View allAll Photos Tagged conserver
Hippodrome, Tyre, Lebanon.
Part of the Al Bass archaeological site, this well-preserved Roman hippodrome was built in the 2nd century AD and once held more than 20,000 spectators. A section of seating is well conserved.
For video, please visit youtu.be/o-1q6_oJTCI
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
PLEASE, NO invitations or self promotions, THEY WILL BE DELETED. My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.
The large crown is the first thing that is seen on entering.
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The Zwinger, a palace which served as the orangery, exhibition gallery and festival arena of the Dresden Court. Today, the Zwinger is a museum complex.
The location was formerly part of the Dresden fortress of which the outer wall is conserved.
The large crown is the first thing that is seen on entering.
The deforestation of our planet is spreading and affects our global climate, the livelihood of the local populations, and the diversity of species. If each person reading these words would go to your own favorite Plant-a-Tree organization, donate a dollar, and planted a tree, then, if we are lucky, maybe we together would plant a smaller forest :) Let's conserve the lungs of our world and plant a tree today!
Press L for a more beautiful view of this shot
Explored 20110510 :)
On Jenny Jacobsson Photography on Facebook you'll find all goodies of my photography as well as inspirations, tips, tricks, and other things that make the world of photography so great for all of us :)
Bruno Vansina Quartet @ La Conserve Leuven
3MAY2018
Cyrille Obermüller Double bass
Kobe Proesmans Percussion
Bruno Vansina Alt Sax
Teun Verbruggen Drums
Photography: © Patrick Van Vlerken 2018
The Musée des Augustins de Toulouse is a fine arts museum in Toulouse, France which conserves a collection of sculpture and paintings from the Middle Ages to the early 20th century. The paintings are from throughout France, the sculptures representing Occitan culture of the region with a particularly rich assemblage of Romanesque sculpture. The building in which the museum is sited was built in 1309 in the Gothic style and prior to the French Revolution housed Toulouse's Augustinian convent. The convent was secularized in 1793 and first opened to the public as a museum on 27 August 1795 by decree of the French Convention, very shortly after the opening of the Louvre, making it one of the oldest museums in France after the Louvre and the Musée des Beaux Arts in Besançon. It at first housed the Muséum Provisoire du Midi de la République and the école des Beaux-Arts. The Musée des Augustins de Toulouse was one of fifteen museums founded in provincial centres, by a decree of 13 Fructidor year IX (31 August 1801), which was promulgated by the minister of the interior, Jean-Antoine Chaptal (Arrêté Chaptal du 14 fructidor an IX). At the start of the 19th century several medieval buildings (notably the refectory) were demolished and in their place Viollet-le-Duc and his pupil Darcy put up new exhibition galleries, accessed by a Gothic Revival monumental stair offering an interplay of richly complicated vaulting systems. The works continued from 1873 to 1901, when the museum reopened. In effect, Toulouse commissioned Urbain Vitry to ensure remove all the convent's religious characteristics. The archaeologist Alexandre Du Mège occupied the cloister and rebuilt it to be able to house the medieval collections gathered from Toulouse's destroyed religious buildings such as the basilique Saint-Sernin. Today the cloister houses a reconstructed medieval garden. The building was classed as a Monument historique in 1840. en.wikipedia.org/wiki/Musée_des_Augustins
Bladensburg National Park conserves 84,900ha of Mitchell Grass Downs and Channel Country, including unique birdlife, plants and animals. Impressive flat-topped plateaus and residual sandstone ranges provide a scenic backdrop to vast grassland plains and river flats, river red gums and rocky scarp.
Bladensburg National Park encompasses areas of important Indigenous and pastoral heritage. The Koa People consider Bladensburg to be part of their traditional country, and the park is also important to the Maiawali and Karuwali People. Skull Hole is believed to be the site of a massacre of Aboriginal people in the late 1800s.
Pastoralists established a large station at Bladensburg—the homestead has been restored and is used as an information centre and ranger office. There are other sites within the park which offer reminders of the park’s early pastoral history.
Source: Queensland Government: Parks and forests, Department of Environment & Science.
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.
Saint-Hippolyte, Québec, Canada
Merci énormément pour vos commentaires, ils sont toujours très appréciés.
À regarder sur grand écran.
Une suite à cette confrontation de dindons sauvages s'impose. J'ai encore quelques prises que j'aimerais partager avec vous sur cette bataille très intensive entre ces magnifiques mâles. 3 photos entre autres, parmi une soixantaine que j'ai conservées. En voici deux, la meilleure pour la fin...
Saint-Hippolyte, Quebec, Canada
Thank you so much for your comments; they are always greatly appreciated.
Best viewed on a big screen.
A follow-up to this wild turkey showdown is in order. I still have some shots I'd like to share with you of this very intense battle between these magnificent males. Three photos, among others, out of about sixty I kept. Here are two, saving the best for last...
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.
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_...
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.
- 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.
The conserved remains of the first Landfalløy bridge that crossed the river in Drammen between Landfalløya/Åssiden on the Northern bank and Gulskogen on the Southern was built in 1867 as a tilting bridge. The part that opened was 2,9m long. The total length of the bridge was 158m. Height of passage for boats 6m.
It stands alongside the new concrete bridge that replaced it in 1967.
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)
INJURED EAGLE FLYING ONCE AGAIN
October 23rd, 2018
…thanks to help from some friends.
By: Larissa Smith, CWF Biologist
www.conservewildlifenj.org/blog/2018/10/23/injured-eagle-...
10/18/2018 - Braveheart’s Big Day - It was touch and go for awhile, but after 8 weeks of intensive medical treatment and rehab at The Raptor Trust of NJ, Braveheart was banded early this morning in preparation for his release. Many thanks to the good folks at The Raptor Trust, NJDEP Endangered & Nongame Species Program, Conserve Wildlife Foundation NJ, and Jon Palombi for all their hard work. Braveheart was released this morning in Monmouth County. Go Braveheart!!!
