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Santa Catarina
Brasil
Balneário Camboriú é uma cidade turística no estado de Santa Catarina, no sul do Brasil. É conhecida pelos grandes edifícios e por praias como a Praia Central. Bares, restaurantes e lojas preenchem a Avenida Atlântica, uma avenida movimentada junto à praia. O Parque Unipraias fica na foz do Rio Camboriú e oferece vistas a partir das tirolesas e dos teleféricos. O monumento Cristo Luz, uma enorme estátua de Cristo, contempla a cidade.
L'abside centrale correspondant au chœur est voûtée en cul-de-four. Les murs sont recouverts d'un ensemble exceptionnel de fresques romanes datant du XIe siècle ; le cul de four présente un Christ en majesté datant du XIIIe siècle. Extérieurement, les trois absidioles ne sont pas ornées : l'abside présente en effet trois faces planes exécutées notamment avec des pierres de grand appareil romain et des marbres antiques récupérés des murs gallo-romains de la cité.
La nef dont le début de l'édification date du XIIe siècle est construite en moellons grossiers jusqu’aux deux tiers de la hauteur. Les murs furent surélevés ultérieurement en plusieurs étapes et notamment au XIIIe et au XVe siècles. La partie supérieure des murs est percée de fenêtres gothiques. Cette partie-ci de même que les contreforts latéraux et la voûte d'ogives datent de la fin du XVe siècle. Le transept par contre a conservé sa voûte romane en berceau, tant dans le croisillon nord que dans le croisillon sud. Ce dernier a été prolongé à la fin du XIIe siècle. Du côté sud de la nef, à la dernière travée, se trouve l'accès au cloître.
The central apse corresponding to the choir is vaulted in a cul-de-four. The walls are covered with an exceptional set of Romanesque frescoes dating from the 11th century; the bottom of the oven presents a Christ in Majesty dating from the 13th century. Externally, the three apsidioles are not decorated: the apse indeed has three flat faces executed in particular with stones from large Roman structures and ancient marble recovered from the Gallo-Roman walls of the city.
The nave, whose construction dates from the 12th century, is built of coarse rubble up to two-thirds of the height. The walls were subsequently raised in several stages, notably in the 13th and 15th centuries. The upper part of the walls is pierced with Gothic windows. This part as well as the side buttresses and the ribbed vault date from the end of the 15th century. The transept, on the other hand, has retained its Romanesque barrel vault, both in the north crosspiece and in the south crosspiece. The latter was extended at the end of the 12th century. On the south side of the nave, at the last bay, is the access to the cloister.
Perché au sommet sur un rocher de basalte noir (Castle Rock) à l’emplacement même d’un ancien volcan, le château d’Édimbourg veille sur la ville depuis le moyen âge. Le début de construction de la forteresse remonterait au XIIe siècle, sur un site occupé par l’homme depuis l’âge du bronze (IIe siècle après J.-C.). Une histoire vieille de 3000 ans d'une occupation préhistorique à partir de l'Âge de Bronze aux premiers siècles de notre ère avec les Romains cohabitant avec la tribu celte des Votadini (ou Brythonic) dont les descendants construisirent un château-fort baptisé Din Eityn, qui deviendra finalement Édimbourg. C'est à cette époque, au 7ème siècle, que remonte la plus ancienne trace d’un château sur ce lieu. L’architecture de ses bâtiments en pierre rappelle l’histoire de la ville et ses transformations au fil des siècles. C’est le roi David Ier, au moment de son accession au trône du royaume d’Alba, qui introduit le féodalisme dans le pays et entreprend l’édification de plusieurs seigneuries. Le château d’Édimbourg devient une résidence royale et lieu de couronnement avant d’être utilisé comme caserne militaire. Au XIVe siècle, le château est marqué par de nombreux conflits dont des guerres d’indépendance écossaise contre les forces anglaises. Rebâti après la signature du traité de Berwick de 1357, le château d’Édimbourg est attaqué de nouveau deux siècles plus tard sous le commandement d’Olivier Cromwell en 1651 aboutissant à la formation du Commonwealth républicain d’Angleterre. À partir du début du XVIIe siècle, le site se transforme en prison et héberge une grande garnison de soldats. Le château aurait subi près d’une trentaine de sièges militaires dans son histoire, ce qui en fait un des sites fortifiés les plus assiégés du Royaume-Uni. L’un d’eux aboutit à l’incorporation du royaume d’Écosse dans le nouveau royaume de Grande-Bretagne en 1707 sous le règne de la reine Anne (dynastie des Stuarts). La forteresse abrite les joyaux de la couronne de l’Écosse (Honours of Scotland) et la Pierre du Destin (Stone of Destiny) symboles de l’antique royauté. La pierre de Scone est utilisée pour la cérémonie de couronnement des monarques écossais et anglais depuis plusieurs siècles. De nos jours, le château abrite toujours une garnison. Chaque jour, à treize heures précises, un coup de canon est tiré depuis les remparts dominant l'Esplanade où se déroule tous les ans en août le célèbre « Military Tattoo ».
Perched atop a black basalt rock (Castle Rock) on the very site of an ancient volcano, Edinburgh Castle has watched over the city since the Middle Ages. The beginning of construction of the fortress dates back to the 12th century, on a site occupied by man since the Bronze Age (2nd century AD). A 3000 year old story of prehistoric occupation from the Bronze Age to the first centuries of our era with the Romans cohabiting with the Celtic tribe of the Votadini (or Brythonic) whose descendants built a castle called Din Eityn , which would eventually become Edinburgh. It is at this time, in the 7th century, that the oldest trace of a castle dates back to this place. The architecture of its stone buildings recalls the history of the city and its transformations over the centuries. It was King David I, at the time of his accession to the throne of the Kingdom of Alba, who introduced feudalism to the country and undertook the construction of several seigniories. Edinburgh Castle became a royal residence and coronation site before being used as military barracks. In the 14th century, the castle was marked by numerous conflicts, including the wars of Scottish independence against English forces. Rebuilt after the signing of the Treaty of Berwick in 1357, Edinburgh Castle was attacked again two centuries later under the command of Oliver Cromwell in 1651 resulting in the formation of the Republican Commonwealth of England. From the beginning of the 17th century, the site was transformed into a prison and housed a large garrison of soldiers. The castle would have suffered nearly thirty military sieges in its history, making it one of the most besieged fortified sites in the United Kingdom. One of these resulted in the incorporation of the Kingdom of Scotland into the new Kingdom of Great Britain in 1707 during the reign of Queen Anne (Stuart dynasty). The fortress houses the Crown Jewels of Scotland (Honours of Scotland) and the Stone of Destiny, symbols of ancient royalty. The Stone of Scone has been used for the coronation ceremony of Scottish and English monarchs for several centuries. Today, the castle still houses a garrison. Every day, at 1 p.m. sharp, a cannon shot is fired from the ramparts overlooking the Esplanade where the famous “Military Tattoo” takes place every year in August.
