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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.
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.
Leaf of Hymenaea, enclosed in Amber 25 000 000 years ago somewhere in a land, we now call the Dominican Republic.
On reflection I wasn't 100% happy with the Conserved shoot so I decided to do a reshoot. This feels much more me and more in line with the concept.
Le chanoine et professeur d'université Ferdinand Franz Wallraf (1748 – 1824) était un collectionneur fanatique. En effet, collectionner et conserver étaient les objectifs principaux de sa vie – et cela à une époque où la Révolution française bouleversait les valeurs transmises dans toute l’Europe.
Et la Révolution faisait également rage à Cologne. Près de 40 églises ont été démolies au nom de la sécularisation, tandis que les œuvres d'art du reste ont été jetées dans les rues. De précieux sanctuaires reliquaires ont été fondus et les panneaux peints ont été brûlés comme combustible. Grâce à ses efforts et à ses sacrifices, le savant amateur d'art Wallraf a sauvé ce qu'il pouvait des églises et des cloîtres de ce qui était autrefois la « Sainte Cologne ». Rien de ce qui était lié à l'art et à l'histoire de Cologne ne devait être perdu.
À sa mort en 1824, Wallraf légua à la ville l'intégralité de son domaine – un trésor incroyable, car il contenait près de 10 000 peintures, dessins et gravures sur bois, environ 13 000 livres, plus de 3 000 sceaux, environ 1 000 manuscrits et actes, de nombreuses antiquités, d'innombrables pièces de monnaie, pierres taillées, minéraux, fossiles et bien plus encore.
Pendant de nombreuses années, la ville a dû se contenter de locaux de fortune pour la collection Wallraf, jusqu'à ce qu'en 1854, le marchand et marchand de cothurnes de Cologne Johann Heinrich Richartz (1795 – 1861) fasse don de 100 000 thalers pour un bâtiment de musée. Mais c’est comme aujourd’hui : l’argent n’était pas suffisant. Richartz a donc fait don de 10 000 thalers supplémentaires pour les blocs de tuf nécessaires, puis de 12 000 autres pour les parquets, suivis de 24 000 thalers pour les fresques de l'escalier, et ainsi de suite.
Mais il n'assistera pas à l'inauguration : peu avant la cérémonie d'ouverture du musée en 1861, le généreux mécène décède. Bien que « son » bâtiment ait été détruit pendant la Seconde Guerre mondiale, le souvenir de Johann Heinrich Richartz et de son généreux mécénat perdure au nom du « Musée Wallraf Richartz ».
Canon and university professor Ferdinand Franz Wallraf (1748 – 1824) was a fanatical collector. Indeed, collecting and preserving were the main objectives of his life – and this at a time when the French Revolution was upending the values transmitted throughout Europe.
And the Revolution was also raging in Cologne. Nearly 40 churches were demolished in the name of secularization, while the rest's artwork was thrown into the streets. Valuable reliquary shrines were melted down and the painted panels were burned as fuel. Through his efforts and sacrifices, the art-loving scholar Wallraf saved what he could of the churches and cloisters of what was once “Holy Cologne.” Nothing connected with the art and history of Cologne was to be lost.
When he died in 1824, Wallraf bequeathed his entire estate to the city – an incredible treasure, as it contained almost 10,000 paintings, drawings and woodcuts, approximately 13,000 books, more than 3,000 seals, approximately 1 000 manuscripts and records, numerous antiquities, countless coins, carved stones, minerals, fossils and much more.
For many years, the city had to make do with makeshift premises for the Wallraf collection, until in 1854 the Cologne merchant and buskin dealer Johann Heinrich Richartz (1795 – 1861) donated 100,000 thalers for a museum building. But it’s like today: the money was not enough. Richartz therefore donated an additional 10,000 thalers for the necessary tuff blocks, then another 12,000 for the parquet floors, followed by 24,000 thalers for the staircase frescoes, and so on.
But he did not attend the inauguration: shortly before the museum's opening ceremony in 1861, the generous patron died. Although “his” building was destroyed during the Second World War, the memory of Johann Heinrich Richartz and his generous patronage lives on in the name of the “Wallraf Richartz Museum”.
The Musée des Augustins de Toulouse is a fine arts museum in Toulouse, France which conserves a collection of sculpture and paintings from the Middle Ages to the early 20th century. The paintings are from throughout France, the sculptures representing Occitan culture of the region with a particularly rich assemblage of Romanesque sculpture. The building in which the museum is sited was built in 1309 in the Gothic style and prior to the French Revolution housed Toulouse's Augustinian convent. The convent was secularized in 1793 and first opened to the public as a museum on 27 August 1795 by decree of the French Convention, very shortly after the opening of the Louvre, making it one of the oldest museums in France after the Louvre and the Musée des Beaux Arts in Besançon. It at first housed the Muséum Provisoire du Midi de la République and the école des Beaux-Arts. The Musée des Augustins de Toulouse was one of fifteen museums founded in provincial centres, by a decree of 13 Fructidor year IX (31 August 1801), which was promulgated by the minister of the interior, Jean-Antoine Chaptal (Arrêté Chaptal du 14 fructidor an IX). At the start of the 19th century several medieval buildings (notably the refectory) were demolished and in their place Viollet-le-Duc and his pupil Darcy put up new exhibition galleries, accessed by a Gothic Revival monumental stair offering an interplay of richly complicated vaulting systems. The works continued from 1873 to 1901, when the museum reopened. In effect, Toulouse commissioned Urbain Vitry to ensure remove all the convent's religious characteristics. The archaeologist Alexandre Du Mège occupied the cloister and rebuilt it to be able to house the medieval collections gathered from Toulouse's destroyed religious buildings such as the basilique Saint-Sernin. Today the cloister houses a reconstructed medieval garden. The building was classed as a Monument historique in 1840. en.wikipedia.org/wiki/Musée_des_Augustins
Conservée au musée Jacquemart-André à Paris, cette oeuvre de Rembrandt de 1628 représente Jésus de profil à contre-jour à Emmaüs.
