🇫🇷 Un Héliconia très élancé

Encore une variété d' héliconia : le Heliconia latispatha

Il pousse spontanément dans les forêts humides des zones montagneuses. Au feuillage ressemblant au bananier, il se distingue par ses grandes inflorescences, longues de 50cm, dressées et formées d’une douzaine de bractées rigides, rouge minium (rouge orangé) à rouge saumon, à l’intérieur desquels se cachent les fleurs .

Les bractées colorées ont une forme étrange et rappellent celles du Strelitzia, également appelé « Oiseau de Paradis ».

🇬🇧. A very slender Heliconia

Another Heliconia variety: Heliconia latispatha

It grows spontaneously in humid forests in mountainous areas. With its banana-like foliage, it is distinguished by its large, 50 cm long, erect inflorescences formed by a dozen rigid bracts, minium red (orange-red) to salmon red, inside which the flowers are hidden.

The colourful bracts are strangely shaped, reminiscent of those of the Strelitzia, also known as the 'Bird of Paradise'.

🇪🇸 Una Heliconia muy esbelta

Otra variedad de Heliconia: Heliconia latispatha

Crece espontáneamente en bosques húmedos de zonas montañosas. Con su follaje parecido al del plátano, se distingue por sus grandes inflorescencias erectas, de 50 cm de largo, formadas por una docena de brácteas rígidas, de color rojo minio (rojo anaranjado) a rojo salmón, en cuyo interior se esconden las flores.

Las coloridas brácteas tienen una forma extraña, que recuerda a las de la Strelitzia, también conocida como "ave del paraíso".

🇩🇪 Eine sehr schlanke Heliconia

Noch eine Heliconia-Variante: die Heliconia latispatha.

Sie wächst spontan in den feuchten Wäldern der Bergregionen. Sie hat bananenähnliche Blätter und zeichnet sich durch ihre großen, bis zu 50 cm langen, aufrechten Blütenstände aus, die aus einem Dutzend steifer, miniumroter (orangeroter) bis lachsroter Hochblätter bestehen, in deren Innerem sich die Blüten verstecken.

Die farbigen Hochblätter haben eine seltsame Form und erinnern an die Strelitzie, die auch "Paradiesvogel" genannt wird.

🇮🇹 Una Heliconia molto snella

Un'altra varietà di Heliconia: l'Heliconia latispatha.

Cresce spontaneamente nei boschi umidi delle zone montane. Con il suo fogliame simile a quello di un banano, si distingue per le grandi infiorescenze erette, lunghe 50 cm, formate da una dozzina di brattee rigide, di colore dal rosso minio (rosso-arancio) al rosso salmone, all'interno delle quali sono nascosti i fiori.

Le brattee colorate hanno una forma strana, che ricorda quella della Strelitzia, nota anche come "Uccello del Paradiso".

The Palazzo Gussoni Grimani Della Vida, also called Grimani a San Fosca is a Renaissance-style palace on the Grand Canal, located between the Palazetto Barbarigo and the Rio di Noale, in the sestiere of Cannaregio, in Venice, Italy.

The palace was built in the mid-16th century by a branch of the patrician Gussoni family and attributed to a design of Michele Sanmicheli. The Gussoni family is said to have played a role in the founding of Santa Sofia, San Matteo, and Santa Maria dei Crociferi. A different branch of the family lived in the Gussoni palace in San Vitale, later owned by the Cavalli.

In May 1569, the archduke Charles of Austria watched a regatta in his honor from this palace. During 1647-1690, the palace hosted the Accademia Delfica, also called Gussonia. The male Gussoni branch extinguished in 1735 with the death of the Senator Giulio. The palace briefly passed to the Minio family, who sold it to the Grimani. In 1816, it was purchased by the Jewish family Dalla Vida (Della Vida).

The courtyard had frescoes by Giovanni Battista Zelotti. The facade once had frescoes by Tintoretto depicting allegories of Dawn and Dusk.

SONY DSC

Palazzo Giustiniani or the Piccolo Colle is a palace on the Via della Dogana Vecchia and Piazza della Rotonda, in Sant'Eustachio, Rome.

The palace contains the official residence of the President of the Senate of the Republic, the Sala Zuccari, the offices of the Life senators and former presidents of Italy, and some administrative offices. From 1901 until 1985, it was also the seat of the Masonic order of the Grand Orient of Italy.

