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There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
From the museum label: Rembrandt van Rijn is one of the most celebrated figures in Western art history. During his own lifetime, Rembrandt was renowned for his portraits, landscapes, prints, and drawings. Working in Protestant Amsterdam, religious subject matter was still extremely important to him. In this large oil painting Rembrandt depicts Saint Bartholomew. According to legend, Bartholomew was martyred for his Christian beliefs by being skinned alive. Here, he holds the instrument of his own martyrdom—a knife—in his right hand. Unlike other artists of the baroque period who favored this particular iconography because of its dramatic potential, Rembrandt deliberately avoids any overt representation of violence. Instead, he focuses on Bartholomew's psychological state: a furrowed brow and intense expression suggest that he is deep in thought.
Morning igers ori pix by @ar_yudha edit by me #photooftheday #gang_family #hdr #hdr_indonesia #iphoneography #its_dramatic #instagramhub #iphonesia #instagram #instagood #iphone4s #instago #hdroftheday #hdrpotters #inhil_community #all_shots #softhdr #str8hdr #james_pop #james_favorites #igers #ig_nesia #b_ig #its_dramatic
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A newly installed window in the north aisle, designed and made by Helen Whittaker of the Barley Studio, commemorates the local dead of the Afghan War.
All Saints in Pavement, York is distinguished by its dramatic octagonal tower, a major landmark of the city and masterpiece of late medieval architecture. The church itself is of mainly 14th/15th century date, though lost its chancel in the following centuries. The west window contains reset late 14th century panels depicting the Passion.
This church is generally open and welcoming to visitors.
Via Sant'Anna in Palermo is a historic street in the Kalsa quarter, known for its Baroque architecture, religious heritage, and proximity to the Galleria d’Arte Moderna.
Located in the heart of Palermo’s old town, Via Sant'Anna runs through the ancient Contrada della Misericordia, a district once shaped by the now-vanished Kemonia River. The street is most famous for the Church of Sant’Anna la Misericordia, a Baroque masterpiece built between 1606 and 1632 by architects Mariano Smiriglio and Giovanni Biagio Amico. This church, with its dramatic façade and rich interior, anchors the street’s spiritual and architectural identity.
Key Highlights of Via Sant'Anna
- Church of Sant’Anna la Misericordia: Originally built on the site of a chapel dedicated to Our Lady of Pity, the church was expanded with support from noble families and consecrated in 1639. It features a striking Baroque façade and houses artworks linked to Palermo’s devotional traditions.
- Galleria d’Arte Moderna (GAM): Housed in the former convent adjacent to the church, this museum showcases Italian art from the 19th and early 20th centuries, including works by Francesco Lojacono, Ettore De Maria Bergler, and Giuseppe Sciuti. The adaptive reuse of the convent reflects Palermo’s commitment to preserving and reinterpreting its heritage.
- Urban Fabric: Via Sant’Anna is lined with historic buildings, artisan shops, and quiet courtyards. Its atmosphere blends monastic serenity with artistic vibrancy, making it a favorite for cultural walks and photography.
Symbolic and Curatorial Potential
For someone like you, Michael, this street offers rich curatorial possibilities. It could be interpreted as a threshold between devotion and modernity, where sacred architecture meets contemporary art. The transformation of the convent into a museum invites reflection on how Palermo’s spiritual spaces evolve into civic and cultural venues.
Via Sant’Anna also resonates with themes of memory, resilience, and urban layering. The site’s history—from a granary and chapel to a Baroque church and modern gallery—mirrors the city’s adaptive spirit. It could be mapped into a thematic exhibition exploring transformation of sacred spaces, urban palimpsests, or the dialogue between ritual and representation.
Studebaker unveiled its dramatic new Avanti in 1963. Designed by famed industrial designer Raymond Loewy, it set 29 speed records at the Bonneville Salt Flats in Utah. Seen at the Peabody Essex Museum in Salem.
