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BLS currently runs the so-called Ambrogio Shuttle between Muizen and Gallarate on the entire stretch between Belgium and Italy. During the first weekend of march 2023 the normal route via Montzen and Aachen-West was blocked due to engineering works. So quite a bit of traffic was diverted. Among those trains was the BLS Ambrogio Shuttle. The afternoon was nearing an end when the BLS Cargo 475 418 entered the woods near Venlo, heading for the nearby border with Germany.
The scrappage scheme seemed to kill AX's off overnight almost; so it is always nice to see one now. This one is fitted with the famous 1.5 litre diesel engine; renowned for its sturdy longevity. Showing just under 135k in June, it's been with its current owner since November 1999.
From L to R :
Arkham Knight Gordon (for Mr.Gs contest)
Elseworld Zod
Elseworld Aquaman
A special LoLH figure from a certain group ;D
Thats that , school started today so I might not be online a lot
Night mates
Update - March 15, 2013: These set-ups are very out-dated. I have just finished an Ebook - The Ultimate Guide to Water Drop Photography. The link to purchase is on my Facebook Page. It is very detailed from beginner to advanced.
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I've been asked for my current setup for water drop photography. This is what I have been using lately. Managed to recycle a table and desk for this. Remember - it's the end result that counts ;-) I set the timer to 5 seconds and release the drops. I get about 1 in 10 success rate. A StopShot is on my wish list.
Also, I'm not a carpenter or engineer, so this will have to do for now. Sometime, I plan to make something a little more adjustable and practical. This is in a corner of my basement (right beside the warm furnace) so I can just leave it set up like this.
I'm always changing things, so nothing ever stays permanent - this is basic.
My camera settings vary as well.
FB-24 - cn.6J-24 - OCU - 10th Wing - Belgian Air Component - Kleine Brogel AB, Belgium
One of three specially painted F-16s currently based at Kleine Brogel is FB24 carries a special tail celebrating 25 years of the Belgian F16 Operation Conversion Unit (OCU).
© Nicholas Thompson - All Rights Reserved
Kleine Brogel Air Base, Belgium - 19 Sep 15
The Current River as seen from the Hwy 106 bridge near Eminence in Shannon County Missouri by Notley Hawkins Photography. Taken with a Sony ILCE-7RM2 camera with a Sony FE 24-240mm F3.5-6.3 OSS lens at ƒ/8.0 with a 1/60 second exposure at ISO 100. Processed with Adobe Lightroom CC.
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©Notley Hawkins
Vanilla Bae - Tanja Bodysuit
Rigged for LaraX, Maitreya, Waifu, and Reborn.
PG and Strippable versions(6 stage plus fully nude)
Strip me menu access includes: Private, Public, Add Master
Non interactive option (step 1 only, no strip scripts)
Available at Uber Event
Essenz Wisconsin Heels
Rigged for Legacy, LaraX, and Reborn.
Includes heels and socks.
Irlanda - Cashel - The Rock - Catedral
ENGLISH:
The Rock of Cashel (Irish: Carraig Phádraig), also known as Cashel of the Kings and St. Patrick's Rock, is a historic site located at Cashel, County Tipperary, Ireland.
According to local mythology, the Rock of Cashel originated in the Devil's Bit, a mountain 20 miles (30 km) north of Cashel when St. Patrick banished Satan from a cave, resulting in the Rock's landing in Cashel. Cashel is reputed to be the site of the conversion of the King of Munster by St. Patrick in the 5th century.
The Rock of Cashel was the traditional seat of the kings of Munster for several hundred years prior to the Norman invasion. In 1101, the King of Munster, Muirchertach Ua Briain, donated his fortress on the Rock to the Church. The picturesque complex has a character of its own and is one of the most remarkable collections of Celtic art and medieval architecture to be found anywhere in Europe. Few remnants of the early structures survive; the majority of buildings on the current site date from the 12th and 13th centuries.
The oldest and tallest of the buildings is the well preserved ROUND TOWER (28 metres, or 90 feet), dating from c.1100. Its entrance is 12 feet (3.7 m) from the ground, necessitated by a shallow foundation (about 3 feet) typical of round towers. The tower was built using the dry stone method.