À l'origine, il était connu sous l'appellation de mont Tombe. Il devait s'y trouver une pierre ou un monument mégalithique destiné à un culte païen, auquel succédèrent deux oratoires, l'un dédié à saint Symphorien, l'autre à saint Étienne, édifiés par des ermites aux VIe et VIIe siècles, ainsi que le rapporte la Revelatio ecclesiae sancti Michaelis archangeli in Monte Tumba. A la suite de cette première christianisation du mont Tombe, fut érigé un oratoire en l’honneur de l’archange saint Michel en 708 (709 pour la dédicace), comme l'indiquent les Annales du Mont-Saint-Michel rédigées au début du XIIe siècle. Aubert, évêque d'Avranches, installa sur le site une communauté de douze chanoines pour servir le sanctuaire et accueillir les pèlerins. C'est à cette époque que le mont accueillit, à l'est du rocher, les premiers villageois qui fuyaient les raids vikings. Ce premier habitat a dû abriter les différents corps de métier nécessaires à l'édification du premier sanctuaire : tailleurs de pierre, maçons, tâcherons et charpentiers. Puis il a dû accueillir les laïcs chargés d’approvisionner la communauté religieuse. « Malgré les nombreuses reconstructions qui ont, petit à petit, façonné le bourg que nous connaissons aujourd'hui, le noyau primitif du village demeure encore perceptible : il correspond en effet à une zone caractérisée par une organisation parcellaire relativement complexe et un enchevêtrement de constructions desservies par des ruelles tortueuses ».
fr.wikipedia.org/wiki/Le_Mont-Saint-Michel
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Originally, it was known as Mont Tombe. There must have been a stone or a megalithic monument for pagan worship, followed by two oratories, one dedicated to St. Symphorian, the other to St. Stephen, built by hermits in the sixth and seventh centuries, as well as the Revelatio ecclesiae sancti Michaelis archangeli reports in Monte Tumba. Following this first Christianization of Mount Tombe, was erected an oratory in honor of the Archangel Saint Michael in 708 (709 for the dedication), as indicated by the Annals of Mont-Saint-Michel written at the beginning of Twelfth century. Aubert, bishop of Avranches , installed a community of twelve canons on the site to serve the sanctuary and welcome the pilgrims. It was at this time that the mountain welcomed, to the east of the rock, the first villagers who fled the Viking raids. This first habitat had to shelter the different trades necessary for the construction of the first sanctuary: stonemasons, masons, stonemasons and carpenters. Then he had to welcome the laity to supply the religious community. "Despite the many reconstructions that have gradually shaped the village we know today, the original core of the village is still noticeable: it corresponds to an area characterized by a relatively complex parcel organization and a tangle of buildings. served by winding lanes ".
Translated from:
fontaine Wallace sur la contre allée des Champs-Elysées à proximité du Pavillon Yannick Alléno.
Ces fontaines qui se présentent sous la forme de petits édicules en fonte présents dans plusieurs villes dans le monde ont été dessinées par Charles-Auguste Lebourg, elles tiennent leur nom de Richard Wallace, le philanthrope britannique qui finança leur édification.
Elles sont souvent associées par les étrangers à l'image de Paris, car c'est dans cette ville qu’elles furent implantées en premier et qu’on en trouve le plus en France.
Fontaine Wallace on the counter alley of the Champs-Elysées near the Pavillon Yannick Alléno.
These fountains, which take the form of small cast iron aedicules found in several cities around the world, were designed by Charles-Auguste Lebourg, they take their name from Richard Wallace, the British philanthropist who financed their construction.
They are often associated by foreigners with the image of Paris, because it is in this city that they were first established and that we find the most of them in France.
Canon EOS 5D Mark IV
Objectif Canon 50 mm
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En Eristain vemos Santa María, quizás sea, en parte, el edificio más antiguo que se conserva en el valle. Hasta su restauración, hace unos pocos años, se pensaba que era de finales del s. XII, pero como podemos apreciar por el tipo de sillería de su fachada norte así como los posibles vanos, actualmente cegados, que en él se ven, e igualmente la composición de los sillares del hastial y la ventana que en él se abre, podemos decir que la menos el lado del Evangelio y el de los pies de la nave se tratan de una edificación de entorno al s. X – XI.
Parte del interior está enlucido y conserva en el ábside y presbiterio pinturas datadas por Príncipe de Viana en el s. XIV, (posiblemente sean anteriores) sobre unas románicas. Curiosamente, en el arco que da paso a éste, hay una pintura, cuyos pigmentos naturales indican que es muy anterior al resto de pinturas, se trata de una cabeza humana de la que salen unos tallos a modo de sarmientos pámpanos y hojas de vid que descienden por los pilares laterales.
Fuentes:
www.romanicoennavarra.info/eristain.htm
www.arteguias.com/monumentos/iglesiaeristain.htm
………
À Eristain, nous voyons Santa Maria, c’est peut-être, en partie, le plus ancien bâtiment conservé dans la vallée. Jusqu’à sa restauration, il y a quelques années, on pensait que c’était de la fin du s. XII, mais comme on peut l’apprécier par le type de pierre de taille de sa façade nord ainsi que les possibles baies, actuellement aveuglées, que l’on y voit, et également la composition des pierres de taille de taille de la fent et de la fenêtre qui s’y ouvre, on peut dire que le moins le côté de l’Évangile et celui des pieds de la nef sont d’un édification autour du s. X – XI.
Une partie de l’intérieur est plâtrée et conserve dans l’abside et le presbytère des peintures datées du prince de Viana au s. XIV, (peut-être sont-ils antérieurs) sur des romans. Curieusement, dans l’arc qui cède la place à celui-ci, il y a une peinture, dont les pigments naturels indiquent qu’elle est bien antérieure au reste des peintures, il s’agit d’une tête humaine dont sortent des tiges à la manière de sarments pâpans et de feuilles de vigne qui descendent par les piliers latéraux.
………
In Eristain we see Santa María, perhaps it is, in part, the oldest building that is preserved in the valley. Until its restoration, a few years ago, it was thought that it was from the end of the century. XII, but as we can appreciate by the type of ashlar of its north facade as well as the possible openings, currently blinded, that are seen in it, and also the composition of the ashlars of the sting and the window that opens in it, we can say that at least the side of the Gospel and that of the feet of the nave are a building around the s. X – XI.
Part of the interior is plastered and preserves in the apse and presbytery paintings dated by Príncipe de Viana in the s. XIV, (possibly previous) on some Romanesque. Interestingly, in the arc that gives way to it, there is a painting, whose natural pigments indicate that it is much earlier than the rest of the paints, it is a human head from which some stems come out like pampian branches and vine leaves that descend down the side pillars.
En la pedanía de El Paraíso/El Paradís, y en zona de fuerte expansión urbanística puede verse un curioso edificio que fue construido a finales del s.XIX por el Dr. Esquerdo para su uso privado, conocido como Torre de la Malladeta.
De planta ovalada y construida a semejanza de las torres costeras de defensa del s.XVI, no debe confundirse con edificación fortificada alguna.
***
In the hamlet of El Paraíso / El Paradís, and in a zone of strong urban expansion can be seen a curious building that was built at the end of the nineteenth century by Dr. Esquerdo for private use, known as Torre de la Malladeta.
Of oval plan and constructed to resemblance of the coastal towers of defense of the sixteenth century, it should not be confused with fortified edification some.
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Piazza Grande è il cuore del centro storico di Arezzo.
Venne realizzata nel XIII sec., ma la piazza come la vediamo oggi è il risultato di una profonda trasformazione avvenuta nel XVI sec. con la costruzione delle Logge del Vasari (l'edificio a sinistra nell’immagine) .
Su uno dei lati la Piazza è chiusa da antiche case medioevali, in parte restaurate nel Novecento.
