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Conservée par la même famille pendant 900 ans, préservée des pillages durant la Révolution, la forteresse est transmise au XXIe siècle à Jacqueline de Chabannes, qui en hérite de sa grand-mère née Montesquieu.
Décédée sans héritier direct en 2004, la descendante du philosophe et la dernière à avoir habité les lieux - qu'elle ouvrait au public de son vivant pour les journées du patrimoine - décide d'organiser sa succession en assurant juridiquement la postérité de son célèbre ancêtre.
«Elle ne voulait pas que le château serve à des pince-fesses (sic) et qu'il cesse d'être visité», explique José-Louis Desfilis.
L’ancien avocat de Jacqueline de Chabannes l’a donc aidé à construire et penser dans son testament une fondation éponyme, désormais propriétaire du château de la Brède.
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
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
The obelisk of the Arganzuela is located in the Madrid Río Park, its original location was the current roundabout of Emilio Castelar, on the Paseo de la Castellana, for which it was known as the obelisk of the Castellana or obelisk of the Fuente Castellana denomination which he continues to conserve for the purposes of heritage conservation. He was commanded by King Ferdinand VII, shortly before his death, in order to celebrate the birth of his daughter, the future Queen Elizabeth II. The works began under the regency of María Cristina de Borbón, in 1833.
Although known as "obelisk", it was originally a monumental fountain ordered to be built by King Ferdinand VII to commemorate the birth of his daughter and heiress, the future Elizabeth II. The order came directly from the king, at the expense of the general commissioner of the Crusade Manuel Fernández Varela.Finally, the construction of the monument did not begin until three years later, to celebrate the princess's third birthday, which took place shortly after the death of the King, on September 29, 1833. At the express wish of the regent queen, Maria Cristina, the beginning of the works was made to coincide with the birthday of the princess, which took place on October 10, although it was not until the day next when the official placement of the first stone of the monument was carried out. The works would last five years.
Those responsible for the project were the architect Francisco Javier de Marietegui (1775-1844) and the sculptor and academic José de Tomás (1795-1848), who was in charge of the ornamentation. They also collaborated the stonecutter José Arnilla and the broncista Eugenio Alonso. The result was one of the most remarkable works of neoclassical memorial architecture built in Madrid in the first decades of the 19th century. (Source: Wikipedia)
El obelisco de la Arganzuela se encuentra situado en el parque Madrid Río. Su ubicación original fue la actual glorieta de Emilio Castelar, en el paseo de la Castellana, por lo que fue conocido como obelisco de la Castellana u obelisco de la Fuente Castellana denominación que sigue conservando a efectos de conservación del patrimonio. Lo mandó construir el rey Fernando VII, poco antes de su muerte, con objeto de celebrar el nacimiento de su hija, la futura reina Isabel II. Las obras comenzaron bajo la regencia de María Cristina de Borbón, en 1833.
Aunque conocido como "obelisco", se trató originalmente de una fuente monumental mandada construir por el rey Fernando VII para conmemorar el nacimiento de su hija y heredera, la futura Isabel II. El encargo vino directamente del rey, a expensas del comisario general de Cruzada Manuel Fernández Varela. Finalmente, la construcción del monumento no comenzó hasta tres años después, para celebrar el tercer cumpleaños de la princesa, que tuvo lugar poco después de la muerte del rey, el 29 de septiembre de 1833. Por expreso deseo de la reina regente, María Cristina, el inicio de las obras se hizo coincidir con el cumpleaños de la princesa, que tenía lugar el 10 de octubre, si bien no fue hasta el día siguiente cuando se llevó a cabo la colocación oficial de la primera piedra del monumento. Las obras durarían cinco años.
Los responsables del proyecto fueron el arquitecto Francisco Javier de Marietegui (1775-1844) y el escultor y académico José de Tomás (1795-1848), que se encargó de la ornamentación. Colaboraron también el cantero José Arnilla y el broncista Eugenio Alonso. El resultado fue una de las obras más destacables de la arquitectura conmemorativa neoclásica construidas en Madrid en las primeras décadas del siglo XIX.( Fuente : Wikipedia)
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.
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
🇫🇷 1er arrêt : site de Termesos
Termessos est une cité antique dont les ruines actuelles, relativement bien conservées, sont à 34 km au nord-ouest d'Antalya. située en altitude (1 050 m) au fond d'une gorge qui se termine par un petit plateau coincé entre deux sommets .
