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Le musée des Augustins conserve une des collections les plus riches au monde en matière de chapiteaux et sculpture de l'époque romane (xiie siècle). Ces fonds proviennent des trois principaux édifices religieux de Toulouse de cette période : le prieuré de Notre-Dame de la Daurade, la basilique Saint-Sernin et la cathédrale Saint-Étienne.
CATALÀ
El Musée des Augustins conserva una de les col·leccions més riques del món en termes de capitells i escultures de l'època romànica (segle XII). Aquests fons provenen dels tres principals edificis religiosos de Tolosa d'aquest període: el priorat de Notre-Dame de la Daurade, la basílica de Saint-Sernin i la catedral de Saint-Etienne
ENGLISH
The Musée des Augustins retains one of the richest collections in the world in terms of capitals and sculpture from the Romanesque period (twelfth century). These funds come from the three principal religious buildings of Toulouse of this period: the priory of Notre-Dame de la Daurade, the Saint-Sernin basilica and the Saint-Etienne cathedral
ESPAÑOL
El Musée des Augustins conserva una de las colecciones más ricas del mundo en términos de capiteles y esculturas del período románico (siglo XII). Estos fondos provienen de los tres principales edificios religiosos de Toulouse de este período: el priorato de Notre-Dame de la Daurade, la basílica de Saint-Sernin y la catedral de Saint-Etienne
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
The Vizcaya Museum and Gardens, previously known as Villa Vizcaya, is the former villa and estate of businessman James Deering, of the Deering McCormick-International Harvester fortune, on Biscayne Bay in the present day Coconut Grove neighborhood of Miami, Florida.
The early 20th century Vizcaya estate also includes extensive Italian Renaissance gardens; a native woodland landscape; and a historic village outbuildings compound. The landscape and architecture were influenced by Veneto and Tuscan Italian Renaissance models and designed in the Mediterranean Revival architecture style, with Baroque elements. F. Burrall Hoffman was the architect, Paul Chalfin was the design director, and Diego Suarez was the landscape architect.
Miami-Dade County now owns the Vizcaya property, as the Vizcaya Museum and Gardens, which is open to the public. The location is served by the Vizcaya Station of the Miami Metrorail.
The estate property originally consisted of 180 acres (73 ha) of shoreline Mangrove swamps and dense inland native tropical forests. Being a conservationist, Deering sited the development of the estate portion along the shore to conserve the forests. This portion was to include the villa, formal gardens, recreational amenities, expansive lagoon gardens with new islets, potager and grazing fields, and a village services compound. Deering began construction of Vizcaya in 1912 officially beginning occupancy on Christmas Day 1916 when he arrived aboard his yacht Nepenthe.
The villa was built primarily between 1914 and 1922, at a cost of $15 million, while the construction of the extensive elaborate Italian Renaissance gardens and the village continued into 1923. During the World War I years building trades and supplies were difficult to acquire in Florida. Vizcaya is noteworthy for adapting historical European aesthetic traditions to South Florida's subtropical ecoregion. For example; it combined imported French and Italian garden layouts and elements implemented in Cuban limestone stonework with Floridian coral architectural trim and planted with sub-tropic compatible and native plants that thrived in the habitat and climate. Palms and Philodendrons had not been represented in the emulated gardens of Tuscany or Île-de-France.
The estate property originally consisted of 180 acres (73 ha) of shoreline Mangrove swamps and dense inland native tropical forests. Being a conservationist, Deering sited the development of the estate portion along the shore to conserve the forests. This portion was to include the villa, formal gardens, recreational amenities, expansive lagoon gardens with new islets, potager and grazing fields, and a village services compound.
Vizcaya was built with an open-air courtyard and extensive gardens on Biscayne Bay. As such, the estate has been subject to environmental and hurricane damage, the latter notably in 1926, 1992, and 2005. Miami-Dade County has granted money ($50m U.S.) for the restoration and preservation of Vizcaya. These funds have been matched by grants from FEMA, Save America's Treasures, and numerous other funders. Plans include the restoration of the villa and gardens, and adaptation of the historic village compound for exhibition and educational facilities; however, additional funds are required for this. The completed first phase of this project has included the rebuilding of the museum's Cafe and Shop (in historic recreation areas of the building adjacent to the pool), renovation of the East and West Gate Lodges that flank South Miami Avenue, and rebuilding of the David A. Klein Orchidarium in a plan that generally uses historic precedent. At the same time, Vizcaya has completed the first half of a major conservation program of its outdoor sculpture collections. With a consulting landscape architect, Vizcaya has too finished a comprehensive cultural landscape report, which will be a vital tool in the ongoing restoration of the formal gardens.
