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San Marco in Lamis, Gargano, Puglia, Italia©2015 All rights reserved
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San Marco in Lamis è un comune italiano di 13.928 abitanti della provincia di Foggia, in Puglia.
San Marco in Lamis è nota soprattutto per la tradizionale Processione delle "fracchie", una manifestazione religiosa popolare molto suggestiva e assai singolare, che si ripete puntualmente da circa tre secoli ogni venerdì Santo per la rievocazione della Passione di Cristo, e che, ogni anno, richiama un grande afflusso di forestieri. Le fracchie sono delle enormi fiaccole, realizzate con grossi tronchi di albero di quercia o castagno aperti longitudinalmente a forma di cono e riempiti di legna, per essere incendiate all'imbrunire e divenire quindi dei falò ambulanti che illuminano il cammino della Madonna Addolorata lungo le strade del paese alla ricerca del figlio Gesù morto.Sembra che le origini di questo rito risalgano ai primi anni del XVIII secolo, epoca di edificazione della chiesa dell'Addolorata e le sue ragioni, oltre che di ordine religioso e devozionale, vadano collegate anche ad una motivazione di ordine pratico riconducibile alle precise condizioni fisiche dell'abitato. Infatti, quando venne costruita (1717), la chiesa dell'Addolorata si trovava fuori del centro abitato e lì sarebbe rimasta fino all'ultimo ventennio del XIX secolo. Una collocazione questa che sollecitò la fantasia degli abitanti, i quali pensarono di illuminare con le "fracchie" la strada che la Madonna percorreva dalla sua chiesa fino alla Collegiata, dove era custodito il corpo del Cristo. Le “fracchie più grandi possono essere lunghe anche 13-14 metri e pesare anche 60-70 quintali di legno di quercia , castagno o abete .
da wikipedia
San Marco in Lamis is a town of 13,928 citizens in the Italian province of Foggia, Puglia, Italy.
San Marco in Lamis is a town of 13.928 citizens and comune in the province of Foggia in the Apulia region of southeast Italy. It is located in the Gargano massif area.Apart from some tourism conted to pilgrimages at the local Catholic sanctuary of St. Matthew, the economy is mostly based on agriculture.San Marco in Lamis is known for the traditional procession of "fracchie", a very popular religious manifestation suggestive and very singular, that is repeated regularly from about three centuries each friday Saint for the reenactment of the passion of Christ, and that each year draws a large influx of foreigners. The fracchie are huge torches, made with large trees oak opened longitudinally cone-shaped and filled with wood, to be burned at dusk and become so a itinerant bonfires that illuminate the journey of our Lady of Sorrows along the roads of the country in search of the son Jesus died.It seems that the origins of this rite dates back to the early 18th century, a time of edification of the Church of our Lady of sorrows and his reasons as well as religious and devotional order, should be connected to a practical motivation due to precise physical conditions of the town. In fact, when it was built (1717), the Church of our Lady of Sorrows was out of town and would remain there until the last two decades of the 19th century. A bin that solicited the imagination of the inhabitants, whom they thought to illuminate with the "fracchie" the way that she ran from her church until the collegiate, where he guarded the body of Christ. The"Fracchia" can also get the length of 13-14 meters and weigh 60-70 quintals of wood of oak. From wikipedia
Remember these? The 1967 Mercury Comet Cyclone 427. Pretty hot numbers but you didn't see many on the streets. A Mercury was higher priced and heavier than a comparable '66' - '67' Ford Fairlaine powered by the 390 c.i.
Although in '66' and '67' Ford did produce a few 427 powered Fairlaines, these were reserved for Ford's top flight Super Stock Pros.
This is a picture scanned from a 2014 calendar. Just for edification, the original image was a photograph. I played around in PS to try and make it look like an an oil or acrylic painting. Added the Weld chrome wheels (the original picture had the stock rims). That's about it folks - cheatin' again ;)
Hope you enjoy........
Sicily. Ortygia, Syracusa.
Late spring break.