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
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.
Le palais du Louvre est un ancien palais royal situé à Paris sur la rive droite de la Seine, entre le jardin des Tuileries et l'église Saint-Germain-l'Auxerrois. S'étendant sur une surface bâtie de plus de 135 000 m², le palais du Louvre est le plus grand palais européen, et le second plus grand bâtiment du continent après le Palais du Parlement roumain. Il abrite aujourd'hui l'un des plus riches musées d'art du monde : le Musée du Louvre.
La construction du Louvre est indissociable de l'histoire de la ville de Paris. Elle s'étend sur plus de 800 ans, bien que le plan général du palais ait été imaginé dès la Renaissance. Charles V y établit sa résidence, donnant au palais un statut qu'il a conservé jusqu'au règne de Louis XIV.
Avec 8,9 millions de visiteurs annuels en 2011, c'est le site culturel le plus visité en France devant la tour Eiffel, la cathédrale Notre-Dame de Paris étant en tête des monuments à l'accès libre avec 13,6 millions de visiteurs estimés.
De 1981 à 1999, le palais fait l'objet d'importants travaux de modernisation désignés sous le nom de Grand Louvre et entrant dans le cadre des « Grands Travaux » définis par le président de la République François Mitterrand. Ces aménagements consistant à rendre la totalité du palais à sa fonction de musée (jusqu'en 1989, une partie de celui-ci abritait également le ministère des Finances), sont caractérisés par la construction de la pyramide de verre (inaugurée le 30 mars 1989), située au milieu de la cour Napoléon, œuvre de l'architecte sino-américain Ieoh Ming Pei et qui mène à un grand hall d'accueil souterrain. Une copie en plomb de la Statue équestre de Louis XIV sous les traits de Marcus Curtius par Le Bernin et Girardon est alors ajoutée.
The Louvre Palace, on the Right Bank of the Seine in Paris, is a former royal palace situated between the Tuileries Gardens and the church of Saint-Germain l'Auxerrois. Its origins date back to the medieval period, and its present structure has evolved in stages since the 16th century. It was the actual seat of power in France until Louis XIV moved to Versailles in 1682, bringing the government with him. The Louvre remained the nominal, or formal, seat of government until the end of the Ancien Régime in 1789. Since then it has housed the celebrated Musée du Louvre as well as various government departments.
The current Louvre Palace is an almost rectangular structure, composed of the square Cour Carrée and two wings which wrap the Cour Napoléon to the north and south. In the heart of the complex is the Louvre Pyramid, above the visitors' centre. The museum is divided into three wings: the Sully Wing to the east, which contains the Cour Carrée and the oldest parts of the Louvre; the Richelieu Wing to the north; and the Denon Wing, which borders the Seine to the south.
In 1983, French President François Mitterrand proposed the Grand Louvre plan to renovate the building and move the Finance Ministry out, allowing displays throughout the building. American architect I. M. Pei was awarded the project and proposed a modernist glass pyramid for the central courtyard. The pyramid and its underground lobby were inaugurated on 15 October 1988. Controversial at first, it has become an accepted Parisian architectural landmark. The second phase of the Grand Louvre plan, La Pyramide Inversée (The Inverted Pyramid), was completed in 1993. As of 2002, attendance had doubled since completion.
A cactus (plural cacti, cactuses, or less commonly, cactus) is a member of the plant family Cactaceae, a family comprising about 127 genera with some 1750 known species of the order Caryophyllales. The word "cactus" derives, through Latin, from the Ancient Greek κάκτος, kaktos, a name originally used by Theophrastus for a spiny plant whose identity is now not certain. Cacti occur in a wide range of shapes and sizes. Although some species live in quite humid environments, most cacti live in habitats subject to at least some drought. Many live in extremely dry environments, even being found in the Atacama Desert, one of the driest places on earth. Cacti show many adaptations to conserve water. Almost all cacti are succulents, meaning they have thickened, fleshy parts adapted to store water. Unlike many other succulents, the stem is the only part of most cacti where this vital process takes place. Most species of cacti have lost true leaves, retaining only spines, which are highly modified leaves. As well as defending against herbivores, spines help prevent water loss by reducing air flow close to the cactus and providing some shade. In the absence of leaves, enlarged stems carry out photosynthesis. Cacti are native to the Americas, ranging from Patagonia in the south to parts of western Canada in the north—except for Rhipsalis baccifera, which also grows in Africa and Sri Lanka.
From Wikipedia, the free encyclopedia
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
Standing on one leg to conserve energy...
> Explored on 2013-03-12.
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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
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
Cour intérieure et bâtiments conventuels, abritant aujourd'hui le Musée Fernand-Desmoulin et des salles d'exposition
Il fut un temps où cette cour était une cour d'école.
Les grottes de l'abbaye de Brantôme (monastère troglodytique) :
Vestiges du premier monastère bénédictin de Brantôme (VIII° siècle) creusé dans la falaise calcaire en partie dissimulée par les bâtiments conventuels : habitations, pigeonniers, fontaine miraculeuse dédié à saint Sicaire dont les reliques sont conservées dans l’abbatiale et l’énigmatique grotte dite du Jugement Dernier (protégée par des grilles) et ses deux bas-reliefs monumentaux.
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.
🇫🇷 ¤ Le trésor de la cathédrale
Le trésor de la cathédrale de Brixen fait partie des biens conservés au fil des siècles, par traditon, dans la sacristie. Des textiles médiévaux, comme la chasuble millénaire d'Albuin (soie pourpre bysantine avec un dessin d'aigle) ou les vêtements de Hartmann ont été révérés comme reliques et conservés en tant que telles. La majorité des travaux d'orfèvrerie gothiques et du début du baroque n'ont pas été fabriquée à Brixen mais ont été importée de centres culturels européens tels Limoges, Venise, Constance et Augsbourg.
