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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.
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
En semaine, les petits marchés de Noël sont bien plus calmes et agréables.
Riquewihr fait parti de ceux là.
Cela permet de voir un peu plus clairement toute cette belle cité conservée, comme ce très beau bâtiment de la poste en arrière-plan avec colombages et peintures.
Sources : Wikipedia sur Riquewihr (Multi) && Informations sur Fernand Zeyer (FR)
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.
A picture is worth a thousand words.
We could probably come up with hundreds of stories out of this picture. Some could be joyful. Some could be sad. A love story. And maybe it could be just a normal life in a day of a traveller on a subway.
Enjoy your Friday. It's only once in a week, you know.
Shot yesterday at a subway station in L.A. I'm conserving gas so I'm using local transportation. It was fun and adventurous. And only once did I have to look for a parking space. The rest of the time was travel and shooting. You'll see my other shots in the days to come.
Standing on one leg to conserve energy...
> Explored on 2013-03-12.
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L'original de ce tableau est conservé au musée du Prado à Madrid.
You should know that it is not the original works that are exhibited at the Jheronimus Bosch Art Center but high quality photos in the original size of the work framed optimally. You can manipulate the triptychs.
In 2016, there was a big exhibition that had a lot of success with the original works at the Noordbrabants museum which adjoins the Stedelijk museum, but you could hardly get close and the cameras were forbidden.
The original of this painting is kept in the museum of Prado in Madrid.
Il faut savoir que ce ne sont pas les oeuvres originales qui sont exposées au Jheronimus Bosch Art Center mais bien des photos de grande qualité au format original de l'oeuvre encadrées de façon optimale. Vous pouvez manipuler les triptyques.
En 2016, il y a eu une grande exposition qui a eu énormément de succès avec les oeuvres originales au Noordbrabants museum qui jouxte le Stedelijk museum, mais vous pouviez à peine approcher et les appareils photos étaient interdits.
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These photos must NOT be reproduced and/or used in any form of publication, print or on the Internet without my written permission. Please contact me if you would like to use one of my pictures.
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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
so that we can Conserve the environment :-)
Neil deGrasse Tyson, 2014
HMM!!
southern magnolia, sarah p duke gardens, duke university, durham, north carolina
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.
Hippodrome, Tyre, Lebanon.
Part of the Al Bass archaeological site, this well-preserved Roman hippodrome was built in the 2nd century AD and once held more than 20,000 spectators. A section of seating is well conserved.
For video, please visit youtu.be/o-1q6_oJTCI
Peloponèse ~ Grèce
Le trésor d’Atrée, parfois également appelé tombe d’Agamemnon, est une tombe à tholos (tombe à coupole) construite en 1250 avant notre ère. Elle est remarquablement conservée et très impressionnante. C’est l’un des édifices majeurs du site antique de Mycènes.
Conserve and protect the natural beauty. visit www.youtube.com/c/natureworldadventures to enjoy adventure videos
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.
Rocky Mountain Front Range, Centennial, Colorado, Dusk, Summer.
Ruby-Throated hummingbirds (Archilochus colubris, Order Caprimulgiformes, Family Trochilidae) are tiny with black masks, emerald green crowns, brilliant red throats (gorgets), and iridescent feathers. The males are smaller than females, perhaps to help conserve energy and forage more.
They have high mortality rates in the first year of life. If they survive, they seem mostly to live 3-5 years. And some banded hummingbirds have been tracked up to 10-11 years.
Sunrise at Boat Quay, a historical quay in Singapore.
It was the busiest part of the old Port of Singapore, handling three quarters of all shipping business during the 1860s.
Singapore has expended considerable efforts to preserve and promote tangible heritage, comprise the historic buildings, sites and structures that contribute to our sense of history, place and identity. These include National Monuments, conserved historic buildings, historic precincts, landscapes, heritage sites and structures, which all form part of Singapore’s rich and diverse tangible heritage.
