Ancient / Archaeological
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it.wikipedia.org/wiki/Isola_d%27Ischia
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Hérault France
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this is a bottle of a well-known and popular Italian sparkling wine - the design reminds me of honeycombs ; ))
Width of this image: about 3 cm (it is a detail near the neck of the bottle; the 'honeycombs' are 1 cm wide at the max here).
I tried different backgrounds; here it is my bookshelf - the bottle including its contents is actually yellowish.
Taken this morning with the manual LAOWA 60mm 2:1 ultra macro lens (at about f/8)
Macro Mondays - theme of December 13, 2021: Bottle(s)
Happy Macro Monday : ))
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das ist die Flasche eines bekannten Intalienischen Schaumweins, deren Desing mich an Bienenwaben erinnert.
Das Foto ist etwa 3 cm breit (es ist ein Ausschnitt in der Nähe des Flaschenhalses; die Waben sind hier nur 1 cm breit, zum Boden hin werden sie mehr als doppelt so groß).
Aufgenommen heute Morgen mit dem manuellen 2:1 LAOWA 60mm Ultra-Markoobjektiv und meinem Bücherregal als Hintergrund (die Flasche hat mit Inhalt eigentlich eine gelbliche Farbe)
Makro Mondays - Thema am 13. Dezember 2021: Flasche(n)
Habt einen schönen Montag !
My heart is where our home is
My home is with you
My heart I love you Always
Welcome to the Valle Winter home
Highly requested, so added the information of the contents in the picture:
Building:
ionic : Mediterraneo RARE
Christmas decorations:
Tree: Action Fur Real Decorator Tree [SNOWY] @ TANNENBAUM event.
dust bunny . christmas presents
DaD "Les Memoires Ornamental Deer fat pack set @ Uber
DaD "Les Memoires Christmas Tree Skirt Cream" c/m @ Uber event
~BAZAR~Aria - Candle wreath @ Uber event
MESHWORX~Snow Pine Eucalyptus Wreath @ Uber event
MudHoney Larson Stockings @ TANNENBAUM event
MudHoney Larson Stocking Holder - House3 @ TANNENBAUM event
Fancy Decor: 2018 & 2019 Musical Snow Globes
The Room:
Nutmeg. Winter's Dawn Couch
Nutmeg. Summer Bliss Drapes
Nutmeg. Countryside Dream Chandelier
Nutmeg. Warm Respite Fireplace Tools
Nutmeg. Chest of Drawers Set
Nutmeg. Rustic Firewood Basket
6. Nutmeg. Charming Zen Potted Olive Branches
Apple Fall Georgian Gothic Fireplace
Apple Fall Country Pantry
[FOURTH WALL] Fir Forest Frame
Apple Fall Cat Prints
Exterior architectural detail of the Renzo Piano-designed Modern Wing of the Art Institute of Chicago.
On a late spring evening in 1969, 6706 passes Aldwarke, near Rotherham with an unbraked freight train.
Despite efforts, I've been unable to identify the train from the headcode. I believe the P within the headcode denoted a train from the Scunthorpe or Doncaster area. I'm pretty sure the words on the side of the 2nd and 3rd wagons say 'Iron Ore Tippler', The iron ore mines at Dragonby and Santon were still producing in 1969, so it's possible that this is British Frodingham ore heading for one of Sheffield's steel works.
Thanks to [https://www.flickr.com/photos/wilfmeld] for identifying the location of this photograph based on the image contents alone.
Photograph by an unknown photographer, now part of my collection.
"On this piece of paper, I can be honest. It's simple and easy.
It's fine for me to place those embarrassing phrases into words when I can't say them.
I write down these feelings to you every night and then give them to you when we meet."
I always have some sweets in my bags or pockets albeit wrapped ones :) not open like these. I would have very sticky pockets otherwise.
Waddesdon Manor is a country house in the village of Waddesdon, in Buckinghamshire, England. Owned by the National Trust and managed by the Rothschild Foundation, it is one of the National Trust's most visited properties, with over 463,000 visitors in 2019.
