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Le château de Pau a été doté lors de son remeublement sous la Monarchie de Juillet - et dans une moindre mesure sous le Second Empire - d'éléments de décor exceptionnels, un ensemble de tapisseries destinées à recouvrir les murs de toutes les salles d'apparat.
Enchâssées dans les boiseries, elles devaient contribuer à recréer l'atmosphère chaude et luxueuse d'un palais de la Renaissance. Leurs thèmes même, scènes de chasse, travaux des champs et loisirs nobles du XVIe siècle, fastes royaux ou scènes enfantines, et bien évidemment vie d'Henri IV, concourent à l'illustration d'un véritable parcours ordonné autour du fait de la naissance de ce prince dans les murs du château, le 13 décembre 1553.
Aujourd'hui, la collection conservée par le Musée national est forte d'une centaine de pièces des XVIe-XIXe siècles, dont une grande partie est présentée aux visiteurs, faisant de cet établissement un haut lieu de l'art de la tapisserie et de son histoire.
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This vividly colorful house was constructed in 1900 in the Strait Chinese style by a local businessman named Tan Teng Niah. Once called “Elegant Pine” (which symbolised the Chinese virtue: endurance). At the time, the neighborhood was an industrial zone (Tan’s candy and rubber factories were located nearby) and many of Singapore’s ethnic-Chinese businessmen lived in similar villas.
This house is one of the last surviving Chinese Villas in Little India. This eight-room villa was built for Tan Teng Niah’s wife. He was one of the non-Indian communities who prospered in Little India.
The villa has many interesting features such as a courtyard, gilded name plate with the calligraphic inscription “siew song” or Elegant Pine (the pine being a symbol of endurance), richly carved pintu pagar (decorative swinging doors), bamboo tiled roof and calligraphic scrolls hanging from the living room. The villa has been restored and has been leased for commercial use.
Amid Singapore’s rapid economic growth and social change during the 20th century, the neighborhood evolved into what is now known as Little India. Most of the old merchant houses were razed to make way for modern commercial buildings and sleek skyscrapers. However, the Tan Teng Niah house survived, and during the 1980s, it underwent a full restoration to what people see today. Believed to be the last such house in existence, it’s now preserved under landmark status from the National Heritage Board.
Although the house’s historical background is interesting, the key to its popularity among locals and visitors is its current appearance. The exterior is painted in a rainbow riot of vivid colors, with every element—each individual slat, molding, panel, and pilaster—in a different hue than its neighbor. An array of sky blue, avocado green, traffic-cone orange, highlighter yellow, and nail-polish pink shades adorns the house. Further embellishments beyond the psychedelic color-palette include gilded Chinese calligraphy, intricate floral lunettes, and a bamboo-tiled roof.
2018 NJ BALD EAGLE PROJECT REPORT
by: Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Division of Fish and Wildlife, Endangered and Nongame Species Program, has released the 2018 NJ Bald Eagle Project Report.
“Two hundred-four nest sites were monitored during the nesting season, of which 185 were documented to be active (with eggs) and 19 were territorial or housekeeping pairs. Thirty new eagle pairs were found this season, 20 in the south, nine in central and one in the north. One hundred-twenty-one nests (66%) of the 182 known-outcome nests produced 172 young, for a productivity rate of 0.94 young per active/known-outcome nest. The failure rate was well above average with 61 nests (33%) failing to produce. The Delaware Bay region remained the state’s eagle stronghold, with roughly half of nests located in Cumberland and Salem counties and the bayside of Cape May County.”
The number of active nests has increased while the number of young eagles fledged has decreased since a high of 216 young fledged in 2016. During the 2018 eagle nesting season there was an abundance of cold, wet, windy and snowy weather which was the cause for a portion of the nest failures. As the eagle population increases, there are more eagles competing for territories. This can also be a contributing factor in nest failures. NJ is still in the range of 0.9 to 1.1 young per nest which is needed for population maintenance with a productivity rate of 0.94 young per known-outcome/active nest in 2018. The 2018 NJ Eagle Project Report has all the details on the project including telemetry, re-sightings and recoveries.
The success of the eagle project is due to the tremendous dedication of the NJ Eagle Project Volunteers. They monitor the nests in all types of conditions and education people about the eagles with enthusiasm.