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Piazza Grande is the heart of the historic center of Arezzo (Tuscany, Italy).
It was built in XIII sec, but the square as we see now is the result of a deep transformation done on the XVI cent, with the edification of the “Logge del Vasari” (the building visible on the left side in the image).
On one of its side, the Piazza is closed by ancient medieval houses, partially restored in the XX century.
Son édification a débuté en septembre 2009, et s'achève en 2015 sur le parc de la Villette à Paris.
Le maître d’ouvrage, la « Philharmonie de Paris », a confié le projet du nouveau bâtiment aux Ateliers Jean Nouvel en avril 2007 à l’issue du concours de maîtrise d’œuvre.
Jean Nouvel s'est entouré de Brigitte Métra comme architecte associée pour la salle de concert, des acousticiens Marshall Day Acoustics (conception acoustique de la salle), Nagata Acoustics (conseil de l'architecte et essais sur maquette)11 et Studio DAP pour l'acoustique du bâtiment. Les Ateliers Jean Nouvel se sont entourés de Jacques Le Marquet et ducks scéno pour la scénographie de la salle.
Le projet s'inscrit dans le Parc de la Villette, œuvre de l’architecte Bernard Tschumi,
Le projet s'inscrit dans le Parc de la Villette, œuvre de l’architecte Bernard Tschumi, cf Wikipedia
Its construction began in September 2009, and is completed in 2015 on the Parc de la Villette in Paris. The client, the "Philharmonie de Paris", entrusted the project of the new building to the Ateliers Jean Nouvel in April 2007 at the end of the project management competition. Jean Nouvel surrounded himself with Brigitte Métra as associate architect for the concert hall, acousticians Marshall Day Acoustics (acoustic design of the room), Nagata Acoustics (architect's advice and tests on model)11 and Studio DAP for the acoustics of the building. The Ateliers Jean Nouvel surrounded themselves with Jacques Le Marquet and ducks scéno for the scenography of the room. The project is part of the Parc de la Villette, the work of the architect Bernard Tschumi,
Cloister, Chorin Monastery
"Chorin Monastery is a former Gothic Cistercian abbey in the Chorin district near the town of Chorin, about six kilometers north of Eberswalde in the Barnim district of Brandenburg. It was founded by Ascanian margraves in 1258 and had far-reaching significance on the northern edge of the sphere of influence of the Ascanians (border with the Slavs).
Between the secularization of 1542 and the beginning of the 19th century, the monastery was left to decay.
Then the ruins were secured and the buildings were partially reconstructed under the direction of Karl Friedrich Schinkel.
Today, the Chorin Cistercian Monastery is a monument that typically represents brick Gothic. [...] "(translated from German Wikipedia entry)
Kreuzgang, Kloster Chorin
"Das Kloster Chorin ist eine ehemalige gotische Zisterzienserabtei in Amt Chorin in der Nähe des Ortes Chorin etwa sechs Kilometer nördlich von Eberswalde im brandenburgischen Landkreis Barnim. Es wurde 1258 von askanischen Markgrafen gegründet und hatte weitreichende Bedeutung am nördlichen Rand des Einflussbereichs der Askanier (Grenze mit den Slawen).
Zwischen der 1542 erfolgten Säkularisation und dem beginnenden 19. Jahrhundert war das Kloster dem Verfall preisgegeben.
Dann erfolgten Sicherung der Ruinen und teilweise Rekonstruktion der Gebäude unter der Leitung von Karl Friedrich Schinkel.
Heute ist das Zisterzienserkloster Chorin ein die Backsteingotik typisch repräsentierendes Baudenkmal. [...]" (Wikipedia)
A Montsoreau, entre Saumur et Chinon, dans le Val de Loire, le Saut aux Loups est un site troglo à flanc de coteau dominant la Loire. Occupé depuis la nuit des temps par l’homme, les loups aussi y élurent domicile...
Du moyen-âge à la fin de XIX siècle une mine d’extraction du tuffeau y fut exploitée intensivement pour l’édification des châteaux et églises de la région.
Des kilomètres de galeries furent ainsi creusés tandis que plusieurs habitations troglodytiques étaient bâties.
Elles sont aujourd’hui préservées dans leur état d’origine et servent de cadre à notre restaurant troglodyte.
C’est à la fin du XIX siècle, l’exploitation du tuffeau ayant cessé, que ces vastes galeries ont été converties en cave à champignons ou champignonnière.
Les visiteurs peuvent découvrir les différentes étapes de la culture des champignons dans ce site hors du commun.
In Montsoreau, between Saumur and Chinon, in the Loire Valley, the Jumping Wolves is a troglodyte site on the hillside overlooking the Loire. Busy since time immemorial by the man, the wolves also took up residence there ...
From the Middle Ages to the end of the 19th century, a tufa extraction mine was exploited intensively for the construction of the castles and churches of the region.
Miles of galleries were dug while several troglodyte dwellings were built.
They are now preserved in their original state and serve as a frame for our troglodyte restaurant.
At the end of the 19th century, the exploitation of the tuffeau having ceased, these vast galleries were converted into a mushroom or mushroom cellar.
Visitors can discover the different stages of mushroom cultivation in this extraordinary site.
Les lavoirs pontriviens sont l’une des particularités de la cité. On en dénombre une cinquantaine datant des XVIIIe et XIXe siècles bordant le Trieux (44 d’entre eux sont restaurés).
Leur présence témoigne de la prospérité passée de cette ville. Au XVIII e et au XIX e siècle, l’activité importante du port de commerce permet l’édification de grandes maisons bourgeoises, sur deux ou trois étages.
Leur important personnel était composé de lingères et de lavandières, qui bénéficiaient de lavoirs personnels.
Une cinquantaine de ces constructions originales, fleuries et décorées par les habitants, s’égrène sur 800 m de berges. Vous pourrez découvrir ces lavoirs durant une bucolique promenade en barque sur le Trieux.
Ces lavoirs oubliés en raison de nouvelles technologies, ont été restaurés par l’Association Nos Lavoirs et la Ville, et se visitent aujourd’hui par des promenades en barques de début mai à fin septembre.
The wash houses of Pontrieux are one of the town's distinctive features. Around fifty of them, dating from the 18th and 19th centuries, line the banks of the Trieux River (44 of which have been restored).
Their presence testifies to the town's past prosperity. In the 18th and 19th centuries, the bustling commercial port allowed for the construction of large bourgeois houses, two or three stories high.
Their substantial staff consisted of laundresses and washerwomen, who had their own private wash houses. Around fifty of these unique structures, adorned with flowers and decorations by the residents, are scattered along 800 meters of riverbank. You can discover these wash houses during a pleasant boat trip on the Trieux. These wash houses, forgotten due to the advent of new technologies, have been restored by the Association Nos Lavoirs (Our Wash Houses Association) and the town, and can now be visited by boat from the beginning of May to the end of September.
