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La cathédrale Saint-Gatien de Tours est l'église cathédrale catholique romaine, située à Tours, en Indre-et-Loire. Dédiée Saint-Gatien, elle est le siège du diocèse de Tours et la cathédrale métropolitaine de la province ecclésiastique de Tours.
Elle a été classée monument historique par liste de 1862.
La cathédrale Saint-Gatien a été construite entre 1170 et 1547. Lors de sa création, elle était située presque au débouché du pont franchissant la Loire, sur la route reliant Paris au sud-ouest de la France. Elle fait l’objet d’un classement au titre des monuments historiques par la liste de 18621.
La première cathédrale Saint-Maurice a été édifiée par Lidoire, évêque de Tours de 337 à 371 et prédécesseur de Martin. Incendiée en 561, elle est restaurée par Grégoire de Tours et dédicacée en 590. Du fait de son emplacement, à l'angle sud-ouest du castrum, et de son orientation à l'est, l'accès se faisait, sinon au travers de l'enceinte tardo-antique, du moins en baïonnette depuis la voie traversant la cité ; une telle configuration est rare2. La cathédrale de Tours est reconstruite au cours du deuxième quart du xiie siècle et est incendiée en 1166 lors des luttes entre Louis VII de France et Henri II d'Angleterre, comte d'Anjou. On ne connaît pas le plan de cet édifice.
La nef et le chœur :
La cathédrale actuelle remplace cet édifice roman. La première campagne a concerné le croisillon sud et les tours, dès 1170. Le chœur est reconstruit de 1236 à 1279 par Étienne de Mortagne. C'est la nef qui a demandé le plus de temps pour son édification. L'architecte Simon du Mans reconstruit le transept et entame la nef, dont six travées, bas-côtés et chapelles sont édifiés au xive siècle — les deux premières travées correspondent à celles de l'ancienne cathédrale romane et remontent au xiie siècle. La nef n'est achevée qu'au xve siècle par les architectes Jean de Dammartin, Jean Papin et Jean Durand, grâce aux libéralités accordées par Charles VII et le duc de Bretagne Jean V. À l'occasion de l'édification du bâtiment actuel, la nef a donc été allongée vers l'ouest et les tours encadrant l'entrée sont élevées en dehors de l'ancienne cité, accentuant la particularité de l'édifice mentionnée supra ; l'enceinte tardo-antique est visible en coupe à l'arrière des tours depuis le nord. En 1356, la cathédrale reçoit le nouveau vocable de Gatien.
La façade a perdu les grandes statues des piédroits, détruites par les protestants au cours des guerres de Religion. Mais elle demeure une des plus extraordinaires créations du gothique flamboyant dans ce qu'il a de plus éxubérant, véritable dentelle de pierre sans guère d'équivalent, chef-d'œuvre décoratif de premier plan. Les tours sont élevées dans la première moitié du xvie siècle : la tour nord a été édifiée en 1507 par Pierre de Valence, et la tour sud entre 1534 et 1547 par Pierre Gadier.
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La catedral San Gaciano de Tours, también llamada Catedral de Tours es la iglesia catedral de la diócesis de Tours y la catedral metropolitana de la provincia eclesiástica de Tours. Fue construida entre 1170 y 1547. Estaba situada durante su creación casi a la salida del puente que cruza el Loira, sobre la ruta que une París con el suroeste de Francia.
Historia:
La primera catedral de San Mauricio fue edificada por Lidoire, obispo de Tours del 337 al 371 y predecesor de Martín de Tours. Incendiada en el 561, fue restaurada por Gregorio de Tours y dedicada en el 590.
Su situación, en el ángulo suroeste del castrum, hace que la orientación al este haya hecho que el acceso se haga, sino a través de la muralla tardo-antigua, desde la vía que atraviesa la ciudad. Tal configuración es poco común. No se conoce el plano de este edificio.
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Saint Gatien's Cathedral is the Roman Catholic cathedral church of the Tours diocese and the metropolitan cathedral of the Tours ecclesiastic province, in Indre-et-Loire, France. Saint-Gatien's Cathedral was built between 1170 and 1547. At the time construction began, it was located at the south end of the bridge over the Loire, on the road from Paris to the south-west of France. It has been a classified Monument historique since 1862.