En 2025-2026, la peinture est exposée au musée des beaux arts de Rennes en échange du "Nouveau né" de Georges de La Tour.
Sténopé boîte de conserve. Papier Ilford.
8 sec d’exposition.
Pinhole tin can. Paper Ilford.
8 sec of exposure.
Prière du sténopiste :
1,2,3,4, merde, la boîte a bougé, 5, non, 9…, no, 7, 8 9, 10, 11 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, zut, un nuage, j’ajoute 20 secondes… 28, 25, 26, 27, 28, 29, 30, 31, 32, C’est quoi ce type, 34, 35, 36, 37, 38, non, pas ici !, 42, 43, 44, 45, 46, 47, 48, Je parie qu’il va me demander ce que je fait ! 52, 53, 54, 55… (à voix haute : 58, 59, 60, une seconde s’il vous plaît, 63, 64, 65, 66, 67, 68, 69, 70. Ce que je fais ? J’essaie de faire une photo… Oui, monsieur, avec une boite de conserve !)
Prayer of pinholer :
1,2,3,4, shit, the box has moved, 5, no 9 ..., no, 7, 8, 9, 10, 11 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, heck, a cloud, I add 20 seconds ... 28, 25, 26, 27, 28, 29, 30, 31, 32, What is this man, 34, 35, 36, 37, 38, no, not here !, 42, 43, 44, 45, 46, 47, 48, I bet he will ask me what I did! 52, 53, 54, 55 ... (out loud: 58, 59, 60, one second please, 63, 64, 65, 66, 67, 68, 69, 70. What I do? I trying to get a picture ... Yes, sir, with a tin!)
dépôt de l'Eglise Saint Denis - Rocquemont
bois polychrome
XVIème siècle
Musée de l'Archerie et du Valois
Kr_08-05-19 15-20-06
Erigé en 1905 pour l’exposition universelle de Liège, le musée d’art moderne a conservé toute sa majesté. Construit dans un écrin de verdure, il trône depuis un siècle au milieu du parc de la Boverie et a abrité les collections des beaux-arts de la ville. Mais il avait besoin d’une sérieuse rénovation pour pouvoir rivaliser avec les plus grands.
C’est au célèbre architecte français Rudy Ricciotti (à qui on doit le musée des Civilisations de Marseille) et au bureau pHD de Liège que le chantier a été confié.
Soucieux de préserver la beauté du bâtiment historique et du parc qui l’entoure, le seul changement qu’ils se soient permis est cette annexe construite sur la façade arrière du bâtiment, face à la Dérivation.
Grande de 1.000 m² et haute de huit mètres, toute vitrée, elle semble flotter dans l’air. Elle propose un espace d’exposition unique où la lumière arrive de partout.
la Ville de Liège et le musée du Louvre ont décidé d’unir leurs efforts en matière de programmation artistique et de présentation des collections.
Le Louvre, afin de se rapprocher de ses publics et dans le cadre d’une politique d’action internationale contribuant ainsi au rayonnement culturel de la France, s’engage dans cette collaboration pour une durée de 4 ans.
www.liege.be/culture/musees/boverie-beaux-arts-expos-liege
Erected in 1905 for the Universal Exhibition of Liege, the museum of modern art has retained all its majesty. Built in a green setting, he sits in a century in the middle of the Boverie park and housed the collections of fine arts in the city. But it needed a serious renovation to be able to compete with larger ones.
This is the famous French architect Rudy Ricciotti (who must be the Museum of Civilization from Marseille) and pHD office Liège that the site has been entrusted.
Anxious to preserve the beauty of the historic building and the surrounding park, the only change is that they are allowed this annex built onto the rear facade of the building, facing the Bypass.
Large 1,000 m² and eight meters high, all glass, she seems to float in the air. It offers a unique exhibition space where light comes from everywhere.
Cork City and the Louvre Museum have joined their efforts in artistic programming and collections presentation.
The Louvre, to be closer to its public and as part of an international action policy contributing to the cultural influence of France, engages in this collaboration for a period of 4 years.