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
Detail of the beautiful mid-14th century canopy of the Percy Tomb on the north side of the high altar. The tomb itself has disappeared and the exact identity of its occupant remains unclear, though Lady Eleanor (d.1328) is considered a likely candidate.
beverleyminster.org.uk/visit-us-2/percy-canopy/
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
Itsukushima (厳島) a/k/a Miyajima (宮島), which in Japanese means "Shrine Island”, is an island in the western part of the Inland Sea of Japan, located in the northwest of Hiroshima Bay. Frequent ferry services operates to carry traffic between the island and the mainland. The trip takes about ten minutes. There is also an hourly express passenger ferry to Hiroshima Harbor. The island is one of Hayashi Gahō 's “Three Views of Japan” specified in 1643. Itsukushima is part of the city of Hatsukaichi in Hiroshima Prefecture. The island was part of the former town of Miyajima before the 2005 merger with Hatsukaichi. Itsukushima is famous for the Itsukushima Shrine, a UNESCO World Heritage Site. According to records, the shrine was established in the time of Empress Suiko. The warrior-courtier Taira no Kiyomori gave the shrine its present form. In 1555, Mōri Motonari defeated Sue Harukata at the Battle of Miyajima. Toyotomi Hideyoshi built a large building, the Senjō-kaku, on a hill above the shrine. Itsukushima has a number of shrines and temples [in Japan, the term "shrine" implies a Shinto religious structure and "temple" implies a Buddhist one], including Toyokuni Shrine with a five-storied pagoda and Daiganji Temple - one of the three most famous Benzaiten temples of Japan. The island is also famous for its upper hill side cherry blossoms and maple leaf autumn foliage. The island, including the waters around it (part of the Seto Inland Sea), are within Setonaikai National Park. This sea is affected by strong tides. At low tide, the bottom of the sea is exposed past the island's torii – [a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the mundane to the sacred]. At high tide, the sea covers all the previously exposed seabed mud and fills areas underneath the shrine boardwalk. Miyajima's maple trees are renowned throughout Japan and blanket the island in crimson in the autumn. Momiji manjū, pastries filled with azuki jam or custard, are popular souvenirs and carry maple-leaf emblems. Many other varieties such as chocolate and cheese are available. Because the island is seen as sacred, trees may not be cut for lumber and Deer roam freely. Deer are thought of as sacred in the native Shinto religion because they are considered messengers of the gods. They walk the streets of the city, not afraid of the tourists / Itsukushima Shrine (厳島神社 Itsukushima-jinja) is a Shinto shrine best known for its "floating" torii gate. The Itsukushima shrine is one of Japan's most popular tourist attractions. It is most famous for its dramatic gate, or torii on the outskirts of the shrine , the sacred peaks of Mount Misen, extensive forests, and its aesthetic ocean view. The shrine complex itself consists of two main buildings: the Honsha shrine and the Sessha Marodo-jinja, as well as 17 other different buildings and structures that help to distinguish it. The complex is also listed as a UNESCO World Heritage Site, and six of its buildings and possessions have been designated by the Japanese government as National Treasures.
A Grandiflora Rose variety called "Candelabra" from the Peggy Rockefeller Rose Garden at the New York Botanical Garden in the Bronx showing off its dramatic and blinding vermilion color.
DSC_9349 mc
CATHEDRAL GORGE STATE PARK -- parks.nv.gov/cg.htm -- Cathedral Gorge State Park is known for its dramatic, carved cliffs and canyons, remnants of a Pliocene-era lakebed. Visitors from around the world enjoy hiking trails to explore the formations and cathedral-like spires. Miller Point, a scenic overlook, offers excellent views of the scenic canyon. Hiking, picnicking, camping, nature study, photography and ranger programs are the most common activities at the park. Facilities open all year include a 24-unit campground, RV dump station, restrooms with showers, a group use area and a day use picnic area. Cathedral Gorge is 165 miles northeast of Las Vegas, via Interstate 15 North, and easy access off U.S. Highway 93 two miles north of Panaca.
The Westmorland Dales In The Yorkshire Dales National Park
This is an area of tremendous history and there are stone circles, remains from the romans and medieval villages to be found.
In the Mallerstang valley you will find the atmospheric ruins of Pendragon Castle with its reputed connection to Uther Pendragon – the father of King Arthur. Towering over the castle is Wild Boar Fell where Sir Richard de Musgrave is thought to have killed the last wild boar in Britain. There could be something in this as his tomb is in Kirkby Stephen church and, when it was examined, in addition to his bones there were two wild boar tusks.
More modern history was created by the building of railways. The Settle to Carlisle railway cuts through the Westmorland Dales as part of its dramatic journey through the Dales with its stunning examples of Victorian engineering. There was also Stainmore Railway which was built to bring coal from the Tees Valley over to Cumbria for use in making iron. Although this railway closed in the 1960s it has left some tremendous reminders of its existence such as the viaducts over Podgill and Smardale and the station at Kirkby Stephen East.