La pièce la plus ancienne est le calice funéraire de l'évêque Altwin datant de la fin du XIe siècle.
¤ La collection d'objets d'art présente
de précieuses sculptures et de tableaux médiévaux, ainsi que d'œuvres modernes de l'époque baroque, du classicisme et du romantisme.
Les pièces essentielles de la collection sont les Vièrges et les crucifix de la fin de l'art roman, les sculptures et les peintures d'artistes tyroliens du Moyen Åge.
A l'époque du baroque, des statues d'autel d'Adam Baldauf, des peintures à l'huile de Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger et Paul Troger passent au premier plan. etc …..
🇩🇪 ¤ Der Domschatz
Der Domschatz von Brixen gehört zu den Gütern, die über die Jahrhunderte hinweg traditionsgemäß in der Sakristei aufbewahrt wurden. Mittelalterliche Textilien wie die tausendjährige Kasel von Albuin (purpurne bysantinische Seide mit Adlermuster) oder die Gewänder von Hartmann wurden als Reliquien verehrt und als solche aufbewahrt. Die meisten Goldschmiedearbeiten der Gotik und des Frühbarocks wurden nicht in Brixen hergestellt, sondern aus europäischen Kulturzentren wie Limoges, Venedig, Konstanz und Augsburg importiert. Das älteste Stück ist der Grabkelch des Bischofs Altwin vom Ende des 11. Jahrhunderts.
¤ Die Kunstsammlung zeigt wertvolle mittelalterliche Skulpturen und Gemälde sowie moderne Werke aus der Zeit des Barock, des Klassizismus und der Romantik.
Die wichtigsten Stücke der Sammlung sind spätromanische Vièrgen und Kruzifixe, Skulpturen und Gemälde von Tiroler Künstlern des Mittelalters.
In der Barockzeit treten Altarfiguren von Adam Baldauf, Ölgemälde von Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger und Paul Troger in den Vordergrund. usw.
🇮🇹 ¤ Il tesoro della cattedrale
Il tesoro della cattedrale di Bressanone è uno degli oggetti conservati da secoli, per tradizione, nella sacrestia. Tessuti medievali come la casula millenaria di Albuin (seta viola bissantina con disegno di aquila) o i paramenti di Hartmann sono stati venerati come reliquie e conservati come tali. La maggior parte dell'argenteria gotica e del primo barocco non è stata prodotta a Bressanone, ma importata da centri culturali europei come Limoges, Venezia, Costanza e Augusta. Il pezzo più antico è il calice funerario del vescovo Altwin, risalente alla fine dell'XI secolo.
La collezione d'arte comprende preziose sculture e dipinti medievali, oltre a opere moderne del periodo barocco, classicista e romantico.
I pezzi forti della collezione sono la Vergine e il Crocifisso tardo-romanici, nonché sculture e dipinti di artisti tirolesi del Medioevo.
Nel periodo barocco sono protagoniste le statue d'altare di Adam Baldauf e i dipinti a olio di Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger e Paul Troger. etc .....
🇬🇧 ¤ The treasure of the cathedral
The treasure of Brixen Cathedral is one of the items that have been preserved over the centuries, by tradition, in the sacristy. Medieval textiles such as Albuin's thousand-year-old chasuble (Bysantine purple silk with an eagle design) or Hartmann's vestments were revered as relics and preserved as such. The majority of Gothic and early Baroque silverware was not made in Brixen, but was imported from European cultural centres such as Limoges, Venice, Constance and Augsburg. The oldest piece is the funerary chalice of Bishop Altwin, dating from the end of the 11th century.
¤ The art collection features precious medieval sculptures and paintings, as well as modern works from the Baroque, Classicist and Romantic periods.
The highlights of the collection are the late Romanesque Virgin and Crucifixes, and sculptures and paintings by Tyrolean artists from the Middle Ages.
In the Baroque period, altar statues by Adam Baldauf and oil paintings by Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger and Paul Troger take centre stage. etc .....
🇪🇸 ¤ El tesoro de la catedral
El tesoro de la catedral de Brixen es uno de los objetos que se han conservado a lo largo de los siglos, por tradición, en la sacristía. Tejidos medievales como la casulla milenaria de Albuin (seda púrpura bizantina con diseño de águila) o los ornamentos de Hartmann fueron venerados como reliquias y conservados como tales. La mayor parte de la platería gótica y barroca temprana no se fabricó en Brixen, sino que se importó de centros culturales europeos como Limoges, Venecia, Constanza y Augsburgo. La pieza más antigua es el cáliz funerario del obispo Altwin, de finales del siglo XI.
La colección de arte incluye valiosas esculturas y pinturas medievales, así como obras modernas de los periodos barroco, clasicista y romántico.
Lo más destacado de la colección son la Virgen y los Crucifijos del Románico tardío, así como esculturas y pinturas de artistas tiroleses de la Edad Media.
En el periodo barroco, destacan las estatuas de altar de Adam Baldauf y los óleos de Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger y Paul Troger. etc .....
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.
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.
Conserve and protect the natural beauty. visit www.youtube.com/c/natureworldadventures to enjoy adventure videos
The Ohio River rose and washed out part of the new dam and closed the Old Lawrenceburg Road that crosses the area. Great for hiking and Great Blue Heron sighting though. The contractor has started repairing the dam.
