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For a long time now, Ollie has been expressing interest in climbing higher. For example, Ollie interprets the tops of framed pictures as steps that will take him to new heights on the wall. They don't.
Not long ago, when Ollie was atop a ladder, he mistook the top of the door frame for the edge of a hitherto unknown loft. He only realized his error when his jump over to the loft ended differently than he expected.
Ollie sometimes even stands on his hind legs in front of the frame for the closet door and tries to pull himself up the 2"x4" with his arms and paws.
I was pondering what to do to help Ollie reach higher heights when I remember having seen pictures of wall-mounted steps and catwalks designed for felines who are feeling a bit too earthbound. An internet search led to "Catsy," an Etsy vendor specializing in wall-mounted climbing equipment for cats.
As if finding just the right source weren't enough, the business is in Ukraine. Having already successfully bought seat and stool cushions from another Ukraine-based business on Etsy, I did not hesitate to order a suite of wall gear for Ollie.
Before I knew it, the box arrived. It was then that I sat down to do what I should have done before placing the order: decide where the steps and other components would go. Fortunately, an ideal layout soon suggested itself.
The installation required nothing less than dismantling the two iron bedsteads, moving them and the box springs and mattress out of the way, vacuuming the shocking quantity of dust that had accumulated under the bed, fashioning templates from graph paper so I wouldn't need to hold heavy components in place to drill the holes for the support bolts, drilling the holes, bolting the pieces to the wall or other supports and putting the room back together again.
Was I surprised when Ollie didn't scramble up the steps like a recruit at boot camp on the first night? Not at all. But when Ollie still wasn't showing interest in the set-up after a couple of weeks, I began to feel like the parent who bought a set of encyclopedias for their kid's edification only to find them propping up furniture in their room.
Then I dawned on me that the first stage of the circuit was too high for even a prodigious jumper like Ollie to reach.
I installed a pair of steps side-by-side lower down on the wall. Problem solved!
Ollie still hasn't tried walking the special bridge made of planks and rope. Why would he when there's already a perfectly good two-inch-wide beam that will get him to the same destination?
Don't worry. Most of Ollie's elevated route is over a soft bed.
Strange lines, stones, plants, and clouds converge in the Alabama Hills of Owens Valley in California.
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Prints available: http://artinnaturephotography.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
putting an image to the first verse of the Banjo Paterson poem "A Bush Christening" - reproduced here for your edification:
A Bush Christening
On the outer Barcoo where the churches are few,
And men of religion are scanty,
On a road never cross'd 'cept by folk that are lost,
One Michael Magee had a shanty.
Now this Mike was the dad of a ten year old lad,
Plump, healthy, and stoutly conditioned;
He was strong as the best, but poor Mike had no rest
For the youngster had never been christened.
And his wife used to cry, `If the darlin' should die
Saint Peter would not recognise him.'
But by luck he survived till a preacher arrived,
Who agreed straightaway to baptise him.
Now the artful young rogue, while they held their collogue,
With his ear to the keyhole was listenin',
And he muttered in fright, while his features turned white,
`What the divil and all is this christenin'?'
He was none of your dolts, he had seen them brand colts,
And it seemed to his small understanding,
If the man in the frock made him one of the flock,
It must mean something very like branding.
So away with a rush he set off for the bush,
While the tears in his eyelids they glistened —
`'Tis outrageous,' says he, `to brand youngsters like me,
I'll be dashed if I'll stop to be christened!'
Like a young native dog he ran into a log,
And his father with language uncivil,
Never heeding the `praste' cried aloud in his haste,
`Come out and be christened, you divil!'
But he lay there as snug as a bug in a rug,
And his parents in vain might reprove him,
Till his reverence spoke (he was fond of a joke)
`I've a notion,' says he, `that'll move him.'
`Poke a stick up the log, give the spalpeen a prog;
Poke him aisy — don't hurt him or maim him,
'Tis not long that he'll stand, I've the water at hand,
As he rushes out this end I'll name him.
`Here he comes, and for shame! ye've forgotten the name —
Is it Patsy or Michael or Dinnis?'
Here the youngster ran out, and the priest gave a shout —
`Take your chance, anyhow, wid `Maginnis'!'
As the howling young cub ran away to the scrub
Where he knew that pursuit would be risky,
The priest, as he fled, flung a flask at his head
That was labelled `MAGINNIS'S WHISKY'!