Our designers have given the GS an exciting new look, the focal point being its dramatic 'spindle-shape' grille.
East window by Charles Eamer Kempe, c1885.
All Saints in Pavement, York is distinguished by its dramatic octagonal tower, a major landmark of the city and masterpiece of late medieval architecture. The church itself is of mainly 14th/15th century date, though lost its chancel in the following centuries. The west window contains reset late 14th century panels depicting the Passion.
This church is generally open and welcoming to visitors.
Details best viewed in Original Size.
The Mutianyu section of The Great Wall is situated 56 miles (90km) north of Beijing and is known for its dramatic mountainous setting, fewer visitors and its less intrusive tourist industry. With a series of watchtowers along its recently restored length, the wall you can see here dates from 1368 and was built upon the foundations of a wall built during the Northern Qi Dynasty (AD 550-577).
REFORD GARDENS | LES JARDINS DE METIS
Beautiful flowers at Reford Gardens.
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
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Leaving Reykjavik, Iceland
School Ship Sæbjörg in front of Harpa Concert Hall and Conference Centre, Reykjavík, Iceland
www.icesar.com/search-and-rescue/sar-at-sea/maritime-safe...
The Maritime Safety and Survival Training Centre was founded in 1985. Its goal is to promote safety and survival training for seamen by operating a comprehensive training centre in full accordance with Icelandic and international standards. According to national law, it is mandatory for all seamen to attend courses there. The knowledge imparted by the centre has, among other things, resulted in a considerable decrease in the number of serious accidents and deaths at sea in recent years.
In the summer of 1998 the Icelandic government donated the ferry Akraborg to ICE-SAR to be used by the Maritime Safety and Survival Training Centre. She was renamed Sæbjörg and converted into training vessel. The first course started in October 1998.
The school ship Sæbjörg features a fully equipped training facility onboard, both for academic and vocational training.
_________________________________________________
Harpa Concert Hall and Conference Centre, Reykjavík, Iceland
Mies van der Rohe Award 2013
The opening concert was held on May 4, 2011
Name:
Icelandic woman's name meaning "harp."
Also the first month of the Icelandic summer in the old Icelandic
calendar.
en.harpa.is/mies-van-der-rohe
Mies van der Rohe Award 2013:
"Harpa's crystalline structure was inspired by Icelandic landscapes and traditions. Its dramatic design captures and reflects the light of the city, ocean and sky to thrilling effect.”
Wiel Arets, Chair of the Jury:
“Harpa has captured the myth of a nation – Iceland – that has consciously acted in favour of a hybrid-cultural building during the middle of the ongoing Great Recession. The iconic and transparent porous 'quasi brick' appears as an ever-changing play of coloured light, promoting a dialogue between the city of Reykjavik and the building's interior life. By giving an identity to a society long known for its sagas, through an interdisciplinary collaboration between Henning Larsen Architects and artist Olafur Eliasson, this project is an important message to the world and to the Icelandic people, fulfilling their long expected dream.”
‘Portrait of a Geman Officer’ Marsden Hartley. American, 1877-1943
Oil on canvas 1914
Alfred Stieglitz Collection, 1949
49.70.42
Hartley painted this advanced abstraction - part of an extended series of pictures of German officers- while living in Berlin during World War I. It shows his early assimilation of both Cubism ( in its collage like arrangement of visual fragments) and German Expressionism (in its dramatic color and coarse brushwork). He intended the image as a symbolic portrait of his close friend (and perhaps lover) Karl von Freyburg, who had been killed in action. Hartley included several signs to represent young cavalry officer: the initials K.v.F.; von Freyburg’s regiment number(4); his age at death (24); and the Iron Cross that was awarded to him posthumously. Various spurs, tassels, and plumes suggest his uniform, and the blue and white pattern evokes the flag of Bavaria, von Freyburg’s home.
From the placard, Metropolitan Museum of Art
The beautiful and now tranquil setting of Augustinian Lanercost Priory belies an often troubled history. Standing close to Hadrian's Wall, it suffered frequent attacks during the long Anglo-Scottish wars, once by Robert Bruce in person. The mortally sick King Edward I rested here for five months in 1306-7, shortly before his death on his final campaign.
The east end of the 13th-century church survives to its full height, housing within its dramatic triple tier of arches some fine monuments.
