View allAll Photos Tagged framework
Obrunnschlucht, Odenwald (Germany)
Zenza Bronica EC-TL
Zenzanon 2.4/80
Agfapan 400, expired 01/93
400 ISO, exposed @ 100 ISO
Rodinal 1+25
7min @ 22°C
A view through the roof of the new building of the Faculty of Science of the University of Trento, which hosts the lecture rooms.
See also Another Framework by Michele Pedrolli
That shield texture though.
Dragon Age: Inquisition
- Hotsampling via SRWE @ ~18MP | Lanczos3 downsampled
- ReShade Framework
- Hattiwatti Cinematic tools
KCR radio personnel got all dressed up, DJs for the crowd at the annual new years day Polar Bear Swim.
Medieval half-timbered houses in Place Plumereau in the old town of the city of Tours, Loire Valley, France
Some background information:
Tours is a city in the west of France. It is the administrative centre of the department of Indre-et-Loire and the largest city in the Centre-Val de Loire region (although it is not its capital, which is Orléans, the region's second-largest city. The city of Tours has about 135,000 inhabitants, while the population of the metropolitan area is about 500,000.
Tours stands on the lower reaches of the Loire river, between Orléans and the Atlantic coast. The surrounding district, the traditional province of Touraine, is known for its great wines, for the alleged perfection of its local spoken French, and for the Battle of Tours. The historical center of Tours (also called "Le vieux Tours") belongs to the UNESCO World Heritage Site "The Loire Valley between Sully-sur-Loire and Chalonnes". The city is also the end-point of the annual Paris–Tours cycle race.
In Gallic times the city was important as a crossing point of the Loire. After having become part of the Roman Empire during the 1st century, the city was named "Caesarodunum" (in English: "hill of Caesar"). The name evolved in the 4th century when the original Gallic name, Turones, became first "Civitas Turonum" and then "Tours". It was at this time that the amphitheatre of Tours was built, one of the five largest amphitheatres of the Empire. Tours became the metropolis of the Roman province of Lugdunum towards 380 to 388, dominating the Loire Valley, Maine and Brittany.
One of the outstanding figures of the history of the city was Saint Martin, second bishop of Tours, who shared his coat with a naked beggar in Amiens. This incident and the importance of Martin in the medieval Christian West made Tours, and its position on the route of pilgrimage to Santiago de Compostela, a major centre during the Middle Ages.
In 732, Abdul Rahman Al Ghafiqi and a large army of Muslim horsemen from Al-Andalus advanced 500 kilometres (311 miles) deep into France. They were stopped at Tours by Charles Martel and his infantry igniting the Battle of Tours. The outcome was a severe defeat for the Muslims, preventing France from Islamic conquest. In 845, Tours repulsed the first attack of the Viking chief Hasting. But in 850, the Vikings, still led by Hasting, settled at the mouths of the Seine and the Loire. In 852, they went up the Loire again and sacked the cities of Angers and Tours as well as the abbey of Marmoutier.
During the Middle Ages, Tours consisted of two juxtaposed and competing centres. The "city" in the east, successor of the late Roman 'castrum', was composed of the archiepiscopal establishment (the cathedral and palace of the archbishops) and of the castle of Tours. The "new city" in the west structured around the Abbey of Saint Martin was freed from the control of the City during the 10th century (an enclosure was built towards 918) and became "Châteauneuf". This space, organized between Saint Martin and the Loire, became the economic centre of Tours. Between these two centres remained Varennes, an area of vineyards and fields, little occupied except for the Abbaye Saint-Julien established on the banks of the Loire. Both centres weren’t linked until the 14th century.
After Tours had become the capital of the county of Touraine, the territory was bitterly disputed between the counts of Blois and Anjou. In the 11th century, the latter were victorious. In the 15th century, at the time of King Louis XI, the city became the capital of France and remained the permanent residence of the kings and the court until the 16th century. This era gave the region many private mansions and castles, joined together to some extent under the generic name of the Châteaux of the Loire. The reason was that many French noblemen wanted to live in the close proximity of the king to be noticed and win the king’s favour.