The third chapel is the one consecrated to the "Santissimo Sacramento", also called the "Torres chapel", is defined artistically and structurally as the most beautiful in the Cathedral, due to its frescoes on the dome and due to the elaborate architectural decorations that compose it.
It was built in 1616 by the brothers Andrea and Giovanni Vermexio. Its plan is octagonal and its main feature are the wall bas-reliefs that surround it, composed of Corinthian-style columns adorned with numerous gilded finishes. In Baroque style, the center of the chapel has a tabernacle (or ciborium) in gilded wood in the shape of a small temple, the work of the Neapolitan architect and painter Luigi Vanvitelli, known for being the one who designed the Royal Palace of Caserta in Naples. On the sides of the altar there are two portals, surrounded by elaborate sculptural decorations, which lead to the Sacristy of the Cathedral.
At the center of the altar there is a carved marble frontal, the work of the Florentine sculptor Filippo Valle who worked there in 1762 and which depicts the Last Supper of Jesus. The marble balustrade and the artistic decoration of the floor are the work of the Palermitan Ignazio Marabitti and Neapolitan Giovan Battista Marino, the contract for the work was made to them by the Syracusan architect Pompeo Picherali who, now in old age, admired the work of the young Marabitti and entrusted them with the work in 1746. The floor of the chapel is thought to be the work of the same two sculptors mentioned above, but we rely on intuition for the attribution since no document in this regard has been found, however by observing the similarity and similar harmony that exists with the balustrade, this theory has therefore been deduced.
In the chapel, on the left side, there is the Sepulcher of Archbishop Luigi Bignami, a structure sculpted by the Catanese sculptor Sebastiano Agati. Also laterally in the chapel there is also a precious statue depicting the Madonna del Rosario, the work of unknown artists, the statue is placed on a small altar, placed on a cavity which is surrounded by two slender Corinthian-style marble columns that overlook the gray -green and above them there is a worked tympanum with sculpted bas-reliefs in the center. Three cartaglorias were the work of the Roman silversmith Giuseppe Veladier (1791. The censers and the shuttle were the work of the silversmith Lorenzo Petronelli and other silver furnishings were instead the work of the Syracusan Chindemi brothers. He informs in his studies about the silverware of the chapel, and to relations with the Roman silverware school, the Syracusan (from Canicattini Bagni) Giuseppe Agnello
The wrought iron gates with the Eucharistic symbols found between the Doric columns and the entrance to the chapel were worked by Domenico Ruggeri from Catania on the designs of Alessandro Campo in 1807-1811. The chapel is also called "Torres" because it was the Spanish bishop of Syracuse, Juan de Torres Osorio, who wanted its construction and edification, for this reason the chapel, in addition to the sacrament to which it was dedicated, also bears his name
San Marco in Lamis Gargano Puglia Italia© 2015 All rights reserved
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San Marco in Lamis è un comune italiano di 13.928 abitanti della provincia di Foggia, in Puglia.
San Marco in Lamis è nota soprattutto per la tradizionale Processione delle "fracchie", una manifestazione religiosa popolare molto suggestiva e assai singolare, che si ripete puntualmente da circa tre secoli ogni venerdì Santo per la rievocazione della Passione di Cristo, e che, ogni anno, richiama un grande afflusso di forestieri. Le fracchie sono delle enormi fiaccole, realizzate con grossi tronchi di albero di quercia o castagno aperti longitudinalmente a forma di cono e riempiti di legna, per essere incendiate all'imbrunire e divenire quindi dei falò ambulanti che illuminano il cammino della Madonna Addolorata lungo le strade del paese alla ricerca del figlio Gesù morto.Sembra che le origini di questo rito risalgano ai primi anni del XVIII secolo, epoca di edificazione della chiesa dell'Addolorata e le sue ragioni, oltre che di ordine religioso e devozionale, vadano collegate anche ad una motivazione di ordine pratico riconducibile alle precise condizioni fisiche dell'abitato. Infatti, quando venne costruita (1717), la chiesa dell'Addolorata si trovava fuori del centro abitato e lì sarebbe rimasta fino all'ultimo ventennio del XIX secolo. Una collocazione questa che sollecitò la fantasia degli abitanti, i quali pensarono di illuminare con le "fracchie" la strada che la Madonna percorreva dalla sua chiesa fino alla Collegiata, dove era custodito il corpo del Cristo. Le “fracchie più grandi possono essere lunghe anche 13-14 metri e pesare anche 60-70 quintali di legno di quercia , castagno o abete .
da wikipedia
San Marco in Lamis is a town of 13,928 citizens in the Italian province of Foggia, Puglia, Italy.