The Musée des Augustins de Toulouse is a fine arts museum in Toulouse, France which conserves a collection of sculpture and paintings from the Middle Ages to the early 20th century. The paintings are from throughout France, the sculptures representing Occitan culture of the region with a particularly rich assemblage of Romanesque sculpture. The building in which the museum is sited was built in 1309 in the Gothic style and prior to the French Revolution housed Toulouse's Augustinian convent. The convent was secularized in 1793 and first opened to the public as a museum on 27 August 1795 by decree of the French Convention, very shortly after the opening of the Louvre, making it one of the oldest museums in France after the Louvre and the Musée des Beaux Arts in Besançon. It at first housed the Muséum Provisoire du Midi de la République and the école des Beaux-Arts. The Musée des Augustins de Toulouse was one of fifteen museums founded in provincial centres, by a decree of 13 Fructidor year IX (31 August 1801), which was promulgated by the minister of the interior, Jean-Antoine Chaptal (Arrêté Chaptal du 14 fructidor an IX). At the start of the 19th century several medieval buildings (notably the refectory) were demolished and in their place Viollet-le-Duc and his pupil Darcy put up new exhibition galleries, accessed by a Gothic Revival monumental stair offering an interplay of richly complicated vaulting systems. The works continued from 1873 to 1901, when the museum reopened. In effect, Toulouse commissioned Urbain Vitry to ensure remove all the convent's religious characteristics. The archaeologist Alexandre Du Mège occupied the cloister and rebuilt it to be able to house the medieval collections gathered from Toulouse's destroyed religious buildings such as the basilique Saint-Sernin. Today the cloister houses a reconstructed medieval garden. The building was classed as a Monument historique in 1840. en.wikipedia.org/wiki/Musée_des_Augustins
Un autre endrot incroyablement conservé que j'ai visité il y a presque 10 ans, durant mes trekkings dans la Grande Savane, est "El Abismo" (L'abîme) C'est un tepuy bas dont le flanc sud tombe dans le début de l'Amazonie (oú je suis aussi descendu) juste á la frontiêre avec le Brésil dans l'état de Bolivar au Venezuela.
Otro lugar increíblemente conservado que visité hace casi 10 años, durante mis trekkings en la Gran Sabana, se llama "El Abismo". Esto es un tepuy bajo de cual el flanco sur cae al principio de la Amazonia (allí bajé también) justo a la frontera con Brasil en el estado de Bolivar, Venezuela.
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
I first visited this valley in the year 2000 and then once again in 2002. The forested valley dissected by an alpine river is one of the most beautiful valleys in Pakistan. This time I wanted to see it under snow cover and luckily I did. In the year 2000 I imagined that this jewel would attract many visitors by the year 2010. However, 9/11 happened and the north-western regions of Pakistan suffered heavily due to geo-political games played by the major players within the region. There are Common Leopards, Markhor, Black Bear, Wolves, Musk Deer as well as Ibex, Brown Bear and Snow Leopards in winter. We did not see any wild mammals but birds seen included Himalayan Jungle Crows, Ravens, Pied Wagtails, Grey Wagtails, Plumbeous Water Redstarts, White-capped Water Redstarts, Common Sandpiper, Brown Dipper, Mistle Thrush, Cinerous Tits, Kestrel, Sparrowhawk and a Lammergeier.
www.valleyswat.net/tourism/mankial.html
The Valley of Mankial:
The beautiful valley of Swat is a conglomeration of different and varied valleys and plains. The southern region is comparatively wide and open, consisting of plains that are cultivated through out the year and yield extremely large quantity of fruits and crops. The Northern region is a congregation of tall high rising mountains where small valleys provide little ground for cultivation and residentiary area for the small mass of population scattered in different groups and families. The valley of Mankial is one such place located in the north of Swat on the main road leading to Kalam. The total distance of the valley from Saidu Sharif is about eighty kilometers. The condition of the road is not gratifying but still the scenic beauty all around, the cool and invigorating breeze and the whirling, foamy and gurgling water of River Swat keep the visitors engaged and delighted.
The fascinating valley of Mankial is famous throughout Swat for its several sharp and jagged summits or peaks, which can be seen hundreds of kilometers away from down the plains. The tallest peak’s height is 18750 feet above the sea level. Several national and internationalMankial Valley mountaineers have attempted to reach these dizzy and awesome summits and in the course have lost their precious lives but still some others have conquered these intimidating heights. A Japanese mountaineer conquered mount Mankial in 1975. Climbing up these treacherous and unpredictable heights needs a strong heart, firm determination and above all strict professionalism.
Several ancient myths and tales are associated with the razor sharp peaks of Mankial. Most of the people believe that it is the abode of supernatural entities like fairies and jinns where intruding human beings are severely inflicted and who ever ventures into their dwellings either loses his life or is haunted by hallucination and illusions everafter. The immense height of the mountain and enchanted atmosphere sometimes compels one to think that these myths are true and real.
Balakot/ Dawanr:
The valley of Mankial has a T shaped location. Towards the western end, above the main road, the villages of Balakot and Dawanr are located face to face the towering summits of Mankial. The dominant language in the area is Kohistani but Pashto is widely spoken and understood. The people of Balakot rely mostly on farming and some of them are employed in foreign countries. The cash crops are maize, peas, potato, turnips and cabbages. Natural and pure mountain honey is also one of the products of these exotic vales, which has high demand in the national and local market and is mostly used as a base in herbaceous medicines. Telephone and electricity have been provided to these villages and some daily consumable items can also be procured in the small shops scattered in the valley.