Credit for the data above is given to the following websites"
en.wikipedia.org/wiki/Vizcaya_Museum_and_Gardens
© All Rights Reserved - you may not use this image in any form without my prior permission.
Seule partie conservée de l'ancienne abbatiale construite entre 1001 et 1018 par l'abbé Guillaume de Volpiano pour abriter le tombeau de Saint-Bénigne, la crypte de l'église - érigée en cathédrale en 1792- est l’étage inférieur d'une rotonde du bâtiment initial. À l'origine, elle n'était pas souterraine. Comblée à la Révolution, elle fut dégagée et restaurée au milieu du 19ème siècle.
La crypte fait l'objet d'un classement au titre des monuments histo-riques depuis 1846
Well-conserved old house on the old Hokkoku Kaidou (北国街道) road in Toumi municipality. It is just outside of the Unnojuku (海野宿) Conservation Area and shows how modern infrastructure spoils the townscape.
(Microwave 2 mn to soften and to make the fruit less dangerous to cut.)
8 cups quince (peeled, cored and cut into cubes)
8 cups water
4 cups sugar
2 Tablespoons lemon juice
Bring water and sugar to the boil
Boil 5 minutes
Add quince and lemon juice.
Simmer 1 hour.
Ladle into jars and process 10 minutes.
Le Trinkhall Museum, (anciennement Madmusée pour « Musée d'art différencié ») est un musée liégeois fondé en 1998 qui est situé dans le parc d'Avroy à Liège. Le musée conserve et expose des œuvres réalisées par des artistes porteurs d'un handicap mental, de maladie mentale ou de fragilité psychique, en contexte d'atelier. S'inscrivant à l'avant-scène du paysage culturel liégeois, il entend développer de nombreuses collaborations avec les différents acteurs de la vie artistique, sociale et culturelle, à Liège et bien au-delà des frontières de la ville. L'ouverture du Trinkhall est l'aboutissement d'un projet qui a mis plus de dix ans à se concrétiser. Il émane du Créahm qui, depuis quarante ans, défend dans une perspective qui reste profondément novatrice et engagée l'expression artistique des personnes porteuses d'un handicap mental.
Réalisé par le bureau d’architecture Beguin-Massart, le bâtiment, recouvert d’une résille opaline aux contours doucement arrondis, se dépose comme une lanterne au cœur de la ville. Il est l’aboutissement d’une réflexion où les architectes ont su rencontrer la poétique du lieu, son histoire, sa beauté, et toutes les exigences fonctionnelles d’un musée d’aujourd’hui. Avec plus de 600 m2 de surface d’exposition, un espace librairie, un centre de documentation, un espace de rencontre et d’activités pédagogiques et tous les locaux techniques nécessaires à la conservation des oeuvres, le Trinkhall s’inscrit dans une nouvelle dynamique. Son café-restaurant, ouvrant largement sa terrasse sur le parc d’Avroy, reste librement accessible au public et renforce la dimension d’échange et de sociabilité qui caractérise le lieu depuis le XIXe siècle.
The Trinkhall Museum, (formerly Madmusée for “Musée d'art differentié”) is a Liège museum founded in 1998 which is located in the Avroy park in Liège. The museum preserves and exhibits works by artists with mental disabilities, mental illness or psychic fragility, in the context of a workshop. The Trinkhall Museum, (formerly Madmusée) is a Liège museum founded in 1998 which is located in the Avroy park in Liège. The museum preserves and exhibits works by artists with mental disabilities, mental illness or psychic fragility, in the context of a workshop. Being at the forefront of the cultural landscape of Liège, it intends to develop numerous collaborations with the various actors of artistic, social and cultural life, in Liège and well beyond the borders of the city. The opening of Trinkhall is the culmination of a project that took more than ten years to materialize. It emanates from Créahm which, for forty years, defends in a perspective which remains deeply innovative and committed the artistic expression of people with a mental handicap.