The first cathedral of Saint-Maurice was built by Lidoire, bishop of Tours from 337 to 371 (preceding St Martin). Burnt in 561, it was restored by Gregory of Tours and rededicated in 590. Its location, at the south-west angle of the castrum, as well as its eastern orientation, resulted in the original access being through the late-Roman surrounding wall (such a configuration is quite rare).
The cathedral was then rebuilt during the second quarter of the 12th century and again burnt in 1166 during the conflict between Louis VII of France and Henry II of England (also count of Anjou, the neighboring region).
The present cathedral replaces the 13th century Romanesque building. The first phase concerned the south transept and the towers, as early as 1170. The chancel was rebuilt from 1236 to 1279 by Étienne de Mortagne but the nave took much longer to build. The architect Simon du Mans rebuilt the transept and started the nave, including six spans, aisle and chapel, built during the 14th century — the first two spans correspond to those of the old Romanesque cathedral and date back to the 12th century. The nave was only finished during the 15th century by architects Jean de Dammartin, Jean Papin and Jean Durand, thanks to the generosity of Charles VII and the Duke of Brittany Jean V.
While building the present cathedral, the nave was then extended westward and the towers surrounding its entrance were erected during the first half of the 16th century, the first tower in 1507 by Pierre de Valence 87 m high, and the second tower during 1534 and 1547 by Pierre Gadier. Highlighting the special feature of the building, called supra, the towers were erected outside of the old city. The late-Roman surrounding wall is visible in cross section at the rear of the towers from the north.
In 1356, the cathedral received its new name of saint Gatien. Its construction having been particularly slow, it presents a complex pattern of French religious types of architecture from the 13th century to the 15th. For example, the tower buttresses are Romanesque, the ornamentation generally is pure Gothic, and the tops of the towers are Renaissance (beginning of the 16th century).
Visit to IIAP Carbon monitoring site, Quistococha.
Photo by Junior Raborg/CIFOR-ICRAF
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Afrormosia plants at the experimental agriculture plot at pk17 in Yangambi - DRC.
Photo by Axel Fassio/CIFOR
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■ View near Jadraque (La Alcarria, Guadalajara, Spain). There are many other pictures taken in La Alcarria in this same set, including a breathtaking panorama from this same view. At the far right you can see El Cid's castle (also known as Jadraque's Castle), a 1,000-year old military edification near Jadraque.
Taken handheld with my Panasonic Lumix TZ7 (ZS3) in available natural light (25 mm, F5.6, 1/500 sec., ISO 80, -1/3 EV).
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■ Vista cerca de Jadraque (La Alcarria, Guadalajara). Hay muchas otras fotos tomadas en La Alcarria en este mismo album, incluyendo un espectacular panorama desde esta misma vista. A la izquierda del todo puede verse el castillo de El Cid tambien conocido como Castillo de Jadraque), una edificación militar de 1.000 años de antigüedad cerca de Jadraque
Tomada a pulso con una Panasonic Lumix TZ7 (ZS3) en luz ambiente (25 mm, F5.6, 1/500 seg., ISO 80, -1/3 EV).
A class of MA students in forestry at the University of Kisangani. Democratic Republic of Congo.
Photo by Ollivier Girard/CIFOR
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A class of MA students in forestry at the University of Kisangani. Democratic Republic of Congo.
Photo by Ollivier Girard/CIFOR
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IIAP's scientist Dennis del Castillo talks during a workshop on Peruvian peatlands.
Photo by Junior Raborg/CIFOR-ICRAF
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Afrormosia planting at the experimental agriculture plot at pk17 in Yangambi - DRC.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
A class of MA students in forestry at the University of Kisangani. Democratic Republic of Congo.
Photo by Ollivier Girard/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Le site de Beng melea est situé à 42 km à l’Est de Siem Reap.
Il aurait été construit sous le règne de Suryavarman II aux 12 eme siècle.
Il aurait servi de modèle pour l’édification d’Angkor Vat. C’est un temple Hindou mais quelques sculptures sont bouddhistes.Ce temple est le seul a n'avoir subit aucune restauration,.la passerelle en bois du film de jj Annaud les 2 freres permet aux touristes de le visiter par endroit sinon il faut ramper entre les blocs.
The site of Beng Melea is located 42 km east of Siem Reap.
It was built during the reign of Suryavarman II in the 12 th century.
It would have served as a model for the construction of Angkor Wat. It is a Hindu temple sculptures but some are bouddhistes.Ce temple is the only one not to have undergone any restoration. Wooden footbridge dd Annaud film 2 brothers permits tourists to visit some places if you have to crawl between the blocks.
