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Histoire des plantes de la Guiane Françoise, rangées suivant la méthode sexuelle, avec plusieurs mémoires sur différens objets intéressans, relatifs à la culture & au commerce de la Guiane Françoise, & une notice des plantes de l'Isle-de-France ...
Londres,P.F. Didot jeune,1775.
Paper marbling is a method of aqueous surface design, which can produce patterns similar to smooth marble or other stone. The patterns are the result of color floated on either plain water or a viscous solution known as size, and then carefully transferred to an absorbent surface, such as paper or fabric. Through several centuries, people have applied marbled materials to a variety of surfaces. It is often employed as a writing surface for calligraphy, and especially book covers and endpapers in bookbinding and stationery. Part of its appeal is that each print is a unique monotype.
There are several methods for making marbled papers. A shallow tray is filled with water, and various kinds of ink or paint colors are carefully applied to the surface with an ink brush. Various additives or surfactant chemicals are used to help float the colors. A drop of "negative" color made of plain water with the addition of surfactant is used to drive the drop of color into a ring. The process is repeated until the surface of the water is covered with concentric rings.
The floating colors are then carefully manipulated either by blowing on them directly or through a straw, fanning the colors, or carefully using a human hair to stir the colors. In the 19th century, the Kyoto master Tokutaro Yagi developed a method for using a split piece of bamboo to gently stir the colors, resulting in concentric spiral designs. Finally, a sheet of washi paper is carefully laid onto the water surface to capture the floating design. The paper, which is often made of kozo (Paper Mulberry or Broussonetia papyrifera), must be unsized, and strong enough to withstand being immersed in water without tearing.
Another method of marbling more familiar to Europeans and Americans is made on the surface of a viscous mucilage, known as size or sizing in English. This method is commonly referred to as "Turkish" marbling, although ethnic Turkic peoples were not the only practitioners of the art, as Persian Tajiks and people of Indian origin also made these papers. The term "Turkish" was most likely used as a reference to the fact that many Europeans first encountered the art in Istanbul.
Historic forms of marbling used both organic and inorganic pigments mixed with water for colors, and sizes were traditionally made from gum tragacanth (Astragalus spp.), gum karaya, guar gum, fenugreek (Trigonella foenum-graecum), fleabane, linseed, and psyllium. Since the late 19th century, a boiled extract of the carrageenan-rich alga known as Irish moss (Chondrus crispus), has been employed for sizing. Today, many marblers use powdered carrageenan extracted from various seaweeds. Another plant-derived mucilage is made from sodium alginate. In recent years, a synthetic size made from hydroxypropyl methylcellulose, a common ingredient in instant wallpaper paste, is often used as a size for floating acrylic and oil paints.
In the sized-based method, colors made from pigments are mixed with a surfactant such as ox gall. Sometimes, oil or turpentine may be added to a color, to achieve special effects. The colors are then spattered or dropped onto the size, one color after another, until there is a dense pattern of several colors. Straw from the broom corn was used to make a kind of whisk for sprinkling the paint, or horsehair to create a kind of drop-brush. Each successive layer of pigment spreads slightly less than the last, and the colors may require additional surfactant to float and uniformly expand. Once the colors are laid down, various tools and implements such as rakes, combs and styluses are often used in a series of movements to create more intricate designs.
Paper or cloth, is often mordanted beforehand with aluminium sulfate (alum) and gently laid onto the floating colors (although methods such as Turkish ebru and Japanese suminagashi do not require mordanting). The colors are thereby transferred and adhered to the surface of the paper or material. The paper or material is then carefully lifted off the size, and hung up to dry. Some marblers gently drag the paper over a rod to draw off the excess size. If necessary, excess bleeding colors and sizing can be rinsed off, and then the paper or fabric is allowed to dry. After the print is made, any color residues remaining on the size are carefully skimmed off of the surface, in order to clear it before starting a new pattern.
Contemporary marblers employ a variety of modern materials, some in place of or in combination with the more traditional ones. A wide variety of colors are used today in place of the historic pigment colors. Plastic broom straw can be used instead of broom corn, as well as bamboo sticks, plastic pipettes, and eye droppers to drop the colors on the surface of the size. Ox gall is still commonly used as a surfactant for watercolors and gouache, but synthetic surfactants are used in conjunction with acrylic, PVA, and oil-based paints (Wikipedia).
Cut most of the excess fabric flaps off, leaving just enough to fold under to create a seam (using the same method as in step #5). You'll need to pin the sides as well as the bottom.
NOTE: If you're in a real hurry, and you have a fabric that you KNOW will not ravel, you really don't have to do this if you're going to cover it with trim. The trim is VERY forgiving when it comes to this step, so if you happen to decide to skip this or if it doesn't come out very nicely don't worry - you'll be covering it with trim in a bit!
Can you prove the first method?
my quinquesection method is based on 30 degree.
related ones:
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www.flickr.com/photos/119967028@N08/40871090514/in/datepo...
Party for the Planet @ Potter Park Zoo today & GollyGforce (G) being a Docent today with an Armadillo.
The Association of Zoos and Aquariums (AZA) presents the 5th annual Party for the Planet, featuring environmental education activities and animal encounters with a focus on conservation. Potter Park Zoo is joining more than 120 zoos and aquariums across North America in observing Earth Day.
“It’s very important to us here at Potter Park Zoo to protect the Earth whenever possible. As committed as we are to the preservation of animals, we must be to environmental conservation as well,” says Potter Park Zoo Director Gerry Brady.
Enrichment items were given to animals on Saturday, April 23 in the afternoon. Enrichment activities are a unique outlet for zoo animals to express their natural behaviors. Items can be anything from paper bags to children’s toys, and hidden treats inside challenge animals to use creative methods to retrieve them. Many of the enrichment pieces that will be given to animals this Saturday are made by Potter Park Zoo’s BIG Zoo Lesson kids as part of their classes.
In addition to enrichment, Party for the Planet will exhibit conservation demonstrations throughout the zoo, and collect old cell phones and athletic shoes for recycling purposes. For more information on this event, visit www.potterparkzoo.org
Potter Park Zoo is located at 1301 S. Pennsylvania Ave. within Potter Park along the Red Cedar River in Lansing, Michigan.