More photos of Lanercost Priory here: www.flickr.com/photos/davidambridge/albums/72157624989399623
White Sands National Monument is in the northern Chihuahuan Desert in the U.S. state of New Mexico. It's known for its dramatic landscape of rare white gypsum sand dunes. Trails through the dunes include the raised Interdune Boardwalk and the Dune Life Nature Trail, dotted with interpretive exhibits on wildlife and other features. Dunes Drive is a looped road from the White Sands Visitor Center to the dune field. Read the blog post - www.dvrawfiles.com/white-sands-new-mexico Watch the vlog - www.youtube.com/watch?v=GhwKZVqNfiU
is a canyon system of the Caprock Escarpment located in the Texas Panhandle near the city of Amarillo, Texas, United States. As the second largest canyon in the United States, it is roughly 193 km (120 mi) long and has an average width of 10 km (6.2 mi), but reaches a width of 32 km (20 mi) at places. Its depth is around 250 m (820 ft), but in some locations it can increase up to 304 m (997 ft). Palo Duro Canyon has been named "The Grand Canyon of Texas" both for its size and for its dramatic geological features, including the multicolored layers of rock and steep mesa walls similar to those in the Grand Canyon.
One of the most amazing places that I have ever seen! The Lighthouse Trail was awesome and unforgettable!
More information:
English: en.wikipedia.org/wiki/Palo_Duro_Canyon
German: de.wikipedia.org/wiki/Palo_Duro_Canyon
Don't use this image on websites, blogs or other media
without my explicit permission. © All rights reserved.
One of the angel carvings adorning the nave arcade.
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
Thunder Bay Harbour 2020 Sleeping Giant and Field of Poppies that come up every June on the Shore
The Sleeping Giant is a formation of mesas and sills on Sibley Peninsula which resembles a giant lying on its back when viewed from the west to north-northwest section of Thunder Bay, Ontario, Canada. As one moves southward along the shoreline toward Squaw Bay the Sleeping Giant starts to separate into its various sections. Most distinctly in the view from the cliffs at Squaw Bay the Giant appears to have an Adam's Apple. The formation is part of Sleeping Giant Provincial Park. Its dramatic steep cliffs are among the highest in Ontario (250 m). The southernmost point is known as Thunder Cape, depicted by many early Canadian artists such as William Armstrong.
One Ojibway legend identifies the giant as Nanabijou, who was turned to stone when the secret location of a rich silver mine now known as Silver Islet was disclosed to white men.[3]
Redmond, Oregon
Listed 10/30/2013
Reference Number: 13000859
Petersen Rock Garden, which has state-wide significance, is eligible for listing in the National Register of Historic Places under Criterion C in the areas of Art and Landscape Architecture, as a folk art environment, for its significance as an exceptional work of art that combines architecture, landscape, art, and sculpture in a unified whole. Located approximately eight miles southwest of Redmond, Oregon, the work recalls European and American grotto traditions, juxtaposed with American iconography and vernacular folk art traditions, through the creativity and artistry of Danish immigrant Rasmus Christian Petersen. Petersen, who began constructing the garden after finishing his education in Danish and American culture at Nysted Folk High School in Nebraska and three successful decades of farming, was also influenced by his homestead's setting in central Oregon, with its dramatic views of the Cascade range . Creation of the garden represents the last chapter in Petersen's life. The gardens are all the more remarkable for their unexpectedness in the desert landscape and their lack of precedent in their creator's life. The Period of Significance for the site is 1927, the date of construction of the Petersen's residence, to 1952, the date of Petersen's death. The gardens and property as a whole retain excellent integrity and easily convey the reasons for their significance.
National Register of Historic Places Homepage
One of the many carvings adorning the wall arcading in the north aisle.