THE CHURCH OF CHRIST
A local church of Christ is simply a congregation that belongs to Christ. It is organized after the New Testament pattern of "elders, deacons and saints" (Phil. 1:1). All creeds of men are rejected and the Bible is the only standard of faith and practice. As the gospel is planted in the hearts of honest men and women (Luke 8;11; Rom. 1:16), new Christians are born (John 3:1-5; Rom. 6:1-7). Upon the instructions of the New Testament, Christians meet on the Lord's day for the Lord's supper (Mt. 26:26-30; Acts 20:7; 1 Cor. 11:23-29), singing (Eph. 5:19; Col. 3:16), prayers (Acts 12:5), study of the scriptures (Acts 15:7-21) and giving contributions for the Lord's work (1 Cor. 16:1-2).
Each congregation is independent from every other congregation, claiming its autonomy under Christ (Phil. 1:1; 1 Pet. 5:1-2). It recognizes no earthly head, belongs to no association of churches, stands free from denominational churches and supports no human institutions.
It recognizes its God-given responsibility to preach the gospel according to its own ability, to provide edification to its own members, and to provide benevolence for its own needy (Acts 6) and for those saints in need in other places (1 Cor. 16:1-2; 2 Cor. 8, 9).
As the early disciples "went everywhere preaching the word" (Acts 8:4), so do 20th Century Christians. Please consider the following material as a short explanation of God instructions to man for Salvation. It is important we answer through scripture what God require of us that we might be saved.
How Does One Become A Christian?
Hear the Gospel
Jesus said, "Behold, I stand at the door and knock. If anyone hears my voice and opens the door, I will come in to him anddine with him, and he with me" (Rev. 3:20). The Lord is inviting you into His kingdom. He also said, "I am the good shepherd," and he is the "door of the sheep" (John 10:7, 11). He invites the lost into the fold of safety, for danger is outside. For the lost, Jesus is the good shepherd that leaves the "ninety and nine" and looks for the "sheep that is lost," for "the Son of Man has come to save that which was lost" (Mt. 18:11-14). Jesus' sheep hear his voice and follow him (John 10:27-28) for eternal life. How do the sheep hear the voice of Jesus? We are "called by the gospel" (2 Thes. 2:14), which is "power of God unto salvation" (Rom. 1:16). It is by the word of God that faith is produced in the hearts of the lost (Rom. 10:17). Have you heard the gospel?
Believe
As the gospel story is read (Matthew, Mark, Luke and John), Jesus is shown to be the Son of God (Jn. 20:27-31). Our faith rests in Him. We must believe that He is the Son of God, sacrificed for our sins (Mt. 16:13-16; John 8:24). Do you believe?
Repent of Sins
All of us have sinned (Rom. 3:23) and have died spiritually because of sin (Rom 6:23). We must face our sins and repent. Repentance is a change of mind, followed by a change of life, as illustrated in Matthew 21:28-31. The son "repented" (changed his mind) and "went" (changed his life). This repentance is required before one can be saved (Lk. 13:3-5; Acts 2:36-38). Have you repented?
Confess the Name of Jesus
Jesus warned that we must have the courage of our faith to openly confess Him with the mouth, an oral confession (Rom. 10:10). If we do not have this courage, Jesus will not confess our name as brethren (Mt. 10:32-33). People in the New Testament times confessed Jesus' name (Acts 4:10-12; 8:37). Have you confessed that Jesus is the Son of God?
Be Baptized
Yes, baptism is a Bible doctrine, commanded by Jesus (Mt. 28:18-20; Mk. 16:15-16; Luke 24:48). Baptism is not administered as a "rite of the church," as a work of human righteousness or merit, but as an act of faith (Mk. 16:16; James 2:17, 18, 20, 24). Regardless of the animosity toward baptism in the denominational world, and in spite of their denial of its place in salvation, it is administered by the authority of Jesus for the remission of sin.
Baptism is a burial (Rom. 6:1-7; Col. 2:12) in water (Jno. 3:1-5; Acts 2:38; Acts 8:38). It is for (unto, toward) the remission of sins (Acts 2:38) and is viewed in scripture as involved in "washing away sins" (Acts 22:16; 1 Pet. 3:21). It is understood by Bible students that forgiveness is not in the water, but in the blood of Christ (Mt. 26:26-28; Rom. 6:1-7). However, Jesus has placed the opportunity of reaching that blood in the act of baptism. It is at baptism that the sinner mets the blood of Christ, that the old man of sin dies, and the new birth takes place (Rom. 6:1-7; Jn. 3:1-5).
