View allAll Photos Tagged eDification
Sur la place Ladeuze, la Bibliothèque de l'Université de Louvain est sans doute le bâtiment le plus spectaculaire de la ville... Inspiré de la Renaissance flamande, il est pourtant beaucoup plus récent et doit son existence à un épisode tragique du début de la Première Guerre mondiale.
En août 1914, les troupes allemandes, entrées dans Louvain, ont considéré les Louvanistes comme des francs-tireurs, et lancé en retour de terribles exactions.
La nuit du 25 au 26 août 1914, la bibliothèque qui se trouvait jusqu'alors dans un bâtiment de la rue de Namur est incendiée par les troupes allemandes. 2.000 autres édifices de la ville furent aussi détruits, et plus de 200 civils ont trouvé la mort au cours de ces destructions. Le cas de Louvain n'est pas unique : au cours de ce premier mois de guerre, 18.000 maisons ont été détruites et 5.000 citoyens ont trouvé la mort dans quatre provinces belges... Mais la réduction en cendres des 230.000 volumes, 920 manuscrits et 800 incunables de la bibliothèque va susciter l'émotion de la communauté internationale. Sa portée symbolique sera exploitée par la propagande alliée.
En théorie, la Convention de La Haye interdisait depuis 1907 toute destruction volontaire du patrimoine artistique. Les actes de destruction commis par les Allemands au début de la guerre, tels que l’incendie de la bibliothèque de Louvain le 25 août 1914, le bombardement de la cathédrale de Reims le 19 septembre suivant et la destruction du beffroi d’Arras en octobre, ont été considérés par l'opinion publique mondiale comme des "atrocités culturelles".
A l'extérieur et à l'intérieur de la galerie de la bibliothèque de Louvain reconstruite, on peut lire les noms de quelque 300 établissements pédagogiques américains qui ont contribué, après-guerre, à la construction de la nouvelle bibliothèque, conçue par l'architecte américain Whitney Warren. La bibliothèque elle-même fut reconstituée grâce à des dons de livres venant du monde entier. Au coeur du bâtiment, une cour conserve aujourd'hui quelques lettres d'une inscription monumentale qui fut, entre les 2 guerres au centre de polémiques entre les partisans de la réconciliation, et ceux du refus de l'oubli. "Furore teutonico diruta, dono americano restituta" - "Détruite par la fureur germanique, restaurée grâce aux dons américains". Au terme de nombreux rebondissements, la balustrade qui devait arborer cette mention a été détruite et l'inscription n'y a jamais pris place. Une partie des lettres sculptées a été utilisée dans l'édification du monument "Furore teutonico" de Dinant qui fit lui aussi polémique, dans les années 1930, avant de disparaître avec l'arrivée des troupes allemandes en 1940.
On the Place Ladeuze, the Louvain University Library is undoubtedly the most spectacular building in the city ... Inspired by the Flemish Renaissance, it is nevertheless much more recent and owes its existence to a tragic episode of the beginning of World War I.
In August 1914, the German troops, entered Louvain, considered the Louvanists as snipers, and launched in return terrible atrocities.
On the night of August 25 to 26, 1914, the library that had previously been in a building in the rue de Namur was set on fire by German troops. Another 2,000 buildings in the city were also destroyed, and more than 200 civilians were killed during the destruction. The case of Louvain is not unique: during this first month of war, 18,000 houses were destroyed and 5,000 citizens were killed in four Belgian provinces ... But the ash burn of 230,000 volumes, 920 manuscripts and 800 incunabula of the library will arouse the emotion of the international community. Its symbolic significance will be exploited by Allied propaganda.
In theory, the Hague Convention prohibited since 1907 any voluntary destruction of the artistic heritage. The acts of destruction committed by the Germans at the beginning of the war, such as the burning of the library of Leuven on August 25, 1914, the bombing of the cathedral of Reims on September 19 and the destruction of the belfry of Arras in October , have been considered by world public opinion as "cultural atrocities".
Outside and inside the reconstructed Louvain library gallery are the names of some 300 American educational institutions which contributed, after the war, to the construction of the new library, designed by the American architect Whitney Warren. The library itself was restored thanks to donations of books from around the world. At the heart of the building, a court today keeps some letters of a monumental inscription which was, between the two wars at the center of controversy between the partisans of reconciliation, and those of the refusal of oblivion. "Furore teutonico diruta, dono americano restituta" - "Destroyed by Germanic fury, restored thanks to American donations". After many twists and turns, the balustrade that was to bear this mention was destroyed and the inscription has never taken place. Part of the carved letters were used in the construction of Dinant's "Furore Teutonico" monument, which was also controversial in the 1930s before disappearing with the arrival of German troops in 1940.
From on-site signage:
"Andrew Berg Alaska’s No. 1 Big Game Guide
Andrew was born in Finland in 1869, and arrive on the Kenai Peninsula in 1888. He settled in the Tustumena Lake aea, where he built a number of cabins over the next 50 years
Andrew was a robust man who stood 6’2” and weighed 235 pounds, was a fast walker, and said to be one of the strongest men on the Peninsula.
In 1897 Andrew began his career as a hunting guide by guiding Dall DeWeese, a big game hunter from Colorado. He soon gained international recognition as the best big game guide on the Kenai Peninsula.
Through Andrew’s extensive diaries we learn about turn-of-the-century life on Tustumena Lake."
It's not clear whether this is the original location of the cabin or if it was moved onto the refuge for preservation and public edification. In any case, it isn't exactly palatial for a big man, no wonder he preferred to be outdoors.
Along the Keen-Eye Nature Trail, Kenai National Wildlife Refuge, Soldotna Alaska
These old constructions of Belém is located in the area of The Fortress of the Castle in a privileged area of the city and the birthplace of it. The purposes of said edifications was to avoid attacks of local Indian tribes and possibly pirates coming along with the Dutch and French historical invasions of the Brazilian Coast. So these rustic and colonial constructions are dated back to the XXVII century in the early days of the city of Belém. This is where basically the city originated and from there expanded to its present firm ground, far away from the Bay and River. Vultures are now also attending the place due to its proximity of a Fish Market and they feel the smell...
Estas construções antigas estão localizadas junto ao Forte do Castelo do Senhor Santo Cristo do Presépio de Belém, popularmente referido como Forte do Castelo, localiza-se sobre a baía do Guajará, na ponta de Maúri à margem direita da foz do rio Guamá, na cidade de Belém no estado brasileiro do Pará. Dominando a entrada do porto e o canal de navegação que costeia a ilha das Onças.
Constitui-se num dos mais procurados pontos turísticos da cidade, por sua localização privilegiada e seu sentido histórico. Integrante do complexo arquitetônico e religioso da cidade velha, a Feliz Lusitânia. Lamentavelmente a proximidade com o Ver-o-Peso faz com que os urubus também passem a frequentá-la com assiduidade.
Estas Construcciones Antiguas están ubicadas junto a la Fortaleza (Castillo del Fuerte), y es la construcción hecha para ahuyentar los enemigos indigenas y europeos que querían invadir la ciudad de Belém que se estaba iniciando construida por los portugueses en los siglos 16 y 17. Este local fue donde surgió Belém y es considerado la cuna de la ciudad. En el área hay un complejo de iglesias, mercados, museos y otros atractivos para el turista que visita Belém. Se posiciona estrategicamente con vista para la Bahia de Guajará que se ofrece una bella vista que más parece un mar y no un rio. Vale la visita. Debido a estar muy próxima al mercado de pescados (Ver-o-Peso) ahora los buitres son frecuentadores asiduos de la Plaza también. Ellos se mezclan con las garzas...
Saint-Stephen Cathedral Metz, France, 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 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 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.
The edification of Saint-Stephen of Metz took place on an Ancient site from the 5th century. 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.
La cathédrale de Metz a la particularité de ne pas posséder de « façade harmonique » à la manière des autres grandes cathédrales gothiques de France (comme à Reims, Paris ou encore Toul), c'est d'ailleurs grâce à cette façade singulière qu'a été possible la réalisation de la grande verrière. Ainsi la cathédrale n'a qu'un seul portail sur sa façade principale réalisé à partir de 1764 (ensemble classique de Blondel). Lors de l'édification du porche néogothique actuel au début du XXe siècle, un projet de portail triple fut proposé mais rejeté car il n'adhérait pas assez à la façade inhabituelle de la cathédrale.
Plus d'infos sur cet édifice remarquable: fr.wikipedia.org/wiki/Cath%C3%A9drale_Saint-%C3%89tienne_...
----------------
Metz Cathedral is unique in that it lacks a "harmonious façade" like other major Gothic cathedrals in France (such as those in Reims, Paris, or Toul). In fact, it was thanks to this distinctive façade that the large stained-glass window was made possible. Thus, the cathedral has only one portal on its main façade, built starting in 1764 (a classical ensemble by Blondel). During the construction of the current neo-Gothic porch at the beginning of the 20th century, a design for a triple portal was proposed but rejected because it did not sufficiently integrate with the cathedral's unusual façade.
Plus d'infos sur cet édifice remarquable: fr.wikipedia.org/wiki/Cath%C3%A9drale_Saint-%C3%89tienne_...
---------------------
Wretched Bristlecone Pine with a burning heart, White Mountains, CA.
I had the urge to reprocess this image from two years ago, hope it works for you.
Please view large, thanks!
-------
Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
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.
San Marco in Lamis, Gargano, Puglia, Italia © 2015 All rights reserved
FotoSketcher water color and lively
Nikon coolpix p 7100
San Marco in Lamis è un comune italiano di 13.928 abitanti della provincia di Foggia, in Puglia.
San Marco in Lamis è nota soprattutto per la tradizionale Processione delle "fracchie", una manifestazione religiosa popolare molto suggestiva e assai singolare, che si ripete puntualmente da circa tre secoli ogni venerdì Santo per la rievocazione della Passione di Cristo, e che, ogni anno, richiama un grande afflusso di forestieri. Le fracchie sono delle enormi fiaccole, realizzate con grossi tronchi di albero di quercia o castagno aperti longitudinalmente a forma di cono e riempiti di legna, per essere incendiate all'imbrunire e divenire quindi dei falò ambulanti che illuminano il cammino della Madonna Addolorata lungo le strade del paese alla ricerca del figlio Gesù morto.Sembra che le origini di questo rito risalgano ai primi anni del XVIII secolo, epoca di edificazione della chiesa dell'Addolorata e le sue ragioni, oltre che di ordine religioso e devozionale, vadano collegate anche ad una motivazione di ordine pratico riconducibile alle precise condizioni fisiche dell'abitato. Infatti, quando venne costruita (1717), la chiesa dell'Addolorata si trovava fuori del centro abitato e lì sarebbe rimasta fino all'ultimo ventennio del XIX secolo. Una collocazione questa che sollecitò la fantasia degli abitanti, i quali pensarono di illuminare con le "fracchie" la strada che la Madonna percorreva dalla sua chiesa fino alla Collegiata, dove era custodito il corpo del Cristo. Le “fracchie più grandi possono essere lunghe anche 13-14 metri e pesare anche 60-70 quintali di legno di quercia , castagno o abete .
da wikipedia
San Marco in Lamis is a town of 13,928 citizens in the Italian province of Foggia, Puglia, Italy.
San Marco in Lamis is a town of 13.928 citizens and comune in the province of Foggia in the Apulia region of southeast Italy. It is located in the Gargano massif area.Apart from some tourism conted to pilgrimages at the local Catholic sanctuary of St. Matthew, the economy is mostly based on agriculture.San Marco in Lamis is known for the traditional procession of "fracchie", a very popular religious manifestation suggestive and very singular, that is repeated regularly from about three centuries each friday Saint for the reenactment of the passion of Christ, and that each year draws a large influx of foreigners. The fracchie are huge torches, made with large trees oak opened longitudinally cone-shaped and filled with wood, to be burned at dusk and become so a itinerant bonfires that illuminate the journey of our Lady of Sorrows along the roads of the country in search of the son Jesus died.It seems that the origins of this rite dates back to the early 18th century, a time of edification of the Church of our Lady of sorrows and his reasons as well as religious and devotional order, should be connected to a practical motivation due to precise physical conditions of the town. In fact, when it was built (1717), the Church of our Lady of Sorrows was out of town and would remain there until the last two decades of the 19th century. A bin that solicited the imagination of the inhabitants, whom they thought to illuminate with the "fracchie" the way that she ran from her church until the collegiate, where he guarded the body of Christ. The"Fracchia" can also get the length of 13-14 meters and weigh 60-70 quintals of wood of oak. From wikipedia
Another one of these little jewels.. they're so bright you have to carefully watch the histogram to not blow the reds, even in shade!
-------
Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
I got to do some aerial flower photography over the Carrizo Plains last week.. here's one of many - you can see the others on my blog!
----
Prints available: http://artinnaturephotography.com/
Adventures for your entertainment and edification: http://artinnaturephotography.com/wordpress
"Eine Katze ist in jeder Pose verkörperte Anmut. Ihr Anblick allein ist Erbauung."
----------------------------------------------------------------------------------------------
" A cat is in every pose embodied grace. The sight alone is edification. "
Max Märten
San Marco in Lamis Gargano Puglia Italia© 2015 All rights reserved
FotoSketcher oil painting and lively
Nikon coolpix p 7100
San Marco in Lamis è un comune italiano di 13.928 abitanti della provincia di Foggia, in Puglia.