Perché au sommet sur un rocher de basalte noir (Castle Rock) à l’emplacement même d’un ancien volcan, le château d’Édimbourg veille sur la ville depuis le moyen âge. Le début de construction de la forteresse remonterait au XIIe siècle, sur un site occupé par l’homme depuis l’âge du bronze (IIe siècle après J.-C.). Une histoire vieille de 3000 ans d'une occupation préhistorique à partir de l'Âge de Bronze aux premiers siècles de notre ère avec les Romains cohabitant avec la tribu celte des Votadini (ou Brythonic) dont les descendants construisirent un château-fort baptisé Din Eityn, qui deviendra finalement Édimbourg. C'est à cette époque, au 7ème siècle, que remonte la plus ancienne trace d’un château sur ce lieu. L’architecture de ses bâtiments en pierre rappelle l’histoire de la ville et ses transformations au fil des siècles. C’est le roi David Ier, au moment de son accession au trône du royaume d’Alba, qui introduit le féodalisme dans le pays et entreprend l’édification de plusieurs seigneuries. Le château d’Édimbourg devient une résidence royale et lieu de couronnement avant d’être utilisé comme caserne militaire. Au XIVe siècle, le château est marqué par de nombreux conflits dont des guerres d’indépendance écossaise contre les forces anglaises. Rebâti après la signature du traité de Berwick de 1357, le château d’Édimbourg est attaqué de nouveau deux siècles plus tard sous le commandement d’Olivier Cromwell en 1651 aboutissant à la formation du Commonwealth républicain d’Angleterre. À partir du début du XVIIe siècle, le site se transforme en prison et héberge une grande garnison de soldats. Le château aurait subi près d’une trentaine de sièges militaires dans son histoire, ce qui en fait un des sites fortifiés les plus assiégés du Royaume-Uni. L’un d’eux aboutit à l’incorporation du royaume d’Écosse dans le nouveau royaume de Grande-Bretagne en 1707 sous le règne de la reine Anne (dynastie des Stuarts). La forteresse abrite les joyaux de la couronne de l’Écosse (Honours of Scotland) et la Pierre du Destin (Stone of Destiny) symboles de l’antique royauté. La pierre de Scone est utilisée pour la cérémonie de couronnement des monarques écossais et anglais depuis plusieurs siècles. De nos jours, le château abrite toujours une garnison. Chaque jour, à treize heures précises, un coup de canon est tiré depuis les remparts dominant l'Esplanade où se déroule tous les ans en août le célèbre « Military Tattoo ».
Perched atop a black basalt rock (Castle Rock) on the very site of an ancient volcano, Edinburgh Castle has watched over the city since the Middle Ages. The beginning of construction of the fortress dates back to the 12th century, on a site occupied by man since the Bronze Age (2nd century AD). A 3000 year old story of prehistoric occupation from the Bronze Age to the first centuries of our era with the Romans cohabiting with the Celtic tribe of the Votadini (or Brythonic) whose descendants built a castle called Din Eityn , which would eventually become Edinburgh. It is at this time, in the 7th century, that the oldest trace of a castle dates back to this place. The architecture of its stone buildings recalls the history of the city and its transformations over the centuries. It was King David I, at the time of his accession to the throne of the Kingdom of Alba, who introduced feudalism to the country and undertook the construction of several seigniories. Edinburgh Castle became a royal residence and coronation site before being used as military barracks. In the 14th century, the castle was marked by numerous conflicts, including the wars of Scottish independence against English forces. Rebuilt after the signing of the Treaty of Berwick in 1357, Edinburgh Castle was attacked again two centuries later under the command of Oliver Cromwell in 1651 resulting in the formation of the Republican Commonwealth of England. From the beginning of the 17th century, the site was transformed into a prison and housed a large garrison of soldiers. The castle would have suffered nearly thirty military sieges in its history, making it one of the most besieged fortified sites in the United Kingdom. One of these resulted in the incorporation of the Kingdom of Scotland into the new Kingdom of Great Britain in 1707 during the reign of Queen Anne (Stuart dynasty). The fortress houses the Crown Jewels of Scotland (Honours of Scotland) and the Stone of Destiny, symbols of ancient royalty. The Stone of Scone has been used for the coronation ceremony of Scottish and English monarchs for several centuries. Today, the castle still houses a garrison. Every day, at 1 p.m. sharp, a cannon shot is fired from the ramparts overlooking the Esplanade where the famous “Military Tattoo” takes place every year in August.
L'église Saint-Symphorien de Trévoux est une église du XXe siècle située à Trévoux. Elle a été conçue par les architectes Louis Antoine Bresson et Tony Bourbon.
L'église de style néo-roman a été construite sur le côté est de la place où se trouve le Parlement. Son édification sur l'emplacement de l'ancienne église-forteresse qui défendait la Porte de Lyon, a été réalisée entre 1899 et 1905, sur un terrain en pente. Du fait de ce terrain, elle a coûté plus cher que prévu pour pouvoir stabiliser les fondations. Inachevée, elle ne possède pas de clocher, et ses cloches sont abritées dans l'édicule en bois au flanc du bâtiment. De plus elle est orientée en sens inverse des églises catholiques classiques avec une entrée à l'est et un chevet à l'ouest toujours à cause du terrain fort pentu.
The church Saint-Symphorien de Trévoux is a church of the twentieth century located in Trévoux. It was designed by architects Louis Antoine Bresson and Tony Bourbon.
The neo-Romanesque church was built on the east side of the square where the Parliament is located. Its construction on the site of the old fortress-church that defended the Porte de Lyon, was carried out between 1899 and 1905, on a sloping ground. Because of this terrain, it has cost more than expected to stabilize the foundations. Unfinished, it does not have a steeple, and its bells are housed in the wooden building on the side of the building. In addition it is oriented in the opposite direction of the classical Catholic churches with an entrance to the east and a bedside to the west always because of the steep terrain.
construction est due à Ferdinand II, prince d'origine allemande devenu roi de Portugal jure uxoris de 1837 à 1853, en tant qu'époux de reine Marie II, tous deux fondateurs de la troisième maison de Bragance.
En 1839, après avoir racheté les ruines d’un monastère hiéronymite du XVe siècle, ce même souverain confie l’édification de son palais d’été au baron Ludwig von Eschwege. Celui-ci mélange allègrement les styles architecturaux — mauresque, baroque, gothique, Renaissance et manuélin — afin de livrer un bâtiment exubérant et haut en couleur, mais qui conserve toutefois quelques parties de l’ancien monastère.
La construction, commencée au milieu du XIXe siècle, ne s’achève qu’en 1885, année de la mort du roi.
The construction is attributed to Ferdinand II, a prince of German origin who became King of Portugal jure uxoris from 1837 to 1853, as the husband of Queen Maria II, both founders of the third House of Braganza.
In 1839, after purchasing the ruins of a 15th-century Hieronymite monastery, the same sovereign entrusted the construction of his summer palace to Baron Ludwig von Eschwege. Von Eschwege cheerfully mixed architectural styles—Moorish, Baroque, Gothic, Renaissance, and Manueline—to create an exuberant and colourful building, while retaining some parts of the old monastery.
Construction began in the mid-19th century but was not completed until 1885, the year of the king's death.
🇫🇷 Entrepris en 1762, l’aménagement de la place d’Armes, de la place de Chambre et de la place du Marché dégage le tissu urbain médiéval sur trois côtés autour de la cathédrale. L’édification de la mairie et du Parlement, côté place d’Armes et du palais des évêques de Metz
Blondel construit sur les trois côtés de la cathédrale ainsi dégagée, une enveloppe classicisante.
Un sobre et majestueux portail principal est construit en 1764 du côté de l'évêché
Le portail de la Vierge qui donnait accès à la collégiale Notre-Dame-la-Ronde est dissimulé par les arcades classiques, sous lesquelles ouvrent des échoppes .
