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The Fort Saint-Elme is a military fort built between 1538 and 1552 by Charles V. It is located in the district of Collioure, 30 km south-east of Perpignan, in the department of Pyrénées-Orientales. It is designated as a monument historique of the Côte Vermeille. Since 2008, the fort has been a museum with medieval and Renaissance arms collections, exhibitions and a panorama over the area from the terrace.
The fort Saint-Elme is located at the top of a hill overhanging Collioure on the west and Port-Vendres on the east. One can reach the fort following a local road linking the D114 road at the north, through the Coll d'en Raixat at the south.
Toponymy
Several assumptions exist for the origins of Saint Elme: Firstly the name of Saint-Elme may come from Erasmus of Formia, an Italian martyr of the 4th century. Secondly it could have been given in honour of the Spanish saint Peter González (1190-1246). This explains why we find this name around the western Mediterranean coasts: Saint Elme in Naples, Sant Elme in St Feliu de Guixols, Sant Helme and Santem in Provence, etc… Saint Erasmus may have become the patron saint of sailors because he is said to have continued preaching even after a thunderbolt struck the ground beside him. This prompted sailors, who were in danger from sudden storms and lightning, to claim his prayers. The electrical discharges at the mastheads of ships were read as a sign of his protection and came to be called "Saint Elmo's Fire".
By decree on 3 June 1794, during the French Revolution, the city took briefly the name of Fort-du-Rocher (Rock's fort).
History
From the origins to the Middle-Ages
The history of Fort Saint-Elme began with the edification of the watchtower in the 8th century, i.e. either during the period when Arab-Berber troops occupied Septimania between 719 and 759. Integrated to the Marca Hispanica, the tower belonged to the independent Counts of Roussillon until the death without heirs of Girard II of Roussillon in 1172. He bequeathed his county to Alfonso II, King of Aragon and Count of Barcelona. This is during the Aragonese period that the tower took its nickname "Torre de la guardia" (Watchtower).
Between 1276 and 1344, Majorca’s kings, whose summer residence was the castle of Collioure, rebuilt this signal tower on this ideal point of view. This tower was integrated in an efficient communication system including the Massane and Madeloc towers located on the heights of Collioure and funded by James II of Aragon in the 13th century. These towers communicated through smoke signals that permitted to alert the surroundings population with smoke signals (black or white, discontinuous or continuous) according to the danger. At night, some dry wood permitted to light fires to alert garrisons until Perpignan. By day, some green wood was used to emit smoke and thus communicate with the others towers and strongholds of the region. But it was the enemy of the kingdom of Majorca, the king Peter IV of Aragon, who, once he conquered the coast in 1344, made significant military works to improve the defense of the fort.
During the second part of the 15th century, the French controlled the Roussillon. In 1462, the king Louis XI took advantage of the Catalan civil war (1462-1472) to sign the treaty of Bayonne and thus took over the counties of Roussillon and Cerdagne. The French decided to strengthen the fort which took the name of Saint Elme. A part of ramparts dates from this period. The successor of Louis XI, Charles VIII, who wanted to assure the neutrality of Spain for his ambitions over the kingdom of Naples, signed with Ferdinand II of Aragon the treaty of Barcelona in 1493. The catholic king recovered thus the lost territories.
The fortification of Charles V
In the 16th century, the Roussillon is an essential piece of the Spanish kingdom. The region had a triangular shape delimitated by the cordilleras in the north, the Albera Massif in the south and the Mediterranean Sea in the east. Perpignan was an important industrial, cultural and commercial center which got important privileged links with the wealth of Italy. Perpignan was defended in the north by the Fortress of Salses and in the south by the Fort Saint-Elme. This castle protected also the Collioure and Port-Vendres ports which assured supplies and troops helpers to the regional capital of Roussillon.
The progress of the modern artillery changed profoundly the war art and the siege technics. Architects and artillerymen were converted to new war masters and advisers of sovereigns. In 1537, the Italian architect Benedetto of Ravenna caught the emperor’s attention on the weaknesses of the Collioure position. After an inspection, Benedetto obtained the agreement of Charles V. He began the works in 1538 until 1552 and transformed the fort’s appearance which took its star-shaped aspect.
A French fort
Despite this modernisation and its adaptation to the artillery, on 13 April 1642, French troops of king Louis XIII achieved to take the fort. After the signing of the Treaty of the Pyrenees in 1659, the Spanish threat remained. When Vauban, military architect of King Louis XIV, made a reconnaissance of the defensive structures in 1659 in the region of Collioure, he decided to build a counterscarp, which forms with the ramparts base a ten-meter pit where infantry and cannons could easily operate.
Around 1780, the fort’s facade was whitened to serve as landmark from the sea, with the Massane Tower, to better situate the port of Port-Vendres.[1]
During the French Revolution, more precisely during the War of the Pyrenees, between 1793 and 1795, the region was the center of violent fights. The Fort Saint Elme was conquered successively by Royalists and Republicans. In 1794, the Spanish army took the fort. Six months later, the general Dugommier crushed with 11 000 cannonballs the garrison which surrendered on 25 May 1794 after a 22-day siege. After the revolutionary period, the fort, unified with the municipality of Collioure, was transformed in military warehouse.
A private museum
The Fort Saint-Elme was demilitarised in 1903 and abandoned. The tower was shattered, the (shooting place) was partly impracticable and many walls threatened to collapse. On 21 August 1913, the State decided to auction the fort. Several owners succeeded but none restoration was made. The fort was registered as Monument Historique by decree of 2 April 1927. A new owner decided thus to restore it. The works ended in 1936. During the WWII, the fort was occupied by the Kriegsmarine between 1942 and 1944. At their escape, some buildings were dynamited to block the progress of allied troops. Rebuilt partially in 1950, most restoration works began in 2004. Since 2008, the fort has been a museum.
Architecture
The interior of the fort Saint-Elme is composed of rooms edified around the exterior circumference of the tower. On the first floor, there were the troop’s dormitories, the weapons room, the throne’s room, the jail and the oven. Today, the floor is fit out historical objects which date from 15th century to 19th century: helmets, knights’ armours, chest, polished-stone and iron cannonballs, medieval and "Renaissance" weapons (culverin, falconet, crossbows, halberds, flails, hammers, lances, bows, swords, arquebus, 16th-century pistols), howitzer fragments.
Others rooms reveal the history of the monument: the genealogy and life of Charles V, the fortifications of Vauban, the inventory of 1770 and the attack of general Dugommier in 1794.
On the second floor, the flour and artillery warehouses were next to the guardroom and the bakery. Saint-Elme, a stronghold with an ingenious defensive system, has been conceived to support sieges and resist to assaults. Some walls reach up to eight-meters thick. The tower contained the powder. The shooting place could receive more than 20 cannons and howitzers. The undergrounds are not open to the public. Formerly, they were used as a warehouse for food and housing. They could also house all trades (corps de metier) necessary to the fight.
Wikipedia
Collioure is a town on the Mediterranean coast of southern France. On the sea, the medieval Château Royal de Collioure offers dramatic coastal views. The bell tower of 17th-century Notre-Dame-des-Anges Church was once a lighthouse. The Modern Art Museum includes paintings by Henri Matisse. Nearby is the Moulin de Collioure, a 14th-century windmill. South, the hilltop Fort St. Elme has a museum with medieval weapons. ― Google
“’COMMAND CENTER’ FOR DEFENSE?--Lockheed Aircraft Corp. engineers say a complicated satellite similar to this may be orbiting as an alternate U.S. defense headquarters 10 years from now. The engineers said such a satellite would be able to take charge if earth command centers were destroyed. The satellite, possibly 200 feet long, weighing 50 tons and manned by about a dozen men, would have a radiation-shielded command center in the hub and living quarters in the spheres at the ends of the arms.”
And per the actual/original Lockheed ad featuring the image:
“Will command centers based in space be an outstanding development in the ten-year span from 1967 to 1977?
The answer at Lockheed-California Company’s Spacecraft Organization is – Yes. Proof: the Spacecraft design pictured here. It reflects the maturity developed in our thinking about manned space systems.
The station—aerospace traffic control center of the 1970’s—will be assembled in orbit in a series of pieces brought together by rendezvous techniques. Included: Command center; living quarters; maintenance station; radar and infrared sensing devices; nuclear power supply; communication links with the earth and other space vehicles. As now planned, 12 people will man the vehicle. Their tour of duty will be measured in weeks.
For four years Lockheed-California Spacecraft has concentrated on the needs of man in space. Activities embrace all fields pertaining to development of complex spacecraft as well as supporting technologies…”
Above credit per January 13, 2014 postings of the image (from two different sources) by users “hesham” & “Barrington Bond” at the informative “SECRET PROJECTS FORUM” website:
www.secretprojects.co.uk/threads/us-space-station.6452/
www.secretprojects.co.uk/attachments/scan0056-copy-jpg.26...
Note the ‘sanitized’ terminology used within the add, “AEROSPACE TRAFFIC CONTROL CENTER: TIMETABLE 1970’s”. The press slug is much more ‘to the point’.
I would’ve loved to have read the classified write-up/description of this.
Finally, for my own edification, since he was producing works for Lockheed at this time...this being by the hand of Ludwik Źiemba cannot be ruled out. Or one of his protégés.
Goethe:
Gingo Biloba
Dieses Baums Blatt, der von Osten
Meinem Garten anvertraut,
Giebt geheimen Sinn zu kosten,
Wie’s den Wissenden erbaut,
Ist es Ein lebendig Wesen,
Das sich in sich selbst getrennt?
Sind es zwei, die sich erlesen,
Daß man sie als Eines kennt?
Solche Frage zu erwidern,
Fand ich wohl den rechten Sinn,
Fühlst du nicht an meinen Liedern,
Daß ich Eins und doppelt bin?
GINKGO BILOBA
The leaf of this Eastern tree
Which has been entrusted to my garden
Offers a feast of secret significance,
For the edification of the initiate.
Is it one living thing
That has become divided within itself?
Are these two who have chosen each other,
So that we know them as one?
I think I have found the right answer
To these questions;
Do my songs not make you feel
That I am both one and twain?
GINKGO BILOBA
Zie dit kleinood in mijn gaarde:
boomblad uit de oriënt,
siert met zijn geheime waarde,
ingewijden welbekend.
Leeft het als een enkel wezen,
innerlijk in twee gedeeld?
Of vormt juist het uitgelezen
tweetal één herkenbaar beeld?
Langzaam rijpende ideeën
werpen op die vragen licht.
Voel je niet dat ik in tweeën
eenling ben in mijn gedicht?
GINKGO BILOBA
La feuille de cet arbre, qui, de l’orient,
Est confié à mon jardin.
Offre un sens caché
Qui charme l’initié.
Est-ce un être vivant
Qui s’est scindé en lui-même ?
Sont-ils deux qui se choisissent
Si bien qu’on les prend pour un seul ?
Pour répondre à ces questions,
Je crois avoir la vraie manière :
Ne sens-tu pas, à mes chants
Que je suis à la fois un et double ?
GINKGO BILOBA
La foglia di quest‘albero
Affidata dall’est al mio giardino
Ci fa assaporare il senso segreto
Che eleva il sapiente.
È un essere vivente
In se stesso diviso?
Sono due che si sono scelti
Cosicché li si ritiene uno solo?
Per replicare a queste domande
Ho trovato forse il giusto modo:
Non senti dalle mie canzoni
Che io sono uno e doppio?
GINKGO BILOBA
Las hojas de este árbol, que del Oriente
a mi jardin venido, lo adorna ahora,
un arcano sentido tienen, que al sabio
de reflexión le brindan materia obvia.
¿ Será este árbol extraño algún ser vivo
que un dia en dos mitades se dividiera?
¿ O dos seres que tanto se comprendieron,
que fundirse en un solo ser decidieran?
La clave de este enigma tan inquietante
Yo dentro de mi mismo creo haberla hallado:
¿ no adivinas tú mismo, por mis canciones,
que soy sencillo y doble como este árbol?
GINKGO BILOBA
Esta folha, que o Oriente
Ao meu jardim confiou,
Dá a provar o secreto
Saber que o sábio formou.
É um ser vivo que em si
Mesmo em dois se dividiu ?
Ou são dois que se elegeram
E o mundo neles um viu ?
Dessas perguntas que fazes
O sentido certo te dou:
Não sentes nos cantos meus
Como eu uno e duplo sou ?
GINKGO BILOBA
GINKGO BILOBA 银杏
Palazzo Ducale was devastated by a fire in 1577, forcing the Republic Senate to move from there its famous Venetian prisons: the Pozzi and the Piombi. The new jail cells, wider and safer, were relocated on the shore in front of the Rio di Palazzo and then used through the following centuries until 1919. At the beginning of the 1600, the doge Marino Grimani commissioned to architect Antonio Contin the edification of a bridge to connect the rooms of the Magistratura directly to the prisons, in order to have the culprits transferred there straight after the sentence. The bridge of Sighs was built according to the Baroque style, using stones from Istria, known as a calcareous microcrystalline, solid and barely porous ones, particularly resistant to the erosion caused by the salt. You can notice the figure of the Justice with the doge Grimani’s family crest below it, right in the middle of the external facade. The prisoners, usually handcuffed while crossing the bridge, were probably having one last look at the sky and, while giving it up, heaved the last sigh of their now lost freedom. Following the vox populi, it was Lord Byron, who had found in Venice his safe haven from his debts and his motherland’s scandals, to give this name to the bridge. With the time passing by, the elegance of its structure and its charming view have become a proper spot for the lovers.
Построен Мост Вздохов над Дворцовым каналом в далеком 1602-м году по проекту Антонио Конти. Современные специалисты утверждают, что в самом начале XVII века архитектор выбрал для него стиль Барокко, что совсем неудивительно для Италии, где в те времена все без исключения стремились к роскоши и даже к излишествам. При этом следует учитывать тот факт, что возводилась эта переправа через довольно мрачный канал с единственной целью – соединить всем хорошо известный Дворец Дожей и страшную тюрьму. В начале XIX века (т.е. уже после падения республики) Венецию посетил знаменитый поэт Байрон. Помимо всех прелестей города, Байрона чрезвычайно заинтересовала история главной венецианской тюрьмы. Он-то в поэтическом порыве и дал маленькому мостику название, закрепившееся навсегда — мост Вздохов. Конечно же, имелись в виду вздохи заключённых, которые, услышав приговор, проходят через мост и в последний раз в жизни видят в окошко кусочек венецианского неба.
Le palais des Normands (Palazzo dei Normanni en italien, Palazzu di li Nurmanni en sicilien) est un édifice de Palerme, situé Place de l'Indépendance, qui fut tour à tour forteresse punique, fort romain, château des émirs arabes, résidence des rois normands au XIIe siècle, puis enfin siège de l’Assemblée régionale sicilienne.