Le site de Termessos a connu une occupation très ancienne, citée par Homère dans l'Iliade. La ville semble donc déjà exister bien avant l'an 1000 avant JC, elle faisait alors partie de l'empire Hittite.
Termessos passera ensuite sous influence des Phrygiens, des Lydiens puis des Perses. Cette cité réputée combative, bien protégée par son environnement, résiste ainsi à Alexandre le Grand qui tente en vain de conquérir la ville en 334 avant JC.
A la mort d'Alexandre le Grand, Termessos tombe sous la coupe de l'un de ses généraux, la ville bien que restant très indépendante s'hellénise progressivement.
🇬🇧 1st stop: Termessos is an ancient city whose relatively well-preserved ruins lie 34km north-west of Antalya. It lies at an altitude of 1,050m at the bottom of a gorge that ends in a small plateau wedged between two peaks.
The site of Termessos was inhabited very long ago, as mentioned by Homer in the Iliad. The city seems to have existed long before 1000 BC, when it was part of the Hittite Empire.
Termessos then came under the influence of the Phrygians, Lydians and Persians. With its reputation for fighting spirit and well-protected environment, Termessos was able to resist Alexander the Great's unsuccessful attempt to conquer the city in 334 BC.
After the death of Alexander the Great, Termessos fell under the control of one of his generals, and although it remained very independent, it gradually became Hellenised.
🇩🇪 1. Station: Termessos ist eine antike Stadt, deren heutige, relativ gut erhaltene Ruinen 34 km nordwestlich von Antalya liegen. Sie liegt hoch (1050 m) am Ende einer Schlucht, die in einem kleinen Plateau zwischen zwei Gipfeln endet.
Termessos war schon sehr früh besiedelt und wurde von Homer in der Ilias erwähnt. Die Stadt scheint schon lange vor 1000 v. Chr. bestanden zu haben und gehörte damals zum Reich der Hethiter.
Später geriet Termessos unter den Einfluss der Phryger, der Lyder und schließlich der Perser. Die Stadt galt als kämpferisch und war durch ihre Umgebung gut geschützt. So widerstand sie auch Alexander dem Großen, der 334 v. Chr. vergeblich versuchte, die Stadt zu erobern.
Nach dem Tod Alexanders des Großen fiel Termessos unter die Herrschaft eines seiner Generäle, und die Stadt behielt zwar ihre Unabhängigkeit, wurde aber nach und nach hellenisiert.
🇪🇸 1.ª parada: Termessos es una antigua ciudad cuyas ruinas, relativamente bien conservadas, se encuentran a 34 km al noroeste de Antalya, a 1050 m de altitud, en el fondo de un desfiladero que termina en una pequeña meseta encajonada entre dos picos.
El emplazamiento de Termessos estuvo ocupado desde tiempos antiguos, como menciona Homero en la Ilíada. La ciudad parece haber existido mucho antes del año 1000 a. C., cuando formaba parte del Imperio hitita.
Posteriormente, cayó bajo la influencia de los frigios, lidios y persas. Gracias a su reputación de espíritu combativo y a su entorno bien protegido, Termessos pudo resistir el intento infructuoso de Alejandro Magno de conquistarla en el 334 a. C.
Tras la muerte de Alejandro Magno, la ciudad pasó a estar bajo el control de uno de sus generales y, aunque siguió siendo muy independiente, poco a poco se fue helenizando.
🇮🇹 1a tappa: Termessos è un'antica città le cui rovine, relativamente ben conservate, si trovano a 34 km a nord-ovest di Antalya, a 1.050 m di altitudine, in fondo a una gola che termina su un piccolo altopiano incuneato tra due cime.
Il sito di Termessos fu occupato molto tempo fa, come ricorda Omero nell'Iliade. La città sembra sia esistita ben prima del 1000 a.C., quando faceva parte dell'impero ittita.
Successivamente, passò sotto l'influenza dei Frigi, dei Lidi e dei Persiani. Grazie alla sua reputazione di città dallo spirito combattivo e al suo ambiente ben protetto, Termessos riuscì a resistere al tentativo fallito di Alessandro Magno di conquistarla nel 334 a.C.
Alla morte di Alessandro Magno, Termessos passò sotto il controllo di uno dei suoi generali e, sebbene la città rimase molto indipendente, si ellenizzò gradualmente.
Translated by Deepl
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.
Over the next few weeks I will be posting photos from a series of local locations I have been too. They are quintessentially Australian bush scenes. In these cooler months it is more comfortable to walk into the local bushland and take these shots.