The palace was built near the Pantheon at the end of the 16th century for Monsignor Francesco Vento, but in 1590 it was acquired by Giuseppe Giustiniani, a member of the Genoese Giustiniani family who had served as Governor of Chios. His son, Cardinal Benedetto Giustiniani, linked it to other buildings until it encompassed an entire city block. The Cardinal's brother, Vincenzo Giustiniani, acquired an art collection of some 1600 items for the palace, including ancient statues and paintings by Giorgione, Titian, Raphael, and Caravaggio.

The original design of the building was produced by Giovanni Fontana, probably with assistance from his brother Domenico Fontana. It underwent various renovations throughout the first half of the seventeenth century, culminating in the work of Francesco Borromini, who is responsible for the doorway and the balcony above it, which are visible from the Dogana Vecchia, and an elegant internal courtyard, with an atrium containing lowered arches characteristic of Borromini's style.

In 1859, with the extinction of the main line of the Giustiniani family, the palace became the property of the Grazioli, who leased it to the Grande Oriente d'Italia masonic order in 1898. The Grande Oriente made it their headquarters on 21 April 1901; initiates referred to the palace as the "Vaticano Verde" or the "Vaticano dei 33.". In 1917 a person of unsound mind killed Achille Ballori, Grand Commander of the Scottish Rite and associate Grand Master of the Grande Oriente d'Italia in the palace.

At the beginning of 1926, Mussolini's regime outlawed Freemasonry and confiscated the palace for the use of the Senate. Litigation about this was resolved amicably in 1960 with an agreement between the society and Minister Giuseppe Trabucchi, which was proposed by US Secretary of State Christian Herter. Under this agreement, the part of the palace abutting the Piazza della Rotonda remained under the Freemasons' control. The Senate only gained control of the whole palace in 1985, when the Freemasons relocated to the Villa del Vascello on Janiculum Hill.

In 1938, an underground passage was built connecting the palace to the Palazzo Madama, the seat of the Italian Senate. This tunnel still exists.

The palace was used as an official residence by Enrico De Nicola as provisional head of state from 1946 to 1948, instead of the more imposing Quirinal Palace, which had previously been the palace of the Popes and the Kings of Italy and is now the residence of the President of Italy. As such, the confirmation of the Italian Constitution by De Nicola took place at Palazzo Giustiniani, in the library.

In 1972, the palace was mentioned as the place in which Aldo Moro and Amintore Fanfani (the President of the Senate at the time) made the "Pact of Palazzo Giustiniani" which delayed the passage of power to the younger generation of the Christian Democracy Party, in favour of their proteges, Ciriaco De Mita and Arnaldo Forlani, which effectively assured their rise to the head of the left and right wings (respectively) of the Christian Democracy party. There is some doubt about the veracity of this story because of its similarity to the "Pact of San Ginesio" of August 1969 between De Mita and Forlani.

In 1973, the Communist parliamentarian and former mayor of Civita Castellana, Enrico Minio, committed suicide in his office in the palace, suffocating himself with a plastic bag.

It is customary that the President of the Senate provide offices in the palace to the president of the relevant council for the conduct of consultations, whether they are a member of the Chamber of Deputies or the Senate.

Campo Minio, (cresta sull'Osservatorio Astronomico), vista paesaggio.

© All rights reserved. Using this photo without my permission is illegal.

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Info/contacts/demo:

www.mikerphotoart.wix.com/book

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Minio

Saturnine Implications.

La course surhumaine a touché des moments à l'arrière des navires, des boîtes lointaines, des yeux gigantesques, des capitaines rivés, des salles étroites, enveloppant le public,

γιορτάζει τις ανησυχίες σχολαστικά λάθη συναισθήματα απογοητεύσεις προσδοκίες αυξάνουν τις εκφράσεις αγωνία,

vanskeligheter betyr fantastiske minutter utvidede fingre kontemplasjoner påfølgende spørsmål lytterartist våkne netter som murrer hulkende,

sérstakar tilvitnanir náttúrulegar niðurstöður framar aðstæður undraverðar ályktanir sem endurvekja varar ókunnuga hagsmuni við að auka dauðsföll,

הפיכת תשומת לב למועצות בלתי סבירות פולשים מוגזמים מתפוצצים בצחוק השלכות חמורות קור רוח מהיר מטרות מפוארות,

atsižvelgiant į įvairius sakinius nelaimingi įvykiai užrašai, kalbantys priverstines nuoskaudas, minios stebi paslaptis,

遠征を楽しませる不安定な土地は、罠の残虐行為を発見する理由を酔わせ、グリズリーの画家を震わせて絶望感を揺さぶる自信を持って問題を明確に表現する.