San Marco in Lamis is a town of 13.928 citizens and comune in the province of Foggia in the Apulia region of southeast Italy. It is located in the Gargano massif area.Apart from some tourism conted to pilgrimages at the local Catholic sanctuary of St. Matthew, the economy is mostly based on agriculture.San Marco in Lamis is known for the traditional procession of "fracchie", a very popular religious manifestation suggestive and very singular, that is repeated regularly from about three centuries each friday Saint for the reenactment of the passion of Christ, and that each year draws a large influx of foreigners. The fracchie are huge torches, made with large trees oak opened longitudinally cone-shaped and filled with wood, to be burned at dusk and become so a itinerant bonfires that illuminate the journey of our Lady of Sorrows along the roads of the country in search of the son Jesus died.It seems that the origins of this rite dates back to the early 18th century, a time of edification of the Church of our Lady of sorrows and his reasons as well as religious and devotional order, should be connected to a practical motivation due to precise physical conditions of the town. In fact, when it was built (1717), the Church of our Lady of Sorrows was out of town and would remain there until the last two decades of the 19th century. A bin that solicited the imagination of the inhabitants, whom they thought to illuminate with the "fracchie" the way that she ran from her church until the collegiate, where he guarded the body of Christ. The"Fracchia" can also get the length of 13-14 meters and weigh 60-70 quintals of wood of oak. From wikipedia
Acts 2:42 (ESV)
The Fellowship of the Believers
42 And they devoted themselves to the apostles’ teaching and the fellowship, to the breaking of bread and the prayers.
Fellowship.
The essence of the Christian life—fellowship with God and fellowship with other believers in Christ.
In the beginning, Adam was placed in the garden to enjoy friendship and communion with God. When the creature chose to assert his own autonomy rather than live under the Creator’s gracious care, fellowship was broken. Hence Adam and Eve hid themselves from the Lord’s presence (Gn 3:8). Yet God immediately sought them out (v 9) and revealed his plan for the ultimate restoration of sinners through the work of the Redeemer (v 15).
The OT tells how God began to draw a special people into fellowship with himself. Enoch is described as a man who walked with God (Gn 5:22, 24). Noah, likewise, walked in communion with the Lord (6:9). And Abraham, the father of Israel, is called “the friend of God” (Jas 2:23). No OT saint had deeper fellowship with God than did Moses during his 40-day encounter with the Lord on Mt Sinai (Ex 24). Later in Israel’s history David wrote psalms that reflect a heart vitally in tune with the living God (Pss 16, 34, 40, 63)
As a result of Christ’s finished work on the cross, God now makes his permanent abode in the believer’s heart (Jn 14:23). Hence the fellowship which now prevails under the new covenant is nothing less than the vital, spiritual union of the believer with Christ (Jn 14:20, 21). Fellowship with God is the goal of the Christian life (1 Jn 1:3), and this relationship will be perfected forever when we see our Savior “face to face” (1 Cor 13:12), when God dwells with his people in the heavenly kingdom (Rv 21:3).
The gospel restores fellowship not only with God, but among believers as well. Jesus’ last supper with his disciples illustrates the relationship between the vertical and horizontal dimensions of fellowship (Mk 14:22–25). In the upper room Jesus shared with his disciples a sacred love feast. The hearts of the Lord and his followers were knit together by a deep sense of love and commitment. Later the disciples discovered that their own hearts were strongly united out of their common loyalty to Jesus. Following the cross and the outpouring of the Spirit the church was born, that new society of people in fellowship with God and with one another.