Badai:
The valley of Mankial is two pronged with the population scattered on both sides of River Swat. A wooden bridge connects the left segment of Mankial valley with the main road from where an unconstructed link road leads towards the mesmerizing and beautiful valleys and pastures of Jaba (Marshes), Badai, Serai and Chokkail Banda. This link road plies side by side with the roaring, thudding and foaming stream of Mankial, which empties down to River Swat in the central Mankial Valley. The condition of the road is miserable and only four wheelers can tackle the bumpy and sturdy ride of the treacherous and tricky bends and turns. The maximum time to reach Badai where the road is forked, one leading to Jaba and the other to Serai, is forty to fifty minutes. Badai is famous for the mausoleum of Badai Baba where several people go in search of spiritual solace and cure for mysterious diseases. Badai is the only village where the houses are closely located with some shops catering for daily consumable items.
Jabai
The road turning to right hand leads to the beautiful and exotic highland of Jaba where the local people of Mankial reside in summers, growing potatoes and raising livestock. The slightly open valley of Jaba is wearing a thick blanket of cedar or deodar forest decorated by the mosaic of colorful wild flowers and fruits during early spring. The valley is guarded by the sky touching peaks of mount Mankial in the east where huge glaciers melt down and form spectacular waterfalls and cataracts, which cool the eyes of the beholder and reverberate in the valley, like the enchanting music of mermaids in myths.
Several other pastures and grass lands situated at a relatively high altitude from Jaba including the misty pastures of Boksar and Sor Kar can be easily accessed from this area. The sprawling meadows of Boksar are incomparable in beauty and are identical with the splendid highlands of Dewsai in Gilgit. These hypnotizing valleys are famous for its rich wild life in which Snow Leopard, Markhor, Black Bear, Flying Squirrel, golden Monal, Koklas Pheasant and the bulky Snow Cock are some well-known names. Jaba has several potentials of eco-tourism, which can be beneficial for the community particularly, and the country generally. A strong initiative from the department with support from the local community will certainly make the area prosperous and will help to conserve the ecosystem.
Serai
The road turning to left hand in Badai comes to a halt in the splendid valley of Serai. The valley is hubbub of activities in summer but in winter the valley is deserted due to severe snowfall and avalanches. Serai is a wide valley with ample land for potato, peas and turnip cultivation and the people of Mankial exploit the land diligently. The cold and freezing springs and streams in the valley form a web that provide drinking and irrigation water. Most of the houses in the valley are constructed with wood, mud, and stones but still modern architecture can be observed in the valley. A huge mosque constructed with durable cedar wood is a special feature of the valley where collective prayers are performed during summer.
Chokail Banda:
Chokail Banda (Valley) is located in the north of Serai valley. An ascending trail leads to this picturesque summer pasture and highland from Serai, which takes three to four hours to reach this sparkling jewel of nature. The towering peaks of mount Mankial in the south looks like mighty Titans who are always vigilant and ready to guard the valley.
Chokail is also famous for the endangered Markhor and elusive Snow Leopard. Wolf, Black Bear, Golden Monal and the bulky Snow Cock are the regular features of Chokail. The area has also been declared as a National Park by the government and the diverse fauna and flora has been given a status of national heritage. Poaching and hunting is strictly prohibited in the valley but poachers still manage to thwart the initiatives of the conservation department. The eye cooling glaciers, the fresh and misty breeze, the elusive calls of birds and the sky touching mountains are some of the exquisite and special features, which make Mankial valley different, beautiful, and a radiant gem in the enchanting valley of Swat.
(Vung Tau)
"Vung Tau is the port capital of the Ba Ria-Vung Tau Province. Located on a peninsula in Southern Vietnam. Vung Tau has history and all the bells and whistles befitting a trading port dating back to the 14th Century.
Vung Tau was once a hub for European trading ships which anchored in the calm waters for shelter (the name: Vung Tau translates into “Anchorage”). Yet, through up and down of the country, Vung Tau has maintained its charm and inviting seaside vibe. In fact, the cliffs of Vung Tau (Mui Nghinh Phong) translate into “Cape of Breeze Welcome.”
Back in the time, the French found Vung Tau an idyllic, if not elite, seaside getaway with many French colonial mansions dotting the hillside haven. (..)"
More if you click the link to the source below:
vietnam.travel/things-to-do/vung-tau-sightseeing-wonderland
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« Vung Tau est la capitale portuaire de la province de Ba Ria-Vung Tau. Située sur une péninsule au sud du Vietnam, Vung Tau possède une histoire et tous les attributs d'un port commercial datant du XIVe siècle.
Vung Tau était autrefois une plaque tournante pour les navires marchands européens qui jetaient l'ancre dans ses eaux calmes pour s'abriter (le nom « Vung Tau » signifie « mouillage »). Pourtant, malgré les aléas du pays, Vung Tau a conservé son charme et son atmosphère balnéaire accueillante. En fait, les falaises de Vung Tau (Mui Nghinh Phong) se traduisent par « Cap de la brise bienvenue ».
