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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.
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
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.
Sometimes you wait a very long time for something. And then, amazingly, it all comes together.
-jared ropelato
« Pour revenir aux parties de cache-cache, elles aiment à la folie ce jeu qui apprend à se séparer et à garder espoir alors même qu’on patiente dans la solitude et l’obscurité, comme disait Freud. Et comme il est ardu de conserver cet espoir lorsque c’est Manon qui cherche et qu’elle n’est pas douée pour trouver. » (E.P.)
new website : this, random, RSS | random Flickr | © David Farreny.
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.
Knole (/noʊl/) is a British country house and former archbishop's palace owned by the National Trust. It is situated within Knole Park, a 1,000-acre (400-hectare) park located immediately to the south-east of Sevenoaks in west Kent. The house ranks in the top five of England's largest houses, under any measure used, occupying a total of 4 acres (1.6 ha).[1]
The current house dates back to the mid-15th century, with major additions in the 16th and, particularly, the early 17th centuries. Its Grade I listing reflects its mix of late-medieval to Stuart structures and particularly its central façade and state rooms. In 2019, an extensive conservation project, "Inspired by Knole", was completed to restore and develop the structures of the buildings and thus help to conserve its important collections.[2] The surrounding deer park has also survived with varying degrees of management in the 400 years since 1600.
History &Location
Knole is located at the southern end of Sevenoaks, in the Weald of west Kent. To the north, the land slopes down to the Darenth valley and the narrow fertile pays of Holmesdale, at the foot of the North Downs.[4] The land around Sevenoaks itself has sandy soils, with woodland that was used in the Middle Ages in the traditional Wealden way, for pannage, rough pasture and timber.[5] The Knole estate is located on well-drained soils of the Lower Greensand.[6] It was close enough to London to allow easy access for owners who were involved with affairs of state, and it was on "sounde, parfaite, holesome grounde", in the words of Henry VIII.[7] It also had a plentiful supply of spring water.[8] The knoll of land in front of the house gives it a sheltered position. The wooded nature of the landscape could provide not only timber but also grazing for the meat needs of a grand household. Moreover, it made an excellent deer park, being emparked before the end of the 15th century. The dry valley between the house and the settlement of Sevenoaks also makes a natural deer course, for a combined race and hunt between two dogs and fallow deer.[9]
Early history
The earliest recorded owner of the core of the estate, in the 1290s, was Robert de Knole. However, nothing is known of any property he had on the estate. Two other families, the Grovehursts and the Ashburnhams, are known to have held the estate in succession until the 1360s, and the manor of Knole is first mentioned in 1364.[10] In 1419, the estate, which then spread over 800 acres, had been bought by Thomas Langley, Bishop of Durham, and by 1429, he had extended it to 1,500 acres.[11] The estate remained in the hands of the Langley family, it seems, until the mid-1440s when it had been acquired by James Fiennes, 1st Baron Saye and Sele. The circumstances of this transfer are not known, but it is clear that Lord Saye and Sele was also enlarging the estate by further, sometimes forcible, purchases of adjoining parcels of land. For example, in 1448 one Reginald Peckham was forced to sell land at Seal (at the north-eastern end of the current estate) to Saye "on threat of death".[12] Forcible land transfers recur in the later history of the house, including that between Archbishop Thomas Cranmer and Henry VIII.