The Grade I listed house was built in a mostly Neo-Renaissance style, copying individual features of several French châteaux, between 1874 and 1889 for Baron Ferdinand de Rothschild (1839–1898) as a weekend residence for entertaining and to house his collection of arts and antiquities. As the manor and estate have passed through three generations of the Rothschild family, the contents of the house have expanded to become one of the most rare and valuable collections in the world. In 1957, James de Rothschild bequeathed the house and its contents to the National Trust, opening the house and gardens for the benefit of the general public. Unusually for a National Trust property, the family of James Rothschild, the donor, manage the house
Helios 77 1.8/50, "the better Helios 44-2 "
Falls ihnen das Bild gefällt, so können sie eine Nutzungslizenz für dieses Bild erwerben, bitte nehmen Sie Kontakt mit mir auf. if you like and want to use some of my images for your project, please contact me. bitte respektieren Sie das Urheberrecht. Please respect my artists copyright. bitte verwenden Sie dieses Bild oder Teile und Inhalte dieses Bildes nicht auf Websites, Blogs oder anderen Medien ohne meine schriftliche Genehmigung. Please don't use this image or contents from this image on websites, blogs or other media without my written permission. © udo wanninger I I All rights reserved./ info@blumenstrauss.ch
To view more of my images, of Belton House, please click "here" ! Click any image to view large!
Belton House is a Grade I listed country house in Belton near Grantham, Lincolnshire, England. The mansion is surrounded by formal gardens and a series of avenues leading to follies within a larger wooded park. Belton has been described as a compilation of all that is finest of Carolean architecture, the only truly vernacular style of architecture that England had produced since the Tudor period. The house has also been described as the most complete example of a typical English country house; the claim has even been made that Belton's principal facade was the inspiration for the modern British motorway signs which give directions to stately homes. Only Brympton d'Evercy has been similarly lauded as the perfect English country house. For three hundred years, Belton House was the seat of the Brownlow and Cust family, who had first acquired land in the area in the late 16th century. Between 1685 and 1688 Sir John Brownlow and his wife had the present mansion built. Despite great wealth they chose to build a modest country house rather than a grand contemporary Baroque palace. The contemporary, if provincial, Carolean style was the selected choice of design. However, the new house was fitted with the latest innovations such as sash windows for the principal rooms, and more importantly completely separate areas for the staff. As the Brownlows rose from baronets to barons upward to earls and then once again became barons, successive generations made changes to the interior of the house which reflected their changing social position and tastes, yet the fabric and design of the house changed little. Following World War I (a period when the Machine Gun Corps was based in the park), the Brownlows, like many of their peers, were faced with mounting financial problems. In 1984 they gave the house away—complete with most of its contents. The recipients of their gift, the National Trust, today fully open Belton to the public. It is in a good state of repair and visited by many thousands of tourists each year The Brownlow family, a dynasty of lawyers, began accumulating land in the Belton area from approximately 1598. In 1609 they acquired the reversion of the manor of Belton itself from the Pakenham family, who finally sold the manor house to Sir John Brownlow I in 1619. The old house was situated near the church in the garden of the present house and remained largely unoccupied, since the family preferred their other houses elsewhere. John Brownlow had married an heiress but was childless. He became attached to two of his more distant blood relations: a great-nephew, also called John Brownlow, and a great-niece, Alice Sherard. The two cousins married each other in 1676 when both were aged 16; three years later, the couple inherited the Brownlow estates from their great-uncle together with an income of £9,000 per annum (about £ 1.17 million in present day terms) and £20,000 in cash (equivalent to about £ 2.59 million now). They immediately bought a town house in the newly fashionable Southampton Square in Bloomsbury, and decided to build a new country house at Belton. Work on the new house began in 1685. The architect thought to have been responsible for the initial design is William Winde, although the house has also been attributed to Sir Christopher Wren, while others believe the design to be so similar to Roger Pratt's Clarendon House, London, that it could have been the work of any talented draughtsman. The assumption popular today, that Winde was the architect, is based on the stylistic similarity between Belton and Coombe Abbey, which was remodelled by Winde between 1682 and 1685. Further evidence is a letter dated 1690, in which Winde recommends a plasterer who worked at Belton to another of his patrons. Whoever the architect, Belton follows closely the design of Clarendon House, completed in 1667. This great London town house (demolished circa 1683) has been one of the most admired buildings of its era due to "its elegant symmetry and confident and common-sensical design". Sir John Summerson described Clarendon House as "the most influential house of its time among those who aimed at the grand manner" and Belton as "much the finest surviving example of its class". John and Alice Brownlow assembled one of the finest teams of craftsmen available at the time to work on the project. This dream team was headed by the master mason William Stanton who oversaw the project. His second in command, John Thompson, had worked with Sir Christopher Wren on several of the latter's London churches, while the chief joiner John Sturges had worked at Chatsworth under William Talman. The wrought-ironworker John Warren worked under Stanton at Denham Place, Buckinghamshire, and the fine wrought iron gates and overthrow at Belton may be his. Thus so competent were the builders of Belton that Winde may have done little more than provide the original plans and drawings, leaving the interpretation to the on-site craftsmen. This theory is further demonstrated by the external appearance of the adjoining stable block. More provincial, and less masterful in proportion, it is known to have been entirely the work of Stanton.