C'est d'abord un fort punique au VIIe siècle av. J.-C. dont on peut encore apercevoir des vestiges de maçonnerie. La place forte est conquise par les Romains en -254. Bélisaire s’en empare en 535 et la ville reste sous la domination byzantine pendant trois siècles. Les Arabes en font la résidence des Émirs (Qasr) en 831 après leur conquête de la ville. En 1072, lors de la conquête normande, la forteresse devient le palais des Normands, qui la transforment et l'embellissent. En 1130, Roger II de Sicile, roi de Sicile, décide de faire construire la tour Gjoaria (des joyaux), subdivisée en deux portiques voûtés à quatre arcades (du type des églises byzantines) qui soutiennent deux salles à déambulatoires : la Salle des Vents et la Salle de Roger, et surtout la chapelle Palatine, dédiée à saint Pierre. Frédéric II de Sicile fonde dans le Palais l’École poétique sicilienne entre 1220 et 1230. Après l’expulsion des Angevins en 1282, Pierre III d'Aragon s'installe dans le palais. Les vice-rois l'habitent épisodiquement ensuite. Après 1500 il subit de grands travaux de restaurations (démolition de tours normandes, édification de cours intérieures : cour Maqueda et cour de la fontaine) jusqu’à l’expulsion des Bourbons, en 1799. L’observatoire astronomique de Palerme est situé au palais des Normands depuis le XIXe siècle. Depuis la fin de la Seconde Guerre mondiale, le palais est le siège de l’Assemblée régionale sicilienne.
The Palace of the Normans (Palazzo dei Normanni in Italian, Palazzu di li Nurmanni in Sicilian) is a Palermo building, located in Independence Square, which was in turn Punic fortress, Roman fort, castle of the Arab emirs, residence of the kings Norman in the 12th century, then finally seat of the Sicilian Regional Assembly.
It was first a Punic fort in the 7th century BC. From which one can still see vestiges of masonry. The stronghold was conquered by the Romans in -254. Bélisaire captured it in 535 and the city remained under Byzantine domination for three centuries. The Arabs made it the residence of the Emirs (Qasr) in 831 after their conquest of the city. In 1072, during the Norman conquest, the fortress became the palace of the Normans, who transformed and embellished it. In 1130, Roger II of Sicily, king of Sicily, decided to build the Gjoaria tower (jewels), subdivided into two arched porticos with four arches (of the type of Byzantine churches) which support two ambulatory rooms: the Hall of the Winds and Roger's Room, and especially the Palatine Chapel, dedicated to Saint Peter. Frederick II of Sicily founded the Sicilian Poetic School in the Palace between 1220 and 1230. After the expulsion of the Angevins in 1282, Peter III of Aragon moved to the palace. The viceroys inhabit it sporadically thereafter. After 1500 he underwent major restoration works (demolition of Norman towers, construction of interior courtyards: Maqueda courtyard and fountain courtyard) until the expulsion of the Bourbons, in 1799. The Palermo astronomical observatory is located in the palace Normans since the 19th century. Since the end of the Second World War, the palace has been the seat of the Sicilian Regional Assembly.
The festival, also known as Ashwini Purnima, marks the conclusion of the three-month-long seclusion of monks in monasteries for self-edification and atonement.
The release of sky lanterns commemorates an event in the life of Buddha, when he once clipped some strands of hair from his head and said that if he were qualified to attain supreme wisdom and enlightenment, the hair would go up instead of falling down. The strands of hair eventually went up.
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Posted primarily for my own edification, to serve as a ‘marker’ for possible/hopeful future identification of the artist responsible. Note what appears to be “M.R.” in the lower right-hand corner of Quadrant I of the LM descent stage. Although I’m confident of the “M” & “R”, I might be off regarding the markings to the right of each letter. I’m guessing accentuated/stylized(?) periods. Or, maybe not. Who knows.
Regardless, it's by an MSFC artist, in 1967, with the initials M.R.
I believe this is Yellow Trillium growing beside the trail at George Washington Carver National Monument. An interesting tidbit for your education and edification, Everything you see here is a flower. That is the only part of the plant that grows above ground.
From a walk in the woods of course.
At Pentecost the disciples were baptized with the Holy Spirit and fire. Fire is needed to preserve unity. The fire of Pentecost – the first love
“Then those who gladly received his word were baptized; and that day about three thousand souls were added to them. And they continued steadfastly in the apostles' doctrine and fellowship, in the breaking of bread, and in prayers.” Acts 2:41-42.
The first church continued daily with one accord in the temple. They gathered in one spirit against all the spiritual hosts of wickedness. The first love was burning in their hearts. People had fallen prey to Satan for centuries, but now he had to retreat before this fire of Pentecost.
The wild beasts keep a distance from the fire
If you want to protect yourself in the jungle from wild beasts, you light a fire. The wild beasts will watch from a safe distance in the jungle, and whenever the flames blaze up, they draw back a few feet. But when the flames begin to die down, they crawl a little closer, and they continue to crawl closer, little by little, as the fire dies down. Those who are on the periphery will be the first ones to fall prey to the wild beasts. If the fire dies out completely, everyone will become their prey. This is a picture of what can happen in the church of the living God.
We read in Acts 6:1 that when the number of the disciples was multiplying, there arose a murmuring against the Hebrews by the Greek-speaking Jews. Here we can see how quickly the growling of the wild beasts could be heard from among those who were on the periphery of the first church. Paul says in chapter 20:28-29, “Take heed to yourselves and to all the flock, among which the Holy Spirit has made you overseers, to shepherd the church of God which He purchased with His own blood. For I know this, that after my departure savage wolves will come in among you, not sparing the flock.”
Paul strongly exhorts the elders to watch over the flock and to guard them against these savage wolves. Nothing should be spared to protect God's flock, which Jesus won with His own blood. This is when we need to love Christ “more than these.” Read John 21:15-17.
The fire of Pentecost is always burning in the disciples
Satan could not do anything with the core of disciples in the first church; they were invincible. The fire of Pentecost burned in each one of them until their dying day. Even in our days beasts of prey are prowling around the church of the living God, and every once in a while you can hear growling and roaring on the periphery. However, even now there is a core of disciples in whose hearts the fire of Pentecost is burning brightly, and Satan has no power over them. For this reason everyone should be quick to come to the center where the fire is hottest.
If the fire is to burn, it must always be fed by the self-life. The fire of Pentecost has died out in hearts where an increasingly deeper acknowledgment of self is lacking. Then all they are left with is glorious memories of when they were baptized with the Spirit. The wild beasts—although they are in sheep's clothing—ravage such assemblies.
The fire of Pentecost must be kept burning. Fervent prayer meetings are needed. All wickedness must stop with us. Let us be on guard against any breach in fellowship with the saints, because then we are finished. We can only grow the growth of the body together with the other saints, up to Him who is the head. Only in the body is the fullness of Christ. Let us be like the core of disciples in the first church who would rather be burned at the stake than sin.
activechristianity.org/the-fire-of-pentecost
Read the Passage
1When the day of Pentecost arrived, they were all together in one place. 2And suddenly there came from heaven a sound like a mighty rushing wind, and it filled the entire house where they were sitting. 3And divided tongues as of fire appeared to them and rested on each one of them. 4And they were all filled with the Holy Spirit and began to speak in other tongues as the Spirit gave them utterance. 5Now there were dwelling in Jerusalem Jews, devout men from every nation under heaven. 6And at this sound the multitude came together, and they were bewildered, because each one was hearing them speak in his own language. 7And they were amazed and astonished, saying, “Are not all these who are speaking Galileans? 8And how is it that we hear, each of us in his own native language? 9Parthians and Medes and Elamites and residents of Mesopotamia, Judea and Cappadocia, Pontus and Asia, 10Phrygia and Pamphylia, Egypt and the parts of Libya belonging to Cyrene, and visitors from Rome, 11both Jews and proselytes, Cretans and Arabians—we hear them telling in our own tongues the mighty works of God.” 12And all were amazed and perplexed, saying to one another, “What does this mean?”
—Acts 2:1–12
The Disciples Receive the Spirit
Right from the beginning, Acts 2 is concerned with new structures and dynamics that bring the old structures and dynamics to their appointed end. The chapter occurs at Pentecost, the second annual feast of the Jewish year, celebrating God’s provision for his people. Also known as the Feast of Weeks in the OT (see Lev. 23:15–21; Ex. 34:22; Num. 28:26–31; Deut. 16:9–12), Pentecost came fifty days after Passover. Passover commemorated the coming of the angel of death, the last plague, to Egypt. On that night, the Israelites were told to sacrifice a lamb and spread its blood over their doorpost. The angel, seeing the blood, would pass over the Israelites but would inflict destruction on Egypt by taking its firstborn sons. This could have been avoided had Pharaoh and his court listened to Moses and freed Israel. But they refused and so paid an ultimate price for their sin against God. In the aftermath, the Israelites, having survived because of the lamb’s blood, left Egypt. God redeemed them, as promised.
Fifty days later, Israel was at Sinai, receiving God’s law through Moses. When they entered the land, they were to keep a feast, or festival, in which they were to bring their firstfruits (bread made from new grain) as an offering to God. The firstfruits offering stood both for hope in the coming of the full harvest and as a sign of thanksgiving for God’s provision. Pentecost was inseparable from Passover and was marked specifically from the date of Passover (Lev. 23:16). It could come only as a result of God’s previous work. Thus it was not simply about agriculture but about redemption as well. Israel offered her firstfruits to God, who saved her from slavery in Egypt. The underlying idea in the symbolism of Pentecost was that if God was able to redeem his people from Egypt, then he would be able to provide for their lives too, just as he had promised.In Acts 2, Jews in Jerusalem are still celebrating Pentecost, but this Pentecost is different. It is, in fact, the last Pentecost. It must be the last, because the final Passover took place fifty days earlier when Jesus, the spotless Lamb of God, was crucified for the sins of God’s people. This was the sacrifice to end all sacrifices (see Heb. 7:27; 9:12, 28; 10:10). Redemption from Egypt, and the Passovers that remembered it, was a shadow of something greater. Passover is fulfilled, and now it is time for the fulfillment of Pentecost. With Jesus now in heaven—a vital point for what follows—this fulfillment is precisely what happens next.
The disciples are together, and something happens that can be explained only by analogy, not from past experience: “Suddenly there came from heaven a sound like a mighty rushing wind,” and “divided tongues as of fire appeared to them and rested on each one of them” (Acts 2:2, 3). The words “like” and “as” are important for understanding Luke’s quintessentially biblical way of describing the scene. Commentators are divided as to whether there was an actual gust of wind accompanied by the sound, or whether there was just a sound. Whether the disciples felt a wind is unimportant. What took place is described not exactly as natural phenomena but “like” it. This is common in Scripture, particularly in texts and passages that describe heavenly scenes or times when the heavenly and earthly realms come together: gates and walls are “like” precious stones, heavenly scenes generally are described as “like” earthly analogies, and visions include things “like” wheels, fiery messengers, or various animals that sometimes combine more than one species. These are attempts to convey supernatural visions and experiences—real, experienced events, but beyond what can be described fully. In this case it sounded something like a great wind. I have an image in my mind of the apostles hearing something like the sound of wind from the inside, with walls and roofs creaking, windows rattling, and the sound of rushing air shaking everything in its path, straining to get past. Maybe to us it would have sounded like an oncoming train.
What is important is what the wind-like sound and the appearance of tongues like fire indicate: both point to the presence of God (cf. 1 Kings 19:11–13). Thus the prophet Ezekiel is led by the Spirit to a vision of dry bones that take on human form and are brought to life when the Spirit commands: “Prophesy to the breath; prophesy, son of man, and say to the breath, Thus says the Lord God: Come from the four winds, O breath, and breathe on these slain, that they may live” (Ezek. 37:9). The image is of God’s bringing Israel back from exile, redeeming them as in a new exodus, with this great exception: this time he promises to give them his Spirit (Ezek. 37:14). Likewise, the image of fire in Acts 2 is unmistakable. It may be compared to the Lord’s appearing to Moses in a burning bush (Ex. 3:1–6) or to the people of Israel as a pillar of fire, leading them at night in their desert wanderings (Ex. 14:19–20; Num. 11:25; 12:5; 14:14; 16:42; Deut. 1:33). The fire could also be an echo of Isaiah 6:4–7, where the prophet’s tongue is cleansed with a burning coal.
The presence of God in Acts 2 is also accompanied by an act of God. His presence is confirmed by the direction from which the sound comes: from heaven, the place of God. This is the second time in short order that heaven and earth intersect. Jesus went into heaven; now the Spirit from heaven will invade the earthly realm, filling the apostles for witness.
When the apostles receive the Spirit here, this is not the moment they are “saved” or regenerated. In fact, it is not the first time they receive the Spirit. After his resurrection, Jesus appears to the Eleven and breathes on them, saying, “Receive the Holy Spirit” (John 20:22). They are also, as a result, given authority to forgive sins on his behalf (John 20:23). The reception of the Spirit in Acts 2:2 is for carrying out Jesus’ commission to witness. The apostles’ experience of the Spirit is, by necessity of their era, different than it is for every succeeding generation. This is not to say their experience is totally different or unconnected to the receiving of the Spirit seen after Peter’s sermon, only that this instance is a special equipping for a special group of people.While he was on earth, Jesus was directly present with his followers, who, even with their obvious shortcomings, did provide evidence of believing in him to whatever extent was possible (“Lord, to whom shall we go? You have the words of eternal life.” “You are the Christ.” “I believe; help my unbelief.”). There is no clean and easy way to determine the exact point in which the disciples became believers in the sense we use the term. They did “believe” when Jesus was alive, but their faith was not complete until the resurrection, just as Christ’s work of redemption was not complete. The disciples were sanctified by the word of Jesus while he was with them (John 13:10; 15:3; 17:17), but they would not receive the Spirit as the power of the risen Christ until after the resurrection (as promised in John 14–17). By historical and experiential necessity, the disciples occupy a different place in salvation history than we do.
In Acts 2:33 Peter says that Jesus “received” the Spirit from the Father specifically for the pouring out received at Pentecost. On the other hand, at Acts 8:17 some Samaritans receive the Spirit when Peter and John lay hands on them. In Acts 10:47, Peter declares that because Cornelius and other Gentiles “received” the Spirit just as Jewish believers did, there is no way to deny them baptism. The Spirit “fell” upon all gathered as Peter spoke, and those with Peter were amazed that the Spirit was “poured out” on the Gentiles just as he was on Jewish believers (Acts 10:44–45). Thus it is clear that the language for receiving the Spirit, whether for particular empowerment or for regenerating power, does not consistently distinguish between the work of witness and that of belief. All of these works—apostolic witness, signs and wonders, and regeneration—are entirely the doing of the Spirit. How the Spirit is working and what he is bringing about depends on the context.