San Marco in Lamis è nota soprattutto per la tradizionale Processione delle "fracchie", una manifestazione religiosa popolare molto suggestiva e assai singolare, che si ripete puntualmente da circa tre secoli ogni venerdì Santo per la rievocazione della Passione di Cristo, e che, ogni anno, richiama un grande afflusso di forestieri. Le fracchie sono delle enormi fiaccole, realizzate con grossi tronchi di albero di quercia o castagno aperti longitudinalmente a forma di cono e riempiti di legna, per essere incendiate all'imbrunire e divenire quindi dei falò ambulanti che illuminano il cammino della Madonna Addolorata lungo le strade del paese alla ricerca del figlio Gesù morto.Sembra che le origini di questo rito risalgano ai primi anni del XVIII secolo, epoca di edificazione della chiesa dell'Addolorata e le sue ragioni, oltre che di ordine religioso e devozionale, vadano collegate anche ad una motivazione di ordine pratico riconducibile alle precise condizioni fisiche dell'abitato. Infatti, quando venne costruita (1717), la chiesa dell'Addolorata si trovava fuori del centro abitato e lì sarebbe rimasta fino all'ultimo ventennio del XIX secolo. Una collocazione questa che sollecitò la fantasia degli abitanti, i quali pensarono di illuminare con le "fracchie" la strada che la Madonna percorreva dalla sua chiesa fino alla Collegiata, dove era custodito il corpo del Cristo. Le “fracchie più grandi possono essere lunghe anche 13-14 metri e pesare anche 60-70 quintali di legno di quercia , castagno o abete .
da wikipedia
San Marco in Lamis is a town of 13,928 citizens in the Italian province of Foggia, Puglia, Italy.
San Marco in Lamis is a town of 13.928 citizens and comune in the province of Foggia in the Apulia region of southeast Italy. It is located in the Gargano massif area.Apart from some tourism conted to pilgrimages at the local Catholic sanctuary of St. Matthew, the economy is mostly based on agriculture.San Marco in Lamis is known for the traditional procession of "fracchie", a very popular religious manifestation suggestive and very singular, that is repeated regularly from about three centuries each friday Saint for the reenactment of the passion of Christ, and that each year draws a large influx of foreigners. The fracchie are huge torches, made with large trees oak opened longitudinally cone-shaped and filled with wood, to be burned at dusk and become so a itinerant bonfires that illuminate the journey of our Lady of Sorrows along the roads of the country in search of the son Jesus died.It seems that the origins of this rite dates back to the early 18th century, a time of edification of the Church of our Lady of sorrows and his reasons as well as religious and devotional order, should be connected to a practical motivation due to precise physical conditions of the town. In fact, when it was built (1717), the Church of our Lady of Sorrows was out of town and would remain there until the last two decades of the 19th century. A bin that solicited the imagination of the inhabitants, whom they thought to illuminate with the "fracchie" the way that she ran from her church until the collegiate, where he guarded the body of Christ. The"Fracchia" can also get the length of 13-14 meters and weigh 60-70 quintals of wood of oak. From wikipedia
Some neat mud patterns in Death Valley. I took a whole series over the course of an afternoon last weekend - check out the blog for more. http://artinnaturephotography.com/wordpress
----
Prints available: http://artinnaturephotography.com/
Adventures for your entertainment and edification: http://artinnaturephotography.com/wordpress
The Fortress of the Castle, is located on a privileged area of the city and the birthplace of it. The purpose of said edifications was to avoid attacks of local Indian tribes and possibly pirates coming along with the Dutch and French historical invasions of the Brazilian Coast. So this rustic and colonial constructions are dated back to the XXVII century in the early days of the city of Belém. This is where basically the city originated and from there expanded to its present firm ground, far away from the Bay and River.
O Forte do Castelo do Senhor Santo Cristo do Presépio de Belém, popularmente referido como Forte do Castelo, localiza-se sobre a baía do Guajará, na ponta de Maúri à margem direita da foz do rio Guamá, na cidade de Belém no estado brasileiro do Pará. Dominando a entrada do porto e o canal de navegação que costeia a ilha das Onças.
Constitui-se num dos mais procurados pontos turísticos da cidade, por sua localização privilegiada e seu sentido histórico. Integrante do complexo arquitetônico e religioso da cidade velha, a Feliz Lusitânia.
Fortaleza (Castillo del Fuerte), es la construcción hecha para ahuyentar los enemigos indigenas y europeos que querían invadir la ciudad de Belém que se estaba iniciando construida por los portugueses en los siglos 16 y 17. Este local fue donde surgió Belém y es considerado la cuna de la ciudad. En el área hay un complejo de iglesias, mercados, museos y otros atractivos para el turista que visita Belém. Se posiciona estrategicamente con vista para la Bahia de Guajará que se ofrece una bella vista que más parece un mar y no un rio. Vale la visita.
Sometimes you just have to get a little wet :)
For those that don't recognize the place, yes, this is that famous subway in Zion. I was fortunate to have it all to myself for 4 hours last monday. To really experience it, I decided to hop in one of the pools (wearing a drysuit) with my camera in an underwater housing.
----
Prints available: http://artinnaturephotography.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
Sun star and backlit Cholla, Anza Borrego State Park.
Ignore the dust bunny.. didn't see it till now :)
-------
Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
Le palais des Normands (Palazzo dei Normanni en italien, Palazzu di li Nurmanni en sicilien) est un édifice de Palerme, situé Place de l'Indépendance, qui fut tour à tour forteresse punique, fort romain, château des émirs arabes, résidence des rois normands au XIIe siècle, puis enfin siège de l’Assemblée régionale sicilienne.
C'est d'abord un fort punique au VIIe siècle av. J.-C. dont on peut encore apercevoir des vestiges de maçonnerie. La place forte est conquise par les Romains en -254. Bélisaire s’en empare en 535 et la ville reste sous la domination byzantine pendant trois siècles. Les Arabes en font la résidence des Émirs (Qasr) en 831 après leur conquête de la ville. En 1072, lors de la conquête normande, la forteresse devient le palais des Normands, qui la transforment et l'embellissent. En 1130, Roger II de Sicile, roi de Sicile, décide de faire construire la tour Gjoaria (des joyaux), subdivisée en deux portiques voûtés à quatre arcades (du type des églises byzantines) qui soutiennent deux salles à déambulatoires : la Salle des Vents et la Salle de Roger, et surtout la chapelle Palatine, dédiée à saint Pierre. Frédéric II de Sicile fonde dans le Palais l’École poétique sicilienne entre 1220 et 1230. Après l’expulsion des Angevins en 1282, Pierre III d'Aragon s'installe dans le palais. Les vice-rois l'habitent épisodiquement ensuite. Après 1500 il subit de grands travaux de restaurations (démolition de tours normandes, édification de cours intérieures : cour Maqueda et cour de la fontaine) jusqu’à l’expulsion des Bourbons, en 1799. L’observatoire astronomique de Palerme est situé au palais des Normands depuis le XIXe siècle. Depuis la fin de la Seconde Guerre mondiale, le palais est le siège de l’Assemblée régionale sicilienne.
The Palace of the Normans (Palazzo dei Normanni in Italian, Palazzu di li Nurmanni in Sicilian) is a Palermo building, located in Independence Square, which was in turn Punic fortress, Roman fort, castle of the Arab emirs, residence of the kings Norman in the 12th century, then finally seat of the Sicilian Regional Assembly.
It was first a Punic fort in the 7th century BC. From which one can still see vestiges of masonry. The stronghold was conquered by the Romans in -254. Bélisaire captured it in 535 and the city remained under Byzantine domination for three centuries. The Arabs made it the residence of the Emirs (Qasr) in 831 after their conquest of the city. In 1072, during the Norman conquest, the fortress became the palace of the Normans, who transformed and embellished it. In 1130, Roger II of Sicily, king of Sicily, decided to build the Gjoaria tower (jewels), subdivided into two arched porticos with four arches (of the type of Byzantine churches) which support two ambulatory rooms: the Hall of the Winds and Roger's Room, and especially the Palatine Chapel, dedicated to Saint Peter. Frederick II of Sicily founded the Sicilian Poetic School in the Palace between 1220 and 1230. After the expulsion of the Angevins in 1282, Peter III of Aragon moved to the palace. The viceroys inhabit it sporadically thereafter. After 1500 he underwent major restoration works (demolition of Norman towers, construction of interior courtyards: Maqueda courtyard and fountain courtyard) until the expulsion of the Bourbons, in 1799. The Palermo astronomical observatory is located in the palace Normans since the 19th century. Since the end of the Second World War, the palace has been the seat of the Sicilian Regional Assembly.
© Saúl Tuñón Loureda
La basílica del Sagrado Corazón de Montmartre, (en francés: Basilique du Sacré-Cœur) es un importante templo religioso situado en París (Francia). Está ubicado en lo alto de la colina de Montmartre.
Se trata de una basílica menor dedicada al Sagrado Corazón de Jesús (en francés, SacréCœur de Jésus).
Historia
Su construcción fue decidida por la Asamblea Nacional en 1873, como un edificio religioso a perpetuidad en homenaje a la memoria de los numerosos ciudadanos franceses que habían perdido la vida durante la Guerra franco-prusiana. Según sus promotores se hacía también para expiar por la impiedad del Segundo Imperio francés.2 Fue el arquitecto Paul Abadie quien ganó el concurso para su construcción.
La primera piedra se colocó en 1875, y aunque se completó en 1914, no se consagró hasta el fin de la Primera Guerra Mundial, en 1919. La iglesia fue construida con fondos procedentes exclusivamente de una suscripción popular.
Es uno de los monumentos más visitados de la ciudad parisina.
Arquitectura
La planta del edificio está más central que basilical. Tiene forma de cruz griega, adornada con cuatro cúpulas: el domo central, de 80 m. de altura, está tocado por una linterna, formada por una columnata. En el ábside, una inmensa torre cuadrada hace las veces de campanario que guarda, entre otras, la Savoyarde, una campana de 3 m de diámetro y de 18.550 kilogramos de peso, ofrecida por la diócesis de Chambéry. La cripta posee la misma disposición que la iglesia, y es una de las curiosidades de la basílica.
La arquitectura se inspira en la arquitectura romana y bizantina e influyó en otros edificios religiosos del siglo XX, como la basílica de Sainte-Thérèse de Lisieux. Es posible acceder a la basílica tomando el funicular de Montmartre.
es.wikipedia.org/wiki/Bas%C3%ADlica_del_Sagrado_Coraz%C3%...
The Basilica of the Sacred Heart of Paris, commonly known as Sacré-Cœur Basilica and often simply Sacré-Cœur (French: Basilique du Sacré-Cœur, pronounced [sakʁe kœʁ]), is a Roman Catholic church and minor basilica, dedicated to the Sacred Heart of Jesus, in Paris, France. A popular landmark, the basilica is located at the summit of the butte Montmartre, the highest point in the city. Sacré-Cœur is a double monument, political and cultural, both a national penance for the defeat of France in the 1871 Franco-Prussian War and the socialist Paris Commune of 1871[1] crowning its most rebellious neighborhood, and an embodiment of conservative moral order, publicly dedicated to the Sacred Heart of Jesus, which was an increasingly popular vision of a loving and sympathetic Christ.[2]
The Sacré-Cœur Basilica was designed by Paul Abadie. Construction began in 1875 and was finished in 1914. It was consecrated after the end of World War I in 1919.
The inspiration for Sacré Cœur's design originated on September 4, 1870, the day of the proclamation of the Third Republic, with a speech by Bishop Fournier attributing the defeat of French troops during the Franco-Prussian War to a divine punishment after "a century of moral decline" since the French Revolution, in the wake of the division in French society that arose in the decades following that revolution, between devout Catholics and legitimist royalists on one side,[3] and democrats, secularists, socialists and radicals on the other. This schism in the French social order became particularly pronounced after the 1870 withdrawal of the French military garrison protecting the Vatican in Rome to the front of the Franco-Prussian War by Napoleon III,[4] the secular uprising of the Paris Commune of 1870-1871, and the subsequent 1871 defeat of France in the Franco-Prussian War.
Though today the Basilica is asserted[5][when?] to be dedicated in honor of the 58,000 who lost their lives during the war, the decree of the Assemblée nationale, 24 July 1873, responding to a request by the archbishop of Paris by voting its construction, specifies that it is to "expiate the crimes of the Commune".[6] Montmartre had been the site of the Commune's first insurrection, and the Communards had executed Georges Darboy, Archbishop of Paris, who became a martyr for the resurgent Catholic Church. His successor Guibert, climbing the Butte Montmartre in October 1872, was reported to have had a vision, as clouds dispersed over the panorama: "It is here, it is here where the martyrs are,[7] it is here that the Sacred Heart must reign so that it can beckon all to come".[8]
In the moment of inertia following the resignation of the government of Adolphe Thiers, 24 May 1873, François Pie, bishop of Poitiers, expressed the national yearning for spiritual renewal— "the hour of the Church has come"—[9] that would be expressed through the "Government of Moral Order" of the Third Republic, which linked Catholic institutions with secular ones, in "a project of religious and national renewal, the main features of which were the restoration of monarchy and the defense of Rome within a cultural framework of official piety",[10] of which Sacré-Cœur is the chief lasting triumphalist[11] monument.
The decree voting its construction as a "matter of public utility", 24 July,[12] followed close on Thiers' resignation. The project was expressed by the Church as a National Vow (Voeu national) and financial support came from parishes throughout France. The dedicatory inscription records the Basilica as the accomplishment of a vow by Alexandre Legentil and Hubert Rohault de Fleury, ratified by Joseph-Hippolyte Guibert, Archbishop of Paris. The project took many years to complete,
The overall style of the structure shows a free interpretation of Romano-Byzantine features, an unusual architectural vocabulary at the time, which was a conscious reaction against the neo-Baroque excesses of the Palais Garnier, which was cited in the competition.[18] Many design elements of the basilica symbolise nationalist themes: the portico, with its three arches, is adorned by two equestrian statues of French national saints Joan of Arc (1927) and King Saint Louis IX, both executed in bronze by Hippolyte Lefebvre; and the nineteen-ton Savoyarde bell (one of the world's heaviest), cast in 1895 in Annecy, alludes to the annexation of Savoy in 1860.
