View allAll Photos Tagged conserver
A ruffed grouse is seen on the property of Marion Karl, a resident of Cooperstown, N.Y., on May 21, 2015. Karl has protected her 173 acres of forest and fields with a conservation easement through the Otsego Land Trust. (Photo by Will Parson/Chesapeake Bay Program)
USAGE REQUEST INFORMATION
The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge. To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.
A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.
Le Baptême du Christ (en italien : Battesimo di Cristo) est une peinture chrétienne de Giovanni Bellini, un retable en tempera sur toile de 400 × 263 cm, des années 1500-1502, conservée sur son emplacement initial à la chiesa di Santa Corona de Vicence.
Histoire
L'œuvre à haut cintré (centinata) est signée sur le rocher du bas par un cartel portant l'inscription IOANNES / BELLINVS.
Selon Vasari, le jeune Giorgione, élève alors de Bellini, aurait peint l'ange en rouge.
Thème
Il s'agit du thème de l'iconographie chrétienne du Baptême du Christ effectué par saint Jean-Baptiste sur les bords du Jourdain ; des figures saintes assistent à la cérémonie sous la présence dans les cieux de la colombe du Saint-Esprit surmontée ici de Dieu le Père bénissant parmi les anges, constituant de plus une sainte Trinité verticale dite « Trône de grâce ».
Description
Jésus placé au centre de la composition, de face, regardant vers le spectateur, reçoit l'eau d'une coupe que lui verse, au-dessus de la tête, Jean juché en haut d'un rocher proche à droite ; il tient dans l'autre main un phylactère enroulé. Trois anges sont groupés à gauche sur une autre éminence rocheuse.
Un paysage montagneux s'étale à droite et à gauche de la vallée dans le fond de laquelle coule le fleuve ; des fortifications sont visibles sur plusieurs sommets à gauche, une grotte ou des ruines à droite sous un palmier.
Le fond du paysage affiche des montagnes bleutées sous un ciel jaune des rayons du soleil levant. Le ciel devient bleu vers le haut, s'emplit de nuages avec au centre la colombe puis au-dessus Dieu le père entouré de chérubins, les bras ouverts, les paumes des mains visibles.
Analyse
Bellini respecte ici à la lettre la tradition de ne pas montrer le reflet dans l'eau de la figure divine du Christ dont les pieds ne sont pas atteints par les eaux du Jourdain.
Il pose également la couleur rouge, symbole de la Passion du Christ, sur la robe de l'ange et sur le perroquet perché sur un arbuste sous les pieds de Jean.
Les trois femmes sont l'allégorie de la Foi (vêtement rouge), de l'Espoir (vêtement jaune) et de la Charité (vêtement bleu)
Wikipedia
Amanda fell asleep in the car on the way to Langley...who could blame her? It's a pretty long drive...
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Field visit to Long beach and Skadar Lake Important Plant Areas
Visite sur le terrain des Zones importantes pour les plantes de Long Beach et du lac de Skadar
Montenegro - 27 October 2016
1st Mediterranean Plant Conservation Week “Building a regional network to conserve plants and cultural diversity”
1re Semaine de la conservation des plantes méditerranéennes “Construction d’un réseau régional pour la conservation de la diversité culturelle et végétale”
Photo by Pilar Valbuena for The IUCN Centre for Mediterranean Cooperation.
More information on 1st Mediterranean Plant Conservation Week, please visit:
www.medplantsweek.uicnmed.org/
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: lourdes.lazaro@iucn.org
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Country: Canada
Stamp: 4 Cents, King George VI, war issue (Scott #254)
Postmark City & Date: Hamilton, Ontario, April 13, 1944
Fancy Cancel: "Conserve Coal Save One Ton In Five"
To-die-for! From the Bob's Red Mill scone mix that J.D. and Kris gave me in my birthday gift basket from them, and topped with the elderberry-apple conserve they also gave me.