Outward Manifestation
The Spirit came and “rested on each one” at Pentecost (Acts 2:3). This is an outward manifestation of what is taking place among them, as all those gathered in the room are “filled with the Holy Spirit” (Acts 2:4)—what Jesus promised them at his ascension now takes place. It is impossible to quantify what it means to be “filled with the Holy Spirit.” We should not think of the Spirit as some sort of heavenly gasoline that fills our spiritual tank. Luke seems to be speaking in the sense of capacity (“filling” language), but how do we think of capacity when the receptacles are people and the substance is the Holy Spirit? Can someone be filled a quarter of the way with the Spirit? At what point is one “full” of the Spirit in terms of quantity? Paul tells the Ephesian believers, who already have the Spirit, nevertheless to “be filled with the Spirit” rather than to be drunk on wine (Eph. 5:18).
In his Gospel, Luke uses the word “filled” in the sense of filling to capacity, as when the disciples’ boats are so full of fish that they begin to sink (Luke 5:7), or figuratively, as in “filled with great fear” (Luke 2:9) or “filled with fury” (Luke 6:11). He also uses the term to mean “fulfill” or “end,” as in to reach an appointed conclusion. Zechariah goes back home “when his time of service [as a priest] was ended” (Luke 1:23). The destruction of Jerusalem foretold in the Olivet Discourse is described as “days of vengeance, to fulfill all that is written” (Luke 21:22). Importantly, the angel tells Zechariah that his son, John, “will be filled with the Holy Spirit” (Luke 1:15); Elizabeth sees Mary and is “filled with the Holy Spirit” and begins to praise (Luke 1:41); and Zechariah is, once again, “filled with the Holy Spirit” and begins to prophesy and to praise God for what he is about to do in Israel according to his promises (Luke 1:67).
We find similar texts in Acts as well. Peter is filled by the Spirit and speaks to a crowd (Acts 4:8), and soon after the believers are filled with the Spirit through prayer (Acts 4:31). When the seven are chosen to look after the widows among the Greek-speaking Jews, one of their criteria is that they are to be filled with the Spirit (Acts 6:3). Ananias tells Paul he will “be filled with the Holy Spirit” (Acts 9:17). These texts, along with those in Luke, determine what the phrase means in Acts 2:4 and in Acts generally. In most cases, to be “filled with the Holy Spirit” means to be empowered for service, usually that of proclamation or mission. This does not imply an initial lack but merely communicates a special experience of the Spirit in order to carry out the mission from Jerusalem and Judea to Samaria and the ends of the earth. The Spirit’s work in salvation does not take second place in Acts—reception of the Spirit is the primary reason Gentiles must be baptized and recognized as full-fledged members of the new covenant (Acts 15:8–9)—but at Pentecost specifically the disciples are filled with power for the great work of that day.
Throughout Acts. . . the Spirit works in believers to empower them for service.
The Meaning of Tongues
As a result, those in the room “began to speak in other tongues as the Spirit gave them utterance” (Acts 2:4; cf. Acts 10:45–46; 19:6). The meaning of the word translated “tongues” (Gk. glōssai ) is disputed. Many Christians understand this verse to mean that the disciples begin to speak in a heavenly language transcending human linguistic structures—unlike any language on earth. In such an interpretation, those who hear the disciples speaking in different languages (Acts 2:6) do so because some kind of divine translation is taking place that causes the “tongues” to be heard as languages. Often in this interpretation the miracle of tongues is accompanied by a miracle of hearing. Texts such as 1 Corinthians 13:1, where Paul mentions speaking in the “tongues of men and of angels,” are cited in support (cf. 1 Cor. 14:2, 18–23, 27). Others, however, understand the disciples to be speaking in different languages, those represented in the room that day. In this interpretation there is no need for a miracle of hearing. Typically, this reading is accompanied by reading the term “tongues” in the NT as always referring to known human languages. First Corinthians 13:1 does, however, seem to distinguish human and heavenly speech. Pressing glōssai to mean “languages” in every instance in the NT seems strained. A third option is to understand the word “tongues” as being used in the NT both for human languages and for heavenly speech, with both manifestations being works of the Spirit.
At Pentecost the tongues seem to be languages, and thus the miracle is one of speaking, not likely one of hearing. Luke here uses the word apophthengomai (“utterance”; Acts 2:4), which recurs twice more in Acts in regard to speaking God’s word. It is clear that the Spirit empowers the disciples’ speaking, but, as seen in the upcoming verses, there is no similar indication of Spirit-empowered hearing. Throughout Acts (as demonstrated already), the Spirit works in believers to empower them for service. The Spirit does work in unbelievers, but this is part of God’s work of salvation, “having cleansed their hearts by faith” (Acts 15:9). Such is why it is important first to establish what “filled” means in this verse before considering the miracle of speaking that follows: it provides the context for understanding this highly disputed text.
This article is adapted from the ESV Expository Commentary: John–Acts (Volume 9).
Brian Vickers
Brian J. Vickers (PhD, The Southern Baptist Theological Seminary) is professor of New Testament interpretation and biblical theology at the Southern Baptist Theological Seminary and the assistant editor of the Southern Baptist Journal of Theology. He is actively involved in leading short-term mission trips and teaching overseas. He is also a member of the Evangelical Theological Society and the Institute for Biblical Research.
www.crossway.org/articles/what-are-the-tongues-of-fire-ac...
Le bourgmestre de Liège, Jules d'Andrimont, demande à Léonie de Waha de fonder un lycée pour jeunes filles. Elle crée alors, rue Hazinelle, un Institut supérieur de demoiselles (1868), que la Ville de Liège va gérer à partir de 1878, devenu ensuite le Lycée de Waha.
L'édification du nouveau bâtiment située boulevard d'Avroy, entre 1937 et 1940; se fait sur les plans de l'architecte Jean Moutschen. Pendant cette phase de construction, la décoration du bâtiment est assurée par dix-huit artistes wallons à travers une vingtaine d’œuvres originales (fresques, bas-reliefs, mosaïques, peintures, vitraux).
C’est un bâtiment typiquement moderniste : monumental, fonctionnel, intégrant des espaces de vie exceptionnels pour l’époque (laboratoire, piscine, internat, salle des fêtes, salle de musique) et une vingtaine d’œuvres d’artistes liégeois contemporains. La piscine est ornée de mosaïques, dues à Adrien Dupagne. Le bâtiment abrite aussi des vitraux de Marcel Caron, une peinture de Fernand Steven, une peinture sur verre de Edgar Scauflaire, deux fresques, d'Auguste Mambour et de Robert Crommelynck, des œuvres de Auguste Donnay, Edmond Delsa, une mosaïque d'Oscar Berchmans.
Le Lycée Léonie de Waha a été classé au patrimoine exceptionnel de Wallonie le 17 mai 1999.
The burgomaster of Liège, Jules d'Andrimont, asks Leonie de Waha to found a high school for girls. She then created, in Rue Hazinelle, a superior institute of ladies (1868), which the City of Liège managed from 1878, later became the Lyceum of Waha.
The construction of the new building on Boulevard d'Avroy, between 1937 and 1940; Is done on the plans of the architect Jean Moutschen. During this construction phase, eighteen Walloon artists perform some or all of the original works (frescoes, bas-reliefs, mosaics, paintings, stained-glass windows).
It is a typically modernist building: monumental, functional, integrating living spaces exceptional for the time (laboratory, swimming pool, boarding school, party room, music room) and twenty works of contemporary Liège artists. The swimming pool is adorned with mosaics, due to Adrien Dupagne. The building also houses stained glass by Marcel Caron, a painting by Fernand Steven, a painting by Edgar Scauflaire, two frescoes by Auguste Mambour and Robert Crommelynck, works by Auguste Donnay, Edmond Delsa, an Oscar mosaic Berchmans.
The Lycée Léonie de Waha was listed in the exceptional patrimony of Wallonia on 17 May 1999.
A wonderful, rarely seen artist’s concept of an early Lunar Excursion Module (LEM) ascent stage liftoff, which also depicts its flight path to rendezvous & docking with the orbiting Command/Service Module (CSM).
This is posted primarily for my edification. As seen here, it was the cover of the March 1963 issue of “Space/Aeronautics: THE MAGAZINE OF AEROSPACE TECHNOLOGIES” magazine. I was not familiar with this publication, other than referencing it in a previous Mercury capsule posting. This & other issues I came upon are not only hefty (this one being 5/16” thick/200+ pages) but also contain quality content. This seems to have been a periodical to reckon with. Disappointingly however, I could not find any reference within it regarding the cover.
The ’edification’ part: Fortunately, I stumbled upon the original artwork several years ago, posted below. While possessing it is all fine & dandy, what was really most gratifying was that through EXHAUSTIVE ASS-PAIN-INDUCING RESEARCH – I was able to identify the artist – Donald Crowley. THAT, in my pseudo-pathetic world, was the equivalent of finding & opening an obscure treasure chest of artist/art history. Not only Mr. Crowley’s amazing career progression/journey, which in and of itself would’ve been enough, but selfishly & nostalgically, the revelations of his unacknowledged, yet ubiquitous works.
For those my age, the “HOW AND WHY Wonder Book of [fill in the cool activity/discipline]” series were a coveted staple of enlightenment, education and the stirring of the imagination while growing up. Unfortunately, Mr. Crowley’s prodigious and gorgeous contributions to them were mis- or totally uncredited! What I, and maybe a few others recall the most & frankly, were imprinted with, were the covers, most of which were at the hands of this man.
For me, a multifaceted MEGA-WIN.
A little anatomy lesson for your edification & gratification!
This snug fitting strapless wet look lycra spandex blue & silver minidress came from coquetryclothing.com. I've matched it up with my Hanes Alive Barely There pantyhose and my 5" silver pumps.
To see more pix of me in other tight, sexy and revealing outfits click this link:www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
DSC_2784-22
Este templo fue el primer edificio religiosos que se construyó en Santiago de Querétaro hacia 1540 y se convirtió en el centro de desarrollo urbano más importante de la Nueva España. El templo funcionó como catedral entre los años 1865 y 1922 (Santiago de Querétaro, Edo. Querétaro, México). [Versión texturizada].
This temple was the first religious edification built in Santiago de Queretaro and it became the most important center of urban development in New Spain. The temple functioned as cathedral between 1865 and 1922 (Santiago de Queretaro, State of Queretaro, Mexico). [Texturized version].
Metz (57)
Metz is a French commune located in the department of Moselle, in Lorraine. Prefecture of the department, it is part, since January 1, 2016, of the administrative region Grand Est, of which it hosts the plenary assemblies. Metz and its surroundings, which were part of the Trois-Évêchés from 1552 to 1790, were landlocked between the Duchy of Luxembourg (until 1659), ducal Lorraine and the Duchy of Bar until 1766. was from 19742 to 2015 the capital of the Lorraine region.
A city known since pre-Roman antiquity, the Celtic oppidum of Mediomatrics, known by the Latin name of Divodurum Mediomatricorum, then as Mettis, became the capital of the Frankish kingdom of Austrasia in the sixth century AD. A trading city of the Carolingian Empire, Metz is the seat of a powerful bishopric, and an important trading and banking city of the Holy Roman Empire. Coveted by its neighbors (and debtors) then by the kingdom of France, Metz became a protectorate and a French stronghold in the 16th century, before being annexed by the German Empire at the end of the 19th century (Alsace-Moselle). Once again French after the First World War, it was de facto annexed by the Third Reich from 1940 to 1944.
The city presents an important architectural diversity, from antiquity to the 20th century, rich in a strong medieval and classical heritage, of French and Germanic influence, in particular in the imperial district, fitted out during the annexation of Alsace- Lorraine, representative of Wilhelmian architecture. The Saint-Pierre-aux-Nonnains church in the town center is one of the oldest churches in the world, and the oldest church in France.
At the last census of 2019, Metz had 118,489 inhabitants, making it the most populated municipality in Lorraine and the third in the Grand Est. Its inhabitants are called Messins.
Metz seeks to establish itself as a platform for modern and contemporary art through new policies urban culture. The city is also applying for a UNESCO listing for its ancient heritage represented by Saint-Étienne Cathedral, one of the most important Gothic cathedrals in France, and its imperial district.
Source: fr.wikipedia.org/wiki/Metz
The Opéra-Théâtre de Metz Métropole, also known as the Metz Opera, is a 750-seat opera house and theatre located on the Petit-Saulcy island in Metz. It is the oldest opera house working in France and one of the oldest in Europe. It is also one of the last possessing its own costume ateliers in France.
In 1732, Duke de Belle-Isle, governor of the Three Bishoprics and benefactor of Metz, decided the urban planning of the Petit-Saulcy island (then used to stock firewoods, and occasionally for horse-fairs), in order built in Metz a modern square in a context of the Enlightenment. The island was drained and the embankments and four bridges were built, connecting the medieval town to the island. The edification of the opera house was conducted by Messin architect Jacques Oger. Adjacent to the opera house, the urban planning included also the construction of the Royal Intendant palace by architect Barthélemy Bourdet.
The construction of the opera house extended from 1732 to 1752, the War of the Austrian Succession interrupting the works during 8 years. The Tuscany-influenced neo-Classical building is finally inaugurated with a public ball on February 3, 1752. The duke of Belle-Isle described it as "one of the most beautiful France's opera-theater" at his time, seating 1,382.
During the French Revolution, the guillotine for the executions was erected on the parvise of the opera house, the Comedy Square. In 1858, local sculptor Charles Pêtre, then member of the School of Metz artistic movement, adorned its facade with allegories of the Tragedy, the Inspiration, the Lyric Poetry, the Comedy, and the Music. The most recent restoration took place between 1981 and 1982 remodeling the interior of the opera house to improve comfort and sightlines. The performance hall had been reduced to 750 seats in 1963.
Source: en.wikipedia.org/wiki/Op%C3%A9ra-Th%C3%A9%C3%A2tre_de_Met...
Affichage fond noir | View on black
Billom est une ville du Puy de Dôme située à l'est de Clermont-Fd, à environ 20 km.
Billom est connue par son centre historique avec ses maisons à colombage, l'église Saint-Cerneuf et pour avoir vu l'édification du premier collège jésuite de France en 1556.
Billom is a city of Puy de Dome (France) east of Clermont-Ferrand, about 20 km.
Billom is known for its historic center with its half-timbered houses, the church of St. Cerneuf and having seen the construction of the first Jesuit college in France in 1556.
Billom es una ciudad de Puy-de-Dôme (Francia) al este de Clermont-Ferrand, a unos 20 km.
Billom es conocida por su centro histórico con sus casas de entramado de madera, la iglesia de St. Cerneuf y ver la construcción del primer colegio de los jesuitas en Francia en 1556.
Billom é uma cidade de Puy-de-Dôme (França) a leste de Clermont-Ferrand, a cerca de 20 km.