USMA hosts Branch Week Sep. 8-12. During Branch Week, branch representatives educate cadets on their respective Army career fields through various methods including static display tours, leader panels, independent research and social functions.
(Photos by: Staff Sgt. Vito T. Bryant)
Methods of communicating with the spirit world, whether or not there is a séance, have included crystal balls, tarot cards, rapping or tapping a code, mental telepathy, a mesmeric or hypnotic trance, and automatic writing.
This one minute video ‘Consolation’ has been selected for The One Minutes Series ‘Life / body hacks’ by curator Pernilla Manjula Philip *), March 2024. The selection features 18 One Minutes (from artists in locations including Argentina, France, Germany, Hungary, Italy, Netherlands and Romania) on DIY approaches to living that go beyond standardized biomedical industrial methods.
‘Life / body hacks’ will premiere on March 1 at 21:00 at cinema De Uitkijk in Amsterdam (NL): We would love to see you there. By the way if you have a Cineville card, it’s valid for this event, too. After this premiere, ‘Life / body hacks’ will be embarking on a global tour (including Shanghai, China). An online premiere will follow in April 2024.
*) Pernilla Manjula Philip is an artist and designer whose work investigates alternative perspectives on medical care products and encourages questions about agency of the chronically sick body in relation to the medical industry. She is motivated by ways of hacking and tinkering as collaborative tools of activism and how this informs new structures of collective care. Pernilla is part of Crip the Curriculum and Hackers&Designers, and often works with moving image and installation.
This shot was done using the "Brenizer Method" in which you make a panorama out of many shots. This was made with about 20 shots. Next time I will use a lens with a larger aperture than f/4 to make the effect a little stronger. I like this shot for my first attempt at this method though!
It's explained here: blog.buiphotography.com/2009/07/the-brenizer-method-expla...
Tiles were glued to mesh strips and dried. Then squeezed a good bead of thinset cement on the back and pressed into place. I also used some masking tape to keep them from sliding off til the thinset hardened up.
Ikea $30 mirror, Method soap, Ikea plant pot and plant. Pasted pretty paper on the match box to cover up the logo.
Frame is from IKEA with DIY printed photo on printer photo paper.
White waffle shower curtain is $30 at Target
To See More Visit:
Apparel Color: Organic Blue
Ink Color: White
Sustainably hand printed on 100% Organic Cotton: Made from 100% organic cotton, grown using methods and materials that have a low impact on the earth.
Everybody loves a good mustache. These are the three best ones I could draw. I hope you like their style and take to wearing one yourself.
Artwork by Karl Addison
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X Small --- (Chest: 16 inches - Length: 25 inches - Top Sleeve: 6.5 inches)
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Medium --- (Chest: 19 inches - Length: 27 inches - Top Sleeve: 7.5 inches)
Large --- (Chest: 20.5 inches - Length: 28 inches - Top Sleeve: 8 inches)
X Large --- (Chest: 22.5 inches - Length: 29 inches - Top Sleeve: 8.5 inches)
XX Large --- (Chest: 24 inches - Length: 30 inches - Top Sleeve: 9 inches)
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We donated to Mercy For Animals to help assist in their efforts for animal compassion, education, investigations, grassroots activism and more.
What Is “Mercy For Animals”?
Mercy For Animals is a national 501(c)(3) non-profit animal advocacy organization. Founded in 1999 and over 25,000 members strong, MFA works to create a society where animals are treated with the respect and compassion they so rightly deserve.
MFA believes non-human animals are irreplaceable individuals with morally significant interests and hence rights. This includes the right to live free from unnecessary suffering and exploitation.
MFA is dedicated to establishing and defending the rights of all animals. Over 99% of cruelty to animals in the United States occurs at the hands of the meat, dairy, and egg industries - which confine, mutilate, and slaughter over 9 billion animals each year. As such, MFA primarily focuses on farmed animal advocacy and promoting cruelty-free food choices.
MFA works to be a voice for animals through powerful consumer education programs, proactive advertising campaigns, groundbreaking undercover investigations, working with news media, and grassroots activism.
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“Thanks so much, the reprinted tee is PERFECT, fits him to a t! Perfect placement and size, thanks for helping to get it right, I really appreciate it, hope to shop with you in the future!” - Bonnie F.
“yahooo!!! I love my new partybots shirt! good customer service, fast shipping, and cool packaging! even gave me a free sticker! (that's now on my computer), two thumbs up!” - Amber Y.
“awesome shirt! i get so many compliments!” - Addie H.
“Wonderful! They bent over backwards to accommodate my procrastination and got the shirt to me in time to give the gift at the party! The print is amazing, service amazing! Thank you!” - Michael D.
“The shirt is light and design is amazing. I always catch people looking at it!” - Kristin K.
“Super cute shirt, great communication. Love all the drawings, I will definitely be back to shop again!” - Joni F.
“I wore this shirt today actually, and it was neat because it was really hot outside and me and my sister were riding our bikes to the beach. So over all I like it, I did think it was going to be a little smaller then it was, but im not sure why i thought that because there was a guy whereing it in the photo. Next time i buy a shirt from you however it will be a small not a medium....I like the stretchyness of the fabric!” - Michelle B.
"I saw karl's partybots probably about 2 years ago. Though his designs are funny at first glace, a deeper looks shows that he is full of talent with a unique imagination." -justin (justinwhitesel.com)
"Karl Addison brings an unmatched fire and vision to his art. Always two steps ahead of contempories, his fanciful designs bring a knowing smile to those who know him." - The Lebanon Robotics Team (Tina Casagrand, Katie Stoll, etc.)
"My family is stoked on your heart, it makes all of us so happy." - Penny C.
"ethereal, realistic, bizarre --- everything I love in artwork! Partybots has not only unique and one-of-a-kind stuff, they are mindbenders. Wear them or hang them and be weird! And cool. And nice to the earth!" - Marci F. ("f" is for freaking awesome)
"I had one of my best days ever...wearing my Partybots." – 33
It's stitched from 69 photos, taken at 113mm, f2.8. DOF is not so shallow as I would like to see. Next time I must choose faster/longer lens. But it would be nice print I guess. With 59 megapixels, it can be around 1 meter width.
