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Medieval bridge over the river Fluvia to the village Besalu in Catalonia Spain. After several visits, I finally captured a strong reflection of the beautiful Romanesque bridge, which was constructed in the 12th century. The old part of the village is exceptionally well conserved and contains many interesting historic buildings. It played an important role in the early Middle Ages where it was the capital of the county La Garrotxa. In case you happen to like one of my photographs, I would like to mention that I sell prints of my best ones at the print-on-demand site Redbubble (www.redbubble.com/people/kimvbpedersen/).
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
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
L'original de ce tableau est conservé au musée des Beaux Arts de Gand (Gent).
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 Beaux Arts of Gand (Gent).
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.
De la chimie qu’il a étudiée dans les années 1970, Tony Cragg conserve une curiosité pour les nouveaux matériaux. Sa sculpture s’élabore alors à partir des débris d’objets en plastique récupérés. Ce matériel ordinaire et hétéroclite est disposé au sol dans un désordre contredit cependant par l’ordonnancement géométrique ou chromatique de la sculpture. Dans ses « empilements », l’artiste anglais échafaude de même un amas d’éléments collectés, qui tiennent pourtant dans les limites strictes d’un volume cubique. Plan de coupe de la société industrielle fossilisée à travers ces reliquats matériels, ce travail a pu être apparenté à une géologie sociale. Il prend une dimension plus sensuelle dès lors que Cragg accentue son travail intrigant de la surface et de la forme. Monumentales, les sculptures s’inspirent de formes organiques ou naturelles et sont réalisées par les techniques traditionnelles du moulage ou du soufflage. Molécules d’ADN, dents, coquillages prêtent leur structure à des pièces qui rendent visible le monde des formes premières et vivantes.
Minster, première version qui date de 1985, relève a priori d’un travail tourné vers la société industrielle puisque les matériaux y sont prélevés. Mais les pneus, les disques dentelés métalliques ou les fuseaux en bois sont empilés dans des colonnes à l’architecture peut-être primitive. Sorte de totems modernes, ces « cercles » réactualiseraient des formes supports de rituels originels. Ils semblent conjoindre et stratifier des âges successifs pour finalement se poser comme les traces contemporaines d’une mémoire sociale.
From the chemistry he studied in the 1970s, Tony Cragg retains a curiosity for new materials. His sculpture is then developed from the debris of recovered plastic objects. This ordinary and heterogeneous material is arranged on the ground in a disorder contradicted by the geometric or chromatic arrangement of the sculpture. In his "piles," the English artist similarly constructs a heap of collected elements, which nevertheless fit within the strict limits of a cubic volume. A cross-section of industrial society fossilized through these material remnants, this work could be compared to social geology. It takes on a more sensual dimension when Cragg accentuates his intriguing work with surface and form. Monumental, the sculptures are inspired by organic or natural forms and are created using traditional molding or blowing techniques. DNA molecules, teeth, and shells lend their structure to pieces that make visible the world of primal, living forms.
Minster, the first version dating from 1985, appears to be a work oriented towards industrial society, since the materials were taken from there. But tires, serrated metal discs, and wooden spindles are stacked in columns of perhaps primitive architecture. A sort of modern totem, these "circles" recreate forms that support original rituals. They seem to combine and stratify successive ages, ultimately emerging as contemporary traces of a social memory.
www.nationaltrust.org.uk/the-white-cliffs-of-dover/featur...
The White Cliffs of Dover’s rare chalk grass land requires the conservation work of both the human and equine variety to ensure that the veritable treasure trove of flora and fauna found on the cliffs can thrive.
We care for 8km of the White Cliffs of Dover. The cliffs are not only a national landmark but also an important place for rare species of wildlife, including butterflies, birds and wildflowers.
The chalk downland or calcareous grassland that is found on the cliff tops is formed where the chalk eroded to form gently rolling hills. Here where the downland meets the sea, the chalk's face is exposed to form the famous White Cliffs.