Billom é conhecida por seu centro histórico com suas casas em estilo enxaimel, a igreja de St. Cerneuf e vendo a construção do primeiro colégio jesuíta na França, em 1556.
Billom estas urbo de Puy de Dôme (Francio) oriente de Clermont-Ferrand, ĉirkaŭ 20 km.
Billom estas konata pro ĝia historia centro kun liaj duone timbered domoj, la preĝejo de Sankta Cerneuf kaj vidante la konstruo de la unua jesuita kolegio en Francio en 1556.
Bonne journée à tous. merci pour vos visites et commentaires.
Have a nice day. Thanks for your visits and comments.
Buenos días a todos. gracias por sus visitas y comentarios.
Bonan tagon al cxiuj. dankon pro viaj vizitoj kaj komentoj.
Early one morning a friend and I ran into Rocky Mountain NP, planning on shooting one of the slightly more remote lakes. The water was a bit choppy, so I started looking for other opportunities. These trees caught my eye.
It's possible that for some of you the trees are in the way of the view, sorry, I liked the way the peaks and color framed the trees :)
Please view large, as usual.
2010 CALENDARS now shipping!! - florisvanbreugel.smugmug.com/gallery/8609384_K59HN
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Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
Deauville - Trouville
La construction de cette jetée-promenade (ou jetée des Anglais), perpendiculaire à la digue et longue de 350 m, a commencé en 1889 et ne s'est achevée qu'en 1892. C'était une sorte de "pier", comme il en existe encore aujourd'hui à Brighton, dont la principale fonction était de permettre l'accostage à marée basse des "bateaux du Havre", vapeurs qui traversaient l'estuaire avec passagers et marchandises.
Elle fut démontée en 1943 par l'armée allemande qui récupéra le métal, au moment de l'édification du « mur de l'Atlantique », pour dégager le tir de canons installés dans les bunkers de la plage de Trouville, et surtout parce qu'elle aurait pu servir aux Alliés pour un éventuel débarquement.
aujourd'hui tout est en bois
The construction of this pier-walk (or thrown by the English people), perpendicular in the dike and long of 350 m, began in 1889 and ended only in 1892. It was a kind of "pier", as he exists there even today in Brighton, the main function of which was to allow the accosting low tide of the "boats of Havre", vapors which crossed the estuary with passengers and goods.
She was defused in 1943 by the German army which got back the metal, at the time of the construction of the "Atlantic wall", to clear the shooting of artillery installed in the bunkers of the beach of Trouville, and especially because it would have been able to be of use to the Allies for a possible landing. Today everything is wooden
Thanks, as always, for stopping by and for your kind comments I appreciate every one. Have a nice weekend or day's Regards Gilles
Don't use this image on websites, blogs or other media without, my explicit permission
© gD Under copyright Bern agreement(convention) all right reserved © GillesD ©GilD « Tous droits réservés »
Does this image Offend You?
Sto. Nino / The Christ Child
17th Century
FILIPINO
Ivory with gilding and polychromy
In the Rodrigo Rivero Lake Collection. Mexico City, Mexico.
This is a large and highly important ivory image of the Sto. Nino or Holy Child. It depicts Christ as an infant. He is shown naked with a very small, uncircumcised member.
NOTE: THIS PICTURE WAS TAKE WITHOUT THE PERMISSION OF THE OWNER. I POSTED IT PURELY FOR THE SAKE OF ACADEMIC EDIFICATION AND ARGUMENT.
If this picture offends you, please review the freedom of Speech as delineated by the U.S. Constitution.
If you own the copyright to this image and you find that my unauthorized use offends you, please notify me and I will remove this posting.
What looks to be a casualty evacuation exercise, possibly/probably involving Chamber B in the Space Environment Simulation Laboratory (SESL), Building 32, at the Manned Spacecraft Center. The “casualty” is wearing a (I believe) final Apollo A7L pressure suit, hence my date estimation of 1967 – 1972.
The gentleman on the left looks very familiar…I’m sure I’ve seen him in other photos. Also note the partially obscured gentleman holding what looks like a wristwatch, possibly timing the activity.
I wonder what the bumper/guard-like fixtures affixed to the top of the helmets are?
8.5" x 11". A size that normally suggests a contractor-originated photo...usually McDonnell...so ¯\_(ツ)_/¯.
At the 10:35 mark of the following interesting footage, I believe the gentleman is wearing the same uniform, with a somewhat similar helmet, obviously also in a first-responder capacity. He also appears to be wearing the face-piece of his oxygen mask…which I think can be seen in the photo dangling from the left-hand side of both of the gentleman’s helmets:
www.youtube.com/watch?v=CDN0S4eJWYY
Credit: user ‘The Space Archive’/YouTube
Also in the SESL, with the caption “Apollo 14 backup Commander Cernan preparing for a vacuum chamber test in the SESL”:
www.nasa.gov/sites/default/files/styles/full_width/public...
Although…the photo might be associated with the Crew Systems Laboratory (CSL), Building 7. Having never been to either, and with little contextual imagery available to conclusively determine, it’s possible, although (I think) less probable.
However, primarily or my own edification:
“The Crew Systems Laboratory (CSL) was constructed between December 1962, and March 1964, by the joint venture team of C.H. Leavell and Company of El Paso, the Morrison-Knudsen Company, Inc. of Boise, Idaho, and Paul Hardeman, Inc. of Stanton, California for a cost of approximately $1.549 million. Building 7 is one of the eleven original buildings constructed at the JSC. A 55,000 square foot addition (Building 7A) was made to the original 109,026 square foot building in 1966, at a cost of $1.494 million. In 1970, the addition of Building 7B increased the overall size of the facility by 2926 square feet. Smaller additions to Building 7 were made in 1967 (1272 square foot) and 1969 (546 square foot). The most recent major modification, in 1995, was the 3886-square foot addition to the Equipment Receiving Area.
The Wing E High Bay (Room 1000) of Building 7, known as the Environmental Test Area, contains the historically significant facilities which support the Space Shuttle program, including the 8’, 11’, and 18’ vacuum chambers and their ancillaries. Only the 18’ chamber was built specifically for the SSP. The 2’, 10’, and 20’ chambers, also located within Room 1000, lack noteworthy historical associations with the Space Shuttle program. Collectively, the 8’ and the 20’ chambers, originally used for Project Gemini, are the oldest.
The human-rated 8’ Vacuum Chamber, also known as the System/Component Vacuum Test Facility, arrived in Houston in May 1962, from Air Force surplus. It was modified three months later by the addition of an 8’-diameter loading door and explosion-proof interior lights. Following a complete overhaul and upgrading in Hangar 135 at Ellington Field during February 1964, the chamber was installed in Building 7 in July 1964. Portable Life Support System (PLSS) checkout consoles were installed in the adjacent control room in October 1965. The 8’chamber was active during Project Gemini and the Apollo Program, and was upgraded in 1973, to support the Apollo-Soyuz Test Project (ASTP). Two years later, in November 1975, the equipment that supported the ASTP was removed. Subsequently, the 8’ chamber was used to support the design verification and flight qualification testing of the Shuttle Extravehicular Mobility Unit (EMU) PLSS backpack.
[A nice article on the aforementioned PLSS testing capability, at:
www.nasa.gov/feature/50-years-ago-certifying-apollo-space...
Specifically, with the caption/description “Astronaut James Irwin testing the Apollo A-6L suit in the Crew Systems Division’s 8-foot altitude chamber”:
www.nasa.gov/sites/default/files/styles/side_image/public...]
The 11’ Vacuum Chamber was first used in November 1966, for off-site manned tests. It was moved to JSC in May 1968, and used during the Apollo Program for evaluative tests of the Lunar Module environmental control PLSS, pressure suits, and EVA components. Two treadmills, used for metabolic determination, were installed in 1970 and 1971. Modifications to support the Space Shuttle program included removal of the Lunar Module cabin wall heater/cooler in 1977. In 1978, funding was approved for expanding the existing 11’ chamber vacuum system to incorporate the Shuttle Flash Evaporator System in the Shuttle Environmental Control and Life Support System (ECLSS) boilerplate (including airlock hardware). To enable extended systems evaluation and crew training tests, modifications included installing a vacuum line from the 11’ chamber to a new vacuum cylinder boilerplate (18’ vacuum chamber) sized to simulate the flight airlock; constructing a platform with stairway and an enclosure to surround the airlock boilerplate; extending the existing fire suppression and alarm system to the new airlock and entry room type enclosure; and installing repressurization valves, altitude limiting valves, and cable trays. Plumbing, electrical utilities, and high pressure GO2 and GN2 systems also were installed to allow reduced chamber pressure.”
Above at/from:
ntrs.nasa.gov/api/citations/20110002110/downloads/2011000...
Rincon Vista Sports Complex, Tucson, AZ Mar 15, 2010 — Here Kyle Gies, number 15 CSU, takes control against the Wildcats.
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I imported and tagged the photo with Photo Mechanic. I used Adobe Lightroom for adding camera, lens, and color profiles with basic adjustments. I spruced-up the image using the Topaz plug-ins: Denoise, Detail, Adjust, and Remask, then touched-up the image using Adobe Photoshop. A lowered opacity white layer was added to the background as was a blurred layer with a radial gradient mask.
PENTAX K20D
SMC PENTAX-DA* 50-135mm ƒ2.8 ED [IF] SDM
ISO 560, ƒ5.6, 1/3000
San Marco in Lamis Gargano Puglia Italia© 2015 All rights reserved
FotoSketcher lively
Nikon coolpix p 7100
San Marco in Lamis è un comune italiano di 13.928 abitanti della provincia di Foggia, in Puglia.
San Marco in Lamis è nota soprattutto per la tradizionale Processione delle "fracchie", una manifestazione religiosa popolare molto suggestiva e assai singolare, che si ripete puntualmente da circa tre secoli ogni venerdì Santo per la rievocazione della Passione di Cristo, e che, ogni anno, richiama un grande afflusso di forestieri. Le fracchie sono delle enormi fiaccole, realizzate con grossi tronchi di albero di quercia o castagno aperti longitudinalmente a forma di cono e riempiti di legna, per essere incendiate all'imbrunire e divenire quindi dei falò ambulanti che illuminano il cammino della Madonna Addolorata lungo le strade del paese alla ricerca del figlio Gesù morto.Sembra che le origini di questo rito risalgano ai primi anni del XVIII secolo, epoca di edificazione della chiesa dell'Addolorata e le sue ragioni, oltre che di ordine religioso e devozionale, vadano collegate anche ad una motivazione di ordine pratico riconducibile alle precise condizioni fisiche dell'abitato. Infatti, quando venne costruita (1717), la chiesa dell'Addolorata si trovava fuori del centro abitato e lì sarebbe rimasta fino all'ultimo ventennio del XIX secolo. Una collocazione questa che sollecitò la fantasia degli abitanti, i quali pensarono di illuminare con le "fracchie" la strada che la Madonna percorreva dalla sua chiesa fino alla Collegiata, dove era custodito il corpo del Cristo. Le “fracchie più grandi possono essere lunghe anche 13-14 metri e pesare anche 60-70 quintali di legno di quercia , castagno o abete .
da wikipedia
San Marco in Lamis is a town of 13,928 citizens in the Italian province of Foggia, Puglia, Italy.
San Marco in Lamis is a town of 13.928 citizens and comune in the province of Foggia in the Apulia region of southeast Italy. It is located in the Gargano massif area.Apart from some tourism conted to pilgrimages at the local Catholic sanctuary of St. Matthew, the economy is mostly based on agriculture.San Marco in Lamis is known for the traditional procession of "fracchie", a very popular religious manifestation suggestive and very singular, that is repeated regularly from about three centuries each friday Saint for the reenactment of the passion of Christ, and that each year draws a large influx of foreigners. The fracchie are huge torches, made with large trees oak opened longitudinally cone-shaped and filled with wood, to be burned at dusk and become so a itinerant bonfires that illuminate the journey of our Lady of Sorrows along the roads of the country in search of the son Jesus died.It seems that the origins of this rite dates back to the early 18th century, a time of edification of the Church of our Lady of sorrows and his reasons as well as religious and devotional order, should be connected to a practical motivation due to precise physical conditions of the town. In fact, when it was built (1717), the Church of our Lady of Sorrows was out of town and would remain there until the last two decades of the 19th century. A bin that solicited the imagination of the inhabitants, whom they thought to illuminate with the "fracchie" the way that she ran from her church until the collegiate, where he guarded the body of Christ. The"Fracchia" can also get the length of 13-14 meters and weigh 60-70 quintals of wood of oak. From wikipedia
Early morning light on the dutch dunes near Schorl, in Noord Holland.
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Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/
The lovely Isadora Persano, Bulli Heritage Hotel, 8th June 2019.
Yes, I've finally got the official photos of my two solo burlesque performances, so I'll be posting highlights from time to time for your amusement and edification.
Picture by Stuart Bucknell Photography
Blooming dogwoods and the warm midday sun.. please check out the larger version on my website for better details:
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Prints available: http://artinnaturephotography.com/
Adventures for your entertainment and edification: http://artinnaturephotography.com/wordpress
The Fort Saint-Elme is a military fort built between 1538 and 1552 by Charles V. It is located in the district of Collioure, 30 km south-east of Perpignan, in the department of Pyrénées-Orientales. It is designated as a monument historique of the Côte Vermeille. Since 2008, the fort has been a museum with medieval and Renaissance arms collections, exhibitions and a panorama over the area from the terrace.
The fort Saint-Elme is located at the top of a hill overhanging Collioure on the west and Port-Vendres on the east. One can reach the fort following a local road linking the D114 road at the north, through the Coll d'en Raixat at the south.
Toponymy
Several assumptions exist for the origins of Saint Elme: Firstly the name of Saint-Elme may come from Erasmus of Formia, an Italian martyr of the 4th century. Secondly it could have been given in honour of the Spanish saint Peter González (1190-1246). This explains why we find this name around the western Mediterranean coasts: Saint Elme in Naples, Sant Elme in St Feliu de Guixols, Sant Helme and Santem in Provence, etc… Saint Erasmus may have become the patron saint of sailors because he is said to have continued preaching even after a thunderbolt struck the ground beside him. This prompted sailors, who were in danger from sudden storms and lightning, to claim his prayers. The electrical discharges at the mastheads of ships were read as a sign of his protection and came to be called "Saint Elmo's Fire".
By decree on 3 June 1794, during the French Revolution, the city took briefly the name of Fort-du-Rocher (Rock's fort).
History
From the origins to the Middle-Ages
The history of Fort Saint-Elme began with the edification of the watchtower in the 8th century, i.e. either during the period when Arab-Berber troops occupied Septimania between 719 and 759. Integrated to the Marca Hispanica, the tower belonged to the independent Counts of Roussillon until the death without heirs of Girard II of Roussillon in 1172. He bequeathed his county to Alfonso II, King of Aragon and Count of Barcelona. This is during the Aragonese period that the tower took its nickname "Torre de la guardia" (Watchtower).
