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The Centre Pompidou Metz is a museum of modern and contemporary arts designed by architects Shigeru Ban and Jean de Gastines and located in Metz, capital of Lorraine, France. It is built in the Amphitheatre District, near the Metz railway station and the German Imperial District. The Centre Pompidou-Metz is a branch of Pompidou arts centre of Paris, and features temporary exhibitions from the large collection of the French National Museum of Modern Art, the largest European collection of 20th and 21st century arts. The museum is the largest temporary exhibition space outside Paris in France with 5,000 metres square divided between 3 galleries and includes also a theatre, an auditorium, and a restaurant terrace.
The first piece of the monument was laid on November 7, 2006, and the building was inaugurated by the President of France, Nicolas Sarkozy, on May 12, 2010. The building is remarkable for its roof structure, one of the largest and most complex built to date, which was inspired by a Chinese hat found in Paris by Shigeru Ban.
The Centre Pompidou-Metz is a large hexagon structured round a central spire reaching 77 metres high, alluding to the 1977 opening date of the original Centre Pompidou of Paris. It possesses three rectangular galleries weaving through the building at different levels, jutting out through the roof with huge picture windows angled towards landmarks such as the Saint-Stephen Gothic cathedral, the Imperial Metz railway station, the Arsenal Concert Hall built by architect Ricardo Bofill, the Arènes indoor sport arena, and the Seille park. The great nave covers 1,200 m² and provides flexibility for the exhibition of large artworks, with the ceiling rising progressively from a height of 5.70 to 18 metres.
View on the carpentry structure.
Central spire supporting the carpentry.
Joan Miró, Blue I, Blue II, and Blue III, 1961, triptych in October 2010, during the exhibition Masterpieces?.
The roof is the major achievement of the building: a 90 meters wide hexagon echoing the building’s floor map. With a surface area of 8,000 metres square, the roof structure is composed of sixteen kilometres of glued laminated timber, that intersect to form hexagonal wooden units resembling the cane-work pattern of a Chinese hat. The roof’s geometry is irregular, featuring curves and counter-curves over the entire building, and in particular the three exhibition galleries. Imitating this kind of hat and its protective fabric, the entire wooden structure is covered with a white fibreglass membrane and a coating of teflon, which has the distinction of being self-cleaning, protect from direct sunlight while providing a transparent at night.
The Pompidou-Metz itself and its parvise, named Human Rights square, are built on the site of the Roman amphitheatre of Divodurum Medriomaticum (ancestor of present-day Metz). So, the building is the cornerstone of the newly created Amphitheater district. The district of 50 hectares, thought by architects Nicolas Michelin, Jean-Paul Viguier, and Christian de Portzamparc, is currently under construction and includes the edification of a convention centre and a shopping mall. The quarter encompasses already the Seille park designed by landscape architect Jacques Coulon and the Arènes indoor sport arena by Paul Chemetov built in 2002. The urban project completion is expected to take place by 2015.
From Wikipedia, the free encyclopedia
Le phare est relié à la terre ferme par une jetée en granit. Les courants forts au large de la pointe, et les nombreux naufrages, dont le plus célèbre est sans doute celui de la Blanche-Nef, ont rendu indispensable l'édification d'un phare.
Il se situe aux antipodes exactes des îles des Antipodes
Le phare de Gatteville, construit par l'architecte Charles-Félix Morice de la Rue, avec 11 000 blocs en granit rose de Fermanville, pesant au total 7 400 tonnes, est une haute tour cylindrique de 74,85 mètres, ce qui en fait le second plus haut phare d'Europe. Sa tour, construite au centre d'un soubassement de deux niveaux, a un diamètre à la base de 9,25 mètres et de 6 mètres à la passerelle.
Il est dit que le phare comporte autant de marches que de jours dans l'année, alors qu'il n'en compte que 349 marches, autant de fenêtres que de semaines et autant de niveaux (représentés par le nombre de fenêtres en façade) que de mois.
The lighthouse is connected to the mainland by a granite pier. The strong currents off the point, and the numerous shipwrecks, the most famous of which is undoubtedly that of the Blanche-Nef, made the building of a lighthouse essential.
It is located at the exact opposite ends of the Antipodes Islands.
The Gatteville lighthouse, built by the architect Charles-Félix Morice de la Rue, with 11,000 blocks of pink granite from Fermanville, weighing a total of 7,400 tonnes, is a high cylindrical tower of 74.85 meters, which makes it the second tallest lighthouse in Europe. Its tower, built in the center of a two-level base, has a diameter at the base of 9.25 meters and 6 meters at the gateway.
It is said that the lighthouse has as many steps as there are days in the year, whereas it only has 349 steps, as many windows as there are weeks and as many levels (represented by the number of windows on the facade) than months.
Thanks all for the kind words on "Red"! Here's another, actually from somewhat nearby, another canyon though.
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An old file.. reprocessed for a client. I took this in 2007 in the Netherlands, under classic dutch skies (read: gray).
2010 CALENDARS now shipping!! - florisvanbreugel.smugmug.com/gallery/8609384_K59HN
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Today for your edification this culinary herb seen growing in a local park path verge. In the mint family, it is sometimes called Wild Marjoram which may sound more anglicised.
It is well known for its use on lamb and meats but especially cheese. It is said that American soldiers in Italy, after the Second World War, took this back to the States for its use on pizzas!
Saint-Étienne de Metz (French for "Saint-Stephen of Metz"), also known as Metz Cathedral, is a historic Roman Catholic cathedral in Metz, capital of Lorraine, France. Saint-Étienne de Metz is the cathedral of the Roman Catholic Diocese of Metz and the seat of the Bishop of Metz, currently Pierre Raffin. The cathedral treasury exhibits the millennium rich collection of the Bishopric of Metz, including paraments and items used for the Eucharist.
Saint-Stephen of Metz has one of the highest naves in the world. The cathedral is nicknamed the Good Lord's Lantern (French: la Lanterne du Bon Dieu), displaying the largest expanse of stained glass in the world with 6,496 m2 (69,920 sq ft). Those stained glass windows include works by Gothic and Renaissance master glass makers Hermann von Münster, Theobald of Lixheim, and Valentin Bousch and romantic Charles-Laurent Maréchal, tachist Roger Bissière, cubist Jacques Villon, and modernist Marc Chagall.
Architecture
Cathedral all in volute where the wind sings as in a flute, and responding to it via the Mutte, this big voice of the Good Lord!
— Paul Verlaine, Ode to Metz, Invectives, 1896.
Saint-Stephen Cathedral is a Rayonnant Gothic edifice built with the local yellow Jaumont limestone. Like in French Gothic architecture, the building is compact, with slight projection of the transepts and subsidiary chapels. However, it displays singular, distinctive characteristics in both its ground plan and architecture compared to most of the other cathedrals. Because of topography of Moselle valley in Metz, the common west-east axis of the ground plan could not be applied and the church is oriented north-northeast. Moreover, unlike the French and German Gothic cathedrals having three portals surmounted by a rose window and two large towers, Saint-Stephen of Metz has a single porch at its western facade. One enters laterally in the edifice by another portal placed at the south-western side of the narthex, declining the usual alignment of the entrance with the choir.
The nave is supported by flying buttresses and culminates at 41.41 metres (135.9 ft) high, making one of the highest naves in the world. The height of the nave is contrasted by the relatively low height of the aisles with 14.3 metres (47 ft) high, reinforcing the sensation of tallness of the nave. This feature permitted the architects to create large, tall expanses of stained glass. Through its history, Saint-Stephen Cathedral was subjected to architectural and ornamental modifications with successive additions of Neoclassical and Neogothic elements.
Construction history
The edification of Saint-Stephen of Metz took place on an Ancient site from the 5th century consecrated to Saint Stephen protomartyr.According to Gregory of Tours, the shrine of Saint Stephen was the sole structure spared during the sack of 451 by Attila's Huns. The construction of the Gothic cathedral began in 1220 within the walls of an Ottonian basilica dating from the 10th century. The integration into the cathedral's ground plan of a Gothic chapel from the 12th century at the western end resulted in the absence of a main western portal; the south-western porch of the cathedral being the entrance of the former chapel. The work was completed around 1520 and the new cathedral was consecrated on 11 April 1552.
In 1755, French architect Jacques-François Blondel was awarded by the Royal Academy of Architecture to built a Neoclassical portal at the West end of the cathedral. He disengaged the cathedral's facade by razing an adjacent cloister and three attached churches and achieved the westwork in 1764.
In 1877, the Saint-Stephen of Metz was heavily damaged after a conflagration due to fireworks. After this incident, it was decided the refurbishment of the cathedral and its adornments within a Neogothic style. The western facade was completely rebuilt between 1898 and 1903; the Blondel's portal was demolished and a new Neogothic portal was added.
From Wikipedia, the free encyclopedia
Tucson, Arizona — This image was ingested and tagged with Photo Mechanic 5; camera and lens profiles were added using Adobe Lightroom; the image was touched-up using Adobe Photoshop CC 2014; the Photoshop filters used are Topaz Denoise, Topaz Adjust, Topaz Clean, and Topaz ReMask.
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Pentax 20D
SMC Pentax-DA* 200mm ƒ2.8 ED [IF] SDM
ISO 200, ƒ4.5, 1/250
I made a whirlwind trip out to get some fresh air, experience a sunrise, and enjoy a view with no cement or cars. It's amazing how short the spring season is in California.. this would have been green about 3 weeks ago or so!
Shot as a 3-shot pano.
View LARGE - there's a very big large file awaiting you :)
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Phoenix Convention Center, Phoenix, AZ Jun 23, 2011 — Team Legacy 14-1 from Stevenson Ranch, CA celebrates at the Phoenix Volleyball Festival.
PENTAX K-5
SMC Pentax-DA* 55mm ƒ1.4 SDM
ISO 2200, ƒ1.7, 1/750
Le château de Chambord est un château français situé dans la commune de Chambord.
Construit au cœur du plus grand parc forestier clos d’Europe (environ 50 km2 ceint par un mur de 32 km de long), il s'agit du plus vaste des châteaux de la Loire. Il bénéficie d'un jardin d'agrément et d'un parc de chasse.
Le site a d'abord accueilli une motte féodale, ainsi que l'ancien château des comtes de Blois. L'origine du château actuel remonte au XVIe siècle et au règne du roi de France François Ier qui supervise son édification à partir de 1519.
fr.wikipedia.org/wiki/Château_de_Chambord
The royal Château de Chambord at Chambord is one of the most recognizable châteaux in the world because of its very distinctive French Renaissance architecture which blends traditional French medieval forms with classical Renaissance structures. The building, which was never completed, was constructed by King Francis I of France.
Chambord is the largest château in the Loire Valley; it was built to serve as a hunting lodge for Francis I, who maintained his royal residences at the châteaux of Blois and Amboise.
The Centre Pompidou Metz is a museum of modern and contemporary arts designed by architects Shigeru Ban and Jean de Gastines and located in Metz, capital of Lorraine, France. It is built in the Amphitheatre District, near the Metz railway station and the German Imperial District. The Centre Pompidou-Metz is a branch of Pompidou arts centre of Paris, and features temporary exhibitions from the large collection of the French National Museum of Modern Art, the largest European collection of 20th and 21st century arts. The museum is the largest temporary exhibition space outside Paris in France with 5,000 metres square divided between 3 galleries and includes also a theatre, an auditorium, and a restaurant terrace.
The first piece of the monument was laid on November 7, 2006, and the building was inaugurated by the President of France, Nicolas Sarkozy, on May 12, 2010. The building is remarkable for its roof structure, one of the largest and most complex built to date, which was inspired by a Chinese hat found in Paris by Shigeru Ban.
The Centre Pompidou-Metz is a large hexagon structured round a central spire reaching 77 metres high, alluding to the 1977 opening date of the original Centre Pompidou of Paris. It possesses three rectangular galleries weaving through the building at different levels, jutting out through the roof with huge picture windows angled towards landmarks such as the Saint-Stephen Gothic cathedral, the Imperial Metz railway station, the Arsenal Concert Hall built by architect Ricardo Bofill, the Arènes indoor sport arena, and the Seille park. The great nave covers 1,200 m² and provides flexibility for the exhibition of large artworks, with the ceiling rising progressively from a height of 5.70 to 18 metres.
View on the carpentry structure.
Central spire supporting the carpentry.
Joan Miró, Blue I, Blue II, and Blue III, 1961, triptych in October 2010, during the exhibition Masterpieces?.
The roof is the major achievement of the building: a 90 meters wide hexagon echoing the building’s floor map. With a surface area of 8,000 metres square, the roof structure is composed of sixteen kilometres of glued laminated timber, that intersect to form hexagonal wooden units resembling the cane-work pattern of a Chinese hat. The roof’s geometry is irregular, featuring curves and counter-curves over the entire building, and in particular the three exhibition galleries. Imitating this kind of hat and its protective fabric, the entire wooden structure is covered with a white fibreglass membrane and a coating of teflon, which has the distinction of being self-cleaning, protect from direct sunlight while providing a transparent at night.
The Pompidou-Metz itself and its parvise, named Human Rights square, are built on the site of the Roman amphitheatre of Divodurum Medriomaticum (ancestor of present-day Metz). So, the building is the cornerstone of the newly created Amphitheater district. The district of 50 hectares, thought by architects Nicolas Michelin, Jean-Paul Viguier, and Christian de Portzamparc, is currently under construction and includes the edification of a convention centre and a shopping mall. The quarter encompasses already the Seille park designed by landscape architect Jacques Coulon and the Arènes indoor sport arena by Paul Chemetov built in 2002. The urban project completion is expected to take place by 2015.
From Wikipedia, the free encyclopedia
Some winter aspens from the Eastern Sierra.
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7 Days With Flickr - Crazy Tuesday Theme: "Looking up" :)
Bells of the Santa Úrsula Church in Adeje :)
Adeje is a town and municipality in the southwestern part of the island of Tenerife, one of the Canary Islands, and part of the province of Santa Cruz de Tenerife, Spain. A hundred years before the Spanish conquest (1494), this place was the capital of the Menceyato of Adeje, one of the guanches (local kingdoms) in which the island was divided. It is now one of the most important tourist cities in the Canary Islands. The main street of Adeje has a multitude of little restaurants, cafe’s and bars where you are able to sit outside in the picturesque spreading laurel tree lined street and enjoy your meal or just a leisurely drink and soak up the atmosphere of the quaint town. In Adeje you can see the Santa Úrsula Church, located in the Plaza de Espana Square. Built mid-16th Century and reformed by Domingo de Herrera in 1764. Iglesia de Santa Úrsula has been considered Cultural Interest Good in the category of Artistic Historic Monument on 1986. In 1560 there was a hermitage to worship Santa Úrsula on this same spot, over which Pedro de Ponte started building the actual edification. This building has many great artistic and historic value sculptures as, for example, the Virgen de La Encarnación (from the centuries XV and XVI), la Virgen de la Candelaria, San Juanito, Santa Úrsula (XVII century), la Virgen de Guadalupe (between the XVII and XVIII centuries), y la Virgen del Rosario (XVIII century).