Designed by the Beguin-Massart architectural firm, the building, covered with an opaline mesh with gently rounded contours, sits like a lantern in the heart of the city. It is the result of a reflection in which the architects have been able to meet the poetics of the place, its history, its beauty, and all the functional requirements of a museum today. With more than 600 m2 of exhibition space, a bookstore space, a documentation center, a meeting space and educational activities and all the technical rooms necessary for the conservation of works, the Trinkhall is part of a new dynamic . Its café-restaurant, widely opening its terrace onto Avroy Park, remains freely accessible to the public and reinforces the dimension of exchange and sociability that has characterized the place since the 19th century.
Eels Foot Inn,RSPB Minsmere.
26th June 2017.
One of 7 Photograph's i Gave away to the Barn Owl Trust to help conserve Them.
Mono conversion of a Trumpeter Swan resting before the excitement began.
This cold cold morning (4 F, -15 C) I visited a park in Shakopee where flowing springs keep the water open attracting hundreds of water fowl and swans. I suppose to conserve energy, many of the swans were curled up and resting.
However, just after capturing this image, there was a sudden surge in quacking and honking announcing the arrival of a coyote. Instantly the swans necks were fully extended and the mass of birds moved closer together and began to shadow the coyote as it moved along the shore, the whole while complaining at full volume.
So much for sleeping in.
Ces maisons devraient en principe être détruites, certaines démontées et conservées en raison de leur intérêt patrimonial afin de construire le projet suivant :
Il s’agit de la rénovation urbaine d’une rue (+/- 40 maisons d’habitation) et de la réalisation des aménagements des abords du Quartier Spintay à Verviers.
Le projet s’articule autour de :
la rénovation urbaine de +/- 40 maisons d’habitations, pour y réaliser des commerces au rez-de-chaussée et des logements aux étages.
la réalisation des aménagements des abords de 10 zones entourant le site commercial de 40.000 m² qui va être construit. Ces aménagements concernent des zones piétonnes, des promenades le long de la rivière (Vesdre), des fontaines, des zones de parkings, des zones de circulations automobiles, les mobiliers urbains et les luminaires,…
Quelques chiffres :
9.500 m² de rénovations d’immeubles.
25.000 m² d’aménagements des abords du site revitalisé.
1 km de voiries et de circulations piétonnes aménagées.
Projet global de 150 millions d’euros.
These houses should in principle be destroyed, some dismantled and kept because of their heritage interest in order to build the following project:
This involves the urban renovation of a street (+/- 40 residential houses) and the development of the surroundings of the Spintay district in Verviers.
The project revolves around:
the urban renovation of +/- 40 residential houses, to create shops on the ground floor and housing on the upper floors.
development of the outskirts of 10 areas surrounding the 40,000 m² commercial site that will be built. These developments relate to pedestrian areas, walks along the river (Vesdre), fountains, parking areas, vehicle circulation areas, urban furniture and lighting, etc.
Some numbers :
9,500 m² of building renovations.
25,000 m² of development around the revitalized site.
1 km of roads and pedestrian circulation.
Global project of 150 million euros.
Cette porte remarquablement conservée et dont la partie basse remonte aux XIIe-XIIIe siècle formait l’entrée principale du château.
La partie haute se compose d’une salle au-dessus de laquelle est aménagé un niveau traité en hourds (système de défense en surplomb de la paroi). Les rainures permettant le coulissement d’une herse sont encore visibles sous le passage voûté.
Le clocheton renferme une cloche remarquable datée de 1523.
La Tour a été entièrement restaurée en 2018 après l’effondrement d’une partie de l’édifice en 2014.
A very tired mama moose walks around her baby, (who had collapsed in the snow), and continues to look for willow shoots. Moments later she dropped down into the snow as well, to rest and conserve her energy.
Today we have been enjoying sun and warm temperatures'. (28 degrees above zero!) I fervently hope that we have left the extreme cold behind, and the animals will be able to rebound.