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As I was about to take a picture of the person using an old large format camera with hood and black & white film, a lady with her two children and dog walked in front of this person and took the same picture of the waterfall using her cell phone.
- New and old way to take pictures in the same photo, and I only had seconds to take this photo before the lady left. The man under the hood was still setting up his picture.
This was taken at the lowest of the Triple Falls in Dupont State Forest, North Carolina.
Here is another picture of this person taking notes about the photo he just took: www.flickr.com/photos/31155442@N03/46178767105/in/datepos...
I just read about the Brenizer Method the other day and I decided to give it a go. It was a little tricky at first but I finally got some ok results in photoshop. Can't wait to play around with it more.
TOKYO – When Army Maj. Gen. James F. Pasquarette assumed command of U.S. Army Japan (USARJ) July 8, 2015, he immediately took initiative to personally meet the troops under his command as well as key leaders from his host nation partners.
Pasquarette's tour of his area of responsibility began in earnest when he and members of his staff boarded a UH-60 Blackhawk helicopter July 10 from Camp Zama, Japan. Flying hundreds of feet above the congested highways at sometimes at level with Japan's sea of skyscrapers, Pasquarette acquired a bird's eye view of the American and Japanese military installations scattered among the urban jungle.
“We overflew Sagami General Depot, Yokohama North Dock and Hardy Barracks, said Milton Jackson, garrison manager at Camp Zama. “Our new commander now has clearer picture of the facilities, equipment and watercraft managed by the Army, and he can better understand where and how these individual installations interact with one another.”
According to Jackson, the USARJ primary mission comprises the rapid deployment of troops and materiel from one theater to another. As the Army's largest logistical hub in Asia, the command must maintain a streamlined sustainment system capable of moving thousands of tons of supplies and equipment via land and sea.
“Sagami Depot has rolling stock and Yokohama North Dock has watercraft,” said Jackson. “We must overcome the challenges posed by Japan's dense population centers by developing methods that rapidly move and load stock onto our watercraft so that we may better project our presence in the Pacific. Fortunately, our Japanese allies are willing to support us if a major threat or disaster called for a sudden mass movement.”
After a brief stop at Yokota Air Base to meet with Air Force Gen. John L. Dolan, commanding general, U.S. Force Japan, Pasquarette touched down near the heart of Tokyo where members of America's staunchest allies welcomed him with the pomp and circumstance befitting a general.
“On behalf of the JGSDF (Japan Ground Self-Defense Force), welcome to Japan,” said Gen. Kiyofumi Iwata, chief of staff, JGSDF, to Pasquarette after the two commanders sat in a decorative conference room inside Japan's Ministry of Defense. “We look forward to continuing our dialog of bilateral coordination between our two countries as JGSDF pursues its transformation into a dynamic joint defense force.”
The dialog consisted of one-on-one conversations with not only Iwata but also Adm. Katsutoshi Kawano, chief of staff, Japan Self-Defense Force, and Hideshi Tokuchi, vice minister of international affairs, Japan Ministry of Defense. The four men discussed previous achievements, current operations and potential challenges facing their respective commands and presented ideas on how to strengthen interoperability among their forces through combined training exercises and expanded service member exchange programs.
“We currently have several dozen JSDF service members embedded with [U.S. military] units,” said Pasquarette. “I believe extending this program so that our Soldiers can work within the JGSDF will further enhance our partnership.”
Pasquarette also ensured his hosts that the United States Army remains committed to its allies in the Pacific despite looming force reductions and ongoing operations in Europe and the Middle East.
“The Army recently announced that it will cut the number of troops in the active component from 450,000 to about 410,000,” said Pasquarette. “This rebalance of the force has no effect on our strength and readiness in the Pacific. Our alliance is more important than ever. That's why we're keeping our best trained and best equipped Soldiers in Japan and Korea.”
After a two-hour visit that started with with a JSDF band playing “The Star-Spangled Banner” and ended with a warm exchange of plaques and handshakes, Pasquarette and his team boarded a helicopter bound for Camp Zama.
“I have worked extensively throughout the Pacific during my Army career,” said the former armor officer and chief of staff of U.S. Army Pacific. “The JSDF consists of some of the world's most capable and professional men and women in uniform. I look forward to building stronger relationships with them and become a valuable partner in its transformation."
U.S. Army photos by Sgt. John L. Carkeet IV, U.S. Army Japan
The VTO Football Combine T3 Method has trained over 5,000 students across the country… Our unique methods First we TEACH the correct skills/form for standard combine tests. Then we TEST to see where you excel and where you need more training then we TEACH again to see those skills improve and give you advice for training. Standard combine T3 methods includes 40 yard dash, Pro shuttle, vertical jump, 3 cone drill and bench press.
soundimageplus.blogspot.co.uk/search/label/Nikon%20D800%2....
NIKON D800E Voigtlander 20mm f/3.5
Please respect copyright! All images are protected under UK copyright law and the Berne international copyright convention and are visibly and/or invisibly watermarked. No images are within the public domain. images may not be reproduced, copied, used or altered in any way, by any method, without written permission
BREVARD, NC (January 20, 2015) — The best young minds in Transylvania County routinely work out hypotheses and analyze mounds of data to arrive at scientific conclusions. On January 13, the tables were turned and students’ own findings went under the microscope during the 27th Annual Dr. A. Mickey Church Math/Science Fair.
Board of Education Chair Tawny McCoy served as master of ceremonies in the Rogow Room at the Transylvania County Library. McCoy thanked school personnel and parents who make the annual science fair possible at their schools, and on the county level. She said, “I know that many extra hours are needed to have such an event, and I appreciate your efforts.”
Superintendent Jeff McDaris, with board members Marty Griffin and Betty Scruggs, helped hand out awards to winning students. Curriculum Directors Audrey Reneau and Brian Weaver served as Administrators for the jointly held Junior and Senior Science Fair, with coordinators Sheila Byrd and Marilyn Whitmire.