From Wikipedia, the free encyclopedia
So it was Carl's 21st so we all went Karting, which was the most fun ever, seen as we were that way on we decided to go to Gwrych Castle which we have not been to before, but apprently when I was a child we used to come on holiday up hear when it used to be nice, now it is an empty shell.
Here is some info about the castle.
Gwrych Castle was erected between 1819 and 1825 at the behest of Lloyd Hesketh Bamford-Hesketh, grandfather of Winifred Cochrane, Countess of Dundonald. From 1894 until 1924, when the Countess died, it was the residence of the Dundonald family. The Countess left the castle in her will to King George V and the then Prince of Wales (who later became King Edward VIII). However, the gift was refused and the castle passed to the Venerable Order of Saint John. In 1928, the Earl of Dundonald purchased the castle for £78,000, selling the contents to meet the cost.
During World War II, the Government used the castle to house 200 Jewish refugees.
Following the war, the castle left the Dundonald family and was open to the public for twenty years. It was called The Showpiece of Wales at this time, and attracted many visitors.
It was also used as a training venue for the English World Middleweight boxing champion Randy Turpin in the early 1950s.
In the early 60s it was an occasional venue for the famous motorcycle dragon rally and in the 70s it was used as a centre for medieval re-enactments, attracting tourists with such events as jousting and mock banquets.
The castle was last open to the public in 1985. Thereafter, it started to decline.
It was bought in 1989 by an American businessman (Nick Tavaglione) for £750,000. However, his plans to renovate the building were not carried out. As a result, the castle was extensively looted and vandalised, becoming little more than a derelict shell, although it was used in 1996 as the backdrop for Prince Valiant, a film starring Edward Fox , Joanna Lumley and Katherine Heigl.
During the period of Tavaliogne's ownership, historian Mark Baker campaigned for the castle to be brought back to its days of glory—a campaign that he started when he was twelve years old.
Baker was instrumental in forming the Gwrych Castle Preservation Trust, dedicated to ensuring the castle's future. The condition of the property was monitored by the Trust, who lobbied Conwy council to compulsorily purchase the property, eventually placing enough pressure on the American owner, who put it up for sale in March 2006.
City Services Ltd, trading as Clayton Homes and Clayton Hotels, bought the castle in January 2007 for £850,000, after it failed to reach its £1.5m reserve price at the 2 June 2006 auction. On 30 April 2007, Clayton Hotels announced a 3 year project, costing £6,000,000, to renovate the castle and convert it into a 90-bedroom 5-star hotel, creating 100 jobs. The project was subject to planning permission, but had the support of the Trust. Clayton Hotels spent about half a million pounds on its plans, clearing the site and rebuilding areas. City Services Ltd was placed into Administration on 12 August 2009, and the Castle sold by the administrators in April 2010 for £300,000 to Edwards Property Management (UK) Ltd of Widnes, who plans to continue the project to convert the Castle into an Hotel.
In February 2010 a ghost was apparently photographed at the castle and featured in The Sun newspaper, which is the worst fake ever! I was well up for going inside ghosts are crap. We shall return with more of us on a starry night and spend the whole night here.
Enjoy!
I thought I'd try an action shot for Macro Monday this week as the theme was party. Be simple I said, set up the camera with a sound activated trigger, have a couple of practice shots and hey presto !
20 Party Poppers later I had no action shot, but a pile of the contents of the Poppers !
"Plans of mice and men" springs to mind.
Macro Mondays, theme # Party
124 Pictures in 2024, theme # 60 Kaleidoscope of Colours.
The first time we saw this old shed, it had a definite leftward tilt and it’s contents were still sheltered inside. Wind gusts from Hurricane Ida toppled it over, exposing the hidden bathroom fixtures inside.
Tredente // Thanksgiving Leftovers 😋
Where: Tredente Mainstore & Marketplace
Click the lid to open/close it.