Sacré-Cœur is built of travertine stone quarried in Château-Landon (Seine-et-Marne), France. This stone constantly exudes calcite, which ensures that the basilica remains white even with weathering and pollution.
A mosaic in the apse, entitled Christ in Majesty, created by Luc-Olivier Merson, is among the largest in the world.
The basilica complex includes a garden for meditation, with a fountain. The top of the dome is open to tourists and affords a spectacular panoramic view of the city of Paris, which is mostly to the south of the basilica.
The use of cameras and video recorders is forbidden inside the Basilica.
Access
The Basilica is accessible by bus. Buses 30, 31, 80, and 85 can be taken to the bottom of the hill of the Basilica. Line 12 of the metro can be taken to Jules Joffrin station and visitors can then change to the Montmartrobus and disembark at Place du Tertre. Line 2 or 12 of the metro can be taken to Pigalle station where visitors can change to the Montmartrobus and disembark at Norvins, or to Anvers station which gives easy access to the steps or the funicular car that lead directly to the Basilica.
Sacré-Cœur is open from 06:00 to 22:30 every day. The dome is accessible from 09:00 to 19:00 in the summer and 18:00 in the winter.
en.wikipedia.org/wiki/Sacr%C3%A9-C%C5%93ur,_Paris
La basilique du Sacré-Cœur, dite du Vœu national, située au sommet de la butte Montmartre, dans le 18e arrondissement de Paris, est un édifice religieux parisien majeur.
La construction de cette église, monument à la fois politique et culturel, suit l'après-guerre de 1870. Elle est déclarée d'utilité publique par une loi votée le 24 juillet 1873 par l'Assemblée nationale de 1871. Elle s'inscrit dans le cadre d'un nouvel « ordre moral » faisant suite aux événements de la Commune de Paris, dont Montmartre fut un des hauts lieux. Avec près de 11 millions de pèlerins et visiteurs par an, c'est le second monument religieux parisien le plus visité après la cathédrale Notre-Dame de Paris
Depuis longtemps la colline de Montmartre a été un lieu de culte : paganisme gaulois supposé puis temples gallo-romains dédiés à Mercure et probablement à Mars ; culte chrétien après le martyre de l'évêque Denis au IIIe siècle, chapelle surmontant la crypte du martyrium de saint Denis, construction au XIIe siècle de l'église Saint-Pierre, parmi les plus anciennes de Paris, pour l’abbaye royale de Montmartre par le roi Louis VI et sa femme Adélaïde de Savoie. Le nom de la colline de Montmartre vient probablement du nom du lieu, Mons Martis(mont de Mars). L'église de Montmartre qui s'est substituée aux temples romains a été élevée en l'honneur des saints martyrs saint Denis, Rustique et Éleuthère décapités selon la légende3 sur la colline et dont une chapelle, située sur le flanc sud de la butte, devait commémorer le lieu traditionnel du supplice, en prenant le nom de Saint-Martyre. Le mont de Mars a donc pu être réinterprété vers le IXe siècle en Mont des Martyrs (Mons Martyrum), puis par dérivation populaire en « mont de martre », martre signifiant « martyr » en ancien français4. La substitution toponymique du mont païen par le mont chrétien reste cependant hypothétique et la double étymologie (mont de Mars et mont des Martyrs) est encore actuellement traditionnellement proposée. Il faudrait, « pour pouvoir trancher la question, savoir comment le peuple, dans son langage parlé, appelait cette colline avant le IXe siècle, puisque c'est à cette époque que les documents écrits enregistrèrent le changement de nom.
Le 16 juin 1875, le cardinal Guibert pose la première pierre (un marbre rose) de la basilique, non loin de l'ancien moulin de la galette, d'où le surnom donné à la basilique par le peuple de Montmartre, « Notre Dame de la Galette »24.
Des mois sont nécessaires afin de consolider les fondations : les galeries souterraines et les effondrements de terrain imposent la construction de 83 puits d'une profondeur de trente-trois mètres. Remplis de béton et reliés par des arcs, ils font office de pilier qui vont cherche la couche solide sous la glaise25. Dès le 3 mars 1876, l'archevêque de Paris inaugure à côté des travaux une chapelle provisoire. En 1878 débute l'édification de la crypte et en 1881 celle de la basilique. L'intérieur de la nef est inauguré le 5 juin 189126. Les vitraux posés entre 1903 et 1920, sont détruits pendant la Seconde Guerre mondiale et remplacés par des vitraux contemporains. Le campanile (clocher haut de 90 mètres) est terminé en 1912, mais il faut attendre 1914 pour que l'ensemble de la façade soit achevé. La consécration, initialement prévue le 17 octobre 1914, est reportée à cause de l'entrée en guerre. Elle a lieu le 16 octobre 1919, célébrée par le cardinal Vico, en présence du cardinal Amette, archevêque de Paris, et de nombreux évêques, dignitaires ecclésiastiques, membres du clergé, personnalités civiles et simples fidèles. L'église est alors érigée en basilique mineure27. Le bâtiment est officiellement achevé en 192328 avec la finition de la décoration intérieure, notamment les mosaïques de l'abside29. Les années 1930 voient le début de la construction des annexes, sacristie, bureaux et dortoir pour accueillir les pèlerins.
La basilique n'est pas construite selon le plan basilical traditionnel. Elle est en forme de croix grecque, ornée de quatre coupoles. La coupole centrale a une hauteur sous clef de voûte de 54,94 m et un diamètre de 16 mètres ; son dôme central, haut de 83 m (c'était le point le plus élevé de Paris avant la construction de la Tour Eiffel), est surmonté d'un lanterneau formé d'une colonnade. Un escalier en colimaçon de 237 marches permet d'accéder à la galerie intérieure et extérieure de ce dôme, la première offrant une vue sur l'intérieur de l'église et la seconde un panorama circulaire sur 30 km par temps claire31. Le style éclectique architectural de l'édifice, s'inspirant de l'architecture romane, de l'architecture byzantine, et particulièrement de la cathédrale Saint-Front de Périgueux, a influencé plusieurs autres édifices religieux du XXe siècle (basilique Sainte-Thérèse de Lisieux par exemple).
Contrairement à la plupart des églises qui ont traditionnellement une orientation Est-Ouest, celle de la basilique est Nord-Sud, tournée vers le centre de Paris, plus particulièrement de Notre-Dame qui est située dans l'alignement de l'édifice.[réf. souhaitée]
La pierre blanche retenue pour la construction est un travertin qui provient des carrières de Château-Landon et de Souppes-sur-Loing (les pierres de l'Arc de Triomphe de l'Étoile ont la même origine)32. Elle a été retenue par l'architecte Paul Abadie pour ses qualités de dureté et d'auto-nettoiement au contact de l'eau, ce calcaire exsudant du calcite, ce qui garde la teinte blanche de la pierre. La basilique repose sur le gypse au moyen de piliers qui traversent les marnes et les sables sus-jacents33.
À l'intérieur, le plafond de l'abside est décoré de la plus grande mosaïque de France (Émaux de Briare), couvrant une surface de 473,78 m2. Conçue par Luc-Olivier Merson et exécutée de 1918 à 1922 par les ateliers Guilbert-Martin, elle représente le Sacré-Cœur de Jésus glorifié par l’église catholique et la France. À sa base on peut lire une phrase en latin signifiant : « Au Cœur très saint de Jésus, la France fervente, pénitente et reconnaissante. »
Une immense tour carrée servant de clocher renferme, entre autres, la plus grosse cloche de France. Baptisée la Savoyarde, elle a été fondue à Annecy en 1895 par les frères Paccard. Elle mesure 3 mètres de diamètre et pèse 18 835 kg. Quant à son support, il pèse 7 380 kg. Le marteau qui la frappe pèse quant à lui 1 200 kg. Symbole nationaliste rappelant l'Annexion de la Savoie, elle fut offerte à la basilique par les quatre diocèses de la Savoie, et arriva sur la butte le 16 octobre 1895, ce qui fut un événement parisien.
fr.wikipedia.org/wiki/Basilique_du_Sacr%C3%A9-C%C5%93ur_d...
Burned and tortured trees left behind by the devastating Station Fire near Los Angeles.
-------
2010 CALENDARS now shipping!! - florisvanbreugel.smugmug.com/gallery/8609384_K59HN
----
Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
Museum Guard: Good morning, Mr. Roper. We have been waiting for you.
Roper: What's going on?
Museum Guard: Would you be good enough to participate in this morning's edification?
Roper: Edification?
[Roper sees Lee tied with arms behind his back]
Roper: [to Museum Guard] What are you going to do to him?
Museum Guard: Not me, Mr. Roper, you.
(borrowed from "Enter the Dragon (1973)" with Bruce Lee)
This was one of those, "holy crap I need to pull over the car and find something before the color disappears shots". Well, this is what I found. Thoughts? Clouds too purple? I can't decide..
-------
Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
A reprocess from 2007, from King's Canyon NP. I'm producing a 2010 calendar, this is Mr. July. Details to come later on my website.
In some ways I prefer a square crop without the left edge, but I hate squares.. so it's a never ending battle.
-------
Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
© Saúl Tuñón Loureda
La basílica del Sagrado Corazón de Montmartre, (en francés: Basilique du Sacré-Cœur) es un importante templo religioso situado en París (Francia). Está ubicado en lo alto de la colina de Montmartre.
Se trata de una basílica menor dedicada al Sagrado Corazón de Jesús (en francés, SacréCœur de Jésus).
Historia
Su construcción fue decidida por la Asamblea Nacional en 1873, como un edificio religioso a perpetuidad en homenaje a la memoria de los numerosos ciudadanos franceses que habían perdido la vida durante la Guerra franco-prusiana. Según sus promotores se hacía también para expiar por la impiedad del Segundo Imperio francés.2 Fue el arquitecto Paul Abadie quien ganó el concurso para su construcción.
La primera piedra se colocó en 1875, y aunque se completó en 1914, no se consagró hasta el fin de la Primera Guerra Mundial, en 1919. La iglesia fue construida con fondos procedentes exclusivamente de una suscripción popular.
Es uno de los monumentos más visitados de la ciudad parisina.
Arquitectura
La planta del edificio está más central que basilical. Tiene forma de cruz griega, adornada con cuatro cúpulas: el domo central, de 80 m. de altura, está tocado por una linterna, formada por una columnata. En el ábside, una inmensa torre cuadrada hace las veces de campanario que guarda, entre otras, la Savoyarde, una campana de 3 m de diámetro y de 18.550 kilogramos de peso, ofrecida por la diócesis de Chambéry. La cripta posee la misma disposición que la iglesia, y es una de las curiosidades de la basílica.
La arquitectura se inspira en la arquitectura romana y bizantina e influyó en otros edificios religiosos del siglo XX, como la basílica de Sainte-Thérèse de Lisieux. Es posible acceder a la basílica tomando el funicular de Montmartre.
es.wikipedia.org/wiki/Bas%C3%ADlica_del_Sagrado_Coraz%C3%...
The Basilica of the Sacred Heart of Paris, commonly known as Sacré-Cœur Basilica and often simply Sacré-Cœur (French: Basilique du Sacré-Cœur, pronounced [sakʁe kœʁ]), is a Roman Catholic church and minor basilica, dedicated to the Sacred Heart of Jesus, in Paris, France. A popular landmark, the basilica is located at the summit of the butte Montmartre, the highest point in the city. Sacré-Cœur is a double monument, political and cultural, both a national penance for the defeat of France in the 1871 Franco-Prussian War and the socialist Paris Commune of 1871[1] crowning its most rebellious neighborhood, and an embodiment of conservative moral order, publicly dedicated to the Sacred Heart of Jesus, which was an increasingly popular vision of a loving and sympathetic Christ.[2]
The Sacré-Cœur Basilica was designed by Paul Abadie. Construction began in 1875 and was finished in 1914. It was consecrated after the end of World War I in 1919.
The inspiration for Sacré Cœur's design originated on September 4, 1870, the day of the proclamation of the Third Republic, with a speech by Bishop Fournier attributing the defeat of French troops during the Franco-Prussian War to a divine punishment after "a century of moral decline" since the French Revolution, in the wake of the division in French society that arose in the decades following that revolution, between devout Catholics and legitimist royalists on one side,[3] and democrats, secularists, socialists and radicals on the other. This schism in the French social order became particularly pronounced after the 1870 withdrawal of the French military garrison protecting the Vatican in Rome to the front of the Franco-Prussian War by Napoleon III,[4] the secular uprising of the Paris Commune of 1870-1871, and the subsequent 1871 defeat of France in the Franco-Prussian War.
Though today the Basilica is asserted[5][when?] to be dedicated in honor of the 58,000 who lost their lives during the war, the decree of the Assemblée nationale, 24 July 1873, responding to a request by the archbishop of Paris by voting its construction, specifies that it is to "expiate the crimes of the Commune".[6] Montmartre had been the site of the Commune's first insurrection, and the Communards had executed Georges Darboy, Archbishop of Paris, who became a martyr for the resurgent Catholic Church. His successor Guibert, climbing the Butte Montmartre in October 1872, was reported to have had a vision, as clouds dispersed over the panorama: "It is here, it is here where the martyrs are,[7] it is here that the Sacred Heart must reign so that it can beckon all to come".[8]
In the moment of inertia following the resignation of the government of Adolphe Thiers, 24 May 1873, François Pie, bishop of Poitiers, expressed the national yearning for spiritual renewal— "the hour of the Church has come"—[9] that would be expressed through the "Government of Moral Order" of the Third Republic, which linked Catholic institutions with secular ones, in "a project of religious and national renewal, the main features of which were the restoration of monarchy and the defense of Rome within a cultural framework of official piety",[10] of which Sacré-Cœur is the chief lasting triumphalist[11] monument.