Link to the 2018 NJ Bald Eagle Project Report: www.conservewildlifenj.org/downloads/cwnj_852.pdf
Bruno Vansina Quartet @ La Conserve Leuven
3MAY2018
Cyrille Obermüller Double bass
Kobe Proesmans Percussion
Bruno Vansina Alt Sax
Teun Verbruggen Drums
Photography: © Patrick Van Vlerken 2018
NEW JERSEY 2017 BALD EAGLE PROJECT REPORT
ANOTHER PRODUCTIVE YEAR FOR NJ’S EAGLES
by Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Endangered and Nongame Species Program has released the 2017 NJ Bald Eagle Project Report. In 2017, 178 eagle nests were monitored during the nesting season. Of these nests 153 were active (with eggs) and 25 were territorial or housekeeping pairs. One hundred and ninety young were fledged.
In 2017 the number of active nests was three more than in 2016, but the number young fledged decreased by 27 from a record high of 216 fledged in 2016. The productivity rate this season of 1.25 young/active nest is still above the required range of 0.0 to 1.1 for population maintenance. Productivity could be lower this season for many reasons including weather, predation and disturbance to the nesting area. In 2017 nest monitors reported several instances of “intruder” eagles at nests which did disrupt the nesting attempts of several pairs. One of these “eagle dramas” unfolded at the Duke Farms eagle cam watched by millions of people. An intruder female attempted to replace the current female. This harassment interrupted the pairs bonding and copulation and no eggs were laid.
This year’s report includes a section on Resightings of banded eagles. Resightings of NJ (green) banded eagles have increased over the years, as well as eagles seen in NJ that were banded in other states. These resightings are important, as they help us to understand eagle movements during the years between fledging and settling into a territory, as well as adult birds at a nest site.
For more info: www.conservewildlifenj.org/blog/2017/12/06/new-jersey-201...
New Jersey Bald Eagle Project Report | 2017 may be downloaded here: www.state.nj.us/dep/fgw/ensp/pdf/eglrpt17.pdf
L'original de ce tableau est conservé au musée des Beaux Arts de Gand (Gent).
You should know that it is not the original works that are exhibited at the Jheronimus Bosch Art Center but high quality photos in the original size of the work framed optimally. You can manipulate the triptychs.
In 2016, there was a big exhibition that had a lot of success with the original works at the Noordbrabants museum which adjoins the Stedelijk museum, but you could hardly get close and the cameras were forbidden.
The original of this painting is kept in the museum of Beaux Arts of Gand (Gent).
Il faut savoir que ce ne sont pas les oeuvres originales qui sont exposées au Jheronimus Bosch Art Center mais bien des photos de grande qualité au format original de l'oeuvre encadrées de façon optimale. Vous pouvez manipuler les triptyques.
En 2016, il y a eu une grande exposition qui a eu énormément de succès avec les oeuvres originales au Noordbrabants museum qui jouxte le Stedelijk museum, mais vous pouviez à peine approcher et les appareils photos étaient interdits.
Located away from the centre of Ouahigouya (~125,000 inhabitants in 2019), this building of neo-Sudanian architecture is one of the rare remains in the city. According to information received on-site, it was to be part of a railway project to connect Ouagadougou to Ouahigouya. Relatively well preserved, it is currently occupied by the Regional Directorate of Livestock, which occupies a large plot to the south-east of the town, offering great perspectives for photography.
Situé à l'écart du centre de Ouahigouya (~125.000 habitants en 2019), ce bâtiment d'architecture néo soudanienne est l'un des rares vestiges que renferme la ville. Selon les informations reçues sur place, il devait faire partie d'un projet de chemin de fer devant relier Ouagadougou à Ouahigouya. Relativement bien conservé, il est actuellement occupé par la Direction Régionale de l'Elevage qui occupe une grande parcelle au sud-est de la ville, offrant de belles perspectives pour des prises de vue.
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.
Model: My
Photo & retouch: Red
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Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.
T. E. Lawrence
“perhaps the best preserved and most wholly admirable castle in the world.”