Fifty-two students submitted individual or team projects for the countywide competition. Eight judges spent the previous day reviewing a combined total of 30 projects to determine winners based on fitness for competition at the regional fair.
McCoy noted that the math/science fair would not be possible without significant community support. She thanked the volunteer judges and added, “Our appreciation goes to Ms. Stella Trapp, owner of the Transylvania Times, whose generous donation twenty seven years ago started our countywide fair.”
Medals were then awarded to the following students, who also invited to compete at regionals in February:
Junior Science Fair Winners
Biological Science A
3rd Place: John Nguyen and Bain Brown, BMS – “Shrimp: Brine...or Brawn”
2nd Place: Bobby Brown, BMS – “Assessing the Water Quality of Davidson River During Different Seasons”
1st Place: Emma Dauster, BMS – “The Impact of Controlled Burns on Terrestrial Tardigrade Populations in Dupont State Recreational Forest”
Biological Science B
3rd Place: Kailyn McCall, BMS – “What Time Is It?”
2nd Place: Aubree Williamson, BMS – “Guinea Pig Maze”
1st Place: Clare Kennerly, BMS – “Spoonerisms: A Study of Language”
Chemistry
1st Place: Carly Tabor, BMS – “I'm Melting...Which Building Material Holds up for the Effects of Acid Rain?”
Earth and Environmental Science
1st Place: Fritz Ruppert, BMS – “Are Our Water Woes Caused by Fertilizer Foes?”
Physics
3rd Place: Christian Heath and Gabriel Buenrostro, BMS – “How Does Air Pressure of a Soccer Ball Affect How Far it Goes?”
2nd Place: Kylie Worley and Eda Royer, BMS – “Which Cereal Will Absorb the Most Milk?”
1st Place: Caroline Jones, BMS – “Spinderella”
Technology and Engineering
1st Place: Frank Parsons, BMS – “Better Wi-Fi In Your House”
Senior Science Fair Winners
Biological Science A
3rd Place: Aaron Neumann, Ingrid Findlay, and Hannah Lemel, BHS – “Evaluation of Honey Bee Health in Transylvania County: An Assessment of Varroa destructor and Nosema Levels”
2nd Place: Sam Farrar, Erin Smith, and Cameron McCathern, BHS -- “The Evaluation of Stevia rebaudiana for the Presence of Estrogen-like Compounds”
1st Place: Abby Williams and Carly Onnink, BHS – “Electrantennogram Assays to Determine Megacopta cribraria Response to (E)-2- hexenal, tridecane, and (E)-2-decenal”
Biological Science B
3rd Place: Carver Nichols, BHS – “Agrobacterium-Mediated Stable Transformation of Coleus X Hybridus In Planta Using the Floral Dip Method”
2nd Place: Hannah Field and Ryan Holland, BHS – “Screening Local Lignicolous Fungi for Lignin-Degrading Enzymes”
1st Place: Crista Cali and Sarah Branagan, BHS – “The Search for Pityophthorus juglandis and Associated Geosmithia morbida in Transylvania County, NC”
Chemistry
1st Place: Joseph Roberts, Eliza Witherspoon and Lauren Tooley, BHS – “Evaluation of VOC-producing Diaporthe species for enzyme production”
Earth and Environmental Science
2nd Place: Allison Reece and Lauren DuBreuil, BHS – “The Effect of Antibiotics on the Mortality of the Hemlock Woolly Adelgid (Adelges tsugae)”
1st Place: Ryulee Park and Aidan Spradlin, BHS – “Identification and Heavy Metal Remediation Potential of Fungi Isolated from Duke Energy's 1964 Asheville Coal Ash Pond”
Physics
No projects submitted
Technology and Engineering
1st Place: Sam Lemel and Bryce Spradlin, BHS – “Adapting LAMP Assay and Culturing Methods for Use in Detecting Pseudoperonospora humuli in Hops and Pseudoperonospora cubensis in Cucumbers”
The Western North Carolina Regional Science Fair at Western Carolina University will be held on February 10th and 11th. The Regional Math Fair will be held on March 21nd at Appalachian State University.
The North Carolina Science Fair for the entire state will be held March 27th and 28th, at Meredith College in Raleigh, NC.
© 2015, Transylvania County Schools. All rights reserved.
I've gotten addicted to the awesome Brenizer method here lately and have been practicing in the yard a lot. This photo is a 7 image stitch done in Photoshop.
Pattaya is synonymous for bars and go - go bars in particular. The sex industry is still the main source of business and earning method here, but many families still visit here from all over Thailand. If you are offended by seeing a fat, wrinkled old man walking down the street with a very much younger lady who looks like she has stepped out of a model magazine, then don’t go, it’s perhaps the wrong place for you. I love Pattaya and the surrounding districts, there is so much to see here. The golf courses are plentiful and beautiful to play on. They are some of the best in the world, having been designed by the top golf course designers in the world. Forget the sleaze it’s there, you will not change that. I still drink in Walking street because I know many of the people who work there.
There are many good people who work in Pattaya. The beach areas are full of deck chairs that you can hire for the day. Nothing better than sat in a deck chair under an umbrella, the sun beating down, watching the Jet Skis, that anyone can hire. A cool beer on your table, served by the owners of the deck chairs ( they have many families that own the separate sections along the beach. They provide you with food and drink all day if you so wish, at very reasonable prices. During your stay on the beach you will find that most of the touts, scammers, food sellers, and people that sell just about anything for sale in Thailand will constantly bother you to buy. You can even get a massage on the beach, laid on the towel on the sand, it feels weird but it is a genuine massage! Pedicures, manicures along with lotions and medicines, all can be bought on the beach. I must admit after a few hours of this constant chit chat, barter, call it what you will, it gets boring and annoying. I know they are trying to make a living , but many wont take no for an answer!
