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The Guadeloupe Regional Council has built the MEMORIAL ACTe, a Caribbean Centre on the Expression and Memory of Slavery & the Slave Trade in Pointe à Pitre, in the former Darboussier factory.
Through knowledge, culture and creation, it is a means by which the local authorities can contribute towards healing wounds of a past which has greatly impacted the edification of not only the Guadeloupean society, but also the Caribbean and American societies.
The Warehouse Tower , adjacent to Torre San Michele , was BUILT In 1691 , for the Will of the Treasurer of Romagna Michelangelo Maffei , to secure stowage of salt produced in Saline .
BUILT in 1712 was the other side of the channel has the Warehouse Dock , intended stowage salt That HAD suffered a first cleaning and drying In Warehouse Tower , and the subsequent work of weighing and portioning in bags Destined for sale .
Salt Warehouse Torre
The salt flats, UNIFORMS in small batches , were Work individually and in craft Dai Salinari , which represented almost the totality of the population Cervese .
The need for conservation of the salt pushed The Directors Pontifical edification of the two large buildings along the Porto Canale of Cervia , used to precisely aim story : The Warehouse Tower , Long 80 meters and 26 meters wide , rectangular divided into bays six , could hold up to 130,000 tons of salt Bon Voyage .
The other building , place the other side of the Channel , and The Warehouse Dock ; Could hold up to 100,000 tons of salt Bon Voyage . The sale Yield From spring until mid September WAS Uploaded on features flat-bottomed boats called Burchielle and , through the harbor, WAS transported nia warehouses , where Could Be Preserved . For More Make easy work of storage, The Two Buildings Among them were connected with an iron bridge .
In 1959 , following the transformation of saline from small batches to large portions Work Worked handcrafted using methods Collection More technology , but also due to the decrease of the Application for sale , Warehouses They lost their ancient function and were slowly abandoned .
La cathédrale Saint-Gatien de Tours est l'église cathédrale catholique romaine, située à Tours, en Indre-et-Loire. Dédiée Saint-Gatien, elle est le siège du diocèse de Tours et la cathédrale métropolitaine de la province ecclésiastique de Tours.
Elle a été classée monument historique par liste de 1862.
La cathédrale Saint-Gatien a été construite entre 1170 et 1547. Lors de sa création, elle était située presque au débouché du pont franchissant la Loire, sur la route reliant Paris au sud-ouest de la France. Elle fait l’objet d’un classement au titre des monuments historiques par la liste de 18621.
La première cathédrale Saint-Maurice a été édifiée par Lidoire, évêque de Tours de 337 à 371 et prédécesseur de Martin. Incendiée en 561, elle est restaurée par Grégoire de Tours et dédicacée en 590. Du fait de son emplacement, à l'angle sud-ouest du castrum, et de son orientation à l'est, l'accès se faisait, sinon au travers de l'enceinte tardo-antique, du moins en baïonnette depuis la voie traversant la cité ; une telle configuration est rare2. La cathédrale de Tours est reconstruite au cours du deuxième quart du xiie siècle et est incendiée en 1166 lors des luttes entre Louis VII de France et Henri II d'Angleterre, comte d'Anjou. On ne connaît pas le plan de cet édifice.
La nef et le chœur :
La cathédrale actuelle remplace cet édifice roman. La première campagne a concerné le croisillon sud et les tours, dès 1170. Le chœur est reconstruit de 1236 à 1279 par Étienne de Mortagne. C'est la nef qui a demandé le plus de temps pour son édification. L'architecte Simon du Mans reconstruit le transept et entame la nef, dont six travées, bas-côtés et chapelles sont édifiés au xive siècle — les deux premières travées correspondent à celles de l'ancienne cathédrale romane et remontent au xiie siècle. La nef n'est achevée qu'au xve siècle par les architectes Jean de Dammartin, Jean Papin et Jean Durand, grâce aux libéralités accordées par Charles VII et le duc de Bretagne Jean V. À l'occasion de l'édification du bâtiment actuel, la nef a donc été allongée vers l'ouest et les tours encadrant l'entrée sont élevées en dehors de l'ancienne cité, accentuant la particularité de l'édifice mentionnée supra ; l'enceinte tardo-antique est visible en coupe à l'arrière des tours depuis le nord. En 1356, la cathédrale reçoit le nouveau vocable de Gatien.