The depth of comraderie among the first Christians is portrayed in the early chapters of Acts. Daily the believers met together in house groups for teaching, fellowship, the Lord’s Supper, and prayer (Acts 2:42, 46). So profound was their sense of togetherness that the Christians pooled their possessions and distributed them to brethren in need (vv 44, 45; 4:32–35). Perhaps the dominant characteristic of this early Christian fellowship was “love of the brethren” (1 Thes 4:9; 1 Pt 1:22). Constrained by love, Paul organized among the gentile churches a collection for poor believers in Jerusalem. In Romans 15:26, which speaks of the gifts of the churches in Macedonia and Achaia, the word translated “contribution” is the common Greek word for “fellowship.” Similarly, the fellowship which the Philippian church shared with Paul assumed the form of gifts to support the apostle’s ministry (Phil 1:5; 4:14, 15).
Scripture uses several images to describe the spirit of togetherness which characterized the early church. The first is “the household of God” (Eph 2:19; 1 Tm 3:15), or “the household of faith” (Gal 6:10). In God’s household, love and hospitality are to be the rule (Heb 13:1, 2). Further, the church is depicted as the family of God on earth (Eph 3:15). God is the Father and believers are his faithful sons and daughters. The life of God’s family is to be governed by love, tenderness, compassion, and humility (Phil 2:1–4). Finally, the Christian fellowship is represented as the “one new man” or the “one body” (Eph 2:15, 16). In spite of great natural diversity, the Holy Spirit binds believers together into a single organism (4:4–6). In this fellowship of love, no believer is insignificant. Each member has been endowed with gifts for the spiritual edification of the entire body.
Scripture lays down the basis of fellowship in 1 John 1:7: “If we walk in the light, as he is in the light, we have fellowship with one another.” Jesus Christ, then, is the source and fount of all spiritual communion. Only when rightly related to the Lord do we experience true fellowship with another Christian. Just as light and darkness are incompatible, so a believer can have no real fellowship with an unbeliever. Neither can the Christian be in fellowship with one who walks contrary to the teaching of Christ (2 Jn 9–11), or a professing brother who is immoral, idolatrous, a drunkard, or a thief (1 Cor 5:11).
Scripture lays down several guidelines for enhancing the communion of believers in the body. (1) Love one another with the same compassion that Christ displayed to his own (Jn 13:34, 35; 15:12). The law of the fellowship should be the rule of love (Heb 13:1). (2) Cultivate that spirit of humility that seeks the other person’s honor (Phil 2:3–5). (3) Lighten fellow believers’ load by bearing one another’s burdens (Gal 6:2). (4) Share material blessings with brothers and sisters in need (2 Cor 9:13). (5) Tenderly correct a sinner while helping to find solutions to the problems (Gal 6:1). (6) Succor a fellow believer in times of suffering (1 Cor 12:26). And (7) Pray for one another in the Spirit without ceasing (Eph 6:18).
The Christian will want to seriously regard the saying of an anonymous saint, “You cannot draw nigh to God if you are at a distance from your brother.”
Walter A. Elwell and Barry J. Beitzel, Baker Encyclopedia of the Bible (Grand Rapids, MI: Baker Book House, 1988), 789–790.
Fledgling bird in the Olympic mountains, Mt. Olympus is in the backdrop.
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Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
CHATEAU DE PUYGUILHEM VILARS Northern Dordogne
La construction du château de Puyguilhem démarre en 1513, commanditée par Mondot de La Marthonie, premier président du Parlement de Paris. L'homme est un proche de François Ier et de sa mère Louise de Savoie. Il administre le royaume lorsque le roi part en guerre.
Il semble que l'édification se soit déroulée en deux étapes : la première s'achevant en 1524, comprenant les fondations, une partie de la tour d'angle et la tourelle hexagonale, la seconde suivant de près, qui voit le château s'achever en 1535. Sa conception oscille entre deux époques, médiévale et renaissance. Plusieurs éléments rappellent en effet le style gothique du Moyen Âge, notamment l'absence de symétrie de l'édifice et les parties intérieures tandis que la façade extérieure évoque celles des châteaux de la Loire que son propriétaire connaît bien puisqu'il fréquente la cour du Roi.