À l'époque, les Français considéraient Vung Tau comme une station balnéaire idyllique, voire élitiste, avec de nombreuses demeures coloniales françaises parsemant le havre de paix à flanc de colline. (..) »
Pour en savoir plus, cliquez sur le lien donné plus haut
A Fox Squirrel conserves energy and relies on its insulated fur to thrive during cold winter days: stevecreek.com/winter-survival-adaptations-how-birds-and-...
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
Un siècle après sa découverte, la villa des Mystères est toujours la plus grande, la mieux conservée et la plus fascinante des peintures antiques. Cette demeure reconvertie en exploitation agricole tire notamment son nom d’une fresque de 17 m de long et 3,30 m de haut, située dans une petite salle de 7,10 m de long x 4,93 m de large, datant de 70 avant notre ère. Elle se déroule sur les quatre murs du triclinium (n'en sont ici visibles que trois, ceux du nord à gauche, de l'est au centre et du sud à droite), la salle à manger de la maison, et divisés en trois parties : la première imitant le marbre peint, puis la frise de grands panneaux rouge pompéien (ponctuée de pilastres plus sombres) et au-dessus en couronnement une frise de motifs géométriques surmontée d’une imitation de marbres de couleur. La frise dépeint 29 personnages, de tailles différentes, figurés un peu plus petit que nature. Afin de séparer la dizaine de scènes les unes des autres, la frise est régie par une fonction de transition superposant les personnages pour ensuite les orienter dans des directions opposées, marquant ainsi le passage d’une scène à l’autre. Le couple divin au centre de la paroi du fond représente le point de convergence des deux frises parallèles qui courent le long des quatre murs depuis la porte principale.
Concurremment, le peintre a joué sur les correspondances sémantiques de groupes qui se font face d'un mur
à l'autre, en se servant habilement de la configuration de la pièce. Le panneau du mur est devait autrefois fortement impressionner celles et ceux qui pénétraient sans la pièce, mais c'est malheureusement aujourd'hui le plus endommagé de la dizaine de scènes représentées des quatre murs, où se trouve justement celle du Couple divin. Si les spécialistes divergent sur le sens à donner à cette fresque, leurs interprétations pointent cependant des éléments communs, une cérémonie de passage initiatique où le thème du mariage est également récurent, une composition à composante onirique, mais étrangère au temps d'aujourd’hui et difficile dès lors à comprendre. La pièce du triclinium ou salle à manger était dévolue à un culte dionysiaque dans le cadre privé, où figure la Domina (maîtresse de maison) sur laquelle la fresque semble se focaliser avec un enchaînement de représentations la mettant en scène.
Le dionysisme mis en scène dans cette fresque, comme sur bien d'autres documents pompéiens contemporains ou postérieurs de quelques années, est celui d'un univers associant un idéal mythique à la réalité humaine, quotidienne et cultuelle, établissant un lien harmonieux dans la vie d'une matrone entre ses valeurs aristocratiques de vertu et de culture et ses croyances en une religion dionysiaque pratiquée et vécue (cf. Charlotte Sammarcelli et Martijn Stoll : La fresque de la villa des mystères : le culte dionysiaque dans le domaine privé, 2018 ; Stéphanie Wyler : Actualité de la fresque de la Villa des Mystères, 2002 ; Gilles Sauron : La grande fresque de la villa des Mystères à Pompéi, mémoires d'une dévote de Dionysos, 2000 ; Jean-Marie Pailler ; Mystères dissipés ou mystères dévoilés ?, 2000 ; Paul Veyne, François Lissarrague et Françoise Frontisi-Ducroux : Les mystères du gynécée, 1998 ; merci veroeddy.be pour la photo).
There were once so many Asiatic lions on our planet that they roamed from north-east India to the Mediterranean but today there are only about 350 left in the wild and all of them live in India’s Gir Forest.
Iblis, the nine year old male at Chester Zoo, is an important part of the European Endangered Species Breeding Programme. This is a carefully managed scheme overseeing the breeding of zoo animals in different
Lions have few sweat glands so they wisely tend to conserve their energy by resting during the day to conserve their energy at night for when it is cooler.
The Asiatic lion is listed as endangered on the International Union for the Conservation of Nature (IUCN) Red list.
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...
(UNID species), Family: UNID
Tiny land snail (length around 2cm), unusually active during daytime. They usually stay inside their shell to conserve moisture
A land snail is any of the numerous species of snail that live on land, as opposed to sea snails and freshwater snails. Land snail is the common name for terrestrial gastropod mollusks that have shells (those without shells are known as slugs). However, it is not always easy to say which species are terrestrial, because some are more or less amphibious between land and freshwater, and others are relatively amphibious between land and saltwater.
The majority of land snails are pulmonates, i.e. they have a lung and breathe air. Land snails have a strong muscular foot; they use mucus to enable them to crawl over rough surfaces, and in order to keep their soft bodies from drying out. Most land snails have shells that are right-handed in their coiling.
A wide range of different vertebrate and invertebrate animals prey on land snails, and they are used as food by humans in various cultures worldwide, and are even raised on farms as food in some areas.