Between 1276 and 1344, Majorca’s kings, whose summer residence was the castle of Collioure, rebuilt this signal tower on this ideal point of view. This tower was integrated in an efficient communication system including the Massane and Madeloc towers located on the heights of Collioure and funded by James II of Aragon in the 13th century. These towers communicated through smoke signals that permitted to alert the surroundings population with smoke signals (black or white, discontinuous or continuous) according to the danger. At night, some dry wood permitted to light fires to alert garrisons until Perpignan. By day, some green wood was used to emit smoke and thus communicate with the others towers and strongholds of the region. But it was the enemy of the kingdom of Majorca, the king Peter IV of Aragon, who, once he conquered the coast in 1344, made significant military works to improve the defense of the fort.
During the second part of the 15th century, the French controlled the Roussillon. In 1462, the king Louis XI took advantage of the Catalan civil war (1462-1472) to sign the treaty of Bayonne and thus took over the counties of Roussillon and Cerdagne. The French decided to strengthen the fort which took the name of Saint Elme. A part of ramparts dates from this period. The successor of Louis XI, Charles VIII, who wanted to assure the neutrality of Spain for his ambitions over the kingdom of Naples, signed with Ferdinand II of Aragon the treaty of Barcelona in 1493. The catholic king recovered thus the lost territories.
The fortification of Charles V
In the 16th century, the Roussillon is an essential piece of the Spanish kingdom. The region had a triangular shape delimitated by the cordilleras in the north, the Albera Massif in the south and the Mediterranean Sea in the east. Perpignan was an important industrial, cultural and commercial center which got important privileged links with the wealth of Italy. Perpignan was defended in the north by the Fortress of Salses and in the south by the Fort Saint-Elme. This castle protected also the Collioure and Port-Vendres ports which assured supplies and troops helpers to the regional capital of Roussillon.
The progress of the modern artillery changed profoundly the war art and the siege technics. Architects and artillerymen were converted to new war masters and advisers of sovereigns. In 1537, the Italian architect Benedetto of Ravenna caught the emperor’s attention on the weaknesses of the Collioure position. After an inspection, Benedetto obtained the agreement of Charles V. He began the works in 1538 until 1552 and transformed the fort’s appearance which took its star-shaped aspect.
A French fort
Despite this modernisation and its adaptation to the artillery, on 13 April 1642, French troops of king Louis XIII achieved to take the fort. After the signing of the Treaty of the Pyrenees in 1659, the Spanish threat remained. When Vauban, military architect of King Louis XIV, made a reconnaissance of the defensive structures in 1659 in the region of Collioure, he decided to build a counterscarp, which forms with the ramparts base a ten-meter pit where infantry and cannons could easily operate.
Around 1780, the fort’s facade was whitened to serve as landmark from the sea, with the Massane Tower, to better situate the port of Port-Vendres.[1]
During the French Revolution, more precisely during the War of the Pyrenees, between 1793 and 1795, the region was the center of violent fights. The Fort Saint Elme was conquered successively by Royalists and Republicans. In 1794, the Spanish army took the fort. Six months later, the general Dugommier crushed with 11 000 cannonballs the garrison which surrendered on 25 May 1794 after a 22-day siege. After the revolutionary period, the fort, unified with the municipality of Collioure, was transformed in military warehouse.
A private museum
The Fort Saint-Elme was demilitarised in 1903 and abandoned. The tower was shattered, the (shooting place) was partly impracticable and many walls threatened to collapse. On 21 August 1913, the State decided to auction the fort. Several owners succeeded but none restoration was made. The fort was registered as Monument Historique by decree of 2 April 1927. A new owner decided thus to restore it. The works ended in 1936. During the WWII, the fort was occupied by the Kriegsmarine between 1942 and 1944. At their escape, some buildings were dynamited to block the progress of allied troops. Rebuilt partially in 1950, most restoration works began in 2004. Since 2008, the fort has been a museum.
Architecture
The interior of the fort Saint-Elme is composed of rooms edified around the exterior circumference of the tower. On the first floor, there were the troop’s dormitories, the weapons room, the throne’s room, the jail and the oven. Today, the floor is fit out historical objects which date from 15th century to 19th century: helmets, knights’ armours, chest, polished-stone and iron cannonballs, medieval and "Renaissance" weapons (culverin, falconet, crossbows, halberds, flails, hammers, lances, bows, swords, arquebus, 16th-century pistols), howitzer fragments.
Others rooms reveal the history of the monument: the genealogy and life of Charles V, the fortifications of Vauban, the inventory of 1770 and the attack of general Dugommier in 1794.
On the second floor, the flour and artillery warehouses were next to the guardroom and the bakery. Saint-Elme, a stronghold with an ingenious defensive system, has been conceived to support sieges and resist to assaults. Some walls reach up to eight-meters thick. The tower contained the powder. The shooting place could receive more than 20 cannons and howitzers. The undergrounds are not open to the public. Formerly, they were used as a warehouse for food and housing. They could also house all trades (corps de metier) necessary to the fight.
Wikipedia
The Collioure mill is a medieval mill recently brought up to date by the town. It is on the heights, on the other side of the creek coming from Perpignan. If you don't see it, look up, it's as simple as that.
The Collioure mill is a local curiosity. It is a windmill, which is quite rare in the region, most of the mills being water-powered. This one has been perfectly restored, it is very close to the city, and it is a good destination for a very short walk.
Rather than being incomplete, it is better to quote the text at its feet, which briefly explains its history. Here is :
On February 11, 1337, the Chevalier Raymond de Toulouse, prosecutor of the King of Majorca, ceded to Jacques Ermengald de Collioure direct control of a piece of land located in Collioure, at a place called "Cortines" and ceded to him the right to operate the windmill which will be built there to grind grain or crops of any kind on its own authority.
The mill ceased its activity in the 19th century to find itself gradually in a state of ruin. Became property of the city, the town undertook its restoration which was completed in June 2001, with the wooden machinery made in the traditional way by the carpenters of Bernard Gariblad. It is now in working order for crushing olives and producing Collioure oil.
Collioure is a town on the Mediterranean coast of southern France. On the sea, the medieval Château Royal de Collioure offers dramatic coastal views. The bell tower of 17th-century Notre-Dame-des-Anges Church was once a lighthouse. The Modern Art Museum includes paintings by Henri Matisse. Nearby is the Moulin de Collioure, a 14th-century windmill. South, the hilltop Fort St. Elme has a museum with medieval weapons. ― Google
Table Rock, above Boise, Idaho. Turns out it isn't actually a direct line to God, but rather a direct line to the power company, as the cross is thoughtfully lit at night for the edification and uplift of everyone in Boise, as you pretty much can't go anywhere in the city without seeing Table Rock. One of my traveling companions, seeing the cross as we drove through town thought this was a grand idea, and volunteered amazement that anyone could possibly be bothered by such a wonderful construction.
San Marco in Lamis Gargano Puglia Italia©2015 All rights reserved
FotoSketcher water color effect and lively
Nikon coolpix p 7100
San Marco in Lamis è un comune italiano di 13.928 abitanti della provincia di Foggia, in Puglia.
San Marco in Lamis è nota soprattutto per la tradizionale Processione delle "fracchie", una manifestazione religiosa popolare molto suggestiva e assai singolare, che si ripete puntualmente da circa tre secoli ogni venerdì Santo per la rievocazione della Passione di Cristo, e che, ogni anno, richiama un grande afflusso di forestieri. Le fracchie sono delle enormi fiaccole, realizzate con grossi tronchi di albero di quercia o castagno aperti longitudinalmente a forma di cono e riempiti di legna, per essere incendiate all'imbrunire e divenire quindi dei falò ambulanti che illuminano il cammino della Madonna Addolorata lungo le strade del paese alla ricerca del figlio Gesù morto.Sembra che le origini di questo rito risalgano ai primi anni del XVIII secolo, epoca di edificazione della chiesa dell'Addolorata e le sue ragioni, oltre che di ordine religioso e devozionale, vadano collegate anche ad una motivazione di ordine pratico riconducibile alle precise condizioni fisiche dell'abitato. Infatti, quando venne costruita (1717), la chiesa dell'Addolorata si trovava fuori del centro abitato e lì sarebbe rimasta fino all'ultimo ventennio del XIX secolo. Una collocazione questa che sollecitò la fantasia degli abitanti, i quali pensarono di illuminare con le "fracchie" la strada che la Madonna percorreva dalla sua chiesa fino alla Collegiata, dove era custodito il corpo del Cristo. Le “fracchie più grandi possono essere lunghe anche 13-14 metri e pesare anche 60-70 quintali di legno di quercia , castagno o abete .
da wikipedia
San Marco in Lamis is a town of 13,928 citizens in the Italian province of Foggia, Puglia, Italy.
San Marco in Lamis is a town of 13.928 citizens and comune in the province of Foggia in the Apulia region of southeast Italy. It is located in the Gargano massif area.Apart from some tourism conted to pilgrimages at the local Catholic sanctuary of St. Matthew, the economy is mostly based on agriculture.San Marco in Lamis is known for the traditional procession of "fracchie", a very popular religious manifestation suggestive and very singular, that is repeated regularly from about three centuries each friday Saint for the reenactment of the passion of Christ, and that each year draws a large influx of foreigners. The fracchie are huge torches, made with large trees oak opened longitudinally cone-shaped and filled with wood, to be burned at dusk and become so a itinerant bonfires that illuminate the journey of our Lady of Sorrows along the roads of the country in search of the son Jesus died.It seems that the origins of this rite dates back to the early 18th century, a time of edification of the Church of our Lady of sorrows and his reasons as well as religious and devotional order, should be connected to a practical motivation due to precise physical conditions of the town. In fact, when it was built (1717), the Church of our Lady of Sorrows was out of town and would remain there until the last two decades of the 19th century. A bin that solicited the imagination of the inhabitants, whom they thought to illuminate with the "fracchie" the way that she ran from her church until the collegiate, where he guarded the body of Christ. The"Fracchia" can also get the length of 13-14 meters and weigh 60-70 quintals of wood of oak. From wikipedia
CHATEAU DE PUYGUILHEM VILLARS Northern Dordogne
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
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
If you don't know what a welt is, its that upper portion of fashion hosiery that's doubled over and or reinforced to accept the clip of the suspender/garter belt that holds them up! Sorry to be so pedantic, but sometimes I just have to provide edification to my fans & admirers, thank you! [Giggle!]
This wonderfully tight and shiny one shoulder bronze lycra spandex minidress is from greatglam.com. I've matched it up with my my copper & black Romance suspender belt & Premier French Heel fully fashioned back seamed stockings both from secretsinlace.com and my black patent peep toe platform pumps from flirtcatalog.com.
To see more pix of me in other tight, sexy and revealing outfits click this link:
www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
To see more pix of me in other outfits from Great Glam click this link: www.flickr.com/photos/kaceycdpix/sets/72157621973539909/
To see more pix of me showing off my legs click this link: www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
To see more pix of me in stockings & lingerie click this link: www.flickr.com/photos/kaceycdpix/sets/72157627113549549/
DSC_7635-1
Tempering Entertainments.
上演愚蠢後果冒險遭遇貪婪飢渴的驕傲,
Поздравительный чувства невнимательность борьба опасные чародеи великолепие державы,
merveilleuses durables contraintes chamarrés florissants discours persécuteurs désert poète,
schuldlos Mäßigkeit mißfällt Antworten puissaunce demaund erstrahlt spannend rachsüchtigen Arbeiten,
απλότητα συγκεντρώνεται απαραίτητη πληθώρα διαμόρφωση αναδυόμενες ακτιβιστές μεταφέροντας αδιάφορη προσδιοριστικότητα,
multiplicidad de reposo pensamientos sensuales expresiones cuantitativas cuerpos numéricos leyes de desecho negativos,
movimenti universali contraddittori gravanti personaggi estremi inganni percettivi comprendere la coscienza,
fealsúnacht scrúdú ar expounding dialectical edification amhantrach ar léargais eolais inniúlachta méadú beacht,
systematesch intuited Onfruchtbarkeet Virschléi kënnt Methoden normal Konzepter Existenzgarantie Reflexioune reduzéieren Identitéit,
独断の内面性は自己減らす確実敵の撤退を調査存在を把握します.
Steve.D.Hammond.
Tucson, Arizona — Here is a multiple-exposure composite photo of a competitor in the February 6th Pima Community College Invitational way back in 2010. Two photos were layered together in Adobe Photoshop, masked using Topaz Remask, with the back-ground blurred and lightened. The cut-out layer was also stylized using photoshop's filter gallery.
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PENTAX K-7
smc PENTAX-DA* 50-135mm F2.8 ED [IF] SDM
ISO 200, ƒ6.7, 1/750
San Marco in Lamis Gargano Puglia Italia©2015 All rights reserved
FotoSketcher lively
Nikon coolpix p 7100
San Marco in Lamis è un comune italiano di 13.928 abitanti della provincia di Foggia, in Puglia.
San Marco in Lamis è nota soprattutto per la tradizionale Processione delle "fracchie", una manifestazione religiosa popolare molto suggestiva e assai singolare, che si ripete puntualmente da circa tre secoli ogni venerdì Santo per la rievocazione della Passione di Cristo, e che, ogni anno, richiama un grande afflusso di forestieri. Le fracchie sono delle enormi fiaccole, realizzate con grossi tronchi di albero di quercia o castagno aperti longitudinalmente a forma di cono e riempiti di legna, per essere incendiate all'imbrunire e divenire quindi dei falò ambulanti che illuminano il cammino della Madonna Addolorata lungo le strade del paese alla ricerca del figlio Gesù morto.Sembra che le origini di questo rito risalgano ai primi anni del XVIII secolo, epoca di edificazione della chiesa dell'Addolorata e le sue ragioni, oltre che di ordine religioso e devozionale, vadano collegate anche ad una motivazione di ordine pratico riconducibile alle precise condizioni fisiche dell'abitato. Infatti, quando venne costruita (1717), la chiesa dell'Addolorata si trovava fuori del centro abitato e lì sarebbe rimasta fino all'ultimo ventennio del XIX secolo. Una collocazione questa che sollecitò la fantasia degli abitanti, i quali pensarono di illuminare con le "fracchie" la strada che la Madonna percorreva dalla sua chiesa fino alla Collegiata, dove era custodito il corpo del Cristo. Le “fracchie più grandi possono essere lunghe anche 13-14 metri e pesare anche 60-70 quintali di legno di quercia , castagno o abete .
da wikipedia
San Marco in Lamis is a town of 13,928 citizens in the Italian province of Foggia, Puglia, Italy.