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Dzwony kościoła św. Urszuli w Adeje :)
Adeje - miasto i gmina przynależąca do prowincji Santa Cruz de Tenerife. Podstawową działalnością gospodarczą jest tutaj turystyka, przede wszystkim w strefie wybrzeża Adeje (Costa Adeje). Miejscowość z początku nazywana była Adexe w języku Guanczów (oznacza wodopój). Sto lat przed konkwistą, w tym miejscu znajdowało się Królestwo Adeje, dwór króla Guanczów Sunty i jego syna Tinerfy Wielkiego, skąd rządzili zjednoczoną wyspą, aż do momentu, gdy synowie Tinerfy rozdzielili wyspę na dziewięć odrębnych królestw. Adeje było miejscem pochodzenia i głównym siedliskiem kultury Guanczów w tej epoce, jako że to tam znajdowała się siedziba aborygeńskich królów, zwanych Menceyes. Przy głównej ulicy Adeje znajduje się wiele małych restauracji, kawiarni i barów, w których można usiąść na zewnątrz w malowniczej alei wysadzanej drzewami laurowymi i delektować się posiłkiem lub po prostu relaksować się przy drinku i rozkoszować spokojną atmosferą urokliwego miasta. W Adeje można zobaczyć kościół św. Urszuli i klasztor, znajdujący się przy placu Plaza de Espana. Zbudowany w połowie XVI wieku kościół Iglesia deSanta Úrsula został przebudowany przez Domingo de Herrera w 1764r. Kościół ten został uznany za dobro kultury w kategorii Artistic Historic Monument w 1986 roku. We wnętrzu kościoła obejrzeć można liczne dzieła tak zwanej Sztuki Sakralnej, a wśród nich wykonana przez szkołę gwatemalską podobizna Matki Bożej z Guadalupe (rzeźbiona kopia tej z Meksyku), która jest przechowywana w kościele parafialnym w Adeje i została wykonana w XVIII wieku.
Interior of the Santa Úrsula Church in Adeje :)
Adeje is a town and municipality in the southwestern part of the island of Tenerife, one of the Canary Islands, and part of the province of Santa Cruz de Tenerife, Spain. A hundred years before the Spanish conquest (1494), this place was the capital of the Menceyato of Adeje, one of the guanches (local kingdoms) in which the island was divided. It is now one of the most important tourist cities in the Canary Islands. The main street of Adeje has a multitude of little restaurants, cafe’s and bars where you are able to sit outside in the picturesque spreading laurel tree lined street and enjoy your meal or just a leisurely drink and soak up the atmosphere of the quaint town. In Adeje you can see the Santa Úrsula Church, located in the Plaza de Espana Square. Built mid-16th Century and reformed by Domingo de Herrera in 1764. Iglesia de Santa Úrsula has been considered Cultural Interest Good in the category of Artistic Historic Monument on 1986. In 1560 there was a hermitage to worship Santa Úrsula on this same spot, over which Pedro de Ponte started building the actual edification. This building has many great artistic and historic value sculptures as, for example, the Virgen de La Encarnación (from the centuries XV and XVI), la Virgen de la Candelaria, San Juanito, Santa Úrsula (XVII century), la Virgen de Guadalupe (between the XVII and XVIII centuries), y la Virgen del Rosario (XVIII century).
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Wnętrze kościoła św. Urszuli w Adeje :)
Adeje - miasto i gmina przynależąca do prowincji Santa Cruz de Tenerife. Podstawową działalnością gospodarczą jest tutaj turystyka, przede wszystkim w strefie wybrzeża Adeje (Costa Adeje). Miejscowość z początku nazywana była Adexe w języku Guanczów (oznacza wodopój). Sto lat przed konkwistą, w tym miejscu znajdowało się Królestwo Adeje, dwór króla Guanczów Sunty i jego syna Tinerfy Wielkiego, skąd rządzili zjednoczoną wyspą, aż do momentu, gdy synowie Tinerfy rozdzielili wyspę na dziewięć odrębnych królestw. Adeje było miejscem pochodzenia i głównym siedliskiem kultury Guanczów w tej epoce, jako że to tam znajdowała się siedziba aborygeńskich królów, zwanych Menceyes. Przy głównej ulicy Adeje znajduje się wiele małych restauracji, kawiarni i barów, w których można usiąść na zewnątrz w malowniczej alei wysadzanej drzewami laurowymi i delektować się posiłkiem lub po prostu relaksować się przy drinku i rozkoszować spokojną atmosferą urokliwego miasta. W Adeje można zobaczyć kościół św. Urszuli i klasztor, znajdujący się przy placu Plaza de Espana. Zbudowany w połowie XVI wieku kościół Iglesia deSanta Úrsula został przebudowany przez Domingo de Herrera w 1764r. Kościół ten został uznany za dobro kultury w kategorii Artistic Historic Monument w 1986 roku. We wnętrzu kościoła obejrzeć można liczne dzieła tak zwanej Sztuki Sakralnej, a wśród nich wykonana przez szkołę gwatemalską podobizna Matki Bożej z Guadalupe (rzeźbiona kopia tej z Meksyku), która jest przechowywana w kościele parafialnym w Adeje i została wykonana w XVIII wieku.
The Centre Pompidou Metz is a museum of modern and contemporary arts designed by architects Shigeru Ban and Jean de Gastines and located in Metz, capital of Lorraine, France. It is built in the Amphitheatre District, near the Metz railway station and the German Imperial District. The Centre Pompidou-Metz is a branch of Pompidou arts centre of Paris, and features temporary exhibitions from the large collection of the French National Museum of Modern Art, the largest European collection of 20th and 21st century arts. The museum is the largest temporary exhibition space outside Paris in France with 5,000 metres square divided between 3 galleries and includes also a theatre, an auditorium, and a restaurant terrace.
The first piece of the monument was laid on November 7, 2006, and the building was inaugurated by the President of France, Nicolas Sarkozy, on May 12, 2010. The building is remarkable for its roof structure, one of the largest and most complex built to date, which was inspired by a Chinese hat found in Paris by Shigeru Ban.
The Centre Pompidou-Metz is a large hexagon structured round a central spire reaching 77 metres high, alluding to the 1977 opening date of the original Centre Pompidou of Paris. It possesses three rectangular galleries weaving through the building at different levels, jutting out through the roof with huge picture windows angled towards landmarks such as the Saint-Stephen Gothic cathedral, the Imperial Metz railway station, the Arsenal Concert Hall built by architect Ricardo Bofill, the Arènes indoor sport arena, and the Seille park. The great nave covers 1,200 m² and provides flexibility for the exhibition of large artworks, with the ceiling rising progressively from a height of 5.70 to 18 metres.
View on the carpentry structure.
Central spire supporting the carpentry.
Joan Miró, Blue I, Blue II, and Blue III, 1961, triptych in October 2010, during the exhibition Masterpieces?.
The roof is the major achievement of the building: a 90 meters wide hexagon echoing the building’s floor map. With a surface area of 8,000 metres square, the roof structure is composed of sixteen kilometres of glued laminated timber, that intersect to form hexagonal wooden units resembling the cane-work pattern of a Chinese hat. The roof’s geometry is irregular, featuring curves and counter-curves over the entire building, and in particular the three exhibition galleries. Imitating this kind of hat and its protective fabric, the entire wooden structure is covered with a white fibreglass membrane and a coating of teflon, which has the distinction of being self-cleaning, protect from direct sunlight while providing a transparent at night.
The Pompidou-Metz itself and its parvise, named Human Rights square, are built on the site of the Roman amphitheatre of Divodurum Medriomaticum (ancestor of present-day Metz). So, the building is the cornerstone of the newly created Amphitheater district. The district of 50 hectares, thought by architects Nicolas Michelin, Jean-Paul Viguier, and Christian de Portzamparc, is currently under construction and includes the edification of a convention centre and a shopping mall. The quarter encompasses already the Seille park designed by landscape architect Jacques Coulon and the Arènes indoor sport arena by Paul Chemetov built in 2002. The urban project completion is expected to take place by 2015.
From Wikipedia, the free encyclopedia
Found! Off Herrick Lane, west. This is simply more prairie ranching culture housing guaranteed Trumpvid-19 free and fully UV coated. Ahh, this is a load of lumber from the Snowy Range in the background and is a monument to ranching settlers. There were even more boards ready for boarding up the windows, with only a single board left over the front door should you want to sneak in to evaluate it for housing. Glass for the boarded up windows is presently on order.
It almost seems this old homestead is in the way of growing hay and it's harvest, be it illegal round bales. There is no way for a cow to get a square meal. The worst part is that your teens don't even get a hidden "roll in the hay."
At the time, I was accompanying eDDie on a trek into the great north on an agricultural and scenic camera series. Early on, I grabbed my gear and immediately bailed to Loveland to pack in with the chief and scout explorer. We turned north onto Highway #287 through northern Colorado and southern Wyoming to scout for all things of interest even the odd antelope or two working to keep the grasses cropped. That is always a great scenic drive.
I found captures that interested me like this derelict ranch house near the Little Laramie river-watered bottom land as long as we had plenty of time to poke. Clearly, ranching was THE historical industry on these lands. Now I feel that I should have been even pokier while snagging possible snaps. I suppose that you could get cheap boarding in this rural shack but it is reserved for now. It may no longer have any utilities connected - or heating. That is not the problem this summer as is sleeping. This boarding-wise, you could get a bit nippy in the winter.
We were blasted by a hazy sky due to some degree of moisture and a load of "fake global warming" smoke from California and Colorado wildfires. I heard that is no smoke from wildfires in California because der Leader has decried "global warming" as fake news. It must be something else entirely but boy was it thick in Colorado. Damn, it's really hot even this early in the morning. It was early in the day but it was starting to slug me down. It was smart to bring a load of my Propel hydration.
Although a plain shot, this old derelict house was better built than others nearby and has yet to tumble and I love this old exterior wood grain and its patina on the humble house that held against the Wyoming prairie winds in its past. The shack has accumulated old farming sheds in the back; were they old pens or veal feeding sheds? It looks like the California smog is moving on east from here for the edification of Kansan global warming hoaxers. The eastern area folks await the Sturgis flu... another week certainly!
After returbing with a card full of shots, I am now on my way back to highway #66 and Logmont in the drain of evening while I empty the rest of my hydration. Yesterday was another hoax warming bummer and we pray for September relief until the fake global warming ramps up worse next summer. This August was record setting. Real global warming reared its head this August with 3 days below normal, one normal and the rest above 90. That means we can spend next year under AC fueled by fossils while waiting for the END and the end of the first Trumpandemic surge in the US. Wait, wait, there's supposed to be a second wave? We need another Sturgis to educate the right.
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.
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.
Once again this is off Herrick Lane and Wyoming I-80, west nearby the earlier ranch house but with buildings from some generations and decades earlier. Even the barn in the background may be from another era, This is simply more prairie ranching culture housing guaranteed Trumpvid-19 free and fully UV bombarded inside and out. Ahh, this is another load of lumber from the Snowy Range in the background and is a monument to early ranching settlers. Sadly, this place is no longer even window and door ready! Even new ranching left a round hay bale in the background.
It almost seems these old buildings are getting in the way of growing hay and it's harvesting, be it illegal round bales. There is no way for a cow to get a square meal. The worst part is that your teens don't even get a "romp while hiding in the hay."
At the time, I was accompanying eDDie on a trek into the great north on an agricultural and scenic camera series. Early on, I grabbed my gear and immediately bailed to Loveland to pack in with the chief and scout explorer. We turned north onto Highway #287 through northern Colorado and southern Wyoming to scout for all things of interest even the odd antelope or two working to keep the grasses cropped. That is always a great scenic drive.
I found captures that interested me like this derelict log ranch house near the Little Laramie river-watered bottom land as long as we had plenty of time to poke. Clearly, ranmching was THE historical industry on these lands. Now I feel that I should have been even pokier while snagging possible snaps and snapped even more. I suppose that you could get cheap boarding in this rural shack but it is reserved for now. It may no longer have any utilities connected - or heating. That is not the problem this summer as is sleeping at all in the heat. This boarding-wise, you could get a bit nippy in the winter.
We were blasted by a hazy sky due to some degree of moisture and a load of "fake global warming" smoke from California and Colorado wildfires. I heard that is no smoke from wildfires in California because der Leader has decried "global warming" as fake news. It must be something else entirely but boy was it thick in Colorado. Damn, it's really hot even this early in the morning. It was early in the day but it was starting to slug me down. It was smart to bring a load of my Propel hydration.
Although a plain shot, this old derelict house was better built than others nearby and has yet to tumble and I love this old exterior wood grain and its patina on the humble house that held against the Wyoming prairie winds in its past. The shack has accumulated old farming sheds in the back; were they old pens or veal feeding sheds? It looks like the California smog is moving on east from here for the edification of Kansan global warming hoaxers. The eastern area folks await the Sturgis flu... another week certainly!
After retuning with a card full of shots, I am now on my way back to highway #66 and Logmont in the drain of evening while I empty the rest of my hydration. Yesterday was another hoax warming bummer and we pray for September relief until the fake global warming ramps up worse next summer. This August was record setting. Real global warming reared its head this August with 3 days below normal, one normal and the rest above 90. That means we can spend next year under AC fueled by fossils while waiting for the END and the end of the first Trumpandemic surge in the US. Wait, wait, theres supposed to be a second wave? We need another Sturgis to educate the right.
"Não é ângulo reto que me atrai.
Nem a linha reta. Dura, inflexível criada pelo homem.
O que me atrai é a curva livre e sensual.
A curva que encontro nas montanhas do meu país, no curso sinuoso dos seus rios, nas nuvens do céu, no corpo da mulher preferida.
De curvas é feito todo o Universo.
O universo curvo de Enstein.” (Oscar Niemeyer)
A refinada elegância do Edifício Niemeyer marca o conjunto arquitetônico da Praça da Liberdade, em Belo Horizonte, Minas Gerais, Brasil.
Em um terreno triangular está o edifício de linhas sinuosas que é considerado uma das mais belas obras de Niemeyer. O projeto é de 1954 e foi concluído em 1960.
Marcus Nonius Balbus est un sénateur romain du Ier siècle av. J.-C., patron de la ville d'Herculanum.
Originaire de Nuceria, il s'installe à Herculanum.
Comme bienfaiteur de la cité d'Herculanum, il finance la restauration de la basilique, des fortifications et des portes de la ville. En reconnaissance, il est nommé patron de la cité, et est honoré par l'édification d'au moins dix statues à son effigie.
Marcus Nonius Balbus was a Roman senator from the 1st century BC and patron saint of the town of Herculaneum.
Originally from Nuceria, he settled in Herculaneum.
As a benefactor of the city of Herculaneum, he financed the restoration of the basilica, the fortifications and the city gates. In recognition of this, he was named patron saint of the city, and at least ten statues bearing his likeness were erected in his honour.
Why do sociologists, when calculating the liveability score of an urban community, continue to leave out of their calculations the most significant characteristic that makes a city rich and enduring? The quality of the viola section in the local orchestra, the number of “vape shops”, the population of basson players in town (per capita); these as well as other mundane considerations are often found in the ledgers of Urban Studies departments; catalogues that contain more entries than there are cases of narcolepsy in Des Moines. The thoroughness of these tomes is undeniably impressive, but the reputations of the compilers will be forever sullied until they descend from their academic perches and get down to “brass tacks”. For too long has the really important question been neglected: how many joints in the neighbourhood serve up matzah ball soup?
The Cream City, I am sad to report, does not do well in this regard. How a congregation so rich in culture continues to be a “matzah-ball desert” is beyond my ability to explain. Everything else needed to raise up the Philistine to a higher level (and God knows, they need it), is here for the taking: the Harley-Davidson Museum, a bingo palace sitting astride the banks of the serene Menominee River, “Da Crusher Statue” that pays homage to one of the prime-movers of inspired athleticism amongst the local citizenry: those secular temples are all here for the edification of the regional populace and fortunate visiter. I could go on with the list, but do you really want me to? Back to subject at hand: where in this town are the friggn’ Matzah Balls?