The decree voting its construction as a "matter of public utility", 24 July,[12] followed close on Thiers' resignation. The project was expressed by the Church as a National Vow (Voeu national) and financial support came from parishes throughout France. The dedicatory inscription records the Basilica as the accomplishment of a vow by Alexandre Legentil and Hubert Rohault de Fleury, ratified by Joseph-Hippolyte Guibert, Archbishop of Paris. The project took many years to complete,
The overall style of the structure shows a free interpretation of Romano-Byzantine features, an unusual architectural vocabulary at the time, which was a conscious reaction against the neo-Baroque excesses of the Palais Garnier, which was cited in the competition.[18] Many design elements of the basilica symbolise nationalist themes: the portico, with its three arches, is adorned by two equestrian statues of French national saints Joan of Arc (1927) and King Saint Louis IX, both executed in bronze by Hippolyte Lefebvre; and the nineteen-ton Savoyarde bell (one of the world's heaviest), cast in 1895 in Annecy, alludes to the annexation of Savoy in 1860.
Sacré-Cœur is built of travertine stone quarried in Château-Landon (Seine-et-Marne), France. This stone constantly exudes calcite, which ensures that the basilica remains white even with weathering and pollution.
A mosaic in the apse, entitled Christ in Majesty, created by Luc-Olivier Merson, is among the largest in the world.
The basilica complex includes a garden for meditation, with a fountain. The top of the dome is open to tourists and affords a spectacular panoramic view of the city of Paris, which is mostly to the south of the basilica.
The use of cameras and video recorders is forbidden inside the Basilica.
Access
The Basilica is accessible by bus. Buses 30, 31, 80, and 85 can be taken to the bottom of the hill of the Basilica. Line 12 of the metro can be taken to Jules Joffrin station and visitors can then change to the Montmartrobus and disembark at Place du Tertre. Line 2 or 12 of the metro can be taken to Pigalle station where visitors can change to the Montmartrobus and disembark at Norvins, or to Anvers station which gives easy access to the steps or the funicular car that lead directly to the Basilica.
Sacré-Cœur is open from 06:00 to 22:30 every day. The dome is accessible from 09:00 to 19:00 in the summer and 18:00 in the winter.
en.wikipedia.org/wiki/Sacr%C3%A9-C%C5%93ur,_Paris
La basilique du Sacré-Cœur, dite du Vœu national, située au sommet de la butte Montmartre, dans le 18e arrondissement de Paris, est un édifice religieux parisien majeur.
La construction de cette église, monument à la fois politique et culturel, suit l'après-guerre de 1870. Elle est déclarée d'utilité publique par une loi votée le 24 juillet 1873 par l'Assemblée nationale de 1871. Elle s'inscrit dans le cadre d'un nouvel « ordre moral » faisant suite aux événements de la Commune de Paris, dont Montmartre fut un des hauts lieux. Avec près de 11 millions de pèlerins et visiteurs par an, c'est le second monument religieux parisien le plus visité après la cathédrale Notre-Dame de Paris
Depuis longtemps la colline de Montmartre a été un lieu de culte : paganisme gaulois supposé puis temples gallo-romains dédiés à Mercure et probablement à Mars ; culte chrétien après le martyre de l'évêque Denis au IIIe siècle, chapelle surmontant la crypte du martyrium de saint Denis, construction au XIIe siècle de l'église Saint-Pierre, parmi les plus anciennes de Paris, pour l’abbaye royale de Montmartre par le roi Louis VI et sa femme Adélaïde de Savoie. Le nom de la colline de Montmartre vient probablement du nom du lieu, Mons Martis(mont de Mars). L'église de Montmartre qui s'est substituée aux temples romains a été élevée en l'honneur des saints martyrs saint Denis, Rustique et Éleuthère décapités selon la légende3 sur la colline et dont une chapelle, située sur le flanc sud de la butte, devait commémorer le lieu traditionnel du supplice, en prenant le nom de Saint-Martyre. Le mont de Mars a donc pu être réinterprété vers le IXe siècle en Mont des Martyrs (Mons Martyrum), puis par dérivation populaire en « mont de martre », martre signifiant « martyr » en ancien français4. La substitution toponymique du mont païen par le mont chrétien reste cependant hypothétique et la double étymologie (mont de Mars et mont des Martyrs) est encore actuellement traditionnellement proposée. Il faudrait, « pour pouvoir trancher la question, savoir comment le peuple, dans son langage parlé, appelait cette colline avant le IXe siècle, puisque c'est à cette époque que les documents écrits enregistrèrent le changement de nom.
Le 16 juin 1875, le cardinal Guibert pose la première pierre (un marbre rose) de la basilique, non loin de l'ancien moulin de la galette, d'où le surnom donné à la basilique par le peuple de Montmartre, « Notre Dame de la Galette »24.
Des mois sont nécessaires afin de consolider les fondations : les galeries souterraines et les effondrements de terrain imposent la construction de 83 puits d'une profondeur de trente-trois mètres. Remplis de béton et reliés par des arcs, ils font office de pilier qui vont cherche la couche solide sous la glaise25. Dès le 3 mars 1876, l'archevêque de Paris inaugure à côté des travaux une chapelle provisoire. En 1878 débute l'édification de la crypte et en 1881 celle de la basilique. L'intérieur de la nef est inauguré le 5 juin 189126. Les vitraux posés entre 1903 et 1920, sont détruits pendant la Seconde Guerre mondiale et remplacés par des vitraux contemporains. Le campanile (clocher haut de 90 mètres) est terminé en 1912, mais il faut attendre 1914 pour que l'ensemble de la façade soit achevé. La consécration, initialement prévue le 17 octobre 1914, est reportée à cause de l'entrée en guerre. Elle a lieu le 16 octobre 1919, célébrée par le cardinal Vico, en présence du cardinal Amette, archevêque de Paris, et de nombreux évêques, dignitaires ecclésiastiques, membres du clergé, personnalités civiles et simples fidèles. L'église est alors érigée en basilique mineure27. Le bâtiment est officiellement achevé en 192328 avec la finition de la décoration intérieure, notamment les mosaïques de l'abside29. Les années 1930 voient le début de la construction des annexes, sacristie, bureaux et dortoir pour accueillir les pèlerins.
La basilique n'est pas construite selon le plan basilical traditionnel. Elle est en forme de croix grecque, ornée de quatre coupoles. La coupole centrale a une hauteur sous clef de voûte de 54,94 m et un diamètre de 16 mètres ; son dôme central, haut de 83 m (c'était le point le plus élevé de Paris avant la construction de la Tour Eiffel), est surmonté d'un lanterneau formé d'une colonnade. Un escalier en colimaçon de 237 marches permet d'accéder à la galerie intérieure et extérieure de ce dôme, la première offrant une vue sur l'intérieur de l'église et la seconde un panorama circulaire sur 30 km par temps claire31. Le style éclectique architectural de l'édifice, s'inspirant de l'architecture romane, de l'architecture byzantine, et particulièrement de la cathédrale Saint-Front de Périgueux, a influencé plusieurs autres édifices religieux du XXe siècle (basilique Sainte-Thérèse de Lisieux par exemple).
Contrairement à la plupart des églises qui ont traditionnellement une orientation Est-Ouest, celle de la basilique est Nord-Sud, tournée vers le centre de Paris, plus particulièrement de Notre-Dame qui est située dans l'alignement de l'édifice.[réf. souhaitée]
La pierre blanche retenue pour la construction est un travertin qui provient des carrières de Château-Landon et de Souppes-sur-Loing (les pierres de l'Arc de Triomphe de l'Étoile ont la même origine)32. Elle a été retenue par l'architecte Paul Abadie pour ses qualités de dureté et d'auto-nettoiement au contact de l'eau, ce calcaire exsudant du calcite, ce qui garde la teinte blanche de la pierre. La basilique repose sur le gypse au moyen de piliers qui traversent les marnes et les sables sus-jacents33.
À l'intérieur, le plafond de l'abside est décoré de la plus grande mosaïque de France (Émaux de Briare), couvrant une surface de 473,78 m2. Conçue par Luc-Olivier Merson et exécutée de 1918 à 1922 par les ateliers Guilbert-Martin, elle représente le Sacré-Cœur de Jésus glorifié par l’église catholique et la France. À sa base on peut lire une phrase en latin signifiant : « Au Cœur très saint de Jésus, la France fervente, pénitente et reconnaissante. »
Une immense tour carrée servant de clocher renferme, entre autres, la plus grosse cloche de France. Baptisée la Savoyarde, elle a été fondue à Annecy en 1895 par les frères Paccard. Elle mesure 3 mètres de diamètre et pèse 18 835 kg. Quant à son support, il pèse 7 380 kg. Le marteau qui la frappe pèse quant à lui 1 200 kg. Symbole nationaliste rappelant l'Annexion de la Savoie, elle fut offerte à la basilique par les quatre diocèses de la Savoie, et arriva sur la butte le 16 octobre 1895, ce qui fut un événement parisien.
fr.wikipedia.org/wiki/Basilique_du_Sacr%C3%A9-C%C5%93ur_d...
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.
Antigua edificación militar de finales del siglo XIX construida en sillares de piedra caliza. Al fondo, La Raca (2.284 metros).
Old military edification at the end of the 19th century building built in limestone ashlars. The background, La Raca (2,284 meters).
Canfranc-Estación. Aragón. España.
Hey all, just back from a trip to Colorado - mostly for work (non-photo), but I worked in a few days to play in the mountains. Here's one of some mountain goats in mid gallop and backlighting.
2010 CALENDARS now shipping!! - florisvanbreugel.smugmug.com/gallery/8609384_K59HN
----
Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
Built in 16th century on project of Santi di Tito as a memorial of the city called Semifonte destroyed by soldiers of Florence in 1198. Edification of a new city was forbidden until a permit emitted by Granduca gave a permit to built the memorial.
Nikon f100 loaded with expired Orwo NP20,
dev. in Caffenol for 70 min. Nikon 16-35 f4. The building reproduce Florence cathedral in 1/8 scale.
Early morning light illuminates this peaceful desert foliage scene in the Owen's Valley.
----
Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
Pastoral Counsels (James Meikle, 1730-1799)
"Watch your life and doctrine closely!" 1 Timothy 4:16
Do not meddle much with the affairs of this life--or else celestial truths, as uttered by you, will be despised.
Do not pretend a 'show of sanctimony' before men.
Whatever else you read, read a double portion in God's Word.
Do not be much concerned about your own reputation.
Learn daily more of Christ and more of yourself--or else your other studies will profit little.
Seek not great things for yourself. Seek not great fame, great applause, great comforts, or a great income.
Be scant in exhibiting 'specimens of your learning', or comments on the Scriptures in their original languages.
Consider the preciousness of souls, the value of salvation, the terrors of the Almighty, the solemn day of judgment, and your own utter inability. Then you shall have no vain confidence, but depend on God alone.
Please all men so long as you are consistent with the truth--but do not wound the truth to please any.
Set your affections on things above--so shall spiritual things be your delight, and not your burden.
In company, always study to say something for edification.
In this way, you preach every day--as well as on Sundays.
Be much with God in secret--so shall God be with you in public.
Have sympathetic feelings with the sufferings of all your flock, and especially embrace those golden opportunities--sickness and affliction.
Let your life be consistent with your message.
What you preach on Sunday--practice through the week.
Lend your ear to reproaches--rather than applauses.
Reproaches may let us see some of our foibles or failings.
Commendation is very apt to kindle self-conceit, of which everyone has enough.
Give a pleasant ear when others are commended, but always frown away the one that would commend you to your face.
In preaching, aim at God's glory and the good of souls.
And then, without deviating from that rule--please all men as much as possible.
Let your sermons be always the fruit of much study and application.
Never dare to serve God or His people with that which cost you nothing.
"Be an example to all believers in what you teach, in the way you live, in your love, your faith, and your purity." 1 Timothy 4:12
Can't get enough of my beloved Gingko biloba tree...
To honour the Ginkgo, Johann Wolfgang von Goethe wrote the following poem:
GINKGO BILOBA
The leaf of this Eastern tree
Which has been entrusted to my garden
Offers a feast of secret significance,
For the edification of the initiate.
Is it one living thing
That has become divided within itself?
Are these two who have chosen each other,
So that we know them as one?
I think I have found the right answer
To these questions;
Do my songs not make you feel
That I am both one and twain?
(J.W. v. Goethe)
Y en Espanol:
GINKGO BILOBA
Las hojas de este árbol, que del Oriente
a mi jardin venido, lo adorna ahora,
un arcano sentido tienen, que al sabio
de reflexión le brindan materia obvia.
¿ Será este árbol extraño algún ser vivo
que un dia en dos mitades se dividiera?
¿ O dos seres que tanto se comprendieron,
que fundirse en un solo ser decidieran?
La clave de este enigma tan inquietante
Yo dentro de mi mismo creo haberla hallado:
¿ no adivinas tú mismo, por mis canciones,
que soy sencillo y doble como este árbol?
© Saúl Tuñón Loureda
La basílica del Sagrado Corazón de Montmartre, (en francés: Basilique du Sacré-Cœur) es un importante templo religioso situado en París (Francia). Está ubicado en lo alto de la colina de Montmartre.