San Marco in Lamis is a town of 13.928 citizens and comune in the province of Foggia in the Apulia region of southeast Italy. It is located in the Gargano massif area.Apart from some tourism conted to pilgrimages at the local Catholic sanctuary of St. Matthew, the economy is mostly based on agriculture.San Marco in Lamis is known for the traditional procession of "fracchie", a very popular religious manifestation suggestive and very singular, that is repeated regularly from about three centuries each friday Saint for the reenactment of the passion of Christ, and that each year draws a large influx of foreigners. The fracchie are huge torches, made with large trees oak opened longitudinally cone-shaped and filled with wood, to be burned at dusk and become so a itinerant bonfires that illuminate the journey of our Lady of Sorrows along the roads of the country in search of the son Jesus died.It seems that the origins of this rite dates back to the early 18th century, a time of edification of the Church of our Lady of sorrows and his reasons as well as religious and devotional order, should be connected to a practical motivation due to precise physical conditions of the town. In fact, when it was built (1717), the Church of our Lady of Sorrows was out of town and would remain there until the last two decades of the 19th century. A bin that solicited the imagination of the inhabitants, whom they thought to illuminate with the "fracchie" the way that she ran from her church until the collegiate, where he guarded the body of Christ. The"Fracchia" can also get the length of 13-14 meters and weigh 60-70 quintals of wood of oak. From wikipedia
131 East 6th Street, Tempe, Maricopa County, AZ Jul 2, 2011 — I shot multiple exposures then converted five images to tiffs using Lightroom. I used Photomatrix to tone-map the HDR image. I spruced-up the image using the plug-in Topaz, and touched-up the image using Photoshop.
PENTAX K-5
SMC Pentax-DA* 16-50mm ƒ2.8 ED AL [IF] SDM
ISO 100-200, ƒ20, 1/60-320
Cap 110, Martinique, West French Indies.
extrait de wikipedia :
Dans la nuit du 8 au 9 avril 1830, vers 23 heures, un mystérieux bateau de traite clandestine s’est échoué sur les rochers de l’Anse Caffard, au nord de la ville du Diamant, laissant 86 survivants recueillis par M. Dizac, géreur de l’Habitation La Tournelle[réf. souhaitée]. Il semble que personne n’ait jamais pu identifier ce navire, ni son équipage qui aurait entièrement péri dans le naufrage avec un nombre important mais indéterminé enfermés dans les cales.[réf. souhaitée]
Les documents historiques[Lesquels ?] précisent toutefois, que les marins-négriers auraient été enterrés au cimetière du Diamant, et que les captifs du bateau l’auraient été à quelque distance du rivage.[réf. souhaitée]
Ce fait divers tragique, a pris une dimension historique et symbolique importante pour la ville du Diamant. Il s’agit du dernier naufrage de navire négrier de l'histoire de la Martinique. C’est la raison pour laquelle cette communauté, en 1998, a confié à Laurent Valère l’édification d’un mémorial sur le site présumé du naufrage, c'est-à-dire à l’Anse Caffard, au pied du Morne Larcher, face à la mer des Caraïbes.
Le monument nommé Cap 110 Mémoire et Fraternité, est une installation sculpturale faisant face à la mer et aux vents alizés. Il se situe dans le quartier Anse Caffard, sur une falaise faisant face au Rocher du Diamant à 3km au nord de la Ville du Diamant, dans le sud de la Martinique. Le site est accessible depuis Fort-de-France par la RN 5. Au Diamant, le monument est situé à la sortie de l’agglomération, face à la mer.
L'ensemble de l’œuvre a une forme triangulaire de 15 bustes. De 2,50m de hauteur, 1.50m de largeur, 0.60m de profondeur et d'un poids de 4.5 tonnes, chaque statue représente le buste d’un homme légèrement penché. Les statues sont en béton armé blanc avec sable et gravillon beige de Trinidad-et-Tobago. Elles sont scellées individuellement sur un socle de béton armé avec une fondation spéciale. Le poids total de l'installation est de 67,5 tonnes.
L’ensemble compact des statues rappelle l’importance du nombre des victimes de la traite des Noirs. Le rapprochement des bustes les uns des autres cherche à marquer l’idée d’un destin commun. Chaque buste penché rappelle le poids de ces évènements tragiques pour ceux qui les ont subi directement ou indirectement.
L’emplacement face à la mer rappelle que c’est de la mer que venaient les victimes de la traite.
La hauteur importante, 2,5m hors socle de chaque buste contribue à la solennité de l’ensemble de l’œuvre.
La forme triangulaire rappelle le commerce du même nom.
L’orientation au cap 110 est celle du Golfe de Guinée d’où venait vraisemblablement le navire.
La couleur blanche marque le deuil et la dimension funéraire du monument. Aux Antilles et en Afrique de l'Ouest, le blanc est la couleur du deuil et des constructions funéraires.
L'absence de chaînes s'explique par le fait que les captifs africains, morts sur place n’ont jamais été esclaves sur la terre martiniquaise.
excerpt from wikipedia (approximative translation...):
On the night of 8 to 9 April 1830 , to 23 hours , a mysterious slave trading ship ran aground on the rocks of Anse Caffard , north of the town of Diamond , leaving 86 survivors collected by Mr. Dizac , the overseer of Housing Tournelle [ref. desired ] . It seems that nobody has ever been able to identify the ship or its crew would have perished in the sinking entirely with a large but unknown number trapped in the holds. [Ref. desired ]
Historical documents [Who ?] However indicate that marine - slavers were buried in the cemetery of Diamond, and the captivity of the boat would have been some distance from shore. [Ref. desired ]
This tragic event has taken an important historical and symbolic for the city of Diamond . This is the last slave ship wreck in the history of Martinique. That is why this community in 1998 , told Laurent Valere build a memorial on the alleged wreck site , that is to say Anse Caffard at the foot of Morne Larcher facing the Caribbean Sea.
The monument named Cap 110 Memory and fraternity, is a sculptural installation facing the sea and the trade winds . It is located in Anse neighborhood Caffard on a cliff facing Diamond Rock 3km north of the City of Diamond in the south of Martinique . The site is accessible from Fort -de- France by the RN 5. Diamant , the monument is located at the exit of the town, facing the sea
The whole work has a triangular shape 15 busts . 2.50 m in height , 1.50m wide, 0.60m deep and weighing 4.5 tons , each statue represents the bust of a man leaning slightly . The statues are made of white concrete with sand and gravel beige Trinidad and Tobago . They are individually sealed on a foundation of reinforced concrete with a special foundation . The total weight of the system is 67.5 tonnes .
The compact all statues recalls the importance of the number of victims of the slave trade . The approximation busts each other trying to score the idea of a common destiny. Each bust looked as the weight of these tragic events for those who have been directly or indirectly.
The location facing the sea recalls that it is the sea that were victims of trafficking.
The significant height , 2.5 m off the base of each bust contributes to the solemnity of the whole work .
The triangular shape is reminiscent of the trade of the same name .
The orientation course 110 is the Gulf of Guinea where the ship had probably .
The white mark mourning and funeral dimension of the monument. The Caribbean and West Africa , white is the color of mourning and burial structures .
The lack of channels is explained by the fact that African captives died on the spot were never slaves in Martinique earth.
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En 1922 il est nommé ministre de la Guerre sous le gouvernement de Raymond Poincaré. Il se préoccupe alors de la défense des frontières françaises et fait réaliser des forts. Remplacé en 1924 par Paul Painlevé, il travaille avec lui pour lever des fonds dans le but d'améliorer la défense du pays. Les travaux démarrent en 1928.
Il redevient ministre de la Guerre en 1929 et poursuit les fortifications à l'est de la France. Persuadé que des défenses fixes sont la meilleure solution il redynamise le projet expérimental qui n'a que peu avancé. Son objectif est de pallier la remilitarisation le long du Rhin qui doit être possible dès 1935. Son activisme permet de boucler le financement de la ligne Maginot : 3,3 milliards de francs sur quatre ans qui est voté par 274 voix contre 26. Bien que la ligne défensive appelée ligne Maginot soit principalement due à Paul Painlevé son édification n'aurait pu être possible sans les démarches et la volonté de Maginot.
In 1922 he was appointed minister of war under the government of Raymond Poincaré. It is then concerned with the defense of the French border and is making strong. Replaced in 1924 by Paul Painlevé, he worked with him to raise funds in order to improve the defense. Work started in 1928.
He becomes Minister of War in 1929 and continues fortifications east of France. Convinced that fixed defenses are the best solution it revitalizes the experimental project that has little advanced. Its aim is to overcome the remilitarization along the Rhine, which must be possible from 1935. His activism helps complete the financing of the Maginot Line: CHF 3.3 billion over four years, which is voted by 274 votes against 26. Although the defensive line called the Maginot Line is mainly due to Paul Painlevé its construction would not have been possible without the efforts and willingness Maginot.
Primarily posted for my own edification due to the logo being a part of an artist’s concept print. And having no clue regarding it drove me up a wall, so it was imperative that I identify/attribute it. So, tah-dah I guess…for me that is. The search/research for/of it also helped to clarify the whole shuttle program development mix.
North American Rockwell was one of the two contractors awarded "Phase B" shuttle development contracts. McDonnell Douglas was the other.
I wonder what their logo was? Did they develop one?
Was it contractually required? For brownie points? One-upmanship/corporate mind games? Or maybe, just maybe…because of who NAR had ‘in-house’ to create & render it?
Entire document at:
ntrs.nasa.gov/api/citations/19740023217/downloads/1974002...
Finally, in conclusion, the contractor identification/attribution of/to North American Rockwell, and it’s uncanny similarity to another series of space shuttle artist’s concepts by them, leads me to believe the below linked images are ‘also’ by Robert McCall. In fact, the logo may very well be his design/creation. Heck, he probably banged it out in a couple of minutes, using one hand...while sipping a cup of coffee with the other.
Actually, it kind of explains/accounts for the logo. If you have a rockstar already creating the ‘storyboard(s)’, or whatever the proper terminology is, why not do it up right & brand the presentation package…with a logo. He may have even thrown it in for free. 😉
Illustration of space planning by the Chinese government.
A group of buildings emerging from nowhere …
Since ancient times, China has always carried out planning actions in the building of cities.
Geometric layouts of communication routes and buildings, choice of architectures ...
Since the eighties, the leaders of the country have made the choice of urban planning, based upon high-rise buildings, grouped on a restricted perimeter.
The assumption being that in less than twenty years, three quarters of the population will be urban.
But today, some reports say that over 60 millions of apartments are still unoccupied !
A huge housing bubble is ready to blow up !
* * *
Illustration de la planification de l'espace par le gouvernement chinois.
Un ensemble de bâtiments de grandes hauteurs émergeant au milieu de nulle part …
Depuis des temps anciens, la Chine a toujours mené des actions de planification dans l'édification des villes.
Schémas géométriques de disposition des voies de communications et des bâtis, choix des architectures …
Depuis les années quatre-vingts, les dirigeants du pays ont fait le choix d'un urbanisme d'immeubles de grande hauteur, regroupés sur un périmètre restreint.
Le postulat étant que d'ici moins de vingt ans, les trois quarts de la population sera urbaine.
Mais aujourd'hui, certains rapports estiment à plus de soixante millions le nombre de logements inoccupés.
Une énorme bulle immobilière prête à éclater !
The courtyard of the Kalon mosque basks in the soft warm glow of the late afternoon / early evening sun. Photo taken on July 08, 2012 in Bukhara, Uzbekistan.
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
The Camargue (French pronunciation: [kaˈmaʁɡ]) (Provençal Carmaga) is a natural region located south of Arles, France, between the Mediterranean Sea and the two arms of the Rhône River delta. The eastern arm is called the Grand Rhône; the western one is the Petit Rhône.[1]
Administratively it lies within the département of Bouches-du-Rhône, the appropriately named "Mouths of the Rhône", and covers parts of the territory of the communes of Arles – the largest commune in Metropolitan France, Saintes-Maries-de-la-Mer – the second largest – and Port-Saint-Louis-du-Rhône. A further expanse of marshy plain, the Petite Camargue (little Camargue), just to the west of the Petit Rhône, is in the département of Gard.
Camargue was designated a Ramsar site as a "Wetland of International Importance" on 1 December 1986.
Contents
1 Geography
2 Flora and fauna
3 Regional park
4 Human Influence
5 In popular culture
6 See also
7 References
8 Sources
9 External links
Geography
Map of the Camargue
With an area of over 930 km2 (360 sq mi), the Camargue is western Europe's largest river delta. It is a vast plain comprising large brine lagoons or étangs, cut off from the sea by sandbars and encircled by reed-covered marshes. These are in turn surrounded by a large cultivated area.
Approximately a third of the Camargue is either lakes or marshland. The central area around the shoreline of the Étang de Vaccarès has been protected as a regional park since 1927, in recognition of its great importance as a haven for wild birds. In 2008, it was incorporated into the larger Parc naturel régional de Camargue.
Flora and fauna
Flamingos in the Camargue
Horses and cattle in the Camargue
The Camargue is home to more than 400 species of birds and has been identified as an Important Bird Area (IBA) by BirdLife International.[2] Its brine ponds provide one of the few European habitats for the greater flamingo. The marshes are also a prime habitat for many species of insects, notably (and notoriously) some of the most ferocious mosquitos to be found anywhere in France. Camargue horses (Camarguais) roam the extensive marshlands, along with Camargue cattle (see below).
The native flora of the Camargue have adapted to the saline conditions. Sea lavender and glasswort flourish, along with tamarisks and reeds.
Regional park
Main article: Parc naturel régional de Camargue
Officially established as a regional park and nature reserve in 1970, the Parc Naturel Régional de Camargue covers 820 km². This territory is some of the most natural and most protected in all of Europe. A roadside museum provides background on flora, fauna, and the history of the area.
Human Influence
Humans have lived in the Camargue for millennia, greatly affecting it with drainage schemes, dykes, rice paddies and salt pans. Much of the outer Camargue has been drained for agricultural purposes.
The Camargue has an eponymous horse breed, the famous white Camarguais. Camargue horses are ridden by the gardians (cowboys), who rear the region's cattle for fighting bulls for export to Spain, as well as sheep. Many of these animals are raised in semi-feral conditions, allowed to roam through the Camargue within a manade, or free-running herd. They are periodically rounded up for culling, medical treatment, or other events.
A 20th-century "gardian" home. The pole is used to climb up and oversee the animals
Few towns of any size have developed in the Camargue. Its "capital" is Arles, located at the extreme north of the delta where the Rhône forks into its two principal branches. The only other towns of note are along the sea front or near it: Saintes-Maries-de-la-Mer, about 45 km to the southwest and the medieval fortress-town of Aigues-Mortes on the far western edge, in the Petite Camargue. Saintes-Maries-de-la-Mer is the destination of the annual Romani pilgrimage for the veneration of Saint Sarah.
