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A few hundred metres below, the sharp spine of Roc des Boeufs extends back to Lac d'Annecy; across the lake, Les Dents de Lanfon disappear into the light cloud, and mark the starting point of this aerial journey.
The 10 minute glide high over the lake gives plenty time to relax and absorb the grandeur of the space I'm in, but that gives way in the final minute - as much of that height has been spent on the crossing - to focussing on harnessing the lift as I reach Roc des Boeufs ridge. Gently soaring back and forth along the lower starting section of the ridge (the left side of the far end as viewed), incrementally acquiring altitude on each pass, soon I can push south to the higher ridge, catching glimpses over and through the gaps in the ridge, across the raised valley of Entrevernes to Doussard and the south end of the lake.
There's a certain irony that, as I soar along this ridge, suspended by a handful of thin lines from a machine that packs into a bag, looking down on that precarious ridge makes me feel uneasy. In my mind I leave my aerial safety zone for a moment and imagine myself trying to navigate that ridge on foot; a mildly terrifying thought. Then I return to the comfort of my harness, lean to one side and carve my way into a thermal that takes me to the cloudy dreamscape above, leaving that ridge and the rest of the landscape behind.
L'église d'Orcival est un des chefs d'oeuvre de l'art roman auvergnat.
Cette église vient juste de voir se terminer ses travaux de restauration.
Ici, quelques vues de l'extérieur.
"Là où ira choir le marteau".
Pourquoi l'église d'Orcival fut-elle édifiée à un endroit si malcommode, à contre-pente, entre le Sioulet à l'est, que l'on dut détourner, et une montagne, au couchant, qu'il fallut entailler? C'est parce que la Vierge en a décidé ainsi. On raconte en effet qu'aux lendemains de la découverte de la statue de la Vierge qui allait susciter une dévotion sans égale, les maçons chargés de construire une nouvelle église à l'emplacement d'une vieille chapelle, sur la colline du "Tombeau", voyaient chaque matin leur travail de la veille jeté à bas... Ils comprirent qu'une puissance supérieure faisait obstacle au projet et pour ne pas s'opposer à cette volonté du Ciel, le maître d'oeuvre lança son marteau en l'aire en faisant le voeu de bâtir le sanctuaire à l'endroit de sa chute. Ce fut trois cents pas plus bas, entre la rivière et la montagne...
(Extrait de "Les trésors de l'Auvergne romane", photos Francis Debaisieux, p.35, éditions Debaisieux)
The church of Orcival is one of masterpieces of romanesque art from Auvergne.
This church just comes to see ending its works of restoration.
Here, some views from the outside.
" There where will go to fall the hammer ".
Why was the church of Orcival built in a place so awkward, in an opposite slope, between Sioulet in the East, which we had to divert, and a mountain, at sunset, which it was necessary to cut? It is because the Virgin so decided on it. We indeed tell that in the next days of the discovery of the statue of the Virgin which was going to arouse a worship without equal, the masons asked to build a new church in the location of an old chapel, on the hill of the "Grave", saw every morning their work of the day before thrown... They understood that a superior power put obstacle to the project and not to oppose to this will of the Sky, the project manager threw his hammer in the area by making the wish build the sanctuary towards his fall. It was three hundred no more low, between the river and the mountain...
( Extracted from " The treasures of Romanic Auvergne ", photos Francis Debaisieux, p. 35, published(edited) Debaisieux)
" Allí dónde irá a caer el martillo ".
¿ Por qué la iglesia de Orcival fue edificada en un lugar tan incómodo, en una contrapendiente, entre Sioulet al este, que se debió desviar(volver), y una montaña, al poniente, que hubo que cortar? Es porque la Virgen lo decidió así. Contamos en efecto que a los días siguientes del descubrimiento de la estatua de la Virgen que iba a suscitar una devoción sin igual, los albañiles encargados de construir una nueva iglesia en el emplazamiento de una vieja capilla, sobre la colina de la "Tumba", veían cada mañana su trabajo derribado de la vigilancia(víspera)... Comprendieron que una potencia(fuerza) superior ponía obstáculo al proyecto y para no oponerse a esta voluntad del Cielo, el director de obra lanzó su martillo en el área haciendo el voto de edificar el santuario con respecto a su caída. Fue trescientos más bajo, entre el río y la montaña...