A combination of shallow soils which are exposed to the wind and rain make it difficult for large plants to become established. In this harsh environment no single type of plant can dominate, instead, small clumps or patches of a wide variety of plants thrive together.
Historically, this chalk grassland was created by allowing animals to graze the cliff tops. This traditional form of agriculture created the landscape that we see today; however, modern farming techniques including the use of fertilizers, herbicides and even tractors, can easily destroy it.
New Jersey Eagle Project - 2020
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...
le pont peint parPaul Cézanne (1839-1906) conservée au musée Pouchkine1 de Moscou. Elle date de 1888 et mesure 71 × 90 cm2. On aperçoit au fond le pont de Créteil.
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
Bruno Vansina Quartet @ La Conserve Leuven
3MAY2018
Cyrille Obermüller Double bass
Kobe Proesmans Percussion
Bruno Vansina Alt Sax
Teun Verbruggen Drums
Photography: © Patrick Van Vlerken 2018
Merci à Isabelle, Nadia, Esther, Monique, Philou et J.J pour ce week-end FlickR si sympa à La Rochelle.
Merci, pour ces rencontres entre passionnés de photos, tellement enrichissantes humainement et photographiquement, à Wissant, Paris, Annecy, Nantes, Bruxelles, Avignon, Montpellier, Nevers, La Rochelle, Bordeaux...
Merci à tous de passer ici, pour votre fidélité, depuis 4 ans maintenant.
Jpeg boitier brut, réalisé avec Nikon D7500 et Nikon AF 18-35 f/3,5-4,5
Photo bonus.
Finalement, j'ai décidé de ne pas redresser l'image pour conserver les arches latérales.
fr.wikipedia.org/wiki/%C3%89glise_Saint-S%C3%A9verin
en.wikipedia.org/wiki/Saint-S%C3%A9verin,_Paris
Rue des Prêtres-Saint-Séverin
75005 PARIS
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
Schloss Benrath (Benrath Palace) is a Baroque-style maison de plaisance (pleasure palace) in Benrath, which is now a borough of Düsseldorf. It was erected for the Elector Palatine Charles Theodor and his wife, Countess Palatine Elisabeth Auguste of Sulzbach, by his garden and building director Nicolas de Pigage. Construction began in 1755 and was completed in 1770. The ensemble at Benrath has been proposed for designation as a UNESCO World Heritage Site.
The main building, the central corps de logis, for the Elector Palatine and his wife is flanked by two arched symmetrical wings, the maisons de cavalière, which originally housed the servants. They partially surround a circular pond, the Schlossweiher (palace pond), in the north. On the southside lies a long rectangular pond, the Spiegelweiher (mirror pond). From the predescant castle, which stood formerly in the mid of the long rectangular pond on the southside of the palace, is conserved only one of the servant wings, the so-called Alte Orangerie (Old Orangery).
The Polyptych of the Misericordia is a painting conserved in the Museo Civico di Sansepolcro in the town of Sansepolcro, region of Tuscany, Italy. The painting is one of the earliest works of the Italian Renaissance painter Piero della Francesca, who was born in the town. The central panel is of the common motif of the Virgin of Mercy or Madonna della Misericordia.
In 1445, the Compagnia della Misericordia, a confraternity of Borgo San Sepolcro, commissioned Piero, a native of the town, to paint a polyptych for them. According to the taste of the time, the polyptych was to be painted with precious colours and have a gilded background. Piero did not respect the three-year time limit set in the contract—he was busy working on many other projects. The polyptych was only finished seventeen years later, in 1462.
The oldest two panels, to the left of the main panel, depict St Sebastian and John the Baptist. St Sebastian's panel shows a close connection with Masaccio's nudes, which Piero would have seen in an early visit to Florence. Piero painted the outlying panels of the tympanum later; including the Crucifixion at the top centre, St Benedict, the Angel, the Madonna of the Annunciation, and St Francis in the sides. Towards 1450 he finished the figures of St. Andrew and St. Bernardino. The predellas, with five scenes of Jesus's life, were mostly executed by assistants.