It pains me to relate that currently there are only six restaurants in Milwaukee County that offer the delicacy. To be wrong in reporting this dismal number would be a blessing; please correct me if this recent research is faulty. Nothing would give me greater pleasure than to be able to describe how our streets and avenues are awash in a rich and gold-hued broth along with attendant balls. It would even help me emerge from a recent bout with ennui. Although that malaise has been with me for only a brief time (49 years to be exact) it is far past time to take on a more vigorous approach. After all, honesty in all things, especially for the food critic, is indispensable. “Truth, naked, unblushing truth, the first virtue of more serious history, must be the sole recommendation of this personal narrative. So said Edward Gibbon in his autobiography. Shouldn’t the same unblushing truth be bestowed upon not only the student of history, but also upon those poor rubes seriously in search of a decent matzah ball?
The sad, sad reality must be reported and confronted: a metropolitan area that contains one and a half million citizens (you read that number right, Sarge) and only six matzah ball venues?
Embarrassing and even shameful.
Here’s the skivvy: of these pitifully few heroic establishments, three have been offering the tasty globes for decades: “Benji's Deli” on Oakland (and their suburban branch in Fox Point) and “Jake’s” on 20th and North. Two more, “Allie Boy’s Bagelry & Luncheonette” and “Fool’s Errand” are new-commers to the sweepstakes, and one, “Bistro in the Glen,” has been in the game for close to a decade. All of them contribute respectable M-balls for the delectation of the local population.
It was only by happenstance, and a wrong turn onto National Avenue, that I came across one of these five noble ports. As it turned out, this particular shop’s version of the dish under consideration was more than respectable. It fact, the other five dispensaries had better “up their game”, or their work will soon be assigned to the dustbin of matzah-ball history. Had the turn been west instead of east from First Street onto that venerable boulevard, this important truth may never have come to light. Plus I would have ended up at my intended destination, a jollification for retired viola players (an oxymoron if there ever was one). Who needs that? Not me, Bubba. As so often may happen in the narrative of an itinerant life, making a wrong turn put me in a far better place. It took only as long as a proficient high school orchestra is able to complete Mikhail Glinka’s Overture to Ruslan and Ludmilla (approximately four minutes and 42 seconds on a good day) for the happy news to sink in: turning left instead of right placed me directly in front of Allie Boy’s Bagelry & Luncheonette.
I went in there.
Damn I’m glad I did. On the menu was not only a cornucopia of bagels, but an offering of far greater import. You guessed it, matzah ball soup. The price for a pint was a bit daunting to a pauper such as myself: eight dollars for a pint. Fortunately I had just taught a viola lesson and was flush with unexpected cash and shopping coupons redeemable selected K-Marts. One viola lesson fee for one pint of Matzah ball soup. Jimmy Carter was wrong. Life is fair after all.
Home to the ‘burbs went the soup and an “Everything Bagel.” The “Everything Bagel” was everything an “Everything Bagel” should be. In taking it out of the bag, enough sesame seeds fell off the pastry to supply the dietary needs of the Bronx Zoo Aviary during mating season. Also on the remarkable object were embedded bits of toasted garlic dried chives, and pungent black pepper; an impressive orchestration indeed. Move over, Nikolai Rimsky-Korsakov. Along with the main course came a delightful ornament, the “Shmear” of the day. It happened to a memorable one: cream cheese infused with the flavours of bourbon and maple syrup. Putting that elixir down the hatch had a spectacular effect. Could it be? National Avenue and environs were no longer there. Instead, waiting outside the door of the shop was “Up-Nort.” (Such is the vernacular used in the vicinity to describe any locale north of Brown Deer Road.) For those who have never been north of Brown Dear Road, a brief description is necessary. It is a place where “Crown Royal” flows like a meandering river and the pines wave in consanguinity with the capricious winds; in short, a far more gracious place than suburban Hoboken, New Jersey.
This culinary quodlibet had been perfectly baked. The results of that delicate and sensitive process presented a pastry that was magisterial in affect but forgivingly chewy at the same time, a two-fold pleasure and an impressive achievement of the baker’s art. Putting your chompers into the specimen might seem a bit intimidating at first. It certainly was for me, but once commenced there were no regrets. There are times when it is best to dive into the symphony and let the toasted garlic bits fly where they may. It was such a time. The journey into the interior of this particular “Everything Bagel” was worth the initial resistant, tentative nibble.
And the soup? Never has eight bucks gone so far. The dumpling itself, plopped down into a broth lightly salted and ornamented generously with a melange of carrots, soft onions and celery , was gigantic but consistently tender all the way to the distant center. There was a complexity to the object that adumbrated a quantity of exotic culinary conceits. The sphere was more than a mere matzah ball; it was a globe that contained many things. To snarf it down was to explore a new world.
All this for eight smackers? Allie and the boys should make it ten. jonathanbrodie.substack.com?r=90umj&utm_medium=ios
Our Lady of the Treille [trellis] [traola]
The trellis could be the link that unites the Flemish and the French.
Then, if you look at the Flemish translation of Virgin Mary, it's Maagd Marie, but Maagd isn't Virgin Mary but rather Magdalena...Marie Magdalena .... Maagd should be also a link that unites Jesus with his presumed wife Maagd or, better still, with Isis, who carries Osiris as the Widow and her sisterhood. Now that's a beautiful vine, isn't it?
Juice of the treillis is a quote… Popularised during the Renaissance, the expression refers to the trellis, a method of growing vines that consists of growing the stock against a wall or trellis like a pergola. Wine is the juice extracted from the grapes harvested on these trellises, and the expression became part of everyday language at a time when the work of trellis-makers, the art of garden carpenters, was becoming more widespread. Wine occupies a very important place in the great revealed religions of Judaism, Christianity and Islam. It is a reminder of the Promised Land during the blessing of the Jewish Sabbath, one of the two species under which Christ became flesh, and the divine drink reserved for the elect in Allah's paradise.
Drawing on various sacred texts, theology, exegesis, sacred history and history itself, Georges Ferré, as an erudite historian, explores the influence of the fruit of the vine, both in the religious imagination and in rituals and daily life. The soul of wine: it can be perceived through a chronological journey, from Noah to the 21st century, where it brings to life the great figures of the Bible, the Koran and the city - patriarchs, prophets, theologians, bishops, monks, kings, princes, caliphs, imams, but also the great crowd of anonymous people - through banquets, liturgies and customs.
Present in all the texts of the three religions, the juice of the grapevine thus appears to be the drink that fosters a culture of cross-fertilisation between all the children of Noah, capable of creating a rapprochement with the other, surpassing oneself and, for some, merging with Elsewhere.
The trellis is perhaps a link to unite the country of Lille, which is also called Rijsel. Nicknamed in France the "Capital of Flanders", Lille and its surroundings belong to the historical region of Romance Flanders, a former territory of the county of Flanders that is not part of the linguistic area of West Flanders. A garrison town (as evidenced by its Citadel), Lille has had an eventful history from the Middle Ages to the French Revolution. Very often besieged during its history, it belonged successively to the Kingdom of France, the Burgundian State, the Holy Roman Empire of Germany and the Spanish Netherlands before being definitively attached to the France of Louis XIV following the War of Spanish Succession along with the entire territory making up the historic province of French Flanders. Lille was again under siege in 1792 during the Franco-Austrian War, and in 1914 and 1940. It was severely tested by the two world wars of the 20th century during which it was occupied and suffered destruction. A merchant city since its origins and a manufacturing city since the 16th century, the Industrial Revolution made it a great industrial capital, mainly around the textile and mechanical industries.
Textile is also a form of yarn lattice to become this treillis.
The stained glass was inspired by a statue of the Virgin Mary, known as Our Lady of the Treille, which was housed at the Collegiate Church of St. Peter from the beginning of the 13th century and has since been the object of devotion and veneration. The statue is described by Charles Bernard, parish priest of the Church of St. Catherine, as a statue of stone "a little more than two and a half feet high; she has a scepter in her right hand, and from her left she supports the baby Jesus on her knees." He mentions a trellis of gilded wood surrounding the statue and its pedestal, and specifies that the old trellis made of gilded iron was lost in 1792 during the destruction of the Collegiate Church of St. Peter. He speculates that this trellis is what gave the statue its name, although it is more likely that the name came from Treola, a place existing in the 9th century in what is now Lille.
Three series of miraculous events are associated with the statue, occurring in 1254, from 1519 to 1527, and from 1634 to 1638. The miracle of 1254 was the healing of the patients who resorted to her intercession. The miracles in the 16th century were varied and included deliverance from demonic possession, hernias, blindness, paralysis and plague. In 1254, a confraternity of Our Lady of the Treille was canonically established by Pope Alexander IV, and since 1259, an annual procession in honor of Our Lady of the Treille was held, a practice which continued until the French Revolution. In 1634, Jean Le Vasseur, mayor of Lille, consecrated the city to Our Lady of the Treille.[8] In 1667, Louis XIV, who had just taken Flanders, took an oath to respect the freedoms of Lille before the statue.`
Lady of the Weft:
Invisible Weft developed by Patrick Burensteinas in the 1990s, is a vibratory method to act on the flow of information in our body.
Scientist and alchemist, inspired by ancient traditions, his work on matter led him to develop and apply to humans this technique resulting from the findings he had made (observed) in his research. It highlights a plan of information necessary for the proper functioning of the body. This plan can be represented in the form of a canvas like the weft threads of a fabric, hence the name given to the technique. On this frame circulates the information necessary for each cell, for each organ to enable it to carry out its functions. The harmonious flow of information is the basis of our balance and health. A disturbance of this circulation can lead to disorders, imbalances, even discomfort.It is a question of restoring the flow of information, which can be disturbed by obstacles, most often emotions, conscious or not. These obstacles can manifest themselves in the form of tension, pain, fatigue, instability, anxiety, malaise... The session helps to circulate information in the body in a harmonious way. The person who receives the Weft is dressed, she is lying on her back. The practitioner places his hands on the person and performs a sequence of 16 codified gestures, lasting approximately 45 minutes, by a subtle touch on the trunk, feet and head. This sequence is in no way similar to a massage.
There is a gradual release of emotions, allowing a better flow of information. After a treatment, it usually follows a state of calm which allows the rebalancing and the integration of the session.
The Weft can continue to rebalance for 3 weeks after a session.
Trame sessions will ideally be spaced 3 or 4 weeks apart in order to promote harmonious circulation and allow the body to self-regulate.
After a few sessions of Treilis , the benefits commonly observed are:
appeasement
Release of excess emotions
Clarification
Ability to make choices and decisions
Emergence of new potentials
www.la-trame.com/quest-ce-que-la-trame/
The trellis like the cosmo-telluric networks, mentioned from the 17th century, appear as an invisible network covering the Earth, which tightens near the poles and widens as it approaches the equator. They are not composed of tangible matter, but energy necessary for life on earth, they constitute an interface between the "forces from below", telluric, and the "forces from above", cosmic. Their origin remains mysterious: they would be the vibratory emanation of the metals present in the earth's core, mainly nickel and iron. The core of the earth is also called NIFE in French: nickel "NI" and fer "FE". Moreover, these walls of energy take root deep in the earth and rise vertically, crossing all obstacles. The two main networks considered are Hartmann and Curry. Dr. Ernst Hartmann, father of the "global network" established that in our latitudes, these meshes cross every two meters in the north-south direction, and every 2.50 m in the east-west direction.
These networks are able to conduct the harmfulness of other sources of negative energy, such as the electrical circuit of your house, or a fault... But for those who know how to handle them, networks can be of great use. The builders of Catholic churches of the 20th - 13th century knew how to use all forms of energy, whether telluric or cosmic, the Egyptians also knew how to handle the lifelines of our planet.
It seems that this network was already known in ancient Greece, among the Etruscans, Celts, Gauls and Romans.
www.sourcier-geobiologie-67.com/2021/05/05/les-réseaux-c...
These stained glass were located so that they would fall over underground water streams and/or crossings. Usually there would be a Hartmann and/or a Curry crossing at the same location. Hartmann and Curry lines form part of electromagnetic global networks.
Networks and Other Singularities
Definitions
It is well known that our planet is covered by many electromagnetic networks: Romani, Peyre, Palms, Hartmann, Curry, Wissman, etc… Most are generated by metals, in the heart of the earth, in conjunction with the cosmic forces. Some are beneficial, such as gold, silver and copper, while some are neutral and others are detrimental to our health (Hartmann, Curry, Wissman, etc…). Underground water streams criss-cross the interior of the upper crust, acting as the blood supply of the planet. The water molecules friction with the earth generates a number of physical phenomena: increase in gamma rays and infra-red radiation, electric and magnetic fields and radio frequencies. These effects cause some minor problems at first, followed eventually by serious illnesses. Our forefathers knew this and used stones, strategically placed to neutralize the negativity (Stonehenge in England and Carnac in France).
Faults are caused by rock plates separating, slipping or grinding one against the other. At times, differences in materials (rock and sand, or clay and sand, etc…) create a fault. Through faults noxious gases can seep to the surface (radon). The faults have negative effects on man/animals/plants in a manner similar to water.
Routing the Energy Underground
As for many artefact, Notre Dame de la Teilles has a network of underground streams that gather energy from the front and directs to the back.
www.geobiology.co.il/en_US/larchitecture-invisible/
Egypt and the Pharaohs were well versed in the use of the pendulum. Records in the form of drawings made on this stained glass, show that Magda or Isis priest were using pendulums made of wood and of stone. Lady of the Treillis is shown in the most popular in flemish picture as holding one stick.
The frame therefore has a double meaning, sometimes alchemical to explain the hoslistic function of Notre-Dame-de-la-Treillis, or rather humanistic and perhaps eugenic by creating a common frame for new immigrants to blend into a healthy body.
After the destruction of the Collegiate Church of St. Peter, which had been badly damaged during the Austrian siege of 1792 before being demolished in the French Revolution, the statue largely fell into oblivion. It was bought by a sexton, Alain Gambier, who placed it in the Church of St. Catherine, where it remained between 1797 and 1802. It was not until 1842 that Charles Bernard, parish priest of the Church of St. Catherine, restored the cult of Our Lady of the Treille and tried to strengthen it again: he instituted the month of Mary, patron saint of Lille, and had the statue placed in the Chapel of the Blessed Virgin of St. Catherine's Church. The celebration in great pomp of the secular jubilee of the first miracles of Our Lady of the Treille, in 1854 constituted a decisive step in this restoration work. The restoration project is also believed to have been marked by providence, due to the unexpected acquisition of the land on which the new church in honor of the Lady of the Treille would be built, making it possible to lay the church's foundation stone before the end of the jubilee celebration.
The Creation of the Diocese
In the middle of the 19th Century, in spite of the size of the town and the growing population of the surrounding region, Lille did not have its own bishop, but belonged to the Archdiocese of Cambrai. While proposals to create a new diocese for Lille and its surrounds had been made in the past, they had not been successful. In 1852, however, the Lille deputy Charles Kolb-Bernard recommended the creation of a new diocese, which would cover the districts of Lille, Dunkirk, and Hazebrouck, in a public report entitled Intérêts communaux de la ville de Lille. An anti-Republican Legitimist and a spokesperson for the protectionist upper bourgeoisie, Kolb-Bernard was dedicated to the moralisation of the working class at a time when social tensions were exacerbated by mass immigration from Belgium and the impoverishment of large parts of the population due to industrialisation; he saw the creation of a new bishopric as a means to "re-Christianise" a population largely denied the spiritual relief of religion. The cause was likewise taken up by the lawyer Armand Prat in his 1856 memoir, Thoughts on the Creation of a Bishopric of Lille.