Thomas Cardinal Bourchier, Archbishop of Canterbury
Lord Saye and Sele seems to have begun a building project at Knole, but it was incomplete by his death in 1450.[13] His ruthless exploitation of his powerful position in Kent was a motivating factor in the Jack Cade Rebellion. Saye and Sele was executed on the authority of a hastily assembled commission initiated by Henry VI in response to the demands of Cade's rebels when they arrived in London.[14]
Archbishop Bourchier's House
James Fiennes's heir, William, second Baron Saye and Sele, sold the property for 400 marks (£266 13s 4d) in 1456 to Thomas Bourchier, Archbishop of Canterbury. He already had a substantial property in the area, Otford Palace, but the drier, healthier site of Knole attracted him.[15] Archbishop Bourchier probably began building work by making substantial renovations of an existing house. Between 1456 and 1486, Bourchier and his bailiff for the Otford bailiwick, John Grymesdyche, oversaw substantial building work on the current house.[16] The remodelled house must have been suitable for the archbishop by 1459, when he first stayed there, but he based himself there increasingly in his later years, particularly after 1480, when, at the age of about 69, he appointed a suffragan. In 1480, Thomas Cardinal Bourchier, as he had become in 1473, gave the house to the Archdiocese of Canterbury.[17]
In subsequent years, Knole House continued to be enlarged, with the addition of a large courtyard, now known as Green Court, and a new entrance tower. These were long thought to be the work of one of Bourchier's successors, but the detailed study by Alden Gregory suggests that Bourchier was responsible. He took advantage of the political stability that followed the restoration of Edward IV in 1471 to invest further in his property.[18]
Knole in the Tudor period
After Cardinal Bourchier's death in 1486, Knole was occupied by the next four archbishops: John Morton (1487–1500), Henry Deane (1501–1503), William Warham (1504–1532) and finally Thomas Cranmer.[19] Sir Thomas More appeared in revels there at the court of Archbishop Morton, whose cognizance (motto) of Benedictus Deus appears above and to either side of a large late Tudor fireplace there.[20] Henry VII was an occasional visitor, as in early October and midwinter 1490.[21]
Cardinal Bourchier had enclosed the park with a pale to make a deer park and it seems that Henry VIII used to visit Archbishop Warham to hunt deer.[22] After the death of Warham and before the appointment of his successor, Henry found his properties in nearby Otford and Knole useful residences for his daughter Mary, at the time of the protracted divorce from her mother, Catherine of Aragon. She was at Knole from 27 November 1532 to 5 March 1533.[23]
Warham's successor as archbishop, Thomas Cranmer, acquired all the temporalities of the See of Canterbury. However, these brought with them substantial debts and complex demands of land management, set against a backdrop of massive land transfers associated with the dissolution of the monasteries and broader assaults on church wealth. Cranmer was, therefore, unable to withstand repeated demands from Henry VIII for exchanges of land.[24] This was a long-term process stretching between 1536 and 1546, so that there is no need to imagine that Henry wanted Knole, specifically, for example as a deer park. In 1537 the manor of Knole, and five other manors and a number of advowsons and chantries largely forming the archbishop's bailiwick of Otford, were 'exchanged' with Henry VIII. In return, Cranmer received a package primarily consisting of former abbeys and priories between Canterbury and Dover.[25]
Knole was granted to Edward Seymour, 1st Duke of Somerset, in August 1547 at the start of his nephew Edward VI's reign, but following Somerset's execution in 1549 it reverted to the Crown.[26] Mary gave the residence back to her Archbishop of Canterbury, Cardinal Reginald Pole, but with their deaths in 1558 the house reverted to the Crown.
In the early 1560s, Elizabeth I gave Knole to Robert Dudley, 1st Earl of Leicester, but he returned it in 1566. However, he had already granted a lease (1 February 1566) to one Thomas Rolf. Under this the 'manor and mansion-house' of Knole and the park, with the deer, and also Panthurst Park and other lands, were demised to the latter for the term of ninety-nine years at a rent of £200. The landlord was to do all repairs, and reserved the very unusual right (to himself and his heirs and assigns) to occupy the mansion-house as often as he or they chose to do so, but this right did not extend to the gate-house, nor to certain other premises. The tenant was given power to alter or rebuild the mansion-house at his pleasure.[27] Meanwhile, Elizabeth had possibly granted the estate to her cousin Thomas Sackville who, at that time, had the title of Lord Buckhurst.
There was competition at that time for the Knole estate. Rolf died very soon after, and the residue of the lease was bought by a wealthy local lawyer, John Lennard (of Chevening). He had gradually built up a network of properties around Sevenoaks, including the manor of Chevening, and adjoining property in the parishes of Knockholt and Halstead, all just to the north of Sevenoaks.[28] Lennard had already pressurised Rolf to sell the lease before his sudden death but, at the same point, Lord Buckhurst was also competing for the lease. Knole was a significant addition to Lennard's local land-holdings when it was confirmed, around 1570. However, Buckhurst was still able to insist upon some rights on the estate, including the ownership of at least some of the deer in the park.[29] John moved to Knole, but gave his son Sampson, Lord Dacre's son-in-law, a sub-lease.[30] The Knole estate was worth a great deal to Sampson, bringing him in 1599 rents worth £218, 6s and 8d.[31]
One of Sampson Lennard's daughters, Margaret, married Sir Thomas Waller, at one time lieutenant of Dover Castle and the younger son of an important Kent family, with their seat at Groombridge. An unusual term in the marriage covenant stipulated that Margaret and Thomas should live at Knole which is where Margaret gave birth to her son William, probably in 1598.[32] The baptism is recorded in the Sevenoaks parish register for 3 December. In 1613, William inherited his father's baronetcy, becoming Sir William Waller. He later commanded a parliamentary army with some distinction during the English Civil War. Wikipedia
🇫🇷 ¤ 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 .....