Baptism is a re-enactment of the sinner for what Jesus did for him (death, burial and resurrection, 1 Cor. 15:1-4). The sinner obeys, in baptism, a "form of the gospel" (Rom. 6:16-18) in that he becomes dead to sin as he repents, is buried in baptism, and arises to a new life in Christ (Rom., 6:1-7). There is no other act of obedience in the New Testament that so fittingly portrays the gospel in our life as baptism. It is an act of faithful obedience (Rom. 1:5; Jn. 6:28-29; 8:39), not an act of merit or of human righteousness (Tit. 3:5). At the time of baptism, Jesus forgives our sins by the power of the blood and adds us to His church (Acts 2:38, 47). Have you been baptized?
Now That I'm A Christian
Disciples of Jesus wear no denominational names or support denominational doctrines. You are not Baptist, Methodist, Catholic, etc. No such names or denominations existed when Jesus built His church, and you now belong to that church (Mt. 16:18; Acts 2:47). The name of "Christian" is given for you to wear, and you glorify God in that name (Acts 11:26; 4:12; 1 Pet. 4:14-15).
As a Christian, you will meet with other Christians for worship and service (Heb. 10:25; Acts 2:42; 9:26-28; Eph. 4:11-16).
Christians begin as "babes" in Christ, having been born again (Jn. 3:1-5; Rom. 6:1-7; 1 Pet. 1:22-23; 1 Pet. 2:1-2). Each grows toward being a mature Christian (Eph. 4:11-15). They no longer live in sinful life-styles as in the past (Col. 3:1-17; Gal. 5:19-24). A Christian grows by adding the attributes of grace (2 Pet. 1:2-11).
Are you a Christian?
©KandyZone | KanchuKa Samarakoon | Editing, reproducing and re-using the images for commercial purpose or otherwise, without permission of KandyZone, are strictly prohibited and considered as intended copyright infringement Vibrato 2016 - Sachith Peiris live in concert with Iraj, Randhir, Tehan and Mayora organized by the Rotaract Club of Neptune Edification.
Community forestry awareness campaign in a secondary school of Ikongo - DRC.
Photo by Axel Fassio/CIFOR-ICRAF
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A sugar plantation; an abandoned investment property; a cattle ranch; a landscape of defiance in the face of the Army Corps of Engineers--Oak Alley has been many things in its over 200 years of history. Today it is a historic site, dedicated to preserving and interpreting each chapter of this plantation’s memory. Our mission, established by Mrs. Josephine Stewart is as follows:
Oak Alley Foundation is a 501(c)(3) public non-profit trust organized and operated exclusively for charitable, literary and educational purposes. Its trustees are charged with maintaining and preserving the mansion (Big House) and surrounding sixty-three (63) acre National Historic Landmark site for public exhibition as an historical monument to the times and area in which the property was built and for the instruction, education, enlightenment, information, edification and cultural benefit of the citizens of the State of Louisiana, the United States and the public generally.
Open to the public since 1976, our institutional values include complete respect for the National Landmark with which we have been entrusted. This not only is evident in our dedication to it’s preservation and maintenance but in our complete adherence to narrative integrity, in deference to this iconic historic site whose past includes serving as a place of enslavement even as it was celebrated for its stunning landscape. SOURCE: OAK VALLEY PLANTATION WEBSITE.
Visit to IIAP Carbon monitoring site, Quistococha.
Photo by Junior Raborg/CIFOR-ICRAF
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org
Training on accounting and monitoring of greenhouse gas fluxes from peatlands, Peru.
Photo by Junior Raborg/CIFOR-ICRAF
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IIAP's scientist Jhon Rengifo talks during a workshop on Peruvian peatlands.
Photo by Junior Raborg/CIFOR-ICRAF
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Visit to IIAP Carbon monitoring site, Quistococha.
Photo by Junior Raborg/CIFOR-ICRAF
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Sicily. Ortygia, Syracusa.
Late spring break.
The third chapel is the one consecrated to the "Santissimo Sacramento", also called the "Torres chapel", is defined artistically and structurally as the most beautiful in the Cathedral, due to its frescoes on the dome and due to the elaborate architectural decorations that compose it.