Les derniers ajouts de Blondel dont le style disconvient à l'idéal romantique de l'époque sont détruits en 1898 pour faire place à un portail de style néogothique inauguré en 1903 par l'empereur Guillaume II,Les sculptures, sur le tympan du portique, représentent le Jugement dernier. Une des statues sculptées par Auguste Dujardin, représentant le prophète Daniel, a les traits de l'empereur
🇬🇧 Undertaken in 1762, the development of Place d'Armes, Place de Chambre and Place du Marché opened up the medieval urban fabric on three sides around the cathedral. With the construction of the town hall and parliament building on the Place d'Armes side and the palace of the bishops of Metz
Blondel built a classicist envelope around the three sides of the cathedral that had been cleared.
A sober and majestic main portal was built in 1764 on the side of the bishop's palace
The Portal of the Virgin, which gave access to the collegiate church of Notre-Dame-la-Ronde, was concealed by classical arcades, under which shops opened.
The last additions by Blondel, whose style was at odds with the Romantic ideal of the time, were demolished in 1898 to make way for a neo-Gothic portal inaugurated in 1903 by Kaiser Wilhelm II. The sculptures on the tympanum of the portico depict the Last Judgement. One of the statues sculpted by Auguste Dujardin, representing the prophet Daniel, has the features of the emperor.
🇩🇪 Die 1762 begonnene Umgestaltung der Place d'Armes, der Place de Chambre und der Place du Marché legt das mittelalterliche Stadtgefüge auf drei Seiten um die Kathedrale herum frei. Die Errichtung des Rathauses und des Parlaments auf der Seite der Place d'Armes und des Palastes der Bischöfe von Metz
Blondel baut auf den drei Seiten der so freigelegten Kathedrale eine klassizistische Hülle.
Ein schlichtes und majestätisches Hauptportal wird 1764 auf der Seite des Bischofspalastes errichtet
Das Marienportal, das den Zugang zur Stiftskirche Notre-Dame-la-Ronde ermöglichte, wird von den klassischen Arkaden verdeckt, unter denen sich Verkaufsstände öffnen .
Die letzten Ergänzungen von Blondel, deren Stil dem romantischen Ideal der Zeit widersprach, wurden 1898 abgerissen, um Platz für ein neogotisches Portal zu schaffen, das 1903 von Kaiser Wilhelm II. eingeweiht wurde. Die Skulpturen auf dem Tympanon des Portals stellen das Jüngste Gericht dar. Eine der von Auguste Dujardin geschnitzten Statuen, die den Propheten Daniel darstellt, hat die Gesichtszüge des Kaisers.
🇪🇸 Emprendida en 1762, la urbanización de la Place d'Armes, la Place de Chambre y la Place du Marché abrió el tejido urbano medieval en tres lados alrededor de la catedral. Con la construcción del ayuntamiento y del parlamento en el lado de la plaza de Armas y del palacio de los obispos de Metz
Blondel construyó una envoltura clasicista alrededor de los tres lados de la catedral que habían sido despejados.
En 1764 se construyó un sobrio y majestuoso portal principal en el lado del palacio episcopal
El portal de la Virgen, que daba acceso a la colegiata de Notre-Dame-la-Ronde, estaba oculto por arcadas clásicas, bajo las cuales se abrían tiendas.
Los últimos añadidos de Blondel, cuyo estilo chocaba con el ideal romántico de la época, fueron demolidos en 1898 para dar paso a un pórtico neogótico inaugurado en 1903 por el káiser Guillermo II. Las esculturas del tímpano del pórtico representan el Juicio Final. Una de las estatuas esculpidas por Auguste Dujardin, que representa al profeta Daniel, tiene los rasgos del emperador.
Traducción realizada con la versión gratuita del traductor DeepL.com
First time I had ever seen what looked to be a colorless rainbow. I kept asking Walt if he was seeing what I was seeing and he nonchalantly says " for your edification, it is called a fogbow"? Now I have been a photographer for a while and have seen moonbows but Walter is forever telling me things that are not true and I will re-tell these untruths to much smarter people than I. Grabbed my phone for a fact check sesh and two seconds later I see my tripod with the 14-24mm crash and pieces from the lens hood flying through the air. I felt so weak and I couldn't gather the strength to pick up my gear and check the lens. Walter picks up the camera and I am hopelessly waiting for the news. The glass still works but the zoom is non-functional. I tell you what, I will never forget the day I learned what a fogbow is.
Au pied du Hohneck, le Schiessrothried est un petit lac d'origine glaciaire du versant alsacien des Vosges. Il n'était à l'origine qu'une tourbière surcreusée et devint réellement un lac par l'édification d'un petit barrage fort discret, ce qui fait croire à beaucoup qu'il est d'origine naturelle.
L'objectif du barrage était de réguler le flot des eaux vers les usines de textile et les scieries de la vallée de Munster, dont la plupart étaient alimentées en électricité de façon autonome.
At the foot of the Hohneck, the Schiessrothried is a small lake of glacial origin on the Alsatian side of the Vosges. It was originally just an over-excavated peat bog and became a real lake by the construction of a small, very discreet dam, which leads many to believe that it is of natural origin. The purpose of the dam was to regulate the flow of water to the textile factories and sawmills of the Munster valley, most of which were supplied with electricity independently.
Weatherwax School
Built by Capt. John M. Weatherwax. He had a penchant for education, since this isn't the only school named after him. He made his money in lumber then moved to Aberdeen, WA to expand his earnings, in 1885. He died in Stanton, MI on July 19, 1896. Buried in Oakhill in GR.
The village of Rocca San Casciano, until the 12th century, is indicated as 'Pieve di San Cassiano in Casatico', where the latter term indicated the river today called Montone. Only in 1197 in a document for the first time the expression "Castrum Roche Sancti Cassiani in Casatico" (latin), obviously, this leads to assuming the existence of a castle attributable to that currently recognized as Castellaccio, built around the year one thousand (XI Sec.) Probably going to the behavior of Calbola's compensation accounts, who had the main castle in Calboli (between Rocca San Casciano, Dovadola and Predappio). From its edification the political and civil importance of the ancient manor, means that it is the object of vicissitudes and clashes until the 16th century, when the Castellaccio returns to be part of the Florentine Republic. From 1600 to today, the castle has lost the political and social requirements of the past, suffers a slow and inexorable degradation to be the subject of continuous collapses that drastically reduced them into dimensions and masonry development.
Currently of the broad original castle remains nothing but its robust tower (Keep of the castle), symbol of the village itself. The tower was partially restored in 2015 with a first batch of total amount of Euro 100,000. The adjacent compartments pour into a state of degradation, the cover floor and perimeter walls are interested in partial collapses and significant cracks.
Angelo Branduardi: "Il Signore di Baux"
Celia Farber claims to be an investigative *ahem* journalist. Really she is nothing more than a person who gets paid for spreading HIV denialist propaganda. Every cause has their mouthpiece. Celia Farber is an expert. Not in HIV or AIDS. No Celia is an expert in very publicly stitching herself up! The following extracts from an interview are taken from bookslut all comments in bold are my own observations:
BS:You are constantly described as an AIDS dissident that does not believe HIV causes AIDS -- but nowhere in your book is this explicitly stated. So how would you describe your views?
CF: Thank you for noticing that critical detail. I have never written that HIV does not cause AIDS. I don’t think I’ve ever said that HIV does not cause AIDS. I took one semester of journalism in college. Thanks Celia. Good to see that you spent a hell of a lot of time earning the title of journalist!!!