Statue illustrant le célèbre Roi Henri IV à l’entrée de la cours du merveilleux Château de Pau. La IIIe République fit du château une résidence présidentielle avant de devenir, en 1926, le Musée national qu'il est resté et qui abrite les œuvres conservées depuis l'époque d'Henri IV .
"Good food and good wine is heaven on earth. «From Henri IV
Statue illustrating the famous King Henry IV at the entrance of the course of the wonderful Château de Pau. The Third Republic made the castle a presidential residence before becoming, in 1926, the National Museum that remained and houses the works preserved since the time of Henry IV.
"Buena comida y buen vino es el cielo en la tierra. «De Enrique IV
Estatua que ilustra al famoso rey Enrique IV en la entrada del curso del maravilloso castillo de Pau. La Tercera República hizo del castillo una residencia presidencial antes de convertirse, en 1926, en el Museo Nacional que permaneció y alberga las obras conservadas desde la época de Enrique IV.
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.
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.
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.
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.
Shylight - Studio Drift
Certain types of flowers close at night, for self-defence and to conserve their resources. This highly evolved natural mechanism is called ‘nyctinasty’ and inspired Studio Drift to create Shylight; a sculpture that unfolds and retreats in a fascinating choreography, mirroring that of real flowers.
Most man-made objects have a static form, while everything natural in this world including people, are subject to constant metamorphosis and adaptation to their surroundings. Shylight is the result of the question how an inanimate object can mimic those changes that express character and emotions?
After a research period of five years, Studio Drift found the final form to express their idea. Shylight has become an object that feels alive because of unpredictable, natural-looking movements: it descends to blossom in all its glorious beauty, to subsequently close and retreat upward again. Shylight is created out of many layers of silk, which cause it to move with the grace of a dancer. The movement of the work can be controlled to the millimeter to create a subtle choreography.
Rijksmuseum, Amsterdam
Fondé sur l’ancienne acropole de la ville grecque d’Antipolis. Le château a été construit sur des fondations d'époque romaine. Il conserve une partie des façades de l'édifice romain sur une hauteur variant de 3 à 5 mètres. Cette construction doit dater du Ier siècle apr. J.-C.
Le château Grimaldi est occupé dès 1385 par une branche de la famille génoise des Grimaldi. Le château actuel est construit au XVe siècle. Il a été modifié au XVIIe siècle.
En 1608, le roi Henri IV acquiert ce fief au profit de la couronne de France. Les Grimaldi s'installent au château de Cagnes, voisin, et leur ancien château d'Antibes devient tour à tour la demeure du gouverneur du Roi, l'hôtel de ville et plus tard une caserne, jusqu'en 1924. L'année suivante, sous l'impulsion de Romuald Dor de la Souchère, la ville d'Antibes rachète le château délabré, qui devient le musée Grimaldi. En 1946 Pablo Picasso se voit offrir, par Dor de la Souchère, l'opportunité d'installer son atelier au château. En 1957, Picasso reçoit officiellement le titre de « Citoyen d’honneur de la ville d’Antibes ». En 1966, le Château Grimaldi devient le Musée Picasso et Romuald Dor de la Souchère devient son premier conservateur. On peut y trouver environ 245 œuvres de l’artiste mais aussi des peintures de Nicolas de Staël, Fernand Léger ou Hans Hartung, des dessins de Kostia Terechkovitch, des gravures de Paul Leuquet et des sculptures de Germaine Richier et Joan Miró.