Steve.D.Hammond.

Vincenzo Foppa (Brescia, circa 1427 - circa 1515) - portrait of Giovanni Francesco Brivio (1495) - tempera on panel 46.5 x 36.7 cm. - Poldi Pezzoli Museum, Milan

Nel dipinto è raffigurato un uomo di profilo, ritratto senza idealizzazione: il volto mostra con grande evidenza i lineamenti marcati e irregolari e le rughe. L’effigiato indossa una ricca sopravveste di damasco, profilata di pelliccia, di ispirazione mediorientale e detta per questo “turca”. La berretta, ricorrente nella moda maschile milanese del secondo Quattrocento, era forse fatta ad ago, cioè a maglia. Il personaggio qui raffigurato è stato identificato in Giovanni Francesco Brivio in base al confronto con un altro ritratto derivato da questo in epoca posteriore, conservato presso la famiglia Brivio di Milano, che ne porta scritto il nome. Nato negli anni sessanta del Quattrocento da una nobile famiglia milanese, Giovanni Francesco Brivio fu nominato “aulico” alla corte di Gian Galeazzo Sforza nel 1482 e due anni dopo promosso alla magistratura delle ducali entrate ordinarie. Da questa data fino al 1499, anno della fuga di Ludovico il Moro, egli occupò una posizione di rilievo alla corte sforzesca e svolse un ruolo attivo anche nel campo artistico. Il ritratto risale al 1495 circa, quando Brivio ricopriva la carica di magistrato delle entrate ordinarie del ducato sforzesco e si trovava nel momento del suo massimo successo pubblico. Il dipinto appare nell’inventario della famiglia Brivio Sforza a partire dall’inizio del diciottesimo secolo come opera di Leonardo da Vinci. L’attribuzione a Vincenzo Foppa è stata formulata per la prima volta nel 1881 da Giuseppe Bertini ed è stata in seguito ripresa da altri studiosi soprattutto in considerazione dei toni scuri dell’incarnato dell’effigiato, tipici del pittore bresciano, ed è pienamente convincente alla luce delle attuali conoscenze sulla pittura lombarda dell’ultimo decennio del Quattrocento. L’opera si colloca fra il 1490 e il 1499, dopo le ultime realizzazioni liguri del pittore, come confermano la materia pittorica sciolta e fluente e la fermezza del modellato, e prima dell’anno di sfortuna politica dell’effigiato. La sobria cromia anticipa la pittura dimessa e severa delle ultime produzioni di Foppa. Il dipinto si riallaccia alla tradizione del ritratto di ispirazione classica, derivante dalle immagini degli antichi imperatori sulle monete romane. Durante tutto il corso del Quattrocento, in Italia, questo genere pittorico è molto comune e lo schema compositivo si appoggia su una tradizione di larga fortuna in area veneto-padana. L’opera è caratterizzata da un forte naturalismo, che si ritrova nell’espressione di grande severità, velata di malinconia del personaggio, che qui pare dimostrare poco più di quarant’anni: i capelli sono leggermente brizzolati e il volto asciutto è solcato da alcune rughe. La straordinaria qualità della sintesi visiva, evidente ad esempio nell’attenzione per il dato reale e nell’interesse per la luce intesa come strumento di indagine anatomica, conferisce al dipinto una posizione di particolare importanza nella ritrattistica lombarda. La scelta del fondo scuro e la minuziosa resa naturalistica dei dettagli fisionomici rimandano a modelli fiamminghi, probabilmente filtrati da Foppa attraverso l’esperienza mantegnesca. Il dipinto è stato eseguito a tempera e velature in lacca rossa stese su di una finissima preparazione sanguigna assai simile al minio. Il supporto è costituito da un’unica tavola di noce il cui spessore è stato ridotto a pochi millimetri nel corso di un intervento di restauro eseguito intorno al 1900.