This shot was taken at the Craigie Bushland Reserve. This is a dedicated conservation area that is fenced off to keep feral pests (eg cats, dogs, rabbits and foxes) out. This captures a typical bush scene with a uniquely Australian plant/shrub the Grass tree (Xanthorea). It also highlights the rather unique appearance of the Aussie bush and also how difficult it would be to walk in this bush if there weren't paths.
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.
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.
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
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_...
Une photo pour célébrer la Journée de la Biodiversité, en espérant qu'il soit possible d'observer de tels spectacles naturels pendant longtemps, á condition de conserver une vaste diversité d'écosystèmes et leur composantes biologiques. Ibis écarlate (Eudocimus ruber) dans le département du Meta, Colombie.
Una foto para celebrar el Día de la Biodiversidad, esperando que podamos observar esos espectáculos naturales por mucho mas tiempo, a condición de conservar una gran diversidad de ecosistemas y sus componentes biológicos! Ibis Escarlata, o Corocoro Rojo (Eudocimus ruber) en el departamento del Meta, Colombia.
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 Prado museum 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'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.
En semaine, les petits marchés de Noël sont bien plus calmes et agréables.
Riquewihr fait parti de ceux là.
Cela permet de voir un peu plus clairement toute cette belle cité conservée, comme ce très beau bâtiment de la poste en arrière-plan avec colombages et peintures.
Sources : Wikipedia sur Riquewihr (Multi) && Informations sur Fernand Zeyer (FR)
Frontenpark est tout sauf un parc urbain. Loin d'être un parc paysager majestueux, il s'agit d'un écrin de nature sauvage et fascinant en pleine ville. D'une superficie d'environ vingt hectares, Frontenpark est aussi décrit comme l'arrière-cour sauvage du quartier du Sphinxkwartier. Des années d'abandon ont laissé libre cours à la nature. Il offre désormais un espace généreux et une attention particulière à la vie, au patrimoine culturel et à l'organisation d'événements. Au sein de Frontenpark se dresse « De Krul », vestige de l'ancienne sortie Noorderbrug, conservé en souvenir. Cet imposant colosse de béton sert aujourd'hui de belvédère, offrant une vue unique sur Frontenpark et le quartier du Sphinxkwartier.
Au niveau du pont ferroviaire, des planches d'acier ont été posées au-dessus de l'eau pour permettre au chemin de fer de continuer le long de l'eau. Vous y trouverez les anciennes fortifications. Celles-ci ont été percées autrefois pour permettre au Lage Fronten de servir de port. Ces dernières années, les remparts ont été rénovés pour éviter tout délabrement.
Frontenpark is anything but an urban park. Far from being a majestic landscaped park, it is a fascinating haven of wild nature in the heart of the city. Covering approximately twenty hectares, Frontenpark is also described as the wild backyard of the Sphinxkwartier district. Years of neglect have given free rein to nature. It now offers generous space and special attention to life, cultural heritage, and event planning. Within Frontenpark stands "De Krul," a remnant of the former Noorderbrug exit, preserved as a memorial. This imposing concrete colossus now serves as a lookout point, offering a unique view of Frontenpark and the Sphinxkwartier district.
At the railway bridge, steel planks were laid over the water to allow the railway to continue along the water. You'll find the old fortifications there. These were once pierced to allow Lage Fronten to serve as a port. In recent years, the ramparts have been renovated to prevent them from falling into disrepair.
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_...
- statue of Emperor Gomiizu-no-o
location : Daikaku-ji temple ,Kyoto city ,Kyoto prefecture,Japan
Daikaku-ji (大覚寺 Daikaku-ji) is a Shingon Buddhist temple in Ukyō-ku, a western ward in the city of Kyoto, Japan. The site was originally a residence of Emperor Saga (785-842 CE), and later various emperor conducted their cloistered rule from here. The Saga Goryū school of ikebana has its headquarters in the temple. The artificial lake of the temple, Ōsawa Pond, is one of the oldest Japanese garden ponds to survive from the Heian period.
The origins of the temple dates back to the Heian period in the year 814 CE, when Emperor Saga had a palace, known as the Saga-in, constructed on the site. The palace later became his seat of retirement, known as Saga Rikyu imperial villa. According to tradition, when Japan suffered a serious epidemic, the Buddhist monk Kobo Daishi, the founder of Shingon Buddhism, suggested that the Emperor Saga personally copy an important Buddhist religious document called the Heart Sutra (Hannya Shingyō). The emperor made a handwritten copy, and the epidemic is said to have ended. The handwritten sutra is kept at the Shingyōden hall of the temple, and is displayed to the public once every sixty years, the next time being in 2018. Pilgrims still come to the temple to make copies of the sutra, which are kept in the temple with the original.