Founded on the ancient acropolis of the Greek city of Antipolis. The castle was built on Romanesque foundations. It retains part of the facades of the Roman building on a height ranging from 3 to 5 meters. This construction must date from the 1st century AD AD
Grimaldi Castle was occupied in 1385 by a branch of the Grimaldi Genoese family. The current castle is built in the 15th century. It was modified in the 17th century.
In 1608, King Henry IV acquired this fief in favor of the crown of France. The Grimaldi settled in the neighboring castle of Cagnes, and their old castle of Antibes became the residence of the king's governor, the town hall and later a barracks, until 1924. The following year Under the leadership of Romuald Dor de la Souchère, the city of Antibes bought the dilapidated castle, which became the Grimaldi museum. In 1946 Pablo Picasso is offered, by Dor de la Souchère, the opportunity to install his workshop at the castle. In 1957, Picasso officially received the title of "Citizen of honor of the city of Antibes". In 1966, Château Grimaldi became the Picasso Museum and Romuald Dor de la Souchère became its first curator. There are about 245 works by the artist but also paintings by Nicolas de Staël, Fernand Léger or Hans Hartung, drawings by Kostia Terechkovitch, engravings by Paul Leuquet and sculptures by Germaine Richier and Joan Miró.
A typical scene at the lake in the Winter time. The geese stay away from the ice that surrounds them and find little pockets of water where they can stand on one foot to conserve body heat. It's a beautiful scene to see in person and I hope it translates here in the this picture.
I want to mention another photographer in the KC area. Her name is Lisa Plymell. She has taken some amazing pictures of geese, pelicans, and bald eagles from this same lake I am shooting. I highly suggest you take a look at her picture entilted "We have Lift Off" or "Swan Ballet". They are both stunners.
Mike D
The Scaligero Castle is a fortress from the Scaliger era, access point to the storical center of Sirmione. It's one of the most complete and well conserved Italy's castles..The massive fortress is totally surrounded by water and has an inner porch which houses a Roman and Medieval lapidary..From the drawbridge, a staircase leads to the walkways above the walls, providing a marvellous view of the harbour that once sheltered the Scaliger fleet..The doors were fitted with a variety of locking systems, including a drawbridge for horses, carriages and pedestrians, a metal grate and, more recently, double hinged doors.
...we will love only what we understand, and we will understand only what we are taught." -- Baba Dioum
(Senegalese Forestry Engineer)
Contrairement à ce qu’on pourrait penser, le rouge-gorge est un oiseau plutôt agressif et qui délimite son territoire privé d’abord en chantant (plutôt bien et plutôt fort, par rapport à sa taille) puis par la violence (coups d’ailes et coups de bec) si le chant ne suffit pas.
Prise de vue un peu ratée, car la mise au point est faite sur la poitrine et pas sur l'oeil...
Mais conservée à défaut, pour la belle attitude du chanteur (dommage, sans le son)
Avec un peu de mauvaise foi, on va dire que ce qui est important dans le rouge-gorge c'est, comme son nom l'indique, sa gorge rouge...
Et c'est justement ce qui est le plus net dans la photo !
(Et en photo, à l'instar des écologistes, lorsqu’on a plusieurs photos floues, il faut toujours essayer de sauver la plunète !)
en.wikipedia.org/wiki/Souq_Waqif
Souq Waqif (Arabic: سوق واقف Sūq Wāqif, "the standing market") is a marketplace (souq) in Doha, in the state of Qatar. The souq is noted for selling traditional garments, spices, handicrafts, and souvenirs. It is also home to dozens of restaurants and Shisha lounges. Although it dates back at least a hundred years, it was renovated in 2006 to conserve its traditional Qatari architectural style. It is often perceived to be the only lasting area in Doha that retains an authentic feel notably in reference to its commerce, architecture and culture. The area is very popular with locals and expats alike (especially on weekends) as it offers multiple dining options in the same location.
Location
It is located in the district of Al Souq which is situated in the center of Doha.[1] As it was a market used for trading activities, the area used to be located immediately adjoining the shore to allow for boats to access it. Although still facing the water, the direct link to the water front for boats is now divided by a major road and the recently completed park.
