sparverius), also called the sparrow hawk, is the smallest and most common falcon in North America. It has a roughly two-to-one range in size over subspecies and sex, varying in size from about the weight of a blue jay to a mourning dove. It also ranges to South America and is a well-established species that has evolved into 17 subspecies adapted to different environments and habitats throughout the Americas. It exhibits sexual dimorphism in size (females being moderately larger) and plumage, although both sexes have a rufous back with noticeable barring. Its plumage is colorful and attractive, and juveniles are similar in plumage to adults.
The American kestrel usually hunts in energy-conserving fashion by perching and scanning the ground for prey to ambush, though it also hunts from the air. It sometimes hovers in the air with rapid wing beats while homing in on prey. Its diet typically consists of grasshoppers and other insects, lizards, mice, and small birds (e.g. sparrows). This broad diet has contributed to its wide success as a species. It nests in cavities in trees, cliffs, buildings, and other structures. The female lays three to seven eggs, which both sexes help to incubate.
Its breeding range extends from central and western Alaska across northern Canada to Nova Scotia, and south throughout North America, into central Mexico and the Caribbean. It is a local breeder in Central America and is widely distributed throughout South America. Most birds breeding in Canada and the northern United States migrate south in the winter. It is an occasional vagrant to Western Europe.
Based on appearance and behavior it was for many years considered a member of the primarily European and African kestrel clade within the genus Falco, but DNA analysis shows the American kestrel to actually be genetically more closely related to the larger American falcons such as the aplomado,[2] peregrine, and prairie falcons.[3] Though the species has not been renamed as a result of these genetic analyses, it is not actually a kestrel in the phylogenetic sense. Instead, a process of convergent evolution to fit a similar small prey niche in the ecosystem as the true kestrels have left it with similar physical characteristics and hunting methods.
The American kestrel is a common bird used in falconry, especially by beginners. Though not as strong a flyer as many other, larger falcons, proper training and weight control by the falconer allows many American kestrels to become effective hunters of birds in the size range of sparrows and starlings, with occasional success against birds up to approximately twice their own weight.
Under traditional classification, the American kestrel is the smallest raptor in America. The American kestrel is sexually dimorphic, although there is some overlap in plumage coloration between the sexes. The bird ranges from 22 to 31 cm (8.7 to 12.2 in) in length with a wingspan of 51–61 cm (20–24 in). The female kestrel is larger than the male, though less so than larger falcons, being typically about 10% to 15% larger within a subspecies. The more northern subspecies tend to larger sizes, with a large northern female being about twice the size of a small southern male. The male typically weighs 80–143 g (2.8–5.0 oz), and the female 86–165 g (3.0–5.8 oz). In standard measurements, the wing bone is 16–21 cm (6.3–8.3 in) long, the tail is 11–15 cm (4.3–5.9 in) and the tarsus is 3.2–4 cm (1.3–1.6 in).
For more information, please visit en.wikipedia.org/wiki/American_kestrel
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...
See also my Album of Clandon House & Park, before and after the fire of 2015
Clandon Park, an elegant 18th-century stately home that was gutted in a fire in 2015, is to be mainly conserved as a ruin rather than restored to its former Palladian glory.
Plans by the National Trust, which has owned the Grade I-listed house since 1956, will allow visitors to see the “raw power and poetic beauty” of the building after the flames stripped away panelling and plasterwork and brought down floors, said Kent Rawlinson, the project director.
The external walls and windows of the building near Guildford, Surrey, will be restored by heritage craftspeople, but the interior will be largely conserved in its fire-damage state.
Once the work is complete, in about five years, a series of interior walkways and roof lights will allow visitors to view the shell of the house up close and from new angles.
www.theguardian.com/uk-news/2022/jul/06/fire-gutted-cland...
www.nationaltrust.org.uk/clandon-park/features/clandon-pa...
From my store cupboard; Maple Syrup, Wild Amarena Cherries, Blueberry Conserve, Creme de Framboise, Ginger Syrup and Rhapsodie de Fruits.
116 pictures in 2016 (68) In or from the store cupboard
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.