Se trata de una basílica menor dedicada al Sagrado Corazón de Jesús (en francés, SacréCœur de Jésus).
Historia
Su construcción fue decidida por la Asamblea Nacional en 1873, como un edificio religioso a perpetuidad en homenaje a la memoria de los numerosos ciudadanos franceses que habían perdido la vida durante la Guerra franco-prusiana. Según sus promotores se hacía también para expiar por la impiedad del Segundo Imperio francés.2 Fue el arquitecto Paul Abadie quien ganó el concurso para su construcción.
La primera piedra se colocó en 1875, y aunque se completó en 1914, no se consagró hasta el fin de la Primera Guerra Mundial, en 1919. La iglesia fue construida con fondos procedentes exclusivamente de una suscripción popular.
Es uno de los monumentos más visitados de la ciudad parisina.
Arquitectura
La planta del edificio está más central que basilical. Tiene forma de cruz griega, adornada con cuatro cúpulas: el domo central, de 80 m. de altura, está tocado por una linterna, formada por una columnata. En el ábside, una inmensa torre cuadrada hace las veces de campanario que guarda, entre otras, la Savoyarde, una campana de 3 m de diámetro y de 18.550 kilogramos de peso, ofrecida por la diócesis de Chambéry. La cripta posee la misma disposición que la iglesia, y es una de las curiosidades de la basílica.
La arquitectura se inspira en la arquitectura romana y bizantina e influyó en otros edificios religiosos del siglo XX, como la basílica de Sainte-Thérèse de Lisieux. Es posible acceder a la basílica tomando el funicular de Montmartre.
es.wikipedia.org/wiki/Bas%C3%ADlica_del_Sagrado_Coraz%C3%...
The Basilica of the Sacred Heart of Paris, commonly known as Sacré-Cœur Basilica and often simply Sacré-Cœur (French: Basilique du Sacré-Cœur, pronounced [sakʁe kœʁ]), is a Roman Catholic church and minor basilica, dedicated to the Sacred Heart of Jesus, in Paris, France. A popular landmark, the basilica is located at the summit of the butte Montmartre, the highest point in the city. Sacré-Cœur is a double monument, political and cultural, both a national penance for the defeat of France in the 1871 Franco-Prussian War and the socialist Paris Commune of 1871[1] crowning its most rebellious neighborhood, and an embodiment of conservative moral order, publicly dedicated to the Sacred Heart of Jesus, which was an increasingly popular vision of a loving and sympathetic Christ.[2]
The Sacré-Cœur Basilica was designed by Paul Abadie. Construction began in 1875 and was finished in 1914. It was consecrated after the end of World War I in 1919.
The inspiration for Sacré Cœur's design originated on September 4, 1870, the day of the proclamation of the Third Republic, with a speech by Bishop Fournier attributing the defeat of French troops during the Franco-Prussian War to a divine punishment after "a century of moral decline" since the French Revolution, in the wake of the division in French society that arose in the decades following that revolution, between devout Catholics and legitimist royalists on one side,[3] and democrats, secularists, socialists and radicals on the other. This schism in the French social order became particularly pronounced after the 1870 withdrawal of the French military garrison protecting the Vatican in Rome to the front of the Franco-Prussian War by Napoleon III,[4] the secular uprising of the Paris Commune of 1870-1871, and the subsequent 1871 defeat of France in the Franco-Prussian War.
Though today the Basilica is asserted[5][when?] to be dedicated in honor of the 58,000 who lost their lives during the war, the decree of the Assemblée nationale, 24 July 1873, responding to a request by the archbishop of Paris by voting its construction, specifies that it is to "expiate the crimes of the Commune".[6] Montmartre had been the site of the Commune's first insurrection, and the Communards had executed Georges Darboy, Archbishop of Paris, who became a martyr for the resurgent Catholic Church. His successor Guibert, climbing the Butte Montmartre in October 1872, was reported to have had a vision, as clouds dispersed over the panorama: "It is here, it is here where the martyrs are,[7] it is here that the Sacred Heart must reign so that it can beckon all to come".[8]
In the moment of inertia following the resignation of the government of Adolphe Thiers, 24 May 1873, François Pie, bishop of Poitiers, expressed the national yearning for spiritual renewal— "the hour of the Church has come"—[9] that would be expressed through the "Government of Moral Order" of the Third Republic, which linked Catholic institutions with secular ones, in "a project of religious and national renewal, the main features of which were the restoration of monarchy and the defense of Rome within a cultural framework of official piety",[10] of which Sacré-Cœur is the chief lasting triumphalist[11] monument.
The decree voting its construction as a "matter of public utility", 24 July,[12] followed close on Thiers' resignation. The project was expressed by the Church as a National Vow (Voeu national) and financial support came from parishes throughout France. The dedicatory inscription records the Basilica as the accomplishment of a vow by Alexandre Legentil and Hubert Rohault de Fleury, ratified by Joseph-Hippolyte Guibert, Archbishop of Paris. The project took many years to complete,
The overall style of the structure shows a free interpretation of Romano-Byzantine features, an unusual architectural vocabulary at the time, which was a conscious reaction against the neo-Baroque excesses of the Palais Garnier, which was cited in the competition.[18] Many design elements of the basilica symbolise nationalist themes: the portico, with its three arches, is adorned by two equestrian statues of French national saints Joan of Arc (1927) and King Saint Louis IX, both executed in bronze by Hippolyte Lefebvre; and the nineteen-ton Savoyarde bell (one of the world's heaviest), cast in 1895 in Annecy, alludes to the annexation of Savoy in 1860.
Sacré-Cœur is built of travertine stone quarried in Château-Landon (Seine-et-Marne), France. This stone constantly exudes calcite, which ensures that the basilica remains white even with weathering and pollution.
A mosaic in the apse, entitled Christ in Majesty, created by Luc-Olivier Merson, is among the largest in the world.
The basilica complex includes a garden for meditation, with a fountain. The top of the dome is open to tourists and affords a spectacular panoramic view of the city of Paris, which is mostly to the south of the basilica.
The use of cameras and video recorders is forbidden inside the Basilica.
Access
The Basilica is accessible by bus. Buses 30, 31, 80, and 85 can be taken to the bottom of the hill of the Basilica. Line 12 of the metro can be taken to Jules Joffrin station and visitors can then change to the Montmartrobus and disembark at Place du Tertre. Line 2 or 12 of the metro can be taken to Pigalle station where visitors can change to the Montmartrobus and disembark at Norvins, or to Anvers station which gives easy access to the steps or the funicular car that lead directly to the Basilica.
Sacré-Cœur is open from 06:00 to 22:30 every day. The dome is accessible from 09:00 to 19:00 in the summer and 18:00 in the winter.
en.wikipedia.org/wiki/Sacr%C3%A9-C%C5%93ur,_Paris
La basilique du Sacré-Cœur, dite du Vœu national, située au sommet de la butte Montmartre, dans le 18e arrondissement de Paris, est un édifice religieux parisien majeur.
La construction de cette église, monument à la fois politique et culturel, suit l'après-guerre de 1870. Elle est déclarée d'utilité publique par une loi votée le 24 juillet 1873 par l'Assemblée nationale de 1871. Elle s'inscrit dans le cadre d'un nouvel « ordre moral » faisant suite aux événements de la Commune de Paris, dont Montmartre fut un des hauts lieux. Avec près de 11 millions de pèlerins et visiteurs par an, c'est le second monument religieux parisien le plus visité après la cathédrale Notre-Dame de Paris
Depuis longtemps la colline de Montmartre a été un lieu de culte : paganisme gaulois supposé puis temples gallo-romains dédiés à Mercure et probablement à Mars ; culte chrétien après le martyre de l'évêque Denis au IIIe siècle, chapelle surmontant la crypte du martyrium de saint Denis, construction au XIIe siècle de l'église Saint-Pierre, parmi les plus anciennes de Paris, pour l’abbaye royale de Montmartre par le roi Louis VI et sa femme Adélaïde de Savoie. Le nom de la colline de Montmartre vient probablement du nom du lieu, Mons Martis(mont de Mars). L'église de Montmartre qui s'est substituée aux temples romains a été élevée en l'honneur des saints martyrs saint Denis, Rustique et Éleuthère décapités selon la légende3 sur la colline et dont une chapelle, située sur le flanc sud de la butte, devait commémorer le lieu traditionnel du supplice, en prenant le nom de Saint-Martyre. Le mont de Mars a donc pu être réinterprété vers le IXe siècle en Mont des Martyrs (Mons Martyrum), puis par dérivation populaire en « mont de martre », martre signifiant « martyr » en ancien français4. La substitution toponymique du mont païen par le mont chrétien reste cependant hypothétique et la double étymologie (mont de Mars et mont des Martyrs) est encore actuellement traditionnellement proposée. Il faudrait, « pour pouvoir trancher la question, savoir comment le peuple, dans son langage parlé, appelait cette colline avant le IXe siècle, puisque c'est à cette époque que les documents écrits enregistrèrent le changement de nom.
Le 16 juin 1875, le cardinal Guibert pose la première pierre (un marbre rose) de la basilique, non loin de l'ancien moulin de la galette, d'où le surnom donné à la basilique par le peuple de Montmartre, « Notre Dame de la Galette »24.
Des mois sont nécessaires afin de consolider les fondations : les galeries souterraines et les effondrements de terrain imposent la construction de 83 puits d'une profondeur de trente-trois mètres. Remplis de béton et reliés par des arcs, ils font office de pilier qui vont cherche la couche solide sous la glaise25. Dès le 3 mars 1876, l'archevêque de Paris inaugure à côté des travaux une chapelle provisoire. En 1878 débute l'édification de la crypte et en 1881 celle de la basilique. L'intérieur de la nef est inauguré le 5 juin 189126. Les vitraux posés entre 1903 et 1920, sont détruits pendant la Seconde Guerre mondiale et remplacés par des vitraux contemporains. Le campanile (clocher haut de 90 mètres) est terminé en 1912, mais il faut attendre 1914 pour que l'ensemble de la façade soit achevé. La consécration, initialement prévue le 17 octobre 1914, est reportée à cause de l'entrée en guerre. Elle a lieu le 16 octobre 1919, célébrée par le cardinal Vico, en présence du cardinal Amette, archevêque de Paris, et de nombreux évêques, dignitaires ecclésiastiques, membres du clergé, personnalités civiles et simples fidèles. L'église est alors érigée en basilique mineure27. Le bâtiment est officiellement achevé en 192328 avec la finition de la décoration intérieure, notamment les mosaïques de l'abside29. Les années 1930 voient le début de la construction des annexes, sacristie, bureaux et dortoir pour accueillir les pèlerins.
La basilique n'est pas construite selon le plan basilical traditionnel. Elle est en forme de croix grecque, ornée de quatre coupoles. La coupole centrale a une hauteur sous clef de voûte de 54,94 m et un diamètre de 16 mètres ; son dôme central, haut de 83 m (c'était le point le plus élevé de Paris avant la construction de la Tour Eiffel), est surmonté d'un lanterneau formé d'une colonnade. Un escalier en colimaçon de 237 marches permet d'accéder à la galerie intérieure et extérieure de ce dôme, la première offrant une vue sur l'intérieur de l'église et la seconde un panorama circulaire sur 30 km par temps claire31. Le style éclectique architectural de l'édifice, s'inspirant de l'architecture romane, de l'architecture byzantine, et particulièrement de la cathédrale Saint-Front de Périgueux, a influencé plusieurs autres édifices religieux du XXe siècle (basilique Sainte-Thérèse de Lisieux par exemple).
Contrairement à la plupart des églises qui ont traditionnellement une orientation Est-Ouest, celle de la basilique est Nord-Sud, tournée vers le centre de Paris, plus particulièrement de Notre-Dame qui est située dans l'alignement de l'édifice.[réf. souhaitée]
La pierre blanche retenue pour la construction est un travertin qui provient des carrières de Château-Landon et de Souppes-sur-Loing (les pierres de l'Arc de Triomphe de l'Étoile ont la même origine)32. Elle a été retenue par l'architecte Paul Abadie pour ses qualités de dureté et d'auto-nettoiement au contact de l'eau, ce calcaire exsudant du calcite, ce qui garde la teinte blanche de la pierre. La basilique repose sur le gypse au moyen de piliers qui traversent les marnes et les sables sus-jacents33.
À l'intérieur, le plafond de l'abside est décoré de la plus grande mosaïque de France (Émaux de Briare), couvrant une surface de 473,78 m2. Conçue par Luc-Olivier Merson et exécutée de 1918 à 1922 par les ateliers Guilbert-Martin, elle représente le Sacré-Cœur de Jésus glorifié par l’église catholique et la France. À sa base on peut lire une phrase en latin signifiant : « Au Cœur très saint de Jésus, la France fervente, pénitente et reconnaissante. »
Une immense tour carrée servant de clocher renferme, entre autres, la plus grosse cloche de France. Baptisée la Savoyarde, elle a été fondue à Annecy en 1895 par les frères Paccard. Elle mesure 3 mètres de diamètre et pèse 18 835 kg. Quant à son support, il pèse 7 380 kg. Le marteau qui la frappe pèse quant à lui 1 200 kg. Symbole nationaliste rappelant l'Annexion de la Savoie, elle fut offerte à la basilique par les quatre diocèses de la Savoie, et arriva sur la butte le 16 octobre 1895, ce qui fut un événement parisien.
fr.wikipedia.org/wiki/Basilique_du_Sacr%C3%A9-C%C5%93ur_d...
En 1465, Louis XI fait brûler et raser le château qui sera reconstruit quelques années plus tard.