Le Basé gédé est la base de préparation de très nombreux plats balinais. Cette pâte peu se conserver plusieurs jours au réfrigérateur. Elle se compose des ingrédients suivants et à peu près de haut en bas;
Piments,lemongrass,pâte de crevette,noix de macadamia,ails,galanga,graines de coriandre,Kéfir(ressemble au citron vert),poivre noir,clous de girofles,noix de muscade,gingembre parfumé(petit),échalote,gingembre normal,curcuma frais,feuilles de kéfir,et bien sur d'huile pour écraser tout cela.
The gédé Based is the base(basis) of preparation of very numerous Balinese dishes. This dough little to keep several days in the refrigerator. She consists of following ingredients and more or less from top to bottom;
Hot peppers,lemongrass, dough of shrimp, macadamia nut, garlics, galanga, seed of coriander, Kéfir (looks like the lime), pepper black, cloves, nutmeg, perfumed ginger (small), shallot, normal ginger, turmeric expenses, sheets(leaves) of kéfir, and well on oil to crush all this.
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.
Rien, à première vue, ne destinait cet imposant entrepôt en béton, long de 360 mètres, à devenir un musée d’envergure internationale. Construit en 1923 sur les rives sud de la Meuse, au cœur de l’ancien port de Rotterdam, il fut jadis le plus vaste entrepôt de transbordement du monde. Un bâtiment utilitaire, conçu pour charger et décharger les navires de la Holland America Line, fleuron du commerce maritime néerlandais.
À l’intérieur, les grandes halles industrielles ont été conservées dans leur rugosité d’origine, révélant poutres en béton et grandes ouvertures.
L’ancien entrepôt est bien plus qu’un décor. Il est le cœur narratif du musée. C’est ici, entre 1 880 et 1920, que des millions d’Européens ont embarqué pour l’Amérique, via les paquebots de la Holland America Line. C’est depuis ces quais que des figures comme Albert Einstein ou Willem de Kooning ont quitté l’Europe. En redonnant vie au bâtiment, Fenix réactive ce passé migratoire et industriel, en racontant les histoires anonymes et collectives qui l’ont traversé.
Le choix du site ne doit rien au hasard. Katendrecht, péninsule portuaire de Rotterdam, fut longtemps un quartier marginalisé. Au XIXe siècle, il devint le point névralgique du commerce maritime, et un lieu d’accueil pour de nombreuses communautés migrantes. Le premier quartier chinois d’Europe continentale y vit le jour, tandis que marins cap-verdiens, Indonésiens et musiciens surinamais s’y installaient.
Nothing, at first glance, suggested that this imposing 360-meter-long concrete warehouse would become a museum of international stature. Built in 1923 on the south bank of the Meuse River, in the heart of Rotterdam's former port, it was once the world's largest transshipment warehouse. A utilitarian building, designed to load and unload ships of the Holland America Line, the flagship of Dutch maritime trade.
Inside, the vast industrial halls have been preserved in their original roughness, revealing concrete beams and large openings.
The former warehouse is much more than just a backdrop. It is the narrative heart of the museum. It was here, between 1880 and 1920, that millions of Europeans embarked for America aboard the ocean liners of the Holland America Line. It was from these docks that figures like Albert Einstein and Willem de Kooning left Europe. By breathing new life into the building, Fenix reactivates this migratory and industrial past, recounting the anonymous and collective stories that have shaped it.
The choice of location was no accident. Katendrecht, Rotterdam's port peninsula, was long a marginalized area. In the 19th century, it became the nerve center of maritime trade and a haven for numerous migrant communities. The first Chinatown in continental Europe emerged there, while Cape Verdean and Indonesian sailors and Surinamese musicians settled in the area.
Segóbriga fue una importante ciudad romana, siendo hoy un imponente lugar situado en el cerro cercano a la actual localidad conquense de Saélices, denominado "Cabeza de Griego". Las labores arqueológicas han ido sacando a la luz los restos de importantes construcciones que se han conservado (esculturas, sobre todo) y, hoy día, se hallan expuestos en el parque arqueológico, donde, además se exhiben también recreaciones virtuales de los antiguos monumentos.