In 876, thirty-four years after the death of Emperor Saga, his daughter Princess Masako (正子内親王; 810-879), who was consort of Emperor Junna, turned the complex into a temple and gave it the name Daikaku-ji. It was a monzeki temple (門跡), which means by tradition that only imperial princes were appointed abbot of the temple. Over the years, it became the retirement home of several emperors. In the 13th and 14th centuries the temple became the residence of retired emperors such as Emperor Go-Saga, Emperor Kameyama and Emperor Go-Uda, who could be ordained as monks, but continued to wield power in what became known as cloistered rule.
In 1336, during the upheaval between the Kamakura period and the Muromachi period, the temple burned down, but was later rebuilt. During the Edo Period, Emperor Go-Mizunoo brought in Momoyama period buildings from the Kyoto Imperial Palace. The temple was placed in a graveled courtyard next to the pond. The hondō, or main hall, and the Founder's Hall were also moved from the Kyoto Imperial Palace. The main images are of the Five Wisdom Kings, centered on Fudō.
The sliding door painting in the Okanmuri-no-ma room of the Shōshinden were painted by Kanō Sanraku and Shikō Watanabe. They feature peony trees and red and white plum blossoms. The hawk painted with Indian ink is a unique motif. The wooden beam above the doors has a painting of a hare. All these works of art are designated as Important Cultural Properties.
Der Daikaku-ji (japanisch 大覚寺) ist ein buddhistischer Tempel im Stadtteil Sagano (嵯峨野) im Bezirk Ukyō-ku der japanischen Stadt Kyōto und ein Haupttempel der Shingon-shū. Er wurde im Jahr 876 begründet.
Die Ursprünge des Tempels gehen ins Jahr 814 zurück, als der Saga-tennō einen Palast, den Saga-in, auf dem Grundstück des heutigen Tempels bauen ließ. Der Palast wurde später zu einer kaiserlichen Villa (Saga-rikyū), die schließlich im Jahr 876 von Masako-naishinnō (正子内親王; 810-879), dritte Tochter des Saga-tennō und Gemahlin des Junna-tennō, zum Tempel unter dem Namen Daikaku-ji umgestaltet wurde. Vorsteher des Tempels war von Anfang an ein Prinz des Kaiserhauses, was den Daikaku-ji zum System der Monzeki (門跡) gehören lässt.
Im 13. und 14. Jahrhundert kam der Daikaku-ji zu einigem Ruhm, da mehrere abgedankte Tennō (u. a. Go-Saga, Kameyama und Go-Uda) sich zu Mönchen ordinieren ließen und diesen Tempel zu ihrem Wohnort machten, einige regierten sogar hinter den Kulissen weiter.
Im Jahr 1336, während des chaotischen Übergangs der Kamakura-Zeit in die Muromachi-Zeit wurde der Daikaku-ji vollständig niedergebrannt, später aber unter der Herrschaft der Ashikaga wieder aufgebaut.
Le Daikaku-ji (大覚寺, Daikaku-ji) est un temple bouddhique Shingon situé dans l'arrondissement Ukyō-ku dans la banlieue ouest de Kyoto au Japon. Les principales images sont celles des cinq rois du savoir, centrées sur Fudō. C'est d'abord une villa de l'empereur Saga (785-842) d'où plus tard l'empereur retiré Go-Uda dirige son gouvernement cloîtré. Une école d'ikebana, le Saga Goryū, est installée dans le temple. Le lac artificiel du temple, l'étang d'Osawa, est un des plus anciens étangs de jardin japonais de l'époque de Heian encore existants1.
Le Daikaku-ji est fondé au début de l'époque de Heian2, à l'origine comme résidence pour la retraite de l'empereur Saga (785-842).
Selon la tradition, lorsque le Japon subit une grave épidémie, le moine bouddhiste Kobo Daishi, fondateur du bouddhisme Shingon, suggère que l'Empereur Saga copie personnellement un important document religieux bouddhiste appelé le sūtra du Cœur (Hanna Shingyo). Après que l'empereur a fait une copie manuscrite, l'épidémie aurait pris fin. Le manuscrit du sūtra est conservé dans le temple et montré au public une fois tous les soixante ans, la prochaine étant en 2018. Des pèlerins continuent de venir au temple pour faire des copies du sūtra, copies qui sont conservées dans le temple avec l'original.