La façade a perdu les grandes statues des piédroits, détruites par les protestants au cours des guerres de Religion. Mais elle demeure une des plus extraordinaires créations du gothique flamboyant dans ce qu'il a de plus éxubérant, véritable dentelle de pierre sans guère d'équivalent, chef-d'œuvre décoratif de premier plan. Les tours sont élevées dans la première moitié du xvie siècle : la tour nord a été édifiée en 1507 par Pierre de Valence, et la tour sud entre 1534 et 1547 par Pierre Gadier.
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La catedral San Gaciano de Tours, también llamada Catedral de Tours es la iglesia catedral de la diócesis de Tours y la catedral metropolitana de la provincia eclesiástica de Tours. Fue construida entre 1170 y 1547. Estaba situada durante su creación casi a la salida del puente que cruza el Loira, sobre la ruta que une París con el suroeste de Francia.
Historia:
La primera catedral de San Mauricio fue edificada por Lidoire, obispo de Tours del 337 al 371 y predecesor de Martín de Tours. Incendiada en el 561, fue restaurada por Gregorio de Tours y dedicada en el 590.
Su situación, en el ángulo suroeste del castrum, hace que la orientación al este haya hecho que el acceso se haga, sino a través de la muralla tardo-antigua, desde la vía que atraviesa la ciudad. Tal configuración es poco común. No se conoce el plano de este edificio.
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Saint Gatien's Cathedral is the Roman Catholic cathedral church of the Tours diocese and the metropolitan cathedral of the Tours ecclesiastic province, in Indre-et-Loire, France. Saint-Gatien's Cathedral was built between 1170 and 1547. At the time construction began, it was located at the south end of the bridge over the Loire, on the road from Paris to the south-west of France. It has been a classified Monument historique since 1862.
The first cathedral of Saint-Maurice was built by Lidoire, bishop of Tours from 337 to 371 (preceding St Martin). Burnt in 561, it was restored by Gregory of Tours and rededicated in 590. Its location, at the south-west angle of the castrum, as well as its eastern orientation, resulted in the original access being through the late-Roman surrounding wall (such a configuration is quite rare).
The cathedral was then rebuilt during the second quarter of the 12th century and again burnt in 1166 during the conflict between Louis VII of France and Henry II of England (also count of Anjou, the neighboring region).
The present cathedral replaces the 13th century Romanesque building. The first phase concerned the south transept and the towers, as early as 1170. The chancel was rebuilt from 1236 to 1279 by Étienne de Mortagne but the nave took much longer to build. The architect Simon du Mans rebuilt the transept and started the nave, including six spans, aisle and chapel, built during the 14th century — the first two spans correspond to those of the old Romanesque cathedral and date back to the 12th century. The nave was only finished during the 15th century by architects Jean de Dammartin, Jean Papin and Jean Durand, thanks to the generosity of Charles VII and the Duke of Brittany Jean V.
While building the present cathedral, the nave was then extended westward and the towers surrounding its entrance were erected during the first half of the 16th century, the first tower in 1507 by Pierre de Valence 87 m high, and the second tower during 1534 and 1547 by Pierre Gadier. Highlighting the special feature of the building, called supra, the towers were erected outside of the old city. The late-Roman surrounding wall is visible in cross section at the rear of the towers from the north.
In 1356, the cathedral received its new name of saint Gatien. Its construction having been particularly slow, it presents a complex pattern of French religious types of architecture from the 13th century to the 15th. For example, the tower buttresses are Romanesque, the ornamentation generally is pure Gothic, and the tops of the towers are Renaissance (beginning of the 16th century).
Image © Susan Candelario / SDC Photography, All Rights Reserved. The image is protected by U.S. and International copyright laws, and is not to be downloaded or reproduced in any way without written permission.
If you would like to license this image for any purpose, please visit my site and contact me with any questions you may have. Please visit Susan Candelario artists website to purchase Prints Thank You.
The Guadeloupe Regional Council has built the MEMORIAL ACTe, a Caribbean Centre on the Expression and Memory of Slavery & the Slave Trade in Pointe à Pitre, in the former Darboussier factory.