El desarrollo urbano de Segóbriga se remonta al primer siglo de nuestra era. Fue construída sobre un anterior asentamiento indígena perteneciente a la tribu celtibérica de los Olcades. El teatro, el anfiteatro, la basílica, los pórticos, las termas, etc. fueron construidos a lo largo de los dos primeros siglos de nuestra era. Además del esplendor que le conferían estas construcciones, Segóbriga fue también un importante centro administrativo en la zona, como lo evidencia la existencia de esa edificaciones, así como la gran riqueza minera del área circundante.
En la imagen, podemos contemplar un detalle de los alrededores de las Termas Monumentales, mostrando restos de los muros bajo el bello cielo que, en ese momento había, prestándose inevitablemente a concederle también un cierto protagonismo en la composición.
-English:
Segobriga was an important Roman city, and is today an impressive site located on a hill named "Cabeza de Griego", near the present town of Saelices (Cuenca, Spain). Archaeology has revealed the remains of important buildings which have been conserved and are visible on display today in the Archaeological Park, especially sculptures. In addition, there are also virtual recreations of the ancient monuments.
The urban development of Segóbriga dates from the first century A.D. It was built over an earlier indigenous settlement belonging to the Olcades celtiberian tribe. The city’s theater, amphitheatre, basilica, porticoes, thermal baths, etc. were built in the 1st and 2nd centuries A.D. In addition to the splendour of its buildings, Segóbriga must also have been an important administrative centre for the surrounding territories, given the great architectural and mining riches in the area.
In this picture we can see a detail of the ancient walls remains, in the surroundings of the Monumental Roman Bath House (Thermae). I could not help but give also some protagonism to that beautiful cloudy sky of that day.
Imagen protegida por Plaghunter / Image protected by Plaghunter
© Francisco García Ríos 2016- All Rights Reserved / Reservados todos los derechos.
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The massive yet refined architecture of Machu Picchu blends exceptionally well with the stunning natural environment, with which it is intricately linked. Numerous subsidiary centres, an extensive road and trail system, irrigation canals and agricultural terraces bear witness to longstanding, often on-going human use. The rugged topography making some areas difficult to access has resulted in a mosaic of used areas and diverse natural habitats. The Eastern slopes of the tropical Andes with its enormous gradient from high altitude “Puna” grasslands and Polylepis thickets to montane cloud forests all the way down towards the tropical lowland forests are known to harbour a rich biodiversity and high endemism of global significance. Despite its small size the property contributes to conserving a very rich habitat and species diversity with remarkable endemic and relict flora and fauna. whc.unesco.org/en/list/274
Puedes conocer más sobre Perú entrando a mi álbum Peruvian Marvels
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
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!
www.minube.co.uk/place/monastir-walls--a152971
The Medina of Monastir is within a walled enclosure. Even today much of the original walls remain intact, especially on the western side (opposite the public gardens), and in the vicinity of the Ribat of Harthama. The Aghlabids started building it in the ninth century and it was completed in the eleventh century. Several renovations including the addition of octagonal corner towers were made in the seventeenth century. Some of the doors in the walls have also been conserved (Bab el-Gharbi, Bab Tunis, Bab el-Kram and Bab Briqcha) and enter to the medina.
Selva de Irati, Navarra, España.
El bosque o la selva de Irati (Iratiko oihana en euskera) es un bosque repartido entre el norte de Navarra (España) y los Pirineos Atlánticos (Sola y Baja Navarra) en el suroeste de Francia.
Por su parte española está situada en el valle del río Irati, entre los montes de Orzanzurieta y Roncesvalles al oeste, y el monte Orhi al este. El límite sur lo pone la imponente mole de la Sierra de Abodi. Los principales accesos son por el oeste por Orbaiceta (Valle de Aézcoa) y por el este por Ochagavía (Valle de Salazar).
Se trata de la mayor masa forestal de Navarra y uno de los mayores y mejor conservados bosques de hayas (Fagus sylvatica) y abetos (Abies alba) de toda Europa. A pesar de ser un bosque explotado forestalmente desde los siglos XVI-XVII, el respeto y el buen hacer de los habitantes de estos valles ha hecho que se conserve en total plenitud. Existen dentro de la zona diversos espacios protegidos: todo el Irati es una ZEPA (Zona de Especial Protección de Aves), así como zonas protegidas como Reserva Natural o Reserva Integral del total de 17.000 ha del bosque.