*(Explored Feb. 7, 2020)
l'église conserve, dans la chapelle de la Communion (ou des Catéchismes), une très belle collection de vitraux peints à l'émail de la fin du XVIe siècle ou du début du XVIIe. Mutilés et dispersés à la Révolution, ils furent à nouveau réunis en 1834 ; il n'en reste plus que 12 sur les 22 initiaux.
In the Communion (or Catechism) chapel, the church has a fine collection of enamel-painted stained glass windows from the late 16th and early 17th centuries. Used up and dispersed during the Revolution, they were reunited in 1834; only 12 of the original 22 remain.
"Conserving the ocean means protecting all its creatures, big and small, from the mighty whale to the humble sea turtle."
Author Unknown
La cathédrale de Ratzebourg est une ancienne église romane, l'une des mieux conservées du pays. La cathédrale doit son aspect particulier à l'absence de pierre naturelle dans la région. Elle a donc été construite en briques.
L'église, construite à partir de 1160 sous l'évêque Evermod, est située sur le sommet le plus élevé de la pointe nord de l'île de la vieille ville de Ratzeburg. L'île abrite les ossements de Saint Ansverus, qui a été tué en 1066 lors du soulèvement de Wends. La cathédrale a été donnée par Heinrich le Lion comme église épiscopale du diocèse de Ratzeburg. Il s'agit donc de l'une des quatre "cathédrales du lion", auxquelles appartiennent également celles de Schwerin, Lübeck et Braunschweig. Une réplique du lion de Braunschweig se trouve dans la cour de la cathédrale de Ratzeburg depuis 1881.
Wikipedia
Tiger Mountain, Issaquah Alps. Cascade Mountains. Washington State, USA.
March 2025.
There is some really good news around the protection status of these forests.
www.seattletimes.com/seattle-news/climate-lab/wa-to-conse...
Wikipedia: The Studebaker Champion is an automobile which was produced by the Studebaker Corporation of South Bend, Indiana, from the beginning of the 1939 model year until 1958. It was a full-size car in its first three generations and a mid-size car in its fourth and fifth generation models, serving as the junior model to the Commander.
St. Louis Car Museum: With the anticipation of the World War II effort to begin, all automotive manufacturers ceased civilian production early into 1942 to focus production on military equipment and supplies. Production of cars and trucks halted on February 10, 1942. Approximately 300 vehicles built up to this period at Studebaker were reserved by the US Government to be utilized only for the Civil Defense Auxiliary and the New York Police Department. To conserve material, the usually chromed components were instead painted. These special vehicles were recorded with Studebaker as Deluxe Champion Model 90 “Black Out” Coupes and Sedans.
en.wikipedia.org/wiki/Studebaker_Champion
www.stlouiscarmuseum.com/vehicles/1149/1942-studebaker-ch...
Among many others, Giussani conserved the memory of a beautiful evening when, from the terrace of the seminary in Venegono, gazing upon a gorgeous view of the Alps from Monviso to Monte Rosa, he heard Galbiati’s voice from behind him say, “You see all that? It’s all mine! I’ll just leave it all there, for now . . .” Giussani remarked that one had to have the heart of a child in order to say such a thing: “Anyone who knew Monsignor Galbiati knew he was like a child.” That evening Giussani learned an essential lesson from that brief remark, which could have been interpreted as just a little quip: “If You are the Lord and therefore everything is Yours and I recognize it, then it all becomes mine; I follow You and everything becomes mine!”
-The Life of Luigi Giussani, Alberto Savorana Translated by Mariangela C. Sullivan and Christopher Bacich
Elle est l’une des cathédrales gothiques les plus connues au monde grâce à la série de tableaux que Claude Monet, le maître des Impressionnistes, lui a consacrée. Au cœur de la ville historique, la cathédrale de Rouen résume à elle-seule l’évolution de l’art gothique, depuis le début de sa construction au XIIème siècle, sur les fondations d’une basilique du IVème siècle et d’un ensemble roman du XIème siècle.
C'est une construction d'architecture gothique dont les premières pierres remontent au haut Moyen Âge. Elle a la particularité, rare en France, de conserver son palais archiépiscopal et les constructions annexes environnantes datant de la même époque.