And Maginnis Magee has been made a J.P.,
And the one thing he hates more than sin is
To be asked by the folk, who have heard of the joke,
How he came to be christened `Maginnis'!
__________________________________________
© All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded,
displayed, posted or transmitted in any form or by any means, including electronic,
mechanical, photocopying & recording without my written consent.
Seen from a distance then photographed! Leilah & I walked back to the Tennyson Monument from Freshwater Bay on the Isle of Wight for me to take some more photos. I packed away my tripod & we were about to walk down to the Highdown Inn where we were staying when I spotted an object 50m or so away.
I didn't bother checking if the wearer was OK (preferring non-interventionist photography on this ocassion) but laid on the grass, sacrificing my clothing to the rabbit droppings for your edification, set the aperture of my humble P&S to maximum & took this shot. Slight cropping & a large amount of Clarify applied in PSP9 to bring back the clouds
Il est temps pour nous de partir en vacances.
N'hésitez pas à nous laisser vos remarques ou un petit mot sur le cahier posé sur le comptoir à l'entrée de la galerie (à côté du vin rouge, bon...du Mouton Cadet 1900 - Rothschild, tout de même ^^)
à très bientôt !
It's time for us to go on vacation.
On our return, we will organize a photo contest.
Do not hesitate to leave us your comments or a little note on the notebook placed on the counter at the entrance of the gallery (next to the red wine, well ... but Mouton Cadet 1900 - Rothschild ^^)
***** FR
Nous espérons que vous aurez autant de plaisir à visiter la galerie que nous, à réaliser cette exposition sur le Palais des machines.
Le Palais des Machines, inauguré en 1889, est le fruit d’une collaboration entre l’architecte Ferdinand Dutert (1845-1906) et l’ingénieur en chef des constructions métalliques, Victor Contamin (1840-1893) C 'est une prouesse technique absolument inédite de l’architecture métallique.
Des centaines d'ouvriers ont oeuvré à son édification, parfois au péril de leur vie.
C'est à eux tous que nous avons souhaité rendre hommage, à leur ingéniosité, leur audace, leur volonté, leur acharnement, leur dur labeur.
A notre tour, nous avons innové, avec des scripts très élaborés, des créations nouvelles sur SL, comme le trottoir roulant, tout en restant le plus proche possible de l'existant. De nombreuses recherches d'archives ont donc été prealablement effectuées.
Nous avons aussi souhaité orienter notre présentation vers l'art de l'époque avec une exposition sur FANTIN-LATOUR (peinture) et sur Sarah BERNHARDT (Peinture-théâtre)
Nous avons "fait venir" le fantôme de Sarah BERNHARDT, qui avait visité ce palais, et qui témoigne, de cette manière, de notre gratitude et de notre profond respect à l'égard de toutes ces personnes qui ont construit hier, qui ont innové, inventé et qui nous ont permis d'avancer.
Vous trouverez:
- au rez de chaussée: l'histoire de la construction de la galerie (si possible marchez lentement, car les scènes se rezzent au fur et à mesure, et suivez les flèches, car c'est mieux)
- au 1er sous sol: les machines et les chaudières, la salle d'orientation, le train
- au 2ème sous sol: la Crue de la Seine de 1910, accès direct vers les Catacombes
- au 1er étage: Vue panoramique - L'Expo Universelle de 1889 à PARIS, l'histoire des Expositions universelles, le kiosque romantique parisien.
- au 2ème étage: Exposition FANTIN LATOUR - EXPOSITION Sarah BERNHARDT - Rêve d'enfant - le trottoir roulant.
- au 3ème étage: la galerie des Machines après 1889 et jusqu'en 1910, année de sa démolition: les évènements mémorables de chaque année.
- au 4ème étage: Théâtre steampunk et atelier Clockwork Machines - Pub - Cinéma d'époque - Animation "MARY POPPINS" qui vous mènera vers différents monuments de PARIS 1900
- skybox: la GALERIE des SOUVENIRS
.... et le fantôme de Sarah :))
A NOTER: nous vous conseillons de choisir votre langue à l'entrée (Français ou Anglais) pour recevoir les informations dans la langue de votre choix, tout au long de votre visite.
Cliquez sur les lanternes ! 😉
******ENG (google translation)
We hope you will enjoy visiting the gallery as much as we enjoy making this exhibition about the Palais des machines.