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
Itsukushima (厳島) a/k/a Miyajima (宮島), which in Japanese means "Shrine Island”, is an island in the western part of the Inland Sea of Japan, located in the northwest of Hiroshima Bay. Frequent ferry services operates to carry traffic between the island and the mainland. The trip takes about ten minutes. There is also an hourly express passenger ferry to Hiroshima Harbor. The island is one of Hayashi Gahō 's “Three Views of Japan” specified in 1643. Itsukushima is part of the city of Hatsukaichi in Hiroshima Prefecture. The island was part of the former town of Miyajima before the 2005 merger with Hatsukaichi. Itsukushima is famous for the Itsukushima Shrine, a UNESCO World Heritage Site. According to records, the shrine was established in the time of Empress Suiko. The warrior-courtier Taira no Kiyomori gave the shrine its present form. In 1555, Mōri Motonari defeated Sue Harukata at the Battle of Miyajima. Toyotomi Hideyoshi built a large building, the Senjō-kaku, on a hill above the shrine. Itsukushima has a number of shrines and temples [in Japan, the term "shrine" implies a Shinto religious structure and "temple" implies a Buddhist one], including Toyokuni Shrine with a five-storied pagoda and Daiganji Temple - one of the three most famous Benzaiten temples of Japan. The island is also famous for its upper hill side cherry blossoms and maple leaf autumn foliage. The island, including the waters around it (part of the Seto Inland Sea), are within Setonaikai National Park. This sea is affected by strong tides. At low tide, the bottom of the sea is exposed past the island's torii – [a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the mundane to the sacred]. At high tide, the sea covers all the previously exposed seabed mud and fills areas underneath the shrine boardwalk. Miyajima's maple trees are renowned throughout Japan and blanket the island in crimson in the autumn. Momiji manjū, pastries filled with azuki jam or custard, are popular souvenirs and carry maple-leaf emblems. Many other varieties such as chocolate and cheese are available. Because the island is seen as sacred, trees may not be cut for lumber and Deer roam freely. Deer are thought of as sacred in the native Shinto religion because they are considered messengers of the gods. They walk the streets of the city, not afraid of the tourists / Itsukushima Shrine (厳島神社 Itsukushima-jinja) is a Shinto shrine best known for its "floating" torii gate. The Itsukushima shrine is one of Japan's most popular tourist attractions. It is most famous for its dramatic gate, or torii on the outskirts of the shrine , the sacred peaks of Mount Misen, extensive forests, and its aesthetic ocean view. The shrine complex itself consists of two main buildings: the Honsha shrine and the Sessha Marodo-jinja, as well as 17 other different buildings and structures that help to distinguish it. The complex is also listed as a UNESCO World Heritage Site, and six of its buildings and possessions have been designated by the Japanese government as National Treasures.
© All rights reserved, don't use without permission
Skala Ded, Stolby Nature Reserve
Stolby Nature Reserve is a Russian strict nature reserve located 10 km south of the city of Krasnoyarsk and known for its dramatic complexes of rocks.
White Sands National Monument is in the northern Chihuahuan Desert in the U.S. state of New Mexico. It's known for its dramatic landscape of rare white gypsum sand dunes. Trails through the dunes include the raised Interdune Boardwalk and the Dune Life Nature Trail, dotted with interpretive exhibits on wildlife and other features. Dunes Drive is a looped road from the White Sands Visitor Center to the dune field. Read the blog post - www.dvrawfiles.com/white-sands-new-mexico Watch the vlog - www.youtube.com/watch?v=GhwKZVqNfiU
Soviet Mikoyan-Gurevich MiG-15bis "Fagot B"
The Mikoyan-Gurevich Design Bureau emerged in the early Cold War era as a key designer of Soviet jet fighters, most notably the MiG-15. First flown in 1947, the MiG-15 answered Joseph Stalin’s call for an advanced, high-altitude day interceptor. With its dramatic deployment in the Korean War, the MiG-15 impressed westerners with its speed, maneuverability, and heavy armament. While a unique Soviet design, it used an adaptation of the Rolls Royce Nene jet engine, produced by the Soviets as the RD-45.
During the Korean War, the MiG-15 challenged U.S. F-80 and F-86 jet fighters for air dominance. It was the first operational Soviet swept-wing jet fighters equipped with a pressurized cockpit and ejection seat. The MiG-15 series is believed to be the most widely produced jet fighter, with around 17,000 variants. This MiG-15 operated as a Chinese F-2. The Smithsonian acquired the aircraft in 1985.
Wingspan:
10.1 m (33 ft 2 in)
Length:
10.1 m (33 ft 2 in)
Height:
3.4 m (10 ft 10 in)
Weight, empty:
3,523 kg (7,767 lb)
Weight, gross:
5,405 kg (11,916 lb)
Top speed:
1,050 km/h (652 mph)
Engine:
RD-45F centrifugal flow turbojet, 2,270 kg (4,994 lb) thrust
Armament:
One NS 37 mm and two NS 23 mm cannons
Manufacturer:
Mikoyan-Gurevich
For more info: en.wikipedia.org/wiki/Mikoyan-Gurevich_MiG-15
Tomb of Nicholas de Huggate (d.1338) in the north transept.