The last part of the polyptych to be painted was the main central panel showing the Madonna della Misericordia. The panel portrays the mercifully protective gesture of the Madonna enfolding her followers in her mantle.
Piero resolves the difficulty of dealing with a flat solid gilded background, requested by the patrons, by placing the kneeling members of the confraternity (who commissioned the altarpiece) in the realistic three-dimensional space created by the Madonna's mantle, a space resembling the apse of a church. Notably, the Madonna is still portrayed larger in size than the human figures, a tradition in medieval painting. However, the fully three-dimensional rendering of the figure, inspired by Masaccio, and the perspective study, inspired by Brunelleschi, are plainly of the Renaissance.
Bruno Vansina Quartet @ La Conserve Leuven
3MAY2018
Cyrille Obermüller Double bass
Kobe Proesmans Percussion
Bruno Vansina Alt Sax
Teun Verbruggen Drums
Photography: © Patrick Van Vlerken 2018
De la chimie qu’il a étudiée dans les années 1970, Tony Cragg conserve une curiosité pour les nouveaux matériaux. Sa sculpture s’élabore alors à partir des débris d’objets en plastique récupérés. Ce matériel ordinaire et hétéroclite est disposé au sol dans un désordre contredit cependant par l’ordonnancement géométrique ou chromatique de la sculpture. Dans ses « empilements », l’artiste anglais échafaude de même un amas d’éléments collectés, qui tiennent pourtant dans les limites strictes d’un volume cubique. Plan de coupe de la société industrielle fossilisée à travers ces reliquats matériels, ce travail a pu être apparenté à une géologie sociale. Il prend une dimension plus sensuelle dès lors que Cragg accentue son travail intrigant de la surface et de la forme. Monumentales, les sculptures s’inspirent de formes organiques ou naturelles et sont réalisées par les techniques traditionnelles du moulage ou du soufflage. Molécules d’ADN, dents, coquillages prêtent leur structure à des pièces qui rendent visible le monde des formes premières et vivantes.
Minster, première version qui date de 1985, relève a priori d’un travail tourné vers la société industrielle puisque les matériaux y sont prélevés. Mais les pneus, les disques dentelés métalliques ou les fuseaux en bois sont empilés dans des colonnes à l’architecture peut-être primitive. Sorte de totems modernes, ces « cercles » réactualiseraient des formes supports de rituels originels. Ils semblent conjoindre et stratifier des âges successifs pour finalement se poser comme les traces contemporaines d’une mémoire sociale.
From the chemistry he studied in the 1970s, Tony Cragg retains a curiosity for new materials. His sculpture is then developed from the debris of recovered plastic objects. This ordinary and heterogeneous material is arranged on the ground in a disorder contradicted by the geometric or chromatic arrangement of the sculpture. In his "piles," the English artist similarly constructs a heap of collected elements, which nevertheless fit within the strict limits of a cubic volume. A cross-section of industrial society fossilized through these material remnants, this work could be compared to social geology. It takes on a more sensual dimension when Cragg accentuates his intriguing work with surface and form. Monumental, the sculptures are inspired by organic or natural forms and are created using traditional molding or blowing techniques. DNA molecules, teeth, and shells lend their structure to pieces that make visible the world of primal, living forms.
Minster, the first version dating from 1985, appears to be a work oriented towards industrial society, since the materials were taken from there. But tires, serrated metal discs, and wooden spindles are stacked in columns of perhaps primitive architecture. A sort of modern totem, these "circles" recreate forms that support original rituals. They seem to combine and stratify successive ages, ultimately emerging as contemporary traces of a social memory.
One would also save on the cost of dryer sheets as well as not having to have to clean the lint screen. Static shock, which was always a good laugh for me was probably non existent.