Le temple a été créé en 876, trente-quatre ans après la mort de l'empereur Saga, par sa première fille, l'impératrice Masako, qui lui donne son nom. Il s'agit d'un temple monzeki dont par tradition les princes impériaux sont nommés abbés.
Au fil des ans, il sert de maison de retraite à plusieurs empereurs. Le bâtiment original a été détruit mais durant l'époque d'Edo l'empereur Go-Mizunoo le fait remplacer par un temple de l'époque Azuchi Momoyama qui est un bâtiment du palais impérial de Kyoto. Le temple est alors placé dans une cour gravillonnée à côté de l'étang. Les parois coulissantes à l'intérieur sont ornées de peintures par des artistes de l'école Kano de l'époque de Momoyama. Parmi les autres bâtiments du temple se trouvent la salle des fondateurs (également en provenance du palais impérial de Kyoto) et le hondō, c'est-à-dire le bâtiment principal.
- wikipedia
ƒ/4.0 18.0 mm 1/50sec ISO400
This temple has an explicit no-tripod policy also. So tripods, including monopods, are usually prohibited here.
DO NOT THROW STONES. thank you
Parc le Bournat. Le Bugue. Dordogne. France.
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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.
Standing on one leg to conserve energy...
> Explored on 2013-03-12.
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This vividly colorful house was constructed in 1900 in the Strait Chinese style by a local businessman named Tan Teng Niah. Once called “Elegant Pine” (which symbolised the Chinese virtue: endurance). At the time, the neighborhood was an industrial zone (Tan’s candy and rubber factories were located nearby) and many of Singapore’s ethnic-Chinese businessmen lived in similar villas.
This house is one of the last surviving Chinese Villas in Little India. This eight-room villa was built for Tan Teng Niah’s wife. He was one of the non-Indian communities who prospered in Little India.
The villa has many interesting features such as a courtyard, gilded name plate with the calligraphic inscription “siew song” or Elegant Pine (the pine being a symbol of endurance), richly carved pintu pagar (decorative swinging doors), bamboo tiled roof and calligraphic scrolls hanging from the living room. The villa has been restored and has been leased for commercial use.
Amid Singapore’s rapid economic growth and social change during the 20th century, the neighborhood evolved into what is now known as Little India. Most of the old merchant houses were razed to make way for modern commercial buildings and sleek skyscrapers. However, the Tan Teng Niah house survived, and during the 1980s, it underwent a full restoration to what people see today. Believed to be the last such house in existence, it’s now preserved under landmark status from the National Heritage Board.
Although the house’s historical background is interesting, the key to its popularity among locals and visitors is its current appearance. The exterior is painted in a rainbow riot of vivid colors, with every element—each individual slat, molding, panel, and pilaster—in a different hue than its neighbor. An array of sky blue, avocado green, traffic-cone orange, highlighter yellow, and nail-polish pink shades adorns the house. Further embellishments beyond the psychedelic color-palette include gilded Chinese calligraphy, intricate floral lunettes, and a bamboo-tiled roof.
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
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
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.
Non-captive Male - Peregrine Hatchling
Peregrine Falcon
The Peregrine Falcon (Falco peregrinus), also known as the Peregrine, and historically as the Duck Hawk in North America, is a widespread bird of prey in the family Falconidae. A large, crow-sized falcon, it has a blue-grey back, barred white underparts, and a black head and "moustache". As is typical of bird-eating raptors, Peregrine Falcons are sexually dimorphic, females being considerably larger than males. The Peregrine is renowned for its speed, reaching over 200 mph during its characteristic hunting stoop (high speed dive), making it the fastest member of the animal kingdom. According to a National Geographic TV program, the highest measured speed of a Peregrine Falcon is 242 mph.
For more info: en.wikipedia.org/wiki/Peregrine_falcon
The Endangered and Nongame Species Program's (NJENSP) mission is to actively conserve New Jersey's biological diversity by maintaining and enhancing endangered, threatened and nongame wildlife populations within healthy, functioning ecosystems.
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.
Parmi les structures bien conservées de Prague datant du XIVe siècle figure ce long mur défensif blanc qui va de Strahov à travers le parc Petřín jusqu'à Újezd. C'est le fameux mur de la Faim qui serpente majestueusement à travers la verdure luxuriante de la colline. Ces fortifications furent construites entre 1360 et 1362 par ordre de Charles IV, cet empereur visionnaire qui ne faisait jamais rien au hasard.