The Palais des Machines, inaugurated in 1889, is the result of a collaboration between the french architect Ferdinand Dutert (1845-1906) and the chief engineer of metal constructions, Victor Contamin (1840-1893) It is a technical feat absolutely unprecedented in metallic architecture.
Hundreds of workers worked for its construction, sometimes risking their lives.
We wanted to pay tribute to all of them, for their ingenuity, their daring, their will, their relentlessness, their hard work.
In our turn, we innovated, with very elaborate scripts, new creations on SL, like the moving walkway.
We also wanted to orient our presentation towards the art of the time with an exhibition on FANTIN-LATOUR (painting) and on Sarah BERNHARDT (Painting-theater)
We "brought in" the ghost of Sarah BERNHARDT, who had visited this Palais, and who in this way testifies to all our gratitude and our deep respect towards all these people who built yesterday, who have created inventions that have allowed us to move forward.
You will find:
- on the ground floor : the history of the construction of the gallery.
- 1st basement: Machines and boilers, orientation room, train.
- 2nd basement: the Seine flood of 1910, with direct acces to the Catacombs
- On the 1st floor: Panoramic view - The Universal expo of 1889 in PARIS - The history of the Universal Exhibitions - The romantic parisian kiosk.
- On the 2nd floor: FANTIN LATOUR exhibition - Sarah BERNHARDT exhibition - Child's dream.
- On the 3rd floor: The galerie des Machines after 1889 and until 1910, the year of its demolition.
- On the 4th floor: Steampunk theater and Clockwork Machines workshop - Pub - Périod cinema - "MARY POPPINS animation" which will take you to various monuments of PARIS 1900.
- Skybox: the SOUVENIRS Gallery.
PLEASE NOTE: we advise you to choose your language at the entrance (French or English) to receive information in the language of your choice, throughout your visit.
Click on the lanterns 😉
Another from last weekend in King's Canyon NP. This is a 4 shot stitch @ 17mm.
Please view large, thanks!
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Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
Recently I decided to buy a new car. Not brand new of course - splashing out enormous sums of money on something that loses a large chunk of its value ten minutes after turning the key doesn't exactly go hand in hand with the grand plan of getting out of the rat race as soon as I can possibly afford to. But Id decided I needed something a bit more practical and robust than my little town car for the increasing amount of time I spend on roads it wasn't designed to travel in pursuit of my camera related adventures. Today was our first proper outing together.
Recently I've had a yen to find some Silver Birch trees. I blame three of the YouTubers I follow for this. Messrs Danson, Turner and Heaton all live sufficiently close to numerous birch forests in the north of England, which they photograph with enthusiastic regularity for my viewing pleasure and edification. The lovely thing about them is the way their bright trunks stand out from the oranges and browns of autumn. The trouble is that the silver birch seems to be quite thin on the ground down here in the South West. Google "Silver Birch Cornwall" and the first half dozen results are all leading me to garden centres offering them for sale. However, there was some suggestion that I might find some here at Ladock, a few miles to the east of Truro. I checked the forecast and learned that Saturday would bring dull wet conditions, which I decided was perfect for a woodland escapade. Even more perfect was the idea of stopping en route for breakfast at the Yummy Scrummy Cafe at Summercourt for one of their glorious sausage sandwiches on rustic bread and a cup of decent coffee to wash it down with. Maybe even two cups of coffee. I had a plan and I was very happy with it. I waited for Saturday impatiently.
Of course plans don't always unfold as expected. I'd forgotten that it was the first day of half term, and the main road in and out of Cornwall, which also happened to form most of my route was rammed in both directions. People will always come here on holiday, no matter how terrible the weather is. When I finally arrived at the Yummy Scrummy the sense of frustration at the traffic conditions was instantly forgotten, overtaken by the fact that the cafe was inexplicably closed, despite it being right in the middle of peak hours on a Saturday. I checked my phone, which confirmed that it was supposed to be open. I'd skipped breakfast at home in anticipation of that sausage sandwich. In despair I gazed at the map, in the full knowledge that whatever food I did find in the remote roads between here and Ladock, it wasn't going to be a fit substitute. Eventually I ended up in a petrol station, staring morosely at the sandwiches in the chiller before finally selecting a BLT, and a pack of "finest quality" Tikka bites. Considering there were about 15 of them in the pack for the princely sum of one pound, it seemed unlikely that the boast was going to be true.
