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Field Meadow Pasture Summer Upper Bavaria Germany © Feld Wiese Sommer Bayern Oberbayern © All rights reserved. Image fully copyrighted. No free usage. All my images strictly only available with written royalty agreement. If interested, ask. © Alle Rechte vorbehalten. Keine Gratisverwendung. Alle meine Bilder immer nur mit schriftl. Honorarvereinbg. Ggf. fragen. ©
One of five breeding plumage adults in the lower Clearwater River, Lewiston, Nez Perce county, Idaho, USA
© All rights reserved. Image fully copyrighted. No free usage. All my images strictly only available with written royalty agreement. If interested, ask. © Alle Rechte vorbehalten. Keine Gratisverwendung. Alle meine Bilder immer nur mit schriftl. Honorarvereinbg. Ggf. fragen. ©
Mobelha-grande
Peniche - portugal
13.12.2012
Grato ao Comandante GOEF do Oeste, Soares Teodoro por me ter proporcionado um "encontro imediato" com esta preciosidade.
Immer wieder haben mich Lightshow und die Pyroeffekte begeistert. Für die Bühnenschow hatte ich sicherlich nicht den besten Platz, aber der Blick auf das Ganze war unbeschreiblich. 😎👍
I was always amazed by the light show and the pyrotechnic effects. I certainly didn't have the best seat for the stage show, but the view of the whole thing was indescribable. 😎👍
Immer wenn ich mein Haar bürste denke ich, das es ruhig schon länger sein könnte, so wie bei einigen hier...
Daher mal ein Vergleich vom Februar bis heute...
Ich denke, der Unterschied ist schon deutlich und ich bin einfach nur nicht geduldig genug....
When ever i brush my hair i want to have it longer, like some of the others here...
So i made a photo today and paired it with another from februar...
So, i think there is a diffence and i have to be patience...
Das 1868 errichtete Schloss Biesdorf, war eigentlich ein Herrenhaus als Zentrum eines Landguts, aber umgangssprachlich wurde es immer, wie viele andere auch, als "Schloss" bezeichnet. Im April 1945 brannte es durch Brandstiftung ab. Es wurde notdürftig repariert, das völlig zerstörte Obergeschoss abgetragen, sodass der Turm überproportional groß für ein nur noch eingeschossiges Gebäude wirkte. Seit den 1960er Jahren diente es zunächst als Dorfclub, später als Kulturzentrum. Jahrelange Bemühungen einer aus einer Bürgerinitiative hervorgegangenen Stiftung um den Wiederaufbau des Obergeschosses hatten jetzt Erfolg. Am 9. September 2016 wurde das restaurierte Schloss als Kunstgalerie wiederöffnet. In wechselnden Ausstellungen werden Werke von Künstlern aus der früheren DDR gezeigt, im Dialog mit Werken aktueller internationaler Künstler. Vom 5. September 2022 bis zum 10. Februar 2023 ist eine Ausstellung zum 90. Geburtstag von Jürgen Wittdorf (1932-2018) zu sehen, ergänzt durch Werke von Veneta Androva, Norbert Bisky, Harry Hachmeister und Bettina Semmer. "Als Künstler in der DDR war Wittdorf vielen als Illustrator verschiedenster Bücher bekannt. Seine Werke, darunter unzählige meisterhafte Holzschnitte, sind durch den Realismusbegriff der damaligen Zeit geprägt, seine Darstellungen junger Menschen fanden allerdings vorerst bei der Staatsobrigkeit wenig Gefallen, zu sehr verwestlicht erschien ihnen dieser Blick auf die Jugend. Diese wiederum fand sich in Wittdorfs Bildern wieder. Später wurden sie in hoher Auflage gedruckt und verbreitet. Auch das eigene Sein als schwuler Mann spiegelt sich in diesen Werken.
Obwohl Homosexualität ab 1968 laut Gesetz nicht mehr strafbar war, war sie doch gesellschaftlich nicht akzeptiert, Wittdorf selbst konnte sich seine Sexualität lange nicht eingestehen. Aus heutiger Sicht sind seine Werke im Spannungsfeld zwischen gesellschaftlich fixierten Normen der DDR und der sehr persönlichen Sicht auf diese Gesellschaft mehr als ein Zeitdokument. Die Kunstwerke Jürgen Wittdorf stehen auch für ein Künstlerleben, das mit dem Fall der Mauer kaum noch wahrgenommen wurde.