I originally planned to go into New York City to photograph counterfeit Louis Vuitton bags. I wanted to blog about the frequent sightings of Coach, Burberry, and Louis Vuitton handbags at CVS. In my naivety, I used to believe all the bags were authentic. However, I believe now that while the majority of the Coach and Burberry bags were real, the clear majority of Louis Vuitton fashions were counterfeit. My suspicions were confirmed upon my numerous conversations with customers about their handbags. Many of them would mention they "fell off the truck" at Canal Street when I commented about their pretty handbags. In fact, the only confirmation of an authentic Louis Vuitton fashion was from a man who had a Vuitton wallet. When I asked him about the plethora of counterfeits running around, he also mentioned Canal Street. He has seen the counterfeits himself and they look absolutely authentic. I, too, had to see these gorgeous counterfeits. Thus, began an excursion to Canal Street to start my Blackout Day!
Paul accompanied me on this excursion to the City. We were supposed to have lunch with our friend Peter, but he was unavailable and would soon disappear into a cellular void. We headed into NYC via the Newport/Pavonia PATH station and then hopped out on Christopher Street only to hop into a subway to take us to Chinatown and into the heart of mystery.
We noticed alot of scenes like this on Canal Street. Hordes of people would gather around in a small circle while a Chinese merchant would quickly lift up a tarp covering a table in order to reveal the counterfeit merchandise beneath; all the while, the merchant would nervously glance up and around the sidewalk area. Presumably they were looking for cops, but maybe they were just looking for suspicious activity counter to their own. The merchant in this picture quickly closed up shop and sent the customers away after he caught me taking pictures of his business.
Paul and I continued to walk along Canal Street observing the suspicious activities of the day. Merchants would often not even have the counterfeit merchandise underneath the tarp. They would just have a paper with pictures of all the products with them. After a customer chose a product, the merchant would then retrieve the fake Vuitton bag. I found it extremely difficult to photograph a bag because there weren't any around! I was also afraid that merchants would try to seize my camera or break my legs if they caught me taking pictures of them.
I walked into a store and saw this woman clutching a Vuitton bag. My eyes immediately lit up and I asked her (in spanish) if I could photograph her bag. I finally had a photo of a Vuitton bag! Her companion insisted that it was a real bag when I asked about its authenticity. I'm not sure whether to believe him or not. Later in the day, I would continue to ask people if I could photograph their Vuitton bags, only to receive strange looks in return. I would end up just photographing their bags without their permission.
We then made a quick stop at City Hall to photograph the infrastructure in order to "examine" its vulnerabilities and weaknesses. After I took this photo, the officer of the USMS SDNY (United States Marshal Service - Southern District of New York) who is pointing on the left, walked up to me and ordered me to stop photographing government property. I burned with rage as I wished again for a hidden camera. After this encounter, we went to Union Square for a drink at the Heartland brewery. We both had their Indiana Pale Ale, which was pretty good. Paul and I planned to head over to the Williamsburg section of Brooklyn for a drink, then head back here to buy a gallon of beer to take home. Little did we know what was in store for us on the subway to Brooklyn.
This is the subway car I was trapped in for over an hour. This L-line subway left the 1st Avenue station and was heading over to Brooklyn when at about 4:20 the subway stopped and the lights went off. The crew reassured us that it was just the subway line and that things we were going to start moving very soon. However, it was soon apparent we weren't going anywhere, and the problem was probably larger than we expected. After all, where were the cops and fire department to help us? The man in the forefront of this photograph pointed this out. The chickens on the train grew restless as the air got really fucking thick and the temperature must've been around 100 degrees inside the car. People from the cars in front of us began an exodus to the back of the train - it was a light trickle of people at first and then it became quite obvious that people were trying to leave. Some gangbangers in the back of our car climbed out onto the catwalk and disappeared into the darkness. Eventually everyone realized this subway train had to be evacuated. Oh boy!
The procession to the back of the train was slow and aggravating. Apparently only the front and the back of the train had doors open to the catwalk. So we made a run for the back of the train and encountered a mass of humanity in the second to last car, where there was an opening. It was even hotter inside this car than the car we were stuck in because there were so many people jammed together trying to get out. We were all penned in and sharing bodyheat and it was nasty. People in the car started losing their nerves and tried prying other doors open and yelling for people to push and get out of the way. Quite scary. Eventually we all got out onto the catwalk.
The catwalk was narrow and dirty to the max. I refused to touch anything except the girl in front of me ;) Paul would later emerge out of the train station with hands that were black as night. I felt like I was in the Temple of Doom. The tunnel was pitch black, save for a few flashlights of the engine company that was there to assist us. The catwalk would go from narrow to extremely narrow without warning and there were multiple "dirty" obstacles in the way. I luckily used my LCD screen on my camera to help light my way (which unfortunately used the battery power I wish I had later in the night). I tried to shut my camera off for a second to conserve the battery, but I found myself horribly frightened at negotiating the catwalk in pitch black darkness.
After emerging from the darkness back onto the surface, we headed back to Union Square (and we'd be back again!). It was amazing to see all the throngs of people walking uptown on the avenue. It was like thousands of salmon pushing upstream to spawnsville. Cars tried to wrest back control of the streets with intermittent success, but the humans put up fierce resistance. Eventually, the machines were allowed one lane, and pedestrians controlled the rest of the avenue.
We marched onto Times Square, where there were thousands of more people milling around. It was so strange to see the place without electricity. This Square is notorious for light pollution that makes the night seem like the afternoon. John Stossel from ABC's 20/20 was there to work the crowd and report about the courageous self-control the humans have displayed in not looting and actually helping other people out. At this point in time, I was fully expecting a riot come nightfall.
Paul and I decided to check out the Ferry to see if it was a viable means to return to New Jersey. However, it was quite a mess. The lines had to be at least 10 blocks long with no movement in sight. Another pedestrian we talked to said that she had been on line for half an hour and didn't move anywhere - and she even cut the line! So, with that in mind, our next alternative was to walk to the Lincoln tunnel and see if we could walk the tunnel to New Jersey. Who would've thought that it would come to this!?