CF: It is not for me to say as a journalist -- as a nonscientist -- what causes or doesn’t cause AIDS. Great Celia. You are off to a blinding start. Not only do you admit to having no substantial education as a journalist but you make it perfectly clear that you are not a scientist...
BS:Do you wish you had taken a different approach reporting? Is there anything you would have done differently?
CF:My quick answer is usually yes, of course. But it’s unanswerable… What I wish I had done differently, in retrospect, was to calculate the damage and the blight, both on myself and on my family and ask myself, “Is it fair to do to others?” Because what you actually do is you invite financial ruin. The damage and the blight Celia? Oh poor you and your poor family! How many of your denialist chums have died? How many people who have listened to your warped rhetoric are now dead because they did not access the treatments that could have prolonged their life? That is the damage and that is the blight Celia. NOT the fact that you did not earn more money. But I think that is more to do with just the one semester at journalist school than anything else...
BS:As a non-gay male AIDS reporter and Westerner investigating Africa, did you have to deal with identity politics?
CF: I never got that kind of guff from any Africans, [but] certainly from the gay community. Those that were opposed to what I was doing -- that was one of the charges: that I wasn’t gay and how the hell could I know what I was doing and what right did I have to say anything? But that’s inconsistent with the core belief system, which is that AIDS is everybody’s disease... Yes darling but you started spouting your denialist crap in 1988. Do you also have selective amnesia? Of course the Gay community were going to take exception to your denialist crap because Gay men were bearing the brunt of the numbers of deaths and the social stigma. The last thing they would have wanted when they were dying would be for someone like you to add more bulshit to the fire...
I would go to AIDS conferences and go through an immense crisis each time, “Am I crazy or are they crazy?” Answers on a postcard...
BS: Do you think The Constant Gardner was able to voice political dissent as it is shielded as fiction?
CF:I would caution people against assuming that John le Carre is writing fiction. Let me make a generality: fiction writers today like John le Carre are doing journalism, and the journalists are writing fiction. Thanks again Celia.... i didn't need to read this interview with you to know that you talk a pile of stinking shit! But thanks for the clarification!
I do wish that I could crawl away, quietly and turn up on some completely other part of the beach. So do we Celia, so do we... and take your denialist chums with you...
Celia worked as a researcher on the BBC documentry "Guinea Pig Kids" This is what the BBC had to say about the programme in question:
ECU ruling: Guinea Pig Kids, BBC2, 30 November 2004 and related websites
www.bbc.co.uk/complaints/news/2007/11/30/51154.shtml
Publication date: 30 Nov 2007
Complaint
The Director of Planning and Policy Research of the New York-based Center for HIV Law and Policy, supported by several academics and other agencies involved in HIV research and treatment, complained that the programme unfairly claimed that New York City's Administration for Children's Services, together with a number of medical and child care institutions, "effectively conspired to force helpless children of colour into inappropriate and sinister 'experiments' when in fact they made life saving drugs already approved for adults available to children living with HIV/AIDS who were in the foster care system", that it gave a misleading impression of the effects of anti-HIV medication, and that it falsely claimed that "denying medication to children with AIDS will improve their health while appropriate treatment will kill them".
BBC Editorial Complaints Unit's ruling
The programme explored legitimate concerns about a research project involving the testing of anti-HIV drugs on children in the care system, where (it had emerged) there had been a failure in some cases to provide independent advocacy as required by the research protocols. However, the programme portrayed this failure as being the more serious because the drugs being trialled were, it claimed, both "lethal" and ineffective. In support of these claims, the programme interviewed an expert witness who was, though the audience was not told, a leading advocate of the propositions that HIV is unconnected with AIDS, that anti-retroviral drugs do not work in the treatment of AIDS and that they are, in fact, responsible for deaths attributed to AIDS. The audience was not told that his was a minority and controversial view which would be challenged by mainstream medical opinion. No other medical opinion was heard on this subject.
The programme also gave the false impression that parents or carers who objected to their children being placed in the trials risked losing custody of their children. In fact, the three case studies which created this impression did not involve children connected with the trials. Though there was no explicit claim that "denying medication to children with AIDS will improve their health while appropriate treatment will kill them", the treatment of case studies in the programme contributed to that impression. This complaint has been partly upheld.
Further action
A correction will be published on bbc.co.uk, as part of the pages on which the material complained of appears, with a link to this summary. In addition, the ECU will contact other websites featuring the material in order to draw their attention to its ruling. The management of BBC News is addressing the issues arising from the ruling for the commissioning and supervision of independent productions of this kind.
Celia Farber: An AIDS Denialist Masquerading as a Journalist
Celia Farber, the author of the March 2006 Harper's Magazine article attacking HIV clinical research, misrepresents herself to the popular media as a legitimate journalist and science writer, interested only in doggedly covering a good story. She is in fact an AIDS "dissident" who has been publicizing and extolling the claims of AIDS denialists and attacking scientific research on HIV/AIDS since the late 1980s. Farber has signed the two defining petitions of HIV denialism and she co-authored with members of the denialist group HEAL a core tract of the denialist movement called "HIV: Against Science." She described herself in the subtitle of one of her articles as "an AIDS Dissident" and she is a prominent member of the denialist "Group for the Scientific Reappraisal of the HIV/AIDS Hypothesis." Her denialism is well documented, but she conceals her beliefs in order to fool the mainstream media into allowing her to promote them in print.
Farber's main contribution to the AIDS denialist movement is to broadcast their views to the general public in the disguise of objective journalism. In her writing for the popular press, she has consistently and deceptively refused to fully disclose her deep involvement with, and her role as a spokesperson for, the denialist camp. She has also evaded explaining clearly her own understanding or beliefs about HIV and AIDS. Instead, she allows other denialists to make the case for her in extended, laudatory quotes, while maintaining the pretense that she is just an objective reporter asking honest questions, and one who is unfairly abused for her honesty:
All I ever did was follow and report, with what some may consider excessive attention, the vital debate about whether HIV is the cause of AIDS. And whether AZT is a viable therapy for those who are HIV antibody positive. And whether being HIV antibody positive is the same as "having" HIV. And whether "having" HIV necessarily means your immune system is decaying. Etc. I consider all of these questions to be very straightforward, logical, and of obvious importance. I simply picked up a thread and followed it. (Farber , "AIDS Inc." 1994).
Farber's disingenuous claim to "follow and report" on an issue in which she is deeply committed to one side is one she has tried to maintain even as the Harper's Magazine piece brought new attention to the denialist clique. She is reported in The New York Times as saying that she "does not endorse [denialist Peter] Duesberg's position but is simply reporting on an unpopular view. 'People can't distinguish, it seems, between describing dissent and being dissent [sic],'" she wrote in an email to the reporter, Lia Miller. But in fact, people can distinguish between reportage and the party line, and Farber has always toed the latter. She has for two decades consistently attacked medicine, belittled scientific research and enthusiastically promoted denialists and their various claims. There is nothing even remotely balanced in her work.