The all-new 3.0L Twin Turbo for the 2016 Cadillac CT6 is the only six-cylinder engine to combine turbocharging with cylinder deactivation and stop/start technologies to conserve fuel.
MONTGOMERY, Alabama (March 23, 2016) – Against the backdrop of the Alabama River at the Union Station Train Shed, 300 conservation district supervisors, conservation partners, and students gathered to hear the Alabama Soil & Water Conservation Committee (SWCC) launch a new initiative to continue its mission of conserving Alabama’s natural resources: Conserve Alabama.
Visit conservealabama.gov to learn more about the campaign.
Field visit to Long beach and Skadar Lake Important Plant Areas
Visite sur le terrain des Zones importantes pour les plantes de Long Beach et du lac de Skadar
Montenegro - 27 October 2016
1st Mediterranean Plant Conservation Week “Building a regional network to conserve plants and cultural diversity”
1re Semaine de la conservation des plantes méditerranéennes “Construction d’un réseau régional pour la conservation de la diversité culturelle et végétale”
Photo by Pilar Valbuena for The IUCN Centre for Mediterranean Cooperation.
More information on 1st Mediterranean Plant Conservation Week, please visit:
www.medplantsweek.uicnmed.org/
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: lourdes.lazaro@iucn.org
La Cité interdite (Chinois : 故宫; pinyin : gùgōng) est le palais impérial au sein de la Cité impériale de Pékin dont la construction fut ordonnée par Yongle, troisième empereur Ming, et réalisée entre 1407 et 1420. Ce palais, d'une envergure inégalée — il s'étend sur une superficie de 72 ha — fait partie des palais les plus anciens et les mieux conservés de Chine. De nos jours, il est devenu un musée qui conserve les trésors impériaux de la civilisation chinoise ancienne.
Ce site monumental a plusieurs dénominations :
Son nom complet est la « Cité pourpre interdite » (traduction du chinois Zǐjìn Chéng, 紫禁城), en référence à l'étoile nommée Zǐwēi Xīng (紫微星, la petite étoile violette) dans l'astronomie chinoise, c'est-à-dire l'étoile polaire de l'astronomie occidentale. En effet, comme le palais impérial se trouve au centre de Pékin et représentait le centre administratif de l'État, on lui donna un nom évoquant l'étoile qui est au centre de la rotation du firmament céleste.
Le nom le plus courant est « Cité interdite », qui vient du fait qu'en tant que résidence des empereurs chinois, de leurs familles et de ceux qui étaient à leur service, son accès était interdit au peuple.
En Chine actuellement, ce site est le plus souvent appelé Gùgōng (故宫), ce qui signifie « l'ancien palais ».
Le musée qui est actuellement abrité dans ces murs est appelé « Musée du Palais ».
Description
Depuis le début du quinzième siècle, le cœur de Pékin se trouve autour de la Cité interdite, aussi appelée Palais impérial des Ming et des Qing. Il s'agit du plus vaste complexe architectural de Chine : une véritable ville dans la Cité impériale, dans laquelle l'Empereur de Chine et son entourage étaient quasiment assignés à résidence, ne sortant de l'enceinte que dans de très rares occasions.
Elle couvre 72 ha dont 50 ha de jardins, qui s'étendent sur 960 m de long du nord au sud, et de 750 m de large d'est en l'ouest, entourée d'une muraille de 10 m de haut, elle-même cernée d'une douve large de 52 mètres.
La cité compte selon la légende, 9 999 pièces (en réalité, 8704, d'après une enquête menée en 1973). Le chiffre de 9 999, s'explique par le fait que selon la traditon, seules leurs divinités avaient le droit de construire un palais comprenant 10 000 pièces. Les hommes, de ce fait, essayaient ainsi de se rapprocher aussi près que possible de leur idéal de perfection. Le nombre 10 000 représente symboliquement « une infinité dénombrable » en Chine.