Ein großer Teil seines umfangreichen Werkes ist jetzt im Schloss Biesdorf zu sehen, ergänzt durch zeitgenössische Positionen von Veneta Androva, Norbert Bisky, Harry Hachmeister und Bettina Semmer.
Der visuelle Dialog mit diesen Positionen setzt das Werk Wittdorf in einen neuen Kontext, schafft Verbindungen seiner oft nur angedeuteten Themen in die aktuellen gesellschaftlichen Diskussionen zu den vielen Facetten menschlicher Individualität."
Zitat aus der Ausstellungsankündigung von Schloss Biesdorf
Biesdorf Palace is rather a manor built in 1868 for the owners of country estate. But in popular language, like many others of its kind, it used to be called "Palace". In April of 1945 it burnt down by arson. It was repaired in makeshift manner, removing what had been left of the upper story and reducing the building to the ground floor only. This made the tower, built for a two story building, look unproportionately high. Since the 1960s, the building served first as village club (at that time, Biesdorf was not more than a small village, though part of Berlin), later as cultural centre for the new borough of Marzahn. For many years, a citizens' group, later transformed into a foundation, worked for the reconstruction of the upper story. And it had success. On 9 September 2016, the restored manor was reopened as an art gallery. In changing exhibitions, works by artists from the former GDR are shown in dialogue with works by current international artists. From 5 September 2022 to 10 February 2023, an exhibition celebrating the 90th birthday of Jürgen Wittdorf (1932-2018) is on display, complemented by works by Veneta Androva, Norbert Bisky, Harry Hachmeister and Bettina Semmer. "As an artist in the GDR, Wittdorf was known to many as an illustrator of a wide variety of books. His works, including countless masterful woodcuts, are characterised by the concept of realism of the time, but his depictions of young people initially found little favour with the state authorities, who found this view of youth too Westernised. The latter, in turn, found themselves in Wittdorf's pictures. Later they were printed and distributed in large numbers. His own existence as a gay man is also reflected in these works.
Although homosexuality was no longer punishable by law after 1968, it was still not socially accepted, and Wittdorf himself could not admit his sexuality for a long time. From today's perspective, his works are more than a contemporary document in the field of tension between the socially fixed norms of the GDR and his very personal view of this society. Jürgen Wittdorf's artworks also stand for an artist's life that was hardly noticed after the fall of the Wall.
A large part of his extensive oeuvre can now be seen at Biesdorf Manor, complemented by contemporary positions by Veneta Androva, Norbert Bisky, Harry Hachmeister and Bettina Semmer.
The visual dialogue with these positions places Wittdorf's work in a new context, creating connections of his often only hinted at themes to the current social discussions on the many facets of human individuality."
Quote from the exhibition announcement of Biesdorf Manor
Immer wieder haben mich Lightshow und die Pyroeffekte begeistert. Und später .. als es dann dunkel wurde .. .. war es noch beeindruckender! 😎👍
I was always amazed by the light show and the pyrotechnic effects. And later... when it got dark... it was even more impressive! 😎👍
Drayton Harbor, Blaine, WA.
© 2018 Andrew A Reding. Comments (including corrections) invited. Photographed RAW, so customizable. Photos are reduced; check my profile page for information on use of full-size originals.
Erdmännchen in der Zoom Erlebniswelt in Gelsenkirchen. Kleines flickr-Treffen mit Anne, Annette, Berti, Dago, Erika, Günther, Heinz, Michael, Monika und Volker
German postcard by Rüdel-Verlag, Hamburg, no. 5187. Photo: Constantin / Neue Delta / Vogelmann. Publicity still for Einer spinnt immer/One is always nutty (Franz Antel, 1971).
German actor Georg Thomalla (1915-1999) was one of the most popular and prolific character comedians of the post-war German cinema. Thomalla was also known in Germany for dubbing Peter Sellers as Inspector Closeau and Jack Lemmon from 1955 to 1998.