The creation of the new bishopric also involved financial and linguistic considerations. The Diocese of Cambrai covered, in effect, two distinct linguistic areas, with Flemish the majority language in the north-west, due in part to the heavy immigration from nearby Belgium. Indeed, a few decades later in 1896, a report found that 25% of the residents of Lille did not hold French citizenship, and of these more than 98% were Belgium, mainly from Flemish-speaking Flanders. From the 1870s, the Flemish represented two fifths of the population of Wazemmes and half of the population of districts such as Moulins and Fives, and the town of Roubaix. From a financial perspective, the growing population was anticipated to provide a substantial income to a new diocese, while the expenses of the creation would fall primarily on the state.
en.wikipedia.org/wiki/Lille_Cathedral
Le vitrail dans cette ancienne maison de Roncq date de la fin du 19° siècle. Il représente la vierge posée sur une treille qui symbolise les liens entre le monde profane et le monde spirituel. Le dessin du vitrail est inspiré d’une statue qui a donné son nom à la cathédrale de Lille. La statue miraculeuse fait l'objet d'une dévotion particulière à Lille depuis le xiiie siècle. La treille resemble à un réseau invisible , appelé également réseau diagonal.
Quelle. sens donner à cette. treille?
1 La treille comme une trame du Monde invisible.
Dans la mythologie grecque, les Moires (en grec ancien Μοῖραι / Moîrai) sont trois divinités du Destin : Clotho (« la Fileuse »), Lachésis (« la Répartitrice ») et Atropos (« l'Inflexible »). Elles sont associées aux cycles cosmiques, aux grandes déesses de la nature, de la végétation et de la fertilité. Clotho c'est. un peu la dentelle flamande connue aujourd'hui comme dentelle de Bruge mais aussi comme signe distinctif de la haute société médiévale, Lachésis c'est la Vierge réparatrice et Atropos ressemble à un Jésus inflexible sur sa destinée... Voilà un fil rouge conducteur ou un fil cousu d'or. La. treille divine est. nul n'échappe à son destin... peut-être?
Selon les alchimiste de la renaissance, il existe une treille-trame qui serait. une méthode vibratoire permettant d’agir sur la circulation de l’information dans notre organisme. La Dame à la treille est peut-être inspiré par d’anciennes traditions, les travaux sur la matière (l'âme à tiers) élaborent une. treille ou trame et on peut l'appliquer à l’humain . C'est une technique résultant des constatations (observées) dans les recherches, elles mettent en évidence un plan d’information nécessaire au bon fonctionnement du corps. Ce plan peut se représenter sous la forme d’un canevas tels les fils de trame d’un tissu, d’où le nom donné à la technique. Sur cette trame circule l’information nécessaire à chaque cellule, à chaque organe pour lui permettre d’assurer ses fonctions. La circulation harmonieuse de l’information est la base de notre équilibre et de la santé. Une perturbation de cette circulation peut entraîner des désordres, des déséquilibres, voire du mal-être. Il s’agit de rétablir la circulation de l’information, qui peut être perturbée par des obstacles, le plus souvent des émotions conscientisées ou non.
Ces obstacles peuvent se manifester sous forme de tensions, douleurs, fatigue, instabilité, anxiété, mal-être… La séance contribue à faire circuler l’information dans le corps de façon harmonieuse. Nous traversons dans nos vies des événements susceptibles de générer des états émotionnels particuliers, ces derniers peuvent nous désorienter et réduire notre capacité à prendre des décisions fonctionnelles. Nous disposons naturellement de mécanismes (thermique et dynamique) tels que la transpiration ou encore le mouvement qui permettent de dissiper les émotions accumulées. Si nous dissipons le surplus émotionnel, l’équilibre est préservé. Mais, dans le cas où nous ne parvenons pas à exprimer ces émotions (colère, tristesse, peurs….), alors celles-ci restent « prisonnières », s’impriment dans notre corps et créent des blocages qui entravent la circulation harmonieuse et fluide de l’information. La séance de Trame n’implique pas nécessairement de revivre les émotions à l’origine des blocages. La personne qui reçoit la Trame est habillée, elle est allongée sur le dos. Le praticien pose les mains sur la personne et réalise une séquence de 16 gestes codifiés, de 45 minutes environ, par un toucher subtil sur le tronc, les pieds et la tête. Cette séquence ne s’apparente en aucun cas à un massage. Il s’opère une libération progressive des émotions, permettant une meilleure circulation de l’information.
Après un soin, il s’ensuit le plus souvent un état d’apaisement qui permet le rééquilibrage et l’intégration de la séance. La Trame peut continuer à se rééquilibrer pendant 3 semaines après une séance. Les séances de Trame seront idéalement espacées de 3 ou 4 semaines afin de favoriser une circulation harmonieuse et de permettre au corps de s’auto-réguler.
Après quelques séances de Trame, les bienfaits couramment observés sont :
Apaisement
Libération du surcroît d’émotions
Clarification
Capacité à faire des choix et prendre des décisions
Émergence de nouveaux potentiels
www.la-trame.com/quest-ce-que-la-trame/
Trois séries de faits miraculeux sont associées à Notre-Dame-de-la-Treille, en 1254, de 1519 à 1527 et de 1634 à 16383. Le miracle du 14 juin 1254 est une vertu de guérison pour les malades recourant à son intercession4. Ceux du xvie siècle sont très variés. « Particulièrement redoutable aux démons », la Vierge à la Treille délivre des possessions et guérit des maladies incurables, hernies, cécité, paralysie ou peste.
fr.wikipedia.org/wiki/Cathédrale_Notre-Dame-de-la-Treille.
2 La treille comme es réseaux cosmo-telluriques, mentionnés dès le XVII° siècle, se présentent comme un maillage invisible recouvrant la Terre, qui se resserre près des pôles et s'élargit à l'approche de l'équateur. Ils ne sont pas composés de matière palpable, mais énergétique nécessaires à la vie sur terre, ils constituent une interface entre les "forces d'en bas", telluriques, et les "forces d'en haut", cosmiques. Leur origine reste mystérieuse : ils seraient l'émanation vibratoire des métaux présents dans le noyau terrestre, principalement du nickel et du fer. Le noyau de la terre est également appelé NIFE en français : nickel "NI" et fer "FE". Par ailleurs, ces murs d'énergie prennent racine profondément dans la terre et s'élèvent à la verticale, traversant tous les obstacles. Les deux principaux réseaux pris en compte sont Hartmann et Curry. Le Dr Ernst Hartmann, père du « réseau global » a établi que sous nos latitudes, ces mailles se croisent tous les deux mètres dans le sens nord-sud, et tous les 2,50 m dans le sens est-ouest.
Ces réseaux sont capables de conduire la nocivité d'autres sources d'énergies négatives, comme le circuit électrique de votre maison, ou une faille... Mais pour qui sait les manier, les réseaux peuvent être d'une grande utilité. Les bâtisseurs d'églises catholiques du XX° - XIII° siècle savaient utiliser toutes les formes d'énergies, qu'elle soit d'ordre tellurique ou cosmique, les Égyptiens aussi savaient manier les lignes de vie de notre planète.
Il semble que ce réseau était déjà connu en Grèce antique, chez les Étrusques, les Celtes, les Gaulois et les Romains.
Le Dr Ernst Hartmann (1915-1992) est considéré comme le père de la géobiologie moderne.
Lors de ses années de pratique en tant que médecin, il constate un taux de mortalité supérieur chez des patients installés dans certains lits, et que cela se répète sur plusieurs étages, au même emplacement. Dès 1948, avec son frère ingénieur électronicien, il décide de se consacrer de façon intensive à des recherches en radiesthésie et géobiologie. Il réalise alors de nombreuses études avec l'objectif d'analyser l'influence du lieu de vie au niveau biologique, notamment à l'aide de tests biophysiques.
Il découvre que selon l'endroit où se trouve le « cobaye », son organisme réagit différemment, et met en évidence une baisse de la qualité magnétique du sang en zone perturbée ainsi qu'un changement de vitesse de sédimentation.
« Toute maladie est souvent un problème de lieu de vie », défendit-il toute son existence. Le docteur en médecine allemand Manfred Curry (1899 - 1953) a découvert le réseau Curry, appelé également réseau diagonal. Il consiste en un maillage orienté en diagonale, à 45 degrés par rapport au réseau Hartmann, et de 4 à 8 mètres de large. Si le réseau Harmann est la "signature" du nickel, le réseau Curry est celui du fer.
www.sourcier-geobiologie-67.com/2021/05/05/les-réseaux-c...
3 Le Jus de la Treille.
Présent dans tous les textes des trois religions, le jus de la treille apparaît ainsi comme la boisson qui favorise une culture de métissage entre tous les enfants de Noé, susceptible de créer rapprochement avec l'autre, dépassement de soi et, pour certains, fusion avec l'Ailleurs.
Le jus de la treille c’est donc un autre nom donné à la vigne. Popularisée à la Renaissance, l'expression renvoie à la treille, une méthode de conduite de la vigne qui consiste à faire pousser et grandir le cep contre un mur ou un treillage comme une pergola. Le vin étant le jus extrait des raisins cueillis sur ces treilles, l'expression s'est installée dans le langage courant à cette époque où s'est démocratisé le travail des treillageurs, l'art des menuisiers de jardin.
La mythologie égyptienne associe le vin au culte d'Osiris, Dieu de la vie après la mort, symbole du renouveau de la vie mais c'est le Dieu Rê, Dieu du soleil et le créateur du monde qui introduit le vin sur terre afin de préserver le genre humain de la colère de la déesse Hathor. Il te faut imaginer Isis portant Osiris en regardant cette Marie portant Jésus. Alors tu veux dire qu’ une treille relie l’histoire de Isis et de Marie? Une autre treille relie Marie à Magdaléna, oui la femme oubliée de Jésus, une essénienne venue d’Égypte en suivant un flux d’or jusqu’aux Saintes Marie de la Mer en Provence. Penses-tu pas que le Saint Empire Romain Germanique était bien présent ici entre Amsterdam et la Sicile? Maagd en flamand ça ressemble vraiment à Magdaléna.
Revenons aux Egyptiens car ils appréciaient la « douceur » du vin mais sa consommation était limitée car le vin, ayant un caractère sacré, était principalement utilisé dans les cérémonies religieuses et à l'usage exclusif des prêtres hiérophante. En Chine pareillement, seul les poètes peuvent en user pour communiquer avec leur âme. L'âme du vin est un thème central pour la compréhension des poèmes persans. L'esprit de la treille ou jus de cerveau? On voit l'idée d'un lien invisible qui relie la destinée pour interagir dans le monde profane d'ici bas.
Le vin occupe une place très importante dans les grandes religions révélées que sont le judaïsme, le christianisme et l'islam. Il est réminiscence de la Terre promise lors de la bénédiction du shabbat juif, l'une des deux espèces sous lesquelles le Christ se fait chair,et enfin plus tard en forme de synthèse des deux précédentes, la boisson divine réservée aux élus dans le paradis d'Allah.
Après si tu regardes la traduction de Vierge Marie en flamand c’est Maagd Marie, Maagd c’est pas Vierge mais plutôt Magdalena…Marie Magdalena …. Madeleine voilà aussi un lien qui unifie Jésus à sa présumée femme Maagd ou mieux à Isis qui porte Osiris comme la Veuve et sa fraternité. Voilà un belle treille non?
La statue du jus de la treille sera retenue en loge comme thème fédérateur de Lille qui accueille beaucoup d'étranger venu y travailler. Charles Kolb-Bernard a probablement compris l'intérêt symbolique de l'âme de la Treille. Le jus de la Treille c'est aussi une autre boisson que la bière flamande, c'est. d'ailleurs relié aux lys de Louis XIV le destructeur de la Grand Place et. fédérateur des frontières avec Versailles et Paris. La "Maagd" Magdalena. devient amoureuse du Lys. et du fils sacré. Les anciens initiés de Anvers remontent dans un secret bien gardé. Maagda c'est Isis. et Osiris est porté comme un petit mâle sur ces genoux, il va ressusciter.
La trame possède donc un double sens, tantôt alchimique pour expliquer la fonction hoslistique de Notre-Dame-de-la-Trame, ou plutot humaniste et peut-être eugéniste en fabriquant un trame commune aux nouveaux imigrants pour se fondre dans un corps sain.
C'est tout Lille qui va ressusciter dans une boisson sacré qui en France ne. pousse qu'au sud de la Loire. Le jus de la Treille sera un thème fédérateur pour tous les. travailleurs étrangers.
On va construire une cathédrale autour de cette. treille magique.
Historiquement cette affaire de treille est décrite ainsi officiellement et pour le monde profane:
La collégiale Saint-Pierre aurait abrité la statue de Notre-Dame de la Treille pendant plus de six cents ans. La statue de la vierge avec sa treille a servi de lien pour promouvoir la création d'un siège épiscopal à Lille, qui appartenait alors à l'archidiocèse de Cambrai, La création d’une cathédrale à Lille fut jugée indispensable pour asseoir le statut de capitale religieuse de la ville et disposer des ressources nécessaires à la moralisation d'une population ouvrière qui ne cessait de croître sous les effets de la révolution industrielle. La consommation de masse et l’alcoolisme sont apparus en même temps que la révolution industrielle concomitante à notre vitrail.
Le projet de l’édification de la cathédrale fut porté par une commission qui réunissait des représentants du clergé et de la haute bourgeoisie industrielle créée en 1853 par Charles Kolb-Bernard, véritable chef laïc du catholicisme lillois.
La vierge à la treille est décrite par Charles Bernard, curé de l'église Sainte-Catherine, comme une statue en pierre polychrome " haute d'un peu plus de deux pieds et demi, elle tient un sceptre de la main droite et de la main gauche l'Enfant Jésus sur son genou ". Il mentionne que la statue a un piédestal entouré d'un treillis de bois doré. Il précise que l'ancien treillage était en ferronnerie dorée, mais qu'il a disparu en 1792 lors de la démolition de la collégiale Saint-Pierre. On suppose que le treillis autour de la statue servait à fixer les vœux et les dons votifs des fidèles, d'où le nom de la statue. Une autre possibilité est qu'elle ait été nommée d'après un lieu appelé Treola. Ce lieu est mentionné au 9e siècle près de l'endroit où naîtra ensuite Lille. L'iconographie de la statue n'est pas totalement inconnue dans la région. Une statue de Marie au schéma iconographique similaire était également vénérée à Ypres sous la forme d'une Notre-Dame de Thuyne.
Il mentionne que « la statue avec son piédestal est environnée d'un treillis en bois doré » et précise que l'ancienne grille, ou treille, en fer doré, a été perdue en 1792 lors de la destruction de la collégiale Saint-Pierre. Il fait l'hypothèse que la « treille » qui entourait la statue servait à y attacher les vœux des fidèles et lui aurait donné son nom, mais il est plus vraisemblable qu'il lui vienne de Treola, nom de lieu attesté au ixe siècle à proximité de ce qui n’était pas encore Lille.