History
The souq was founded at least a century ago in proximity of the dry river bed known as Wadi Musheireb. It was a gathering place where Bedouins and locals would trade a variety of goods,[2] primarily livestock goods.[3] However with the boom in prosperity in the 1990s, the Souq fell in decline and in 2003, most of it was destroyed in a fire. This event initiated a restoration program by the government in 2006, with the purpose of preserving its architectural and historical identity. The first phase of restoration was funded by the Emir Sheikh Hamad bin Khalifah al Thani and his wife Sheikha Moza bint Nasser.[4] Buildings constructed after the 1950s were demolished whereas older structures were refurbished. The restoration was completed in 2008.[5] Traditional heating methods are employed by utilizing wood and bamboo imported from various areas of Asia.[3]
Architecture and heritage
Several streets that appear as mazes with no defined geometric pattern are characteristic of these Middle-Eastern markets (souq). The Souq offers several small shops lined along these paths with a dazzling array of Middle Eastern merchandise from spices and seasonal delicacies to perfumes, jewellery, clothing and handicrafts. Traditional music, art and cultural shows add to the ambience of this historic place.
Low-rise buildings, generally only single-storied are a peculiar characteristic of Qatari Architecture. This is in keeping with regional planning principles and then available local materials such as bamboo, mud (soil) and palm fond (leaves of the date palm tree). All buildings in this market are rough plastered and small openings face the streets (generally faced a courtyard in former residential buildings). Wind towers were used in residential buildings and one such property exists at one end of the market.
Post renovations in the last decade, 2 underground parking lots for over 3000 cars have been added. In addition to the main square that faces the park and waterfront, a new square has been added around the center of the whole development. Water features to allow for climate control seem to be planned at the new square also.
Tourism and attractions
The souq is considered one of the best location for tourists within Doha.[6][7] Thousands of people from across the region frequent it to purchase traditional goods. It hosts several art galleries, events and local concerts.
A yearly spring festival around April[8] hosts many theatricals, acrobatics and musical performances.[9] An event featuring WWE wrestlers, called Souq Waqif Storm, attracted the most spectators. There was discussion over the possibility of a repeat festival.[10]
Pet area
There are pet stalls in Souq Waqif which sell a variety of domestic pets, including dogs, cats, rabbits, turtles and birds. The sub-par living conditions of the pets has been the subject of advocacy campaigns in recent years, with proponents arguing that the animals suffer from a lack of proper healthcare and exposure to adverse weather conditions. Furthermore, some customers allege that stall owners falsify vaccination records.[11] There is also a separate area in the souq reserved for falcon handling.[2] The Bird souq, as it's called, sells not only falcons but also the needed accessories such as landing pads and GPS guidance systems for the birds.[4] Within the vicinity is also a Falcon Hospital.
Al Rayyan Theatre
A 980-seat indoor theatre known as Al Rayyan Theatre is located in the souq.[12]
Souq Waqif Art Centre
The Souq Waqif Art Centre is located close to the Fish Market. The Centre combines a selection of small and artistic shops with a number of exhibition rooms laid out around a long narrow courtyard. Outside the rooms lie sculptures and chests inlaid with turtle shell.
Exhibitions have included The Islamic Arts exhibition, with displays of ancient calligraphy, some dating back centuries, and displays of carpets and photography.
The Souq Waqif was used as a filming location for a number of films screened at the Doha Tribeca Film Festival 2009, including the action film 'Dohard' directed by Dean Alexandrou and Masato Riesser, and produced by Waheed Khan, and 'The Haggler' directed and produced by the DTFF.
Souq Waqif boutique hotels
A collection of 9 uniquely stylized hotels form part of the market. These properties are spread across the main development and offer varied features from traditional to fairly modern. The properties are unique in their offering and highlight local aesthetics and character. A series of old houses have also been combined to showcase life in courtyard houses in Qatar. Some of the properties offer unique sea facing views with the unobstructed skyline of Doha across the harbour.
..o chiesa dei Corallini
Cervo est l'un des villages balnéaires de Ligurie qui a su conserver le mieux les traces de son passé, et ce n'est pas un hasard s'il a été inclus dans le prestigieux club des plus beaux villages d'Italie .
Les Corallini sont les pêcheurs de corail qui ont apporté une contribution fondamentale à la construction, tant en termes de transport de matériaux que de dons.
Commencée en 1686 les travaux ne furent achevés qu'en 1734 .
---------------------------------------------------------------------
(Pour l'intérieur voir photo précédente)
(For the interior see previous photo)
Cervo is one of the seaside villages in Liguria that has best preserved the traces of its past, and it is no coincidence that it has been included in the prestigious club of the most beautiful villages in Italy.