Georg Valentin Thomalla was born in Kattowitz, Upper Silesia, German Empire, in 1915. He began his career as an apprentice cook. In 1932, he joined a theatrical troupe and, before long, acted on stage in Berlin. With a bit part in Ihr erstes Erlebnis/Her First Experience (Josef von Báky, 1939), he made his film debut. During the Second World War he appeared in the propaganda film Über alles in der Welt/Above All Else in the World (Karl Ritter, 1941) starring Paul Hartmann, Hannes Stelzer and Fritz Kampers. The title refers to the second line of the German national anthem. Following the outbreak of war, Germans abroad face persecution from the British and French authorities The drama was designed to promote Nazi Germany's war aims in the Second World War. Thomalla had a supporting part in the revue film Wir machen Musik/We Make Music (Helmut Käutner, 1942), starring Ilse Werner and Viktor de Kowa. He had a smaller part in the Henrik Ibsen adaptation Nora/A Doll's House (Harald Braun, 1944) starring Luise Ullrich, Viktor Staal and Franziska Kinz. He had a bigger part in the drama Solistin Anna Alt/Anna Alt (Werner Klingler, 1945). Anneliese Uhlig featured as a gifted pianist gives up her career to support her composer husband (Will Quadflieg). It was one of comparatively few films released in Nazi Germany in 1945, due to increasing difficulties of film production during the later stages of the Second World War. After the war premiered the crime comedy Peter Voss, der Millionendieb/Peter Voss, Thief of Millions (Karl Anton, 1946) starring Viktor de Kowa. It was filmed between 1943 and 1945. The comedy Sag' die Wahrheit/Tell the Truth (Helmut Weiss, 1946), starring Gustav Fröhlich and Mady Rahl, had a troubled production. It was originally filming in the final days of the Nazi era with Heinz Rühmann and his wife Hertha Feiler in the lead roles, but production was halted when Soviet forces took control of the Tempelhof Studios during the Battle of Berlin. The film was then remade in the British sector of Berlin with different leads but using substantial amounts of footage already shot during the previous production. Thomalla’s next film was the comedy Herzkönig/King of Hearts (Helmut Weiss, 1947), starring Hans Nielsen.The film was the first production of Artur Brauner's CCC Films, which would develop into a leading company in West German cinema. The film was made at the Tempelhof Studios in Berlin. He played another supporting role in the comedy Man spielt nicht mit der Liebe/Don't Play with Love (Hans Deppe, 1949) starring Lil Dagover and Albrecht Schoenhals. On stage, he became a celebrated star of cabaret, and was an ensemble member of the Kabarett der Komiker (Cabaret of the comedians) from 1948 to 1956.
In 1951, Georg Thomalla had his breakthrough in the cinema as one of the two struggling musicians who join a women’s orchestra in drag in the West German comedy Fanfaren der Liebe/Fanfares of Love (Kurt Hoffmann, 1951). The film, in which he co-starred with Dieter Borsche and Inge Egger, is a remake of the French film Fanfare d'amour/Fanfare of Love (Richard Pottier, 1935). Later followed the most famous remake, Some Like It Hot (Billy Wilder, 1959) with Jack Lemmon in Thomalla’s role. For the German release of Some Like It Hot, Thomalla dubbed the Lemmon’s character. Thomalla was well known in Germany as a voice-over artist, dubbing particularly comedians. He was the standard German dubbing voice of Jack Lemmon from 1955 to 1998. After Thomalla had dubbed Lemmon for more than 40 years, the two met at the 1996 Berlin International Film Festival where Thomalla held an honorific speech for Lemmon. Fanfaren der Liebe was a major hit, and a sequel Fanfare of Marriage/Fanfaren der Ehe (Hans Grimm, 1953) followed, showing the further adventures of the main characters. From then on Thomalla co-starred in a series of light entertainment films. According to I.S. Mowis at IMDb, these films “benefited from his considerable improvisational skills, quick wit and staccato delivery. His stock-in-trade screen personae were eccentric, befuddled and generally accident-prone bachelors, or out-of-their-depths fathers or husbands, who usually tended to fall victim to their own ineptitude.” Bei Dir war es immer so schön/It Was Always So Nice With You (Hans Wolff, 1954) for example is a West German musical comedy starring Heinz Drache. In the crime comedy Meine Tante, deine Tante/My Aunt, Your Aunt (Carl Boese, 1956), he co-starred with Theo Lingen and Hans Moser. He also co-starred in the remake Viktor und Viktoria/Victor and Victoria (Karl Anton, 1957) with Johanna von Koczian as a woman, who gains success on the stage by pretending to be a female impersonator. The film was a remake of Victor and Victoria (Reinhold Schünzel, 1933) with Renate Müller and Hermann Thimig in the role Thomalla took over. In 1982 Blake Edwards remade the film as Victor/Victoria and then based a stage musical on the film both starring Julie Andrews. Apart from comic side-kicks, Thomalla played his fair share of friends of the hero, a noteworthy example being Kara Ben Nemsi's (Viktor Staal) loquacious, but intensely loyal manservant and companion Hadschi Halef Omar in Karl May's Die Sklavenkarawane/Caravan of Slaves (Georg Marischka, Ramón Torrado, 1958). Though rarely seen in 'serious' roles, Thomalla gave a sensitive dramatic performance as a helpful truck driver in the East-West romance Himmel ohne Sterne/Sky Without Stars (Helmut Käutner, 1955). A popular success was the romantic comedy Scampolo (Alfred Weidenmann, 1958) with the young Romy Schneider.