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
🇫🇷 ¤ Le trésor de la cathédrale
Le trésor de la cathédrale de Brixen fait partie des biens conservés au fil des siècles, par traditon, dans la sacristie. Des textiles médiévaux, comme la chasuble millénaire d'Albuin (soie pourpre bysantine avec un dessin d'aigle) ou les vêtements de Hartmann ont été révérés comme reliques et conservés en tant que telles. La majorité des travaux d'orfèvrerie gothiques et du début du baroque n'ont pas été fabriquée à Brixen mais ont été importée de centres culturels européens tels Limoges, Venise, Constance et Augsbourg.
La pièce la plus ancienne est le calice funéraire de l'évêque Altwin datant de la fin du XIe siècle.
¤ La collection d'objets d'art présente
de précieuses sculptures et de tableaux médiévaux, ainsi que d'œuvres modernes de l'époque baroque, du classicisme et du romantisme.
Les pièces essentielles de la collection sont les Vièrges et les crucifix de la fin de l'art roman, les sculptures et les peintures d'artistes tyroliens du Moyen Åge.
A l'époque du baroque, des statues d'autel d'Adam Baldauf, des peintures à l'huile de Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger et Paul Troger passent au premier plan. etc …..
🇩🇪 ¤ Der Domschatz
Der Domschatz von Brixen gehört zu den Gütern, die über die Jahrhunderte hinweg traditionsgemäß in der Sakristei aufbewahrt wurden. Mittelalterliche Textilien wie die tausendjährige Kasel von Albuin (purpurne bysantinische Seide mit Adlermuster) oder die Gewänder von Hartmann wurden als Reliquien verehrt und als solche aufbewahrt. Die meisten Goldschmiedearbeiten der Gotik und des Frühbarocks wurden nicht in Brixen hergestellt, sondern aus europäischen Kulturzentren wie Limoges, Venedig, Konstanz und Augsburg importiert. Das älteste Stück ist der Grabkelch des Bischofs Altwin vom Ende des 11. Jahrhunderts.
¤ Die Kunstsammlung zeigt wertvolle mittelalterliche Skulpturen und Gemälde sowie moderne Werke aus der Zeit des Barock, des Klassizismus und der Romantik.
Die wichtigsten Stücke der Sammlung sind spätromanische Vièrgen und Kruzifixe, Skulpturen und Gemälde von Tiroler Künstlern des Mittelalters.
In der Barockzeit treten Altarfiguren von Adam Baldauf, Ölgemälde von Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger und Paul Troger in den Vordergrund. usw.
🇮🇹 ¤ Il tesoro della cattedrale
Il tesoro della cattedrale di Bressanone è uno degli oggetti conservati da secoli, per tradizione, nella sacrestia. Tessuti medievali come la casula millenaria di Albuin (seta viola bissantina con disegno di aquila) o i paramenti di Hartmann sono stati venerati come reliquie e conservati come tali. La maggior parte dell'argenteria gotica e del primo barocco non è stata prodotta a Bressanone, ma importata da centri culturali europei come Limoges, Venezia, Costanza e Augusta. Il pezzo più antico è il calice funerario del vescovo Altwin, risalente alla fine dell'XI secolo.
La collezione d'arte comprende preziose sculture e dipinti medievali, oltre a opere moderne del periodo barocco, classicista e romantico.
I pezzi forti della collezione sono la Vergine e il Crocifisso tardo-romanici, nonché sculture e dipinti di artisti tirolesi del Medioevo.
Nel periodo barocco sono protagoniste le statue d'altare di Adam Baldauf e i dipinti a olio di Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger e Paul Troger. etc .....
🇬🇧 ¤ The treasure of the cathedral
The treasure of Brixen Cathedral is one of the items that have been preserved over the centuries, by tradition, in the sacristy. Medieval textiles such as Albuin's thousand-year-old chasuble (Bysantine purple silk with an eagle design) or Hartmann's vestments were revered as relics and preserved as such. The majority of Gothic and early Baroque silverware was not made in Brixen, but was imported from European cultural centres such as Limoges, Venice, Constance and Augsburg. The oldest piece is the funerary chalice of Bishop Altwin, dating from the end of the 11th century.
¤ The art collection features precious medieval sculptures and paintings, as well as modern works from the Baroque, Classicist and Romantic periods.
The highlights of the collection are the late Romanesque Virgin and Crucifixes, and sculptures and paintings by Tyrolean artists from the Middle Ages.
In the Baroque period, altar statues by Adam Baldauf and oil paintings by Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger and Paul Troger take centre stage. etc .....
🇪🇸 ¤ El tesoro de la catedral
El tesoro de la catedral de Brixen es uno de los objetos que se han conservado a lo largo de los siglos, por tradición, en la sacristía. Tejidos medievales como la casulla milenaria de Albuin (seda púrpura bizantina con diseño de águila) o los ornamentos de Hartmann fueron venerados como reliquias y conservados como tales. La mayor parte de la platería gótica y barroca temprana no se fabricó en Brixen, sino que se importó de centros culturales europeos como Limoges, Venecia, Constanza y Augsburgo. La pieza más antigua es el cáliz funerario del obispo Altwin, de finales del siglo XI.
La colección de arte incluye valiosas esculturas y pinturas medievales, así como obras modernas de los periodos barroco, clasicista y romántico.
Lo más destacado de la colección son la Virgen y los Crucifijos del Románico tardío, así como esculturas y pinturas de artistas tiroleses de la Edad Media.