When we reached the tunnel, it was apparent that there would be no walking, and apparently very limited driving inside the tunnel. Floods of buses came through the tunnel and into New York. Probably every bus in the region came to lend a hand. They lined the streets for blocks and people would walk up to the bus driver's window and ask where the bus was heading. If the destination was suitable, the pedestrians would hop on in. What convenience! We had an opportunity to exit New York and take a bus to Hoboken. Fortunately, we burned that bridge and opted to wait for nightfall and the possibility of social unrest.
There was an obscene number of people sprawled on the ground at the makeshift refugee camp aka Madison Square Garden. I do not know what they were waiting for, but there were alot of them to negotiate through. At this point, we began to scour for food. New York City's resources were being rapidly depleted, we had to get our share. Many bodegas and deli's were closed. Some ingenious entrepreneurs moved all of their perishable foodstuffs and drinks outside onto the sidewalk. The Happy Blackout Day streetfair had begun!
Even more ingenious storeowners parked cars on vertically on the sidewalk with their headlights beaming into this store. One deli that we inexplicably frequented numerous times yesterday had a jeep parked on the sidewalk with its high-beams shining inside. They really ripped us off price-wise, but hey, you pay for the atmosphere.
Radios also played a critical part in hearing about news from the outside world. On more than one occasion, Paul and I would stop to listen in on Julia Poppa of 10/10 WINS The news was never good, but the communal experience of sharing a radio with fellow transient peoples on a pitch black street was comforting.
Sometime during the night, we eventually made our way back to Union Square a third time. We were drawn by the hint of light and the loud sound of rhythmic drum beats. There was a huge orgy of dancing and merriment in the square. The closest thing I can relate it to is the Zion rave scene in the Matrix Reloaded. This place was off the wall - it was a huge celebration of societal goodwill. At this point in time, Paul and I were resting up - Paul bought a 6-pack of Beck's and we eagerly took long swigs in front of the Po-Po! It was a great place to have some beers, eat some Pirate's booty and take in the atmosphere. There would be no rioting tonight, just alot of orgies. After Union Square, we dropped by Washington Square and saw the same festivities being led by NYU frat boys.
Paul and I wandered around for a long time in the dark and kept walking in circles. Eventually we made our way to the Christopher Street station to take the Path home - as usual, there were police officers outside it. However, Paul wanted to go to Battery Park and take the ferry back from there. I relented - I wanted to extend the experience too, but not as long as it would eventually turn out. We first dropped by this park on the Hudson river and watched the Jersey City skyline while drinking beer and sitting on the grass like hippies.
Then there was this hour long trek to Battery Park only to find out the ferry wasn't operating. I think Paul lost his cool here, but he'll really lose it in Hoboken! After a cabbie offered to take us to Newark for $40 (then $30), we found a cool cabbie that would take us back to Christopher Street station for whatever price we found fit. This cabbie was actually heading to Jersey himself since he was low on gas - I hope he found some. Anyway, we finally got on the Path and opted to get off in Hoboken. What a mistake! We anticipated that the car garage would be closed at this hour (1AM) and it would be easier for Jason to pick us up from here. However, Jason wasn't able to pick us up, and Paul's dad would be able to...in Newark. So we went back into the station, waited a little longer in the sweatbox (the entire station was being run on by generator) and finally Paul talked to a PATH employee and found out there would be no more trains coming into Hoboken because the train signals were not working. We got off the last train in Hoboken! Ahhh! Prudence and Expediency were on our side at last when NJ Transit offered to take us and 3 other people to Newark Penn Station, for free! Hooray for NJ Transit! They were the super happy ending to this 15 hour journey of mystery and excitement!
This is my favorite picture of the evening; it was snapped while we were aimlessly wandering the city. In the afternoon I was at unease because I was having negative fantasies about the origins of this event. I felt much more at peace during the dark evening. Yesterday I logged the most miles in a day for my feet, and yet I enjoyed every moment of it. Maybe it was because I will never experience another day like this again. I will never be able to see the stars from the middle of New York City like I did that night. I will never again be able to be in the middle of the financial district, and look up to see the only illumination comes from the moon. What a beautiful sight that was.
There were also some less metaphysical achievements accomplished yesterday. When is the next time I will be able to take a public leak in Battery Park, Greenwich village, Financial District, and some other place in lower Manhattan? I also probably won't be able to walk in the middle of an unlit street while drinking a beer again. Everyone had free reign of the city yesterday, and everyone had a good time at it. Oh yeah, we also saw Jay-Z leave a bar ;)
C’est ici qu’est conservée la mémoire de Liévin, ses vestiges et son histoire.
Une salle située au sud du bâtiment abrite une salle de classe ancienne, avec ses meubles de l'époque (les tables des classes avec ses encriers, des divers objets )
The title is from a sign that used to hang in my friend's bathroom in the '80s. I need to work on this concept again, we need floating bubbles, a back brush and not in the kitchen sink. I noticed how dirty the dinos were the other day when editing my images and decided they needed a bath. I actually just threw them in the dishwasher but it gave me the idea for this image.
en.wikipedia.org/wiki/Wentworth_Castle
Wentworth Castle is a grade I listed country house, the former seat of the Earls of Strafford, at Stainborough, near Barnsley in South Yorkshire, England. It is now home to the Northern College for Residential and Community Education.
An older house existed on the estate, then called Stainborough, when it was purchased by Thomas Wentworth, Baron Raby (later Earl of Strafford), in 1711. It was still called Stainborough in Jan Kip's engraved bird's-eye view of parterres and avenues, 1714, and in the first edition of Vitruvius Britannicus, 1715 (illustration, left). The name was changed in 1731. The original name survives in the form of Stainborough Castle, a sham ruin constructed as a garden folly (illustration below) on the estate.