"Certainement le château au monde le mieux préservé et le mieux conservé dans son entité" Laurence d'Arabie
Le Krak des Chevaliers, ou Krak de l'Hospital — krak dérive du syriaque karak signifiant forteresse ,
Qal`at al-Hosn (La forteresse imprenable) ou
Hisn al-Akrād (forteresse des Kurdes)
La forteresse est construite sur une colline de 750 mètres de haut aux flancs abrupts
Les chevaliers de l'Hôpital (ou Hospitaliers) gérèrent le fort de 1142 - offert par Raymond II, Comte de Tripoli - jusqu' à 1271, date de sa conquête par Az-Zâhir Rukn ad-Dîn Baybars al-Bunduqdari - Baybars Ier - sultan des Mamelouks. Il ne put malgré tout s'emparer du krak que par la ruse : il envoya une fausse missive, émanant prétendument du Grand Maître des Templiers, enjoignant aux assiégés de se rendre.
En 1157, un important tremblement de terre ébranla le château et Raymond du Puy, le grand maître des Hospitaliers, le fit restaurer et agrandir, nouveau tremblement de terre en 1170
Saladin (mort en 1193) eut beau infliger de nombreuses défaites aux croisés, ne put s'emparer du krak des Chevaliers
un des châteaux médiévaux les mieux préservé au monde
13 tours, écuries, salles, magasins, citernes, passages et ponts
à 40 km à l'ouest de la ville de Homs, proche de la frontière du Liban, à 30 km à vol d'oiseau de la mer
Le 20 mars 2014, le château, jusque-là tenu par la rébellion, est repris par les forces gouvernementales
surface totale de 2,5 hectares protégée par deux enceintes concentriques entièrement indépendantes.
13 tours, écuries, salles, magasins, citernes, ponts et passages. Le krak hébergeait une garnison de 2 000 hommes et possédait des vivres pour cinq ans.
Krak des Chevaliers - Crusader castle - one of the most important preserved medieval castles in the world. The site was first inhabited in the 11th century by a settlement of Kurds; as a result it was known as Hisn al Akrad, meaning the Castle of the Kurds;. In 1142 given by Raymond II, Count of Tripoli, to the Knights Hospitaller.
Due to an earthquake in 1157, followed by another one in 1170, the castle was restored and enlarged,
It remained in their possession until it fell in 1271.
after a siege lasting 36 days, supposedly by way of a forged letter purportedly from the Hospitallers' Grand Master that caused the Knights to surrender.
It became known as Crac de l'Ospital; the name Krak des Chevaliers was coined in the 19th century.
could house up to 2.000 men and food for 5 years
located 40 kilometres (25 mi) west of the city of Homs, close to the border of Lebanon, 30 km from the sea, the castle sits atop a 750-metre-high (2,130 ft) hill
13 towers, cisterns, barrracks, shops, stables, bridges
The Syrian Arab Army recaptured the castle and the village of al-Hosn from rebel forces on March 20, 2014
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.
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
Parmi les structures bien conservées de Prague datant du XIVe siècle figure ce long mur défensif blanc qui va de Strahov à travers le parc Petřín jusqu'à Újezd. C'est le fameux mur de la Faim qui serpente majestueusement à travers la verdure luxuriante de la colline. Ces fortifications furent construites entre 1360 et 1362 par ordre de Charles IV, cet empereur visionnaire qui ne faisait jamais rien au hasard.
Le but de cette construction était de renforcer les fortifications du château de Prague et de Malá Strana contre toute attaque venant de l'ouest ou du sud. Long de plus d'un km et haut de plus de 7 mètres, ce mur impressionnant fut construit en pierre de marne extraite directement sur le Petřín.
Mais pourquoi donc "mur de la Faim" me direz-vous ? L'histoire raconte que Charles IV ordonna la construction de ce mur fortifié dans le but d'aider les pauvres gens de Prague durant une terrible famine qui dura des années. Les sans-dents, comme dirait l'élite actuelle, travaillaient sur ce mur et gagnaient de la nourriture pour eux et leurs familles, on a rien inventé !
Au-delà de cette muraille historique, le panorama dévoile un Prague plus moderne avec ces immeubles contemporains qui émergent de la canopée verdoyante. Cette juxtaposition entre le patrimoine médiéval de premier plan et l'architecture du XXe siècle en arrière-plan illustre parfaitement l'évolution urbaine de la capitale tchèque. À l'époque médiévale, Prague était beaucoup plus petite qu'aujourd'hui et au-delà du mur de la Faim, il n'y avait que des champs et quelques villages et fermes éparpillés.
Sources : Wikipedia (Multi) && Blog sur Prague (EN) && Site de la ville (Multi) && Blog sur Prague (EN) && charlesbridgehostel.com/hunger-wall/ && Blog sur Prague (EN)
FYI : Assisté par l'I.A. pour la rédaction.