Trois séries de faits miraculeux sont associées à la statue, en 1254, de 1519 à 1527 et de 1634 à 16383. Le miracle du 14 juin 1254 est une vertu de guérison pour les malades recourant à son intercession. Ceux du xvie siècle sont très variés. « Particulièrement redoutable aux démons », la Vierge à la Treille délivre des possessions et guérit des maladies incurables, hernies, cécité, paralysie ou peste.
Dès 1254, une confrérie de Notre-Dame-de-la-Treille est établie canoniquement par le pape Alexandre IV et, en 1269, une procession annuelle en l'honneur de Notre-Dame de la Treille est instaurée et se perpétue jusqu'à la Révolution. En 1634, Jean Le Vasseur, mayeur de Lille, consacre la ville à Notre-Dame de la Treille et c'est devant elle qu'en 1667, Louis XIV, qui vient de prendre la Flandre, prête serment de respecter les libertés des Lillois.
Après la destruction de la collégiale Saint-Pierre, fortement endommagée lors du siège autrichien de 1792 avant d'être livrée aux démolisseurs, la statue tombe dans l'oubli. Elle est achetée par un sacristain, Alain Gambier, qui la fait déposer à l’église Sainte-Catherine entre 1797 et 1802, où elle est reléguée dans une obscure chapelle.
Ce n'est qu'en 1842 que le père Charles Bernard, devenu curé de la paroisse Sainte-Catherine, rétablit le culte de Notre-Dame de la Treille et rêve de lui redonner toute sa vigueur : il institue le mois de Marie, patronne de Lille et fait placer la statue dans la chapelle de la Très Sainte Vierge de l'église Sainte-Catherine.
La célébration en grande pompe du jubilé séculaire des premiers miracles de Notre-Dame de la Treille, en 1854, constitue une étape décisive de cette œuvre de restauration. D'autant qu'elle est marquée par un signe de la Providence, le dénouement de l'acquisition, « contre toute prévision humaine », du terrain sur lequel doit être bâtie une église en l'honneur de Notre-Dame de la Treille, qui permet de poser sa première pierre avant le terme de l'octave jubilaire, « la veille de l'apothéose mariale ».
Le projet de création d'un diocèse à Lille.
Au milieu du xixe siècle, en dépit de la dimension de la ville et de l'importance croissante des communes environnantes, Lille n'est pas le siège d'un évêché et se trouve appartenir à l'archidiocèse de Cambrai. De fait, lorsque, à l'époque du Bas-Empire romain, des évêques s'installent dans les civitates d'Arras, Cambrai, Thérouanne et Tournai, Lille n'existe pas encore. Lors de sa fondation, au xie siècle, elle relève du diocèse de Tournai. Un diocèse de Lille aurait pu voir le jour entre 1559 et 1561, lorsque Philippe II décide de créer de nouveaux diocèses aux Pays-Bas pour endiguer la Réforme. Dès cette époque, l'importance économique et démographique de la ville aurait justifié qu'elle devienne l'un d'entre eux, mais la proximité de Tournai, amputé des archidiaconés de Gand et de Bruges érigés en diocèses indépendants, ne le permet pas.
En 1667, Louis XIV prend Lille et, en 1713, les traités d'Utrecht tracent de nouvelles frontières qui coupent en deux les diocèses d'Ypres, Tournai et Cambrai. Pour résoudre ce problème de juridictions différentes au sein d'un même diocèse, l'intendant de Flandres, Charles d'Esmangart, propose en 1785 la création d'un évêché s'étendant de Dunkerque à Saint-Amand-les-Eaux, dont le siège serait établi à Lille. Les mémoires se succèdent jusqu'en 1788, mais la survenue de la Révolution ne permet pas au projet d'aboutir et, en 1790, c'est le diocèse de Cambrai, amputé de sa partie belge, qui est profondément remanié pour épouser les contours du département du Nord créé la même année.
En 1852, le député lillois Charles Kolb-Bernard relance le débat en faveur de la création d'un diocèse qui couvrirait les arrondissements de Lille, Dunkerque et Hazebrouck dans un rapport public intitulé Intérêts communaux de la ville de Lille. Anti-républicain, légitimiste, porte-parole de la haute bourgeoisie protectionniste, véritable chef du catholicisme lillois, Charles Kolb-Bernard est lié par alliance à la famille Bernard, l'une des plus anciennes de la grande bourgeoisie lilloise, à laquelle appartient également l'abbé Charles Bernard. Voué à la moralisation de la classe ouvrière alors que les tensions sociales s'exacerbent avec l'arrivée massive d'immigrants belges et la paupérisation d'une part croissante de la population suscitées par la révolution industrielle, il voit dans l'érection d'un évêché le moyen privilégié de « rechristianiser » une population largement privée du secours de la religion.
Si elle gagne en acuité tout au long du siècle, la question sociale n'est pas nouvelle. Dès 1822, défendant une délibération sur l'érection d'un évêché à Lille que le conseil municipal adopte à l'unanimité, son rapporteur, Gaspard Charvet-Defrenne, s'exclame : « Négociants, voulons-nous jouir en paix du fruit de nos travaux et de notre industrie ? Manufacturiers, voulons-nous que les vastes ateliers qui s'élèvent de toutes parts ne deviennent pas un jour la proie des incendiaires ? Voulons-nous qu'ils soient dirigés par des agents fidèles et incorruptibles ? Peuplés d'ouvriers sages et soumis ? Appelons la religion à notre secours, multiplions ses ministres afin qu'ils travaillent à civiliser religieusement cette population qui s'accroit, qui arrive en foule des pays voisins sur nos frontières et qui deviendrait, à la moindre instigation, au moindre mouvement, un foyer de désordre et de révolte ».
À cet égard, l'avocat Armand Prat, qui reprend les arguments développés par ses prédécesseurs dans un mémoire de 1856 intitulé Considérations sur la création d'un évêché à Lille, assure que « déjà la religion, en multipliant ses moyens d'action, a produit d'heureux résultats dans l'arrondissement. Cela est insuffisant. Il n'y aura de garantie sérieuse et assurée que lorsqu'elle agira d'une manière directe et continuelle sur les populations, par le ministère de l'évêque, son représentant le plus auguste ici-bas. »
Enjeu de reconnaissance du statut de capitale religieuse de la ville, la création d'un siège épiscopal à Lille relève aussi de considérations linguistiques et financières. En effet, le diocèse de Cambrai, tout en longueur, couvre deux aires linguistiques, le flamand étant très présent dans la partie nord occidentale, très éloignée du siège. Or, « le nombre de familles ouvrières parlant exclusivement le flamand est déjà très grand dans l'arrondissement [de Lille] et tend à s'accroitre de plus en plus, au point qu'il importe beaucoup qu'une partie notable du clergé parle cette langue, qui ne peut être apprise dans un âge avancé, et que ne parle pas d'ailleurs la classe dans laquelle le clergé se recrute… ».
De fait, quelques décennies plus tard, le dénombrement de 1896 fait état de près de 25 % de résidents étrangers dans l'arrondissement de Lille, ces derniers étant à plus de 98 % de nationalité belge, dont la plupart viennent de Flandre. Dès les années 1870, les Flamands représentent deux cinquièmes de la population de Wazemmes et la moitié dans des quartiers comme Moulins et Fives ou des villes comme Roubaix. Quant au point de vue matériel, d'une part, « l'accroissement de population qui en résulterait, le mouvement considérable de personnes qu'occasionneraient les retraites ecclésiastiques, les ordinations, les affaires quotidiennes, contribueraient à augmenter de manière permanente le revenu municipal », tandis que d'autre part « les dépenses seraient en grande partie à la charge du département et de l'État. »
La treille serait peut-être le lien qui permettrait de fédérer les flamands et les français.
fr.wikipedia.org/wiki/Cath%C3%A9drale_Notre-Dame-de-la-Tr...
Mariabeeld Notre-Dame de la Treille
Beeld Maagd Maria in de kathedraal
Het beeld van Notre Dame de la Treille is een Mariabeeld in de Noord-Franse stad Rijsel. Het beeld dateert uit het laatste kwart van de twaalfde eeuw en werd eerst in de Sint-Pieterskerk geplaatst. Momenteel wordt het beeldje vereerd in de Kathedraal Notre-Dame de la Treille.
Het beeldje wordt beschreven door Charles Bernard, priester van de Sint-Katrienkerk, als een polychroom stenen beeld « van iets meer dan twee en een halve voet hoog, ze heeft een scepter in de rechterhand en met de linkerhand houdt ze het Christuskind op de knie ». Hij vermeldt dat het beeld een voetstuk heeft dat omringd is met een hekwerk (un treille) van verguld hout. Hij preciseert dat het oude hekwerk in verguld ijzerwerk was, maar verloren is gegaan in 1792 met de afbraak van de collegiale Sint-Pieterskerk. Vermoed wordt dat het hekwerk rondom het beeld diende om de wensen en votiefgaven van de gelovigen vast te maken en waardoor het beeld zijn naam kreeg. Een andere mogelijkheid is dat het genoemd is naar een plaats genaamd Treola. Deze plaats wordt genoemd in de 9de eeuw in de nabijheid van waar nadien Rijsel zou ontstaan. De iconografie van het beeld is in de regio niet geheel onbekend. Ook te Ieper werd in de vorm van een Onze-Lieve-Vrouw van Thuyne een Mariabeeld met een gelijkaardig iconografisch schema vereerd.
Er zijn een drietal mirakelcycli verbonden aan het beeld, in 1254, van 1519 tot 1527 en van 1634 tot 1683. Het mirakel van 14 juni 1254 is een genezing van zieken die gebeurde na tot het beeld gebeden te hebben. De mirakelen van de 16de eeuw zijn zeer gevarieerd. « Als zijnde vermoedelijk het werk van demonen » bevrijdde Notre-Dame de la Treille bezettenen en genas zij ongeneeslijk zieken, verlamden en pestlijders. Sinds 1254 bestaat er een broederschap van Notre-Dame-de-la-Treille. Dit werk canoniek bevestigt door paus Alexander IV en in 1269 werd er een jaarlijkse processie ingesteld ter hare ere. Deze vond plaats tot aan de Franse Revolutie. In 1634 wijdde Jean Le Vasseur, burgemeester van Rijsel, zijn staat aan Notre-Dame de la Treille en voor haar zweert koning Lodewijk XIV de vrijheden van Rijsel te respecteren.
Nadat de Sint-Pieterskerk in 1792 zwaar beschadigd raakt door de Oostenrijkse belegering werd ze volledig afgebroken. Het beeld verging wat in de vergetelheid. Het Mariabeeld werd gekocht door de koster Alain Gambier die het plaatste in de Sint-Katrienkerk (vermoedelijk tussen 1797 en 1802), waar het een kwijnend bestaan kende in een obscure kapel. Het is pas in 1842 dat E.H. Charles Bernard, pastoor van de parochie Sint-Catharina, de cultus tot Notre-Dame de la Treille herstelde en ervan droomde haar oude grandeur te herstellen. Hij stelde een maand van Maria, patrones van Rijsel, in en plaatste het beeld in de kapel van de zeer Heilige Maagd Maria in de Sint-Katrienkerk. De zeer uitbundige viering van het eeuwfeest van de eerste mirakels in 1854 waren een definitieve stap in het herstel van deze devotie. Het werd dan ook als teken van de goddelijke Voorzienigheid beschouwd dat in die periode het terrein gekocht kon wordt waar men de nieuwe kerk ter ere van Notre-Dame de la Treille zou bouwen. Net op de octaafdag van deze feestelijkheden kon men de eerste steen leggen van de latere kathedraal van Rijsel, waar nadien het beeld zijn verering zou verderzetten
The festival, also known as Ashwini Purnima, marks the conclusion of the three-month-long seclusion of monks in monasteries for self-edification and atonement.
The release of sky lanterns commemorates an event in the life of Buddha, when he once clipped some strands of hair from his head and said that if he were qualified to attain supreme wisdom and enlightenment, the hair would go up instead of falling down. The strands of hair eventually went up.
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The couch was conveniently left as was the bed and springs in the back room. Voila! A furnished flat ready for your immediate occupancy! Glass in the boarded up windows is presently on order.Daily inoculated by UV, there is not a speck of Trumpandemic-19 to be found.
At the time, I was returning to an agricultural series on my return from my eDDie sunflower trek. Early, I grabbed my gear immediately and bailed out east on SH #66 toward I-25 but turned north on back road #7 to scout for anything of interest. I grabbed some floral tributes to early morning while there. On my way to sunflower overload, I spotted a few items of rural interest and decided to return on the same route at a sane speed. I found captures that interested me as long as I had plenty of time to poke. Now I feel that I should have been even pokier while managing to avoid the pokey at cruising speed.
I was blasted by sunflowers before but we had a hazy sky due to some degree of moisture and a large load of "fake" smoke from California and Colorado wildfires. I heard that is no smoke from wildfires in California because der Leader has decried "global warming" as fake news. It must be something else entirely but boy is it thick. Damn, it's really hot even this early in the morning. It was early in the day but it was starting to slug me down. It was smart to bring my Propel hydration.
Although a plain shot, this old derelict shack was more poorly built than others but has yet to tumble and I love this old exterior wood grain and its patina on the humble house that held against the prairie winds in its past. The shack has accumulated old farming implements and other collected detritus outside. It looks like the California smog is moving on east for the edification of Kansan global warming hoaxers. They await the Sturgis flu... another week to go!
After several shots, I am now on my way back to highway #66 and to Logmont before it gets really hot and I empty the rest of my hydration. Yesterday was another hoax warming bummer and we pray for September relief until the fake global warming ramps up worse next summer. Real global warming reared its head this August with 2 days below normal, one normal and the rest above. That means we can spend next year under AC fueled by fossils while waiting for the END and the end of the first Trumpandemic surge in the US. I suppose that you could get cheap boarding in this rural shack but it is reserved for migrant labor. It may no longer have any utilities connected - or heating. That is not the problem this summer as is sleeping. The entire property will eventually be razed for planting a new corn field. This is another of the captures I snapped east of the city limits which extend ever further. Ahhh well, this is another leftover glimpse of the old Colorado west. Boarding-wise, you could get a bit nippy in the winter.
This became one of my most tangled edits using layers and one reversal of an Alpha layer. I had to change my normal layers order. It became a major time drain until I finished.
PLEASE, no multi invitations, glitters or self promotion in your comments, THEY WILL BE DELETED. My photos are FREE for anyone to use, just give me credit and it would be nice if you let me know, thanks - NONE OF MY PICTURES ARE HDR.
The Ali Pacha Palace as seen from inside the Bardo Museum.
The fortified military city of Bardo which is the centre of the Husseini power since 1705, witnessed the edification of sumptuous buildings within its walls.
Ali Pacha, the second sovereign of the dynasty between 1735 and 1756, built a first palace with a monumental entrance staircase guarded by lion statues.
Between 1824 and 1835, Hussein Bey built the "Small Tunisian Palace" characterized by Moorish Andalousian style.
Between 1859 and 1864, Mhammed Bey built the harem called “Qasr Al-Badii” which was characterized by an Italianist style.
These latter two residences, which are close to each other, remained the Bey’s residences until 1879. Sadok Bey, who was responsible for the bankruptcy of the kingdom, was obliged to restrain his lifestyle and move to Ksar Said where he had a much more modest residence.
Machu Picchu - Peru
Machu Picchu está localizada no topo de uma montanha, a 2400 metros de altitude, no vale do rio Urubamba. A cerca de 3 a 4 horas de Cuzco.