The Estate has been in the care of the Wentworth Castle Heritage Trust since 2001 and is open to the public year round 7 days a week. The castle's gardens were restored in the early 21st century, and are also open to visitors.
History
The original house, known as the Cutler house, was constructed for Sir Gervase Cutler (born 1640) in 1670. Sir Gervase then sold the estate to Thomas Wentworth, later the 1st Earl of Strafford. The house was remodelled in two great campaigns, by two earls, in remarkably different styles, each time under unusual circumstances.
The first building campaign
The first building campaign to upgrade the original structure was initiated c.1711 by Thomas Wentworth, Baron Raby (1672-1739). He was the grandson of Sir William Wentworth, father of Thomas Wentworth, the attainted 1st Earl. Raby was himself created 1st Earl of Strafford (second creation) in 1711.
The estate of Wentworth Woodhouse, which he believed was his birthright, was scarcely six miles distant and was a constant bitter sting, for the Strafford fortune had passed from William Wentworth, 2nd Earl of Strafford, the childless son of the great earl, to his wife's nephew, Thomas Watson; only the barony of Raby had gone to a blood-relation. M.J. Charlesworth surmises that it was a feeling that what by right should have been his that motivated Wentworth's purchase of Stainborough Castle nearby and that his efforts to surpass the Watsons at Wentworth Woodhouse in splendour and taste motivated the man whom Jonathan Swift called "proud as Hell".[1]
Wentworth had been a soldier in the service of William III, who made him a colonel of dragoons. He was sent by Queen Anne as ambassador to Prussia in 1706-11 and on his return to Britain, the earldom was revived when he was created Viscount Wentworth and Earl of Strafford in the Peerage of Great Britain. He was then sent as a representative in the negotiations that led to the Treaty of Utrecht, and was brought before a commission of Parliament in the aftermath. With the death of Queen Anne, he and the Tories were permanently out of power. Wentworth, representing a clannish old family of Yorkshire, required a grand house consonant with the revived Wentworth fortunes, he spent his years of retirement completing it and enriching his landscape.
He had broken his tour of duty at Berlin to conclude the purchase of Stainborough in the summer of 1708, and returned to Berlin, armed with sufficient specifications of the site to engage the services of a military architect who had spent some years recently in England, Johann von Bodt. who provided the designs.[2] Wentworth was in Italy in 1709, buying paintings for the future house: "I have great credit by my pictures," he reported with satisfaction: "They are all designed for Yorkshire, and I hope to have a better collection there than Mr. Watson."[3] To display them a grand gallery would be required, for which James Gibbs must have provided the designs, since a contract for wainscoting "as desined by Mr Gibbs" survives among Wentworth papers in the British Library (Add. Mss 22329, folio 128). The Gallery was completed in 1724.[4] There are designs, probably by Bodt, for an elevation and a section showing the gallery at Wentworth Castle in the Victoria and Albert Museum (E.307-1937), in an album of mixed drawings which belonged to William Talman's son John.[5] the gallery extends one hundred and eighty feet, twenty-four feet wide, and thirty high, screened into three divisions by veined marble Corinthian columns with gilded capitals, and with corresponding pilasters against projecting piers: in the intervening spaces four marble copies of Roman sculptures on block plinths survived until the twentieth century.[6] Construction was sufficiently advanced by March–April 1714 that surviving correspondence between Strafford and William Thornton concerned the disposition of panes in the window sashes: the options were for windows four panes wide, as done in the best houses Thornton assured the earl, for which crown glass would do, or for larger panes, three panes across, which might requite plate glass: Strafford opted for the latter.[7] The results, directed largely by letter from a distance,[8] are unique in Britain. Sir Nikolaus Pevsner found the east range "of a palatial splendour uncommon in England."[9] The grand suite of parade rooms on the ground floor extended from the room at the north end with a ceiling allegory of Plenty to the south end, with one of a Fame.
Bodt's use of a giant order of pilasters on the front and other features, suggested to John Harris that Bodt, who had been in England in the 1690s, had had access to drawings by William Talman. Talman was the architect of Chatsworth, considered to be England's first truly Baroque house. Indeed there are similarities of design between Wentworth's east front and Chatsworth. Both have a distinctly Continental Baroque frontage. Wentworth has been described as "a remarkable and almost unique example of Franco-Prussian architecture in Georgian England".[10] The east front was built upon a raised terrace that descended to sweeps of gravelled ramps that flanked a grotto and extended in an axial vista framed by double allées of trees to a formal wrought iron gate, all seen in Jan Kip's view of 1714, which if it is not more plan than reality, includes patterned parterres to the west of the house and an exedra on rising ground behind, all features that appear again in Britannia Illustrata, (1730).[11] An engraving by Thomas Badeslade from about 1750 still shows the formal features centred on Bodt's façade, enclosed in gravel drives wide enough for a coach-and-four. The regular plantations of trees planted bosquet-fashion have matured: their edges are clipped, and straight rides pierce them.[12] All these were swept away by the second earl after mid-century, in favour of an open, rolling "naturalistic" landscape in the manner of Capability Brown.[13]
The first earl's landscape
Strafford planted avenues of trees in great quantity in this open countryside, and the sham castle folly (built from 1726 and inscribed "Rebuilt in 1730", now more ruinous than it was at first) that he placed at the highest site, "like an endorsement from the past"[14] and kept free of trees (illustration, left) missed by only a few years being the first sham castle in an English landscape garden.[15] For its central court where the four original towers were named for his four children, the earl commissioned his portrait statue in 1730 from Michael Rysbrack, whom James Gibbs had been the first to employ when he came to England;[16] the statue has been moved closer to the house.