En el periodo barroco, destacan las estatuas de altar de Adam Baldauf y los óleos de Stefan Kessler, Ulrich Glantschnigg, Franz Sebald Unterberger y Paul Troger. etc .....
Founded in 1906, Mesa Verde National Park was created to conserve and protect the Ancestral Puebloan archaeological sites and cliff dwellings within the present-day park on the sides and top of a large tree-covered cuesta, known as Mesa Verde, that rises approximately 1,500 feet (785 meters) above the surrounding canyons and valleys, with rugged canyons cutting through the cuesta, lined with sandstone cliffs and ledges.
The area was inhabited by indigenous people for thousands of years prior to the rise of the Ancestral Puebloan culture, whom developed villages and farmsteads within what is today Mesa Verde National Park beginning around the year 750, with the structures built by the Ancestral Puebloans growing in complexity and durability, especially due to contact with the nearby culture centered around Chaco Canyon. The famous cliff dwellings for which the area is famous, however, were built between approximately 1020 and 1260, especially after a major drought in the region between 1130 and 1180, which led to a major migration of people from Chaco Canyon to Mesa Verde. The people of Chaco Canyon brought their culture, construction techniques, and goods with them, which is evident at archaeological sites on the cuesta.
The area began to depopulate between 1260 and 1285 due to environmental conditions becoming less favorable, with the people of Mesa Verde moving to the lowlands of what is today New Mexico and Arizona, with many founding or joining Pueblo settlements in these regions that still exist today. The stone houses were left to the elements, and were left uninhabited, only remembered by the descendants of the Ancestral Puebloans and the other indigenous groups who called the area home, most notably the Utes.
The ancient ruins were discovered by European-Americans in 1873, and were documented between 1875 and 1888, with various cliff dwellings and archaeological sites being relatively well-preserved and recognizable to explorers, archaeologists, and scientists whom visited the modern-day park. However, the removal of artifacts from the cuesta became a major concern, and efforts began in 1889 to protect the area as a National Park.
The park covers an area of 82 square miles (212 square kilometers), and features multiple Ancestral Puebloan and other indigenous archaeological sites, and was taken from the Ute people, with land being taken from the Utes after the establishment of the park to expand its borders. The park long struggled with proper interpretation and inclusion of the voices of the Puebloan people, whose ancestors built the ancient dwellings and lived at what are today archaeological sites, with work presently ongoing to redress these issues.
The ruins at the park underwent reconstitution and stabilization between 1908 and 1922, with extensive work being done on Spruce Tree House, Cliff Palace, and Sun Temple. Further work was carried out by the New Deal-era Civilian Conservation Corps starting in 1932 and extending through World War II, which included the construction of various park facilities for visitors and staff, and constructing roads atop the cuesta. The Wetherill Mesa ruins, meanwhile, were stabilized with work being carried out between 1958 and 1965, coinciding with the construction of the Far View accommodations atop the cuesta to the east.
The park today features a modern entrance road from US Highway 160, which climbs up the rugged slopes at the north end of the park to the top of the cuesta, stretching across the top of the cuesta to the south, where it connects to various roads that allow visitors to access the overlooks and trails for various cliff dwellings and archaeological sites on Chapin Mesa and Wetherill Mesa. Two areas of tourist accommodation also exist at Far View in the northern section of the park, and the administrative district at Spruce Tree Point at the southern end of the park.
The park was listed on the National Register of Historic Places in 1966, and was designated a UNESCO World Heritage Site in 1978. Today, the park sees over half a million visitors annually, and continues to preserve and maintain the ancient structures built by the Ancestral Puebloans.
Chapelle conservée dans l'alpage du Fond d'Aussois à 2330m. (Savoie-Parc National de la Vanoise)
Les documents anciens, les lieu-dits, les ruines rappellent au randonneur attentif que ces chapelles d'alpages étaient très nombreuses dans toutes les vallées alpines.
Once broken ribs and a piece of spine of a huge petrified Temnodontosaurus trigonodon, 200 - 175 000 000 years old...
Catching and conserving moments.
Sometimes I need to remember myself why I fell in love with photography. And basically, that's why.
I took this picture two years ago and always liked the moment, but not the technical quality. So I kept it hidden.
Today I told myself to stop being overcritical with myself (talking about non-commissional work here), what might lead to an upload overkill in the near future, because there are a lot of photos that have been on hold for quite a while.
A large plaque at the zoo where I volunteer. It's mounted at ground-level, outside a classroom. Baba Dioum is a forestry engineer from Senegal.
La même année, il en réalisa une autre version pour le roi Charles I d'Angleterre, dont la fille aînée, Mary, épousera Guillaume en 1641. Le premier portrait est aujourd'hui conservé à Dessau, en Allemagne. Le second, celui pour Charles I, est ici. Retrouvé récemment, il démontre les qualités de Van Dyck comme portraitiste d'enfants.
Guillaume est accompagné d'un chien de race qui, tout comme son jeune maître, regarde quelque part hors du cadre. Le garçon pointe de la main dans la direction opposée. L'effet de mouvement ainsi obtenu est renforcé par le béret à plume placé en biais sur sa tête et sa jupe aux lignes fluides. Le petit oranger, à gauche, fait référence aux origines de ce prince d'Orange.