It was built in 1616 by the brothers Andrea and Giovanni Vermexio. Its plan is octagonal and its main feature are the wall bas-reliefs that surround it, composed of Corinthian-style columns adorned with numerous gilded finishes. In Baroque style, the center of the chapel has a tabernacle (or ciborium) in gilded wood in the shape of a small temple, the work of the Neapolitan architect and painter Luigi Vanvitelli, known for being the one who designed the Royal Palace of Caserta in Naples. On the sides of the altar there are two portals, surrounded by elaborate sculptural decorations, which lead to the Sacristy of the Cathedral.
At the center of the altar there is a carved marble frontal, the work of the Florentine sculptor Filippo Valle who worked there in 1762 and which depicts the Last Supper of Jesus. The marble balustrade and the artistic decoration of the floor are the work of the Palermitan Ignazio Marabitti and Neapolitan Giovan Battista Marino, the contract for the work was made to them by the Syracusan architect Pompeo Picherali who, now in old age, admired the work of the young Marabitti and entrusted them with the work in 1746. The floor of the chapel is thought to be the work of the same two sculptors mentioned above, but we rely on intuition for the attribution since no document in this regard has been found, however by observing the similarity and similar harmony that exists with the balustrade, this theory has therefore been deduced.
In the chapel, on the left side, there is the Sepulcher of Archbishop Luigi Bignami, a structure sculpted by the Catanese sculptor Sebastiano Agati. Also laterally in the chapel there is also a precious statue depicting the Madonna del Rosario, the work of unknown artists, the statue is placed on a small altar, placed on a cavity which is surrounded by two slender Corinthian-style marble columns that overlook the gray -green and above them there is a worked tympanum with sculpted bas-reliefs in the center. Three cartaglorias were the work of the Roman silversmith Giuseppe Veladier (1791. The censers and the shuttle were the work of the silversmith Lorenzo Petronelli and other silver furnishings were instead the work of the Syracusan Chindemi brothers. He informs in his studies about the silverware of the chapel, and to relations with the Roman silverware school, the Syracusan (from Canicattini Bagni) Giuseppe Agnello
The wrought iron gates with the Eucharistic symbols found between the Doric columns and the entrance to the chapel were worked by Domenico Ruggeri from Catania on the designs of Alessandro Campo in 1807-1811. The chapel is also called "Torres" because it was the Spanish bishop of Syracuse, Juan de Torres Osorio, who wanted its construction and edification, for this reason the chapel, in addition to the sacrament to which it was dedicated, also bears his name
Visit to IIAP Carbon monitoring site, Quistococha.
Photo by Junior Raborg/CIFOR-ICRAF
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Field visit to aguajal area in Loreto during training on peatlands' emissions accounting.
Photo by Junior Raborg/CIFOR-ICRAF
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Community forestry awareness campaign in a secondary school of Ikongo - DRC.
Photo by Axel Fassio/CIFOR-ICRAF
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Jardin japonais
Pénétrer dans un jardin japonais, c'est une façon de retrouver un environnement susceptible de donner quiétude et harmonie à son âme troublée par le rythme rapide de la vie moderne.
Dans ce jardin, d'une superficie de 2,5 hectares, tous les éléments s'équilibrent pour évoquer la sérénité. Chaque arbre, chaque arbuste et chaque pierre ont été minutieusement sélectionnés et disposés.
Aux détours des sentiers, le visiteur découvre les paysages où se succèdent les collections de pivoines, de rhododendrons, d'iris, de pommetiers et de nombreuses plantes vivaces.
Tout dans ce lieu, propice à la réflexion, est empreint de symbolisme. On y retrouve un étang ainsi qu'une série de cascades et de ruisseaux qui incarnent la vie et le renouveau.
L'architecte-paysager du jardin
Monsieur Ken Nakajima (1914-2000), architecte-paysager japonais de renommée internationale, a su donner à son aménagement le cachet d'un jardin contemporain en ajoutant aux lignes sobres et traditionnelles un nombre important de végétaux à fleurs. La participation financière des gouvernements du Japon, du Québec, du Canada et de la Ville de Montréal ainsi que celle de diverses entreprises japonaises ont permis l'édification de ce magnifique jardin, inauguré le 28 juin 1988.
Le Jardin botanique est fier de présenter à ses milliers de visiteurs ce magnifique jardin japonais et son pavillon, vitrine sur la culture japonaise.