The Irati forest or jungle (Iratiko oihana in Basque) is a forest distributed between the north of Navarra (Spain) and the Atlantic Pyrenees (Sola and Lower Navarra) in southwestern France.
For its Spanish part, it is located in the valley of the Irati river, between the Orzanzurieta and Roncesvalles mountains to the west, and the Orhi mountain to the east. The southern limit is set by the imposing mass of the Sierra de Abodi. The main accesses are to the west through Orbaiceta (Valle de Aézcoa) and to the east through Ochagavía (Valle de Salazar).
It is the largest forest mass in Navarra and one of the largest and best preserved beech (Fagus sylvatica) and fir (Abies alba) forests in all of Europe. Despite being a forest exploited by forestry since the 16th-17th centuries, the respect and good work of the inhabitants of these valleys has made it fully preserved. There are several protected areas within the area: the entire Irati is a ZEPA (Special Bird Protection Area), as well as protected areas such as Natural Reserve or Integral Reserve of the total 17,000 ha of forest.
en.wikipedia.org/wiki/Wentworth_Castle
Wentworth Castle is a grade I listed country house, the former seat of the Earls of Strafford, at Stainborough, near Barnsley in South Yorkshire, England. It is now home to the Northern College for Residential and Community Education.
An older house existed on the estate, then called Stainborough, when it was purchased by Thomas Wentworth, Baron Raby (later Earl of Strafford), in 1711. It was still called Stainborough in Jan Kip's engraved bird's-eye view of parterres and avenues, 1714, and in the first edition of Vitruvius Britannicus, 1715 (illustration, left). The name was changed in 1731. The original name survives in the form of Stainborough Castle, a sham ruin constructed as a garden folly (illustration below) on the estate.
The Estate has been in the care of the Wentworth Castle Heritage Trust since 2001 and is open to the public year round 7 days a week. The castle's gardens were restored in the early 21st century, and are also open to visitors.
History
The original house, known as the Cutler house, was constructed for Sir Gervase Cutler (born 1640) in 1670. Sir Gervase then sold the estate to Thomas Wentworth, later the 1st Earl of Strafford. The house was remodelled in two great campaigns, by two earls, in remarkably different styles, each time under unusual circumstances.
The first building campaign
The first building campaign to upgrade the original structure was initiated c.1711 by Thomas Wentworth, Baron Raby (1672-1739). He was the grandson of Sir William Wentworth, father of Thomas Wentworth, the attainted 1st Earl. Raby was himself created 1st Earl of Strafford (second creation) in 1711.
The estate of Wentworth Woodhouse, which he believed was his birthright, was scarcely six miles distant and was a constant bitter sting, for the Strafford fortune had passed from William Wentworth, 2nd Earl of Strafford, the childless son of the great earl, to his wife's nephew, Thomas Watson; only the barony of Raby had gone to a blood-relation. M.J. Charlesworth surmises that it was a feeling that what by right should have been his that motivated Wentworth's purchase of Stainborough Castle nearby and that his efforts to surpass the Watsons at Wentworth Woodhouse in splendour and taste motivated the man whom Jonathan Swift called "proud as Hell".[1]
Wentworth had been a soldier in the service of William III, who made him a colonel of dragoons. He was sent by Queen Anne as ambassador to Prussia in 1706-11 and on his return to Britain, the earldom was revived when he was created Viscount Wentworth and Earl of Strafford in the Peerage of Great Britain. He was then sent as a representative in the negotiations that led to the Treaty of Utrecht, and was brought before a commission of Parliament in the aftermath. With the death of Queen Anne, he and the Tories were permanently out of power. Wentworth, representing a clannish old family of Yorkshire, required a grand house consonant with the revived Wentworth fortunes, he spent his years of retirement completing it and enriching his landscape.