( Extraído de " Los tesoros de la Auvernia romance ", fotos Francis Debaisieux, p. 35, editábamos a Debaisieux)
La iglesia de Orcival es uno de los jefes de obra del arte románico auvernés.
Esta iglesia acaba justo de ver acabarse sus trabajos de restauración.
Aquí, algunas vistas del exterior.
Bonne journée à tous. merci pour vos visites et commentaires.
Have a nice day. Thanks for your visits and comments.
Pont des arts (Paris, France)
Photo prise lors d'une balade parisienne le 3 décembre 2009 en compagnie de Catherine, Isabelle, Frank, David, Marc, Grégory et Michaël. Merci à vous pour cette balade.
Please, do not leave award without comment and no multiple group invitations. Constructive criticism and suggestions are always welcome! Thank you !
I've made a calendar with my favorite pictures of the past 2 years. You can found it here.
Julien Tordjman ©
All rights reserved - No unauthorized usage allowed
● 1935 Bugatti Type 57sc La Aérolithe
Code-named the "Elektron Coupé" or "Competition Coupé" Bugatti finished the prototype at the end of July 1935 and only four months later, made its first public appearance at the Paris Motor Show. The production car which followed would be a faithful recreation of Jean Bugatti's stunning Art Deco inspired design complete with distinctive dorsal type fin which ran the entire length of the car. While the prototype used Elektron composite for its body panels, known for being a very lightweight and durable material, but also for being extremely flammable when exposed to high temperatures. Therefore, being unable to weld the body panels, the engineers riveted them externally, a technique frequently used in the aviation industry, thus creating the signature seam. Production models were made from aluminium but also included this unusual feature.
Possibly due to its contraversial shape, only three examples were ever ordered. A few lucky people, those who showed interest in buying the vehicle, were offered a demonstration next to Bugatti race driver William Grover-Williams, in an extended tour of Paris to demonstrate the vehicle's impressive performance. It was called "La Aérolithe" after the phrase "Rapide comme une aérolithe" ( Fast as a meteorite ) a name that was later adopted by Bugatti.
3.3 L ( 3,257 ccs ) engine delivering 210 hp which could achieve a maximum speed of 124 mph. Four speed gearbox, drum brakes
1936 Bugatti chasis No. 57374 now resides in the Mullin Automotive Museum, Oxnard, California, US
( thanks to Trabantino, supercars.net and Bing for background photos )
8/36 Film Languedoc-Roussillon Holiday:
A place we visited near PErpignan - I try to sum up my last holiday this week..;)
See all other 35 pictures of this "film":
www.flickr.com/photos/flickranet/sets/72157634532561188/
Technical: Handheld, f/11, 1/250s, ISO100, 24mm, editing with Aperture.
Im Ortszentrum des 120-Seelen-Dorfes Minichhofen (GM Ravelsbach, HL) steht an der örtlichen Hauptstrasse, der L 48, nach Gettsdorf diese etwa 4m hohe historistische Figurensäule aus Zogelsdorfer Sandstein. Er ruht in 243m SH im Ried "Wiesboden" auf einem quadratischen Grundfundament auf dem ein kurzer nach obenhin gestufter Sockel aufliegt. Am Sockel ein quaderförmiges Postament das an drei Seiten rechteckige seichte Kartuschen zeigt, mit eingezogenen Ecken. Der Kartuschentext ist komplett abgewittert, 1845 gerade noch zu erkennen. Am Postament eine vorkragende Deckplatte auf der sich ein gestufter Säulensockel befindet. Am Sockel eine toskanische Säule die sich nach obenhin verjüngt, unterhalb ein Basalring, oberhalb ein Echinus der unterhalb gestuft ist. Auf der Säule ein quadratischer Figurensockel auf dem ein kleines Wolkenpostament aufliegt. Darauf die Figurengruppe der Hl.Dreifaltigkeit vom Typus Gnadenstuhl vom Sonntagsberg. Es zeigt Gottvater am Wolkenthron sitzend, mit Tiara am Haupt, der seinen toten Sohn Jesus Christus am Kreuz mit beiden Händen hält. Zu beider Füssen der Hl.Geist in Form einer Taube mit weit ausgestreckten Flügeln. Stifter und Stiftungsgrund sind unbekannt.
Standort: GPS48.558224, 15.902565
Denkmalschutz OID 13163 nach § 2a