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
One of the many carvings adorning the wall arcading in the north aisle.
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
Redmond, Oregon
Listed 10/30/2013
Reference Number: 13000859
Petersen Rock Garden, which has state-wide significance, is eligible for listing in the National Register of Historic Places under Criterion C in the areas of Art and Landscape Architecture, as a folk art environment, for its significance as an exceptional work of art that combines architecture, landscape, art, and sculpture in a unified whole. Located approximately eight miles southwest of Redmond, Oregon, the work recalls European and American grotto traditions, juxtaposed with American iconography and vernacular folk art traditions, through the creativity and artistry of Danish immigrant Rasmus Christian Petersen. Petersen, who began constructing the garden after finishing his education in Danish and American culture at Nysted Folk High School in Nebraska and three successful decades of farming, was also influenced by his homestead's setting in central Oregon, with its dramatic views of the Cascade range . Creation of the garden represents the last chapter in Petersen's life. The gardens are all the more remarkable for their unexpectedness in the desert landscape and their lack of precedent in their creator's life. The Period of Significance for the site is 1927, the date of construction of the Petersen's residence, to 1952, the date of Petersen's death. The gardens and property as a whole retain excellent integrity and easily convey the reasons for their significance.
National Register of Historic Places Homepage
Kirkjufell, or 'Church Mountain', is a distinctly shaped peak found on the north shore of Iceland’s Snæfellsnes Peninsula, only a short distance away from the town of Grundarfjörður. It is often called ‘the most photographed mountain in Iceland’ due to its dramatic formation and perfect coastal location.
White Sands National Monument is in the northern Chihuahuan Desert in the U.S. state of New Mexico. It's known for its dramatic landscape of rare white gypsum sand dunes. Trails through the dunes include the raised Interdune Boardwalk and the Dune Life Nature Trail, dotted with interpretive exhibits on wildlife and other features. Dunes Drive is a looped road from the White Sands Visitor Center to the dune field. Read the blog post - www.dvrawfiles.com/white-sands-new-mexico Watch the vlog - www.youtube.com/watch?v=GhwKZVqNfiU
1760
Visit: www.refordgardens.com/
MECONOPSIS BETONICIFOLIA
REFORD GARDENS | LES JARDINS DE MÉTIS
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com/
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
SN/NC: Hibiscus Rosa Sinensis, Malvaceae Family
Pictured in the Archeological Site of Tazumal and its dramatic pyramids of the Nahuatl Culture. This hibiscus has an incredible rose shape.
Foto hecha en el Sitio Arqueológico de Tazumal en Chalchuapa.
Foto feita no Sitio Arqueologico de Tazumal, Chalchuapa, em EL SALVADOR. Nosso famoso hibisco.
White Sands National Monument is in the northern Chihuahuan Desert in the U.S. state of New Mexico. It's known for its dramatic landscape of rare white gypsum sand dunes. Trails through the dunes include the raised Interdune Boardwalk and the Dune Life Nature Trail, dotted with interpretive exhibits on wildlife and other features. Dunes Drive is a looped road from the White Sands Visitor Center to the dune field. Read the blog post - www.dvrawfiles.com/white-sands-new-mexico Watch the vlog - www.youtube.com/watch?v=GhwKZVqNfiU
Westmorland Dales In The Yorkshire Dales National Park
This is an area of tremendous history and there are stone circles, remains from the romans and medieval villages to be found.
In the Mallerstang valley you will find the atmospheric ruins of Pendragon Castle with its reputed connection to Uther Pendragon – the father of King Arthur. Towering over the castle is Wild Boar Fell where Sir Richard de Musgrave is thought to have killed the last wild boar in Britain. There could be something in this as his tomb is in Kirkby Stephen church and, when it was examined, in addition to his bones there were two wild boar tusks.
More modern history was created by the building of railways. The Settle to Carlisle railway cuts through the Westmorland Dales as part of its dramatic journey through the Dales with its stunning examples of Victorian engineering. There was also Stainmore Railway which was built to bring coal from the Tees Valley over to Cumbria for use in making iron. Although this railway closed in the 1960s it has left some tremendous reminders of its existence such as the viaducts over Podgill and Smardale and the station at Kirkby Stephen East.
Tomb of Nicholas de Huggate (d.1338) in the north transept.