He had broken his tour of duty at Berlin to conclude the purchase of Stainborough in the summer of 1708, and returned to Berlin, armed with sufficient specifications of the site to engage the services of a military architect who had spent some years recently in England, Johann von Bodt. who provided the designs.[2] Wentworth was in Italy in 1709, buying paintings for the future house: "I have great credit by my pictures," he reported with satisfaction: "They are all designed for Yorkshire, and I hope to have a better collection there than Mr. Watson."[3] To display them a grand gallery would be required, for which James Gibbs must have provided the designs, since a contract for wainscoting "as desined by Mr Gibbs" survives among Wentworth papers in the British Library (Add. Mss 22329, folio 128). The Gallery was completed in 1724.[4] There are designs, probably by Bodt, for an elevation and a section showing the gallery at Wentworth Castle in the Victoria and Albert Museum (E.307-1937), in an album of mixed drawings which belonged to William Talman's son John.[5] the gallery extends one hundred and eighty feet, twenty-four feet wide, and thirty high, screened into three divisions by veined marble Corinthian columns with gilded capitals, and with corresponding pilasters against projecting piers: in the intervening spaces four marble copies of Roman sculptures on block plinths survived until the twentieth century.[6] Construction was sufficiently advanced by March–April 1714 that surviving correspondence between Strafford and William Thornton concerned the disposition of panes in the window sashes: the options were for windows four panes wide, as done in the best houses Thornton assured the earl, for which crown glass would do, or for larger panes, three panes across, which might requite plate glass: Strafford opted for the latter.[7] The results, directed largely by letter from a distance,[8] are unique in Britain. Sir Nikolaus Pevsner found the east range "of a palatial splendour uncommon in England."[9] The grand suite of parade rooms on the ground floor extended from the room at the north end with a ceiling allegory of Plenty to the south end, with one of a Fame.
Bodt's use of a giant order of pilasters on the front and other features, suggested to John Harris that Bodt, who had been in England in the 1690s, had had access to drawings by William Talman. Talman was the architect of Chatsworth, considered to be England's first truly Baroque house. Indeed there are similarities of design between Wentworth's east front and Chatsworth. Both have a distinctly Continental Baroque frontage. Wentworth has been described as "a remarkable and almost unique example of Franco-Prussian architecture in Georgian England".[10] The east front was built upon a raised terrace that descended to sweeps of gravelled ramps that flanked a grotto and extended in an axial vista framed by double allées of trees to a formal wrought iron gate, all seen in Jan Kip's view of 1714, which if it is not more plan than reality, includes patterned parterres to the west of the house and an exedra on rising ground behind, all features that appear again in Britannia Illustrata, (1730).[11] An engraving by Thomas Badeslade from about 1750 still shows the formal features centred on Bodt's façade, enclosed in gravel drives wide enough for a coach-and-four. The regular plantations of trees planted bosquet-fashion have matured: their edges are clipped, and straight rides pierce them.[12] All these were swept away by the second earl after mid-century, in favour of an open, rolling "naturalistic" landscape in the manner of Capability Brown.[13]
The first earl's landscape
Strafford planted avenues of trees in great quantity in this open countryside, and the sham castle folly (built from 1726 and inscribed "Rebuilt in 1730", now more ruinous than it was at first) that he placed at the highest site, "like an endorsement from the past"[14] and kept free of trees (illustration, left) missed by only a few years being the first sham castle in an English landscape garden.[15] For its central court where the four original towers were named for his four children, the earl commissioned his portrait statue in 1730 from Michael Rysbrack, whom James Gibbs had been the first to employ when he came to England;[16] the statue has been moved closer to the house.
A staunch Tory,[17] Lord Strafford remained in political obscurity during Walpole's Whig supremacy, for the remainder of his life. An obelisk was erected to the memory of Queen Anne in 1736, and a sitting room in the house was named "Queen Anne's Sitting Room" until modern times. Other landscape features were added, one after the other, with the result that today there are twenty-six listed structures in what remains of the parkland.