L'état d'esprit
Une visite au Jardin japonais nécessite une ouverture de l'esprit et une disponibilité de l'âme; on pénètre dans un jardin japonais; on y vient pour méditer, pour se recueillir, pour sentir et admirer la beauté de la pierre, de l'eau, des plantes et des différents éléments architecturaux qui le composent.
On y vient pour admirer le mouvement lent des carpes Koi cachées à l'ombre des grandes feuilles de nénuphars comme pour contempler le reflet du soleil ou de la pluie sur les pierres multicolores ou encore pour écouter le murmure de l'eau qui danse, rieuse, à travers les rochers des cascades.
Si l'on y vient tôt le matin, on pourrait surprendre les ébats des grands hérons, des carouges à épaulettes et d'autres espèces de la gent ailée en train d'effectuer leur toilette matinale. Chaque saison mais aussi chaque période de la journée sont porteuses de moments d'intensité et de beauté qu'il s'agit de saisir.
Un pavillon pour le Jardin japonais
Une visite au Jardin nécessite également une halte dans son pavillon culturel conçu par l'architecte Hisato Hiraoka.
En traversant les salles d'exposition, on y admire les œuvres d'art variées, témoins de l'histoire et du raffinement de la culture japonaise.
Extrait du Web.
JAPANESE GARDEN
Entering a Japanese Garden is a way of returning to an environment in which people can find peace and harmony, away from the rapid pace of modern life.
In this garden of 2,5 hectares all elements are balanced to create a feeling of serenity. Each tree, each shrub, each stone has been carefully chosen and placed.
The pathways lead the visitors through settings of peonies, rhododendrons, irises, crab-apple trees and numerous perennials.
Everything in this meditative place has a symbolic significance. A pond and a series of cascades and springs express life and renewal.
The architect of the garden
This contemporary garden, designed by Ken Nakajima, is inspired by the traditional art of Japanese landscaping. Stone, water and plants combine to produce a pure, simple environment in which every element is imbued with symbolism. Its sinuous lines create a pervading sense of harmony, offering many different vistas and the certainty of new discoveries. The attentive care that such a garden requires is simply a way of celebrating the beauty of nature, for which the Japanese have profound respect. The Japanese Garden, created with the support of the governments of Japan, Canada and Québec, the City of Montréal and several Japanese companies, opened on June 28, 1988.
The Montréal Botanical Garden is proud to present to its thousands of visitors this magnificent Japanese Garden and Pavilion, which are a true reflection of Japanese art and culture.
The state of mind
A visit to the Japanese Garden requires an open mind and spirit. Visitors should go right to its heart; to meditate, to collect their thoughts, to feel and touch the beauty of the stone, water, plants and various architectural elements which make up the garden. It is a place where the slow-moving carp or "Koi" float in the shade of broad-leaved water lilies as if contemplating the sun's reflection or the rain on the multicoloured stones or even, as if they were listening to the gurgling waters, laughing as they spill over artfully arranged cascades.
Early-risers may surprise great blue Heron as well as red-winged blackbirds and other fine feathered friends at their morning toilet. Each season, like each time of day, has moments of intense beauty which wait only to be captured by lovers of art and nature.
A pavilion for the Japanese Garden
A visit to the Japanese Garden wouldn't be complete without a short stop at the cultural pavilion designed by architect Hisato Hiraoka.
Walking through the exhibition halls, visitors will marvel at various works of art which are a timeless expression of the history and refinement of Japanese culture.
Through the tea ritual, focal point of the pavilion, visitors are soon swept away to an oasis of peace and harmony where each movement is an expression of grace and beauty.
Extract from Web
Chambers of the CO2 flux analysis system in soil.
Photo by Junior Raborg/CIFOR-ICRAF
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Assisted Natural Renegeration demonstration plot.
Photo by Gabriel Mulenga/CIFOR
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Metz, France - St Stephen's Cathedral
Saint-Étienne de Metz (French for "Saint-Stephen of Metz"), also known as Metz Cathedral, is a historic Roman Catholic cathedral in Metz, capital of Lorraine, France. Saint-Étienne de Metz is the cathedral of the Roman Catholic Diocese of Metz and the seat of the Bishop of Metz, currently Pierre Raffin.The cathedral treasury exhibits the millennium rich collection of the Bishopric of Metz, including paraments and items used for the Eucharist.