In 1960, Georg Thomalla co-starred with Liselotte Pulver in the comedy Das Spukschloß im Spessart/The Haunted Castle (Kurt Hoffmann, 1960). It was entered into the 2nd Moscow International Film Festival where it won the Silver Prize. The film is a sequel to Das Wirtshaus im Spessart/The Spessart Inn (Kurt Hoffmann, 1958) and was followed by Herrliche Zeiten im Spessart/Glorious Times in the Spessart Inn (1967). Thomalla also appeared in the Schlagerfilm Ramona (Paul Martin, 1961) with Senta Berger and The Blue Diamonds, the comedy Bei Pichler stimmt die Kasse nicht/Pichler's Books Are Not in Order (Hans Quest, 1961) with Theo Lingen, and Der Traum von Lieschen Müller/The Dream of Lieschen Mueller (Helmut Käutner, 1961) featuring Sonja Ziemann. Then followed two Operetta films Die Försterchristel/The Forester's Daughter (Franz Josef Gottlieb, 1962), starring Sabine Sinjen, and Peter Weck, and Der Vogelhändler/The Bird Seller (Géza von Cziffra, 1962) with Conny Froboess. Later his film parts became smaller such as in Lausbubengeschichten/Tales of a Young Scamp (Helmut Käutner, 1964) with Hansi Kraus, the romantic comedy Ich suche einen Mann/I Am Looking for a Man (Alfred Weidenmann, 1966), and the comedy Zur Hölle mit den Paukern (Werner Jacobs, 1968), starring Hansi Kraus and Theo Lingen. From 1961, Thomalla devoted more and more time to appearing in television and to voice-over work. He starred in his own half-hourly TV show, Komische Geschichten mit Georg Thomalla (1961-1971), in which he played an average Joe afflicted by middle-age angst and confronted by a variety of everyday problems. He was the German dubbing voice for Bob Hope, Danny Kaye, Jack Lemmon and Peter Sellers as Inspector Closeau in the Pink Panther films. Thomalla’s later films were mediocre comedies like Auch ich war nur ein mittelmäßiger Schüler/I Wasn't a Very Good Student Either (Werner Jacobs, 1974) about two men waiting for their wives to give birth, who reminisce about their school days, and Der Tiefstapler/The low-loader (Karl-Heinz Bieber,1978) with Gert Fröbe. In 1985, Thomalla was awarded the German Federal Cross of Merit. He was interested in religious question and in Eastern philosophy. From the mid-1980s he was a member of the ISKCON (the Hare Krishna movement). His final film was Lilien in der Bank/Lilies in the bank (Marianne Rosenbaum, Gérard Samaan, 1996) with Katharina Thalbach and Nina Hagen. Georg Thomalla died in 1999 of heart failure in Starnberg, Bavaria, Germany. He was 84. From 1957 he had been married to Margit Mayrl. They had two sons.
Sources: I.S. Mowis (IMDb), Wikipedia (English and German) and IMDb.
Immer wieder eine Schönheit: Chenonceau spiegelt sich im ruhigen Wasser des Cher.