Through knowledge, culture and creation, it is a means by which the local authorities can contribute towards healing wounds of a past which has greatly impacted the edification of not only the Guadeloupean society, but also the Caribbean and American societies.
Dollu Kunitha (dance), is a major form of art, occupies the pride of place among folk dances. Dollu Kunitha is a popular drum dance of Karnataka accompanied by singing. It provides both spectacular variety and complexity of skills in the process of demonstration. Woven around the presiding deity of Beereshwara or Beeralingeswara, chiefly worshipped by the Kuruba Gowdas of Karnataka and Andhra Pradesh, also called Halumathasthas, it presents both entertainment and spiritual edification.
Image © Susan Candelario / SDC Photography, All Rights Reserved. The image is protected by U.S. and International copyright laws, and is not to be downloaded or reproduced in any way without written permission.
If you would like to license this image for any purpose, please visit my site and contact me with any questions you may have. Please visit Susan Candelario artists website to purchase Prints Thank You.
The "Love for Sale" exhibit at the Chicago Cultural Center features the colorful labels that were used by the Valmor Products company, a southside Chicago company that sold products intended to improve one's love life such as perfumes, pomades, and incense. The room is filled with the sounds of 1920s jazz as you browse the many colorful labels, enlarged from postage stamp size to poster size for our edification.
www.cityofchicago.org/city/en/depts/dca/supp_info/Valmor....
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.
Probarona Purnima, October 27, 2015, Dhaka, Bangladesh
Probarona Purnima, the second largest festival of the Buddhist community. Also known as Ashwini Purnima, the festival marks conclusion of the three-month long seclusion of the monks inside their monasteries for self-edification and atonement of their defilement.
According to legend, Buddha once clipped some strands of hair from his head and said that if he was qualified to attain supreme wisdom and enlightenment, the hairs would not fall down but go up instead, which they did.
To mark this event, Buddhists ignited and send up balloons made of coloured paper to flow towards the sky as a symbol of lighting up the sky which is the chief attraction of the festival.
World globe with focus on Africa and the Middle East.
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Esterházy Palace (Kärntner Straße)
Palais Esterházy
The Palais Esterházy at the Kärntner Straße is a palace in the first Viennese district Innere Stadt. It is the oldest building at the Kärntner Straße and is still owned by the Esterházy family.
History
There were originally at the present site of the Palais two different houses which were not until the beginning of the 15th Century merged. In 1684 this estate came into the possession of the Imperial Council Adam Anthony Grundemann of Falkenberg. Whose son finally commissioned the edification of today's palace. The palace remained until 1767 in the family possession of the Grundeman, in 1716 elevated into the rank of count. Then it came by purchase into the possession of Hofkammerrat (Court Chamber Counsellor) Franz Freiherr von Harrucker.
In the years 1777-1871, the palace belonged to the Counts Károly. At this time there was a redesign of the facade to the present form and the installation of a balcony under Josefa Countess Karoly. Other minor alterations were made in 1833. The entrance is located at the main front (side Anna alley) with the coat of arms cartouche of the Esterhazys. Originally the palace had a courtyard but which was later expanded to the upper floor. In 1871, the palace finally through the purchase of the property by Moritz Graf Esterházy from Alois Count Károly passed into the possession of the Esterházy family. The Count then the inside of the palace had remodelled. On 25 January 1968, this was almost completely destroyed by fire. After the repair and reconstruction works was finally opened the Cercle Casino Vienna in 1969. This was many times augmented and can still be found in the palace. From the former facilities in the Empire style only a few fragments are still present. The majority of the premises is now decorated with contemporary art.
de.wikipedia.org/wiki/Palais_Esterh%C3%A1zy_(K%C3%A4rntner_Stra%C3%9Fe)
May 9, 2012 - Arlington, Virginia, USA - National Bike to School Day, Key School Escuela Key Elementary (Credit Image: © Dasha Rosato)
In the days of film photography, each exposure cost something to record and then turning the negative into a print (or enlargement) was a separate cost. As a result, a casual photographer might arrive with 12 or 20 negatives on the film roll or film cassette. Enthusiasts might buy the larger rolls of 36 exposures. A few people might carry a spare roll or two in reserve, too. But most people only took a few memento photos. By contrast, digital photography makes negligible the cost of each shot and the number of pictures to record (in addition to video). But how did visitors interact with museums *before* the time of personal and portable cameras like the Kodak Brownie box camera of 1901?