I carried on my journey through the grim conditions, still unfamiliar with the controls in the car. For the last seven miles the rear wiper carried on wiping no matter how many times I flipped the stalk that's supposed to switch it on and off, while the wind outside was closely matched by the climatronic (I didn't make that word up) system that was whipping up a gale around me. At least it made for a nice clear windscreen and the front wipers were busy making up their own rules, moving as quickly or slowly as they felt was necessary. Maybe I ought to read the owners' handbook that I found in the glove compartment.
To the untrained eye, the sight of someone arriving on location with both cameras and all five lenses might suggest an experienced and accomplished professional, but of course you know better than that. You'd have immediately spotted the signs of someone who hadn't got the faintest clue what he was doing. The thing is that with seascape and landscape you can generally manage to come away with something presentable if you're half competent. But woodlands are much more difficult - do you look for order among chaos, or do you live with the latter? Do you try and pick out elements with the long lens, or do you go wide? I guess that's what I'm going to have to try and learn as I spend more time among the trees, because despite the confusion I love the sense of peace these places bring,
Ladock Wood is an odd place. Indigenous Oak, Ash, Beech, Chestnut, and (apparently somewhere in there) Silver Birch live alongside a sterile Spruce plantation, presumably only planted here so it can be chopped down again for timber. The dark and gloomy spaces under the lines of Spruce are devoid of life, the birds apparently having voted with their wings and gone elsewhere. I once read that these non native Sitka Spruces were imported to feed the demand for timber during and after the wars of the last century. Tall and fast growing they were ideal for the economy. It's just a shame nobody stopped to consider the ecology. I'll get off my soapbox before I fall off it.
It was one of those afternoons when you can tell that while the strength of it will ebb and flow, the rain itself isn't going to stop at any point. Setting up the camera whilst trying to keep the polariser clear of moisture was very challenging as huge fat raindrops gathered on the canopy above me, only to be released in numbers with every passing gust of wind. I never found the mystical Silver Birch trees of course, but I'm assured they're there somewhere. They'll still be there next time, although I've been warned not to expect too much. Ironic then that after three hours of tramping about in my wellies, the photo I liked the most is the one of the soulless Spruces, caught on the left hand side by a window of light from the west. As I began the walk back towards a car I'm also learning to make sense of, I couldn't help chuckling to myself at just how ironic.
Back at the car I congratulated myself on having at least brought some coffee of my own with me to wash down the Tikka bites - which as it transpired weren't at all bad. Amazing what you can still get for a pound.
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
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.
An old favorite, reprocessed. I took this in the backcountry of King's Canyon National Park, at my favorite Sequoia grove.
Please view Large!
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Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
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.
Probarona Purnima, one of the largest festival of the Buddhists, will be celebrated in Bangladesh The festival is also known as Ashvini Purnima that marks conclusion of the three months long seclusion of the monks inside their monasteries for self edification and atonement of their defilement.
প্রবারণা পূর্ণিমা বৌদ্ধ ধর্মাবলম্বীদের পালিত একটি একটি ধর্মীয় উৎসব; যা আশ্বিনী পূর্ণিমা নামেও পরিচিত। বৌদ্ধ ধর্মাবলম্বীদের নিকট এটি দ্বিতীয় বৃহত্তম ধর্মীয় উৎসব।
Hilda fancies herself to be Brunnhilde of Wagner's version of the Volsung Saga!
Now, it is often stated that “it ain't over until the fat lady sings”.
And Hilda is a Valkyrie, ie., an IMMORTAL... just like Brunnhilde.
But... Hilda is certainly... NOT FAT!
OMG... Wagnerian Arias... FOREVER!
I've added the following link for your edification:
Best to start video about 1 min 15 sec from the beginning.
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...
In case you've ever wanted to... here's what it looks like :)
Taken on the dunes about 10 minutes before my previous posting.
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Another from last year.. just going through slowly and re-editing some that weren't processed quite to my refined tastes. This is from Oneonta Gorge in Oregon. I got to this point with my friend, and the next narrows was more than chest deep, and it was cold... so we appreciated the waterfall from here... sometimes obstacles get you to see something in a new way :)
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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.
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!
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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
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.
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)
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!
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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.
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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
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!
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"Eine Katze ist in jeder Pose verkörperte Anmut. Ihr Anblick allein ist Erbauung."
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" A cat is in every pose embodied grace. The sight alone is edification. "
Max Märten
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
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© 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...
Sun star and backlit Cholla, Anza Borrego State Park.
Ignore the dust bunny.. didn't see it till now :)
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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.
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.