Pattaya is built around 4 or 5 main roads. It’s easy to get around once you know the layout. The main Sukhumvit road passes Pattaya in the east. Branching off from that is Pattaya Na Kluea, starting very near to Bang Lamung Police station and follows the sea shore all the way along to the roundabout at North Pattaya road. This road itself runs up to the Sukhumvit road. At this roundabout ( known locally as the Dolphin roundabout ) Pattaya Na Kluea becomes Beach road. The main road that runs through to Walking street in the south. This road is also called Thanon Hat Pattaya and or first road. Central Pattaya road, runs again from the Sukhumvit road down to the beach and Beach road. Then South Pattaya road, runs from the Sukhumvit road, again down to the Beach road, near the the start of Walking street. Two other main roads run north - south same as Beach road, these are, Pattaya Saisong road or second road, next to the main Beach road, and finally Soi Buakhao.
Baht buses run constantly around the circle of Beach road and second road, you can stop these at any time along the route the usual fare being 10 Baht hence the name. You can also hire these by the hour or by any special journey, but make sure you fix a fee first, they do not have a meter. You can also get to Jomtien on one of the Baht busses. Taxis do try to get you on any trip without using the meter, much like in Bangkok and most other places around Thailand. Not all are like this there are some genuine ones. Motorbike taxis ( you ride pillion ) are plentiful in Patttaya, again always remember to fix any price first. Rental in Pattaya is big business, you can rent most things 4x4’s , cars, vans, people carriers or MPV’s, motorbikes, scooters. You will usually find the bigger the bike the more security they want, usually your passport. Risky I know but no passport you pay a hefty deposit instead. You will also need your Driving Licence, some of the people who rent out sometimes keep these until you return, others will do a photocopy of it.
Dimanche 24 août 2014. Painlevé Mathématicien et politicien ministre de la Guerre en 1917, puis président Conseil. Perrin par une expérience apporta preuve existence des électrons. Braille. aveugle auteur méthode de lecture.
Le Panthéon est un monument de style néo-classique situé dans le 5e arrondissement de Paris. Au cœur du Quartier latin, sur la montagne Sainte-Geneviève, il est au centre de la place du Panthéon et entouré notamment de la mairie du 5e arrondissement, du lycée Henri-IV, de l'église Saint-Étienne-du-Mont, de la bibliothèque Sainte-Geneviève et de la faculté de droit. La rue Soufflot lui dessine une perspective jusqu'au jardin du Luxembourg.
Le nom du monument, Panthéon, vient du grec pántheion (πάνθειον), qui signifie « de tous les dieux ». Prévu à l'origine, au XVIIIe siècle, pour être une église qui abriterait la châsse de sainte Geneviève, ce monument a maintenant vocation à honorer de grands personnages ayant marqué l'histoire de France hormis pour les carrières militaires normalement consacrées au Panthéon militaire des Invalides. Y sont notamment inhumés Voltaire, Jean-Jacques Rousseau, Victor Hugo, Sadi Carnot, Émile Zola, Jean Jaurès, Jean Moulin, Jean Monnet, Pierre et Marie Curie, André Malraux ou encore Alexandre Dumas, qui y a fait son entrée en 2002. Germaine Tillion, Geneviève de Gaulle-Anthonioz, Jean Zay et Pierre Brossolette sont les quatre derniers à y faire leur entrée le 27 mai 2015.
L'architecture reprend notamment la façade du Panthéon de Rome, construit au Ier siècle av. J.-C., surmontée d'un dôme qui s'inspire du Tempietto de l'église San Pietro in Montorio. Les différents desseins de sa construction, sa décoration, les inscriptions et les symboles qui y figurent permettent de parcourir la construction — lente et contrastée — de la nation française. Ce monument est ouvert au public et géré par le Centre des monuments nationaux.
Le Panthéon est un bâtiment long de 110 m et large de 84 m. La façade principale est décorée d’un portique aux colonnes corinthiennes, surmonté d’un fronton triangulaire réalisé par David d'Angers. Ce fronton représente la République (au centre) donnant la Liberté et protégeant à sa gauche les Sciences – représentées par de nombreux grands savants (François-Xavier Bichat, Berthollet, Gaspard Monge, Laplace…), philosophes (Voltaire, Jean-Jacques Rousseau…), écrivains (Fénelon, Pierre Corneille…) et artistes (Jacques-Louis David…) – et à sa droite l'Histoire – représentée par les grands personnages de l'État (Napoléon Bonaparte…) et étudiants de l'École polytechnique.
L'édifice, en forme de croix grecque, est couronné par un dôme haut de 83 mètres, coiffé d’un lanterneau. L’intérieur est décoré par des peintres académiques comme Puvis de Chavannes, Antoine-Jean Gros, Léon Bonnat ou Cabanel.
Le projet architectural de Jacques-Germain Soufflot est une église à dôme, en forme de croix grecque, c'est-à-dire avec quatre branches courtes, égales en longueur et en largeur . Pour le réaliser, il emprunte à différents styles architecturaux, ce qui fera écrire à Maximilien Brébion : « Le principal objet de M. Soufflot, en bâtissant son église, a été de réunir, sous une des plus belles formes, la légèreté de la construction des édifices gothiques avec la magnificence de l'architecture grecque. »
Soufflot était assisté par deux ingénieurs, Émiland Gauthey et Jean-Baptiste Rondelet qui a achevé le monument à la mort de l’architecte en 1780. Pour la première fois, un monument a fait l’objet de calculs mathématiques afin d’évaluer les poussées et la résistance des matériaux. On avait même construit à cet effet une machine à écraser les pierres. Pour tenter de consolider la structure, toutes les pierres ont été armées avec des agrafes en fer.