Museum developments once involved the "cabinet of curiosities" model: come to peek at rare sights collected under one roof. A few visitors might have used sketchpads to make a visual memento of their visit, capturing the outlines of something that attracted their eye or stirred their imagination. Others might buy a penny postcard that shows one of the major displays or the special exhibition underway. But for most people eager for novelty during a time of much routine and repetition, a few hours peering into the glass cases was a change of pace and might produce a few memories and unexpected learning. After they went home, there was little that remained in their mind or heart or head. Thus, camera carrying, Internet equipped visitors today have a very different experience.
The modern philosophy for exhibiting diverse subjects in museums encourages putting the artifact or specimen into a wider frame of reference. Web-savvy viistors can look up additional information online. They can share photos and videos by publishing them almost instantly. As such the visitor accustomed to framing subjects, capturing scenes, and communicating atmosphere will regard their role as hybrid: 1st person experience but at the same time a journalistic, documentary observer who records the bits that stand out for some reason.
Earlier generations were at the museum for personal edification and entertainment. Having a film camera allowed for a few mementos made with one's own hand and eye. But still the visitor experience was mostly visual and maybe social. Only with the digital medium and then with the online publishing outlet does the lens get in the way of the earlier visitor experience of edification and social memories with those accompanying. Today the photo snap-happy person is engaged in a sort of scavenger hunt, stalking and shooting the things of meaning according to one's own eye and preoccupations. Seeing the exhibits partly through a lens amplifies the senses, focuses the mind, and extends the duration of the place in one's mind long after the visit itself concludes.
Press L for lightbox (large) view; click the image or press Z for full image display.
Hover the mouse pointer over the image for pop-up remarks.
En pleins Pyrénées se trouve le spectaculaire espace du Paysage Protégé de Saint Jean de la Peña et du Monte Oroel, et entre ses éléments plus remarquables on peut trouver le Vieux Monastère de San Juan de la Peña, trésor de l´époque médiévale. Les édifications conservées, seulement une part de celles qui existèrent, sont des excellents témoins des successives formes artistiques des différentes époques dans lesquelles ce centre eût de la vie. À souligner surtout les siècles de l´Époque Romane (du XIe au XIIIe siècle) avec des remarquables œuvres d´architecture, de peinture et surtout de sculpture. L´ensemble historique artistique de San Juan de la Peña se complète avec le Nouveau Monastère, du XVIIe siècle et avec les églises de Saint Caprasio et Sainte Marie, toutes les deux de la période romane et situées dans la localité prochaine de Santa Cruz de la Serós.
El monasterio está formado por dos construcciones, el Monasterio Nuevo, del siglo XVII y estilo barroco, y el Monasterio Viejo, del siglo X, de estilo románico.
Tiene su origen en una iglesia eremítica sobre la que se erigió el monasterio, en el siglo X, edificándose primero la denominada Iglesia Baja, de estilo mozárabe, que fue consagrada en el 920. Sancho el Mayor de Navarra fundó un nuevo centro en el año 1025. Se construyó una nueva iglesia de estilo románico. En el siglo XV se construyó la capilla de San Victorián y, en el siglo XVII, tras un incendio, se hubo de reconstruir el monasterio, adoptando, esta vez, el estilo barroco. Si bien lo más importante es el maravilloso Claustro románico que es el que atrae a los visitantes.
Palestra Iniciação ao Mundo no Vinho no 26ª Seminário Cooplantio - O produtor como diferencial no Agronegócio. Gramado, 20 a 22 de junho. FOTO: Jefferson Bernardes/Preview.com
[image: Inline image 1]
EXCERPT from:
trumpetcallofgodonline.com/index.php5?title=Many_Are_Call...