The painting depicts a man in profile, portrayed without idealization: the face shows with great evidence the marked and irregular features and wrinkles. The effigy wears a rich damask surcoat, trimmed with fur, of Middle Eastern inspiration and therefore called "Turkish". The biretta, a recurrent feature of Milanese male fashion in the second half of the fifteenth century, was perhaps needle-made, that is, knitted. The personage depicted here has been identified as Giovanni Francesco Brivio on the basis of a comparison with another portrait derived from this one in a later period, preserved in the Brivio family in Milan, which bears his name. Born in the 1460s into a noble Milanese family, Giovanni Francesco Brivio was appointed "aulico" at the court of Gian Galeazzo Sforza in 1482 and two years later promoted to the magistracy of the ducal ordinary revenues. From this date until 1499, the year of the flight of Ludovico il Moro, he occupied an important position at the Sforza court and also played an active role in the artistic field. The portrait dates from around 1495, when Brivio held the position of magistrate of the ordinary revenues of the Sforza duchy and was at the moment of his greatest public success. The painting appears in the inventory of the Brivio Sforza family from the beginning of the eighteenth century as a work by Leonardo da Vinci. The attribution to Vincenzo Foppa was formulated for the first time in 1881 by Giuseppe Bertini and was later resumed by other scholars especially in consideration of the dark tones of the complexion of the effigy, typical of the Brescian painter, and is fully convincing in the light of current knowledge on Lombard painting of the last decade of the fifteenth century. The work is placed between 1490 and 1499, after the last Ligurian achievements of the painter, as confirmed by the loose and flowing pictorial material and the firmness of the modeling, and before the year of political misfortune of the effigy. The sober chromatics anticipate the resigned and severe painting of the last productions of Foppa. The painting is linked to the tradition of the portrait of classical inspiration, deriving from the images of the ancient emperors on Roman coins. During the course of the fifteenth century, in Italy, this pictorial genre was very common and the compositional scheme was based on a tradition that was very popular in the Veneto-Padania area. The work is characterized by a strong naturalism, which is found in the expression of great severity, veiled with melancholy of the character, which here seems to demonstrate little more than forty years: the hair is slightly graying and the dry face is furrowed by some wrinkles. The extraordinary quality of the visual synthesis, evident for example in the attention paid to the real datum and in the interest in light as an instrument of anatomical investigation, gives the painting a position of particular importance in Lombard portraiture. The choice of the dark background and the meticulous naturalistic rendering of the physiognomic details refer to Flemish models, probably filtered by Foppa through the experience of Mantegna. The painting was executed with tempera and red lacquer glazes spread over a very fine sanguine preparation very similar to minium. The support is made up of a single walnut board whose thickness was reduced to a few millimeters during an intervention of restoration carried out around 1900.

This image of part of the Mangala Valles outflow channel system close to Minio Valles was acquired by the High Resolution Stereo Camera on ESA’s Mars Express on 12 July 2015 during orbit 14622. The region has been subject to intense episodes of flooding, likely triggered by volcanic processes occurring in the nearby Tharsis region.

The name “Mangala” comes from the Sanskrit word for Mars.

The image is centred on 7ºS/208ºE. The ground resolution is about 16 m per pixel.

Credit: ESA/DLR/FU Berlin, CC BY-SA 3.0 IGO

Copyright Notice:

Where expressly stated, images are licensed under the Creative Commons Attribution-ShareAlike 3.0 IGO (CC BY-SA 3.0 IGO) licence. The user is allowed to reproduce, distribute, adapt, translate and publicly perform it, without explicit permission, provided that the content is accompanied by an acknowledgement that the source is credited as “ESA/DLR/FU Berlin”, a direct link to the licence text is provided and that it is clearly indicated if changes were made to the original content. Adaptation/translation/derivatives must be distributed under the same licence terms as this publication.

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Même coiffeur ? n__n

Photo dédiée a ma Loli préférée ♥

*Fondue senior beach*

Konica A4 (AKA The Big Mini)- Kodak Gold 200,

Di nuovo sul luogo del misfatto.

Another shot of a building I really love (visually) in EUR, Rome.