La construction de la Cité interdite a duré 14 ans et plus d'un million d'ouvriers réduits à l'esclavage y auraient travaillé. Entre 1420 et 1911, un total de 24 empereurs y ont résidé. Avant 1924, année où elle a été ouverte au public, personne d'autre que l'empereur et sa cour n'avait le droit de s'en approcher ni même de la regarder. Aujourd'hui, la Cité interdite est l'un des sites les plus visités en Chine.
L’architecture a divisé la Cité Interdite en deux parties :
La Cour extérieure (partie sud), constituait la partie officielle de la cité, où le souverain recevait ses ministres et présidait les grandes cérémonies officielles. Elle abrite notamment : la salle de l’Harmonie Suprême (Taihe), la salle de l’Harmonie Parfaite (Zhonghe) et la Salle de l’Harmonie Préservée (Baohe), ainsi que les bâtiments latéraux principaux, dont la salle de la Gloire Littéraire (Wenhua) et la Salle des Prouesses Militaires (Wuying).
Elle est parcourue d'ouest en est par une rivière artificielle dénommée Jinshui He (c'est-à-dire : la « Rivière aux Eaux d'Or ») provennant d'une dérivation des douves et servant aussi bien de décoration que de réservoir d'eau en cas d'incendie. Son rôle à également pour but de servir de dernier rempart symbolique protégeant la Salle de l'Harmonie Suprême.
La cour intérieure (partie nord), formait la partie privée, et servait donc aussi bien de cabinet de travail pour l’empereur, que d’appartements à la famille impériale et aux concubines. Elle comprend surtout le palais de la Pureté Céleste (Qianqing), la salle de l’Union (Jiaotai) et le palais de la Tranquillité Terrestre (Kunning), qui sont entourés respectivement par les « six Palais de l’Est » et les « Six Palais de l’Ouest ».
Construction (1406-1420) :
Le lieu où se trouve la cité interdite faisait partie de la cité impériale mongole Khanbalik depuis la dynastie Yuan. Quand la dynastie Ming lui succéda, Hongwu le premier empereur transféra la capitale à Nankin, en 1369, et ordonna que le palais mongol soit rasé. Son fils Zhu Di fut nommé Prince de Yan, et s’établit à Pékin. Un palais princier fut construit dans cette ville. En 1402, Zhu Di renversa son neveu Jianwen et devint empereur sous le nom de Yongle. La capitale retourna à Pékin.
La construction de la Cité Interdite commença en 1406, sur les plans d'architectes en chef comme : Cai Xin et d'un eunuque annamite Ruan An, assistés des ingénieurs en chef que furent Kuai Xiang et Lu Xiang. Les travaux durèrent 14 années en mobilisant environ 200 000 ouvriers. L’axe principal du nouveau palais est tracé à l’est de l’ancien palais des Yuan, dans l’intention de « tuer » l’ancien emplacement à l’ouest, selon les principes feng shui. De même, la terre issue de l’excavation des douves a été amassée au nord du palais pour créer une colline artificielle, la colline du parc Jingshan (surnommée la Colline de Charbon), protégeant le palais de la mauvaise influence du nord.
Marion Karl stands with her dog Leila on her property in Cooperstown, N.Y., on May 21, 2015. Karl’s 173 acres are in a conservation easement with the Otsego Land Trust, and she hikes through it almost daily to take in a view of Otsego Lake. (Photo by Will Parson/Chesapeake Bay Program)
USAGE REQUEST INFORMATION
The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge.
To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.
A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.
Construction en blocs provenant de la rive gauche, des traves de leurs origines sont visibles, lettres conservées d'une inscription ou marque technique de mise en oeuvre (encoche de levier, trou de scellement,).
Le rempart est construit sur le même tracès que le mur de quai afin de laisser le moins d'espace entre la berge et la muraille et d'éviter sa sape. Le rempart s'interrompt au nord et au sud par le passage du Cardo, la rue qui traverse l'île. A cet endroit, la fondation s'élargit en une plate forme destinée à recevoir une porte monumentale.