Saint-Stephen of Metz has one of the highest naves in the world. The cathedral is nicknamed the Good Lord's Lantern (French: la Lanterne du Bon Dieu), displaying the largest expanse of stained glass in the world with 6,496 m2 (69,920 sq ft). Those stained glass windows include works by Gothic and Renaissance master glass makers Hermann von Münster, Theobald of Lixheim, and Valentin Bousch and romantic Charles-Laurent Maréchal, tachist Roger Bissière, cubist Jacques Villon, and modernist Marc Chagall.
Built between 1220 and 1552, it is the product of the unification of two distinct churches. With its 42 metre high vaults, it is one of the highest Gothic edifices in Europe. With its 6,500 m² of stained glass windows, the nickname “God’s lantern” is well merited. There are windows from the 13th to the 20th centuries by Hermann de Münster, Thiebault de Lixheim, Valentin Bousch, Jacques Villon and Marc Chagall. These masterpieces of the art of fire and light form a veritable encyclopaedia of the art of stained glass.
Architecture
Saint-Stephen Cathedral is a Rayonnant Gothic edifice built with the local yellow Jaumont limestone. Like in French Gothic architecture, the building is compact, with slight projection of the transepts and subsidiary chapels. However, it displays singular, distinctive characteristics in both its ground plan and architecture compared to most of the other cathedrals. Because of topography of Moselle valley in Metz, the common west-east axis of the ground plan could not be applied and the church is oriented north-northeast. Moreover, unlike the French and German Gothic cathedrals having three portals surmounted by a rose window and two large towers, Saint-Stephen of Metz has a single porch at its western facade. One enters laterally in the edifice by another portal placed at the south-western side of the narthex, declining the usual alignment of the entrance with the choir.
The nave is supported by flying buttresses and culminates at 41.41 metres (135.9 ft) high, making one of the highest naves in the world. The height of the nave is contrasted by the relatively low height of the aisles with 14.3 metres (47 ft) high, reinforcing the sensation of tallness of the nave. This feature permitted the architects to create large, tall expanses of stained glass. Through its history, Saint-Stephen Cathedral was subjected to architectural and ornamental modifications with successive additions of Neoclassical and Neogothic elements.
Construction history
The edification of Saint-Stephen of Metz took place on an Ancient site from the 5th century consecrated to Saint Stephen protomartyr. According to Gregory of Tours, the shrine of Saint Stephen was the sole structure spared during the sack of 451 by Attila's Huns. The construction of the Gothic cathedral began in 1220 within the walls of an Ottonian basilica dating from the 10th century. The integration into the cathedral's ground plan of a Gothic chapel from the 12th century at the western end resulted in the absence of a main western portal; the south-western porch of the cathedral being the entrance of the former chapel. The work was completed around 1520 and the new cathedral was consecrated on 11 April 1552.
In 1755, French architect Jacques-François Blondel was awarded by the Royal Academy of Architecture to built a Neoclassical portal at the West end of the cathedral. He disengaged the cathedral's facade by razing an adjacent cloister and three attached churches and achieved the westwork in 1764.
In 1877, the Saint-Stephen of Metz was heavily damaged after a conflagration due to fireworks. After this incident, it was decided the refurbishment of the cathedral and its adornments within a Neogothic style. The western facade was completely rebuilt between 1898 and 1903; the Blondel's portal was demolished and a new Neogothic portal was added.
Visit to IIAP Carbon monitoring site, Quistococha.
Photo by Junior Raborg/CIFOR-ICRAF
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Land Finance Hub Use and Registration Training at Pasuruan with Formekers Pasuruan (Forum for Furniture, Crafts, and Arts), 11 November 2022.
Photo by Perdana Putra/CIFOR-ICRAF
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It's hard for me to get photos of Belfagan, as I'm usually part of the band when they're dancing. Well, just you try playing a sax and taking photos at the same time! Now and again, though, I leave the music to the others for a minute or two and take some pics. On this occasion, outside the Ratty Arms at Ravenglass, I caught the girls dancing Eaglesfield, a dance originally created especially for the group. It involves garlands and a lot of very rhythmic ranting. (For the edification of those who are not immersed in morris lore, the rant is a dance step commonly used in morris of the North West tradition.)
Hidden treasures deep inside the Alabama Hills, CA.
To take this I had to balance my tripod in a most precarious position, about 4 feet off the ground... and support my weight with my hands and one foot. Good times :)
Please view large.