Poucos sabem, Machu Picchu foi construída no século XV mas, foi "descoberta" apenas em 1911, pelo professor norte-americano Hiram Bingham, que explorava o Peru atrás de Vilcabamba, capital dos descendentes dos Incas. Daí o nome de "Cidade perdida dos Inkas" como é conhecida hoje.
Machu Picchu é a cidade inca mais velha, porém pouco se sabe de sua história. Nada é mencionado nas crônicas dos conquistadores espanhóis. A cidade foi poupada porque não se sabia de sua existência. Os Inkas, a consideravam uma cidade sagrada, e após a conquista dos espanhóis Os Inkas abandonaram a cidade e destruíram todos os acessos a cidade, pontes e estradas, e desde então, ficou totalmente desabitada e desconhecida até 1911.
Acredita-se que mais de 20 mil pessoas trabalharam na edificação da cidade, durante mais de 50 anos, porém apenas algumas poucas dezenas de famílias habitavam no local, os trabalhadores moravam em outras cidades Inkas no entorno.
Um dado interessante, não apenas na construção de Machu Picchu, mas de todas as cidades Inkas é que, não havia escravidão, a sociedade Inka vivia em estado de meritocracia, não importava se adulto ou criança e, não havia cobrança de impostos, o povo contribuía com trabalho na edificação das cidades.
Outro dado interessante, os trabalhadores trabalhavam ao ritmo de música, enquanto levavam as rochas ao topo das montanhas, um grupo de músicos os acompanhavam ditando o ritmo através da música, o mesmo ocorria nas cidades aos trabalhadores responsáveis pela edificação.
Hoje Machu Picchu recebe turistas do mundo todo. A infraestrutura completa para o turista está nas cidades vizinhas de Águas Calientes e Cusco. A entrada na cidade custa $126 soles para visita de um dia, quem quiser se aventurar a subir a montanha de Machu Picchu, é cobrado uma taxa extra de U$ 10,00, aos mais radicais que tiverem fôlego para subir a montanha de Wayna Picchu (essa montanha ao fundo) deve agendar com antecedência e pagar uma taxa de U$ 30,00.
O lugar é fantástico e merece ser visitado.
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Machu Picchu is located on top of a mountain, at 2400 meters altitude in the valley of the Urubamba River. About 3 to 4 hours from Cuzco.
Few know, Machu Picchu was built in the XV century but was "discovered" only in 1911, by American professor Hiram Bingham, who was exploring behind Vilcabamba Peru, capital of the descendants of the Incas. Hence the name "Lost City of the Incas" as it is known today.
Machu Picchu is the oldest Inca city, but little is known of its history. Nothing is mentioned in the chronicles of the Spanish conquistadors. The city was spared because no one knew of its existence. The Inkas, they considered a holy city, and after the Spanish conquest The Incas abandoned the city and destroyed all access to the city, bridges and roads, and since then, was totally unknown and uninhabited until 1911.
It is believed that more than 20 thousand people worked in the building of the city during over 50 years but only a few dozen families lived on site, workers lived in other cities around Machu Picchu.
An interesting fact, not only in the construction of Machu Picchu, but of all the cities Inkas is that there wasn't slavery, Inka society lived in a state of meritocracy, does not matter whether adult or child, and there wasn't taxation, the people contributed with labor in building of cities.
Another interesting fact, workers worked with rhythm of music, while they brought the rocks to the top of the mountains, a group of musicians accompanied them dictating the pace through music, so did the cities workers responsible for edification.
Today Machu Picchu receives tourists worldwide. The complete infrastructure for tourists is nearby towns of Aguas Calientes and Cusco. Entry into the city costs $ 126 soles (Peruvian currency) to visit one day, who want to venture up the mountain to Machu Picchu, is charged an extra fee of $ 10.00, the most radical have breath to climb the mountain of Wayna Picchu (that mountain in the background) must schedule in advance and pay a fee of $ 30.00.
The place is fantastic and worth visiting.
.
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All along the canyon I hiked there were mounds of these ladybugs. These were particularly intriguing because of the green moss poking through.
View large, thanks!
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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.
Vertical rendition of the horizontal from before.. which do you prefer?
View large, thanks!
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Adventures for your entertainment and edification: artinnature.wordpress.com/
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.
The Centre Pompidou Metz is a museum of modern and contemporary arts designed by architects Shigeru Ban and Jean de Gastines and located in Metz, capital of Lorraine, France. It is built in the Amphitheatre District, near the Metz railway station and the German Imperial District. The Centre Pompidou-Metz is a branch of Pompidou arts centre of Paris, and features temporary exhibitions from the large collection of the French National Museum of Modern Art, the largest European collection of 20th and 21st century arts. The museum is the largest temporary exhibition space outside Paris in France with 5,000 metres square divided between 3 galleries and includes also a theatre, an auditorium, and a restaurant terrace.
The first piece of the monument was laid on November 7, 2006, and the building was inaugurated by the President of France, Nicolas Sarkozy, on May 12, 2010. The building is remarkable for its roof structure, one of the largest and most complex built to date, which was inspired by a Chinese hat found in Paris by Shigeru Ban.
The Centre Pompidou-Metz is a large hexagon structured round a central spire reaching 77 metres high, alluding to the 1977 opening date of the original Centre Pompidou of Paris. It possesses three rectangular galleries weaving through the building at different levels, jutting out through the roof with huge picture windows angled towards landmarks such as the Saint-Stephen Gothic cathedral, the Imperial Metz railway station, the Arsenal Concert Hall built by architect Ricardo Bofill, the Arènes indoor sport arena, and the Seille park. The great nave covers 1,200 m² and provides flexibility for the exhibition of large artworks, with the ceiling rising progressively from a height of 5.70 to 18 metres.
View on the carpentry structure.
Central spire supporting the carpentry.
Joan Miró, Blue I, Blue II, and Blue III, 1961, triptych in October 2010, during the exhibition Masterpieces?.
The roof is the major achievement of the building: a 90 meters wide hexagon echoing the building’s floor map. With a surface area of 8,000 metres square, the roof structure is composed of sixteen kilometres of glued laminated timber, that intersect to form hexagonal wooden units resembling the cane-work pattern of a Chinese hat. The roof’s geometry is irregular, featuring curves and counter-curves over the entire building, and in particular the three exhibition galleries. Imitating this kind of hat and its protective fabric, the entire wooden structure is covered with a white fibreglass membrane and a coating of teflon, which has the distinction of being self-cleaning, protect from direct sunlight while providing a transparent at night.
The Pompidou-Metz itself and its parvise, named Human Rights square, are built on the site of the Roman amphitheatre of Divodurum Medriomaticum (ancestor of present-day Metz). So, the building is the cornerstone of the newly created Amphitheater district. The district of 50 hectares, thought by architects Nicolas Michelin, Jean-Paul Viguier, and Christian de Portzamparc, is currently under construction and includes the edification of a convention centre and a shopping mall. The quarter encompasses already the Seille park designed by landscape architect Jacques Coulon and the Arènes indoor sport arena by Paul Chemetov built in 2002. The urban project completion is expected to take place by 2015.
From Wikipedia, the free encyclopedia
Ever wonder what it feels like to be a hermit crab? I did... so I tried to find out :)
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“This is the horizontal version of lunar modular living and working quarters for use in our “Man On The Moon” program. Designed by scientists and engineers of the Lockheed Missiles and Space Company, each module is 18 feet in diameter. Each is fully-equipped and self-sufficient except for electrical power, which is supplied from a remote nuclear power source.”
Also associated with the image, thanks to Paul Vreede’s wonderful “SPACEX: GOLDEN ASTRONAUT” website, taken from David S. F. Portree’s superlative original blog:
“The self-contained lunar research station…showing its completely protected quarters, where a small party of lunar explorers can live and work.”
Also from Mr. Vreede’s site, courtesy the “Frank May collection”:
“A horizontal version of lunar modular living and working quarters for use in the “Man on the Moon” program. Conceived by scientists and engineers of the Lockheed Missiles & Space Company, Sunnyvale, California, each module is eighteen feet in diameter. Each is fully equipped and self-sufficient except for electrical power which is supplied from a remote nuclear power source shown in a crater at right. Solar flare protection chambers are provided at the base of the modules.”
Last, but NOT least, paraphrased from David S. F. Portree’s original blog:
“…Base modules would arrive on the moon fully outfitted with internal equipment. The permanent ELO base configuration, in place in 1975, would include five cylindrical horizontal modules on adjustable legs. Wing-like thermal radiators with removable panels for easy meteor damage repair would ensure that the air temperature inside the modules remained near 80 degrees Fahrenheit. Replaceable meteor shrouds would shield tubular crawlways linking the modules.
In a typical module, the main airlock would open onto a straight passage running the length of the lower deck. Hatches in the passageway floor would lead down into a cramped "solar flare protection cell" lined with water tanks. The lower deck would include sleep compartments for six astronauts, a galley, and environmental control systems, while the upper deck would contain a laundry, showers, a toilet, the central electrical control room, and laboratory/workshop space. Lockheed reckons that, in the moon's low gravity, the astronauts could move between the two decks without a ladder or stairs. The company also briefly considered a vertical base module configuration.
[Seen at the beginning of Mr. Portree’s blog, within Mr. Vreede’s presentation. This also explains/provides context to the previous references of “horizontal version”.]
Without belaboring the boundless goodness going on within this detailed & exquisite masterpiece, the above allusion to meteor damage is actually depicted in the image by the Astronaut on EVA, seen transferring the damaged radiator panel (puncture hole clearly visible) into the airlock for repair. Its former location evident by the gap in the panels & nearby ladder on the left rear module.
Finally, as if the above wasn’t enough, the names of the responsible parties are visible. Not surprisingly, they are William Collopy & Anthony Saporito, whom I believe to be protégés of the maestro, Ludwik Źiemba.
Furthermore, a WIN on a WIN; their respective responsibilities are included! If I’ve got it right, “DRAWN” means just that…the lines, borders & boundaries between objects depicted. “RENDERED” being the process of giving the work body, depth & perspective, through shading, coloring…and a bunch of other things I’m probably too dense, ignorant actually, to recognize. Looking back on other identified collaborative works by these three artists - and this is for only my edification - is “DRAWN”, followed by “RENDERED” the standard/conventional order of march/merit if/when not specified? It would make sense.
Bottom Line: A meticulous masterpiece.
Mr. Vreede's site:
www.triangspacextoys.info/SpGAorig/MnBs_OrF/MnBs_OrP.html
See also:
www.secretprojects.co.uk/threads/lockheed-moon-base.10309/
Credit: SECRET PROJECTS website
The Fort Saint-Elme is a military fort built between 1538 and 1552 by Charles V. It is located in the district of Collioure, 30 km south-east of Perpignan, in the department of Pyrénées-Orientales. It is designated as a monument historique of the Côte Vermeille. Since 2008, the fort has been a museum with medieval and Renaissance arms collections, exhibitions and a panorama over the area from the terrace.
The fort Saint-Elme is located at the top of a hill overhanging Collioure on the west and Port-Vendres on the east. One can reach the fort following a local road linking the D114 road at the north, through the Coll d'en Raixat at the south.
Toponymy
Several assumptions exist for the origins of Saint Elme: Firstly the name of Saint-Elme may come from Erasmus of Formia, an Italian martyr of the 4th century. Secondly it could have been given in honour of the Spanish saint Peter González (1190-1246). This explains why we find this name around the western Mediterranean coasts: Saint Elme in Naples, Sant Elme in St Feliu de Guixols, Sant Helme and Santem in Provence, etc… Saint Erasmus may have become the patron saint of sailors because he is said to have continued preaching even after a thunderbolt struck the ground beside him. This prompted sailors, who were in danger from sudden storms and lightning, to claim his prayers. The electrical discharges at the mastheads of ships were read as a sign of his protection and came to be called "Saint Elmo's Fire".
By decree on 3 June 1794, during the French Revolution, the city took briefly the name of Fort-du-Rocher (Rock's fort).
History
From the origins to the Middle-Ages
The history of Fort Saint-Elme began with the edification of the watchtower in the 8th century, i.e. either during the period when Arab-Berber troops occupied Septimania between 719 and 759. Integrated to the Marca Hispanica, the tower belonged to the independent Counts of Roussillon until the death without heirs of Girard II of Roussillon in 1172. He bequeathed his county to Alfonso II, King of Aragon and Count of Barcelona. This is during the Aragonese period that the tower took its nickname "Torre de la guardia" (Watchtower).
Between 1276 and 1344, Majorca’s kings, whose summer residence was the castle of Collioure, rebuilt this signal tower on this ideal point of view. This tower was integrated in an efficient communication system including the Massane and Madeloc towers located on the heights of Collioure and funded by James II of Aragon in the 13th century. These towers communicated through smoke signals that permitted to alert the surroundings population with smoke signals (black or white, discontinuous or continuous) according to the danger. At night, some dry wood permitted to light fires to alert garrisons until Perpignan. By day, some green wood was used to emit smoke and thus communicate with the others towers and strongholds of the region. But it was the enemy of the kingdom of Majorca, the king Peter IV of Aragon, who, once he conquered the coast in 1344, made significant military works to improve the defense of the fort.
During the second part of the 15th century, the French controlled the Roussillon. In 1462, the king Louis XI took advantage of the Catalan civil war (1462-1472) to sign the treaty of Bayonne and thus took over the counties of Roussillon and Cerdagne. The French decided to strengthen the fort which took the name of Saint Elme. A part of ramparts dates from this period. The successor of Louis XI, Charles VIII, who wanted to assure the neutrality of Spain for his ambitions over the kingdom of Naples, signed with Ferdinand II of Aragon the treaty of Barcelona in 1493. The catholic king recovered thus the lost territories.
The fortification of Charles V
In the 16th century, the Roussillon is an essential piece of the Spanish kingdom. The region had a triangular shape delimitated by the cordilleras in the north, the Albera Massif in the south and the Mediterranean Sea in the east. Perpignan was an important industrial, cultural and commercial center which got important privileged links with the wealth of Italy. Perpignan was defended in the north by the Fortress of Salses and in the south by the Fort Saint-Elme. This castle protected also the Collioure and Port-Vendres ports which assured supplies and troops helpers to the regional capital of Roussillon.
The progress of the modern artillery changed profoundly the war art and the siege technics. Architects and artillerymen were converted to new war masters and advisers of sovereigns. In 1537, the Italian architect Benedetto of Ravenna caught the emperor’s attention on the weaknesses of the Collioure position. After an inspection, Benedetto obtained the agreement of Charles V. He began the works in 1538 until 1552 and transformed the fort’s appearance which took its star-shaped aspect.
A French fort
Despite this modernisation and its adaptation to the artillery, on 13 April 1642, French troops of king Louis XIII achieved to take the fort. After the signing of the Treaty of the Pyrenees in 1659, the Spanish threat remained. When Vauban, military architect of King Louis XIV, made a reconnaissance of the defensive structures in 1659 in the region of Collioure, he decided to build a counterscarp, which forms with the ramparts base a ten-meter pit where infantry and cannons could easily operate.
Around 1780, the fort’s facade was whitened to serve as landmark from the sea, with the Massane Tower, to better situate the port of Port-Vendres.[1]
During the French Revolution, more precisely during the War of the Pyrenees, between 1793 and 1795, the region was the center of violent fights. The Fort Saint Elme was conquered successively by Royalists and Republicans. In 1794, the Spanish army took the fort. Six months later, the general Dugommier crushed with 11 000 cannonballs the garrison which surrendered on 25 May 1794 after a 22-day siege. After the revolutionary period, the fort, unified with the municipality of Collioure, was transformed in military warehouse.