Despite the denialist motive that drives her writing, Farber lacks the courage of her convictions and won't publicly stand behind the denialist ideology she promotes so relentlessly. She even cravenly disclaims her own positions when cornered. In a recent email she sent to a wide circulation list, she wrote of her Harper's Magazine article, "It does not, for example, say that all AIDS drugs are ghastly, or worthless." No, perhaps not in those exact words, but Farber is being disingenuous. What her article does say is "Duesberg thinks that up to 75 percent of AIDS cases in the West can be attributed to drug toxicity. If toxic AIDS therapies were discontinued, he says, thousands of lives could be saved virtually overnight." In the same email, she asserted "In each article [in the past] where I have addressed HAART I have included, clearly, the fact that the regimens have absolutely helped people who are very sick." That statement's as absolutely false as it is hypocritical. For example, in an article about HAART published in 2000, she made two comments about the benefits of antiretroviral drugs:
There are facts and figures, studies and counter-studies, a virtual blizzard of data that could be arranged to show any number of things. The new AIDS drugs have saved people's lives: that's one piece of truth. The new AIDS drugs have killed people: that's another. The new AIDS drugs have damaged and deformed some people so badly that although they are alive, they wish they were dead.
And:
Precisely what it means for a life to be "saved" is complicated, especially when the patient was not sick to begin with. As [German denialist Claus] Koehnlein wryly commented, "If you treat completely healthy people you can claim great therapeutic success."
Both of these statements, spun by sarcasm, are in effect claims that no people with HIV/AIDS have benefited from HAART, which is a blatant lie.
Farber has tried to portray herself as a neutral observer to The New York Times and critics by claiming she merely presents the contradictory views of others for the edification of the reader. But when we reviewed 34 articles about AIDS by Farber, we found that the clear thesis and topic of every single one was some variant of AIDS denialism--HIV does not cause AIDS; AIDS doesn't exist; there is no heterosexual AIDS; there is no AIDS epidemic in Africa; HIV is not transmitted by sex or by semen or by breast milk; HIV does not exist...
Farber's writing style typically highlights extensive quotes from denialists, whom she describes in warm, laudatory and respectful terms and whose claims are given great credence. By contrast, she consistently attacks legitimate HIV science, medicine, researchers and AIDS activists. Occasionally, she takes the words of legitimate doctors and advocates out of context to support the denialist argument. All of this is held together with her grandiose narrative of her Quest for The Truth: This, she says, "is my private hell, but also my great Sisyphean challenge. My labyrinth…" (Berkowitz: "Interview" 2000).
Celia Farber wants the world to regard her as a courageous and objective investigative journalist, but in reality she's nothing more than a lying propagandist for the denialist mini-movement. What is shocking is that Harper's Magazine's editors fell for this scam.
Roger Hodge: In Cahoots or Just Incompetent?
Roger Hodge, Farber's editor and, sadly, the man replacing Harper's Magazine's legendary editor Lewis Lapham, has defended his ignominious debut by claiming that he is merely airing an important controversy. It is not yet clear if he actually shares Farber's denialism or was, by failing to exercise due diligence, merely deceived by her masquerade as a journalist. Quite possibly, both of these things are true. On the question of HIV as the cause of AIDS, he told Gay City News "I don't feel like I am qualified to judge it"-a dodge similar to Farber's feints when she's in the headlights. The New York Times reported that "Mr. Hodge said the magazine stood behind the article and Ms. Farber. 'The fact that she's been covering this story does not make her a crackpot - it makes her a journalist. She's a courageous journalist, I believe, because she has covered the story at great personal cost.'"
Hodge also continues to assert the accuracy of the article against the overwhelming evidence presented to him that the piece is a farrago of fabrications, errors and innuendo. Gay City News reported that he said: "It was very, very thoroughly fact-checked over the course of three months. … A lot of what people are describing as errors are differences of opinion about the data." But his fact-checkers were either biased or incompetent, because at least 58 scientific and non-scientific howlers made it into print (www.aidstruth.org). Did Farber provide Hodge with her own list of "experts" to consult as fact-checkers? Or did Hodge select them based on his own knowledge of science and medicine? In either case, this vital task in the editing of any article was thoroughly botched.
If all it takes to get a science-bashing article into the new, dumbed-down Harper's Magazine is to warm-over baseless conspiracy theories and wild speculation, then we can expect the next issue to feature a piece from the Discovery Institute that promotes Intelligent Design – let's teach the controversy, brave Sir Roger! And perhaps he'll offer space to the oft-maligned Holocaust denialists, too, who make the same claim that legitimate scholars will not pay attention to their theories.
Hodge's quotes in Gay City News reveal that he still sees AIDS denialism as something honorable, a case of the little guy taking on the big bad wolves of the federal government and the pharmaceutical industry, standing up to be counted, risking it all for the sake of the truth and freedom of speech. If this were true, Hodge would have the full support of all of us, for we share this predisposition. We, like most scientists and AIDS activists, are liberals and progressives. That's why it's so difficult for us to accept that Harper's Magazine, a journal aimed at liberal intellectuals, would print Farber's article. The AIDS denialists are not honest dissidents, and they tarnish the word by using it. In South Africa, they even have tried to link their dissidence to that of Nelson Mandela, as if the two positions could in any way be equated. And when it comes to craven profiteering and the unethical exploitation of people with HIV, the denialists' champions, such as Matthias Rath and David Rasnick, take the cake.
Where Roger Hodge got it so badly wrong was to allow such an obviously error-ridden and biased article into a once-reputable magazine. In the circumstances, Hodge should now do what is honorable and resign for the sake of his magazine's reputation. He's proven himself not up to the task of editing an article. He's proven unable to exercise intelligent judgment about scientific discourse, medicine, public health and the HIV epidemic. He's proven himself gullible and sloppy by being fooled by a writer he told Gay City News he's known for "many years." Perhaps you knew Farber both too well and not well enough, Roger? And perhaps, Lewis Lapham, you knew Roger both too well and not well enough when bequeathing your legacy to him?
Jeanne Bergman, PhD, Health GAP, New York, NY
John P. Moore, PhD, Professor of Microbiology and Immunology, Weill Medical College of Cornell University, New York
Well done Celia... keep on digging.....
L'abside centrale correspondant au chœur est voûtée en cul-de-four. Les murs sont recouverts d'un ensemble exceptionnel de fresques romanes datant du XIe siècle ; le cul de four présente un Christ en majesté datant du XIIIe siècle. Extérieurement, les trois absidioles ne sont pas ornées : l'abside présente en effet trois faces planes exécutées notamment avec des pierres de grand appareil romain et des marbres antiques récupérés des murs gallo-romains de la cité.
La nef dont le début de l'édification date du XIIe siècle est construite en moellons grossiers jusqu’aux deux tiers de la hauteur. Les murs furent surélevés ultérieurement en plusieurs étapes et notamment au XIIIe et au XVe siècles. La partie supérieure des murs est percée de fenêtres gothiques. Cette partie-ci de même que les contreforts latéraux et la voûte d'ogives datent de la fin du XVe siècle. Le transept par contre a conservé sa voûte romane en berceau, tant dans le croisillon nord que dans le croisillon sud. Ce dernier a été prolongé à la fin du XIIe siècle. Du côté sud de la nef, à la dernière travée, se trouve l'accès au cloître.
The central apse corresponding to the choir is vaulted in a cul-de-four. The walls are covered with an exceptional set of Romanesque frescoes dating from the 11th century; the bottom of the oven presents a Christ in Majesty dating from the 13th century. Externally, the three apsidioles are not decorated: the apse indeed has three flat faces executed in particular with stones from large Roman structures and ancient marble recovered from the Gallo-Roman walls of the city.