Comme la plupart des grands édifices religieux du gothique normand, la cathédrale est dotée d'une « tour-lanterne » sur la croisée du transept. La flèche en bois couverte en plomb de style Renaissance qui la couronnait fut détruite par un incendie allumé par la foudre en 1822. Elle est à présent surmontée d'une flèche en fonte, construite de 1825 à 1876 qui culmine à 151 mètres de hauteur. La cathédrale Notre-Dame de Rouen est la plus haute de France et était le plus haut bâtiment du monde au moment de son achèvement en 1876, et le restera jusqu'en 1880, détrônée par la cathédrale de Cologne (157 mètres). Elle reste néanmoins la troisième plus haute église du monde, dépassée seulement par celles d'Ulm1 et Cologne. Elle est également la cathédrale qui, par la largeur de sa façade occidentale de 61,60 mètres, détient le record de France.
Considérée comme « la plus humaine des cathédrales » par le manque de symétrie de sa façade occidentale, elle est mondialement connue, notamment à travers les 30 tableaux de la série des Cathédrales de Rouen, peints par l'Impressionniste Claude Monet
It is one of the most famous Gothic cathedrals in the world thanks to the series of paintings that Claude Monet, the master of the Impressionists, dedicated to it. In the heart of the historic city, Rouen Cathedral alone sums up the evolution of Gothic art, since the beginning of its construction in the 12th century, on the foundations of a 4th century basilica and a Romanesque complex from the 11th century.
It is a Gothic architectural construction whose first stones date back to the early Middle Ages. It has the particularity, rare in France, of preserving its archiepiscopal palace and the surrounding annexes dating from the same period.
Like most of the great religious buildings of Norman Gothic, the cathedral has a "lantern tower" on the crossing of the transept. The Renaissance-style lead-covered wooden spire that crowned it was destroyed by a fire started by lightning in 1822. It is now topped by a cast iron spire, built from 1825 to 1876, which peaks at 151 meters in height. Rouen Cathedral is the tallest in France and was the tallest building in the world when it was completed in 1876, and would remain so until 1880, dethroned by Cologne Cathedral (157 meters). It nevertheless remains the third tallest church in the world, surpassed only by those of Ulm1 and Cologne. It is also the cathedral which, by the width of its western facade of 61.60 meters, holds the French record. Considered "the most human of cathedrals" due to the lack of symmetry of its western façade, it is known worldwide, notably through the 30 paintings in the Rouen Cathedrals series, painted by the Impressionist Claude Monet.
" If we could see the miracle in a single flower clearly, our whole life would change. " - Buddha
”In the end, we will conserve only what we love. We will love only what we understand. We will understand only what we are taught.” – Baba Dioum
"The photo is the hunt. It’s the instinct of hunting without the desire to kill. It’s the hunt of angels… you track, you aim, you fire and-click! Instead of a dead man, you make him eternal." - Chris Marker
“ "Sport" hunting is a sickness, a perversion and a danger and should be recognised as such.
People who get their 'amusement' from hunting and killing defenceless animals can only be suffering from a mental disorder.
In a world with boundless opportunities for amusement, it's detestable that anyone would choose to get thrills from killing others who ask for nothing from life but the chance to remain alive. ” Sir Roger Moore
Scarborough is a seaside town situated within the City of Cape Town on the Cape Peninsula in the Western Cape province of South Africa, situated at the edge of the Cape Point Nature Reserve. The town's boundary includes Scarborough Beach, which is popular with surfers.[3]
This town was designated as a conservation village in April 1996, defined as "a residential area of limited extent, surrounded by a conserved natural landscape, committed to reverse past environmental damage and to avoid future environmental impacts".
At 5 months old.
Just a comfy cub being cute.
Zorinka the female Amur Leopard cub, one of two born 2-17-23 to mom Satka and dad Oskar.
Photo taken 7-19-23.
Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.
Seen in a delicatessen window.
Thanks for looking.
Here's my album for this year: flic.kr/s/aHskzGbt4P
Last year's is here: flic.kr/s/aHskPxovML
Butinant tranquillement, une mouche tachinaires qui conserve sur son dos des gouttes de la rosée du matin.
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Quietly foraging, a tachinid fly that keeps on its back drops of morning dew.