L'original de ce tableau est conservé à la National Gallery à Londres
You should know that it is not the original works that are exhibited at the Jheronimus Bosch Art Center but high quality photos in the original size of the work framed optimally. You can manipulate the triptychs.
In 2016, there was a big exhibition that had a lot of success with the original works at the Noordbrabants museum which adjoins the Stedelijk museum, but you could hardly get close and the cameras were forbidden.
The original of this painting is kept in the National gallery in London.
Il faut savoir que ce ne sont pas les oeuvres originales qui sont exposées au Jheronimus Bosch Art Center mais bien des photos de grande qualité au format original de l'oeuvre encadrées de façon optimale. Vous pouvez manipuler les triptyques.
En 2016, il y a eu une grande exposition qui a eu énormément de succès avec les oeuvres originales au Noordbrabants museum qui jouxte le Stedelijk museum, mais vous pouviez à peine approcher et les appareils photos étaient interdits.
Parfois, de grands trésors sont conservés là où on s'y attend le moins. La chapelle du Saint Calice de la Cathédrale de Valencia est l'un de ces lieux. Depuis 1916, elle expose la coupe qui a généré le plus de légendes, d'œuvres artistiques et littéraires ; et l'une des reliques les plus admirées et acclamées par l'Église Catholique : le Saint Graal, gardé depuis 1437 dans le reconditorium de la Cathédrale de Valencia. Jusqu'à son arrivée au Palais Royal de Valencia en 1424 par le roi Alphonse le Magnanime, la pièce vénérée avait changé de mains et de résidence au cours des siècles sur ce qui est une route de pèlerinage intéressante.
Les données archéologiques, documentaires et historiques sur le voyage effectué par cette relique jusqu'à la Cathédrale de Valencia indiquent qu'il s'agit du verre utilisé par Jésus-Christ lors de la dernière Cène. Les papes Jean-Paul II et Benoît XVI ont officié des messes avec le Saint Calice de la cathédrale lors de leurs visites respectives à Valencia en 1982 et 2006.
En 2015, le pape François a accordé à Valencia la célébration de l'Année Sainte Jubilaire, qui sera répétée tous les cinq ans dans la ville de Turia, faisant d'elle l'une des villes saintes du monde. Le dernier jeudi d'octobre 2025 débutera la deuxième année jubilaire du Saint Calice et Valencia accueillera dans sa cathédrale tous les pèlerins qui souhaitent obtenir l'indulgence plénière.
Sometimes great treasures are kept where you least expect them. The Chapel of the Holy Chalice of the Cathedral of Valencia is one of these places. Since 1916, it has exhibited the cut that has generated the most legends, artistic and literary works; and one of the most admired and acclaimed relics of the Catholic Church: the Holy Grail, kept since 1437 in the reconditorium of the Cathedral of Valencia. Until its arrival at the Royal Palace of Valencia in 1424 by King Alfonso the Magnanimous, the revered piece had changed hands and residences over the centuries on what is an interesting pilgrimage route.
Archaeological, documentary and historical data on the journey made by this relic to the Cathedral of Valencia indicate that it is the glass used by Jesus Christ at the Last Supper. Popes John Paul II and Benedict XVI officiated Masses with the Cathedral's Holy Chalice during their respective visits to Valencia in 1982 and 2006.
In 2015, Pope Francis granted Valencia the celebration of the Holy Jubilee Year, which will be repeated every five years in the city of Turia, making it one of the holy cities in the world. The last Thursday of October 2025 will begin the second jubilee year of the Holy Chalice and Valencia will welcome in its cathedral all pilgrims who wish to obtain the plenary indulgence.
Copyright photo PS
Few more architectural old slides.
At the Weald & Downland, S England.
Near Singleton.
Enlarge:
1. Simply click the upper-right diagonal arrows.
2. Further enlarge: Then press F11 on a PC, or Fullscreen. Allow re-focus.
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.
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
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.
The fragile remains of an early 19th century Windermere ferry, gently conserved and on show at the Jetty Museum. It may have carried the Wordsworths, Samuel Coleridge, Robert Southey, John Ruskin...who knows?
HBW!
Cette maison, construite en 1609 pour le compte du marchand Anton Burger, stettmeister de Colmar de 1626 à 1628.