The Corallini are the coral fishermen who made a fundamental contribution to the construction, both in terms of transporting materials and donations.
Begun in 1686, the work was not completed until 1734.
The Vizcaya Museum and Gardens, previously known as Villa Vizcaya, is the former villa and estate of businessman James Deering, of the Deering McCormick-International Harvester fortune, on Biscayne Bay in the present day Coconut Grove neighborhood of Miami, Florida.
The early 20th century Vizcaya estate also includes extensive Italian Renaissance gardens; a native woodland landscape; and a historic village outbuildings compound. The landscape and architecture were influenced by Veneto and Tuscan Italian Renaissance models and designed in the Mediterranean Revival architecture style, with Baroque elements. F. Burrall Hoffman was the architect, Paul Chalfin was the design director, and Diego Suarez was the landscape architect.
Miami-Dade County now owns the Vizcaya property, as the Vizcaya Museum and Gardens, which is open to the public. The location is served by the Vizcaya Station of the Miami Metrorail.
The estate property originally consisted of 180 acres (73 ha) of shoreline Mangrove swamps and dense inland native tropical forests. Being a conservationist, Deering sited the development of the estate portion along the shore to conserve the forests. This portion was to include the villa, formal gardens, recreational amenities, expansive lagoon gardens with new islets, potager and grazing fields, and a village services compound. Deering began construction of Vizcaya in 1912 officially beginning occupancy on Christmas Day 1916 when he arrived aboard his yacht Nepenthe.
The villa was built primarily between 1914 and 1922, at a cost of $15 million, while the construction of the extensive elaborate Italian Renaissance gardens and the village continued into 1923. During the World War I years building trades and supplies were difficult to acquire in Florida. Vizcaya is noteworthy for adapting historical European aesthetic traditions to South Florida's subtropical ecoregion. For example; it combined imported French and Italian garden layouts and elements implemented in Cuban limestone stonework with Floridian coral architectural trim and planted with sub-tropic compatible and native plants that thrived in the habitat and climate. Palms and Philodendrons had not been represented in the emulated gardens of Tuscany or Île-de-France.
The estate property originally consisted of 180 acres (73 ha) of shoreline Mangrove swamps and dense inland native tropical forests. Being a conservationist, Deering sited the development of the estate portion along the shore to conserve the forests. This portion was to include the villa, formal gardens, recreational amenities, expansive lagoon gardens with new islets, potager and grazing fields, and a village services compound.
Vizcaya was built with an open-air courtyard and extensive gardens on Biscayne Bay. As such, the estate has been subject to environmental and hurricane damage, the latter notably in 1926, 1992, and 2005. Miami-Dade County has granted money ($50m U.S.) for the restoration and preservation of Vizcaya. These funds have been matched by grants from FEMA, Save America's Treasures, and numerous other funders. Plans include the restoration of the villa and gardens, and adaptation of the historic village compound for exhibition and educational facilities; however, additional funds are required for this. The completed first phase of this project has included the rebuilding of the museum's Cafe and Shop (in historic recreation areas of the building adjacent to the pool), renovation of the East and West Gate Lodges that flank South Miami Avenue, and rebuilding of the David A. Klein Orchidarium in a plan that generally uses historic precedent. At the same time, Vizcaya has completed the first half of a major conservation program of its outdoor sculpture collections. With a consulting landscape architect, Vizcaya has too finished a comprehensive cultural landscape report, which will be a vital tool in the ongoing restoration of the formal gardens.
Credit for the data above is given to the following websites"
en.wikipedia.org/wiki/Vizcaya_Museum_and_Gardens
© All Rights Reserved - you may not use this image in any form without my prior permission.
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, au Museo Lázaro Galdiano à Madrid, à la Gemäldegalerie à Berlin
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 musée des Beaux Arts de Gand, in Museo Lázaro Galdiano in Madrid, in the Gemäldegalerie in Berlin.
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 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.
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.
One of the displays at the Crewe Heritage Centre are the remains of the Crewe Works Tramway. It linked Crewe Works with Crewe Station via the Spider Bridge. Though abandoned in the 1930s the abutment of the spider bridge has been conserved along with three items of rolling stock. A Transport Trust Red Plaque was awarded for the conservation of this historical relic in 2020.