CORMAC's CHAPEL, the chapel of King Cormac Mac Carthaigh, was begun in 1127 and consecrated in 1134. It is a sophisticated structure, with vaulted ceilings and wide arches, drawing on contemporary European architecture and infusing unique native elements. The Irish Abbot of Regensburg, Dirmicius of Regensburg, sent two of his carpenters to help in the work and the twin towers on either side of the junction of the nave and chancel are strongly suggestive of their Germanic influence, as this feature is otherwise unknown in Ireland. Other notable features of the building include interior and exterior arcading, a barrel-vaulted roof, a carved tympanum over both doorways, the magnificent north doorway and chancel arch. It contains one of the best-preserved Irish frescoes from this time period. The Chapel was constructed primarily of sandstone which has become waterlogged over the centuries, significantly damaging the interior frescos. Restoration and preservation required the chapel be completely enclosed in a rain-proof structure with interior dehumifiers to dry out the stone.
THE CATHEDRAL, built between 1235 and 1270, is an aisleless building of cruciform plan, having a central tower and terminating westwards in a massive residential castle. The Hall of the Vicars Choral was built in the 15th century. The vicars choral were laymen (sometimes minor canons) appointed to assist in chanting the cathedral services. At Cashel there were originally eight vicars choral with their own seal. This was later reduced to five honorary vicars choral who appointed singing-men as their deputies, a practice which continued until 1836. The restoration of the Hall was undertaken by the Office of Public Works as a project in connection with the European Architectural Heritage Year, 1975.
In 1647, during the Irish Confederate Wars, Cashel was sacked by English Parliamentarian troops under Murrough O'Brien, 1st Earl of Inchiquin. The Irish Confederate troops there were massacred, as were the Roman Catholic clergy, including Theobald Stapleton. Inchiquin's troops looted or destroyed many important religious artefacts.
In 1749 the main cathedral roof was removed by Arthur Price, the Anglican Archbishop of Cashel. Today, what remains of the Rock of Cashel has become a tourist attraction.
The entire plateau on which the buildings and graveyard lie is walled. In the grounds around the buildings an extensive graveyard includes a number of high crosses. Scully's Cross, one of the largest and most famous high crosses here, originally constructed in 1867 to commemorate the Scully family, was destroyed in 1976 when lightning struck a metal rod that ran the length of the cross. The remains of the top of the cross now lie at the base of the cross adjacent to the rock wall.
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ESPAÑOL:
La "Roca de Cashel", también conocido como Cashel of the Kings o St. Patrick's Rock, es un sitio histórico situado en Cashel, condado de Tipperary en Irlanda.
Rock of Cashel sirvió como tradicional asentamiento de los reyes de Munster desde el siglo V, cientos de años antes de la invasión normanda, aunque solamente perduran unas pocas estructuras de los primeros tiempos. La mayoría de los edificios actuales datan del siglo XII y XIII. En 1101 los reyes cedieron la fortaleza a la iglesia convirtiéndose en un importante centro eclesiástico hasta que fue parcialmente destruido por las tropas de Cromwell en 1647 quienes mataron a todos sus ocupantes. En el siglo XVIII la abadía fue finalmente abandonada.
Cashel es también conocido por ser el lugar en el que San Patricio, patrón de Irlanda, convirtió al rey de Munster en el siglo V.
Se encuentran los siguientes edificios:
- Torre: El edificio más antiguo y más alto es la torre circular de veintiocho metros que domina toda la llanura sirviendo de torre de observación y cuya entrada se encuentra a algo más de tres metros del suelo. La torre conservada en perfectas condiciones data de alrededor de 1100. La torre fue construida usando el método de piedra seco. Los restauradores modernos le han añadido mortero por razones de seguridad.
- Capilla Cormac: La capilla del rey Cormac consagrada en 1134 es el edificio más importante desde el punto de vista del visitante moderno. Comenzada en 1127, es una estructura muy sofisticada al contrario de la mayoría de las iglesias irlandesas del románico que eran simples y con escasos adornos aislados. El abad de Regensburg envió dos de sus carpinteros para la ayuda en el trabajo, para las torres gemelas de ambos lados. El cancel posee una fuerte influencia germánica pagana no apreciada en ninguna otra obra en Irlanda. Contiene también uno de los frescos irlandeses mejor conservados de este período.