Soufflot a composé son église en puisant dans différents registres :
gothique : par la structure, constituée d'une nef voûtée, contrebutée par des arcs-boutants au-dessus des bas-côtés. Soufflot connaissait l'architecture gothique pour avoir écrit un mémoire sur le sujet en 1747,
byzantin : avec l'usage des coupoles en couvrement,
classique : la coupole à tambour, avec son péristyle extérieur, est une référence au tempietto de Bramante,
mais surtout Gréco-Romain : péristyle à six colonnes à entrecolonnement régulier et à fronton triangulaire (unique à l'époque), colonnes corinthiennes portant un entablement – alors que l'usage à l'époque était les piliers carrés portant des arcades
En raison de ces différents styles, l'église Sainte-Geneviève sera considérée par Pierre Lavedan et Louis Hautecœur comme le premier édifice éclectique. Il est cependant généralement classé comme néo-classique, d'abord pour la période de sa construction, puis par le vocabulaire de l'architecture classique (colonnes, entablement, fronton, etc.) utilisé dans une volonté de retour à la simplicité antique en réaction au style baroque de la période précédente (la façade ne comporte qu'un seul ordre comme les temples grecs, et non des ordres superposés comme Saint-Louis des Invalides, les colonnes du péristyle d'entrée ont un entrecolonnement régulier comme les temples antiques, alors que l'usage classique était d'écarter davantage les colonnes centrales, le même ordre corinthien se retrouve à l'intérieur comme à l'extérieur, etc.)
D'un point de vue structurel, les quatre nefs servent à contrebuter les poussées latérales du dôme. Cependant, le recours à l'armature de la pierre est nécessaire, compte tenu des poussées à contenir. Le portail contient une structure métallique invisible. Il s'agit véritablement de pierre armée et non pas simplement chaînée comme il était souvent pratiqué à l'époque, la disposition des armatures étant déjà celle d'une poutre en béton armé11. Cependant cette technique de construction nécessite un entretien régulier, pour éviter que l'humidité n'entre dans la maçonnerie et ne fasse rouiller le fer des armatures qui risqueraient de faire éclater la pierre.
Dès 1764, ce projet audacieux est l'objet de protestations de la part du clergé catholique qui s'élève contre la construction d'une église dont le plan au sol ne serait pas celui d'une croix latine. Soufflot doit donc revoir son plan. Il allonge d'une travée le bras du chœur (branche est), ce qui permet de créer une abside flanquée de deux tours abritant des chapelles au rez-de-chaussée et des clochers en élévation. À l'opposé, il allonge également le bras de la branche ouest en la dotant, à la manière des temples grecs de l'Antiquité, d'une sorte de pronaos, c'est-à-dire d'un portique qui précède le sanctuaire.
Il s'agissait d'abord de trouver de l'argent pour réaliser ce projet. On majora le prix des trois loteries mensuelles, leur coût passant de 20 sols à 24, ce qui rapporta 400 000 livres.
Ensuite, il fallait trouver un terrain. On décida de le prendre sur la partie ouest du jardin de l'abbaye Sainte-Geneviève. Les travaux commencèrent en 1758. L'argent récolté ne permit de réaliser que les fondations, car le terrain était miné par les galeries qu'avaient forées, seize siècles plus tôt, les potiers gallo-romains pour extraire l'argile. On dénombra au moins sept puits de 25 mètres de profondeur, et une centaine d'autres, moins profonds.
Enfin, le 6 septembre 1764, Louis XV vint poser la première pierre. On avait édifié pour l'occasion une reproduction du futur édifice, un trompe-l'œil grandeur nature, de toile et de charpente, représentant le futur portail de l'église.
La construction avança malgré tout avec régularité : en 1769, les murs étaient élevés et en 1776, les voûtes terminées et décintrées.
Mais le projet fut très contesté. Bien que cette idée fît école, il fut attaqué par de nombreux détracteurs. L'audace du projet, mais aussi, il est vrai, des tassements dans les maçonneries dus à une mauvaise exécution, alimentèrent libelles et mémoires explicatifs. La polémique fut très vive et c'est désespéré que Soufflot mourut le 29 août 1780 avant que le projet ne fût terminé. Les critiques principales tendaient à établir que les quatre groupes de trois colonnes destinées à soutenir les trois coupoles, imaginées par l'architecte, manquaient de solidité et que l'édifice allait s'écrouler.
La plupart des pierres viennent des carrières du Bassin parisien. Les parties inférieures, jusqu’à neuf pieds de hauteur, viennent des carrières d'Arcueil et sont constituées de banc franc réputé comme le cliquart pour sa finesse et la dureté de son grain. De la carrière de Conflans-Sainte-Honorine, au confluent de la Seine et de l'Oise, on a extrait deux beaux blocs dits de banc royal qui ont été employés pour les angles du fronton. Du banc supérieur au banc royal, on trouve des pierres d'une dureté et d'une finesse un peu inférieure, dont on a extrait les blocs qui ont servi aux chapiteaux des colonnes corinthiennes.
La suite des travaux fut confiée à deux collaborateurs de Soufflot, les architectes Rondelet et Brébion aidés d'un parent de Soufflot, Soufflot dit le Romain.
Pour la structure, leur principal apport fut de substituer de massifs piliers aux colonnes imaginées par Soufflot pour soutenir le dôme. Pour tracer les fuseaux verticaux contenant les caissons du dôme, Rondelet s'est servi d'une méthode simple : accrochant un fil à plomb au sommet, il se servit de l'ombre portée directement sur la voûte déjà réalisée pour les matérialiser.
Ils assurèrent également le suivi du chantier. On trouvera sur le site italien Vita e opere de nombreuses gravures sur la construction de l'église Sainte-Geneviève, plans de coupe du bâtiment, croquis de machines de chantier pour tester la solidité de la pierre et pour le renforcement de la pierre par des armatures de métal.
Le sculpteur Guillaume II Coustou réalisa le fronton.
Le 4 avril 1791, l'Assemblée constituante transforme l'église Sainte-Geneviève en « Panthéon des grands hommes ». Elle charge Quatremère de Quincy d'adapter les lieux à cette nouvelle fonction.
Les choix de l'architecte modifient l'idée initiale de Soufflot : il change l'apparence extérieure en supprimant le lanterneau et les clochers, devenus inutiles. Intérieurement, il obture 38 des 42 fenêtres, modifiant ainsi profondément la circulation de la lumière à l'intérieur du bâtiment. Alors que le projet initial était de faire entrer le plus de lumière possible, l'obturation des ouvertures plonge maintenant la base du lieu dans une semi-pénombre. Elle accentue la lumière zénithale issue de l'oculus de la coupole à caissons, comme c'est le cas pour l'austère Panthéon de Rome.