For more photographs of Crewe Heritage Centre please click here: www.jhluxton.com/Railways-and-Tramways/Railway-Museums/Cr...
L'original de ce tableau est conservé au musée municipal de Saint-Germain-en-Laye.
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.
The original of this painting is kept in the municipal museum of Saint-Germain-en-Laye.
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.
On 18 July 2016, I had a wonderful day out NE of the city with my daughter. The last time I actually drove eastwards was about seven months ago, when I was shooting Short-eared Owls near the end of January. The last time (also the first time) I had ever driven out as far as Drumheller was on 29 September 2014. So, my daughter and I had a great time exploring the roads between Calgary and Drumheller. There were a handful of things or places we wanted to check out, but many things were total surprises. We knew we wanted to see fields, yellow fields full of canola as far as the eye could see. No disappointment there, as we took in the gorgeous colour and the perhaps not so pleasant smell of this crop. When we were driving through regular, green landscapes, it all seemed so 'ordinary' after being treated to vibrant gold.
As well as canola fields, we also knew of a particular grain elevator and nearby old barn that we were keen to see. There was also an old, two-storey house in a hilly setting that we knew would have to be photographed from a great distance, but we were curious about it. There was also a small wetland that I wanted to drive by, just in case there was something to see. How glad we were that we went, as this Black-crowned Night-heron was posing nicely on a post out in the open. This was the first time I had ever seen one close, so it made my day. At least, an adult - in October 2015, I had seen a gorgeous juvenile in Fish Creek Park.
Continuing on our way, we stopped to take a couple of quick shots of an Eastern Kingbird and then my daughter spotted a dark patch just above ground level, hidden in the bushes. It turned out to be an Eastern Kingbird's nest, with what looked like three large babies in it. No idea how she caught sight of this, but it was a treat to see.
Soon after this, we stopped to photograph a beautiful red barn and then stopped again to photograph a Western Kingbird. This is not a bird I normally see, so i was very happy to catch sight of this one.
A short drive further, we spotted a shorebird standing on a fence post - and then a second one a few posts away. At first, we thought maybe they were Wilson's Snipe, but then realized that they were something different - two beautiful Upland Sandpipers. I had seen one a number of years ago, but it was too far away for a photo. These are uncommon in Alberta.
It was a pretty good day for hawks, too - so much so, that I got a gentle reminder from my daughter that I didn't need to photograph EVERY hawk we saw, lol. We had other places and other things that we wanted to get to.
As well as birds and beautiful scenery, we saw several old barns, including a special small shed/granary. Each year, the farmer allows the graduating class from the local high school to decorate this old building in any way they wish. A fun idea and it certainly adds a splash of colour. I was absolutely fascinated to read a little bit of history from someone who was a contact of mine on Flickr two or three years ago. Her Grandmother was apparently born in this house/shed. It was later converted to a granary and now, of course, has become the canvas for local students.
One of our main goals was to visit the old grain elevator at Sharples. I had wanted to visit there for quite a while and finally, we made it. Unfortunately, the elevator and nearby barn were in shadow, but it was great to see both old structures. We also passed another old elevator when we were driving along the road north of the river, on the way to Drumheller. This, needless to say, meant another stop for photos.
A great day of fun, seeing and photographing such a variety of things. Beautiful weather and, best of all, a day spent with my daughter. Thanks so much, Rachel - glad you felt up to a day out, but sorry you got so many mosquito bites!
Kew's third major conservatory, the Princess of Wales Conservatory, designed by architect Gordon Wilson, was opened in 1987 by Diana, Princess of Wales in commemoration of her predecessor Augusta's associations with Kew.
In 1989 the conservatory received the Europe Nostra award for conservation.