- Catedral: Construida entre 1235 y 1270, es un edificio de planta cruciforme con torre central y terminando hacia el oeste en un palacio. En la nave norte se pueden encontrar tres tumbas del siglo XVI talladas con unos bajorrelieves de gran calidad artística.
- Palacio Arzobispal: Situado en el oeste de la catedral y unido a ella por pasadizos, el palacio data del siglo XV. Está construido a cuatro alturas destacando un salón central.
- Coro: Situado dentro de la catedral en él se encuentra la tumba de Miler Magrath, obispo católico y protestante.
- La sala del coro de los vicarios: Fue construida en el siglo XV. La coral de los vicarios era una coral laica designada para ayudar en los servicios de la catedral. En Cashel había originalmente ocho vicarios corales con su propio sello. Estos fueron reducido más adelante a cinco vicarios honorarios corales quienes designaron a hombres cantantes como sus diputados, una práctica que continuó hasta 1836. La restauración de la sala fue emprendida en el año 1975 siendo la parte de acceso al complejo en la actualidad. El techo ha sido reconstruido completamente siguiendo el trazado medieval.
- O'Scully Monument: Es un monolito decorado erigido en 1870.
- Cruz de San Patricio: En el complejo existen dos, una copia situada en su emplazamiento original y la auténtica del siglo XII situada en el museo situado en la cripta debajo del coro de los Vicarios. Se trata de un fragmento de una Cruz Latina en cuya cara este se puede ver a San Patricio que estuvo en el lugar en el año 450.
- Cementerio: Rodeando a la catedral se encuentra el cementerio del que destacan sus cruces celtas
España - Ciudad Real - Viso del Marqués - Palacio del Marqués de Santa Cruz
***
ENGLISH:
It was built at the end of the 16th century by Álvaro de Bazán, first Marquis of Santa Cruz. It is currently the headquarters of the General Archive of the Navy.
It is one of the two palaces built by this sailor, knight of the Order of Santiago, captain of the Ocean Sea and admiral of the Spanish Navy. It is located next to the church of Nuestra Señora de la Asunción, and since 1948 it has been rented by its owners, the Marquises of Santa Cruz, to the Spanish Navy, who first used it as a Museum of the Spanish Navy and later expanded its functions by also establishing the General Archive of the Navy.
The building was frequented by the first marquis thanks to its location, halfway between Madrid, where the Court was, and Seville, whose port he often went to as the Spanish Navy was anchored there, of which he was admiral during the reign of Philip II.
The palace was nearly destroyed by the Austrian troops of Edward Hamilton during the War of the Spanish Succession at the beginning of the 18th century, but was saved by the actions of the Marquis's chaplain, the poet Carlos de Praves, thanks to whom we can admire it today. It suffered some damage due to the Lisbon earthquake in 1755, which collapsed the ceiling of the hall of honour, where the great fresco depicting the Battle of Lepanto had been painted, and toppled the four corner towers, which the chronicles of Philip II described as magnificent.
In it we can find maritime objects from the period. A figurehead belonging to a ship commanded by the Marquis is noteworthy. During the War of Independence, the French razed it, and by the time the Civil War came it had served as a granary, school, stable, prison and hospital, until in 1948 and at the request of Julio Guillén Tato, director of the Naval Museum, Mrs. Casilda de Silva Fdez. de Henestrosa, descendant of Álvaro de Bazán, rented it to the Navy for 90 years as a museum-archive, which is its current function. Also, in the adjoining parish church there is a 4m long stuffed crocodile attached to one of the vaults, which was offered by the Marquis as a votive offering upon his return from one of his voyages.
Between March and April 1823, King Ferdinand VII spent the night there, after leaving Madrid for Seville, before the entry of the French contingent called the Hundred Thousand Sons of Saint Louis, about whose stay Ferdinand VII did not write a word in his travel diary. The palace was declared a National Monument in 1931 and was restored from 1948 by the Navy under the direction of Admiral Guillén.