Long Island Fair 2008
Old Bethpage,NY
E652.043 titolare oggi del Bologna Interporto - Maddaloni Marcianise, con la sua composizione di carri H carichi di conserve, qui fotografato mentre transita a Roma Tiburtina.
Museum closed in 2016; 'exhibits are being professionally stored and conserved' near Netheravon, Wiltshire, on Salisbury Plain
en.wikipedia.org/wiki/Royal_Artillery_Museum
_DSC9778 Anx2 1400w Q90
To see more pictures of Paris or to see my Interesting 40
La Sainte-Chapelle :(French for The Holy Chapel) is a Gothic chapel on the Ile de la Cité in the heart of Paris, France. It is perhaps the high point of the full tide of the rayonnante period of Gothic architecture.
It was planned in 1241, started in 1246 and quickly completed: it was consecrated on April 26, 1248. The patron was the very devout Louis IX of France, who constructed it as a chapel for the royal palace.[1] The palace itself has otherwise utterly disappeared, leaving the Sainte Chapelle all but surrounded by the Palais de Justice, which carries on a single function of the palace, which was the site of the king's lit de justice where important aristocrats pled their cases before the king.
The Sainte Chapelle was built to house precious relics: Christ's crown of thorns, the Image of Edessa and twenty other relics of Christ had been in Louis' hands since August 1239, when it arrived from Venice in the hands of two Dominican friars
The Royal chapel stands squarely upon a lower chapel which served as parish church for all the inhabitants of the palace, which was the seat of government (see "palace"). The king was later granted sainthood by the Roman Catholic Church as Saint Louis.
The upper chapel: Picture will be send later
La Sainte-Chapelle fut édifiée sur l'île de la Cité, à Paris, à la demande de Saint-Louis afin d'abriter la Sainte couronne, un morceau de la Sainte Croix ainsi que diverses autres reliques qu'il avait acquises.
Architecture
Les plans sont probablement dus à Pierre de Montreuil qui l'édifia en un temps record : de 1242 à 1248. Ce bâtiment est un petit chef d'œuvre de l'art gothique, certains auteurs considérant qu'il marque l'apogée de cet art. Conçue comme une chasse précieuse devant mettre en valeur les reliques y étant conservées, elle devait également servir de chapelle royale, étant construite dans le palais royal de l'île de la Cité. Elle superpose deux chapelles, l'inférieure pour les gens du commun, la supérieure pour l'entourage du roi, selon un usage courant dans la construction des palais royaux du Moyen Âge. Dans les premiers temps, la chapelle haute n'était d'ailleurs accessible que par les galeries supérieures du Palais, Saint Louis n'ayant pas fait construire d'escalier public.
La Chapelle basse
La chapelle basse, dédiée à la Vierge, était accessible aux gens de service et sert de socle à la chapelle haute. Basse de plafond, bordée de piliers massifs supportant tout le poids de l'édifice, elle n'existe que pour son utilité fonctionnelle et architecturale, permettre d'alléger au maximum la construction en supportant tout le poids de la chapelle haute.
La Chapelle haute : photo à venir !
Source: Wikipedia.
Colas 37115 and large logo 37025 "Inverness TMD" departing Ardlui with 6K20 Crianlarich - Millerhill.
37025 was shut down to conserve fuel, so 37116 was powering solo with only 3 of the 10 ballast hoppers unloaded.
The top of Loch Lomond can just be seen behind the top of the telegraph pole.
La solitude des cîmes
---
Nikon F801
50 mm 1:1,8
Fujifilm Superia 400
Périmée depuis août 2016
Conservée à "température ambiante"
Exposée à 400 ASA
Epson Perfection V600 Photo
Désaturée
Cold weather froze the area but little snow accumulated. Stacks from the North Bend Power Plant in Ohio are at the center of this image. Good day for a hike around Jackpot Lake.
Le Mans (Sarthe)
L'enceinte romaine.
C'est aujourd’hui l'enceinte la mieux conservée de tout l'ancien Empire romain, avec celles des capitales impériales, Rome et Byzance.
