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Śnieżne Kotły (Snow Cirques) are twin glacial cirques carved into the northern slope of the main ridge of the Karkonosze Mountains between Wielki Szyszak (1,509 m above sea level) and Łabski Sazczyt (1,472 m above sea level). Located further west, Mały Śnieżny Kocioł (Snow Cirque), is deeper, but the rock walls are much lower than in Wielki Śnieżny Kocioł (Snow Cirque), where they reach up to 120 m. Both cirques are enclosed by a massive moraine embankment. Among the rock debris lining Wielki Kocioł are two small Śnieżne Stawki (Snow Ponds). A basalt vein is exposed in the western wall of Mały Kocioł, home to an exceptionally rich and interesting flora and fauna. A number of viewpoints offering extraordinary panoramas are available on the edge of Wielki Śnieżny Kocioł. In winter, massive snow overhangs form on the edges of the Śnieżne Kotły, snow avalanches frequently descend through the gullies, and snow often lingers at the base of the rock walls until late summer. (source: Karkonosze National Park)
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ref.: Hal B. Fullerton, "Roads of Long Island," _The Brooklyn Daily Eagle_, Cycling Section, Sunday, April 3, 1898, pp. 15-17, map on p. 16.
Eskişehir’de bir halı sahada yaşanan kavgada 4 kişi yaralandı. Kavga, gece saatlerinde Büyükdere Mahallesi Balözü Sokak’ta bulunan bir halı sahada çıktı. İddialara göre bir pozisyon sırasında çıkan tartışma kavgaya dönüştü. Kavga sonucu T.Ö. (18), A.Ç. (30), H.Y. (19) ve B.Y. (24)...
www.eskisehirmedyasi.com/eskisehir/hali-saha-maci-kavgayl...
This portrait by Frans Hals represents an anonymous individual, whose identity and social status remain complete mysteries. The title is an eloquent reflection of the artist’s brilliant rendition. In this portrait of a man, one is struck by the fragmented brushstrokes, which appear to be quite perfunctory and almost impressionistic: rapidly executed and intermittently rendered, the forms are blurred by a veritable symphony of brushstrokes. The palette is relatively limited: browns, silver-greys, and several dashes of white. The man is turned towards the artist; this posture is a common feature in Frans Hals’s portraits.
Nélie Jacquemart acquired this portrait in 1912, shortly before her death. By adding works to her dead husband’s collections, she was respecting his wishes and his desire to enrich the collections that he had established.