The palace was built between 1564 and 1586 with subsequent modifications. It is a square-shaped building in the Renaissance style, built around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes with two themes: mythological scenes on the one hand and naval battles and Italian cities related to the military career of the Marquis and his family on the other. The frescoes are by Italian Mannerist painters, the Péroli family. Upon seeing them, Philip II commissioned them to do work for El Escorial and the Alcázar of Toledo.
For its construction, the Marquis hired a team of architects, painters and decorators who worked on the building from 1564 to 1586. For some, the design of the building was due to the Italian Giovanni Battista Castello, known as the Bergamasco, who later worked in El Escorial; for others, it was designed, at least in its original plan, by Enrique Egas el Mozo.
The architecture is perceived as typically Spanish, without Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically mannerist ensemble understood as an elegant and courtly style that goes beyond the merely architectural framework.
***
ESPAÑOL:
Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Se trata de uno de los dos palacios construidos este marino, caballero de la Orden de Santiago, capitán del Mar Océano y almirante de la Marina española. Está situado al lado de la iglesia de Nuestra Señora de la Asunción, y desde el año 1948 es alquilado por parte de sus propietarios, los marqueses de Santa Cruz, a la Armada Española, quien primero lo destinó a Museo de la Marina Española y más tarde amplió sus funciones estableciendo también el Archivo General de la Marina.
El edificio era frecuentado por el primer marqués gracias a su ubicación, a medio camino entre Madrid, donde estaba la Corte, y Sevilla, a cuyo puerto acudía a menudo al mantener allí anclada la Armada Española, de la cual fue almirante durante el reinado de Felipe II.
El palacio estuvo a punto de ser destruido por las tropas austracistas de Edward Hamilton durante la Guerra de Sucesión Española a principios del siglo XVIII, salvándose por la actuación del capellán del marqués, el poeta Carlos de Praves, gracias a lo cual hoy podemos admirarlo. Sufrió algunos daños a causa del terremoto de Lisboa en 1755: el cual hundió el techo del salón de honor, donde se había pintado el gran fresco que representaba la batalla de Lepanto, y desmochó las cuatro torres de las esquinas, que las crónicas de Felipe II describían como magníficas.
En él podemos encontrar objetos marineros de la época. Llama la atención un mascarón de proa perteneciente a una nave que dirigió el marqués. Durante la Guerra de la Independencia, los franceses lo arrasaron, y para cuando llegó la Guerra Civil había servido de granero, colegio, establo, cárcel y hospital, hasta que en 1948 y a instancias de Julio Guillén Tato, director del Museo Naval, doña Casilda de Silva Fdez. de Henestrosa, descendiente de Álvaro de Bazán se lo rentó a la Armada por 90 años como museo-archivo, que es en la actualidad su función. Asimismo, en la iglesia parroquial aledaña hay un cocodrilo disecado de 4m de largo adosado a una de las bóvedas, que fue ofrecido por el marqués como exvoto al regreso de uno de sus viajes.
Entre marzo y abril de 1823, el rey Fernando VII pernoctó allí, tras abandonar Madrid rumbo a Sevilla, ante la entrada del contingente francés llamado los Cien Mil Hijos de San Luis, de cuya estancia Fernando VII no escribió ni una palabra en su diario del viaje. El palacio fue declarado Monumento Nacional en 1931 siendo restaurado a partir de 1948 por la Armada bajo la dirección del Almirante Guillén.
El palacio fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para su construcción, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico.
Caryatid Columns
Museum of Science and Industry - Chicago, IL
Chicago's Museum of Science and Industry is housed within the last remaining structure from the Chicago World's Fair. The Palace of Fine Arts, the Museum’s current building, was constructed in 1893 for the World’s Columbian Exposition, which opened the same year. The original, Greek-inspired structure includes three pavilions and Ionic order columns.
For more information see: www.msichicago.org/
Currently I have an exhibition with Hofheimer Gallery in Chicago. I will be at the gallery on Saturdays this month. If you are interested in seeing the show in person contact the gallery to make an appointment.