The second earl at Wentworth Castle
The first earl died in 1739 and his son succeeded him. William Wentworth, 2nd Earl of Strafford (1722-1791) rates an entry in Colvin's Biographical Dictionary of British Architects as the designer of the fine neo-Palladian range, built in 1759-64 (illustration, upper right). He married a daughter of the Duke of Argyll[18] and spent a year on the Grand Tour to improve his taste; he eschewed political life. At Wentworth Castle he had John Platt (1728–1810)[19] on the site as master mason and Charles Ross ( -1770/75) to draft the final drawings and act as "superintendent"; Ross was a carpenter and joiner of London who had worked under the Palladian architect and practiced architectural ammanuensis, Matthew Brettingham, at Strafford's London house, 5, St James's Square, in 1748-49. Ross's proven competency in London in London doubtless recommended him to the Earl for the building campaign in Yorkshire.[20] At Wentworth Castle it was generally understood, as Lord Verulam remarked in 1768, "'Lord Strafford himself is his own architect and contriver in everything."[21] Even in the London house, Walpole tells us, "he chose all the ornaments himself".
Horace Walpole singled out Wentworth Castle as a paragon for the perfect integration of the site, the landscape, even the harmony of the stone:
"If a model is sought of the most perfect taste in architecture, where grace softens dignity, and lightness attempers magnificence... where the position is the most happy, and even the colour of the stone the most harmonious; the virtuoso should be directed to the new front of Wentworth-castle:[22] the result of the same judgement that had before distributed so many beauties over that domain and called from wood, water, hills, prospects, and buildings, a compendium of picturesque nature, improved by the chastity of art."[23]
Later history
With the extinction of the earldom with the third earl in 1799, the huge family estates were divided into three, one third going to the descendants of each daughter of the 1st Earl. Wentworth Castle was left in trust for Lady Henrietta Vernon's grandson Frederick Vernon, (of Hilton Hall, Staffordshire) whose trustees were William, 4th Earl Fitzwilliam, and Walter Spencer Stanhope. Frederick Vernon added Wentworth to his surname and took charge of the estate in 1816. Between 1820 and 1840 the old chapel of St. James was replaced with the current building and the windows of the Baroque Wing were lowered on either side of the entrance hall. Frederick Vernon Wentworth also amalgamated two ground floor rooms to make what is now the blue room. In July of 1838 a freak hail storm badly damaged the cupola and windows of the house as well as all the greenhouses within the walled gardens, yet this pales into insignificance when compared with the nearby Huskar Colliery disaster where 26 child miners lost there lives due to flooding following the hail storm. In May of 1853 a freak snow storm also caused severe damage, particularly to the mature trees within the gardens, some of them rare species from America planted by the 1st and 2nd earls. Frederick Vernon Wentworth was succeeded by his son Thomas in 1885 who added the iron framed Conservatory and electric lighting by March of the following year. The Victorian Wing also dates from this decade and its construction allowed the Vernon-Wentworths to entertain the young Duke of Clarence and his entourage during the winters of 1887 and 1889. The estate was inherited by Thomas' eldest son Captain Bruce Canning Vernon Wentworth, M.P. for Brighton, in 1902. Preferring his Suffolk estates, the Captain put the most valuable of his Wentworth Castle house contents up for sale at auction with Christies after the First World War. The paintings sold at Christie's on 13 November 1919.[24] Bruce Vernon-Wentworth, who had no direct heirs, sold the house and its gardens to Barnsley Corporation in 1948, while the rest of his estates, in Yorkshire, Suffolk and Scotland were left to a distant cousin.[25] The remaining contents of Wentworth Castle were emptied at a house sale,[26] and the house became a teacher training college, the Wentworth Castle College of Education, until 1978. It was then used by Northern College.[27] It was featured in the Victoria and Albert Museum's exhibition "The Country House in Danger". The great landscape that Walpole praised in 1780 was described in 1986 as now "disturbed and ruinous", the second earl's sinuous river excavated in the 1730s reduced to a series of silty ponds,.[28]
Wentworth Castle is the only Grade I Listed Gardens and Parkland in South Yorkshire. The Wentworth Castle Heritage Trust was formed in 2002 as a charity with the aim “To undertake a phased programme of restoration and development works which will provide benefit to the general public by providing extensive access to the parkland and gardens and the built heritage, conserving these important heritage assets for future generations”. Today, the landscape is gradually being restored by the Trust. The restoration of the Rotunda was completed in 2010, the parkland has been returned to deer park. The restoration of the Serpentine will form a future project as funding allows.