The conservatory houses ten computer-controlled micro-climatic zones, with the bulk of the greenhouse volume composed of Dry Tropics and Wet Tropics plants. Significant numbers of orchids, water lilies, cacti, lithops, carnivorous plants and bromeliads are housed in the various zones. The cactus collection also extends outside the conservatory where some hardier species can be found. The conservatory has an area of 4499 square metres. As it is designed to minimise the amount of energy taken to run it, the cooler zones are grouped around the outside and the more tropical zones are in the central area where heat is conserved. The glass roof extends down to the ground, giving the conservatory a distinctive appearance and helping to maximise the use of the sun's energy. During the construction of the conservatory a time capsule was buried. It contains the seeds of basic crops and endangered plant species and key publications on conservation. From Wikipedia
l'église conserve, dans la chapelle de la Communion (ou des Catéchismes), une très belle collection de vitraux peints à l'émail de la fin du XVIe siècle ou du début du XVIIe. Mutilés et dispersés à la Révolution, ils furent à nouveau réunis en 1834 ; il n'en reste plus que 12 sur les 22 initiaux.
In the Communion (or Catechism) chapel, the church has a fine collection of enamel-painted stained glass windows from the late 16th and early 17th centuries. Used up and dispersed during the Revolution, they were reunited in 1834; only 12 of the original 22 remain.
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
Conserved as part of Centre for Addiction and Mental Health (CAMH) campus
www.blogto.com/city/2011/04/nostalgia_tripping_provincial...
localwiki.org/toronto/Asylum_Wall
www.camh.ca/en/driving-change/building-the-mental-health-...
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Nikon Coolpix 4500
Dscn2097 Anx2 Q90 f25
Le cratère de Víti (l'enfer) est un maar très caractéristique situé sur le bord nord-est du lac d'Öskjuvatn. Ce cratère est le résultat de la partie explosive de l'éruption de 1875. Plusieurs mètres de neige furent recouverts par les projections. Les caractéristiques isolantes de cette roche poreuse ont conservé la neige qui au cours des siècles s'est transformée en glace. Mais elle reste la plupart du temps invisible, recouverte par l'épaisse couche de pierre ponce.
Víti est aujourd'hui un lieu très apprécié par les promeneurs qui se rendent à Askja car il est possible de se baigner dans ses eaux chaudes qui avoisinent les 25⁰C.
L'accès pour se rendre au fond du cratère peut être particulièrement glissant.
Un maar est un cratère volcanique d'explosion, parfois rempli par un lac ou envahi par la mer. L'explosion atteint le substratum.
Il s'agit donc d'une forme de destruction par l'activité volcanique elle-même et le terme est utilisé par les géologues et les géomorphologues. On emploie l'expression « cratère de maar ».
Pour les maars, le phénomène est le suivant : le magma, en remontant vers la surface, rencontre dans le sous-sol une nappe phréatique ou un cours d'eau souterrain. Une partie de cette eau se vaporise alors sous l'effet de la chaleur, ce qui entraîne une importante augmentation de la pression dans le sous-sol, au point que les roches en surface sont soudain éjectées à la manière d'un bouchon de champagne. Généralement, la nappe phréatique ou le cours d'eau souterrain qui a contribué à la formation du cratère alimente ensuite un lac dans le bassin ainsi créé. Les maars sont donc très souvent des lacs de forme circulaire aux pentes plus ou moins abruptes.
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Víti is a smaller explosion crater on the north east shore of Öskjuvatn, approximately 150 metres diameter. It contains a geothermal lake of mineral-rich, sulphurous, opaque blue water, which is maintained at a comfortable temperature for swimming. (Swimming in these craters is not a good idea because Carbon dioxide can accumulate on top of the water, making you pass out and drown – although it has to be mentioned that there rarely is a calm day in Askja...). Víti was formed in the eruption of 1875.
A maar is a broad, low-relief volcanic crater that is caused by a phreatomagmatic eruption, which is an explosion caused by groundwater coming into contact with hot lava or magma. A maar characteristically fills with water to form a relatively shallow crater lake. The name comes from the local Moselle Franconian dialect of Daun, where it is in turn derived from Latin mare (sea). Maars are shallow, flat-floored craters that scientists interpret as having formed above diatremes as a result of a violent expansion of magmatic gas or steam; deep erosion of a maar presumably would expose a diatreme. Maars range in size from 60 to 8,000 m (200 to 26,000 ft) across and from 10 to 200 m (33 to 660 ft) deep, and most are commonly filled with water to form natural lakes. Most maars have low rims composed of a mixture of loose fragments of volcanic rocks and rocks torn from the walls of the diatreme.
L'original de ce tableau est conservé au Museu Nacional de Arte Antiga à Lisbonne.
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 Museu Nacional de Arte Antiga in Lisbonne.
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.