Here is a link to the catalogue for this exhibition: www.dropbox.com/s/3be8lwekt0bco1k/wmt%20catalogue%201-11-...
Bass player originally from Athens, Greece, now residing in Rotterdam, NL.
Currently bass player of Open Source Trio
España - Ciudad Real - Viso del Marqués - Palacio del Marqués de Santa Cruz
***
ENGLISH:
It was built at the end of the 16th century by Álvaro de Bazán, first Marquis of Santa Cruz. It is currently the headquarters of the General Archive of the Navy.
It is one of the two palaces built by this sailor, knight of the Order of Santiago, captain of the Ocean Sea and admiral of the Spanish Navy. It is located next to the church of Nuestra Señora de la Asunción, and since 1948 it has been rented by its owners, the Marquises of Santa Cruz, to the Spanish Navy, who first used it as a Museum of the Spanish Navy and later expanded its functions by also establishing the General Archive of the Navy.
The building was frequented by the first marquis thanks to its location, halfway between Madrid, where the Court was, and Seville, whose port he often went to as the Spanish Navy was anchored there, of which he was admiral during the reign of Philip II.
The palace was nearly destroyed by the Austrian troops of Edward Hamilton during the War of the Spanish Succession at the beginning of the 18th century, but was saved by the actions of the Marquis's chaplain, the poet Carlos de Praves, thanks to whom we can admire it today. It suffered some damage due to the Lisbon earthquake in 1755, which collapsed the ceiling of the hall of honour, where the great fresco depicting the Battle of Lepanto had been painted, and toppled the four corner towers, which the chronicles of Philip II described as magnificent.
In it we can find maritime objects from the period. A figurehead belonging to a ship commanded by the Marquis is noteworthy. During the War of Independence, the French razed it, and by the time the Civil War came it had served as a granary, school, stable, prison and hospital, until in 1948 and at the request of Julio Guillén Tato, director of the Naval Museum, Mrs. Casilda de Silva Fdez. de Henestrosa, descendant of Álvaro de Bazán, rented it to the Navy for 90 years as a museum-archive, which is its current function. Also, in the adjoining parish church there is a 4m long stuffed crocodile attached to one of the vaults, which was offered by the Marquis as a votive offering upon his return from one of his voyages.
Between March and April 1823, King Ferdinand VII spent the night there, after leaving Madrid for Seville, before the entry of the French contingent called the Hundred Thousand Sons of Saint Louis, about whose stay Ferdinand VII did not write a word in his travel diary. The palace was declared a National Monument in 1931 and was restored from 1948 by the Navy under the direction of Admiral Guillén.
The palace was built between 1564 and 1586 with subsequent modifications. It is a square-shaped building in the Renaissance style, built around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes with two themes: mythological scenes on the one hand and naval battles and Italian cities related to the military career of the Marquis and his family on the other. The frescoes are by Italian Mannerist painters, the Péroli family. Upon seeing them, Philip II commissioned them to do work for El Escorial and the Alcázar of Toledo.
For its construction, the Marquis hired a team of architects, painters and decorators who worked on the building from 1564 to 1586. For some, the design of the building was due to the Italian Giovanni Battista Castello, known as the Bergamasco, who later worked in El Escorial; for others, it was designed, at least in its original plan, by Enrique Egas el Mozo.
The architecture is perceived as typically Spanish, without Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically mannerist ensemble understood as an elegant and courtly style that goes beyond the merely architectural framework.
***
ESPAÑOL:
Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Se trata de uno de los dos palacios construidos este marino, caballero de la Orden de Santiago, capitán del Mar Océano y almirante de la Marina española. Está situado al lado de la iglesia de Nuestra Señora de la Asunción, y desde el año 1948 es alquilado por parte de sus propietarios, los marqueses de Santa Cruz, a la Armada Española, quien primero lo destinó a Museo de la Marina Española y más tarde amplió sus funciones estableciendo también el Archivo General de la Marina.
El edificio era frecuentado por el primer marqués gracias a su ubicación, a medio camino entre Madrid, donde estaba la Corte, y Sevilla, a cuyo puerto acudía a menudo al mantener allí anclada la Armada Española, de la cual fue almirante durante el reinado de Felipe II.