Burned and tortured trees left behind by the devastating Station Fire near Los Angeles.
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construction est due à Ferdinand II, prince d'origine allemande devenu roi de Portugal jure uxoris de 1837 à 1853, en tant qu'époux de reine Marie II, tous deux fondateurs de la troisième maison de Bragance.
En 1839, après avoir racheté les ruines d’un monastère hiéronymite du XVe siècle, ce même souverain confie l’édification de son palais d’été au baron Ludwig von Eschwege. Celui-ci mélange allègrement les styles architecturaux — mauresque, baroque, gothique, Renaissance et manuélin — afin de livrer un bâtiment exubérant et haut en couleur, mais qui conserve toutefois quelques parties de l’ancien monastère.
La construction, commencée au milieu du XIXe siècle, ne s’achève qu’en 1885, année de la mort du roi.
The construction is attributed to Ferdinand II, a prince of German origin who became King of Portugal jure uxoris from 1837 to 1853, as the husband of Queen Maria II, both founders of the third House of Braganza.
In 1839, after purchasing the ruins of a 15th-century Hieronymite monastery, the same sovereign entrusted the construction of his summer palace to Baron Ludwig von Eschwege. Von Eschwege cheerfully mixed architectural styles—Moorish, Baroque, Gothic, Renaissance, and Manueline—to create an exuberant and colourful building, while retaining some parts of the old monastery.
Construction began in the mid-19th century but was not completed until 1885, the year of the king's death.
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..
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© 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 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.
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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
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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.
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Sicily. Ortygia, Syracusa.
Late spring break.
The third chapel is the one consecrated to the "Santissimo Sacramento", also called the "Torres chapel", is defined artistically and structurally as the most beautiful in the Cathedral, due to its frescoes on the dome and due to the elaborate architectural decorations that compose it.
It was built in 1616 by the brothers Andrea and Giovanni Vermexio. Its plan is octagonal and its main feature are the wall bas-reliefs that surround it, composed of Corinthian-style columns adorned with numerous gilded finishes. In Baroque style, the center of the chapel has a tabernacle (or ciborium) in gilded wood in the shape of a small temple, the work of the Neapolitan architect and painter Luigi Vanvitelli, known for being the one who designed the Royal Palace of Caserta in Naples. On the sides of the altar there are two portals, surrounded by elaborate sculptural decorations, which lead to the Sacristy of the Cathedral.
At the center of the altar there is a carved marble frontal, the work of the Florentine sculptor Filippo Valle who worked there in 1762 and which depicts the Last Supper of Jesus. The marble balustrade and the artistic decoration of the floor are the work of the Palermitan Ignazio Marabitti and Neapolitan Giovan Battista Marino, the contract for the work was made to them by the Syracusan architect Pompeo Picherali who, now in old age, admired the work of the young Marabitti and entrusted them with the work in 1746. The floor of the chapel is thought to be the work of the same two sculptors mentioned above, but we rely on intuition for the attribution since no document in this regard has been found, however by observing the similarity and similar harmony that exists with the balustrade, this theory has therefore been deduced.
In the chapel, on the left side, there is the Sepulcher of Archbishop Luigi Bignami, a structure sculpted by the Catanese sculptor Sebastiano Agati. Also laterally in the chapel there is also a precious statue depicting the Madonna del Rosario, the work of unknown artists, the statue is placed on a small altar, placed on a cavity which is surrounded by two slender Corinthian-style marble columns that overlook the gray -green and above them there is a worked tympanum with sculpted bas-reliefs in the center. Three cartaglorias were the work of the Roman silversmith Giuseppe Veladier (1791. The censers and the shuttle were the work of the silversmith Lorenzo Petronelli and other silver furnishings were instead the work of the Syracusan Chindemi brothers. He informs in his studies about the silverware of the chapel, and to relations with the Roman silverware school, the Syracusan (from Canicattini Bagni) Giuseppe Agnello
The wrought iron gates with the Eucharistic symbols found between the Doric columns and the entrance to the chapel were worked by Domenico Ruggeri from Catania on the designs of Alessandro Campo in 1807-1811. The chapel is also called "Torres" because it was the Spanish bishop of Syracuse, Juan de Torres Osorio, who wanted its construction and edification, for this reason the chapel, in addition to the sacrament to which it was dedicated, also bears his name
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...
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
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.
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2010 CALENDARS now shipping!! - florisvanbreugel.smugmug.com/gallery/8609384_K59HN
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Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
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.