La suppression de ces fenêtres perturbe la ventilation du bâtiment ; elle accroît en particulier le taux d'humidité et se trouve à l'origine, au XXe siècle, de fissures et d'érosion des structures métalliques.
Au milieu du bouillonnement des idées de la Révolution française, concernant le Panthéon, il faut retenir l'idée de Charles De Wailly, finalement non réalisée, qui aurait consisté à modifier l'édifice pour le mettre au goût de l'époque et lui donner le caractère de solidité qui semblait lui manquer.
En 1744, alors qu'il se trouve à Metz souffrant d’une grave maladie, Louis XV fait le vœu, s’il survit, de faire ériger une église dédiée à sainte Geneviève. Rétabli, et de retour à Paris, il charge le marquis de Marigny, directeur général des bâtiments, d'édifier le monument en lieu et place de l’ancienne abbaye Sainte-Geneviève, alors en ruine. Plusieurs architectes dont Laurent Destouches conçoivent les plans d'un nouvel édifice. Mais, en 1755, le marquis de Marigny confie la responsabilité des plans à l’architecte Jacques-Germain Soufflot, qui avait envoyé de Rome, un projet adopté par acclamation.
Le chantier commence en 1757 et l'abbé de Sainte-Geneviève bénit le terrain le 1er août 1758. Dès lors on commence à creuser les fondations.
Louis XV pose la première pierre le 6 septembre 1764, devant une grandiose préfiguration : le futur portail y figure, peint et représenté grandeur nature, comme un décor en toile tendu sur une charpente ; l'œuvre est due aux peintres Pierre-Antoine Demachy et Callet. Le souverain est accompagné du dauphin, de l'abbé de Sainte-Geneviève, du marquis de Marigny, directeur général des Bâtiments du roi, ainsi que de l'architecte Soufflot, qui lui présente son projet. Une médaille commémorative de la cérémonie est gravée par Pierre-Simon-Benjamin Duvivier et Charles Norbert Roëttiers. Elle porte au droit l'effigie du roi et au revers l'élévation initialement prévue. Un exemplaire en or de cette médaille, offert par le roi à Jean-Baptiste de Puisieux, collaborateur de Soufflot, est conservé au musée Carnavalet. Un célèbre tableau de Demachy représentant la cérémonie, présenté au Salon de 1765, et un grand dessin préparatoire à la plume et au lavis de bistre pour la composition de Soufflot sont également conservés au musée Carnavalet.
Cependant, des critiques s’élèvent bientôt, dès 1770, au sujet du dôme dont on prédit, notamment l’architecte Pierre Patte, que les bases ne suffiront pas à le porter et que, faute de remplacer les colonnes de soutènement par des piliers pleins et massifs, l’édifice est voué à l'effondrement. Bientôt l’idée est fermement ancrée chez beaucoup de Parisiens qui s’imaginent l’ouvrage destiné à s’écrouler à plus ou moins long terme. Mercier, par exemple, se fait l’écho de cette rumeur dans son Tableau de Paris :
« Le dôme ou la coupole de l'église de Sainte-Geneviève s’écroulera-t-il sur nos têtes ? Ou bien bravera-t-il, sur une base inébranlable, les clameurs et les alarmes de M. Patte ? Il a annoncé le danger, n’est-il qu’imaginaire ? S’il arrivait, il ne nous resterait donc que la majestueuse façade de ce monument ; morceau qui mérite les plus grands éloges.».
La construction prend du retard à cause de difficultés financières dues à la guerre et à la mort de Soufflot en 1780. L'édifice n'est achevé qu'en 1790, par les associés de Soufflot, Jean-Baptiste Rondelet et Maximilien Brébion. Ils dénaturent cependant le projet en le privant de la partie audacieuse et originale qui le caractérisait. C'est la Révolution, qui entrainera la laïcisation du monument et une épuration de l'architecture : suppression des deux clochers prévus initialement, obturation des trente-neuf fenêtres de la nef, anéantissant définitivement l'esthétique lumineuse du temple, voulue par Soufflot.
C'est à la mort de Mirabeau, le 2 avril 1791, que l'on songe à réunir les tombes des grands hommes de France dans un endroit qui leur soit dédié, à l'image de l'abbaye de Westminster en Angleterre ou de l'église Saint-Étienne-du-Mont dans le passé en France.
La proposition d’Emmanuel Pastoret d'utiliser pour cela l'édifice qui vient d'être achevé et n'est pas encore consacré comme église, plutôt que la rotonde de la Villette et le Champ-de-Mars, est retenue par l’Assemblée nationale. Cette dernière décide, par un décret du 4 avril 1791, que le bâtiment servira de nécropole aux personnalités exceptionnelles qui contribuent à la grandeur de la France.
Le discours d'Emmanuel Pastoret, procureur syndic du département de Paris, provoque l'acclamation de l'Assemblée entraînée par Robespierre et Barnave :
« Messieurs, Le Directoire du département propose à l'Assemblée nationale de décréter : Que le nouvel édifice Sainte-Geneviève soit destiné à recevoir les cendres des grands hommes, à dater de l'époque de notre liberté ; Que l'Assemblée nationale puisse seule juger à quels hommes cet honneur sera décerné ; Que Honoré-Riquetti Mirabeau en est jugé digne ; Que les exceptions qui pourront avoir lieu pour quelques grands hommes, morts avant la Révolution, tels que Descartes, Voltaire, Rousseau, ne puissent être faites que par l'Assemblée nationale ; Que le Directoire du département de Paris soit chargé de mettre promptement l'édifice Sainte-Geneviève en état de remplir sa nouvelle destination, et fasse graver au-dessus du fronton ces mots : Aux grands hommes la patrie reconnaissante. »
Entre 1791 et 1793, le bâtiment est par conséquent profondément modifié par Quatremère de Quincy, qui lui donne son apparence actuelle afin qu'il devienne un « panthéon », c'est-à-dire un monument laïc consacré à la mémoire des grands hommes de la nation.