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Est une espèce de "mouches parasites" de la famille des Tachinidae, de la sous-famille des Phasiinae. Les adultes d’ Ectophasia crassipennis peuvent atteindre une longueur d’environ 5–9 millimètres (0,20–0,35 in). Leurs grands yeux composés sont rougeâtres. Dans cette espèce très variable, le corps peut être noirâtre ou orange-brunâtre. Le large abdomen est aplati et le sternite est plié ventralement. Les grandes ailes ont de larges points brunâtres ou grisâtres et la cellule est ouverte au bord. Il est assez difficile de distinguer cette espèce de la semblable Ectophasia oblonga.
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Is a species of "parasitic flies" of the family Tachinidae, subfamily Phasiinae. Adults of Ectophasia crassipennis can reach a length of about 5-9 millimeters (0.20-0.35 in). Their large compound eyes are reddish. In this highly variable species, the body may be blackish or orange-brownish. The broad abdomen is flattened and the sternite is bent ventrally. The large wings have large brownish or greyish dots and the cell is open at the edge. It is quite difficult to distinguish this species from the similar Ectophasia oblonga.
🇫🇷 À l'intérieur sont conservées des tapisseries des XVIe et XVIIe siècles , réalisées à Ferrare , Florence et Bruxelles
La cathédrale de Côme abrite une multitude de trésors artistiques reflétant le riche patrimoine culturel de la région. Parmi les plus notables figurent les tapisseries des XVIe et XVIIe siècles, fabriquées à Ferrare, Florence et Bruxelles.(, ainsi que des peintures du XVIe siècle de Bernardino Luini et Gaudenzio Ferrari. ) Ces tapisseries représentent diverses scènes religieuses et témoignent de l'artisanat complexe de l'époque
🇮🇹 All'interno sono conservati arazzi del XVI e XVII secolo , realizzati a Ferrara , Firenze e Bruxelles
La cattedrale di Como ospita una moltitudine di tesori artistici che riflettono il ricco patrimonio culturale della regione. Tra i più notevoli figurano gli arazzi del XVI e XVII secolo, realizzati a Ferrara, Firenze e Bruxelles, nonché dipinti del XVI secolo di Bernardino Luini e Gaudenzio Ferrari.
Questi arazzi raffigurano diverse scene religiose e testimoniano la complessa maestria artigianale dell'epoca.
🇩🇪 Im Inneren befinden sich Wandteppiche aus dem 16. und 17. Jahrhundert , die in Ferrara , Florenz und Brüssel hergestellt wurden
Die Kathedrale von Como beherbergt eine Vielzahl von Kunstschätzen, die das reiche kulturelle Erbe der Region widerspiegeln. Zu den bemerkenswertesten zählen die Wandteppiche aus dem 16. und 17. Jahrhundert, die in Ferrara, Florenz und Brüssel hergestellt wurden, sowie Gemälde aus dem 16. Jahrhundert von Bernardino Luini und Gaudenzio Ferrari.
Diese Wandteppiche zeigen verschiedene religiöse Szenen und zeugen von der komplexen Handwerkskunst jener Zeit.
🇬🇧 Inside are tapestries from the 16th and 17th centuries, made in Ferrara, Florence and Brussels.
Como Cathedral houses a multitude of artistic treasures reflecting the rich cultural heritage of the region. Among the most notable are tapestries from the 16th and 17th centuries, made in Ferrara, Florence and Brussels, as well as 16th-century paintings by Bernardino Luini and Gaudenzio Ferrari.
These tapestries depict various religious scenes and bear witness to the complex craftsmanship of the period.
🇪🇸 En su interior se conservan tapices de los siglos XVI y XVII , realizados en Ferrara , Florencia y Bruselas .
La catedral de Como alberga una gran cantidad de tesoros artísticos que reflejan el rico patrimonio cultural de la región. Entre los más destacados se encuentran los tapices de los siglos XVI y XVII, fabricados en Ferrara, Florencia y Bruselas, así como pinturas del siglo XVI de Bernardino Luini y Gaudenzio Ferrari.
Estos tapices representan diversas escenas religiosas y dan testimonio de la compleja artesanía de la época.