A private museum
The Fort Saint-Elme was demilitarised in 1903 and abandoned. The tower was shattered, the (shooting place) was partly impracticable and many walls threatened to collapse. On 21 August 1913, the State decided to auction the fort. Several owners succeeded but none restoration was made. The fort was registered as Monument Historique by decree of 2 April 1927. A new owner decided thus to restore it. The works ended in 1936. During the WWII, the fort was occupied by the Kriegsmarine between 1942 and 1944. At their escape, some buildings were dynamited to block the progress of allied troops. Rebuilt partially in 1950, most restoration works began in 2004. Since 2008, the fort has been a museum.
Architecture
The interior of the fort Saint-Elme is composed of rooms edified around the exterior circumference of the tower. On the first floor, there were the troop’s dormitories, the weapons room, the throne’s room, the jail and the oven. Today, the floor is fit out historical objects which date from 15th century to 19th century: helmets, knights’ armours, chest, polished-stone and iron cannonballs, medieval and "Renaissance" weapons (culverin, falconet, crossbows, halberds, flails, hammers, lances, bows, swords, arquebus, 16th-century pistols), howitzer fragments.
Others rooms reveal the history of the monument: the genealogy and life of Charles V, the fortifications of Vauban, the inventory of 1770 and the attack of general Dugommier in 1794.
On the second floor, the flour and artillery warehouses were next to the guardroom and the bakery. Saint-Elme, a stronghold with an ingenious defensive system, has been conceived to support sieges and resist to assaults. Some walls reach up to eight-meters thick. The tower contained the powder. The shooting place could receive more than 20 cannons and howitzers. The undergrounds are not open to the public. Formerly, they were used as a warehouse for food and housing. They could also house all trades (corps de metier) necessary to the fight.
Wikipedia
Collioure is a town on the Mediterranean coast of southern France. On the sea, the medieval Château Royal de Collioure offers dramatic coastal views. The bell tower of 17th-century Notre-Dame-des-Anges Church was once a lighthouse. The Modern Art Museum includes paintings by Henri Matisse. Nearby is the Moulin de Collioure, a 14th-century windmill. South, the hilltop Fort St. Elme has a museum with medieval weapons. ― Google
The Centre Pompidou Metz is a museum of modern and contemporary arts designed by architects Shigeru Ban and Jean de Gastines and located in Metz, capital of Lorraine, France. It is built in the Amphitheatre District, near the Metz railway station and the German Imperial District. The Centre Pompidou-Metz is a branch of Pompidou arts centre of Paris, and features temporary exhibitions from the large collection of the French National Museum of Modern Art, the largest European collection of 20th and 21st century arts. The museum is the largest temporary exhibition space outside Paris in France with 5,000 metres square divided between 3 galleries and includes also a theatre, an auditorium, and a restaurant terrace.
The first piece of the monument was laid on November 7, 2006, and the building was inaugurated by the President of France, Nicolas Sarkozy, on May 12, 2010. The building is remarkable for its roof structure, one of the largest and most complex built to date, which was inspired by a Chinese hat found in Paris by Shigeru Ban.
The Centre Pompidou-Metz is a large hexagon structured round a central spire reaching 77 metres high, alluding to the 1977 opening date of the original Centre Pompidou of Paris. It possesses three rectangular galleries weaving through the building at different levels, jutting out through the roof with huge picture windows angled towards landmarks such as the Saint-Stephen Gothic cathedral, the Imperial Metz railway station, the Arsenal Concert Hall built by architect Ricardo Bofill, the Arènes indoor sport arena, and the Seille park. The great nave covers 1,200 m² and provides flexibility for the exhibition of large artworks, with the ceiling rising progressively from a height of 5.70 to 18 metres.
View on the carpentry structure.
Central spire supporting the carpentry.
Joan Miró, Blue I, Blue II, and Blue III, 1961, triptych in October 2010, during the exhibition Masterpieces?.
The roof is the major achievement of the building: a 90 meters wide hexagon echoing the building’s floor map. With a surface area of 8,000 metres square, the roof structure is composed of sixteen kilometres of glued laminated timber, that intersect to form hexagonal wooden units resembling the cane-work pattern of a Chinese hat. The roof’s geometry is irregular, featuring curves and counter-curves over the entire building, and in particular the three exhibition galleries. Imitating this kind of hat and its protective fabric, the entire wooden structure is covered with a white fibreglass membrane and a coating of teflon, which has the distinction of being self-cleaning, protect from direct sunlight while providing a transparent at night.
The Pompidou-Metz itself and its parvise, named Human Rights square, are built on the site of the Roman amphitheatre of Divodurum Medriomaticum (ancestor of present-day Metz). So, the building is the cornerstone of the newly created Amphitheater district. The district of 50 hectares, thought by architects Nicolas Michelin, Jean-Paul Viguier, and Christian de Portzamparc, is currently under construction and includes the edification of a convention centre and a shopping mall. The quarter encompasses already the Seille park designed by landscape architect Jacques Coulon and the Arènes indoor sport arena by Paul Chemetov built in 2002. The urban project completion is expected to take place by 2015.
From Wikipedia, the free encyclopedia
“’COMMAND CENTER’ FOR DEFENSE?--Lockheed Aircraft Corp. engineers say a complicated satellite similar to this may be orbiting as an alternate U.S. defense headquarters 10 years from now. The engineers said such a satellite would be able to take charge if earth command centers were destroyed. The satellite, possibly 200 feet long, weighing 50 tons and manned by about a dozen men, would have a radiation-shielded command center in the hub and living quarters in the spheres at the ends of the arms.”
And per the actual/original Lockheed ad featuring the image:
“Will command centers based in space be an outstanding development in the ten-year span from 1967 to 1977?
The answer at Lockheed-California Company’s Spacecraft Organization is – Yes. Proof: the Spacecraft design pictured here. It reflects the maturity developed in our thinking about manned space systems.
The station—aerospace traffic control center of the 1970’s—will be assembled in orbit in a series of pieces brought together by rendezvous techniques. Included: Command center; living quarters; maintenance station; radar and infrared sensing devices; nuclear power supply; communication links with the earth and other space vehicles. As now planned, 12 people will man the vehicle. Their tour of duty will be measured in weeks.
For four years Lockheed-California Spacecraft has concentrated on the needs of man in space. Activities embrace all fields pertaining to development of complex spacecraft as well as supporting technologies…”
Above credit per January 13, 2014 postings of the image (from two different sources) by users “hesham” & “Barrington Bond” at the informative “SECRET PROJECTS FORUM” website:
www.secretprojects.co.uk/threads/us-space-station.6452/
www.secretprojects.co.uk/attachments/scan0056-copy-jpg.26...
Note the ‘sanitized’ terminology used within the add, “AEROSPACE TRAFFIC CONTROL CENTER: TIMETABLE 1970’s”. The press slug is much more ‘to the point’.
I would’ve loved to have read the classified write-up/description of this.
Finally, for my own edification, since he was producing works for Lockheed at this time...this being by the hand of Ludwik Źiemba cannot be ruled out. Or one of his protégés.
Goethe:
Gingo Biloba
Dieses Baums Blatt, der von Osten
Meinem Garten anvertraut,
Giebt geheimen Sinn zu kosten,
Wie’s den Wissenden erbaut,
Ist es Ein lebendig Wesen,
Das sich in sich selbst getrennt?
Sind es zwei, die sich erlesen,
Daß man sie als Eines kennt?
Solche Frage zu erwidern,
Fand ich wohl den rechten Sinn,
Fühlst du nicht an meinen Liedern,
Daß ich Eins und doppelt bin?
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?
GINKGO BILOBA
Zie dit kleinood in mijn gaarde:
boomblad uit de oriënt,
siert met zijn geheime waarde,
ingewijden welbekend.
Leeft het als een enkel wezen,
innerlijk in twee gedeeld?
Of vormt juist het uitgelezen
tweetal één herkenbaar beeld?
Langzaam rijpende ideeën
werpen op die vragen licht.
Voel je niet dat ik in tweeën
eenling ben in mijn gedicht?
GINKGO BILOBA
La feuille de cet arbre, qui, de l’orient,
Est confié à mon jardin.
Offre un sens caché
Qui charme l’initié.
Est-ce un être vivant
Qui s’est scindé en lui-même ?
Sont-ils deux qui se choisissent
Si bien qu’on les prend pour un seul ?
Pour répondre à ces questions,
Je crois avoir la vraie manière :
Ne sens-tu pas, à mes chants
Que je suis à la fois un et double ?
GINKGO BILOBA
La foglia di quest‘albero
Affidata dall’est al mio giardino
Ci fa assaporare il senso segreto
Che eleva il sapiente.
È un essere vivente
In se stesso diviso?
Sono due che si sono scelti
Cosicché li si ritiene uno solo?
Per replicare a queste domande
Ho trovato forse il giusto modo:
Non senti dalle mie canzoni
Che io sono uno e doppio?
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?
GINKGO BILOBA
Esta folha, que o Oriente
Ao meu jardim confiou,
Dá a provar o secreto
Saber que o sábio formou.
É um ser vivo que em si
Mesmo em dois se dividiu ?
Ou são dois que se elegeram
E o mundo neles um viu ?
Dessas perguntas que fazes
O sentido certo te dou:
Não sentes nos cantos meus
Como eu uno e duplo sou ?
GINKGO BILOBA
GINKGO BILOBA 银杏
Palazzo Ducale was devastated by a fire in 1577, forcing the Republic Senate to move from there its famous Venetian prisons: the Pozzi and the Piombi. The new jail cells, wider and safer, were relocated on the shore in front of the Rio di Palazzo and then used through the following centuries until 1919. At the beginning of the 1600, the doge Marino Grimani commissioned to architect Antonio Contin the edification of a bridge to connect the rooms of the Magistratura directly to the prisons, in order to have the culprits transferred there straight after the sentence. The bridge of Sighs was built according to the Baroque style, using stones from Istria, known as a calcareous microcrystalline, solid and barely porous ones, particularly resistant to the erosion caused by the salt. You can notice the figure of the Justice with the doge Grimani’s family crest below it, right in the middle of the external facade. The prisoners, usually handcuffed while crossing the bridge, were probably having one last look at the sky and, while giving it up, heaved the last sigh of their now lost freedom. Following the vox populi, it was Lord Byron, who had found in Venice his safe haven from his debts and his motherland’s scandals, to give this name to the bridge. With the time passing by, the elegance of its structure and its charming view have become a proper spot for the lovers.
Построен Мост Вздохов над Дворцовым каналом в далеком 1602-м году по проекту Антонио Конти. Современные специалисты утверждают, что в самом начале XVII века архитектор выбрал для него стиль Барокко, что совсем неудивительно для Италии, где в те времена все без исключения стремились к роскоши и даже к излишествам. При этом следует учитывать тот факт, что возводилась эта переправа через довольно мрачный канал с единственной целью – соединить всем хорошо известный Дворец Дожей и страшную тюрьму. В начале XIX века (т.е. уже после падения республики) Венецию посетил знаменитый поэт Байрон. Помимо всех прелестей города, Байрона чрезвычайно заинтересовала история главной венецианской тюрьмы. Он-то в поэтическом порыве и дал маленькому мостику название, закрепившееся навсегда — мост Вздохов. Конечно же, имелись в виду вздохи заключённых, которые, услышав приговор, проходят через мост и в последний раз в жизни видят в окошко кусочек венецианского неба.
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.
The festival, also known as Ashwini Purnima, marks the conclusion of the three-month-long seclusion of monks in monasteries for self-edification and atonement.
The release of sky lanterns commemorates an event in the life of Buddha, when he once clipped some strands of hair from his head and said that if he were qualified to attain supreme wisdom and enlightenment, the hair would go up instead of falling down. The strands of hair eventually went up.
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Posted primarily for my own edification, to serve as a ‘marker’ for possible/hopeful future identification of the artist responsible. Note what appears to be “M.R.” in the lower right-hand corner of Quadrant I of the LM descent stage. Although I’m confident of the “M” & “R”, I might be off regarding the markings to the right of each letter. I’m guessing accentuated/stylized(?) periods. Or, maybe not. Who knows.
Regardless, it's by an MSFC artist, in 1967, with the initials M.R.
I believe this is Yellow Trillium growing beside the trail at George Washington Carver National Monument. An interesting tidbit for your education and edification, Everything you see here is a flower. That is the only part of the plant that grows above ground.
From a walk in the woods of course.
At Pentecost the disciples were baptized with the Holy Spirit and fire. Fire is needed to preserve unity. The fire of Pentecost – the first love
“Then those who gladly received his word were baptized; and that day about three thousand souls were added to them. And they continued steadfastly in the apostles' doctrine and fellowship, in the breaking of bread, and in prayers.” Acts 2:41-42.
The first church continued daily with one accord in the temple. They gathered in one spirit against all the spiritual hosts of wickedness. The first love was burning in their hearts. People had fallen prey to Satan for centuries, but now he had to retreat before this fire of Pentecost.
The wild beasts keep a distance from the fire
If you want to protect yourself in the jungle from wild beasts, you light a fire. The wild beasts will watch from a safe distance in the jungle, and whenever the flames blaze up, they draw back a few feet. But when the flames begin to die down, they crawl a little closer, and they continue to crawl closer, little by little, as the fire dies down. Those who are on the periphery will be the first ones to fall prey to the wild beasts. If the fire dies out completely, everyone will become their prey. This is a picture of what can happen in the church of the living God.
We read in Acts 6:1 that when the number of the disciples was multiplying, there arose a murmuring against the Hebrews by the Greek-speaking Jews. Here we can see how quickly the growling of the wild beasts could be heard from among those who were on the periphery of the first church. Paul says in chapter 20:28-29, “Take heed to yourselves and to all the flock, among which the Holy Spirit has made you overseers, to shepherd the church of God which He purchased with His own blood. For I know this, that after my departure savage wolves will come in among you, not sparing the flock.”
Paul strongly exhorts the elders to watch over the flock and to guard them against these savage wolves. Nothing should be spared to protect God's flock, which Jesus won with His own blood. This is when we need to love Christ “more than these.” Read John 21:15-17.
The fire of Pentecost is always burning in the disciples
Satan could not do anything with the core of disciples in the first church; they were invincible. The fire of Pentecost burned in each one of them until their dying day. Even in our days beasts of prey are prowling around the church of the living God, and every once in a while you can hear growling and roaring on the periphery. However, even now there is a core of disciples in whose hearts the fire of Pentecost is burning brightly, and Satan has no power over them. For this reason everyone should be quick to come to the center where the fire is hottest.
If the fire is to burn, it must always be fed by the self-life. The fire of Pentecost has died out in hearts where an increasingly deeper acknowledgment of self is lacking. Then all they are left with is glorious memories of when they were baptized with the Spirit. The wild beasts—although they are in sheep's clothing—ravage such assemblies.