Le château est modeste dans ses dimensions. Mondot de La Marthonie le destinait à servir de résidence secondaire et relais de chasse. Son aménagement comporte les pièces strictement nécessaires à la vie d'un noble de l'époque.
Wikipedia
The construction of the castle of Puyguilhem starts in 1513, sponsored by La Mondot Marthonie, first president of the Parliament of Paris. The man is a relative of Francis I and his mother Louise de Savoie. It administers the kingdom when the king goes to war.
It seems that the building has taken place in two stages: the first ending in 1524, including foundations, part of the corner tower and the hexagonal tower, the second following closely, seeing the castle s' completed in 1535. The design is between two eras, medieval and renaissance. Several elements are reminiscent of the Gothic style of the Middle Ages, including the lack of symmetry of the building and the inner parts while the outer facade evokes those of the Loire castles that its owner knows well since frequent the court of King.
The castle is modest in its dimensions. Mondot de La Marthonie intended it to serve as a second home and hunting lodge. Its design includes the parts strictly necessary to the life of a nobleman of the time.
Wikipedia
To honour the Ginkgo, Johann Wolfgang von Goethe wrote the following poem:
GINKGO BILOBA
The leaf of this Eastern tree
Which has been entrusted to my garden
Offers a feast of secret significance,
For the edification of the initiate.
Is it one living thing
That has become divided within itself?
Are these two who have chosen each other,
So that we know them as one?
I think I have found the right answer
To these questions;
Do my songs not make you feel
That I am both one and twain?
(J.W. v. Goethe)
Y en Espanol:
GINKGO BILOBA
Las hojas de este árbol, que del Oriente
a mi jardin venido, lo adorna ahora,
un arcano sentido tienen, que al sabio
de reflexión le brindan materia obvia.
¿ Será este árbol extraño algún ser vivo
que un dia en dos mitades se dividiera?
¿ O dos seres que tanto se comprendieron,
que fundirse en un solo ser decidieran?
La clave de este enigma tan inquietante
Yo dentro de mi mismo creo haberla hallado:
¿ no adivinas tú mismo, por mis canciones,
que soy sencillo y doble como este árbol?
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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Prints available: http://artinnaturephotography.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
Sur la place Ladeuze, la Bibliothèque de l'Université de Louvain est sans doute le bâtiment le plus spectaculaire de la ville... Inspiré de la Renaissance flamande, il est pourtant beaucoup plus récent et doit son existence à un épisode tragique du début de la Première Guerre mondiale.
En août 1914, les troupes allemandes, entrées dans Louvain, ont considéré les Louvanistes comme des francs-tireurs, et lancé en retour de terribles exactions.
La nuit du 25 au 26 août 1914, la bibliothèque qui se trouvait jusqu'alors dans un bâtiment de la rue de Namur est incendiée par les troupes allemandes. 2.000 autres édifices de la ville furent aussi détruits, et plus de 200 civils ont trouvé la mort au cours de ces destructions. Le cas de Louvain n'est pas unique : au cours de ce premier mois de guerre, 18.000 maisons ont été détruites et 5.000 citoyens ont trouvé la mort dans quatre provinces belges... Mais la réduction en cendres des 230.000 volumes, 920 manuscrits et 800 incunables de la bibliothèque va susciter l'émotion de la communauté internationale. Sa portée symbolique sera exploitée par la propagande alliée.
En théorie, la Convention de La Haye interdisait depuis 1907 toute destruction volontaire du patrimoine artistique. Les actes de destruction commis par les Allemands au début de la guerre, tels que l’incendie de la bibliothèque de Louvain le 25 août 1914, le bombardement de la cathédrale de Reims le 19 septembre suivant et la destruction du beffroi d’Arras en octobre, ont été considérés par l'opinion publique mondiale comme des "atrocités culturelles".