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
Redmond, Oregon
Listed 10/30/2013
Reference Number: 13000859
Petersen Rock Garden, which has state-wide significance, is eligible for listing in the National Register of Historic Places under Criterion C in the areas of Art and Landscape Architecture, as a folk art environment, for its significance as an exceptional work of art that combines architecture, landscape, art, and sculpture in a unified whole. Located approximately eight miles southwest of Redmond, Oregon, the work recalls European and American grotto traditions, juxtaposed with American iconography and vernacular folk art traditions, through the creativity and artistry of Danish immigrant Rasmus Christian Petersen. Petersen, who began constructing the garden after finishing his education in Danish and American culture at Nysted Folk High School in Nebraska and three successful decades of farming, was also influenced by his homestead's setting in central Oregon, with its dramatic views of the Cascade range . Creation of the garden represents the last chapter in Petersen's life. The gardens are all the more remarkable for their unexpectedness in the desert landscape and their lack of precedent in their creator's life. The Period of Significance for the site is 1927, the date of construction of the Petersen's residence, to 1952, the date of Petersen's death. The gardens and property as a whole retain excellent integrity and easily convey the reasons for their significance.
National Register of Historic Places Homepage
Cahow, a name derived from its eerie cries, this nocturnal ground-nesting seabird is the national bird of Bermuda, and a symbol of hope for nature conservation. It was thought extinct for 330 years. Its dramatic rediscovery as a "Lazarus species", that is, a species found to be alive after being considered extinct for centuries, has inspired documentary filmmakers.
Initially superabundant throughout the archipelago, the Cahow is a slow breeder, but excellent flier, and spends its adult life on the open seas. At five years old it returns to its former nesting place and begins breeding, laying only one egg per season. Cahows mate for life.
More info from Wiki
See also one of my photo of Cahow in the article: www.sciencenewsforstudents.org
The Düsseldorf Media Harbor, or Medienhafen, is a striking example of urban regeneration that has transformed a derelict industrial port into one of the city's most fashionable and dynamic districts. Once a bustling commercial harbor filled with warehouses and disused buildings, the area began its dramatic makeover in the 1990s. City planners embarked on a strategic project to rejuvenate the waterfront, focusing on a plot-by-plot approach that blended new, avant-garde architecture with the preservation of historic industrial elements. The result is a vibrant hub that seamlessly combines the old and the new, attracting both locals and tourists with its unique atmosphere and creative energy.
The architectural landscape of the Medienhafen is its most prominent feature, showcasing the works of some of the world's most renowned architects. The most iconic structures are undoubtedly the "Gehry Buildings," officially known as the Neuer Zollhof. Designed by the visionary Frank O. Gehry, these three asymmetrical, sculptural high-rises—clad in stainless steel, red brick, and white plaster—have become a symbol of modern Düsseldorf. Other notable buildings include the Colorium, with its eye-catching kaleidoscopic glass facade by William Alsop, and the sleek Stadttor by Helmut Jahn. These architectural masterpieces stand alongside renovated historic warehouses, creating a visually captivating and diverse urban environment that has made the area a must-see for architecture enthusiasts.
Beyond its architectural appeal, the Media Harbor is a thriving economic center. As its name suggests, it is home to over 800 companies, primarily from the media, advertising, and creative sectors. The area's revitalization was driven by a vision to create a hub for these industries, and the project has been a resounding success. The modern office buildings and refurbished industrial spaces provide a unique and inspiring setting for creative work. This concentration of innovative firms has not only revitalized the district but has also solidified Düsseldorf's reputation as a major player in Germany's creative economy.
The cultural and leisure offerings in the Medienhafen are as diverse as its architecture. The waterfront is lined with a variety of trendy cafes, upscale restaurants, and vibrant bars, catering to the district's sophisticated crowd. Visitors can enjoy a wide range of culinary experiences, from Mediterranean cuisine and gourmet burgers to fine dining with stunning views of the Rhine River. The area is also a popular spot for leisure activities, whether it's a stroll along the promenade, a sightseeing cruise on the river, or simply enjoying the lively atmosphere. The fusion of business and pleasure makes the Medienhafen a destination where people can work, dine, and relax in style.
In essence, the Düsseldorf Media Harbor is a testament to the power of thoughtful urban redevelopment. It has successfully transformed an aging industrial zone into a modern, stylish, and economically significant district. By preserving its historical character while embracing cutting-edge architecture and new industries, the Medienhafen has created a unique identity. It stands as a symbol of Düsseldorf's reinvention and a vibrant, forward-looking neighborhood that attracts a mix of creatives, business professionals, and tourists alike, all drawn to its dynamic blend of art, commerce, and culture.