The Camargue was exploited in the Middle-Ages by Cistercian and Benedictine monks. In the 16th-17th centuries, big estates, known locally as mas, were founded by rich landlords from Arles. At the end of the 18th century, they had the Rhône diked to protect the town and their properties from flooding. In 1858, the building of the digue à la mer (dyke to the sea) achieved temporary protection of the delta from erosion, but it is a changing landform, always affected by waters and weather.
The north of the Camargue is agricultural land. The main crops are cereals, grapevine and rice. Near the seashore, prehistoric man started extracting salt, a practice that continues today. Salt was a source of wealth for the Cistercian "salt abbeys" of Ulmet, Franquevaux and Psalmody in the Middle Ages. Industrial salt collection started in the 19th century, and big chemical companies such as Péchiney and Solvay founded the 'mining' city of Salin-de-Giraud.
The boundaries of the Camargue are constantly revised by the Rhône as it transports huge quantities of mud downstream – as much as 20 million m³ annually. Some of the étangs are the remnants of old arms and legs of the river. The general trend is for the coastline to move outwards as new earth is deposited in the delta at the river's mouth. Aigues-Mortes, originally built as a port on the coast, is now some 5 km (3.1 mi) inland. The pace of change has been modified in recent years by man-made barriers, such as dams on the Rhône and sea dykes, but flooding remains a problem across the region.
In popular culture
The area was the namesake of Operation Camargue during the First Indochina War of the French in its colony of Vietnam.
Captain Horatio Hornblower, RN raided the Étang de Vaccarès in 1810, according to C. S. Forester's 1938 novel A Ship of the Line.
The 1953 children's film Crin-Blanc, known in English as White Mane, portrays the Camarguais horses and region through the eyes of a boy. Directed by Albert Lamorisse, the black-and-white film won the Prix Jean Vigo award and the Cannes Film Festival's Grand Prize, both for short film.
The majority of the youthful romance movie Friends (1971) takes place in the Camargue, with numerous scenes of wetlands and wildlife. "Michelle's Song," from the soundtrack by Bernie Taupin and Elton John, includes the phrase, "tiny daughter of the Camargue."
The Hammer Films thriller Maniac (1963) was partly filmed in the Camargue.
Part of the plot of Alistair MacLean's thriller, The Way to Dusty Death, is set in the Camargue.
Large parts of Michael Moorcock's Dorian Hawkmoon fantasy cycle take place in a future version of the Camargue (spelt Kamarg in the novels).
Part of Eagle Strike, the fourth book in the Alex Rider series of spy novels for young adults by Anthony Horowitz, is set in the Camargue.
The ultra-rare Pininfarina-designed Rolls-Royce Camargue was named after the region.
Patricia Wilson's book, the Gathering Darkness, is set in Camargue with the hero Luc holding the title of a Marquee.[3]
See also
Bac du Sauvage
Folco de Baroncelli-Javon
Camargue cattle
Camargue equitation
Camargue horse
Camargue red rice
Gardian
Manade
References
Wikisource-logo.svg Chisholm, Hugh, ed. (1911). "Camargue". Encyclopædia Britannica (11th ed.). Cambridge University Press.
"Camargue". Important Bird Areas factsheet. BirdLife International. 2013. Archived from the original on 10 July 2007. Retrieved 2013-08-31.
www.goodreads.com/book/show/911601.The_Gathering_Darkness
La Camargue ([ka.maʁg] en français standard, [kaˈmaʁgə] localement) est une région naturelle française située au bord de la mer Méditerranée, dans les départements des Bouches-du-Rhône et du Gard, et formée par le delta du Rhône.
La Camargue est une zone humide paralique de 150 000 hectares qui abrite de nombreuses espèces animales et végétales. Elle est classée comme réserve de biosphère et parc naturel régional1. Depuis le XIXe siècle, elle fait l'objet d'opération de maitrise de l'eau.
Sommaire
1 Toponymie
2 Géographie
2.1 Climat
3 Histoire
3.1 Géologie et aménagements
3.2 Population
4 Démographie
5 Environnement
5.1 Milieux naturels
5.2 Faune et flore sauvages
5.3 Protection de l'environnement
6 Culture et patrimoine
6.1 Patrimoine architectural
6.2 Costumes traditionnel
6.3 Cuisine
6.4 Fêtes
6.5 Identité et symboles
7 Économie
7.1 Riz
7.2 Roseau
7.3 Sel
7.4 Élevage
7.5 Industries
8 Notes et références
9 Voir aussi
9.1 Articles connexes
9.2 Liens externes
9.3 Bibliographie
Toponymie
La Camargue en provençal s'écrit Camargo ([ka'maʀgɔ]).
Selon les lexicographes Bénédicte et Jean-Jacques Fénié « Camargue […] serait un nom d’origine latine, issu probablement d’un domaine du sénateur Camars de la gens Annia fort influente à Arles, il est formé avec le suffixe -icus » (qui signifie « qui est relatif à »)2.
D'autres hypothèses — non étayées par des documents d'archives — ont été recensées par le poète camarguais Elly Rul : Caii Marii Agger (retranchement ou camp de Marius en latin), Ca-mar (champ recouvert d’eau, en dialecte celto-ligurien), cara-marca (« chère frontière », en langue d’oc), ou n’a cap marca (« n’a pas de frontière »)3. L'hypothèse Caii Marii Agger a été également soutenue par l'historien du XVIIIe siècle Louis-Pierre Anquetil4.
Géographie
La Camargue forme un triangle de 150 000 hectares dont les pointes sont Arles, Le Grau-du-Roi et Fos-sur-Mer. On distingue trois parties1 :
la Camargue, comprise entre les deux bras du Rhône encore actif, le Grand-Rhône à l'est et le Petit-Rhône à l'ouest (Bouches-du-Rhône) ;
la Petite Camargue, à l'ouest du Petit-Rhône, dans le département du Gard et l'est de l'Hérault
le Plan du Bourg à l'est du Grand-Rhône (Bouches-du-Rhône).
Les ponts de Camargue.
Arles : le pont de Trinquetaille (1950) sur le grand Rhône.
Fourques - Pont historique sur le petit Rhône.
Pont de Sylvéréal sur le petit Rhône.
Arles, au nord du delta, est la plus grande ville de Camargue. Son territoire communal, le plus grand de France métropolitaine, couvre la majeure partie de la Grande Camargue. Le reste est couvert par les communes des Saintes-Maries-de-la-Mer (la deuxième plus étendue de France métropolitaine) et de Port-Saint-Louis-du-Rhône.
Le delta comprend deux zones. Au nord, une Camargue fluvio-lacustre dominée par l'eau douce. Un système d'irrigation y a été construit au fil des siècles, permettant l'agriculture et notamment la riziculture. Au sud se trouve une Camargue laguno-marine façonnée par les incursions de la mer et sous l'emprise du sel : on y trouve les marais salants de Salin-de-Giraud et d'Aigues-Mortes. Entre le nord et le sud, l'étang de Vaccarès et ses marais périphériques forment une zone de transition5.
Un canal.
Étang de Vaccarès.
Prairie inondée.
Rizière.
Climat
Article connexe : Climat méditerranéen.
La Camargue est soumise au climat méditerranéen avec une longue période estivale, chaude et sèche, des hivers doux, un ensoleillement important et des précipitations irrégulières. Son climat comporte des particularités liées à sa situation géographique au sud du couloir rhodanien entre les Cévennes et les Alpes du Sud. Ainsi les automnes, et dans une moindre mesure les périodes avril-début mai, sont arrosés par des précipitations brèves, mais importantes et les hivers parfois rigoureux à cause du mistral.
En hiver les températures descendent fréquemment sous zéro sur des périodes pouvant dépasser parfois plusieurs semaines.
Des orages se produisent généralement en automne et peuvent provoquer des précipitations de 200 mm par jour et parfois plus. De durée de quelques heures, ils sont en souvent violents. Toutefois, la hauteur annuelle des précipitations n’est que de 524 mm, une des plus faibles de France et le nombre de jours de pluie (+ 1 mm/jour) d’environ 60 par an.
Histoire
Carte des tours-sémaphores et des avancées de la Camargue depuis le XIVe siècle.
Article détaillé : Histoire de la Camargue.
Géologie et aménagements
Le delta du Rhône s'est formé il y a environ 10 000 ans par la pénétration et le recul de la mer puis l'édification de flèches de sable6.
Dès l'Antiquité, le delta est mis en culture et voit la création de grands domaines agricoles. La construction de digues débute au Moyen Âge alors que l'exploitation forestière fait reculer les boisements6. Du XVIIe au XIXe siècle, l'agriculture et les salins progressent ainsi que la construction de digues se poursuit6.
Au cours du XXe siècle, le débit du Rhône est canalisé et les flux d'eau maitrisés par l'irrigation et le drainage. La riziculture et le maraichage se développent au cours de la seconde partie du siècle ainsi que l'industrialisation et l'urbanisation aux périphéries de la Camargue, ce qui provoque une régression générale des milieux naturels : entre 1944 et 1988, le delta perd 40 000 hectares d'espaces naturels. C'est à partir de cette époque que se mettent en place des politiques de protection des paysages et de l'écosystème (parc régional, espaces protégés, etc.)6.
Population
Ouvrier indochinois dans une rizière de Camargue.
Soumise à la mer et au Rhône, la Camargue n'a jamais connu d'importantes densités de population. Les plus importantes se sont établies à la périphérie du territoire : Arles dès l'Antiquité, Saint-Gilles et Aigues-Mortes au Moyen Âge7.
Parmi les habitants de Camargue, on compte de grands propriétaires terriens issus de Paris, Lyon, Marseille, Sète et Arles et de nombreuses communautés venues travailler dans le delta du Rhône. Les salins embauchent dès le XIXe siècle des ouvriers grecs, italiens, arméniens alors que des Espagnols et Maghrébins travaillent dans l'agriculture7.
Le village de Salin-de-Giraud est ainsi créé par le besoin de main-d'œuvre qu'il faut fidéliser : deux cités ouvrières y sont construites. La commune de Port-Saint-Louis-du-Rhône est créée en 1904 : jusqu'au milieu du XIXe siècle, ce territoire était peuplé de chasseurs, pêcheurs et gardiens de troupeaux mais le développement du port — notamment soutenu par des investissements lyonnais — favorise l'industrialisation. La ville fait aujourd'hui partie du complexe portuaire de Marseille7.
À partir de la Seconde Guerre mondiale, la France a fait venir de force en métropole des Indochinois grâce à qui, en Camargue, on développe la riziculture8.
Une communauté gitane originaire de Catalogne est également implantée à Arles ainsi que des familles harkies7.
Démographie
Démographie des communes dont le territoire fait tout ou partie de la Camargue Communes 1962 1968 1975 1982 1990 1999 2006 2007 2008 2009
Aigues-Mortes 4 203 4 197 4 531 4 472 4 999 6 019 7 115 7 891
Arles 41 932 45 774 50 059 50 500 52 058 50 426 51 970 52 197 52 729 52 979
Fourques 1 489 1 492 1 614 2 047 2 251 2 544 2 742 2 880 2 888 2 897
Le Grau-du-Roi 2 363 3 354 3 963 4 152 5 253 5 875 7 892 8 173 8 110
Port-Saint-Louis-du-Rhône 6 278 8 285 10 393 10 378 8 624 8 123 8 483 8 530 8 535
Saint-Gilles 6 721 8 472 8 679 9 887 11 304 11 626 13 234 13 507 13 735
Saint-Laurent-d'Aigouze 1 862 1 862 1 728 1 730 2 323 2 738 3 152 3 224 3 246
Saintes-Maries-de-la-Mer 2 179 2 244 2 120 2 045 2 232 2 479 2 341 2 317 2 394 2 309
Vauvert 5 031 6 345 7 472 9 103 10 296 10 261 10 853 11 247 11 030
Total 73 425 83 531 92 170 96 222 101 441 102 420 110 369 111 046 113 252 113 459
Nombre retenu à partir de 1962 : Population sans doubles comptes
La Grande Camargue compte aujourd'hui environ 10 000 habitants essentiellement concentrés dans la commune des Saintes-Marie-de-la-Mer (2 317 habitants), le quartier Trinquetaille et le village de Salin-de-Giraud (sur la commune d'Arles). La densité de population est de seulement 10 hab/km2.
Environnement
Milieux naturels
Malgré un relief très plat, la Camargue compte de nombreux milieux différents.
Le littoral, entièrement sableux, s'étend sur 95 km. La pointe de Beauduc et celle de l’Espiguette sont des lieux de dépôts des sédiments du Rhône et la plage peut y atteindre un kilomètre de large. Près de Salin-de-Giraud et des Saintes-Maries-de-la-Mer, la plage en revanche tend à reculer9.
Par endroits, la mer a créé des graus, des voies d'eau reliées aux lagunes. Celles-ci sont peu profondes et connaissent des variations de niveau et de salinité en fonction notamment du vent. Les marais ou « roubines », alimentés en eau douce ou peu salée par des canaux, peuvent être plus profonds et abritent des roseaux, des iris ou des joncs voire, pour ceux régulièrement asséchés, une flore spécifique9.
Les « sansouires » sont des steppes au sol salé où poussent des plantes adaptées, les salicornes. Souvent mises en culture, celles qui subsistent sont aujourd'hui protégées9.
Les espaces de pelouse ont été pour beaucoup remplacés par des rizières alors que les espaces boisés n'occupent plus que 3 % de la Camargue, le long du fleuve9.
Un étang.
Sansouire.
Eau saumâtre.
Petit-Rhône.
Faune et flore sauvages
La Camargue abrite un patrimoine vivant exceptionnel et accueille de nombreuses espèces animales et végétales.
La région est une halte migratoire pour les canards et les oiseaux d'eau : on recense 150 000 individus en transit chaque année. De nombreux canards hivernent notamment sur l'étang de Vaccarès. En été, on compte jusqu'à 30 000 flamants roses : la Camargue est le seul lieu annuel de reproduction en Europe pour cet animal. Un ilot a été aménagé pour sa reproduction sur l'étang du Fangassier10.
La Camargue abrite la cistude, une tortue d'eau douce qui vit dans les marais et les canaux, et le ragondin, introduit au XIXe siècle10.
La Camargue est également connue pour ses moustiques : on en dénombre 40 espèces10.
Enfin, le climat et le milieu particuliers voient le développement de végétaux adaptés, telles les salicornes et les saladelles, qui ont la particularité de pousser en milieu salé, ainsi que le lis des sables qui fleurit dans les dunes10.
Canards.
Flamants roses.
Ragondin et flamants roses.
Lis des sables.