Le soubassement, large en moyenne de 4 mètres comprends 3à 7 assises de blocs sur une hauteur pouvant atteindre plus de 3 mètres. Il suit un léger pendage dû à la pente de de la berge et se redresse dans la partie supérieure pour servir de base à l'élévation. Celle-ci n'a pas été préservée mais peut être restituée par comparaison avec les enceintes conservées à Senlis ou au Mans, en opus Mixtum, alternance de lits de briques et de moellons. Le rempart est édifié entre 308 et 360, date du séjour de Julien à Paris. La date de 308 résulte de l'analyse dendrochronologique de plusieurs éléments d'un pont antérieur ou contemporains de la construcion de la porte du rempart. En 470-480 Geneviève, personnage historique et mythique de Paris, fédère les parisiens contre les Huns. Elle aurait, d'après la légende, construit rapidement une muraille mais a sans doute renforcé l'encinte romaine. 4 siècles plus tard, la fortification est toujours présente lors du siège de l'île par les Vikings. L'évènement d'une durée de 87 jours est relaté par le moine Abbon de St Germains des Près. Il décrit le rempart romain en partie conforté et l'ancien palais devenu forteresse.
Crypte archéologique de Notre Dâme de Paris. Crédit Photo: François el Bacha. Tous droits réservés. Visitez mon blog larabio.com
Madagascar doesn't have the typically African array of big mammals like giraffes, lions, or tigers. What it does have is plenty of little critters like the Madagascar Day Gecko, pictured above, which feeds on nectar and arthropods. While the day gecko isn't endangered, its daytime hours make it a good zoo ambassador for Madagascar's unique species. Nine out of ten of all plant and animal species found on the island are exclusive to Madagascar. Photo: Alana Range
Podcast @ www.nyas.org/snc/podcasts.asp
September 29, 2016 - "What used to be an eighteenth century monastery is today the Las Conceptas Museum, or Museo de Monasterio de las Conceptas. The building has been beautifully conserved and the original building materials - such as the brick floors and the pillars, window frames and doors that are made from a coarse wood - still adorn the structure. According to the records the construction of the Las Conceptas Museum started in 1682, but the monastery was only completed in 1729. During the 1800’s, other structures were added, such as the infirmary that was built in the year 1875. Fortunately, the Museo de Monasterio de las Conceptas survived the years in relatively good condition and renovations to open the monastery as a museum started in 1982. On 3 November 1986 the museum opened its doors to the public. It is now a favorite amongst the attractions in Ecuador and many tourists flock to the museum each year.
The colonial structured Ecuadorian museum is home to a vast amount of paintings, sculptures, artifacts, crafts and furniture. Most of the art on exhibition dates back to 1830 and the museum also features a spectacular collection of musical instruments that were used in the colonial and the pre-Columbian times. Each room from the old monastery has been transformed into breathtaking exhibition halls and art galleries. The religious art section was placed in the nun’s room, where a rare collection of Gaspar Sangurima's crafted crucifixes are on display.
In addition to the artworks, there is educational information relating to the lives of the Nuns of the Conception, audio-visual displays, crafts and temporary exhibitions. The permanent exhibitions that are located in each room each have a different theme attached to it. For example: angels, saints, furniture, toys and figurines, miniatures and glasswork and porcelain. Photographic displays and other mediums depict the history of the monastery and of the museum.
The Las Conceptas Museum gives visitors a rare opportunity to the insights of the past, religion and the extraordinary talents of artists that came before us. Of all the attractions in Ecuador the Museo de Monasterio de las Conceptas does not only display wonderful, visual pieces of history, but has history embedded in its walls and floors too"
Previous text from the follow website: www.ecuador.com/art-galleries/las-conceptas-museum/
Portail et jardin des Simples
L'édifice originel fut sans doute fondé au Xe siècle, il n'en reste aucun vestige. De l'église romane qui lui succéda vers 1100, on conserve encore les murs de la nef. La reconstruction du chœur et d'importants remaniements ont donné à l'église son aspect actuel entre la fin de la Guerre de Cent Ans (1450) et les premières décennies du XVIe siècle. L'entrée principale située dans le mur pignon ouest détruit en 1944 n'a pas été restituée lors de la dernière restauration. Le Musée de Normandie s'en sert régulièrement pour y présenter des expositions temporaires.