Toujours une beauté : Chenonceau se reflète dans les eaux calmes du Cher.
Korsika - L'Île-Rousse
L'Île-Rousse (French pronunciation: [l‿il.ʁus]; Corsican: Lìsula, Italian: Isola Rossa) is a commune in the Haute-Corse department of France on the island of Corsica.
It was founded in 1758 by Pasquale Paoli to create a port that would not be in the hands of the Genoese (such as Calvi). As Italian was until 1848 the administrative language of Corsica, the town was originally named Isola Rossa (Red Island) from the eponymous reddish color of a rocky islet that served as a natural harbor.
Along with Saint-Florent, it is one of only two communes in the département to have a French name — all the others have kept their Italian names despite the repeated demands of Corsican nationalists.
Inhabited since very ancient times (between 5000-3000 BC), l'Île-Rousse was in 1000 BC a small, prosperous town called Agilla; it was dependent on Tyre in Phoenicia. Destroyed by the Phoenician fleet of Calaris (Galeria), Agilla came under Roman rule as Rubico Rocega (red rock) until the 4th century AD. Being so close to the sea, it was threatened by pirates and other potential enemies, and was not inhabited for several centuries except for fishermen and peasants who lived on the products of the sea and earth around the villages of Santa Reparata and Monticello.
In the 17th century, merchants from Santa-Reparata-di-Balagna established shops to trade by sea with the coastal villages of the Balagne, Nebbio, and the west of the Cap Corse. About 1759, Pasquale Paoli, who often came to Balagne, decided to equip Corsica with a port in the northwest of the island to try to cut the sea traffic between Genoa and Calvi. His plans prepared, he persuaded the Balagne government, sitting in Algajola, to authorize him to create a fort protecting the port (the Scalu) on 10 December 1765. L’Île-Rousse was born from this decision.
Built on a bay bounded to the northwest by the rocky islets of red porphyry which give it its name, and to the south by an immaculate white sand beach, l’Île-Rousse is presented to the tourist in all its beauty, extending westwards from the sea to the hill of the Sémaphore and the col de Fogata.
The old town of Pascal Paoli, le Père de la Patrie (the Father of the Fatherland), is made up of paved streets, almost rectilinear and oriented north-south. From the quays of the commercial port installed on 3 of the 6 small islands, the fishing port and the bridges which link the harbor complex to the coast and the market with its twenty one columns, the fortifications and the houses of the old city grew over the years, from 1765 into the first half of the 19th century.
Certain houses with their interior Florentine staircases are remarkable. The first church built in 1740 and destroyed in 1936 gave its name to the rue Notre-Dame. The church dedicated to Notre Dame de Miséricorde is next to an old Franciscan convent, while the parish church of l’Île-Rousse, the Immaculée Conception de Marie, is on the west of the main square, with its enormous date palms (planted 1890) in the shade of which it is good to play a game of pétanque.
The new town blends harmoniously with the old at the place Paoli, shaded by hundred year old plane trees, where it is good to take the summer air. The old town offers visitors the chance to stroll on the old paving stones, partly restored, along streets with historic names: Pasquale Paoli, Napoleon, les frères Arena (Arena brothers), Louis Philippe, Agilla..
Built by Pascal Paoli, equipped by its municipal officials, after 1815 with a blazon decorated with the royal fleur-de-lis of France and run for than a half-century by elected Bonapartist officials, l’Île-Rousse is a town with a share in the history of Corsica. Its contradictions make it an attractive and unexpected place for the tourists who come each year to sit down under the plane trees of its beautiful central square.
(Wikipedia)
L'Île-Rousse est une commune française située dans la circonscription départementale de la Haute-Corse et le territoire de la collectivité de Corse. La ville appartient à la piève d'Aregno, en Balagne.
L'Île-Rousse comporte un port de commerce qui est le 3e de Corse par l'importance du trafic de marchandises et passagers après Bastia et Ajaccio.
Devant son nom à son emplacement face à l'île de la Pietra et l'île de Saletta reliées à la terre par un comblement au milieu du XIXe siècle, l'Île-Rousse fut créée en 1758 et fondée en 1765 sous la République corse par Pascal Paoli selon les plans de Don Gregorio Salvini, d'où son surnom de « cité paoline ». Bâti entre la fin du XVIIIe siècle et le début du XIXe siècle, le centre-ville est doté d'un réseau quadrillé de rues étroites et rectilignes débouchant sur le littoral. Un buste de Pascal Paoli orne la grande place de la ville, qui porte son nom et fait face à l'église de l'Immaculée-Conception.