ENGLISH :
William II, Prince of Orange, oil on canvas, Anthonie van Dyck (1599 - 1641)
Van Dyck spent early 1632 in The Hague. This is where he painted the portrait of Prince William II (1626-1650). The same year, he realized another version for King Charles I of England, whose eldest daughter, Mary, married William in 1641. The first portrait is now preserved in Dessau, Germany. The second, for Charles I, is here. Found recently, he demonstrates the qualities of Van Dyck as portraitist of children.
William is accompanied by a dog breed that, as his young master, looks somewhere outside the frame. The tip of the boys hand is pointing in the opposite direction. The effect of motion thus obtained is reinforced by the feathered beret placed diagonally on his head and the skirt with fluid lines. The small orangetree on the left, refers to the origins of the Prince of Orange.
Je serais absente pour la journée /I will be away for the day
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
Eels Foot Inn,RSPB Minsmere.
26th June 2017.
One of 7 Photograph's i Gave away to the Barn Owl Trust to help conserve Them.
From my store cupboard; Maple Syrup, Wild Amarena Cherries, Blueberry Conserve, Creme de Framboise, Ginger Syrup and Rhapsodie de Fruits.
116 pictures in 2016 (68) In or from the store cupboard
2012.08.03 Cluj Napoca. After being conserved for more than 2 years , this beautiful unit starts a new life. Belongs to Cluj depot.
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.
davebowles.smugmug.com/Animals/Birds/Hooded-Vulture/
Meet Fagin, a Male Hooded Vulture photographed at the Andover Hawk Conservency. Click on the picture for more pictures of this intereresting bird.
This part of the exhibition in the partially abandoned/conserved wire plant Provodņiks (later - a property of RER) was in a closed section to the public, and it sums up the 2020 just perfectly.
Kentmere Pan 100 reversed in PQ Universal and scanned with Plustek 7600i Ai.
España - Málaga - Ronda - Baños árabes
ENGLISH
This thermal building of the arab time is the best conserved of its kind at the Iberian Peninsula. It is located at the old arab quarter of the city, today called San Miguel Quarter, being the formerly outside quarter of the arab medina (city) of Ronda.
The bahts were built near the Arroyo de las Culebras (snakes' stream), a perfect place in order to be provided of water, which was moved by a waterwheel, in an current perfect conservation state.
The chronology of the Ronda arab bahts starts at the 13th-14th centuries. The bath is divided into three main zones, following the Roman model of thermal buildings:cold water, warm water and hot water bathrooms. The hydraulic system of the thermal bath has arrived to our days almost complete. The central room is the biggest and has got three parts, separated by four pairs of horseshoe arches above bricks and stone columns, which have the function of holding up barrel vaults, with nice skylights forming stars, closed with glass.
The building is surrounded by one wall with blind arches (no light can be seen through them) and has got at its end a tower containing the waterwheel structure. The boiler area is also conserved, where the water was heated, as well as rests of a tannery, which was the main activity of this place after the christian conquest of the city, which meant that the use of the building as thermal baths was neglected.
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ESPAÑOL
Los Baños Arabes de Ronda, de época nazarí (s. XIII-XIV), están situados en la zona de la antigua judería y, a pesar de su extraordinario interés arquitectónico, fueron abandonados (la moral cristiana no permitía ciertas prácticas), y las crecidas del río Guadalevín acabaron sepultándolos. Al encargar la Duquesa de Parcent la construcción de unos jardines en esta zona, aparecieron sus primeros restos, aunque se obviaron hasta que en 1935 el yacimiento fue adquirido por el Estado. Las excavaciones realizadas hasta ahora han permitido rescatar las tres salas de baño (fría, templada y caliente) y las cubiertas con bóvedas de cañón (horadadas por tragaluces en forma de estrella), que se comunican por arcos de medio punto. Se conservan, además, parte de las calderas y de los sistemas de conducción de agua.
Cuentan con la singularidad de conservar completa su estructura, con las diferentes estancias e instalaciones que lo organizaban, siendo los más grandes y mejor conservados de la Península Ibérica. Curiosamente se situaban extramuros de la ciudad, en el Antiguo Arrabal Islámico de la Ciudad, actualmente denominado Barrio de San Miguel en el extraradio de lo que fue en su momento la Medina Musulmana de Ronda. Fueron construidos junto al Arroyo de las Culebras, lugar perfecto para el abastecimiento de agua, que se desplazaba a través de un sistema de noria, perfectamente conservado en la actualidad.
La sala central es la más grande y consta de tres cuerpos, separados mediante cuatro pares de arcos de herradura sobre columnas de ladrillo y piedra, que sostienen bóvedas de cañón (semiesféricas) con bellos tragaluces en forma de estrella cerrados con cristales. El edificio está cercado con un muro de arcos ciegos, que forman el acueducto, y tiene una torre al fondo con una caja de noria. Del mismo modo conserva el área de calderas donde se calentaba el agua, así como restos de las curtidurías, actividad principal en el lugar una vez que se abandonó el uso como baños tras la conquista cristiana de la ciudad.
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.