A l'extérieur et à l'intérieur de la galerie de la bibliothèque de Louvain reconstruite, on peut lire les noms de quelque 300 établissements pédagogiques américains qui ont contribué, après-guerre, à la construction de la nouvelle bibliothèque, conçue par l'architecte américain Whitney Warren. La bibliothèque elle-même fut reconstituée grâce à des dons de livres venant du monde entier. Au coeur du bâtiment, une cour conserve aujourd'hui quelques lettres d'une inscription monumentale qui fut, entre les 2 guerres au centre de polémiques entre les partisans de la réconciliation, et ceux du refus de l'oubli. "Furore teutonico diruta, dono americano restituta" - "Détruite par la fureur germanique, restaurée grâce aux dons américains". Au terme de nombreux rebondissements, la balustrade qui devait arborer cette mention a été détruite et l'inscription n'y a jamais pris place. Une partie des lettres sculptées a été utilisée dans l'édification du monument "Furore teutonico" de Dinant qui fit lui aussi polémique, dans les années 1930, avant de disparaître avec l'arrivée des troupes allemandes en 1940.
On the Place Ladeuze, the Louvain University Library is undoubtedly the most spectacular building in the city ... Inspired by the Flemish Renaissance, it is nevertheless much more recent and owes its existence to a tragic episode of the beginning of World War I.
In August 1914, the German troops, entered Louvain, considered the Louvanists as snipers, and launched in return terrible atrocities.
On the night of August 25 to 26, 1914, the library that had previously been in a building in the rue de Namur was set on fire by German troops. Another 2,000 buildings in the city were also destroyed, and more than 200 civilians were killed during the destruction. The case of Louvain is not unique: during this first month of war, 18,000 houses were destroyed and 5,000 citizens were killed in four Belgian provinces ... But the ash burn of 230,000 volumes, 920 manuscripts and 800 incunabula of the library will arouse the emotion of the international community. Its symbolic significance will be exploited by Allied propaganda.
In theory, the Hague Convention prohibited since 1907 any voluntary destruction of the artistic heritage. The acts of destruction committed by the Germans at the beginning of the war, such as the burning of the library of Leuven on August 25, 1914, the bombing of the cathedral of Reims on September 19 and the destruction of the belfry of Arras in October , have been considered by world public opinion as "cultural atrocities".
Outside and inside the reconstructed Louvain library gallery are the names of some 300 American educational institutions which contributed, after the war, to the construction of the new library, designed by the American architect Whitney Warren. The library itself was restored thanks to donations of books from around the world. At the heart of the building, a court today keeps some letters of a monumental inscription which was, between the two wars at the center of controversy between the partisans of reconciliation, and those of the refusal of oblivion. "Furore teutonico diruta, dono americano restituta" - "Destroyed by Germanic fury, restored thanks to American donations". After many twists and turns, the balustrade that was to bear this mention was destroyed and the inscription has never taken place. Part of the carved letters were used in the construction of Dinant's "Furore Teutonico" monument, which was also controversial in the 1930s before disappearing with the arrival of German troops in 1940.
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
Steinmeyer-Orgel Sankt Michelis Hamburg
(Michel)
The St. Michaelis Church in Hamburg has five organs: the Marcussen organ at the concert gallery, the great Steinmeyer organ in the west gallery, above in the attic, a remote station, in the crypt of the romantic Felix Mendelssohn Bartholdy organ and since Advent 2010 the Carl Phillip Emanuel Bach organ on the south gallery. There is also a central console on the concert gallery.
The Great Organ was built as Opus 2000 in 1960 to 1962 by the organ builder Steinmeyer (Oettingen), replacing the former Walcker organ. The design of the prospectus is largely due to these predecessors. It is the main organ of the Hamburg St. Michaelis Church and an important witness for the organ from the 1960s. In the 2009/2010 Steinmeyer organ was restored to its edification state by the company Johannes Klais organ / Bonn and Freiburg organ Hartwig and Tilmann Spaeth with only minor changes. Because of their special timbre it is classified as a major Neo-Baroque monument sound.