Anton est né en 1579. Il fait démolir la maison de son père courant 1609, pour reconstruire sur le site d'origine celle qui dès 1974 allait à tout jamais porter le nom de la « Maison des Têtes ».
Il fit poser ses armoiries (château ou Burg) à deux reprises sur la façade, sur le pignon à volutes et au-dessus du portail, de cette maison à l'insolite décoration composée d'une profusion de figurines et surtout de 105 masques grotesques dont elle tient son nom.
Après différents propriétaire, la maison fut acquise par la Bourse aux Vins.
Témoignage de ce passé de Bourse aux vins, la Maison des Têtes conserve sur son pignon chantourné un tonnelier de bronze (1902), sculpture d'un des citoyens les plus célèbres de Colmar, Auguste Bartholdi.
Cette maison, construite en 1609 pour le compte du marchand Anton Burger, stettmeister de Colmar de 1626 à 1628.
Anton est né en 1579. Il fait démolir la maison de son père courant 1609, pour reconstruire sur le site d'origine celle qui dès 1974 allait à tout jamais porter le nom de la « Maison des Têtes ».
This house was built in 1609 for the merchant Anton Burger, stettmeister of Colmar from 1626 to 1628.
Anton was born in 1579. He had his father's house demolished in 1609, in order to rebuild on the original site the house which, from 1974 onwards, was to bear the name of the "Maison des Têtes".
He had his coat of arms (castle or Burg) placed twice on the facade, on the scrolled gable and above the portal, of this house with its unusual decoration made up of a profusion of figurines and above all of 105 grotesque masks from which it takes its name.
After various owners, the house was acquired by the Bourse aux Vins.
As a testimony to its past as a wine exchange, the Maison des Têtes still has a bronze cooper (1902) on its curved gable, a sculpture by one of Colmar's most famous citizens, Auguste Bartholdi.
Cette petite porte, bâtie au XIIIe siècle selon Eugène Saintier, est la seule de la ville qui ait été conservée. Originellement nommée « porte sous le Château » à cause de sa position, les événements de 1421 avec la guerre contre les Anglais la firent indirectement changer de nom. En effet, cette année-là, un prêtre dont l'histoire ne nous a apparemment pas rapporté le nom, s'introduisit par cette porte afin de permettre aux Français de reprendre la ville. Le mot « prêtre » ne doit donc jamais ici être mis au pluriel.
Une maison fut ultérieurement bâtie au-dessus de cette porte, le créneau servant même d'ouverture de fenêtre, ce qui lui donna sa physionomie actuelle.
En 1845, la construction des quais causa des remblais importants, ce qui enfouit la base de la porte, lui donnant l'apparence d'une porte basse.
Avec la pollution, la porte se salit progressivement, et en 2005, la partie supérieure fut nettoyée ; en revanche, le bas fut laissé aussi sale.
Le peintre Albert Dagnaux (1861-1933) s'y installa et y passa le reste de sa vie.
"When your day goes horribly wrong ..."
NEW JERSEY’S BALD EAGLE POPULATION CONTINUES TO SOAR
January 14th, 2016
CONSERVE WILDLIFE FOUNDATION OF NEW JERSEY RELEASES RESULTS OF 2015 STATE BALD EAGLE REPORT
by Lindsay McNamara, Communications Manager
Conserve Wildlife Foundation of New Jersey today released the 2015 Bald Eagle Report, highlighting the number of nesting pairs, active nests and nest productivity for the raptors throughout New Jersey with data collected by New Jersey Department of Environmental Protection Division of Fish and Wildlife biologists, CWF biologists and committed volunteers.
“With 161 pairs of bald eagles this past year — up from just a single nest in the early 1980’s — the dramatic ongoing recovery of bald eagles across the northeast continues to inspire so many of us,” said David Wheeler, Conserve Wildlife Foundation Executive Director. “The thrill of seeing a bald eagle fly across the sky is unparalleled. This report captures how these eagles are continuing their All-American return.”
The report notes that thirteen new eagle pairs were found this season, nine in the south, two in Central Jersey and two in Northern New Jersey.
For more info: www.conservewildlifenj.org/blog/2016/01/14/new-jerseys-ba...
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
Photo. Trams aux Fils.
Interdiction de reproduire cette photo à des fins commerciales, sans mon accord
Prise le 29 mars 2019
Ligne 215 ancienne ligne 5
Voiture pilote 554
Quai Louis-Perrier
Depuis le début 2021, ce matériel n'existe plus à part la motrice 504 conservée par l'A.N.A.T.