Propriété de la famille d’Amboise durant 500 ans, c’est Charles II d’Amboise qui inaugure sa métamorphose en château d’agrément dans le style Renaissance. Le décor sculpté prend de l’importance et devient l’élément majeur des façades extérieures.
En 1550, Catherine de Médicis acquiert le domaine, mais ne lance pas de grands chantiers sur le château, dont elle se sépare en 1560, au profit de Diane de Poitiers. L’ancienne favorite du roi met en œuvre les travaux qui lui confèrent sa physionomie actuelle, avec en particulier, l’achèvement des chemins de ronde du châtelet d'entrée et de la tour Saint-Nicolas.
En 1750, Jacques-Donatien Le Ray ordonne la destruction de l’aile Nord et ouvre ainsi un point de vue unique sur la Loire. Il accueille le sculpteur italien Jean-Baptiste Nini. Le Château présente aujourd’hui la plus belle collection au monde de médaillons "pièces uniques" de ce célèbre sculpteur.
En 1875, Marie-Charlotte-Constance Say achète le château et se marie avec le prince Henri-Amédée de Broglie. Elle décore les pièces avec du mobilier Renaissance et supervise de nombreux travaux pour rendre la demeure digne des plus grandes réceptions. C’est l’architecte Paul-Ernest Sanson qui sera en charge de ce chantier. Ce dernier conçoit également les luxueuses écuries. Enfin, l’architecte Marcel Boille procède à l’édification de la ferme modèle du Domaine.
Cédé à l’État en 1938 par la Princesse d'Orléans et Bourbon, le Domaine de Chaumont-sur-Loire est la propriété de la Région Centre-Val de Loire depuis 2007 et Établissement Public de Coopération Culturelle depuis janvier 2008.
In 1465, Louis XI made burn and shave the castle which will be rebuilt a few years later.
Owned by the family of Amboise for 500 years, it is Charles II of Amboise who inaugurates his metamorphosis into a pleasure castle in the Renaissance style. The carved decoration becomes important and becomes the major element of the exterior facades.
In 1550, Catherine de Médicis acquired the estate, but did not launch major projects on the castle, which she separated in 1560, in favor of Diane de Poitiers. The former favorite of the king implements the works that give it its current appearance, with in particular, the completion of the gateways of the gatehouse and the tower of St. Nicholas.
In 1750, Jacques-Donatien Le Ray ordered the destruction of the North wing and thus opens a unique point of view on the Loire. He welcomes the Italian sculptor Jean-Baptiste Nini. Today, the Château presents the most beautiful collection in the world of "unique pieces" medallions of this famous sculptor.
In 1875, Marie-Charlotte-Constance Say bought the castle and married Prince Henri-Amédée de Broglie. She decorates the rooms with Renaissance furniture and supervises many works to make the house worthy of the biggest receptions. It is the architect Paul-Ernest Sanson who will be in charge of this project. The latter also designs luxury stables. Finally, architect Marcel Boille is building the Domaine's model farm.
Transferred to the State in 1938 by the Princesse d'Orléans and Bourbon, the Domaine de Chaumont-sur-Loire has been owned by the Center-Val de Loire Region since 2007 and the Public Institution for Cultural Cooperation since January 2008.
Nature is man's teacher. She unfolds her treasures to his search, unseals his eye, illumes his mind, and purifies his heart; an influence breathes from all the sights and sounds of her existence.
Saint-Stephen Cathedral Metz, France, 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 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 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.
The edification of Saint-Stephen of Metz took place on an Ancient site from the 5th century. 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.
San Marco in Lamis, Gargano, Puglia, italia© 2015 All rights reserved
FotoSketcher oil painting effect and lively
Nikon coolpix p 7100
San Marco in Lamis è un comune italiano di 13.928 abitanti della provincia di Foggia, in Puglia.
San Marco in Lamis è nota soprattutto per la tradizionale Processione delle "fracchie", una manifestazione religiosa popolare molto suggestiva e assai singolare, che si ripete puntualmente da circa tre secoli ogni venerdì Santo per la rievocazione della Passione di Cristo, e che, ogni anno, richiama un grande afflusso di forestieri. Le fracchie sono delle enormi fiaccole, realizzate con grossi tronchi di albero di quercia o castagno aperti longitudinalmente a forma di cono e riempiti di legna, per essere incendiate all'imbrunire e divenire quindi dei falò ambulanti che illuminano il cammino della Madonna Addolorata lungo le strade del paese alla ricerca del figlio Gesù morto.Sembra che le origini di questo rito risalgano ai primi anni del XVIII secolo, epoca di edificazione della chiesa dell'Addolorata e le sue ragioni, oltre che di ordine religioso e devozionale, vadano collegate anche ad una motivazione di ordine pratico riconducibile alle precise condizioni fisiche dell'abitato. Infatti, quando venne costruita (1717), la chiesa dell'Addolorata si trovava fuori del centro abitato e lì sarebbe rimasta fino all'ultimo ventennio del XIX secolo. Una collocazione questa che sollecitò la fantasia degli abitanti, i quali pensarono di illuminare con le "fracchie" la strada che la Madonna percorreva dalla sua chiesa fino alla Collegiata, dove era custodito il corpo del Cristo. Le “fracchie più grandi possono essere lunghe anche 13-14 metri e pesare anche 60-70 quintali di legno di quercia , castagno o abete .
da wikipedia
San Marco in Lamis is a town of 13,928 citizens in the Italian province of Foggia, Puglia, Italy.
San Marco in Lamis is a town of 13.928 citizens and comune in the province of Foggia in the Apulia region of southeast Italy. It is located in the Gargano massif area.Apart from some tourism conted to pilgrimages at the local Catholic sanctuary of St. Matthew, the economy is mostly based on agriculture.San Marco in Lamis is known for the traditional procession of "fracchie", a very popular religious manifestation suggestive and very singular, that is repeated regularly from about three centuries each friday Saint for the reenactment of the passion of Christ, and that each year draws a large influx of foreigners. The fracchie are huge torches, made with large trees oak opened longitudinally cone-shaped and filled with wood, to be burned at dusk and become so a itinerant bonfires that illuminate the journey of our Lady of Sorrows along the roads of the country in search of the son Jesus died.It seems that the origins of this rite dates back to the early 18th century, a time of edification of the Church of our Lady of sorrows and his reasons as well as religious and devotional order, should be connected to a practical motivation due to precise physical conditions of the town. In fact, when it was built (1717), the Church of our Lady of Sorrows was out of town and would remain there until the last two decades of the 19th century. A bin that solicited the imagination of the inhabitants, whom they thought to illuminate with the "fracchie" the way that she ran from her church until the collegiate, where he guarded the body of Christ. The"Fracchia" can also get the length of 13-14 meters and weigh 60-70 quintals of wood of oak. From wikipedia
© Saúl Tuñón Loureda
La basílica del Sagrado Corazón de Montmartre, (en francés: Basilique du Sacré-Cœur) es un importante templo religioso situado en París (Francia). Está ubicado en lo alto de la colina de Montmartre.
Se trata de una basílica menor dedicada al Sagrado Corazón de Jesús (en francés, SacréCœur de Jésus).
Historia
Su construcción fue decidida por la Asamblea Nacional en 1873, como un edificio religioso a perpetuidad en homenaje a la memoria de los numerosos ciudadanos franceses que habían perdido la vida durante la Guerra franco-prusiana. Según sus promotores se hacía también para expiar por la impiedad del Segundo Imperio francés.2 Fue el arquitecto Paul Abadie quien ganó el concurso para su construcción.
La primera piedra se colocó en 1875, y aunque se completó en 1914, no se consagró hasta el fin de la Primera Guerra Mundial, en 1919. La iglesia fue construida con fondos procedentes exclusivamente de una suscripción popular.
Es uno de los monumentos más visitados de la ciudad parisina.
Arquitectura
La planta del edificio está más central que basilical. Tiene forma de cruz griega, adornada con cuatro cúpulas: el domo central, de 80 m. de altura, está tocado por una linterna, formada por una columnata. En el ábside, una inmensa torre cuadrada hace las veces de campanario que guarda, entre otras, la Savoyarde, una campana de 3 m de diámetro y de 18.550 kilogramos de peso, ofrecida por la diócesis de Chambéry. La cripta posee la misma disposición que la iglesia, y es una de las curiosidades de la basílica.
La arquitectura se inspira en la arquitectura romana y bizantina e influyó en otros edificios religiosos del siglo XX, como la basílica de Sainte-Thérèse de Lisieux. Es posible acceder a la basílica tomando el funicular de Montmartre.
es.wikipedia.org/wiki/Bas%C3%ADlica_del_Sagrado_Coraz%C3%...
The Basilica of the Sacred Heart of Paris, commonly known as Sacré-Cœur Basilica and often simply Sacré-Cœur (French: Basilique du Sacré-Cœur, pronounced [sakʁe kœʁ]), is a Roman Catholic church and minor basilica, dedicated to the Sacred Heart of Jesus, in Paris, France. A popular landmark, the basilica is located at the summit of the butte Montmartre, the highest point in the city. Sacré-Cœur is a double monument, political and cultural, both a national penance for the defeat of France in the 1871 Franco-Prussian War and the socialist Paris Commune of 1871[1] crowning its most rebellious neighborhood, and an embodiment of conservative moral order, publicly dedicated to the Sacred Heart of Jesus, which was an increasingly popular vision of a loving and sympathetic Christ.[2]
The Sacré-Cœur Basilica was designed by Paul Abadie. Construction began in 1875 and was finished in 1914. It was consecrated after the end of World War I in 1919.
The inspiration for Sacré Cœur's design originated on September 4, 1870, the day of the proclamation of the Third Republic, with a speech by Bishop Fournier attributing the defeat of French troops during the Franco-Prussian War to a divine punishment after "a century of moral decline" since the French Revolution, in the wake of the division in French society that arose in the decades following that revolution, between devout Catholics and legitimist royalists on one side,[3] and democrats, secularists, socialists and radicals on the other. This schism in the French social order became particularly pronounced after the 1870 withdrawal of the French military garrison protecting the Vatican in Rome to the front of the Franco-Prussian War by Napoleon III,[4] the secular uprising of the Paris Commune of 1870-1871, and the subsequent 1871 defeat of France in the Franco-Prussian War.
Though today the Basilica is asserted[5][when?] to be dedicated in honor of the 58,000 who lost their lives during the war, the decree of the Assemblée nationale, 24 July 1873, responding to a request by the archbishop of Paris by voting its construction, specifies that it is to "expiate the crimes of the Commune".[6] Montmartre had been the site of the Commune's first insurrection, and the Communards had executed Georges Darboy, Archbishop of Paris, who became a martyr for the resurgent Catholic Church. His successor Guibert, climbing the Butte Montmartre in October 1872, was reported to have had a vision, as clouds dispersed over the panorama: "It is here, it is here where the martyrs are,[7] it is here that the Sacred Heart must reign so that it can beckon all to come".[8]
In the moment of inertia following the resignation of the government of Adolphe Thiers, 24 May 1873, François Pie, bishop of Poitiers, expressed the national yearning for spiritual renewal— "the hour of the Church has come"—[9] that would be expressed through the "Government of Moral Order" of the Third Republic, which linked Catholic institutions with secular ones, in "a project of religious and national renewal, the main features of which were the restoration of monarchy and the defense of Rome within a cultural framework of official piety",[10] of which Sacré-Cœur is the chief lasting triumphalist[11] monument.
The decree voting its construction as a "matter of public utility", 24 July,[12] followed close on Thiers' resignation. The project was expressed by the Church as a National Vow (Voeu national) and financial support came from parishes throughout France. The dedicatory inscription records the Basilica as the accomplishment of a vow by Alexandre Legentil and Hubert Rohault de Fleury, ratified by Joseph-Hippolyte Guibert, Archbishop of Paris. The project took many years to complete,
The overall style of the structure shows a free interpretation of Romano-Byzantine features, an unusual architectural vocabulary at the time, which was a conscious reaction against the neo-Baroque excesses of the Palais Garnier, which was cited in the competition.[18] Many design elements of the basilica symbolise nationalist themes: the portico, with its three arches, is adorned by two equestrian statues of French national saints Joan of Arc (1927) and King Saint Louis IX, both executed in bronze by Hippolyte Lefebvre; and the nineteen-ton Savoyarde bell (one of the world's heaviest), cast in 1895 in Annecy, alludes to the annexation of Savoy in 1860.
Sacré-Cœur is built of travertine stone quarried in Château-Landon (Seine-et-Marne), France. This stone constantly exudes calcite, which ensures that the basilica remains white even with weathering and pollution.
A mosaic in the apse, entitled Christ in Majesty, created by Luc-Olivier Merson, is among the largest in the world.
The basilica complex includes a garden for meditation, with a fountain. The top of the dome is open to tourists and affords a spectacular panoramic view of the city of Paris, which is mostly to the south of the basilica.
The use of cameras and video recorders is forbidden inside the Basilica.
Access
The Basilica is accessible by bus. Buses 30, 31, 80, and 85 can be taken to the bottom of the hill of the Basilica. Line 12 of the metro can be taken to Jules Joffrin station and visitors can then change to the Montmartrobus and disembark at Place du Tertre. Line 2 or 12 of the metro can be taken to Pigalle station where visitors can change to the Montmartrobus and disembark at Norvins, or to Anvers station which gives easy access to the steps or the funicular car that lead directly to the Basilica.
Sacré-Cœur is open from 06:00 to 22:30 every day. The dome is accessible from 09:00 to 19:00 in the summer and 18:00 in the winter.
en.wikipedia.org/wiki/Sacr%C3%A9-C%C5%93ur,_Paris
La basilique du Sacré-Cœur, dite du Vœu national, située au sommet de la butte Montmartre, dans le 18e arrondissement de Paris, est un édifice religieux parisien majeur.