Le but de cette construction était de renforcer les fortifications du château de Prague et de Malá Strana contre toute attaque venant de l'ouest ou du sud. Long de plus d'un km et haut de plus de 7 mètres, ce mur impressionnant fut construit en pierre de marne extraite directement sur le Petřín.
Mais pourquoi donc "mur de la Faim" me direz-vous ? L'histoire raconte que Charles IV ordonna la construction de ce mur fortifié dans le but d'aider les pauvres gens de Prague durant une terrible famine qui dura des années. Les sans-dents, comme dirait l'élite actuelle, travaillaient sur ce mur et gagnaient de la nourriture pour eux et leurs familles, on a rien inventé !
Au-delà de cette muraille historique, le panorama dévoile un Prague plus moderne avec ces immeubles contemporains qui émergent de la canopée verdoyante. Cette juxtaposition entre le patrimoine médiéval de premier plan et l'architecture du XXe siècle en arrière-plan illustre parfaitement l'évolution urbaine de la capitale tchèque. À l'époque médiévale, Prague était beaucoup plus petite qu'aujourd'hui et au-delà du mur de la Faim, il n'y avait que des champs et quelques villages et fermes éparpillés.
Sources : Wikipedia (Multi) && Blog sur Prague (EN) && Site de la ville (Multi) && Blog sur Prague (EN) && charlesbridgehostel.com/hunger-wall/ && Blog sur Prague (EN)
FYI : Assisté par l'I.A. pour la rédaction.
L'original de ce tableau est conservé à la National Gallery à Londres
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 National gallery in London.
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.
Parfois, de grands trésors sont conservés là où on s'y attend le moins. La chapelle du Saint Calice de la Cathédrale de Valencia est l'un de ces lieux. Depuis 1916, elle expose la coupe qui a généré le plus de légendes, d'œuvres artistiques et littéraires ; et l'une des reliques les plus admirées et acclamées par l'Église Catholique : le Saint Graal, gardé depuis 1437 dans le reconditorium de la Cathédrale de Valencia. Jusqu'à son arrivée au Palais Royal de Valencia en 1424 par le roi Alphonse le Magnanime, la pièce vénérée avait changé de mains et de résidence au cours des siècles sur ce qui est une route de pèlerinage intéressante.
Les données archéologiques, documentaires et historiques sur le voyage effectué par cette relique jusqu'à la Cathédrale de Valencia indiquent qu'il s'agit du verre utilisé par Jésus-Christ lors de la dernière Cène. Les papes Jean-Paul II et Benoît XVI ont officié des messes avec le Saint Calice de la cathédrale lors de leurs visites respectives à Valencia en 1982 et 2006.
En 2015, le pape François a accordé à Valencia la célébration de l'Année Sainte Jubilaire, qui sera répétée tous les cinq ans dans la ville de Turia, faisant d'elle l'une des villes saintes du monde. Le dernier jeudi d'octobre 2025 débutera la deuxième année jubilaire du Saint Calice et Valencia accueillera dans sa cathédrale tous les pèlerins qui souhaitent obtenir l'indulgence plénière.
Sometimes great treasures are kept where you least expect them. The Chapel of the Holy Chalice of the Cathedral of Valencia is one of these places. Since 1916, it has exhibited the cut that has generated the most legends, artistic and literary works; and one of the most admired and acclaimed relics of the Catholic Church: the Holy Grail, kept since 1437 in the reconditorium of the Cathedral of Valencia. Until its arrival at the Royal Palace of Valencia in 1424 by King Alfonso the Magnanimous, the revered piece had changed hands and residences over the centuries on what is an interesting pilgrimage route.
Archaeological, documentary and historical data on the journey made by this relic to the Cathedral of Valencia indicate that it is the glass used by Jesus Christ at the Last Supper. Popes John Paul II and Benedict XVI officiated Masses with the Cathedral's Holy Chalice during their respective visits to Valencia in 1982 and 2006.
In 2015, Pope Francis granted Valencia the celebration of the Holy Jubilee Year, which will be repeated every five years in the city of Turia, making it one of the holy cities in the world. The last Thursday of October 2025 will begin the second jubilee year of the Holy Chalice and Valencia will welcome in its cathedral all pilgrims who wish to obtain the plenary indulgence.