At that time Tours already had about 75,000 residents, a flourishing silk industry, many splendid town houses and an impressive gothic cathedral that testified to the city’s importance. But after Henry IV had become the new King of France, he switched both parliament and audit office back to Paris in 1594. This step and also the later construction of Versailles marked the beginning of Tour’s slow but permanent decline.
However, it was the arrival of the railway in the 19th century which saved the city by making it an important nodal point. At that time, Tours was expanding towards the south. The importance of the city as a centre of communications contributed to its revival and, as the 20th century progressed, Tours became a dynamic conurbation, economically oriented towards the service sector.
During World War I, the city was greatly affected by the American participation in the war. A force of 25,000 American soldiers arrived in 1917, setting up textile factories for the manufacture of uniforms, repair shops for military equipment, munitions dumps, an army post office and an American military hospital at Augustins. Thus Tours became a garrison town with a resident general staff. The American presence is remembered today by the Woodrow Wilson bridge over the Loire, which was officially opened in July 1918 and bears the name of the man who was President of the USA from 1913 to 1921.
But Tours was also marked by World War II. In June 1940, German incendiary bombs caused a huge fire which blazed out of control and destroyed part of the city centre. Some architectural masterpieces of the 16th and 17th centuries were lost, as was the monumental entry to the city. Because the Wilson Bridge which carried a water main, had been dynamited to slow the progress of the German advance, many inhabitants had no option but to flee to safety. More heavy air raids by Allied forces devastated the area around the railway station in 1944, causing several hundred deaths.
Today, Tours is a lovely city with many sights and a beautiful original medieval district. It is also called "The Garden of France" because of its many parks and the fertile surrounding region. Furthermore, the city is home to the François Rabelais University of Tours with its more than 30,000 students, making it a very vibrant university town.
España - Ciudad Real - Viso del Marqués - Palacio del Marqués de Santa Cruz
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ENGLISH:
It was built at the end of the 16th century by Álvaro de Bazán, first Marquis of Santa Cruz. It is currently the headquarters of the General Archive of the Navy.
It is one of the two palaces built by this sailor, knight of the Order of Santiago, captain of the Ocean Sea and admiral of the Spanish Navy. It is located next to the church of Nuestra Señora de la Asunción, and since 1948 it has been rented by its owners, the Marquises of Santa Cruz, to the Spanish Navy, who first used it as a Museum of the Spanish Navy and later expanded its functions by also establishing the General Archive of the Navy.
The building was frequented by the first marquis thanks to its location, halfway between Madrid, where the Court was, and Seville, whose port he often went to as the Spanish Navy was anchored there, of which he was admiral during the reign of Philip II.
The palace was nearly destroyed by the Austrian troops of Edward Hamilton during the War of the Spanish Succession at the beginning of the 18th century, but was saved by the actions of the Marquis's chaplain, the poet Carlos de Praves, thanks to whom we can admire it today. It suffered some damage due to the Lisbon earthquake in 1755, which collapsed the ceiling of the hall of honour, where the great fresco depicting the Battle of Lepanto had been painted, and toppled the four corner towers, which the chronicles of Philip II described as magnificent.
In it we can find maritime objects from the period. A figurehead belonging to a ship commanded by the Marquis is noteworthy. During the War of Independence, the French razed it, and by the time the Civil War came it had served as a granary, school, stable, prison and hospital, until in 1948 and at the request of Julio Guillén Tato, director of the Naval Museum, Mrs. Casilda de Silva Fdez. de Henestrosa, descendant of Álvaro de Bazán, rented it to the Navy for 90 years as a museum-archive, which is its current function. Also, in the adjoining parish church there is a 4m long stuffed crocodile attached to one of the vaults, which was offered by the Marquis as a votive offering upon his return from one of his voyages.
Between March and April 1823, King Ferdinand VII spent the night there, after leaving Madrid for Seville, before the entry of the French contingent called the Hundred Thousand Sons of Saint Louis, about whose stay Ferdinand VII did not write a word in his travel diary. The palace was declared a National Monument in 1931 and was restored from 1948 by the Navy under the direction of Admiral Guillén.