La fontaine Spinacorona (dite "Fontana delle zizze") est une ancienne fontaine de Naples, adossée au mur de l'Eglise de Santa Caterina della Spina Corona. Son origine reste incertaine (XVème siècle) elle a été restaurée début XVIème siècle (armoiries de Charles Quint).
Le sujet principal en est la sirène Parthénope (figure emblématique de Naples) qui s'apprête à éteindre les flammes du Vésuve avec l'eau qui jaillit de ses seins. La statuette originale est conservée au Musée de San Martino.
THANK YOU ALL FOR THE GREAT COMMENTS
THE GREAT GREENHOUSE
Rising from the earth
Space like vision of beauty
Treasure of plantlife
By Henrhyde
The Great Glasshouse
This spectacular dome is the largest single span glasshouse in the world, designed by Norman Foster Poised on the Welsh landscape like a giant raindrop, it protects and conserves some of the most endangered plants on the planet.
These plants come from six areas of the world: California, Australia, the Canary Islands, Chile, South Africa, the Mediterranean Basin, and the Great Glasshouse is zoned to reflect this. Each of these geographical areas has regions that enjoy a Mediterranean climate. Hot dry summers, cool moist winters, dazzling sunlight, strong breezes and the occasional ground-clearing fire create perfect conditions for many plants to thrive on the scrubby, rock-strewn landscapes. In fact, it’s so perfect that most of these plants grow nowhere else on Earth. Although these regions cover less than 2% of the Earth’s surface, they contain more than 20% of all known flowering plant species, and the plant diversity are considered second only in importance to tropical habitats. Due to human activity, these habitats are now threatened as the rainforests, and our Great Glasshouse is dedicated to conserving their endangered plants.
At first glance, it is not obvious that the plants come from six different places in the world. This is because they share many qualities, such as small leathery evergreen leaves and dense shrubby forms . As you explore, you will find yourself travelling across continents and countries within a few steps. The imaginative flowing landscape on which these plants thrive, covers 3,500 square metres. Its rocky terraces, sandstone cliffs and gravelled scree slopes, are contoured to reflect the natural environment and to create a wide range of habitats. Balancing light and shade and varying moisture levels to suit the needs of different plants.
A magical visit—not to be missed.
Part of the glorious BOTANIC GARDEN OF WALES
España - Málaga - Ronda - Baños árabes
ENGLISH
This thermal building of the arab time is the best conserved of its kind at the Iberian Peninsula. It is located at the old arab quarter of the city, today called San Miguel Quarter, being the formerly outside quarter of the arab medina (city) of Ronda.
The bahts were built near the Arroyo de las Culebras (snakes' stream), a perfect place in order to be provided of water, which was moved by a waterwheel, in an current perfect conservation state.
The chronology of the Ronda arab bahts starts at the 13th-14th centuries. The bath is divided into three main zones, following the Roman model of thermal buildings:cold water, warm water and hot water bathrooms. The hydraulic system of the thermal bath has arrived to our days almost complete. The central room is the biggest and has got three parts, separated by four pairs of horseshoe arches above bricks and stone columns, which have the function of holding up barrel vaults, with nice skylights forming stars, closed with glass.
The building is surrounded by one wall with blind arches (no light can be seen through them) and has got at its end a tower containing the waterwheel structure. The boiler area is also conserved, where the water was heated, as well as rests of a tannery, which was the main activity of this place after the christian conquest of the city, which meant that the use of the building as thermal baths was neglected.
**************************************************
ESPAÑOL
Los Baños Arabes de Ronda, de época nazarí (s. XIII-XIV), están situados en la zona de la antigua judería y, a pesar de su extraordinario interés arquitectónico, fueron abandonados (la moral cristiana no permitía ciertas prácticas), y las crecidas del río Guadalevín acabaron sepultándolos. Al encargar la Duquesa de Parcent la construcción de unos jardines en esta zona, aparecieron sus primeros restos, aunque se obviaron hasta que en 1935 el yacimiento fue adquirido por el Estado. Las excavaciones realizadas hasta ahora han permitido rescatar las tres salas de baño (fría, templada y caliente) y las cubiertas con bóvedas de cañón (horadadas por tragaluces en forma de estrella), que se comunican por arcos de medio punto. Se conservan, además, parte de las calderas y de los sistemas de conducción de agua.