Longue de 1300 mètres à l'origine, l'enceinte comprenait une trentaine de tours. La teinte de la muraille est due à l'utilisation de briques, de pierres de roussard (grès rouge) et d'un mortier rosâtre.
La construction de l'enceinte s'est certainement étalée du milieu des années 270 au début des années 300. Cette construction s'inscrit probablement dans la campagne de constructions décidées par l'empereur Aurélien. Vindunum (Le Mans) n'est pas la seule cité à se doter d'une enceinte fortifiée à cette époque : Le mur d'Aurélien à Rome a été construit entre 271 et 282. L'Empire sort alors d'une grave crise (politique, militaire et économique) et Aurélien décide de concentrer toutes les administrations de chaque ville de l'Empire dans un castrum où elles seront à l'abri. Le castrum du Mans protégeait l'extrémité du plateau de Sargé qui domine la Sarthe.
La muraille du Mans est une des seules à posséder de telles décorations dont le caractère ostentatoire devait affirmer le prestige impérial, ainsi que celui du pouvoir local, après une période difficile.
Les remparts ne possèdent pas de véritables fondations, ils reposent simplement sur une assise de moellons, de blocs ou de dalles, parfois de pilotis en bois dans les zones humides. On retrouve dans la muraille des fragments de colonnes et frontons provenant de monuments antérieurs ce qui montre que les matériaux de bâtiments plus anciens ont été réemployés.
La muraille fut le seul système défensif de la ville jusqu'au XIVe siècle.
www.ouest-france.fr/pays-de-la-loire/le-mans-la-petite-hi...
www.lemans.fr/dynamique/des-idees-de-visite/les-monuments...
This building conserves most of the decorative elements of Tulum. It has two levels, of which the lower level is comprised of two temples, one within the other, where the decoration is concentrated. The façade of the inner temple is decorated with mural paintings, while that of the outer temple boasts stucco figures in bas-relief, including masks in the corners, sculptures in three niches in the façade – the central one is a representation of the descending god – and human figures intertwined in the frieze. The temple of the upper level is very simple as its decoration consists of red-colored hand prints.
...bathe with a friend! 8-)
The house sparrows were very busy yesterday taking baths in the birdbath Leo likes to drink out of.........you know what they say.........while the cat's away...........
Perhaps this will make the water taste extra yummy.....nothing like a little essence of feathers to flavor things up a little!.
On cold mornings butterflies conserve energy by hanging on plants until the day warms up.
Butterflies reproduce the way other animals do -- sperm from a male fertilizes eggs from a female. Males and females of the same species recognize one another by the size, color, shape and vein structure of the wings, all of which are species specific. Butterflies also recognize each other through pheromones or scents. During mating, males use clasping organs on their abdomens to grasp females.
Many male butterflies deliver more than just sperm to their mates. Most provide a spermatophore, a package of sperm and nutrients the female needs to produce and lay eggs. Some males collect specific nutrients to produce a better spermatophore in an attempt to attract a mate. Some females, however, don't have a choice -- in some species, males mate with females before they have left their chrysalis or swarm the chrysalis waiting for the female to appear. In most species, males and females look a lot a like, but females often have larger abdomens for carrying their eggs.
Females store the sperm in a sac called a bursa until she's ready to lay her eggs. She fertilizes her eggs as she lays them, using the last sperm she received first. For this reason, males of some species will leave a substance that dries into a film on the female's abdomen in an effort to keep her from mating with other males. Females lay their eggs one at a time or in batches of hundreds depending on their species.
A butterfly has to take special care when laying eggs. The eggs must be kept warm and at the right humidity level. Too much moisture and the egg will rot or be attacked by fungus. Too little and the egg will dry out. Caterpillars also need to start eating as soon as they hatch, so most of the time females place the eggs directly onto a plant the caterpillar will eat. Typically, the eggs attach to the underside of a leaf so they are hidden from predators.