La construction de cette église, monument à la fois politique et culturel, suit l'après-guerre de 1870. Elle est déclarée d'utilité publique par une loi votée le 24 juillet 1873 par l'Assemblée nationale de 1871. Elle s'inscrit dans le cadre d'un nouvel « ordre moral » faisant suite aux événements de la Commune de Paris, dont Montmartre fut un des hauts lieux. Avec près de 11 millions de pèlerins et visiteurs par an, c'est le second monument religieux parisien le plus visité après la cathédrale Notre-Dame de Paris
Depuis longtemps la colline de Montmartre a été un lieu de culte : paganisme gaulois supposé puis temples gallo-romains dédiés à Mercure et probablement à Mars ; culte chrétien après le martyre de l'évêque Denis au IIIe siècle, chapelle surmontant la crypte du martyrium de saint Denis, construction au XIIe siècle de l'église Saint-Pierre, parmi les plus anciennes de Paris, pour l’abbaye royale de Montmartre par le roi Louis VI et sa femme Adélaïde de Savoie. Le nom de la colline de Montmartre vient probablement du nom du lieu, Mons Martis(mont de Mars). L'église de Montmartre qui s'est substituée aux temples romains a été élevée en l'honneur des saints martyrs saint Denis, Rustique et Éleuthère décapités selon la légende3 sur la colline et dont une chapelle, située sur le flanc sud de la butte, devait commémorer le lieu traditionnel du supplice, en prenant le nom de Saint-Martyre. Le mont de Mars a donc pu être réinterprété vers le IXe siècle en Mont des Martyrs (Mons Martyrum), puis par dérivation populaire en « mont de martre », martre signifiant « martyr » en ancien français4. La substitution toponymique du mont païen par le mont chrétien reste cependant hypothétique et la double étymologie (mont de Mars et mont des Martyrs) est encore actuellement traditionnellement proposée. Il faudrait, « pour pouvoir trancher la question, savoir comment le peuple, dans son langage parlé, appelait cette colline avant le IXe siècle, puisque c'est à cette époque que les documents écrits enregistrèrent le changement de nom.
Le 16 juin 1875, le cardinal Guibert pose la première pierre (un marbre rose) de la basilique, non loin de l'ancien moulin de la galette, d'où le surnom donné à la basilique par le peuple de Montmartre, « Notre Dame de la Galette »24.
Des mois sont nécessaires afin de consolider les fondations : les galeries souterraines et les effondrements de terrain imposent la construction de 83 puits d'une profondeur de trente-trois mètres. Remplis de béton et reliés par des arcs, ils font office de pilier qui vont cherche la couche solide sous la glaise25. Dès le 3 mars 1876, l'archevêque de Paris inaugure à côté des travaux une chapelle provisoire. En 1878 débute l'édification de la crypte et en 1881 celle de la basilique. L'intérieur de la nef est inauguré le 5 juin 189126. Les vitraux posés entre 1903 et 1920, sont détruits pendant la Seconde Guerre mondiale et remplacés par des vitraux contemporains. Le campanile (clocher haut de 90 mètres) est terminé en 1912, mais il faut attendre 1914 pour que l'ensemble de la façade soit achevé. La consécration, initialement prévue le 17 octobre 1914, est reportée à cause de l'entrée en guerre. Elle a lieu le 16 octobre 1919, célébrée par le cardinal Vico, en présence du cardinal Amette, archevêque de Paris, et de nombreux évêques, dignitaires ecclésiastiques, membres du clergé, personnalités civiles et simples fidèles. L'église est alors érigée en basilique mineure27. Le bâtiment est officiellement achevé en 192328 avec la finition de la décoration intérieure, notamment les mosaïques de l'abside29. Les années 1930 voient le début de la construction des annexes, sacristie, bureaux et dortoir pour accueillir les pèlerins.
La basilique n'est pas construite selon le plan basilical traditionnel. Elle est en forme de croix grecque, ornée de quatre coupoles. La coupole centrale a une hauteur sous clef de voûte de 54,94 m et un diamètre de 16 mètres ; son dôme central, haut de 83 m (c'était le point le plus élevé de Paris avant la construction de la Tour Eiffel), est surmonté d'un lanterneau formé d'une colonnade. Un escalier en colimaçon de 237 marches permet d'accéder à la galerie intérieure et extérieure de ce dôme, la première offrant une vue sur l'intérieur de l'église et la seconde un panorama circulaire sur 30 km par temps claire31. Le style éclectique architectural de l'édifice, s'inspirant de l'architecture romane, de l'architecture byzantine, et particulièrement de la cathédrale Saint-Front de Périgueux, a influencé plusieurs autres édifices religieux du XXe siècle (basilique Sainte-Thérèse de Lisieux par exemple).
Contrairement à la plupart des églises qui ont traditionnellement une orientation Est-Ouest, celle de la basilique est Nord-Sud, tournée vers le centre de Paris, plus particulièrement de Notre-Dame qui est située dans l'alignement de l'édifice.[réf. souhaitée]
La pierre blanche retenue pour la construction est un travertin qui provient des carrières de Château-Landon et de Souppes-sur-Loing (les pierres de l'Arc de Triomphe de l'Étoile ont la même origine)32. Elle a été retenue par l'architecte Paul Abadie pour ses qualités de dureté et d'auto-nettoiement au contact de l'eau, ce calcaire exsudant du calcite, ce qui garde la teinte blanche de la pierre. La basilique repose sur le gypse au moyen de piliers qui traversent les marnes et les sables sus-jacents33.
À l'intérieur, le plafond de l'abside est décoré de la plus grande mosaïque de France (Émaux de Briare), couvrant une surface de 473,78 m2. Conçue par Luc-Olivier Merson et exécutée de 1918 à 1922 par les ateliers Guilbert-Martin, elle représente le Sacré-Cœur de Jésus glorifié par l’église catholique et la France. À sa base on peut lire une phrase en latin signifiant : « Au Cœur très saint de Jésus, la France fervente, pénitente et reconnaissante. »
Une immense tour carrée servant de clocher renferme, entre autres, la plus grosse cloche de France. Baptisée la Savoyarde, elle a été fondue à Annecy en 1895 par les frères Paccard. Elle mesure 3 mètres de diamètre et pèse 18 835 kg. Quant à son support, il pèse 7 380 kg. Le marteau qui la frappe pèse quant à lui 1 200 kg. Symbole nationaliste rappelant l'Annexion de la Savoie, elle fut offerte à la basilique par les quatre diocèses de la Savoie, et arriva sur la butte le 16 octobre 1895, ce qui fut un événement parisien.
fr.wikipedia.org/wiki/Basilique_du_Sacr%C3%A9-C%C5%93ur_d...
Fall is here! I just spent the weekend up in the Eastern Sierra backcountry, pics to come, but here's one from a quick stop to check on the fall colors. The upper reaches of Bishop Creek and North Lake have some lovely reds and oranges going on the little tortured scraggily looking aspens. The bigger ones still have a ways to go.
-------
2010 CALENDARS now shipping!! - florisvanbreugel.smugmug.com/gallery/8609384_K59HN
----
Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
San Marco in Lamis, Gargano, Puglia, Italia©2015 All rights reserved
Nikon coolpix p 7100
Fotosketcher lively
San Marco in Lamis è un comune italiano di 13.928 abitanti della provincia di Foggia, in Puglia.
San Marco in Lamis è nota soprattutto per la tradizionale Processione delle "fracchie", una manifestazione religiosa popolare molto suggestiva e assai singolare, che si ripete puntualmente da circa tre secoli ogni venerdì Santo per la rievocazione della Passione di Cristo, e che, ogni anno, richiama un grande afflusso di forestieri. Le fracchie sono delle enormi fiaccole, realizzate con grossi tronchi di albero di quercia o castagno aperti longitudinalmente a forma di cono e riempiti di legna, per essere incendiate all'imbrunire e divenire quindi dei falò ambulanti che illuminano il cammino della Madonna Addolorata lungo le strade del paese alla ricerca del figlio Gesù morto.Sembra che le origini di questo rito risalgano ai primi anni del XVIII secolo, epoca di edificazione della chiesa dell'Addolorata e le sue ragioni, oltre che di ordine religioso e devozionale, vadano collegate anche ad una motivazione di ordine pratico riconducibile alle precise condizioni fisiche dell'abitato. Infatti, quando venne costruita (1717), la chiesa dell'Addolorata si trovava fuori del centro abitato e lì sarebbe rimasta fino all'ultimo ventennio del XIX secolo. Una collocazione questa che sollecitò la fantasia degli abitanti, i quali pensarono di illuminare con le "fracchie" la strada che la Madonna percorreva dalla sua chiesa fino alla Collegiata, dove era custodito il corpo del Cristo. Le “fracchie più grandi possono essere lunghe anche 13-14 metri e pesare anche 60-70 quintali di legno di quercia , castagno o abete .
da wikipedia
San Marco in Lamis is a town of 13,928 citizens in the Italian province of Foggia, Puglia, Italy.
San Marco in Lamis is a town of 13.928 citizens and comune in the province of Foggia in the Apulia region of southeast Italy. It is located in the Gargano massif area.Apart from some tourism conted to pilgrimages at the local Catholic sanctuary of St. Matthew, the economy is mostly based on agriculture.San Marco in Lamis is known for the traditional procession of "fracchie", a very popular religious manifestation suggestive and very singular, that is repeated regularly from about three centuries each friday Saint for the reenactment of the passion of Christ, and that each year draws a large influx of foreigners. The fracchie are huge torches, made with large trees oak opened longitudinally cone-shaped and filled with wood, to be burned at dusk and become so a itinerant bonfires that illuminate the journey of our Lady of Sorrows along the roads of the country in search of the son Jesus died.It seems that the origins of this rite dates back to the early 18th century, a time of edification of the Church of our Lady of sorrows and his reasons as well as religious and devotional order, should be connected to a practical motivation due to precise physical conditions of the town. In fact, when it was built (1717), the Church of our Lady of Sorrows was out of town and would remain there until the last two decades of the 19th century. A bin that solicited the imagination of the inhabitants, whom they thought to illuminate with the "fracchie" the way that she ran from her church until the collegiate, where he guarded the body of Christ. The"Fracchia" can also get the length of 13-14 meters and weigh 60-70 quintals of wood of oak. From wikipedia
Blooming cactus (species ID anyone?) and dancing clouds and Ocotillo in the Anza Borrego desert at sunset.
-------
Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
Remember these? The 1967 Mercury Comet Cyclone 427. Pretty hot numbers but you didn't see many on the streets. A Mercury was higher priced and heavier than a comparable '66' - '67' Ford Fairlaine powered by the 390 c.i.
Although in '66' and '67' Ford did produce a few 427 powered Fairlaines, these were reserved for Ford's top flight Super Stock Pros.
This is a picture scanned from a 2014 calendar. Just for edification, the original image was a photograph. I played around in PS to try and make it look like an an oil or acrylic painting. Added the Weld chrome wheels (the original picture had the stock rims). That's about it folks - cheatin' again ;)
Hope you enjoy........
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
San Marco in Lamis Gargano Puglia Italia© 2015 All rights reserved
FotoSketcher oil painting effect and lively
Nikon coolpix p 7100
San Marco in Lamis è un comune italiano di 13.928 abitanti della provincia di Foggia, in Puglia.
San Marco in Lamis è nota soprattutto per la tradizionale Processione delle "fracchie", una manifestazione religiosa popolare molto suggestiva e assai singolare, che si ripete puntualmente da circa tre secoli ogni venerdì Santo per la rievocazione della Passione di Cristo, e che, ogni anno, richiama un grande afflusso di forestieri. Le fracchie sono delle enormi fiaccole, realizzate con grossi tronchi di albero di quercia o castagno aperti longitudinalmente a forma di cono e riempiti di legna, per essere incendiate all'imbrunire e divenire quindi dei falò ambulanti che illuminano il cammino della Madonna Addolorata lungo le strade del paese alla ricerca del figlio Gesù morto.Sembra che le origini di questo rito risalgano ai primi anni del XVIII secolo, epoca di edificazione della chiesa dell'Addolorata e le sue ragioni, oltre che di ordine religioso e devozionale, vadano collegate anche ad una motivazione di ordine pratico riconducibile alle precise condizioni fisiche dell'abitato. Infatti, quando venne costruita (1717), la chiesa dell'Addolorata si trovava fuori del centro abitato e lì sarebbe rimasta fino all'ultimo ventennio del XIX secolo. Una collocazione questa che sollecitò la fantasia degli abitanti, i quali pensarono di illuminare con le "fracchie" la strada che la Madonna percorreva dalla sua chiesa fino alla Collegiata, dove era custodito il corpo del Cristo. Le “fracchie più grandi possono essere lunghe anche 13-14 metri e pesare anche 60-70 quintali di legno di quercia , castagno o abete .
da wikipedia
San Marco in Lamis is a town of 13,928 citizens in the Italian province of Foggia, Puglia, Italy.