Click the bottom of the container for the customization menu.
Contents:
Tredente // Thanksgiving Leftovers [DECOR]
Tredente // Thanksgiving Leftovers M (Hold Me)
Tredente // Thanksgiving Leftovers F (Hold Me)
Hope you enjoy!
Crazy Tuesday Theme: Container and contents
Thanks to everyone who took the time to view, comment, and fave my photo. It’s really appreciated. 😊
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Epoch - Kati Bikini Set
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~Contents
Top
Bottom
~Fitted For
Reborn
R + Mounds
~Features
6 Purchasable Color Packs
5 Top Colors Per Pack
5 Bottom Colors Per Pack
~AVAILABLE @ Mainstore
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DenDen Poses - Kawaii Pose
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~Features
Small and Thick Version
Pose Stand Included
~AVAILABLE @ Mainstore
=========================
Lelutka - Raven
eBody - Reborn
Glam Affair - Eun Skin
Soapberry + BORK - Mounds
Velour - Ipanema
Velour - Big Boobs Cleavage
Velour - Cellulite
Doux - Cynthia
Sandro Botticelli (Alessandro di Mariano di Vanni Filipepi) (1445-1510) - The Spring (1482) - Tempera on panel size 203 × 314 cm - Uffizi Gallery Florence
La "Primavera" fa parte di una serie di opere mitologiche eseguite da Botticelli dopo il suo ritorno da Roma nel 1482. Il dipinto fu commissionato da un cugino di Lorenzo Medici, Lorenzo di Pierfrancesco, che sarebbe diventato un fedele mecenate dell'opera di Botticelli.
Il quadro era appeso nella camera da letto insieme con un'altra opera di Botticelli, "Pallade e il Centauro", ed è elencato in un inventario del contenuto del palazzo fiorentino di Pierfrancesco. Probabilmente è stato dipinto per la celebrazione del matrimonio di Lorenzo di Pierfrancesco de' Medici nel 1482.
L'immagine celebra l'arrivo della primavera ed è pieno di simbolismi mitologici. Venere, dea dell'amore, è al centro di un aranceto, alla sua sinistra Flora, dea dei fiori e della primavera, appare vestita di ghirlande di fiori. Accanto a Flora la ninfa Clori è perseguitata da Zefiro, dio del vento, che ha una passione ardente per lei.
Il poeta romano Ovidio descrive come Clori si trasformi in Flora, dea dei fiori, che simboleggia l'inizio della primavera, e Botticelli ha messo entrambe le figure affiancate all'interno dello stesso dipinto.
Sulla destra di Venere le tre Grazie, compagne della dea dell'amore, svolgono la loro danza per l'inizio della primavera. Accanto alle Grazie, Mercurio, messaggero degli Dei, che ispeziona l'aranceto e protegge il giardino dagli intrusi.
The "Primavera" is one of a series of mythological works executed by Botticelli after his return from Rome in 1482. The painting was commissioned by a cousin of Lorenzo Medici, Lorenzo di Pierfrancesco, who was to become a faithful patron of Botticelli's work.
The picture was hung in the bed-chamber along with another work by Botticelli, "Pallas and the Centaur", and is listed in an inventory of the contents of Pierfrancesco's Florentine palace. It was probably painted as a celebration of the marriage of Lorenzo di Pierfrancesco de' Medici in 1482.
The painting celebrates the arrival of spring and is filled with mythological symbolism. Venus, Goddess of Love, is in the centre of an orange grove on her left Flora, Goddess of Flowers and Spring, appears clad in garlands of flowers. Next to Flora is the nymph Chloris, she is pursued by Zephyrus, God of Wind, who has a burning passion for her. The Roman poet Ovid describes Chloris as transforming into Flora, Goddess of Flowers, symbolising the beginning of spring, and Botticelli has placed both figures side by side within the same painting.
On the right of Venus are The three Graces, female companions of the Love Goddess who perform their dance at the onset of spring. Next to the Graces stands Mercury, Messenger of the Gods, who inspects the orange grove and protects the garden from intruders.
There's a room. It has a broken window, and the paint is peeling from the walls. At some point the room has been set on fire. Litter has been dumped in the corner where the carpet has rotted or burnt away. Someone has been here before me, maybe many people. A few have tried to open THE SAFE. Some with hammers on the dial, which now just spins, some with grinders and saws at the hinges...but the safe still holds, standing there.....CONTENTS UNKNOWN!