The palace was built between 1564 and 1586 with subsequent modifications. It is a square-shaped building in the Renaissance style, built around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes with two themes: mythological scenes on the one hand and naval battles and Italian cities related to the military career of the Marquis and his family on the other. The frescoes are by Italian Mannerist painters, the Péroli family. Upon seeing them, Philip II commissioned them to do work for El Escorial and the Alcázar of Toledo.
For its construction, the Marquis hired a team of architects, painters and decorators who worked on the building from 1564 to 1586. For some, the design of the building was due to the Italian Giovanni Battista Castello, known as the Bergamasco, who later worked in El Escorial; for others, it was designed, at least in its original plan, by Enrique Egas el Mozo.
The architecture is perceived as typically Spanish, without Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically mannerist ensemble understood as an elegant and courtly style that goes beyond the merely architectural framework.
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ESPAÑOL:
Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Se trata de uno de los dos palacios construidos este marino, caballero de la Orden de Santiago, capitán del Mar Océano y almirante de la Marina española. Está situado al lado de la iglesia de Nuestra Señora de la Asunción, y desde el año 1948 es alquilado por parte de sus propietarios, los marqueses de Santa Cruz, a la Armada Española, quien primero lo destinó a Museo de la Marina Española y más tarde amplió sus funciones estableciendo también el Archivo General de la Marina.
El edificio era frecuentado por el primer marqués gracias a su ubicación, a medio camino entre Madrid, donde estaba la Corte, y Sevilla, a cuyo puerto acudía a menudo al mantener allí anclada la Armada Española, de la cual fue almirante durante el reinado de Felipe II.
El palacio estuvo a punto de ser destruido por las tropas austracistas de Edward Hamilton durante la Guerra de Sucesión Española a principios del siglo XVIII, salvándose por la actuación del capellán del marqués, el poeta Carlos de Praves, gracias a lo cual hoy podemos admirarlo. Sufrió algunos daños a causa del terremoto de Lisboa en 1755: el cual hundió el techo del salón de honor, donde se había pintado el gran fresco que representaba la batalla de Lepanto, y desmochó las cuatro torres de las esquinas, que las crónicas de Felipe II describían como magníficas.
En él podemos encontrar objetos marineros de la época. Llama la atención un mascarón de proa perteneciente a una nave que dirigió el marqués. Durante la Guerra de la Independencia, los franceses lo arrasaron, y para cuando llegó la Guerra Civil había servido de granero, colegio, establo, cárcel y hospital, hasta que en 1948 y a instancias de Julio Guillén Tato, director del Museo Naval, doña Casilda de Silva Fdez. de Henestrosa, descendiente de Álvaro de Bazán se lo rentó a la Armada por 90 años como museo-archivo, que es en la actualidad su función. Asimismo, en la iglesia parroquial aledaña hay un cocodrilo disecado de 4m de largo adosado a una de las bóvedas, que fue ofrecido por el marqués como exvoto al regreso de uno de sus viajes.
Entre marzo y abril de 1823, el rey Fernando VII pernoctó allí, tras abandonar Madrid rumbo a Sevilla, ante la entrada del contingente francés llamado los Cien Mil Hijos de San Luis, de cuya estancia Fernando VII no escribió ni una palabra en su diario del viaje. El palacio fue declarado Monumento Nacional en 1931 siendo restaurado a partir de 1948 por la Armada bajo la dirección del Almirante Guillén.
El palacio fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para su construcción, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico.
This is my new favorite shot of all time. =)
Blogged here: blog.wolffmyren.com/2009/02/11/framework/
Just an archive find to break up the landscapes a bit.
A skeletalised leaf in the local woods.
More nature macros from 2012 below.
All clickable...
Picturesque Dutch landscape in springtime.
In connection with the work for the Noordwaard Polder within the framework of the project 'Room for the river' another part of National Park De Biesbosch was restructured with this result.
Brabantse Biesbosch in het voorjaar.
Bij de werkzaamheden voor de Noordwaardpolder in het kader van 'Ruimte voor de rivier' is een aangrenzend ander deel geherstructureerd met dit resultaat.