L'enceinte du Mans est la mieux conservée de tout l'ancien empire romain, avec celles des deux capitales impériales : Rome et Byzance (Istanbul).
Monument rare, unique en France !
Construite à la fin du IIIè siècle (280-295), la muraille romaine dessine un quadrilatère irrégulier de 450 m de long sur 200 m de large. Ce périmètre de 1300 mètres a ceinturé pendant plus de 17 siècles, le cœur de la ville. En référence à la couleur de ses murs, Vindunum (Le Mans) était qualifiée de "ville rouge". Sa construction de briques, de pierres de roussard liées par un mortier rose lui confère cette teinte caractéristique. Elle a été bâtie pour affirmer la puissance impériale : l'exceptionnelle richesse des parements, où se succèdent encore aujourd'hui sur plus de 8 m de haut des frises à décors géométriques, en est une trace magistrale. Monument rare, unique en France, la muraille demeure debout, quoique sans véritables fondations. Douze tours, une porte et trois poternes sont visibles,...
4 Princelet Street has 15 rooms conserved in original condition and is available as an event venue and for film and photo shoots
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Ben Truman’s House, c1720
spitalfieldslife.com/2023/01/30/at-ben-trumans-house-o/
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Nikon Nikkor 18-200mm 1:3.5-5.6 G ED-IF AF-S VR DX
_DSC8158 Anx2 1400h Q90 Ap Q11 f10 f25
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
Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.
Ribs and a pieces of the spine of a huge petrified Temnodontosaurus trigonodon, 200 - 175 000 000 years old... The very small round shapes are pieces of the spine of its preys.
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
Our Daily Challenge ... resting.
Since childhood, I have referred to flowers which have closed up for the night, as being "asleep", so I thought it might be a good subject for this challenge. Some research on the internet reveals that they aren't really sleeping ... but in a way, they are resting in that they are conserving energy for daytime activities such as reproduction.
Plants that tuck themselves in for bedtime exhibit a natural behaviour known as nyctinasty. Scientists know the mechanism behind the phenomenon: In cool air and darkness, the bottom-most petals of certain flowers grow at a faster rate than the uppermost petals, forcing the flowers shut. But scientists are not quite sure why some plants, particularly flowers, evolved this way. There are several theories, though.
Charles Darwin believed that plants close up at night to reduce their risk of freezing. Another theory suggests that nyctinastic plants are conserving energy — and perhaps their odour — for the daytime when pollinating insects are most active.
Some scientists believe that this behaviour prevents pollen from becoming wet and heavy with dew. Insects can more easily transfer dry pollen, improving a nyctinastic plant's likelihood of successful reproduction.
In Explore 9/13/2020
From Wikipedia:
Great Sand Dunes National Park and Preserve is an American national park that conserves an area of large sand dunes up to 750 feet (229 m) tall on the eastern edge of the San Luis Valley, and an adjacent national preserve in the Sangre de Cristo Range, in south-central Colorado, United States.
The park contains the tallest sand dunes in North America. The dunes cover an area of about 30 sq mi (78 km2) and are estimated to contain over 1.2 cubic miles (5 billion cubic metres) of sand. Sediments from the surrounding mountains filled the valley over geologic time periods. After lakes within the valley receded, exposed sand was blown by the predominant southwest winds toward the Sangre de Cristos, eventually forming the dunefield over an estimated tens of thousands of years. The four primary components of the Great Sand Dunes system are the mountain watershed, the dunefield, the sand sheet, and the sabkha. Ecosystems within the mountain watershed include alpine tundra, subalpine forests, montane woodlands, and riparian zones.
New Jersey Eagle Project
Conserve Wildlife Foundation of NJ in partnership with the NJ Division of Fish and Wildlife’s Endangered & Nongame Species Program, is releasing results of the 2019 NJ Bald Eagle nesting season.
2019 was a record year for NJ eagles with the highest number of active nests and young fledged in the history of the project. This year, 238 eagle nests were monitored, of which 189 were active (laid eggs) and 248 young fledged. This is the highest number of fledges ever, surpassing the previous high of 216 in 2016.
For more info: www.conservewildlifenj.org/blog/2019/09/09/new-jersey-bal...