The fire of Pentecost must be kept burning. Fervent prayer meetings are needed. All wickedness must stop with us. Let us be on guard against any breach in fellowship with the saints, because then we are finished. We can only grow the growth of the body together with the other saints, up to Him who is the head. Only in the body is the fullness of Christ. Let us be like the core of disciples in the first church who would rather be burned at the stake than sin.
activechristianity.org/the-fire-of-pentecost
Read the Passage
1When the day of Pentecost arrived, they were all together in one place. 2And suddenly there came from heaven a sound like a mighty rushing wind, and it filled the entire house where they were sitting. 3And divided tongues as of fire appeared to them and rested on each one of them. 4And they were all filled with the Holy Spirit and began to speak in other tongues as the Spirit gave them utterance. 5Now there were dwelling in Jerusalem Jews, devout men from every nation under heaven. 6And at this sound the multitude came together, and they were bewildered, because each one was hearing them speak in his own language. 7And they were amazed and astonished, saying, “Are not all these who are speaking Galileans? 8And how is it that we hear, each of us in his own native language? 9Parthians and Medes and Elamites and residents of Mesopotamia, Judea and Cappadocia, Pontus and Asia, 10Phrygia and Pamphylia, Egypt and the parts of Libya belonging to Cyrene, and visitors from Rome, 11both Jews and proselytes, Cretans and Arabians—we hear them telling in our own tongues the mighty works of God.” 12And all were amazed and perplexed, saying to one another, “What does this mean?”
—Acts 2:1–12
The Disciples Receive the Spirit
Right from the beginning, Acts 2 is concerned with new structures and dynamics that bring the old structures and dynamics to their appointed end. The chapter occurs at Pentecost, the second annual feast of the Jewish year, celebrating God’s provision for his people. Also known as the Feast of Weeks in the OT (see Lev. 23:15–21; Ex. 34:22; Num. 28:26–31; Deut. 16:9–12), Pentecost came fifty days after Passover. Passover commemorated the coming of the angel of death, the last plague, to Egypt. On that night, the Israelites were told to sacrifice a lamb and spread its blood over their doorpost. The angel, seeing the blood, would pass over the Israelites but would inflict destruction on Egypt by taking its firstborn sons. This could have been avoided had Pharaoh and his court listened to Moses and freed Israel. But they refused and so paid an ultimate price for their sin against God. In the aftermath, the Israelites, having survived because of the lamb’s blood, left Egypt. God redeemed them, as promised.
Fifty days later, Israel was at Sinai, receiving God’s law through Moses. When they entered the land, they were to keep a feast, or festival, in which they were to bring their firstfruits (bread made from new grain) as an offering to God. The firstfruits offering stood both for hope in the coming of the full harvest and as a sign of thanksgiving for God’s provision. Pentecost was inseparable from Passover and was marked specifically from the date of Passover (Lev. 23:16). It could come only as a result of God’s previous work. Thus it was not simply about agriculture but about redemption as well. Israel offered her firstfruits to God, who saved her from slavery in Egypt. The underlying idea in the symbolism of Pentecost was that if God was able to redeem his people from Egypt, then he would be able to provide for their lives too, just as he had promised.In Acts 2, Jews in Jerusalem are still celebrating Pentecost, but this Pentecost is different. It is, in fact, the last Pentecost. It must be the last, because the final Passover took place fifty days earlier when Jesus, the spotless Lamb of God, was crucified for the sins of God’s people. This was the sacrifice to end all sacrifices (see Heb. 7:27; 9:12, 28; 10:10). Redemption from Egypt, and the Passovers that remembered it, was a shadow of something greater. Passover is fulfilled, and now it is time for the fulfillment of Pentecost. With Jesus now in heaven—a vital point for what follows—this fulfillment is precisely what happens next.
The disciples are together, and something happens that can be explained only by analogy, not from past experience: “Suddenly there came from heaven a sound like a mighty rushing wind,” and “divided tongues as of fire appeared to them and rested on each one of them” (Acts 2:2, 3). The words “like” and “as” are important for understanding Luke’s quintessentially biblical way of describing the scene. Commentators are divided as to whether there was an actual gust of wind accompanied by the sound, or whether there was just a sound. Whether the disciples felt a wind is unimportant. What took place is described not exactly as natural phenomena but “like” it. This is common in Scripture, particularly in texts and passages that describe heavenly scenes or times when the heavenly and earthly realms come together: gates and walls are “like” precious stones, heavenly scenes generally are described as “like” earthly analogies, and visions include things “like” wheels, fiery messengers, or various animals that sometimes combine more than one species. These are attempts to convey supernatural visions and experiences—real, experienced events, but beyond what can be described fully. In this case it sounded something like a great wind. I have an image in my mind of the apostles hearing something like the sound of wind from the inside, with walls and roofs creaking, windows rattling, and the sound of rushing air shaking everything in its path, straining to get past. Maybe to us it would have sounded like an oncoming train.
What is important is what the wind-like sound and the appearance of tongues like fire indicate: both point to the presence of God (cf. 1 Kings 19:11–13). Thus the prophet Ezekiel is led by the Spirit to a vision of dry bones that take on human form and are brought to life when the Spirit commands: “Prophesy to the breath; prophesy, son of man, and say to the breath, Thus says the Lord God: Come from the four winds, O breath, and breathe on these slain, that they may live” (Ezek. 37:9). The image is of God’s bringing Israel back from exile, redeeming them as in a new exodus, with this great exception: this time he promises to give them his Spirit (Ezek. 37:14). Likewise, the image of fire in Acts 2 is unmistakable. It may be compared to the Lord’s appearing to Moses in a burning bush (Ex. 3:1–6) or to the people of Israel as a pillar of fire, leading them at night in their desert wanderings (Ex. 14:19–20; Num. 11:25; 12:5; 14:14; 16:42; Deut. 1:33). The fire could also be an echo of Isaiah 6:4–7, where the prophet’s tongue is cleansed with a burning coal.
The presence of God in Acts 2 is also accompanied by an act of God. His presence is confirmed by the direction from which the sound comes: from heaven, the place of God. This is the second time in short order that heaven and earth intersect. Jesus went into heaven; now the Spirit from heaven will invade the earthly realm, filling the apostles for witness.
When the apostles receive the Spirit here, this is not the moment they are “saved” or regenerated. In fact, it is not the first time they receive the Spirit. After his resurrection, Jesus appears to the Eleven and breathes on them, saying, “Receive the Holy Spirit” (John 20:22). They are also, as a result, given authority to forgive sins on his behalf (John 20:23). The reception of the Spirit in Acts 2:2 is for carrying out Jesus’ commission to witness. The apostles’ experience of the Spirit is, by necessity of their era, different than it is for every succeeding generation. This is not to say their experience is totally different or unconnected to the receiving of the Spirit seen after Peter’s sermon, only that this instance is a special equipping for a special group of people.While he was on earth, Jesus was directly present with his followers, who, even with their obvious shortcomings, did provide evidence of believing in him to whatever extent was possible (“Lord, to whom shall we go? You have the words of eternal life.” “You are the Christ.” “I believe; help my unbelief.”). There is no clean and easy way to determine the exact point in which the disciples became believers in the sense we use the term. They did “believe” when Jesus was alive, but their faith was not complete until the resurrection, just as Christ’s work of redemption was not complete. The disciples were sanctified by the word of Jesus while he was with them (John 13:10; 15:3; 17:17), but they would not receive the Spirit as the power of the risen Christ until after the resurrection (as promised in John 14–17). By historical and experiential necessity, the disciples occupy a different place in salvation history than we do.
In Acts 2:33 Peter says that Jesus “received” the Spirit from the Father specifically for the pouring out received at Pentecost. On the other hand, at Acts 8:17 some Samaritans receive the Spirit when Peter and John lay hands on them. In Acts 10:47, Peter declares that because Cornelius and other Gentiles “received” the Spirit just as Jewish believers did, there is no way to deny them baptism. The Spirit “fell” upon all gathered as Peter spoke, and those with Peter were amazed that the Spirit was “poured out” on the Gentiles just as he was on Jewish believers (Acts 10:44–45). Thus it is clear that the language for receiving the Spirit, whether for particular empowerment or for regenerating power, does not consistently distinguish between the work of witness and that of belief. All of these works—apostolic witness, signs and wonders, and regeneration—are entirely the doing of the Spirit. How the Spirit is working and what he is bringing about depends on the context.
Outward Manifestation
The Spirit came and “rested on each one” at Pentecost (Acts 2:3). This is an outward manifestation of what is taking place among them, as all those gathered in the room are “filled with the Holy Spirit” (Acts 2:4)—what Jesus promised them at his ascension now takes place. It is impossible to quantify what it means to be “filled with the Holy Spirit.” We should not think of the Spirit as some sort of heavenly gasoline that fills our spiritual tank. Luke seems to be speaking in the sense of capacity (“filling” language), but how do we think of capacity when the receptacles are people and the substance is the Holy Spirit? Can someone be filled a quarter of the way with the Spirit? At what point is one “full” of the Spirit in terms of quantity? Paul tells the Ephesian believers, who already have the Spirit, nevertheless to “be filled with the Spirit” rather than to be drunk on wine (Eph. 5:18).
In his Gospel, Luke uses the word “filled” in the sense of filling to capacity, as when the disciples’ boats are so full of fish that they begin to sink (Luke 5:7), or figuratively, as in “filled with great fear” (Luke 2:9) or “filled with fury” (Luke 6:11). He also uses the term to mean “fulfill” or “end,” as in to reach an appointed conclusion. Zechariah goes back home “when his time of service [as a priest] was ended” (Luke 1:23). The destruction of Jerusalem foretold in the Olivet Discourse is described as “days of vengeance, to fulfill all that is written” (Luke 21:22). Importantly, the angel tells Zechariah that his son, John, “will be filled with the Holy Spirit” (Luke 1:15); Elizabeth sees Mary and is “filled with the Holy Spirit” and begins to praise (Luke 1:41); and Zechariah is, once again, “filled with the Holy Spirit” and begins to prophesy and to praise God for what he is about to do in Israel according to his promises (Luke 1:67).
We find similar texts in Acts as well. Peter is filled by the Spirit and speaks to a crowd (Acts 4:8), and soon after the believers are filled with the Spirit through prayer (Acts 4:31). When the seven are chosen to look after the widows among the Greek-speaking Jews, one of their criteria is that they are to be filled with the Spirit (Acts 6:3). Ananias tells Paul he will “be filled with the Holy Spirit” (Acts 9:17). These texts, along with those in Luke, determine what the phrase means in Acts 2:4 and in Acts generally. In most cases, to be “filled with the Holy Spirit” means to be empowered for service, usually that of proclamation or mission. This does not imply an initial lack but merely communicates a special experience of the Spirit in order to carry out the mission from Jerusalem and Judea to Samaria and the ends of the earth. The Spirit’s work in salvation does not take second place in Acts—reception of the Spirit is the primary reason Gentiles must be baptized and recognized as full-fledged members of the new covenant (Acts 15:8–9)—but at Pentecost specifically the disciples are filled with power for the great work of that day.
Throughout Acts. . . the Spirit works in believers to empower them for service.
The Meaning of Tongues
As a result, those in the room “began to speak in other tongues as the Spirit gave them utterance” (Acts 2:4; cf. Acts 10:45–46; 19:6). The meaning of the word translated “tongues” (Gk. glōssai ) is disputed. Many Christians understand this verse to mean that the disciples begin to speak in a heavenly language transcending human linguistic structures—unlike any language on earth. In such an interpretation, those who hear the disciples speaking in different languages (Acts 2:6) do so because some kind of divine translation is taking place that causes the “tongues” to be heard as languages. Often in this interpretation the miracle of tongues is accompanied by a miracle of hearing. Texts such as 1 Corinthians 13:1, where Paul mentions speaking in the “tongues of men and of angels,” are cited in support (cf. 1 Cor. 14:2, 18–23, 27). Others, however, understand the disciples to be speaking in different languages, those represented in the room that day. In this interpretation there is no need for a miracle of hearing. Typically, this reading is accompanied by reading the term “tongues” in the NT as always referring to known human languages. First Corinthians 13:1 does, however, seem to distinguish human and heavenly speech. Pressing glōssai to mean “languages” in every instance in the NT seems strained. A third option is to understand the word “tongues” as being used in the NT both for human languages and for heavenly speech, with both manifestations being works of the Spirit.
At Pentecost the tongues seem to be languages, and thus the miracle is one of speaking, not likely one of hearing. Luke here uses the word apophthengomai (“utterance”; Acts 2:4), which recurs twice more in Acts in regard to speaking God’s word. It is clear that the Spirit empowers the disciples’ speaking, but, as seen in the upcoming verses, there is no similar indication of Spirit-empowered hearing. Throughout Acts (as demonstrated already), the Spirit works in believers to empower them for service. The Spirit does work in unbelievers, but this is part of God’s work of salvation, “having cleansed their hearts by faith” (Acts 15:9). Such is why it is important first to establish what “filled” means in this verse before considering the miracle of speaking that follows: it provides the context for understanding this highly disputed text.
This article is adapted from the ESV Expository Commentary: John–Acts (Volume 9).
Brian Vickers
Brian J. Vickers (PhD, The Southern Baptist Theological Seminary) is professor of New Testament interpretation and biblical theology at the Southern Baptist Theological Seminary and the assistant editor of the Southern Baptist Journal of Theology. He is actively involved in leading short-term mission trips and teaching overseas. He is also a member of the Evangelical Theological Society and the Institute for Biblical Research.
www.crossway.org/articles/what-are-the-tongues-of-fire-ac...
A wonderful, rarely seen artist’s concept of an early Lunar Excursion Module (LEM) ascent stage liftoff, which also depicts its flight path to rendezvous & docking with the orbiting Command/Service Module (CSM).
This is posted primarily for my edification. As seen here, it was the cover of the March 1963 issue of “Space/Aeronautics: THE MAGAZINE OF AEROSPACE TECHNOLOGIES” magazine. I was not familiar with this publication, other than referencing it in a previous Mercury capsule posting. This & other issues I came upon are not only hefty (this one being 5/16” thick/200+ pages) but also contain quality content. This seems to have been a periodical to reckon with. Disappointingly however, I could not find any reference within it regarding the cover.
The ’edification’ part: Fortunately, I stumbled upon the original artwork several years ago, posted below. While possessing it is all fine & dandy, what was really most gratifying was that through EXHAUSTIVE ASS-PAIN-INDUCING RESEARCH – I was able to identify the artist – Donald Crowley. THAT, in my pseudo-pathetic world, was the equivalent of finding & opening an obscure treasure chest of artist/art history. Not only Mr. Crowley’s amazing career progression/journey, which in and of itself would’ve been enough, but selfishly & nostalgically, the revelations of his unacknowledged, yet ubiquitous works.
For those my age, the “HOW AND WHY Wonder Book of [fill in the cool activity/discipline]” series were a coveted staple of enlightenment, education and the stirring of the imagination while growing up. Unfortunately, Mr. Crowley’s prodigious and gorgeous contributions to them were mis- or totally uncredited! What I, and maybe a few others recall the most & frankly, were imprinted with, were the covers, most of which were at the hands of this man.
For me, a multifaceted MEGA-WIN.
A little anatomy lesson for your edification & gratification!
This snug fitting strapless wet look lycra spandex blue & silver minidress came from coquetryclothing.com. I've matched it up with my Hanes Alive Barely There pantyhose and my 5" silver pumps.
To see more pix of me in other tight, sexy and revealing outfits click this link:www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
DSC_2784-22
Este templo fue el primer edificio religiosos que se construyó en Santiago de Querétaro hacia 1540 y se convirtió en el centro de desarrollo urbano más importante de la Nueva España. El templo funcionó como catedral entre los años 1865 y 1922 (Santiago de Querétaro, Edo. Querétaro, México). [Versión texturizada].
This temple was the first religious edification built in Santiago de Queretaro and it became the most important center of urban development in New Spain. The temple functioned as cathedral between 1865 and 1922 (Santiago de Queretaro, State of Queretaro, Mexico). [Texturized version].