In spite of all the effort female butterflies make to protect their eggs, very few make it to adulthood. Ants, birds and other animals can eat the eggs themselves. Also caterpillars and butterflies are popular snacks for everything from birds to bats. Some insects also lurk in or around flowers to prey on adult butterflies. A butterfly's chrysalis also has few defenses from predators and, at all stages of life, a butterfly can succumb to fungi and diseases.
Parides iphidamas is commonly known as the Iphidamas Cattleheart and the Transandean Cattleheart.
Wings of the Tropics, Fairchild Tropical Botanic Garden, Miami FL
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.
L'ancienne abbaye Notre-Dame de Daoulas, sur la commune de Daoulas dans le Finistère.
L'abbaye Notre-Dame de Daoulas de l'ordre de Saint-Augustin est le seul monastère de l'ordre conservé en Bretagne pour la période romane. Selon la vie légendaire de Saint Joua, il fut le premier abbé d'une primitive abbaye fondée sur le site de Daoulas (abbatia Beatoe Marioe de Daoulas) au cours du 6e siècle par un seigneur du Faou en expiation du meurtre des abbés Tadec et Judulus. Daoulas est un mot breton "Daou glas" qui signifie "deux douleurs" ou "deux deuils". Ce premier monastère a été ravagé par les Normands. Un second monastère a été fondé peut-être en 1125 par Alain, seigneur de Rohan, et Constance sa femme. La construction de l'église abbatiale de 1167 à 1173 fut l'initiative de Guyomarc'h, vicomte de Léon et de sa femme, Nobile. La consécration de l'abbaye a lieu le 12 septembre 1232 par Rainaud, évêque de Quimper, assisté de Cadioc, évêque de Vannes. En 1790, l'église devient un enclos paroissial.
La chaire à prêcher est du 17e siècle, ses décors sont caractéristiques de l'époque du roi Louis XIV. On peut voir sur la gauche de la photo la statue de Saint Clair de Nantes, le premier évêque de Nantes.
L'église romane et le cloître de l'ancienne abbaye sont classés monument historique par arrêté du 12 juillet 1886.
The Abbey Notre-Dame of Daoulas of the Order of Saint Augustine is the only monastery of the order in Brittany preserved from the Romanesque period. According to the legendary life of Saint Joua, he was the first abbot of a primitive abbey, founded on the site of Daoulas (abbatia Beatoe Marioe de Daoulas) during the 6th century, by a lord of Faou in expiation of the murders of the abbots Tadec and Judulus. Daoulas is a Breton word "Daou glas", which means "two pains" or "two mournings". This first monastery was ravaged by the Normans. A second monastery was founded presumably in 1125 by Alain, Lord of Rohan and his wife, Constance. The construction of the abbey church from 1167 to 1173 was the initiative of Guyomarc'h, Viscount of Léon and his wife, Nobile. The consecration of the abbey by Rainaud, Bishop of Quimper who was assisted by Cadioc, Bishop of Vannes took place on September 12, 1232. In 1790, the church became a parish enclosure.
The pulpit is from the 17th century, its decorations are characteristic of the time of King Louis XIV. The statue on the left of the photo represents the Bishop Saint Clair of Nantes, he was the first bishop of Nantes.
The Romanesque church and the cloister of the former abbey were classified as a historic monument on July 12, 1886.
Conserve water!
Explore!
Taken from my archives. :P Just needed to post something. :D This might be gone by tomorrow. Haha! I really have a hand thing, don't I? Lol!
*Scratch that. I guess I'll keep it. :P :D
Hercules Port is a natural bay at the foot of the ancestral rock of the princes of Monaco.
It is one of the few, if not the only deep-water port of the French Riviera.
It was used as a trading port by the Greeks and Romans but had the disadvantage of being poorly sheltered from the easterly winds. This prompted the erection of two piers in the early twentieth century which went some way to providing better protection.