L'église Saint-Georges est perceptible depuis l'ensemble des accès au château et, de ce fait, a été choisie dans le cadre des travaux de réhabilitation du château pour être le point de rassemblement et d'information du public. Afin de renforcer cette identité de signal, le rétablissement du clocher de charpente et de sa flèche, visibles sur plusieurs gravures, est proposé, la poutre support de cet élément étant encore en place à l'intérieur de l'église. La restauration de cette flèche affirmera la perception du château depuis l'extérieur de l'enceinte.
Source : site du château de Caen
===
The original building was probably founded in the 10th century, but nothing remains of it. Of the Romanesque church that took its place in around 1100, the walls of the nave are still standing. Reconstruction of the chancel and major alterations gave the church its present appearance between the end of the Hundred Years War (1450) and the early decades of the 16th c. During the most recent restoration work, the main entrance in the west gable wall was not repaired, after being destroyed in 1944. The Musée de Normandie uses it regularly for temporary exhibitions.
The church of St Georges is visible from all the castle entrances and so has been selected as the public muster and information point. To reinforce its identity as a signal, it is proposed to restore the timber bell-tower and spire seen on a number of engravings, as the support beam for this element is still in position inside the church. Restoration of this spire will enhance people’s perception of the castle from outside the enclosure.
Source : Caen castle website
My name is Mixie Wandera and I am 21 years old. I live with my parents and my siblings in Kisumu, Kenya. Everyday we encounter something that we wish we could do something about but we do not have the ability to do it.We live in an area called Kanyakwar B next to Mamboleo estate in Kisumu. Everyday when it rains, we encounter this;
This is water that flows from the hill after a night of heavy downpour. It not only flows in the residential area but also along the roadside.
All this water eventually flows into a specific point which is the Lake Basin quarry around the Kanyakwar area where people do mine for rocks and sand used for building.
You can see that there are people living inside the quarry who are actually using the water that recollects at specific points but this water eventually gets polluted and is rendered useless. This leads to wastage.
Instead of putting this water into waste, we can build drainage tunnels that leads to a particular point, in my case I suggest building a reservoir inside the quarry, where this water can help the inhabitants of the surrounding area.
TOGETHER, LETS HELP TO CONSERVE OUR NATURAL RESOURCE WHICH IS WATER!!!
(This photo was taken in KANYAKWAR B IN KISUMU, KENYA, by Mixie Wandera for the category Water; uploaded by the Connect4Climate team via c4cphotovideo@worldbank.org)
Los Angeles Air Force Base's 61st Civil Engineering and Logistics Squadron uses drought-tolerant plants and landscaping known as "xeriscaping" to minimize water use as part of Air Force resource conservation efforts. Many xeriscaped areas on the base are only watered once a month or not at all. (U.S. Air Force photo by Sarah Corrice/RELEASED.)
Two women stack bricks inside a kiln after they ahve been fired. Le Hoang Viet is the head of Enerteam, a privately initiated non-profit organization, arguably the first of its kind in Vietnam, specializing in energy conservation in Ho Chi Minh City. He has devoted all his career to energy saving, a new field in Vietnam, which has yet to attract full attention from the public and the corporate circle in the country. His latest project a gasification project, turns rice husk in the Mekong Delta of Vietnam into fuel used in brick kilns without causing harmful emissions. 21/05/2010, Sa Dec, Vietnam.