Cuentan con la singularidad de conservar completa su estructura, con las diferentes estancias e instalaciones que lo organizaban, siendo los más grandes y mejor conservados de la Península Ibérica. Curiosamente se situaban extramuros de la ciudad, en el Antiguo Arrabal Islámico de la Ciudad, actualmente denominado Barrio de San Miguel en el extraradio de lo que fue en su momento la Medina Musulmana de Ronda. Fueron construidos junto al Arroyo de las Culebras, lugar perfecto para el abastecimiento de agua, que se desplazaba a través de un sistema de noria, perfectamente conservado en la actualidad.
La sala central es la más grande y consta de tres cuerpos, separados mediante cuatro pares de arcos de herradura sobre columnas de ladrillo y piedra, que sostienen bóvedas de cañón (semiesféricas) con bellos tragaluces en forma de estrella cerrados con cristales. El edificio está cercado con un muro de arcos ciegos, que forman el acueducto, y tiene una torre al fondo con una caja de noria. Del mismo modo conserva el área de calderas donde se calentaba el agua, así como restos de las curtidurías, actividad principal en el lugar una vez que se abandonó el uso como baños tras la conquista cristiana de la ciudad.
Fondé sur l’ancienne acropole de la ville grecque d’Antipolis. Le château a été construit sur des fondations d'époque romaine. Il conserve une partie des façades de l'édifice romain sur une hauteur variant de 3 à 5 mètres. Cette construction doit dater du Ier siècle apr. J.-C.
Le château Grimaldi est occupé dès 1385 par une branche de la famille génoise des Grimaldi. Le château actuel est construit au XVe siècle. Il a été modifié au XVIIe siècle.
En 1608, le roi Henri IV acquiert ce fief au profit de la couronne de France. Les Grimaldi s'installent au château de Cagnes, voisin, et leur ancien château d'Antibes devient tour à tour la demeure du gouverneur du Roi, l'hôtel de ville et plus tard une caserne, jusqu'en 1924. L'année suivante, sous l'impulsion de Romuald Dor de la Souchère, la ville d'Antibes rachète le château délabré, qui devient le musée Grimaldi. En 1946 Pablo Picasso se voit offrir, par Dor de la Souchère, l'opportunité d'installer son atelier au château. En 1957, Picasso reçoit officiellement le titre de « Citoyen d’honneur de la ville d’Antibes ». En 1966, le Château Grimaldi devient le Musée Picasso et Romuald Dor de la Souchère devient son premier conservateur. On peut y trouver environ 245 œuvres de l’artiste mais aussi des peintures de Nicolas de Staël, Fernand Léger ou Hans Hartung, des dessins de Kostia Terechkovitch, des gravures de Paul Leuquet et des sculptures de Germaine Richier et Joan Miró.
Founded on the ancient acropolis of the Greek city of Antipolis. The castle was built on Romanesque foundations. It retains part of the facades of the Roman building on a height ranging from 3 to 5 meters. This construction must date from the 1st century AD AD
Grimaldi Castle was occupied in 1385 by a branch of the Grimaldi Genoese family. The current castle is built in the 15th century. It was modified in the 17th century.
In 1608, King Henry IV acquired this fief in favor of the crown of France. The Grimaldi settled in the neighboring castle of Cagnes, and their old castle of Antibes became the residence of the king's governor, the town hall and later a barracks, until 1924. The following year Under the leadership of Romuald Dor de la Souchère, the city of Antibes bought the dilapidated castle, which became the Grimaldi museum. In 1946 Pablo Picasso is offered, by Dor de la Souchère, the opportunity to install his workshop at the castle. In 1957, Picasso officially received the title of "Citizen of honor of the city of Antibes". In 1966, Château Grimaldi became the Picasso Museum and Romuald Dor de la Souchère became its first curator. There are about 245 works by the artist but also paintings by Nicolas de Staël, Fernand Léger or Hans Hartung, drawings by Kostia Terechkovitch, engravings by Paul Leuquet and sculptures by Germaine Richier and Joan Miró.