*Therefore, hear now the word of The Lord, for here is wisdom:* *God is
just in everything.* And if The Father's justice is not partial, then it
shall surely come to pass in these latter days, that those who have placed
themselves first shall be last, and those who were seen as last shall be
first. For what shall I do and what shall I say to all these who call of
themselves Christian, to a people who speak in My name continually,
invoking My Word in Scripture, then in the selfsame day disobeying it?!
Shall any man who thinks himself righteous, simply because he knows My
name, be taken out of The Day of The Lord as a reward for his disobedience
and high-mindedness?!... *Surely not!*
And what of all these who speak in My name, using My own Word to exalt
themselves and to judge others? Shall I reward the lofty and deliver the
self-righteous?! Shall I lift up any who teach as doctrine the commandments
of men?! Shall I grant escape to those who stand firm for their own way, as
they fight against Me?!... *Surely not!* For of My servants I require all
humility, with meekness and fear, rightly dividing My Word unto the
edification of their brothers and sisters; not in justification of
themselves, by themselves, for their own glory, as they abide in the
churches of men who forsake My Commandments and ignore My every decree, a
people who hate My statutes and have no love for My Sabbaths!
26ª Seminário Cooplantio - O produtor como diferencial no Agronegócio. Gramado, 20 a 22 de junho. FOTO: Jefferson Bernardes/Preview.com
Image © Susan Candelario / SDC Photography, All Rights Reserved. The image is protected by U.S. and International copyright laws, and is not to be downloaded or reproduced in any way without written permission.
If you would like to license this image for any purpose, please visit my site and contact me with any questions you may have. Please visit Susan Candelario artists website to purchase Prints Thank You.
La cathédrale Saint-Gatien de Tours est l'église cathédrale catholique romaine, située à Tours, en Indre-et-Loire. Dédiée Saint-Gatien, elle est le siège du diocèse de Tours et la cathédrale métropolitaine de la province ecclésiastique de Tours.
Elle a été classée monument historique par liste de 1862.
La cathédrale Saint-Gatien a été construite entre 1170 et 1547. Lors de sa création, elle était située presque au débouché du pont franchissant la Loire, sur la route reliant Paris au sud-ouest de la France. Elle fait l’objet d’un classement au titre des monuments historiques par la liste de 18621.
La première cathédrale Saint-Maurice a été édifiée par Lidoire, évêque de Tours de 337 à 371 et prédécesseur de Martin. Incendiée en 561, elle est restaurée par Grégoire de Tours et dédicacée en 590. Du fait de son emplacement, à l'angle sud-ouest du castrum, et de son orientation à l'est, l'accès se faisait, sinon au travers de l'enceinte tardo-antique, du moins en baïonnette depuis la voie traversant la cité ; une telle configuration est rare2. La cathédrale de Tours est reconstruite au cours du deuxième quart du xiie siècle et est incendiée en 1166 lors des luttes entre Louis VII de France et Henri II d'Angleterre, comte d'Anjou. On ne connaît pas le plan de cet édifice.
La nef et le chœur :
La cathédrale actuelle remplace cet édifice roman. La première campagne a concerné le croisillon sud et les tours, dès 1170. Le chœur est reconstruit de 1236 à 1279 par Étienne de Mortagne. C'est la nef qui a demandé le plus de temps pour son édification. L'architecte Simon du Mans reconstruit le transept et entame la nef, dont six travées, bas-côtés et chapelles sont édifiés au xive siècle — les deux premières travées correspondent à celles de l'ancienne cathédrale romane et remontent au xiie siècle. La nef n'est achevée qu'au xve siècle par les architectes Jean de Dammartin, Jean Papin et Jean Durand, grâce aux libéralités accordées par Charles VII et le duc de Bretagne Jean V. À l'occasion de l'édification du bâtiment actuel, la nef a donc été allongée vers l'ouest et les tours encadrant l'entrée sont élevées en dehors de l'ancienne cité, accentuant la particularité de l'édifice mentionnée supra ; l'enceinte tardo-antique est visible en coupe à l'arrière des tours depuis le nord. En 1356, la cathédrale reçoit le nouveau vocable de Gatien.