The nave, whose construction dates from the 12th century, is built of coarse rubble up to two-thirds of the height. The walls were subsequently raised in several stages, notably in the 13th and 15th centuries. The upper part of the walls is pierced with Gothic windows. This part as well as the side buttresses and the ribbed vault date from the end of the 15th century. The transept, on the other hand, has retained its Romanesque barrel vault, both in the north crosspiece and in the south crosspiece. The latter was extended at the end of the 12th century. On the south side of the nave, at the last bay, is the access to the cloister.
The history of Boutemont Castle dates back to the year 1000 with the edification of a feudal motte surmounted by a wooden tower . From 1405 onwards The stone building was built in the 16th century and has been transformed ever since.
crazy reflections of a totally normal building within the facade of another glass-and-steel-edification
Excerpt from the plaque:
Spirit of Windsor Engine 5588
This Pacific Type 4-6-2 Steam Locomotive is dedicated to the memory of the glorious Steam Era in Canadian Railroading and to the Citizens of Windsor.
No. 5588 was built in the Montreal Locomotive Works in 1911 for the Canadian National Railways and saw many years of fast freight and passenger service in Southern Ontario before being retired in 1961.
In 1962, the Historic Vehicle Society of Ontario (Windsor) launched a public campaign to save old 5588 from the scrap heap and to bring it to Windsor for the edification of our and future generations.
Sunset over Laguna Beach turned out to be pretty colorful thanks to the giant wildfire in the San Gabriels. Getting soaked by some cool ocean waves was pretty nice too :)
2010 CALENDARS now shipping!! - florisvanbreugel.smugmug.com/gallery/8609384_K59HN
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Another from my beach adventure on friday.. it was a rather miraculous sunset that evening!
A quick request... I've had this crazy idea for some time, and now it seems there's a chance for me to win $50k to do it... if you've got 3 seconds of time please follow this link and hit the yellow pic it button, thanks!
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Les lavoirs pontriviens sont l’une des particularités de la cité. On en dénombre une cinquantaine datant des XVIIIe et XIXe siècles bordant le Trieux (44 d’entre eux sont restaurés).
Leur présence témoigne de la prospérité passée de cette ville. Au XVIII e et au XIX e siècle, l’activité importante du port de commerce permet l’édification de grandes maisons bourgeoises, sur deux ou trois étages.
Leur important personnel était composé de lingères et de lavandières, qui bénéficiaient de lavoirs personnels.
Une cinquantaine de ces constructions originales, fleuries et décorées par les habitants, s’égrène sur 800 m de berges. Vous pourrez découvrir ces lavoirs durant une bucolique promenade en barque sur le Trieux.
Ces lavoirs oubliés en raison de nouvelles technologies, ont été restaurés par l’Association Nos Lavoirs et la Ville, et se visitent aujourd’hui par des promenades en barques de début mai à fin septembre.
The wash houses of Pontrieux are one of the town's distinctive features. Around fifty of them, dating from the 18th and 19th centuries, line the banks of the Trieux River (44 of which have been restored).
Their presence testifies to the town's past prosperity. In the 18th and 19th centuries, the bustling commercial port allowed for the construction of large bourgeois houses, two or three stories high.
Their substantial staff consisted of laundresses and washerwomen, who had their own private wash houses. Around fifty of these unique structures, adorned with flowers and decorations by the residents, are scattered along 800 meters of riverbank. You can discover these wash houses during a pleasant boat trip on the Trieux. These wash houses, forgotten due to the advent of new technologies, have been restored by the Association Nos Lavoirs (Our Wash Houses Association) and the town, and can now be visited by boat from the beginning of May to the end of September.
Tortured trees on Oregon's highest mountaintop forest, Drake Peak, in the dead of winter under a glowing sunrise to the east.
What a marvelous place to camp!
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An old file, subtly reprocessed, this was from last year in Redwood National Park. It's one of the images I keep coming back to for some reason.
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You can now place your orders for a 2010 Calendar on my site! - florisvanbreugel.smugmug.com/gallery/8609384_K59HN
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Death Valley dunes under a vibrant sunrise.
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Merriam Peak in the John Muir Wilderness, illuminated by the predawn glow, seen from the Royce Lakes.
Classic clear Sierra skies... and I enjoyed every minute of it. Could've used a little more oxygen though.
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2010 CALENDARS now shipping!! - florisvanbreugel.smugmug.com/gallery/8609384_K59HN
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Avalanche lilies and buttercups in the remote backcountry of Olympic National Park, WA.
Another from last year, figured I'd slowly bring these on to flickr for you all to appreciate :)
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First off, this one doesn't work on a white background... so view it LARGE, otherwise the mat takes up a lot of real estate.
This is 4 exposures blended massaged and tickled till they looked right (all taken without moving the camera of course).
I used an LED headlamp to light paint this old bristlecone (same tree as the other shots) during one of the exposures. For more details on the processing you can check out my article here: www.naturephotographers.net/articles0509/fv0509-1.html
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You can now place your orders for a 2010 Calendar on my site! - florisvanbreugel.smugmug.com/gallery/8609384_K59HN
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Incredible post-storm sunset colors over a remote set of dunes in Death Valley, NP.
About 30 min before this is was whipping sand and rain.. I'll probably be digging sand out of my ears and hair for the next week.. twas worth it though!
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I'm just going back through a lot of quite old, never-used photos...for my own edification.
Not knowing about ants, I'll assume that there is a new generation of them every year. It that's the case, then this one goes back eight generations.
Another from the magical dogwoods. Having 'peaked early' with wide angle dogwood/sequoia shots last year, I spent some time searching for more artistic interpretations. There was a bunch of brushy branches hurting this one, but with some clever curves and color work I managed to largely hide them from sight. That low angle dappled light really brings these trees to life (very little saturation added - note the "drab" green leaves - that really is real orange!)
Please view large.
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Probarona Purnima, one of the largest festival of the Buddhists, will be celebrated in Bangladesh The festival is also known as Ashvini Purnima that marks conclusion of the three months long seclusion of the monks inside their monasteries for self edification and atonement of their defilement.
Two limber pines enjoy the sunset together, two vertical miles above death valley, near the summit of Telescope Peak.
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Incredible sunset over a tarn near Mount Baker. This is a bit of a non-traditional composition, but I liked the open space on the left.
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CHAMBORD
Le château de Chambord est un château français situé dans la commune de Chambord, dans le département du Loir-et-Cher en région Centre-Val de Loire.
Construit au cœur du plus grand parc forestier clos d’Europe (environ 50 km2 ceint par un mur de 32 km de long), il s'agit du plus vaste des châteaux de la Loire. Il bénéficie d'un jardin d'agrément et d'un parc de chasse classés monuments historiques.
Le site a d'abord accueilli une motte féodale, ainsi que l'ancien château des comtes de Blois. L'origine du château actuel remonte au XVIe siècle et au règne du roi de France François Ier qui supervise son édification à partir de 1519.
CHAMBORD
The castle of Chambord is a French castle located in the commune of Chambord, in the department of Loir-et-Cher in Center-Loire Valley.
Built in the heart of the largest closed forest park in Europe (about 50 km2 surrounded by a wall of 32 km long), it is the largest of the castles of the Loire. It benefits from a pleasure garden and a hunting park classified historical monuments.
The site first hosted a feudal motte, as well as the old castle of the counts of Blois. The origins of the present castle date back to the 16th century and to the reign of King Francis I of France who oversees its construction from 1519.