San Marco in Lamis is a town of 13.928 citizens and comune in the province of Foggia in the Apulia region of southeast Italy. It is located in the Gargano massif area.Apart from some tourism conted to pilgrimages at the local Catholic sanctuary of St. Matthew, the economy is mostly based on agriculture.San Marco in Lamis is known for the traditional procession of "fracchie", a very popular religious manifestation suggestive and very singular, that is repeated regularly from about three centuries each friday Saint for the reenactment of the passion of Christ, and that each year draws a large influx of foreigners. The fracchie are huge torches, made with large trees oak opened longitudinally cone-shaped and filled with wood, to be burned at dusk and become so a itinerant bonfires that illuminate the journey of our Lady of Sorrows along the roads of the country in search of the son Jesus died.It seems that the origins of this rite dates back to the early 18th century, a time of edification of the Church of our Lady of sorrows and his reasons as well as religious and devotional order, should be connected to a practical motivation due to precise physical conditions of the town. In fact, when it was built (1717), the Church of our Lady of Sorrows was out of town and would remain there until the last two decades of the 19th century. A bin that solicited the imagination of the inhabitants, whom they thought to illuminate with the "fracchie" the way that she ran from her church until the collegiate, where he guarded the body of Christ. The"Fracchia" can also get the length of 13-14 meters and weigh 60-70 quintals of wood of oak. From wikipedia
Acts 2:42 (ESV)
The Fellowship of the Believers
42 And they devoted themselves to the apostles’ teaching and the fellowship, to the breaking of bread and the prayers.
Fellowship.
The essence of the Christian life—fellowship with God and fellowship with other believers in Christ.
In the beginning, Adam was placed in the garden to enjoy friendship and communion with God. When the creature chose to assert his own autonomy rather than live under the Creator’s gracious care, fellowship was broken. Hence Adam and Eve hid themselves from the Lord’s presence (Gn 3:8). Yet God immediately sought them out (v 9) and revealed his plan for the ultimate restoration of sinners through the work of the Redeemer (v 15).
The OT tells how God began to draw a special people into fellowship with himself. Enoch is described as a man who walked with God (Gn 5:22, 24). Noah, likewise, walked in communion with the Lord (6:9). And Abraham, the father of Israel, is called “the friend of God” (Jas 2:23). No OT saint had deeper fellowship with God than did Moses during his 40-day encounter with the Lord on Mt Sinai (Ex 24). Later in Israel’s history David wrote psalms that reflect a heart vitally in tune with the living God (Pss 16, 34, 40, 63)
As a result of Christ’s finished work on the cross, God now makes his permanent abode in the believer’s heart (Jn 14:23). Hence the fellowship which now prevails under the new covenant is nothing less than the vital, spiritual union of the believer with Christ (Jn 14:20, 21). Fellowship with God is the goal of the Christian life (1 Jn 1:3), and this relationship will be perfected forever when we see our Savior “face to face” (1 Cor 13:12), when God dwells with his people in the heavenly kingdom (Rv 21:3).
The gospel restores fellowship not only with God, but among believers as well. Jesus’ last supper with his disciples illustrates the relationship between the vertical and horizontal dimensions of fellowship (Mk 14:22–25). In the upper room Jesus shared with his disciples a sacred love feast. The hearts of the Lord and his followers were knit together by a deep sense of love and commitment. Later the disciples discovered that their own hearts were strongly united out of their common loyalty to Jesus. Following the cross and the outpouring of the Spirit the church was born, that new society of people in fellowship with God and with one another.
The depth of comraderie among the first Christians is portrayed in the early chapters of Acts. Daily the believers met together in house groups for teaching, fellowship, the Lord’s Supper, and prayer (Acts 2:42, 46). So profound was their sense of togetherness that the Christians pooled their possessions and distributed them to brethren in need (vv 44, 45; 4:32–35). Perhaps the dominant characteristic of this early Christian fellowship was “love of the brethren” (1 Thes 4:9; 1 Pt 1:22). Constrained by love, Paul organized among the gentile churches a collection for poor believers in Jerusalem. In Romans 15:26, which speaks of the gifts of the churches in Macedonia and Achaia, the word translated “contribution” is the common Greek word for “fellowship.” Similarly, the fellowship which the Philippian church shared with Paul assumed the form of gifts to support the apostle’s ministry (Phil 1:5; 4:14, 15).
Scripture uses several images to describe the spirit of togetherness which characterized the early church. The first is “the household of God” (Eph 2:19; 1 Tm 3:15), or “the household of faith” (Gal 6:10). In God’s household, love and hospitality are to be the rule (Heb 13:1, 2). Further, the church is depicted as the family of God on earth (Eph 3:15). God is the Father and believers are his faithful sons and daughters. The life of God’s family is to be governed by love, tenderness, compassion, and humility (Phil 2:1–4). Finally, the Christian fellowship is represented as the “one new man” or the “one body” (Eph 2:15, 16). In spite of great natural diversity, the Holy Spirit binds believers together into a single organism (4:4–6). In this fellowship of love, no believer is insignificant. Each member has been endowed with gifts for the spiritual edification of the entire body.
Scripture lays down the basis of fellowship in 1 John 1:7: “If we walk in the light, as he is in the light, we have fellowship with one another.” Jesus Christ, then, is the source and fount of all spiritual communion. Only when rightly related to the Lord do we experience true fellowship with another Christian. Just as light and darkness are incompatible, so a believer can have no real fellowship with an unbeliever. Neither can the Christian be in fellowship with one who walks contrary to the teaching of Christ (2 Jn 9–11), or a professing brother who is immoral, idolatrous, a drunkard, or a thief (1 Cor 5:11).
Scripture lays down several guidelines for enhancing the communion of believers in the body. (1) Love one another with the same compassion that Christ displayed to his own (Jn 13:34, 35; 15:12). The law of the fellowship should be the rule of love (Heb 13:1). (2) Cultivate that spirit of humility that seeks the other person’s honor (Phil 2:3–5). (3) Lighten fellow believers’ load by bearing one another’s burdens (Gal 6:2). (4) Share material blessings with brothers and sisters in need (2 Cor 9:13). (5) Tenderly correct a sinner while helping to find solutions to the problems (Gal 6:1). (6) Succor a fellow believer in times of suffering (1 Cor 12:26). And (7) Pray for one another in the Spirit without ceasing (Eph 6:18).
The Christian will want to seriously regard the saying of an anonymous saint, “You cannot draw nigh to God if you are at a distance from your brother.”
Walter A. Elwell and Barry J. Beitzel, Baker Encyclopedia of the Bible (Grand Rapids, MI: Baker Book House, 1988), 789–790.
Fledgling bird in the Olympic mountains, Mt. Olympus is in the backdrop.
-------
Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
CHATEAU DE PUYGUILHEM VILARS Northern Dordogne
La construction du château de Puyguilhem démarre en 1513, commanditée par Mondot de La Marthonie, premier président du Parlement de Paris. L'homme est un proche de François Ier et de sa mère Louise de Savoie. Il administre le royaume lorsque le roi part en guerre.
Il semble que l'édification se soit déroulée en deux étapes : la première s'achevant en 1524, comprenant les fondations, une partie de la tour d'angle et la tourelle hexagonale, la seconde suivant de près, qui voit le château s'achever en 1535. Sa conception oscille entre deux époques, médiévale et renaissance. Plusieurs éléments rappellent en effet le style gothique du Moyen Âge, notamment l'absence de symétrie de l'édifice et les parties intérieures tandis que la façade extérieure évoque celles des châteaux de la Loire que son propriétaire connaît bien puisqu'il fréquente la cour du Roi.
Le château est modeste dans ses dimensions. Mondot de La Marthonie le destinait à servir de résidence secondaire et relais de chasse. Son aménagement comporte les pièces strictement nécessaires à la vie d'un noble de l'époque.
Wikipedia
The construction of the castle of Puyguilhem starts in 1513, sponsored by La Mondot Marthonie, first president of the Parliament of Paris. The man is a relative of Francis I and his mother Louise de Savoie. It administers the kingdom when the king goes to war.
It seems that the building has taken place in two stages: the first ending in 1524, including foundations, part of the corner tower and the hexagonal tower, the second following closely, seeing the castle s' completed in 1535. The design is between two eras, medieval and renaissance. Several elements are reminiscent of the Gothic style of the Middle Ages, including the lack of symmetry of the building and the inner parts while the outer facade evokes those of the Loire castles that its owner knows well since frequent the court of King.
The castle is modest in its dimensions. Mondot de La Marthonie intended it to serve as a second home and hunting lodge. Its design includes the parts strictly necessary to the life of a nobleman of the time.
Wikipedia
To honour the Ginkgo, Johann Wolfgang von Goethe wrote the following poem:
GINKGO BILOBA
The leaf of this Eastern tree
Which has been entrusted to my garden
Offers a feast of secret significance,
For the edification of the initiate.
Is it one living thing
That has become divided within itself?
Are these two who have chosen each other,
So that we know them as one?
I think I have found the right answer
To these questions;
Do my songs not make you feel
That I am both one and twain?
(J.W. v. Goethe)
Y en Espanol:
GINKGO BILOBA
Las hojas de este árbol, que del Oriente
a mi jardin venido, lo adorna ahora,
un arcano sentido tienen, que al sabio
de reflexión le brindan materia obvia.
¿ Será este árbol extraño algún ser vivo
que un dia en dos mitades se dividiera?
¿ O dos seres que tanto se comprendieron,
que fundirse en un solo ser decidieran?
La clave de este enigma tan inquietante
Yo dentro de mi mismo creo haberla hallado:
¿ no adivinas tú mismo, por mis canciones,
que soy sencillo y doble como este árbol?
The Centre Pompidou Metz is a museum of modern and contemporary arts designed by architects Shigeru Ban and Jean de Gastines and located in Metz, capital of Lorraine, France. It is built in the Amphitheatre District, near the Metz railway station and the German Imperial District. The Centre Pompidou-Metz is a branch of Pompidou arts centre of Paris, and features temporary exhibitions from the large collection of the French National Museum of Modern Art, the largest European collection of 20th and 21st century arts. The museum is the largest temporary exhibition space outside Paris in France with 5,000 metres square divided between 3 galleries and includes also a theatre, an auditorium, and a restaurant terrace.
The first piece of the monument was laid on November 7, 2006, and the building was inaugurated by the President of France, Nicolas Sarkozy, on May 12, 2010. The building is remarkable for its roof structure, one of the largest and most complex built to date, which was inspired by a Chinese hat found in Paris by Shigeru Ban.
The Centre Pompidou-Metz is a large hexagon structured round a central spire reaching 77 metres high, alluding to the 1977 opening date of the original Centre Pompidou of Paris. It possesses three rectangular galleries weaving through the building at different levels, jutting out through the roof with huge picture windows angled towards landmarks such as the Saint-Stephen Gothic cathedral, the Imperial Metz railway station, the Arsenal Concert Hall built by architect Ricardo Bofill, the Arènes indoor sport arena, and the Seille park. The great nave covers 1,200 m² and provides flexibility for the exhibition of large artworks, with the ceiling rising progressively from a height of 5.70 to 18 metres.
View on the carpentry structure.
Central spire supporting the carpentry.
Joan Miró, Blue I, Blue II, and Blue III, 1961, triptych in October 2010, during the exhibition Masterpieces?.
The roof is the major achievement of the building: a 90 meters wide hexagon echoing the building’s floor map. With a surface area of 8,000 metres square, the roof structure is composed of sixteen kilometres of glued laminated timber, that intersect to form hexagonal wooden units resembling the cane-work pattern of a Chinese hat. The roof’s geometry is irregular, featuring curves and counter-curves over the entire building, and in particular the three exhibition galleries. Imitating this kind of hat and its protective fabric, the entire wooden structure is covered with a white fibreglass membrane and a coating of teflon, which has the distinction of being self-cleaning, protect from direct sunlight while providing a transparent at night.
The Pompidou-Metz itself and its parvise, named Human Rights square, are built on the site of the Roman amphitheatre of Divodurum Medriomaticum (ancestor of present-day Metz). So, the building is the cornerstone of the newly created Amphitheater district. The district of 50 hectares, thought by architects Nicolas Michelin, Jean-Paul Viguier, and Christian de Portzamparc, is currently under construction and includes the edification of a convention centre and a shopping mall. The quarter encompasses already the Seille park designed by landscape architect Jacques Coulon and the Arènes indoor sport arena by Paul Chemetov built in 2002. The urban project completion is expected to take place by 2015.
From Wikipedia, the free encyclopedia
Le phare est relié à la terre ferme par une jetée en granit. Les courants forts au large de la pointe, et les nombreux naufrages, dont le plus célèbre est sans doute celui de la Blanche-Nef, ont rendu indispensable l'édification d'un phare.
Il se situe aux antipodes exactes des îles des Antipodes
Le phare de Gatteville, construit par l'architecte Charles-Félix Morice de la Rue, avec 11 000 blocs en granit rose de Fermanville, pesant au total 7 400 tonnes, est une haute tour cylindrique de 74,85 mètres, ce qui en fait le second plus haut phare d'Europe. Sa tour, construite au centre d'un soubassement de deux niveaux, a un diamètre à la base de 9,25 mètres et de 6 mètres à la passerelle.
Il est dit que le phare comporte autant de marches que de jours dans l'année, alors qu'il n'en compte que 349 marches, autant de fenêtres que de semaines et autant de niveaux (représentés par le nombre de fenêtres en façade) que de mois.
The lighthouse is connected to the mainland by a granite pier. The strong currents off the point, and the numerous shipwrecks, the most famous of which is undoubtedly that of the Blanche-Nef, made the building of a lighthouse essential.
It is located at the exact opposite ends of the Antipodes Islands.
The Gatteville lighthouse, built by the architect Charles-Félix Morice de la Rue, with 11,000 blocks of pink granite from Fermanville, weighing a total of 7,400 tonnes, is a high cylindrical tower of 74.85 meters, which makes it the second tallest lighthouse in Europe. Its tower, built in the center of a two-level base, has a diameter at the base of 9.25 meters and 6 meters at the gateway.
It is said that the lighthouse has as many steps as there are days in the year, whereas it only has 349 steps, as many windows as there are weeks and as many levels (represented by the number of windows on the facade) than months.