More recently, at the instigation of HRH Prince Rainier III, studies were conducted in the 1970s to better protect the stretch of water by placing, before the two existing piers, a new sea wall and a lee breakwater intended to provide the port with full protection from the swells of the eastern sector.
These studies were to lead to the construction of a colossal structure 352 metres in length and weighing 160,000 tonnes at the foot of the Rock of Gibraltar. It has the unique feature of being semi-floating in order to conserve the marine fauna and flora.
It was towed to the principality and moored at the foot of the rock. It was completed by a lee breakwater 145 metres in length.
The new sea wall also makes it possible to welcome major cruise ships (up to 300 metres in length).
Inside the original port, HRH Prince Albert II, who continued the work started by his father, wished to see the stretch of water undergo comprehensive redevelopment to make the port in Monaco the most modern and most practical marina in the western Mediterranean.
This redevelopment enable large and luxurious pleasure craft to be welcomed in response to the development of ocean cruising.
"Société d'exploitation des ports de Monaco"
For my video; youtu.be/jlEU8-jxfV8
Central Park,
Garden Village, Burnaby, British Columbia, Canada
One of 13 owl Eco-sculptures. Each owl is a different species, and represents one of Canada's 13 provinces and territories.
Burnaby has a wide selection of owl species - including the barn owl, barred owl and great horned owl. The sculptures call attention to the declining number of owls and remind us of the community's important role to help conserve owl populations,
Willingdon Linear Park,
Bruno Vansina Quartet @ La Conserve Leuven
3MAY2018
Cyrille Obermüller Double bass
Kobe Proesmans Percussion
Bruno Vansina Alt Sax
Teun Verbruggen Drums
Photography: © Patrick Van Vlerken 2018
Bruno Vansina Quartet @ La Conserve Leuven
3MAY2018
Cyrille Obermüller Double bass
Kobe Proesmans Percussion
Bruno Vansina Alt Sax
Teun Verbruggen Drums
Photography: © Patrick Van Vlerken 2018
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
Bladensburg National Park conserves 84,900ha of Mitchell Grass Downs and Channel Country, including unique birdlife, plants and animals. Impressive flat-topped plateaus and residual sandstone ranges provide a scenic backdrop to vast grassland plains and river flats, river red gums and rocky scarp.
Bladensburg National Park encompasses areas of important Indigenous and pastoral heritage. The Koa People consider Bladensburg to be part of their traditional country, and the park is also important to the Maiawali and Karuwali People. Skull Hole is believed to be the site of a massacre of Aboriginal people in the late 1800s.
Pastoralists established a large station at Bladensburg—the homestead has been restored and is used as an information centre and ranger office. There are other sites within the park which offer reminders of the park’s early pastoral history.
Source: Queensland Government: Parks and forests, Department of Environment & Science.
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
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.
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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.
Ancien hospice des incurables et des filles repenties, le Vertbois est édifié à partir de 1702 en brique et pierre calcaire. Construit sur un plan en E, l’aile centrale est occupée par la chapelle Saint-Charles Borromée, dont la façade principale est rythmée par quatre imposants pilastres et un portail en plein cintre. Entre la chapelle et les restes des bâtiments se trouvent deux cours intérieures. Une partie de l’édifice abrita un orphelinat jusque 1981 alors que le reste du bâtiment connut de nombreuses affectations au cours des siècles.
Un projet de réaffectation prend forme au début des années 1990 afin de reconvertir les lieux pour y abriter plusieurs services à vocation économique et principalement le Conseil économique et social de a Région wallonne. Les travaux sont terminés en 1994. Les architectes Daniel Lesage et Christian Satin ont considérablement modernisé l’ensemble et transformé la chapelle en salle de réunion. Le caractère profondément contemporain de l’intérieur s’allie au caractère ancien de l’extérieur, rénové mais conservé intact.