The instrument has 86 stops with a total 6674 pipes, spread over five manuals and pedal. The Spieltrakturen are mechanically, electrically, the Registertrakturen. In contrast to the Great Marcussen organ organ is scheduled in neo-baroque style. During the restoration of the organ in 2009-2010 the former was replaced by a mechanical Litzentraktur Holztraktur.
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Die Hauptkirche Sankt Michaelis in Hamburg besitzt fünf Orgeln: die Marcussen-Orgel auf der Konzertempore, die große Steinmeyer-Orgel auf der Westempore, darüber im Dachboden ein Fernwerk, in der Krypta die romantische Felix-Mendelssohn-Bartholdy-Orgel und seit dem Advent 2010 die Carl-Phillip-Emanuel-Bach-Orgel auf der Südempore. Außerdem gibt es einen Zentralspieltisch auf der Konzertempore.
Die Große Orgel wurde in den Jahren 1960 bis 1962 von der Orgelbaufirma Steinmeyer (Oettingen) als Opus 2000 erbaut und ersetzte die frühere Walcker-Orgel. Die Gestaltung des Prospekts geht weitgehend auf diesen Vorgänger zurück. Sie ist die Hauptorgel der Hamburger Hauptkirche St. Michaelis und ein bedeutendes Zeugnis für den Orgelbau der 1960er Jahre. Im Jahre 2009/2010 wurde die Steinmeyer-Orgel durch die Firmen Johannes Klais Orgelbau/Bonn und Freiburger Orgelbau Hartwig und Tilmann Späth mit nur kleinen Änderungen in seinem Erbauungszustand restauriert. Wegen ihrer besonderen Klangfarbe wird sie als ein wichtiges neobarockes Klangdenkmal eingestuft.
Das Instrument hat 86 Register mit insgesamt 6674 Pfeifen, verteilt auf fünf Manuale und Pedal. Die Spieltrakturen sind mechanisch, die Registertrakturen elektrisch. Im Gegensatz zur Marcussen-Orgel ist die Große Orgel im neobarocken Stil disponiert. Während der Restaurierung der Orgel in den Jahren 2009-2010 wurde die vormalige mechanische Litzentraktur gegen eine Holztraktur ausgetauscht.
- wikipedia -
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© 09-2013 by
Richard von Lenzano
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
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
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
Some winter aspens from the Eastern Sierra.
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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
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.
construction est due à Ferdinand II, prince d'origine allemande devenu roi de Portugal jure uxoris de 1837 à 1853, en tant qu'époux de reine Marie II, tous deux fondateurs de la troisième maison de Bragance.
En 1839, après avoir racheté les ruines d’un monastère hiéronymite du XVe siècle, ce même souverain confie l’édification de son palais d’été au baron Ludwig von Eschwege. Celui-ci mélange allègrement les styles architecturaux — mauresque, baroque, gothique, Renaissance et manuélin — afin de livrer un bâtiment exubérant et haut en couleur, mais qui conserve toutefois quelques parties de l’ancien monastère.
La construction, commencée au milieu du XIXe siècle, ne s’achève qu’en 1885, année de la mort du roi.
The construction is attributed to Ferdinand II, a prince of German origin who became King of Portugal jure uxoris from 1837 to 1853, as the husband of Queen Maria II, both founders of the third House of Braganza.
In 1839, after purchasing the ruins of a 15th-century Hieronymite monastery, the same sovereign entrusted the construction of his summer palace to Baron Ludwig von Eschwege. Von Eschwege cheerfully mixed architectural styles—Moorish, Baroque, Gothic, Renaissance, and Manueline—to create an exuberant and colourful building, while retaining some parts of the old monastery.
Construction began in the mid-19th century but was not completed until 1885, the year of the king's death.
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.
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.
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.
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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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
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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.
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.
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.
.
|| Blog: Fotografando e Viajando || Olhares || YouTube ||
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.
Ever wonder what it feels like to be a hermit crab? I did... so I tried to find out :)
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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 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.
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
“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
Vertical rendition of the horizontal from before.. which do you prefer?
View large, thanks!
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“’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