The other shots are here:

www.flickr.com/photos/er-minio/100814981/in/photostream/

www.flickr.com/photos/er-minio/101167618/

It might become a set sooner or later :-)

Para Blythe, Pullip ó Dal

Handmade by me - Ö DOLLS

Info en Ö DOLLS

www.facebook.com/ODOLLS

Wolfgang Staudt

Burano, venetisch Buran, ist eine der groesseren und der am dichtesten besiedelten Inseln in der Lagune von Venedig, bzw. vielmehr eine Gruppe von vier eng beisammen liegenden und durch acht Bruecken verbundenen Inseln.

From Wikipedia, the free encyclopedia

catala

La història dels Dracs es remunta a finals dels 70, quan desprès d'uns anys de poques manifestacions al carrer per raons polítiques, de sobte i per unes altres raons i desprès de tants anys de repressió, la gent tenia ganes de manifestar-se i fer coses. I a raó d'això la gent començar a formar grups de teatre, d'esplai i grups per fer coses per la Festa Major i per la Bisbal. Entre aquests surt el grup "Plou i Fa Sol" que era un grup format per gent que feia colònies i altra gent que no estava enlloc. El primer acte que es va fer va ser organitzar la Cavalcada de Reis de l'any 1978, que era un acte que estava molt mort, i a partir d'aquí van fer Festes Majors, cercaviles amb els Gegants, l'Àliga, el Drac, etc...

I per coses de la vida dins aquesta gran moguda de Catalunya va sortir un grup anomenat els "Comediants" els quals vam conèixer els Dracs, anàvem a casa seva i ens vam relacionar amb ells. I van venir a la Bisbal els anys 80 i 81 a fer les seves representacions, fins que l'any 81 ja havien fet tots els seus espectacles que portaven i van fer una mica d'improvització i d'assaig del que seria un espectacle de dimonis. I així va començar a haver-hi foc pels carrers de la Bisbal. I l'any 82 van venir els Diables del Vendrell, el Drac de Vilanova, i nosaltres de nit passàvem per les Voltes on encara i havia can Met i hi havia la gent prenen la seva tònica, i nosaltres passàvem per allà a saco, era molt i molt maco.

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spanish

La historia de los Dracs se remonta a finales de los 70, cuándo desprendido de unos años de pocas manifestaciones a la calle por razones políticas, de repente y por otras razones y desprendido de tantos años de represión, la gente tenía ganas de manifestarse y hacer cosas. Y a razón de eso la gente empezar a formar grupos de teatro, de centro recreativo|recreo y grupos para hacer cosas por la Fiesta Mayor y por|para la Episcopal. Entre éstos sale el grupo "Llueve y Hace Solo" que era un grupo formado por gente que hacía colonias y otra gente de lo que estaba en ningún sitio. El primer acto que se hizo fue organizar la Cabalgata de Reyes del año 1978, que era un acto que estaba muy muerto, y a partir de aquí hicieron Fiestas Mayores, pasacalles con los Gigantes, el Àliga, el Dragón, etc ...

Y por|para cosas de la vida dentro de esta gran movida de Cataluña salió un grupo llamado|nombrado los "comediantes" los cuales conocimos los Dragones, íbamos a casa suya y nos relacionamos con ellos. Y vinieron a la Episcopal los años 80 y 81 a hacer sus representaciones, hasta que el año 81 ya habían hecho todos sus espectáculos que llevaban e hicieron un poco de improvització y de ensayo de lo que sería un espectáculo de demonios. Y así empezó a haber fuego por las calles de la Episcopal. Y el año 82 vinieron los Diablos del Vendrell, el Dragón de Vilanova, y nosotros de noche pasábamos por las Bóvedas|Vueltas donde encara y había casa Met y había la gente toman su tónica, y nosotros pasábamos por allí a saco, era mucho y mucho magullo.

Baile de Dragones Minio desde el 2005

flores del parque公園裏的花flowers from the park

5S4A1636 copy

Wow... Surprise gift from my boyfriend!

Thank you Minio! :*

Venezia, Isola di Burano, Calle Minio

The Colors of the North Laguna

Venice, Burano Island, Calle Minio

A lovely Hello Kitty cake for a young lady who loves Minion as well.