Former hospice of incurables and repented girls, the Vertbois is built from 1702 in brick and limestone. Built on a plane in E, the central wing is occupied by the chapel of St. Charles Borromeo, whose main facade is punctuated by four imposing pilasters and a semicircular portal. Between the chapel and the remains of the buildings are two inner courtyards. Part of the building housed an orphanage until 1981 while the rest of the building had many assignments over the centuries.
A reallocation project took shape in the early 1990s in order to reconvert the site to house several economic services and mainly the Economic and Social Council of the Walloon Region. The work was completed in 1994. The architects Daniel Lesage and Christian Satin considerably modernized the ensemble and transformed the chapel into a meeting room. The deeply contemporary character of the interior combines with the old character of the exterior, renovated but kept intact.
Great Sand Dunes National Park and Preserve
Great Sand Dunes National Park and Preserve is an American national park that conserves an area of large sand dunes up to 750 feet (230 m) tall[5] 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.[6] The park was originally designated Great Sand Dunes National Monument on March 17, 1932, by President Herbert Hoover. The original boundaries protected an area of 35,528 acres (55.5 sq mi; 143.8 km2).[2] A boundary change and redesignation as a national park and preserve was authorized on November 22, 2000, and then established on September 24, 2004.[3] The park encompasses 107,342 acres (167.7 sq mi; 434.4 km2) while the preserve protects an additional 41,686 acres (65.1 sq mi; 168.7 km2) for a total of 149,028 acres (232.9 sq mi; 603.1 km2).[1] The recreational visitor total was 527,546 in 2019.[4]
The park contains the tallest sand dunes in North America.[7] 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.[8] 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.[9] The four primary components of the Great Sand Dunes system are the mountain watershed, the dunefield, the sand sheet, and the sabkha.[8] Ecosystems within the mountain watershed include alpine tundra, subalpine forests, montane woodlands, and riparian zones.[10]
Evidence of human habitation in the San Luis Valley dates back about 11,000 years. The first historic peoples to inhabit the area were the Southern Ute Tribe; Apaches and Navajo also have cultural connections in the area. In the late 17th century, Diego de Vargas, a Spanish governor of Santa Fe de Nuevo México, became the first European on record to enter the San Luis Valley. Juan Bautista de Anza, Zebulon Pike, John C. Frémont, and John Gunnison all travelled through and explored parts of the region in the 18th and 19th centuries. The explorers were soon followed by settlers who ranched, farmed and mined in the valley starting in the late 19th century. The park was first established as a national monument in 1932 to protect it from gold mining and the potential of a concrete manufacturing business.[11]
Visitors must walk across the wide and shallow Medano Creek to reach the dunes in spring and summer. The creek typically has a peak flow from late May to early June. From July to April, it is usually no more than a few inches deep, if there is any water at all.[12] Hiking is permitted throughout the dunes with the warning that the sand surface temperature may reach 150 °F (66 °C) in summer.[13] Sandboarding and sandsledding are popular activities, both done on specially designed equipment that can be rented just outside the park entrance or in Alamosa.[14] Visitors with street-legal four-wheel drive vehicles may continue past the end of the park's main road to Medano Pass on 22 miles (35 km) of unpaved road, crossing the stream bed of Medano Creek nine times and traversing 4 miles (6.4 km) of deep sand.[15] Hunting is permitted in the preserve in the autumn, but prohibited within national park boundaries at all times.[16] The preserve encompasses nearly all of the mountainous areas north and east of the dunefield, up to the ridgeline of the Sangre de Cristos.[6]
Source: en.wikipedia.org/wiki/Great_Sand_Dunes_National_Park_and_...
The conserved remains of Hadrian's Wall where this ancient artifact was built atop the precipitous cliffs of the Whin Sill in Northumberland. The lake, Crag Lough, lies at the foot of this immense basalt intrusion in the landscape.
If the light seems to have rather an orange tinge to it - it really was like that. This shot was taken on the morning that the remains of Hurricane Ophelia was making its pass over part of the UK, bringing sand from the Sahara Desert and smoke particles from forest fires in Portugal that produced a weird orange glow to this morning mist.