Founded in 1906, Mesa Verde National Park was created to conserve and protect the Ancestral Puebloan archaeological sites and cliff dwellings within the present-day park on the sides and top of a large tree-covered cuesta, known as Mesa Verde, that rises approximately 1,500 feet (785 meters) above the surrounding canyons and valleys, with rugged canyons cutting through the cuesta, lined with sandstone cliffs and ledges.
The area was inhabited by indigenous people for thousands of years prior to the rise of the Ancestral Puebloan culture, whom developed villages and farmsteads within what is today Mesa Verde National Park beginning around the year 750, with the structures built by the Ancestral Puebloans growing in complexity and durability, especially due to contact with the nearby culture centered around Chaco Canyon. The famous cliff dwellings for which the area is famous, however, were built between approximately 1020 and 1260, especially after a major drought in the region between 1130 and 1180, which led to a major migration of people from Chaco Canyon to Mesa Verde. The people of Chaco Canyon brought their culture, construction techniques, and goods with them, which is evident at archaeological sites on the cuesta.
The area began to depopulate between 1260 and 1285 due to environmental conditions becoming less favorable, with the people of Mesa Verde moving to the lowlands of what is today New Mexico and Arizona, with many founding or joining Pueblo settlements in these regions that still exist today. The stone houses were left to the elements, and were left uninhabited, only remembered by the descendants of the Ancestral Puebloans and the other indigenous groups who called the area home, most notably the Utes.
The ancient ruins were discovered by European-Americans in 1873, and were documented between 1875 and 1888, with various cliff dwellings and archaeological sites being relatively well-preserved and recognizable to explorers, archaeologists, and scientists whom visited the modern-day park. However, the removal of artifacts from the cuesta became a major concern, and efforts began in 1889 to protect the area as a National Park.
The park covers an area of 82 square miles (212 square kilometers), and features multiple Ancestral Puebloan and other indigenous archaeological sites, and was taken from the Ute people, with land being taken from the Utes after the establishment of the park to expand its borders. The park long struggled with proper interpretation and inclusion of the voices of the Puebloan people, whose ancestors built the ancient dwellings and lived at what are today archaeological sites, with work presently ongoing to redress these issues.
The ruins at the park underwent reconstitution and stabilization between 1908 and 1922, with extensive work being done on Spruce Tree House, Cliff Palace, and Sun Temple. Further work was carried out by the New Deal-era Civilian Conservation Corps starting in 1932 and extending through World War II, which included the construction of various park facilities for visitors and staff, and constructing roads atop the cuesta. The Wetherill Mesa ruins, meanwhile, were stabilized with work being carried out between 1958 and 1965, coinciding with the construction of the Far View accommodations atop the cuesta to the east.
The park today features a modern entrance road from US Highway 160, which climbs up the rugged slopes at the north end of the park to the top of the cuesta, stretching across the top of the cuesta to the south, where it connects to various roads that allow visitors to access the overlooks and trails for various cliff dwellings and archaeological sites on Chapin Mesa and Wetherill Mesa. Two areas of tourist accommodation also exist at Far View in the northern section of the park, and the administrative district at Spruce Tree Point at the southern end of the park.
The park was listed on the National Register of Historic Places in 1966, and was designated a UNESCO World Heritage Site in 1978. Today, the park sees over half a million visitors annually, and continues to preserve and maintain the ancient structures built by the Ancestral Puebloans.
Field visit to Long beach and Skadar Lake Important Plant Areas
Visite sur le terrain des Zones importantes pour les plantes de Long Beach et du lac de Skadar
Montenegro - 27 October 2016
1st Mediterranean Plant Conservation Week “Building a regional network to conserve plants and cultural diversity”
1re Semaine de la conservation des plantes méditerranéennes “Construction d’un réseau régional pour la conservation de la diversité culturelle et végétale”
Photo by Pilar Valbuena for The IUCN Centre for Mediterranean Cooperation.
More information on 1st Mediterranean Plant Conservation Week, please visit:
www.medplantsweek.uicnmed.org/
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: lourdes.lazaro@iucn.org
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.