L’Île-Rousse est une commune du littoral balanin, centre de la pieve de Sant'Angelo sous administration militaire française dans la deuxième moitié du XVIIIe siècle, devenue chef-lieu du canton de l'Île-Rousse.
Son territoire de faible superficie (2,5 km2) s'étend dans un rayon d'environ un kilomètre autour de la ville, enclavé entre Corbara à l'ouest dont elle est séparée par une ligne nord-sud, de la colline du Sémaphore jusqu'au col de Fogata et passant par Capu Curboriu (154 mètres - Corbara), Santa-Reparata-di-Balagna au sud et Monticello à l'est, ne laissant à cette dernière que les 200 m de l'extrémité orientale de la plage de la Marinella.
Sa façade maritime baignée par la mer Méditerranée, est divisée en son milieu par les îlots rocheux de porphyre rouge qui lui ont valu son nom ; elle est composée à l'ouest d'une côte rocheuse inhospitalière et à l'est de la plage de Marinella, bande de sable blanc immaculé aux eaux limpides.
À l'ouest de la plage de la Marinella qui borde le Centre-ville, se situe l'embouchure d'un petit fleuve côtier couvert à l'approche de la mer : le ruisseau de Padule. Celui-ci naît sous l'ancien couvent de Palmento (Santa-Reparata-di-Balagna) sous le nom de ruisseau de Giovaggio.
Au nord de la commune, le petit archipel comprenait avant les modifications apportées au site, huit îlots qui ont pour nom :
Saletta : le premier îlot au sud qui relie par un pont la terre et l'archipel ;
E Trè Petre : trois grands rochers au centre de l'archipel qui relient Saletta avec Isula Grande où fut construit la jetée
île de la Pietra (Isula Grande) : îlot le plus grand où se trouve le site de A Petra avec le phare et la tour génoise
Isola di u Brocciu (Rucciu) : îlot situé à l'est du phare en face de l'anse de Funtanaccia
Isula Piana : îlot plat situé à côté de celui de Rucciu
Brocettu (Ruccettu) : le plus petit des îlots situé à l'ouest du phare.
L'île de la Pietra est la plus grande de l'archipel. Dans la Chronique d'Anton Pietro Filippini, en 1566, elle était nommée l'« île de Monticello ».
« [...] arrivèrent à l'île de Monticello, en Balagne, quelques galiotes turques sur lesquelles se trouvait prisonnier, comme je l'ai déjà dit, Giovan Agnolo de la Campana, lequel avait été banni de l'île par Cristoforo Fornari [...] »
— Abbé Letteron in Bulletin de la Société des Sciences Historiques et Naturelles de la Corse, Histoire de la Corse Tome III, 1890 - p. 212.
Elle comporte deux points forts de la commune : le phare de la Pietra et la tour génoise du XVIe siècle. Reliée aujourd'hui à la terre par la route du port, elle est devenue une presqu'île. Elle fait écran aux vents d'ouest dominants, créant un abri dans lequel a été construit le port de L’Île-Rousse.
Les couchers de soleil sur (ou depuis) l'île de la Pietra sont remarquables.
C'est sur cette île qu'ont été effectuées des campagnes de fouilles archéologiques sous la direction de Michel-Claude Weiss, archéologue insulaire de renom, entre 1983 et 1985, puis entre 2003 et 2006.
La vieille ville voulue par Pascal Paoli, « le Père de la Patrie », étire ses rues pavées, quasiment rectilignes et orientées nord-sud. Depuis les quais du port de commerce installé sur trois des huit îlots, le port des pêcheurs et les ouvrages qui rattachent le complexe portuaire à la côte, jusqu'au marché couvert aux vingt et une colonnes, les fortifications et les maisons de l'ancienne ville s'étalent dans le temps, de 1765 au milieu du XIXe siècle.
La première maison d'habitation particulière y est élevée en 1766. Les premiers habitants viennent des villages voisins, du Cap Corse, mais il y a aussi des Français et des Italiens. Certaines maisons aux escaliers intérieurs florentins sont remarquables.