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Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
Saint Anne's Church
Bodiem, Goa, India
Religious Architecture
The Church of Saint Anne in Bodiem is the smallest of the churches with domed façades built in Bardez from the mid-18th century to the early 19th century, its size making it more of a chapel than a church. It was raised to parish church status in 1946. It was founded in 1801 as an affiliate of Tivim and subject to “re-edification” work in 1892-93, when that parish was disbanded. As usual in Goan literature on such matters and in the plaques placed in churches (and in Saint Anne’s), we do not know how to interpret terms such as “re-edification”. But one of the plaques at Saint Anne’s attributes the church’s plan to Father Leopoldo Francisco da Rocha, parish priest from 1885 to 1895. The ornamental vocabulary of the main façade and interior is quite similar to that found in the Church of Moira, which we can date to the early 19th century. The single nave with wooden ceiling and shell niches housing windows is also characteristic of that period. The chancel roof, with a groin vault and penetrations, seems to be a revivalist exercise characteristic of the late 19th century. The church is located on a privileged site facing west, isolated in front of a long stretch of flood plains and branches of water. The village is located to the east, up the slope behind the church.
Paulo Varela Gomes
FORETS annual meeting at UNIKIS, Kisangani - DRC.
Photo by Axel Fassio/CIFOR-ICRAF
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A sugar plantation; an abandoned investment property; a cattle ranch; a landscape of defiance in the face of the Army Corps of Engineers--Oak Alley has been many things in its over 200 years of history. Today it is a historic site, dedicated to preserving and interpreting each chapter of this plantation’s memory. Our mission, established by Mrs. Josephine Stewart is as follows:
Oak Alley Foundation is a 501(c)(3) public non-profit trust organized and operated exclusively for charitable, literary and educational purposes. Its trustees are charged with maintaining and preserving the mansion (Big House) and surrounding sixty-three (63) acre National Historic Landmark site for public exhibition as an historical monument to the times and area in which the property was built and for the instruction, education, enlightenment, information, edification and cultural benefit of the citizens of the State of Louisiana, the United States and the public generally.
Open to the public since 1976, our institutional values include complete respect for the National Landmark with which we have been entrusted. This not only is evident in our dedication to it’s preservation and maintenance but in our complete adherence to narrative integrity, in deference to this iconic historic site whose past includes serving as a place of enslavement even as it was celebrated for its stunning landscape. SOURCE: OAK VALLEY PLANTATION WEBSITE.
Community meeting in Mushindamo, Zambia.
Photo by Gabriel Mulenga/CIFOR
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Wiring for the transport of air flows to the gas analyzer.
Photo by Junior Raborg/CIFOR-ICRAF
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Central station of the entire flow measurement system powered by batteries.
Photo by Junior Raborg/CIFOR-ICRAF
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Aguaje palms.
Photo by Junior Raborg/CIFOR-ICRAF
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Journalists visit in Yangambi - DRC.
Photo by Axel Fassio/CIFOR
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Bootprints In Perpetuity
Again, for my edification, my crude photogrammetric(?) attempt at bringing together my photos with downloaded material from the ALSJ in order to identify and correlate surface features associated with the "Boot Print Soil Mechanics Experiment".
Included are pre-EVA photos, post-EVA photos and a 16mm DAC frame.
The pre-EVA, boot print labeled and 16mm DAC frame images can be found at the ALSJ:
Assisted Natural Renegeration demonstration plot.
Photo by Gabriel Mulenga/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Le site de Beng melea est situé à 42 km à l’Est de Siem Reap.
Il aurait été construit sous le règne de Suryavarman II aux 12 eme siècle.
Il aurait servi de modèle pour l’édification d’Angkor Vat. C’est un temple Hindou mais quelques sculptures sont bouddhistes.Ce temple est le seul a n'avoir subit aucune restauration,.la passerelle en bois du film de jj Annaud les 2 freres permet aux touristes de le visiter par endroit sinon il faut ramper entre les blocs.
The site of Beng Melea is located 42 km east of Siem Reap.
It was built during the reign of Suryavarman II in the 12 th century.
It would have served as a model for the construction of Angkor Wat. It is a Hindu temple sculptures but some are bouddhistes.Ce temple is the only one not to have undergone any restoration. Wooden footbridge dd Annaud film 2 brothers permits tourists to visit some places if you have to crawl between the blocks.
Participatory 3 Dimensional Mapping of Kwaebibirem municipality in the Eastern Region of Ghana.
Photo by Yvonne Baraza/CIFOR-ICRAF
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