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.
You can read more about this pair of American Bald Eagles at Conserve Wildlife Foundation of New Jersey www.conservewildlifenj.org/blog/2017/11/20/w34-a-ny-bande...
SPOTLIGHT ON THE BALD EAGLE’S ALL-AMERICAN COMEBACK IN NEW JERSEY
by Lindsay McNamara, Communications Manager
June 20th 2016
In 1985 — just 31 years ago — a single bald eagle nest remained in the state of New Jersey. In 2015, CWF and partners monitored 161 nests throughout the Garden State. Just this year (as of June 20, 2016), over 50 young eagles have already fledged from their nests! What sparked this All-American comeback of the United States’ National Bird?
DDT use was banned in the United States in 1972. That ban combined with restoration efforts by biologists within the NJ Division of Fish and Wildlife’s Endangered and Nongame Species Program (ENSP) resulted in 25 bald eagle pairs by 2000.
In 2017 the number of New Jersey active bald eagle pairs was 170.
For more info: www.conservewildlifenj.org/blog/tag/new-jersey-bald-eagle...
New Jersey Bald Eagle Project Report | 2016
New Jersey Bald Eagle Project Report | 2016 may be downloaded here: docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYX...
For more info: www.conservewildlifenj.org/blog/tag/new-jersey-bald-eagle...
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.
The Hendrik Conscience Heritage Library (Dutch: Erfgoedbibliotheek Hendrik Conscience) is the repository library of the city of Antwerp. It is named after the Flemish writer Hendrik Conscience, whose statue adorns the library. The library conserves books and magazines to keep them available permanently.
The history of the Hendrik Conscience Heritage Library, which was called the City Library until 2008, goes back to 1481. The collection contains more than one million books. The primary collection areas are Dutch literature, history of the Netherlands, early printed books (pre-1830), Flemish folk culture, art in the Netherlands, and works about Antwerp ("Antverpiensia").
The Nottebohmzaal was designed as a space for exhibitions, lectures and as a storage space for museum objects. The hall was after Oscar Nottebohm, a businessman of German origin who was an important social and cultural patron for Antwerp. In his will, he donated a large amount of money to the City Library.
The Nottebohmzaal a preserves some of the foremost items from the library's collection, such as an Egyptian cabinet, celestial and terrestrial globes by William and Joan Blaeu, and several busts of European authors.
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.
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!
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
Sacred groves are tracts of undisturbed forests, conserved from ancient times by indigenous communities influenced by their animistic religious belief and practices. These are rich in bio-diversity of plants and animals, are sources for water, and laid down practices enable the community to exploit its resources only to the extent required - for food, timber and medicinal herbs, for example - and not more.
"...The guiding principle behind all these people's forests is the supremacy and control of the community, not only over the forests and the environment, but also over the individual. The community designates a forest area as protected and to enforce the protection, declares it sacred, usually by dedicating it to a deity. In such groves, all forms of vegetation, including shrubs and climbers, belong to the deity. Grazing and hunting are prohibited and only the removal of dead wood is allowed.
Says Madhav Gadgil of the Indian Institute of Science in Bangalore, who has studied sacred groves in Maharashtra for two decades, 'The stronger and more malevolent a deity, the greater its protection.'..."
- www.downtoearth.org.in/coverage/the-spirit-of-the-sanctua...
However, beliefs and practices change - mainly from influences outside the community, decline of faith in local deities - and in this modern era sacred groves are under as much pressure as are forests to make way for modernisation.
Therefore to visit one that is relatively undisturbed, is somewhat of a novelty.
The Law Lyngdoh -‘forest of the priests’- is a sacred grove at Mawphlang in the state of Meghalaya, India. It's spread over 75 hectares, and is home to more than 450 species of plants/trees, wild cats, snakes, foxes, toads and frogs, flying squirrels and many birds species.
'Labasa' is the reigning deity here.
Tradition prohibits you from taking anything from outside into the grove, and taking anything from within outside. Any produce of the grove - fruits, nuts, herbs, honey - these are all your's to consume freely, but cannot be taken out of the grove. Violations are severely punished by the diety, by some accounts 'by twisting the head back'.
The Oxbow flood plain is recovering from the March flood. The water levels are normal but the roads are covered with trees and other sizable debris. This southeast tip of Indiana is a nature wonderland.
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.