A staunch Tory,[17] Lord Strafford remained in political obscurity during Walpole's Whig supremacy, for the remainder of his life. An obelisk was erected to the memory of Queen Anne in 1736, and a sitting room in the house was named "Queen Anne's Sitting Room" until modern times. Other landscape features were added, one after the other, with the result that today there are twenty-six listed structures in what remains of the parkland.
The second earl at Wentworth Castle
The first earl died in 1739 and his son succeeded him. William Wentworth, 2nd Earl of Strafford (1722-1791) rates an entry in Colvin's Biographical Dictionary of British Architects as the designer of the fine neo-Palladian range, built in 1759-64 (illustration, upper right). He married a daughter of the Duke of Argyll[18] and spent a year on the Grand Tour to improve his taste; he eschewed political life. At Wentworth Castle he had John Platt (1728–1810)[19] on the site as master mason and Charles Ross ( -1770/75) to draft the final drawings and act as "superintendent"; Ross was a carpenter and joiner of London who had worked under the Palladian architect and practiced architectural ammanuensis, Matthew Brettingham, at Strafford's London house, 5, St James's Square, in 1748-49. Ross's proven competency in London in London doubtless recommended him to the Earl for the building campaign in Yorkshire.[20] At Wentworth Castle it was generally understood, as Lord Verulam remarked in 1768, "'Lord Strafford himself is his own architect and contriver in everything."[21] Even in the London house, Walpole tells us, "he chose all the ornaments himself".
Horace Walpole singled out Wentworth Castle as a paragon for the perfect integration of the site, the landscape, even the harmony of the stone:
"If a model is sought of the most perfect taste in architecture, where grace softens dignity, and lightness attempers magnificence... where the position is the most happy, and even the colour of the stone the most harmonious; the virtuoso should be directed to the new front of Wentworth-castle:[22] the result of the same judgement that had before distributed so many beauties over that domain and called from wood, water, hills, prospects, and buildings, a compendium of picturesque nature, improved by the chastity of art."[23]
Later history
With the extinction of the earldom with the third earl in 1799, the huge family estates were divided into three, one third going to the descendants of each daughter of the 1st Earl. Wentworth Castle was left in trust for Lady Henrietta Vernon's grandson Frederick Vernon, (of Hilton Hall, Staffordshire) whose trustees were William, 4th Earl Fitzwilliam, and Walter Spencer Stanhope. Frederick Vernon added Wentworth to his surname and took charge of the estate in 1816. Between 1820 and 1840 the old chapel of St. James was replaced with the current building and the windows of the Baroque Wing were lowered on either side of the entrance hall. Frederick Vernon Wentworth also amalgamated two ground floor rooms to make what is now the blue room. In July of 1838 a freak hail storm badly damaged the cupola and windows of the house as well as all the greenhouses within the walled gardens, yet this pales into insignificance when compared with the nearby Huskar Colliery disaster where 26 child miners lost there lives due to flooding following the hail storm. In May of 1853 a freak snow storm also caused severe damage, particularly to the mature trees within the gardens, some of them rare species from America planted by the 1st and 2nd earls. Frederick Vernon Wentworth was succeeded by his son Thomas in 1885 who added the iron framed Conservatory and electric lighting by March of the following year. The Victorian Wing also dates from this decade and its construction allowed the Vernon-Wentworths to entertain the young Duke of Clarence and his entourage during the winters of 1887 and 1889. The estate was inherited by Thomas' eldest son Captain Bruce Canning Vernon Wentworth, M.P. for Brighton, in 1902. Preferring his Suffolk estates, the Captain put the most valuable of his Wentworth Castle house contents up for sale at auction with Christies after the First World War. The paintings sold at Christie's on 13 November 1919.[24] Bruce Vernon-Wentworth, who had no direct heirs, sold the house and its gardens to Barnsley Corporation in 1948, while the rest of his estates, in Yorkshire, Suffolk and Scotland were left to a distant cousin.[25] The remaining contents of Wentworth Castle were emptied at a house sale,[26] and the house became a teacher training college, the Wentworth Castle College of Education, until 1978. It was then used by Northern College.[27] It was featured in the Victoria and Albert Museum's exhibition "The Country House in Danger". The great landscape that Walpole praised in 1780 was described in 1986 as now "disturbed and ruinous", the second earl's sinuous river excavated in the 1730s reduced to a series of silty ponds,.[28]
Wentworth Castle is the only Grade I Listed Gardens and Parkland in South Yorkshire. The Wentworth Castle Heritage Trust was formed in 2002 as a charity with the aim “To undertake a phased programme of restoration and development works which will provide benefit to the general public by providing extensive access to the parkland and gardens and the built heritage, conserving these important heritage assets for future generations”. Today, the landscape is gradually being restored by the Trust. The restoration of the Rotunda was completed in 2010, the parkland has been returned to deer park. The restoration of the Serpentine will form a future project as funding allows.
The estate opened fully to visitors in 2007, following the completion of the first phase of restoration, which cost £15.2m.[29] The Gardens at Wentworth Castle and Stainborough Park are open 7 days a week year round (closed Christmas Day and Boxing Day). Information for visitors, groups and schools and the latest information on restoration progress is available from the Trust's website. Tours of the house are available by arrangement.
Wentworth Castle was featured on the BBC TV show Restoration in 2003, when a bid was made to restore the Grade II* Listed Victorian conservatory to its former glory, though it[30] did not win in the viewers' response. Subsequently, the Wentworth Castle Heritage Trust took the decision in 2005 to support the fragile structure further with a scaffold in order to prevent its total collapse. The Trust succeeded in raising the £3.7 million needed to restore the conservatory in 2011 and work began in 2012, with grants from English Heritage, the Country Houses Foundation, the Heritage Lottery Fund and the European Regional Development Fund. The Trust completed the restoration of its fragile Victorian glasshouse in October 2013 – 10 years after its first TV appearance the Restoration series. It was opened by the Mayor of Barnsley on 7 November 2013 and opened to the general public the following day.