La chapelle de la Conception, église construite parmi les premières en 1740 et détruite en 1936, a donné son nom à la rue Notre-Dame. Jusqu'en 1860 elle avait été l'église paroissiale. Elle était devenue ensuite la chapelle réservée aux pêcheurs avant d'être désaffectée. Propriété de la commune, « elle fut vendue au Département de la Guerre pour la somme de 21 000 francs. Elle servit d'entrepôt de charbon et de bois et fut cédée au Département de la Marine pour être utilisée comme poste de couchage des marins. Elle est finalement rasée afin d'élargir l'avenue de la gare ». L'église dédiée à Notre-Dame-de-Miséricorde jouxte un ancien couvent des franciscains. Quant à l'église de l'Immaculée-Conception-de-Marie, la paroisse de l'Île-Rousse, elle se trouve sur l'ouest de la grande place, avec son parvis et ses remarquables palmiers-dattiers plantés en 1890 à l'ombre desquels il fait bon jouer à la pétanque en été.
La ville nouvelle continue harmonieusement l'ancienne au-delà de la place Paoli ombragée par ses platanes plus que centenaires où il fait bon prendre le frais l'été. L'intérieur de la vieille cité offre aux visiteurs l'occasion de flâner sur les vieux pavés ressuscités en partie, à travers les rues aux noms historiques : Pascal Paoli, Napoléon, les frères Arena, Louis-Philippe, Agilla.
Construite sur l'ordre de Pascal Paoli, dotée par ses édiles après 1815 d'un blason orné du lys royal de France et dirigée durant plus d'un demi-siècle par des élus bonapartistes, L'Île-Rousse est une ville à part dans l'histoire de la Corse. Ses contradictions en font un lieu attachant et plein d'imprévus pour les touristes qui viennent chaque année s'asseoir sous les platanes centenaires de sa remarquable place centrale.
Le lieu-dit « U Scalu » est désormais réhabilité : la place de la mairie et la tour de Scalo en 2012, le môle et quai d'Orléans en 2004.
En corse, la commune se nomme Lisula ou L'Isula /ˈlizula/, littéralement « l'île ». Ses habitants sont les Îles-Roussiens en français, les Lisulani en corse.
(Wikipedia)
L’Île-Rousse (korsisch Isula Rossa; Italienisch und bis 1848 offiziell Isola Rossa) ist eine französische Hafenstadt in der Balagne im Département Haute-Corse an der Nordküste Korsikas mit 3043 Einwohnern (Stand 1. Januar 2017).
Den Namen erhielt L’Île-Rousse durch rotgefärbte Porphyrfelsen vor der Hafeneinfahrt – die „Île de la Pietra“. Diese Insel ist heute über einen Damm mit der Insel Korsika verbunden.
Die Gegend war schon zur Römerzeit besiedelt. Das einstige Fischerdorf wurde zur Zeit der Korsischen Republik von Pascal Paoli 1759 zum Handelshafen mit Stadtbefestigungen ausgebaut, um einen korsischen Hafen gegenüber dem damals noch genuesischen Calvi zu erhalten. Durch die Aufteilung der Stadtfläche in regelmäßige Straßenquadrate ist die späte Gründung des Ortes immer noch gut zu erkennen. Bis 1848 war die Amtssprache Italienisch.
L'Île-Rousse wird von Transportschiffen und Fähren von der französischen (Marseille, Toulon, Nizza) oder italienischen (Savona, Genua, La Spezia, Livorno, Piombino) Küste, sowie aus Sardinien (Santa Teresa di Gallura, Porto Torres, Palau) angefahren.
Zum Netz der CFC gehört eine Zweigstrecke vom einsam an der Hauptstrecke gelegenen Bahnhof Ponte Leccia über L’Île-Rousse zur Hafenstadt Calvi an der Nordküste. Die 1890 eröffnete Strecke ist 73,1 km lang, durchquert zunächst ebenfalls das korsische Hochgebirge, um dann auf der zweiten Hälfte ab L’Île-Rousse als Tramway de Balagne an der Küste entlang nach Calvi zu führen. Im Volksmund wird diese Bahn „Der Feurige Elias“ genannt.
(Wikipedia)