The estate opened fully to visitors in 2007, following the completion of the first phase of restoration, which cost £15.2m.[29] The Gardens at Wentworth Castle and Stainborough Park are open 7 days a week year round (closed Christmas Day and Boxing Day). Information for visitors, groups and schools and the latest information on restoration progress is available from the Trust's website. Tours of the house are available by arrangement.
Wentworth Castle was featured on the BBC TV show Restoration in 2003, when a bid was made to restore the Grade II* Listed Victorian conservatory to its former glory, though it[30] did not win in the viewers' response. Subsequently, the Wentworth Castle Heritage Trust took the decision in 2005 to support the fragile structure further with a scaffold in order to prevent its total collapse. The Trust succeeded in raising the £3.7 million needed to restore the conservatory in 2011 and work began in 2012, with grants from English Heritage, the Country Houses Foundation, the Heritage Lottery Fund and the European Regional Development Fund. The Trust completed the restoration of its fragile Victorian glasshouse in October 2013 – 10 years after its first TV appearance the Restoration series. It was opened by the Mayor of Barnsley on 7 November 2013 and opened to the general public the following day.
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...
Tommaso Aleni, called the Fadino (Cremona, 15th century - 16th century) - Redeemer - Saint James. Saint Philip, Adoration of the Child - Oil on panel - Museo Civico Ale Ponzone, Cremona
Esponente dell'eclettismo cremonese, gli si attribuiscono una Madonna col Bambino e santi (1500) e vari affreschi in chiese e conventi, che rivelano una certa influenza da parte di Boccaccio Boccaccino e di Pietro Perugino.
La sua opera di maggiore impegno conservata è il polittico di Santa Maria Maddalena a Cremona.
Exponent of Cremonese eclecticism, he is attributed a Madonna and Child with Saints (1500) and various frescoes in churches and convents, which reveal a certain influence from Boccaccio Boccaccino and Pietro Perugino.
Its work of greater engagement conserved is the polyptych of Saint Maria Maddalena to Cremona.
Bali has four lakes – Lake Buyan and Lake Tamblingan in the Buleleng regency; Lake Beratan in Tabanan regency; and Lake Batur in the Bangli regency.
Lake Buyan is a smallest lake in Bali located just a next door of Lake Tamblingan which is known as Twin Lakes. It is located in the plateau area with cool weather cover it. It is situated in the high land with hill and rain forest surrounds it. Since the location in the plateau area, the fog is usually blanketing the area. This lake can be seen from the top of hill of Gobleg. Gobleg it self is the name of the countryside located on the top of hill where the villager with agriculture life on top of it.
Lake Buyan own the broadness about 3,9 Km, with the maximum of deepness of Lake Buyan is 87 meters and the water volume is 0,116 km3, is considered to be the most severely polluted and also Lake Buyan has faced a 3.5 meters (11 feet) drop in water levels every year since year 2000, leaving many locals puzzled.
The shallow depths of the lake and pollution are due to the erosion of soil from nearby mountains, the rapid uncontrolled growth of water hyacinths (enceng gondok) and seepage into the lakes of fertilizers from surrounding farm lands.
Environmentalists and some government officials say the problems could become worse unless significant investment is made and people started conserving water.Bali’s governor told the press that the “normalization” of Bali’s lake is an absolute priority, with the government required to quickly devise a recovery program for the island’s freshwater lakes.
Canon EOS 50D
EF-S 10-22mm f/3.5-4.5 USM
0.033sec • f/14 • 18mm • ISO100
HITECH Filter ND Grad 3-stops HE
RAW proccessed with Digital Photo Pro: removed Chromatic Aberration+TiFF converted.
TIFF proccessed with Adobe Photoshop CS3: resized+sharpened.
View Large for more detail.
Honest comment/critique are welcome, thanks guys :)