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.
NEW JERSEY 2017 BALD EAGLE PROJECT REPORT
ANOTHER PRODUCTIVE YEAR FOR NJ’S EAGLES
by Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Endangered and Nongame Species Program has released the 2017 NJ Bald Eagle Project Report. In 2017, 178 eagle nests were monitored during the nesting season. Of these nests 153 were active (with eggs) and 25 were territorial or housekeeping pairs. One hundred and ninety young were fledged.
In 2017 the number of active nests was three more than in 2016, but the number young fledged decreased by 27 from a record high of 216 fledged in 2016. The productivity rate this season of 1.25 young/active nest is still above the required range of 0.0 to 1.1 for population maintenance. Productivity could be lower this season for many reasons including weather, predation and disturbance to the nesting area. In 2017 nest monitors reported several instances of “intruder” eagles at nests which did disrupt the nesting attempts of several pairs. One of these “eagle dramas” unfolded at the Duke Farms eagle cam watched by millions of people. An intruder female attempted to replace the current female. This harassment interrupted the pairs bonding and copulation and no eggs were laid.
This year’s report includes a section on Resightings of banded eagles. Resightings of NJ (green) banded eagles have increased over the years, as well as eagles seen in NJ that were banded in other states. These resightings are important, as they help us to understand eagle movements during the years between fledging and settling into a territory, as well as adult birds at a nest site.
For more info: www.conservewildlifenj.org/blog/2017/12/06/new-jersey-201...
New Jersey Bald Eagle Project Report | 2017 may be downloaded here: www.state.nj.us/dep/fgw/ensp/pdf/eglrpt17.pdf
Le temple de la Concorde est, avec l'Héphaïstéion (Théséion) d'Athènes et le temple de Poséidon à Paestum, l'un des temples les mieux conservés de l'antiquité grecque. Son appellation arbitraire n'est due qu'à une inscription romaine trouvée à proximité, où figurait le mot latin concordia. Il a été construit dans les années -440 à -430.
Les inégalités du terrain sur lequel il est édifié sont compensées par un soubassement (krépis) important. Son plan correspond à la forme la plus classique des temples d'Agrigente : pronaos, naos, opisthodome et péristyle de 6 × 13 colonnes.
Le temple de la Concorde est de tous ceux d'Agrigente celui qui a été réalisé avec le plus de précision. Le problème des extrémités propre aux temples doriques (conflit entre la régularité des métopes et des triglyphes d'une part, et l'espacement régulier des colonnes d'autre part) a été résolu d'une manière inhabituelle : il a été procédé tout à la fois au rétrécissement de l'espace entre les deux dernières colonnes et à l'allongement de la métope extrême, pour un meilleur effet visuel.
Les recherches ont également montré que les parties inférieures du temple étaient ornées de stucs blancs, tandis que les frises, métopes et parties hautes étaient peintes de couleurs vives. Le toit était couvert de tuiles de marbre.
En 597, l'évêque Grégoire d'Agrigente a fait du temple une basilique chrétienne consacrée aux apôtres Pierre et Paul, après en avoir chassé les démons païens Eber et Raps qui y demeuraient11. Chacun des murs de la cella fut alors percé de douze arcatures, et les entrecolonnements furent murés, tout comme on peut encore le voir de nos jours à la cathédrale de Syracuse. L'entrée fut reportée sur le côté ouest, ce qui entraîna la suppression de la cloison entre le naos et l'opisthodome, tandis que la sacristie trouvait sa place dans l'ancien pronaos.
La découverte dans le temple de deux figures de dieux puniques mises de côté a fait déduire que déjà les Grecs y honoraient deux divinités, peut-être les Dioscures.
Après l'abandon de la cité, l'église fut à nouveau remise en usage, jusqu'au XVIIe siècle. Elle est désaffectée en 1748. En 1788, les dernières structures appartenant à l'église chrétienne sont enlevées par ordre du prince de Torremuzza. Depuis lors, le temple a été restauré dans son état initial.
The Temple of Concord is, along with the Hephaestion (Thesion) of Athens and the Temple of Poseidon at Paestum, one of the best-preserved temples of Greek antiquity. Its arbitrary name is only due to a Roman inscription found nearby, where the Latin word concordia appeared. It was built in the years -440 to -430.
The unevenness of the land on which it is built is compensated by a significant base (krépis). Its plan corresponds to the most classic form of the temples of Agrigento: pronaos, naos, opisthodome and peristyle of 6 × 13 columns.
The temple of Concord is of all those of Agrigento the one that was created with the most precision. The problem of extremities proper to Doric temples (conflict between the regularity of the metopes and triglyphs on the one hand, and the regular spacing of the columns on the other hand) has been solved in an unusual way: both by narrowing the space between the last two columns and by lengthening the extreme metope, for a better visual effect.
Research has also shown that the lower parts of the temple were decorated with white stucco, while the friezes, metopes and upper parts were painted in bright colors. The roof was covered with marble tiles.
In 597, Bishop Gregory of Agrigento made the temple a Christian basilica dedicated to the apostles Peter and Paul, after having driven out the pagan demons Eber and Raps who lived there11. Each of the cella's walls was then pierced with twelve arches, and the intersections were walled, just as we can still see today in the cathedral of Syracuse. The entrance was moved to the west side, which led to the removal of the partition between the naos and the opisthodome, while the sacristy found its place in the old pronaos.
The discovery in the temple of two figures of Punic gods put aside made it deduce that already the Greeks honored two deities there, perhaps the Dioscuri.
After the abandonment of the city, the church was again put back into use, until the 17th century. It was abandoned in 1748. In 1788, the last structures belonging to the Christian church were removed by order of the prince of Torremuzza. Since then, the temple has been restored to its original state.