REFORD GARDENS | LES JARDINS DE METIS
Beautiful flowers at Reford Gardens.
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
Smailholm Tower is a peel tower at Smailholm, around five miles (8 km) west of Kelso in the Scottish Borders. Its dramatic situation, atop a crag of Lady Hill, commands wide views over the surrounding countryside. The tower is located at grid reference NT637346, just west of Sandyknowe farm, and is now a Scheduled Ancient Monument in the care of Historic Scotland. In June 2007 it was awarded the maximum "five-star" status as a tourist attraction from VisitScotland, a rating bestowed on only eight other sites in Scotland.
Itsukushima (厳島) a/k/a Miyajima (宮島), which in Japanese means "Shrine Island”, is an island in the western part of the Inland Sea of Japan, located in the northwest of Hiroshima Bay. Frequent ferry services operates to carry traffic between the island and the mainland. The trip takes about ten minutes. There is also an hourly express passenger ferry to Hiroshima Harbor. The island is one of Hayashi Gahō 's “Three Views of Japan” specified in 1643. Itsukushima is part of the city of Hatsukaichi in Hiroshima Prefecture. The island was part of the former town of Miyajima before the 2005 merger with Hatsukaichi. Itsukushima is famous for the Itsukushima Shrine, a UNESCO World Heritage Site. According to records, the shrine was established in the time of Empress Suiko. The warrior-courtier Taira no Kiyomori gave the shrine its present form. In 1555, Mōri Motonari defeated Sue Harukata at the Battle of Miyajima. Toyotomi Hideyoshi built a large building, the Senjō-kaku, on a hill above the shrine. Itsukushima has a number of shrines and temples [in Japan, the term "shrine" implies a Shinto religious structure and "temple" implies a Buddhist one], including Toyokuni Shrine with a five-storied pagoda and Daiganji Temple - one of the three most famous Benzaiten temples of Japan. The island is also famous for its upper hill side cherry blossoms and maple leaf autumn foliage. The island, including the waters around it (part of the Seto Inland Sea), are within Setonaikai National Park. This sea is affected by strong tides. At low tide, the bottom of the sea is exposed past the island's torii – [a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the mundane to the sacred]. At high tide, the sea covers all the previously exposed seabed mud and fills areas underneath the shrine boardwalk. Miyajima's maple trees are renowned throughout Japan and blanket the island in crimson in the autumn. Momiji manjū, pastries filled with azuki jam or custard, are popular souvenirs and carry maple-leaf emblems. Many other varieties such as chocolate and cheese are available. Because the island is seen as sacred, trees may not be cut for lumber and Deer roam freely. Deer are thought of as sacred in the native Shinto religion because they are considered messengers of the gods. They walk the streets of the city, not afraid of the tourists / Itsukushima Shrine (厳島神社 Itsukushima-jinja) is a Shinto shrine best known for its "floating" torii gate. The Itsukushima shrine is one of Japan's most popular tourist attractions. It is most famous for its dramatic gate, or torii on the outskirts of the shrine , the sacred peaks of Mount Misen, extensive forests, and its aesthetic ocean view. The shrine complex itself consists of two main buildings: the Honsha shrine and the Sessha Marodo-jinja, as well as 17 other different buildings and structures that help to distinguish it. The complex is also listed as a UNESCO World Heritage Site, and six of its buildings and possessions have been designated by the Japanese government as National Treasures.
Smailholm Tower is a peel tower at Smailholm, around five miles (8 km) west of Kelso in the Scottish Borders. Its dramatic situation, atop a crag of Lady Hill, commands wide views over the surrounding countryside. The tower is located at grid reference NT637346, just west of Sandyknowe farm, and is now a Scheduled Ancient Monument in the care of Historic Scotland. In June 2007 it was awarded the maximum "five-star" status as a tourist attraction from VisitScotland, a rating bestowed on only eight other sites in Scotland.
Holden dan Merah Putih #iphonesia #instago #instagood #instagram #iphone4s #ig_nesia #all_shots #webstagram #photooftheday #gang_family #b_ig #picoftheday #fisheye #oldcar #awesome_shot #hdr #hdroftheday #hdr_lovers #hdr_indonesia #hdrepublic #hdrpotters #hdreality #hdroftheday #hdrstyles_gf #softhdr #its_dramatic
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