La façade a perdu les grandes statues des piédroits, détruites par les protestants au cours des guerres de Religion. Mais elle demeure une des plus extraordinaires créations du gothique flamboyant dans ce qu'il a de plus éxubérant, véritable dentelle de pierre sans guère d'équivalent, chef-d'œuvre décoratif de premier plan. Les tours sont élevées dans la première moitié du xvie siècle : la tour nord a été édifiée en 1507 par Pierre de Valence, et la tour sud entre 1534 et 1547 par Pierre Gadier.
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La catedral San Gaciano de Tours, también llamada Catedral de Tours es la iglesia catedral de la diócesis de Tours y la catedral metropolitana de la provincia eclesiástica de Tours. Fue construida entre 1170 y 1547. Estaba situada durante su creación casi a la salida del puente que cruza el Loira, sobre la ruta que une París con el suroeste de Francia.
Historia:
La primera catedral de San Mauricio fue edificada por Lidoire, obispo de Tours del 337 al 371 y predecesor de Martín de Tours. Incendiada en el 561, fue restaurada por Gregorio de Tours y dedicada en el 590.
Su situación, en el ángulo suroeste del castrum, hace que la orientación al este haya hecho que el acceso se haga, sino a través de la muralla tardo-antigua, desde la vía que atraviesa la ciudad. Tal configuración es poco común. No se conoce el plano de este edificio.
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Saint Gatien's Cathedral is the Roman Catholic cathedral church of the Tours diocese and the metropolitan cathedral of the Tours ecclesiastic province, in Indre-et-Loire, France. Saint-Gatien's Cathedral was built between 1170 and 1547. At the time construction began, it was located at the south end of the bridge over the Loire, on the road from Paris to the south-west of France. It has been a classified Monument historique since 1862.
The first cathedral of Saint-Maurice was built by Lidoire, bishop of Tours from 337 to 371 (preceding St Martin). Burnt in 561, it was restored by Gregory of Tours and rededicated in 590. Its location, at the south-west angle of the castrum, as well as its eastern orientation, resulted in the original access being through the late-Roman surrounding wall (such a configuration is quite rare).
The cathedral was then rebuilt during the second quarter of the 12th century and again burnt in 1166 during the conflict between Louis VII of France and Henry II of England (also count of Anjou, the neighboring region).
The present cathedral replaces the 13th century Romanesque building. The first phase concerned the south transept and the towers, as early as 1170. The chancel was rebuilt from 1236 to 1279 by Étienne de Mortagne but the nave took much longer to build. The architect Simon du Mans rebuilt the transept and started the nave, including six spans, aisle and chapel, built during the 14th century — the first two spans correspond to those of the old Romanesque cathedral and date back to the 12th century. The nave was only finished during the 15th century by architects Jean de Dammartin, Jean Papin and Jean Durand, thanks to the generosity of Charles VII and the Duke of Brittany Jean V.
While building the present cathedral, the nave was then extended westward and the towers surrounding its entrance were erected during the first half of the 16th century, the first tower in 1507 by Pierre de Valence 87 m high, and the second tower during 1534 and 1547 by Pierre Gadier. Highlighting the special feature of the building, called supra, the towers were erected outside of the old city. The late-Roman surrounding wall is visible in cross section at the rear of the towers from the north.
In 1356, the cathedral received its new name of saint Gatien. Its construction having been particularly slow, it presents a complex pattern of French religious types of architecture from the 13th century to the 15th. For example, the tower buttresses are Romanesque, the ornamentation generally is pure Gothic, and the tops of the towers are Renaissance (beginning of the 16th century).
Mamiya 7, 65mm f/4 L N, Ilford Delta 100 Pro, DD-X 1+4, 7 min 30 s at 23 ºC
Ilha de Tavira, Algarve
Although attractive from an holidaymaker viewpoint, clearly a bad example of territory's spatial planning certainly committed a couple decades ago, which allowed edification right on top of the sand dunes. More so, since this island like many in the Ria Formosa estuary constitutes a very sensible area to buffer coastal erosion, as wells as nesting ground for many bird species.
Image © Susan Candelario / SDC Photography, All Rights Reserved. The image is protected by U.S. and International copyright laws, and is not to be downloaded or reproduced in any way without written permission.
If you would like to license this image for any purpose, please visit my site and contact me with any questions you may have. Please visit Susan Candelario artists website to purchase Prints Thank You.