Entre 1796 et 1801, un chantier de consolidation du monument voit se succéder de nombreuses expertises, de projets et de controverses entre des architectes, tels que Antoine-Marie Peyre, Viel, Charles de Wailly, Jean-François Chalgrin, Alexandre-Théodore Brongniart, Louis-François Petit-Radel, Léon Vaudoyer et des ingénieurs et mathématiciens, tels que Pierre-Simon de Laplace, Charles Bossut, Gaspard de Prony), dont triomphe pourtant, Jean-Baptiste Rondelet.
Sous le Premier Empire, par le décret du 20 février 1806, le bâtiment prend le nom d'église Sainte-Geneviève ; c'est à la fois le lieu d’inhumation des grands hommes de la patrie et un lieu de culte. La crypte reçoit donc le cercueil de grands serviteurs de l'État, tandis que dans la partie supérieure se déroulent des cérémonies religieuses notamment liées aux commémorations impériales.
Au début de la Restauration, le Panthéon reste un lieu d'inhumation pour les grands hommes. L'ordonnance royale du 12 avril 1816 rend l'église Sainte-Geneviève au culte catholique, prévoyant la « suppression de tous les ornements et emblèmes étrangers au culte catholique ». En 1819, les lettres de bronze formant l'inscription du fronton sont enlevées, mais le texte reste lisible. C'est seulement en 1823 (pour le fronton) et en 1826 que les traces de l'ancienne fonction du Panthéon disparaissent finalement. En décembre 1821, les tombes de Voltaire et de Rousseau avaient été déplacées pour ne plus être visibles du grand public tout en restant dans l'édifice : alors que ses courtisans demandaient à Louis XVIII s'il était bien convenable de laisser la dépouille de l'anticlérical Voltaire dans un lieu rendu à sa fonction d'église, le roi répondit : « Laissez-le donc, il est bien assez puni d'avoir à entendre la messe tous les jours »
À son tour, la monarchie de Juillet retire l'église Sainte-Geneviève au culte catholique et lui rend sa destination de panthéon qui est appelé alors « le Temple de la Gloire ». David d'Angers refait le fronton et la célèbre devise « Aux grands hommes, la patrie reconnaissante » réapparaît. Pourtant, durant cette période personne ne sera panthéonisé. De 1848 à 1851, sous la Deuxième République, il est « Temple de l'Humanité », sans succès non plus pour d'éventuels nouveaux locataires.
Sous le Second Empire (1851-1870), l’édifice redevient une église et l’inscription disparaît à nouveau. Le décret du 6 novembre 1851 n'abroge pas l'ordonnance de Louis-Philippe maintenant le caractère de sépulture nationale voulue par la Révolution. La cérémonie de reprise du culte a lieu le 3 janvier 1852.
Un second décret, du 22 mars 1852, fixe les conditions d'exercice du culte. Ne s'agissant pas d'une paroisse ni de l'église d'une congrégation, l'État prévoit les modalités d'exercice suivantes : « Une communauté de prêtres est établie pour desservir l'église Sainte-Geneviève de Paris. Cette communauté est composée de six membres qui prennent le titre de chapelains de Sainte-Geneviève, et d'un doyen. Les chapelains de Sainte-Geneviève sont institués aux fins de se former à la prédication et de prier Dieu pour la France et pour les morts qui auront été inhumés dans les caveaux de l'église »
Dès l'affermissement de la Troisième République un débat s'engage sur la possibilité de rendre à l'église sainte-Geneviève son statut de panthéon. le 19 juillet 1881, le rapporteur Benjamin Raspail présente un projet de loi intitulé : Proposition de loi relative au chapitre métropolitain des chapelains de sainte-Geneviève et au Panthéon. Après discussion 3 articles sont adoptés :
Article 1 : Le décret loi de l’Assemblée nationale, en date des 4-10 avril 1791, est rétabli en ce qui concerne la consécration de l'église Sainte-Geneviève, à la mémoire des grand citoyens. Cet édifice reprendra la dénomination de Panthéon. L'inscription : « Aux grands hommes la patrie reconnaissante ! » sera maintenue sur son fronton.
Article 2 : La communauté de prêtres, portant le titre de chapelains de Sainte-Geneviève, avec doyen, est supprimée.
Article 3 : Le décret du 20 février 1806, l'ordonnance du 12 décembre 1821, les décrets du 6 décembre 1851, 22 mars 1852 et 22 mai 1862 sont abrogés.
En 1885, à l'occasion du décès de Victor Hugo et de son inhumation au Panthéon cette loi est mise en application. Désormais le bâtiment est bien le lieu de repos des grands hommes honorés par la République
This is a straight forward portrait of a lovely lady. Cheyenne has great skin, and a beautiful face. I wanted a good, straight, simple headshot after making her stand in freezing water... LOL. Anyway, it always comes back to the headshot for me. I can shoot headshots all day. (Time was I could shoot Tequila shots all day... but that's a story for another time.)
There is nothing more fun than a pure beauty portrait and sometimes you can do it so simply. This is a beauty dish in the same position as the study here:
www.lighting-essentials.com/setups/beauty_dish1/index.html
However, you can see that we have added fill on both sides, and below. There is a shiny board on her lap and that is filling the bottom of the chin.
The background I wanted was bright white and I wanted it to wrap a bit around her. I set the big softbox as the background and it is about 2 feet in back of her and set to one stop brighter than the beauty dish. That was enough to blow the edges and wrap around the hair and shoulders. You can also see its effect as the highlight on her chin line camera right. I love that... I really do.
(Strobist method: simple beauty dish to front with fill cards as necessary. Add a shower curtain scrim - ironed to get all wrinkles out - behind the model. A second speedlight should give you plenty of soft wrap around back light. You will have to have enough room to make sure the flash is far enough back that it covers the area you are shooting so as not to create a hot spot. )
Because of the built in flare, ou may end up with a bit softer image, but that can easily be remedied in PS.
Photoshop: skin retouched, background duplicated and 'flared' a bit more to really give a feeling of blastin back light. Muted layer under color layer with opacity set to 50% for a flatter color pallet, highlight / shadow painting and a tad bit of grain to give it some life.