Protection de l'environnement
Le patrimoine naturel camarguais est soumis à plusieurs contraintes qui le mettent en danger tels la pollution cariée par le Rhône, le recul des espaces naturels au profit de l'agriculture, la chasse ou encore la mer qui érode les plages du littoral11.
Premier espace protégé à avoir été mis en place en Camargue, la Réserve zoologique et botanique de Camargue a été créée en 1927 par la SNPN12. Elle comprenait alors notamment à cette époque l’étang du Vaccarès, les étangs des Impériaux (Impérial et Malagroy), l’étang du Fangassier, l’étang du Galabert et la Vignolle. En 1975, elle devient par arrêté ministériel la Réserve nationale de Camargue, toujours gérée par la SNPN, mais n’incluant plus les étangs des Impériaux ni le Fangassier, le Galabert et la Vignolle.
La loi du 2 mai 1930 a permis le classement de la Grande et de la Petite Camargue comme monuments paysagers.
Le parc naturel régional de Camargue a été créé en 1970 et couvre la majeure partie de la Grande Camargue. En outre, 193 000 hectares sont classés comme réserve de biosphère par l'Unesco.
Culture et patrimoine
Patrimoine architectural
Cabane de gardian et flamants
La chaumière de Camargue est une véritable habitation annexe. L'exemple de Salin-de-Giraud où elles ont formé une véritable agglomération en reste une preuve indéniable13. Pour leur construction, ce sont les roseaux des marais, la sagne, qui sont utilisés. Ce type d'habitation édifié avec un matériau extrêmement périssable ne permet pas de remonter plus loin que le milieu du XVIIe siècle pour retrouver des chaumières encore intactes. Mais leur trace historique remonte jusqu'au Moyen Âge puisque l'on sait que le village des Saintes-Maries-de-la-Mer brûla à cause de ses chaumières. Plus près de nous, les ouvriers sauniers des Salins-de-Giraud étaient logés dans vingt-deux chaumières dont l'abside était tournée vers le Nord-Ouest pour résister aux vents dominants14.
Le mas est également un édifice typique de Camargue. Généralement implantés le long du fleuve ou en hauteur, à l'abri du vent par des bosquets, les mas sont construits avec leur façade au sud15.
Le long du Rhône se trouvent également des tours de guets construites pour surveiller le delta et assurer une protection contre les envahisseurs. Celles construites à partir du XVe siècle servaient surtout de contrôle du commerce15.
La plupart des phares de Camargue ont été construits au XIXe siècle15 mais dès l'Antiquité, Strabon notait que les Massaliotes édifiaient des tours qui servaient de signaux16.
On trouve également en Camargue des châteaux, comme le château d'Espeyran ou le château d'Avignon15.
Costumes traditionnel
Tenue de travail en Camargue au début du XXe siècle
Les costumes portés traditionnellement par les paysans et artisans sont généralement à l'origine des costumes citadins et bourgeois17.
Ainsi, le paysan provençal du XVIIIe siècle portait une culotte « à la française » avec des bas ou des guêtres de peau, un gilet et une jaquette à deux basques. Notons la taillolle (taiolo), ceinture de laine, généralement rouge, portée à la taille.
Le costume des femmes arlésiennes était porté quotidiennement par un certain nombre de femmes jusque dans les années 195018. Il se distingue par une coiffe spéciale qui nécessite le port de cheveux longs. En fonction des jours de la semaine et des tâches à accomplir, cette coiffure était retenue sur le sommet de la tête par un ruban, une cravate ou un nœud de dentelles19. Parmi les pièces qui composent actuellement l'habillement, il y a la chapelle (plastron de dentelle en forme de trapèze), apparue en 1860, et qui couvre la poitrine20, le grand châle de forme carrée, qui moule le buste, la robe longue en satin de différentes couleurs et toujours pincée à la taille, les dorures (bijoux, agrafes, boucles ou crochets) qui sont transmises de génération en génération21 dont les boucles d'oreilles (pendants ou brandanto) réservées aux femmes mariées22.
Jusque dans les années 1920, il n'y avait aucun costume particulier réservé aux gardians. C'est le marquis Folco de Baroncelli-Javon, fondateur de la Nacioun gardiano, qui fixe le standard actuel avec la veste de velours et le pantalon en peau de taupe. La tradition veut que pour la veste, il ait repris le modèle que portait son ami Yvan Pranishnikoff lorsqu'il était cadet au collège impérial russe23.
Cuisine
Article détaillé : Cuisine arlésienne et camarguaise.
La cuisine de la Camargue est influencée par son environnement mais a évolué au cours des siècles, notamment avec l'arrivée des produits comestibles du Nouveau monde, l'apport de la culture du riz et l'élevage taurin24.
Fêtes
Raseteur et taureau lors d'une course camarguaise.
Les villes d'Arles et des Saintes-Maries-de-la-Mer organisent chacune chaque année deux férias : elles se déroulent sur plusieurs jours et accueillent de nombreuses festivités25.
On peut y voir des courses camarguaises, un sport né de jeux organisés par les gens des mas au cours duquel des raseteurs habillés de blanc et aidés de crochets essaient d’ôter la cocarde fixée sur le front d'un taureau, mais également des corridas.
Les Saintes-Maries-de-la-Mer qui, selon la légende, est le lieu de débarquement des saintes, accueille des pèlerinages : depuis 1448 le 25 mai et le dimanche le plus proche du 22 octobre à Marie Jacobé et Marie Salomé et, depuis 1935, à Sainte Sara. Ce dernier pèlerinage en l'honneur de la sainte patronne des Gitans donne lieu à d'importants déplacements et a un impact touristique important25.
Identité et symboles
Blason de la Camargue
Croix camarguaise.
La Camargue dispose d'une identité propre au sein de la Provence. Au XIXe siècle et XXe siècle, les « manadiers-poètes » Joseph d'Arbaud et Folco de Baroncelli-Javon ont glorifié dans la mouvance de Frédéric Mistral les élevages de taureaux et de chevaux. L'Antique Confrérie des gardians de Saint-Georges, fondée en 1512, célèbre chaque année sa fête à Arles, le 1er mai. Cette corporation a gardé un rôle de secours mutuel auprès des gardians professionnels26. L'association La Nacioun gardiano a été créée en 1909 pour préserver la culture camarguaise et la langue d'oc25.
La croix de Camargue a été créée en 1926 par Hermann-Paul. Elle symbolise la foi (croix), l'espérance (ancre) et la charité (cœur). Les extrémités en forme de trident symbolisent les gardians25.
Économie
Riz
Riz de Camargue.
Article détaillé : Riz de Camargue.
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Roseau
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Sel
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Élevage
Articles connexes : Camargue (cheval) et Taureau de Camargue (AOC).
Cette section est vide, insuffisamment détaillée ou incomplète. Votre aide est la bienvenue ! Comment faire ?
Industries
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Notes et références
↑ a et b Le Parc, territoire : Situation géographique
↑ Bénédicte et Jean-Jacques Fénié, Toponymie occitane, Sud-Ouest université, 1997.
↑ D'Elly Rul, La Camargue gardiane, Michel Delaveau, Paris, 1938.
↑ Louis-Pierre Anquetil, Histoire de France, édition 1833, t.1, p. 53-54.
↑ « 2 zones paysagères », sur Parc naturel régional de Camargue
↑ a, b, c et d « Évolution du paysage », sur Parc naturel régional de Camargue
↑ a, b, c et d « Évolution des populations », sur Parc naturel régional de Camargue
↑ Pierre Daum, « 20 000 travailleurs forcés d'Indochine oubliés par la France », sur Rue89
↑ a, b, c et d « Une mosaïque de milieux », sur Parc naturel régional de Camargue
↑ a, b, c et d « Une multitude d'espèces », sur Parc naturel régional de Camargue
↑ « Un patrimoine menacé », sur Parc naturel régional de Camargue
↑ Naissance de la Réserve Nationale de Camargue
↑ Fernand Benoit, op. cit., p. 74.
↑ Fernand Benoit, op. cit., p. 75.
↑ a, b, c et d « Patrimoine bâti », sur Parc naturel régional de Camargue
↑ Jean-Paul Clébert, op. cit., p. 393.
↑ Fernand Benoit op. cit., p. 111.
↑ Fernand Benoit op. cit., p. 114.
↑ Fernand Benoit op. cit., p. 122.
↑ Fernand Benoit op. cit., p. 127.
↑ Fernand Benoit op. cit., p. 128.
↑ Fernand Benoit op. cit., p. 129.
↑ Le costume du gardian de Camargue
↑ « Cuisine de Camargue », Muriel et Luc Chazel, édition Édisud, (ISBN 978-2-7449-0798-2)
↑ a, b, c et d « L'invention d'une identité », sur Parc régional naturel de Camargue
↑ Remi Venture, La Confrérie des Gardians et sa fête annuelle, Marguerittes, Equinoxe, 1992 (ISBN 2-908209-52-7)
Voir aussi
Sur les autres projets Wikimedia :
Camargue, sur Wikimedia Commons
Articles connexes
Réserve naturelle nationale de Camargue
Parc naturel régional de Camargue
Abbaye d'Ulmet
Musée de la Camargue
Route du sel de la Camargue au Rouergue
Le Parc naturel régional de Camargue est un parc naturel régional situé dans le sud de la France, à l'ouest de la région Provence-Alpes-Côte d'Azur. Il a été créé le 25 septembre 19701. Il comprend une grande partie de la Grande Camargue entre les bras du delta du Rhône.
Sommaire
1 Un site d'importance européenne et mondiale
2 Le syndicat mixte de gestion
3 Galerie d'images
4 Notes et références
5 Voir aussi
5.1 Articles connexes
5.2 Liens externes
Un site d'importance européenne et mondiale
Logo du parc.
La Camargue est un site d'importance européenne2 et nationale majeure pour les oiseaux locaux, pour les migrateurs et particulièrement pour les hivernants puisqu'il s'agissait en 2000-2005 du premier site français en nombre d'hivernants accueillis chaque année (122 000 oiseaux, devant le Bassin d'Arcachon qui en accueille 105 000). La Camargue est aussi connue pour accueillir le flamant rose3. C'est pour cette raison que le territoire de la Camargue fait l'objet de mesures de protection et d'engagements internationaux4 :
En 1928 fut créée la réserve botanique et zoologique. L'arrêté ministériel en date du 24 avril 1975 classe officiellement la Camargue en Réserve Naturelle Nationale. Elle est gérée par la Société nationale de protection de la nature. La zone protégée, essentiellement celle de l'étang de Vaccarès, couvre 13 117 hectares. C'est l'une des plus grandes réserves humides d'Europe. Son habitat regroupe 276 espèces d'oiseaux dont 258 d'intérêt patrimonial.
Périmètre du PNR.
Une partie du territoire est protégée par les directives européennes Oiseaux et Habitats, ce qui se traduit par des zones de protection spéciale (ZPS) et des Zones spéciale de conservation (ZSC), rassemblées au sein du réseau Natura 2000.
En outre, 193 000 hectares sont classés en Réserve de biosphère dans le cadre du Programme MAB de l'Unesco5.
Enfin, 114 000 hectares de la Camargue gardoise et de l'Île de Camargue (partie centrale du parc) sont inscrits sur la liste des zones humides d'importance internationale de la convention de Ramsar6.
Le syndicat mixte de gestion
Le parc naturel régional a été créé en 1970 par des acteurs privés regroupés au sein d'un syndicat mixte de gestion. Son premier Président fut François Hüe. Les manadiers sont attachés à promouvoir la race du cheval Camargue et l'AOC du Taureau Camargue. La riziculture fait partie intégrante de l'agriculture camarguaise.
Articles détaillés : Camargue (race bovine) et Riz rouge de Camargue.
L'Association des éleveurs français de taureaux de combat est étroitement associée à la préservation du parc, le maintien de l'élevage extensif des taureaux de combat, les taureaux de la « raço di Biòu » (d'origine Camargue), ainsi que les chevaux de race Camargue, l'élevage extensif permet la conservation des milieux humides qui font la richesse biologique du delta du Rhône. l'élevage extensif permet la conservation des milieux humides qui font la richesse biologique du delta du Rhône7. En 2004, le parc a été institutionnalisé. À la suite d'un recours administratif auprès du Conseil d'État, le 17 février 2007, il fait l'objet de la loi no 2007-1773 du 17 décembre 2007 prolongeant la durée de validité du classement du parc naturel régional jusqu'au 18 février 20118.
Galerie d'images
Paysage du parc naturel régional de Camargue.
Flamants roses.
Paysage de Camargue.
Pré salé de Camargue.
Notes et références
↑ « Parc de Camargue : 40 ans et de nouveau défis dans le delta », La Provence, 5 janvier 2010
↑ Parc de Camargue (prédiagnostic Natura 2000
↑ fiche indicateurs Oiseaux hivernants pour 2000-2005
↑ R. Vianet, 2004. La Camargue : géographie, réglementation et institution
↑ Fiche de la Réserve de biosphère de Camargue sur le site internet de MAB France
↑ (en) « Camargue », sur Service d’information sur les Sites Ramsar (consulté le 18 mars 2015)
↑ élevage et écologie
↑ la loi no 2007-1773 du 17 décembre 2007 à consulter sur Légifrance.
Phoenix Convention Center, Phoenix, AZ Jun 23, 2011
PENTAX K-5
SMC Pentax-DA* 55mm ƒ1.4 SDM
ISO 1600, ƒ1.7, 1/500
I have been scaling up like this for almost 40 years now. Aspiring grandeur, what can I say? I felt we deserved scale, just like Marky Mark (Wahlberg) on his billboard, in his kecks, in Manhattan, That 'we' is us, the great diseased unwashed.
It felt like a simple (cheap-ish) gesture, and turned into a life.
It's strange how that happens.
Stealing a urinal was a simple (cheap) gesture too.
I am not comparing myself to Marcel. I am simply pointing out that patterns occur, and sometimes we have no idea which ones will have traction, though we do have murmurs of 'inklings', sub-seismic perhaps, that encourage us to move forward, to continue.
Something shifts. Those shifts can become 'drivers'.
For your edification it's the 'slice select' tool, under the dropdown choices in the 'Crop' tool in Photoshop.
I met up with some friends to shoot the clear skies and high tides (read: undesirable conditions) at Laguna Beach today, we still managed to have a great time. A little different from my usual (ie. I rarely include people), but I found the fisherman added a deeper story to the scene than one without him.
The title comes from a story Eric told us, basically imagine a photographer, with all his gear, being taken out by a rogue wave and swept into the channel on the left while his nude model is freaking out... (Eric was not the photographer, nor the model, but an intelligent bystander, shooting from a safe distance).
2010 CALENDARS now shipping!! - florisvanbreugel.smugmug.com/gallery/8609384_K59HN
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Prints available: florisvanbreugel.smugmug.com/
Adventures for your entertainment and edification: artinnature.wordpress.com/