El palacio estuvo a punto de ser destruido por las tropas austracistas de Edward Hamilton durante la Guerra de Sucesión Española a principios del siglo XVIII, salvándose por la actuación del capellán del marqués, el poeta Carlos de Praves, gracias a lo cual hoy podemos admirarlo. Sufrió algunos daños a causa del terremoto de Lisboa en 1755: el cual hundió el techo del salón de honor, donde se había pintado el gran fresco que representaba la batalla de Lepanto, y desmochó las cuatro torres de las esquinas, que las crónicas de Felipe II describían como magníficas.
En él podemos encontrar objetos marineros de la época. Llama la atención un mascarón de proa perteneciente a una nave que dirigió el marqués. Durante la Guerra de la Independencia, los franceses lo arrasaron, y para cuando llegó la Guerra Civil había servido de granero, colegio, establo, cárcel y hospital, hasta que en 1948 y a instancias de Julio Guillén Tato, director del Museo Naval, doña Casilda de Silva Fdez. de Henestrosa, descendiente de Álvaro de Bazán se lo rentó a la Armada por 90 años como museo-archivo, que es en la actualidad su función. Asimismo, en la iglesia parroquial aledaña hay un cocodrilo disecado de 4m de largo adosado a una de las bóvedas, que fue ofrecido por el marqués como exvoto al regreso de uno de sus viajes.
Entre marzo y abril de 1823, el rey Fernando VII pernoctó allí, tras abandonar Madrid rumbo a Sevilla, ante la entrada del contingente francés llamado los Cien Mil Hijos de San Luis, de cuya estancia Fernando VII no escribió ni una palabra en su diario del viaje. El palacio fue declarado Monumento Nacional en 1931 siendo restaurado a partir de 1948 por la Armada bajo la dirección del Almirante Guillén.
El palacio fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para su construcción, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico.
SANDIA MOUNTAINS NEW MEXICO
The Sandia Mountains are located northeast of Albequerque and east of the Rio Grande. The Mountains extend southward for 30 miles and rise to 10,678 feet. The Sandia Mountains provide recreation for the residents of the area year round. Photo (c) William Stone.
(c)Distributed by Smith-Southwestern, Inc. Printed in Singapore. www.smith-southwestern.com
This is a photo of patterns in the river current. I used the LunaPic photo editing website to mirror and copy the image twice to generate this symmetrical image.
Current lineup of the CV-100 family of medium armoured fighting vehicles.
Left to right: CV-100A3 Bayonet IFV, CV-120 Charger FSV, CV-100 Spadroon APC, CV-100W 8x8 wheeled variant of the Spadroon APC.
The CV-100 family is a key asset to NDC ground forces, with different variants filling a multitude of vehicle roles. As part of the NDC's comprehensive MCVS (Modular Combat Vehicle System) programme, the CV-100's adaptability is even further enhanced.
Sorry, forgot to upload this yesterday
[While I upload older photos from 2020 and before, I am also trying to keep up with some of my more current works by uploading a couple of photographs every day, in the afternoon or evening.]
In September and October 2021, we spent three weeks touring the Italian regions of Abruzzo, Umbria, Marches and Emilia-Romagna, which we hadn’t visited yet.
Personally, I had my sights firmly set on a series of early Romanesque churches of high architectural and artistic interest, so you will see quite a few of those, in spite of the typical Italian administration-related problems I encountered, and which were both stupid and quite unpleasant.
There will also be other sorts of old stones, landscapes, etc., and I hope you will enjoy looking at them and have a good time doing so. If it makes you want to go, do, by all means, Italy is a wonderful country.
Today, we take a look at yet another magnificent Romanesque church, this time in the region of Marches: San Claudio al Chienti, an abbey isolated in the Chienti valley.
The church, which looks enormous with its atypical architecture and massive twin towers, is in fact smaller on the inside than one might expect.
Built entirely in brick, its existence is attested in writing by the late 1000s, and its Byzantine influences make me lean towards a construction period during the first half of the 11th century.
The very harmonious, almost intimate, lower nave, quite devoid of any decoration.