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"Southwell Minster (/ˈsʌðəl, ˈsaʊθwɛl/) is a minster and cathedral, in Southwell, Nottinghamshire, England. It is situated six miles from Newark-on-Trent and thirteen miles from Mansfield. It is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham.
In 1884 Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby:126–127. The diocese was divided in 1927 and the Diocese of Derby was formed. The diocese's centenary was commemorated by a royal visit to distribute Maundy money. George Ridding, the first Bishop of Southwell, designed and paid for the grant of Arms now used as the diocesan coat of arms.
The nave, transepts, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design. With the exception of fragments mentioned above, they are the oldest part of the existing church.
The Nave is of seven bays, plus a separated western bay. The columns of the arcade are short and circular, with small scalloped capitals. The triforium has a single large arch in each bay. The clerestory has small round-headed windows. The external window openings are circular. There is a tunnel-vaulted passage between the inside and outside window openings of the clerestory. The nave aisles are vaulted, the main roof of the nave is a trussed rafter roof, with tie-beams between each bay – a late C19 replacement.
By contrast with the nave arcade, the arches of the crossing are tall, rising to nearly the full height of the nave walls. The capitals of the east crossing piers depict scenes from the life of Jesus. Two stages of the inside of the central tower can be seen at the crossing, with cable and wave decoration on the lower order and zigzag on the upper. The transepts have three stories with semi-circular arches, like the nave, but without aisles.
The western facade has pyramidal spires on its towers – a unique feature today, though common in the C12. The existing spires date only from 1880, but they replace those destroyed by fire in 1711, which are documented in old illustrations. The large west window dates from the C15. The central tower's two ornamental stages place it high among England's surviving Norman towers. The lower order has intersecting arches, the upper order plain arches. The north porch has a tunnel vault, and is decorated with intersecting arches.
The choir is Early English in style, and was completed in 1241. It has transepts, thus separating the choir into a western and eastern arm. The choir is of two stories, with no gallery or triforium. The lower storey has clustered columns with multiform pointed arches, the upper storey has twin lancet arches in each bay. The rib vault of the choir springs from clustered shafts which rest on corbels. The vault has ridge ribs. The square east end of the choir has two stories each of four lancet windows.
Southwell (/ˈsaʊθwɛl, ˈsʌðəl/) is a town in Nottinghamshire, England, the site of Southwell Minster, the cathedral of the Anglican Diocese of Southwell and Nottingham. A population of under 7,000 rose to 7,297 at the 2011 Census. The origin of the name is unclear. It lies on the River Greet, about 14 miles (22 km) north-east of Nottingham. Other historic buildings include prebendal houses in Church Street and Westgate and the Methodist church, which has a right of way beneath it, so that the upper floor seats more than the lower. The workhouse (1824) was a prototype for many others. Owned by the National Trust, it shows its appearance in the 19th century. Behind the Minster is a partly ruined palace, once a residence of the Archbishop of York. It includes the recently restored State Chamber, Cardinal Wolsey's former dining room, and gardens among the ruins." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
"Accade che le affinità d'anima
non giungano ai gesti e alle parole ma
rimangano effuse come un magnetismo.
É raro ma accade. Può darsi
che sia vera soltanto la lontananza,
vero l'oblio, vera la foglia secca
più del fresco germoglio.
Tanto e altro può darsi o dirsi.
Comprendo la tua caparbia volontà di
essere sempre assente perché
solo così si manifesta la tua magia.
Innumeri le astuzie che intendo.
Insisto nel ricercarti nel fuscello
e mai nell'albero spiegato, mai nel pieno,
sempre nel vuoto: in quello che
anche al trapano resiste.
Era o non era la volontà dei numi
che presidiano il tuo lontano focolare,
strani multiformi multanimi animali domestici;
fors'era così come mi pareva
o non era. Ignoro se
la mia inesistenza appaga il tuo destino,
se la tua colma il mio che ne trabocca,
se l'innocenza é una colpa oppure
si coglie sulla soglia dei tuoi lari.
Di me, di te tutto conosco,
tutto ignoro."
Eugenio Montale
Mit etwa 400 Arten zählt die Gattung der Mammillaria als größte Familie der Kakteen. Die Gattung Mammillaria besitzt keine gerippte, sondern eine mit spiralförmig angeordneten Warzen übersäte Oberfläche. Die vielgestaltigen Dornen treten an der Spitze der Warzen aus den Kakteen heraus.
With about 400 species, the genus Mammillaria counts as the largest family of cacti. The genus Mammillaria has no ribbed, but one with spiraling warts strewn surface. The multiform thorns emerge from the cacti at the tip of the warts
Permítanme emplear una parábola. La parábola del árbol.
Nuestro artista se ha hallado en conflicto con el mundo multiforme y, supongamos, casi se ha reconocido en él. Sin el menor ruido. Ya lo tenemos suficientemente bien orientado y hasta en condiciones de ordenar el flujo de las apariencias y experiencias. Yo desearía comparar esta orientación en las cosas de la naturaleza y de la vida, este orden y sus ramales y ramificaciones, con las raíces del árbol.
De esa región fluye hacia el artista la savia que lo inunda y que se le entra por los ojos. El artista se encuentra, pues, en la situación de tronco.
Paul Klee
Mentre dormivi nella tua culla, la Luna, che è il capriccio in persona, guardò dalla finestra e disse: "Questa bambina mi piace".
Discese languidamente la sua scala di nuvole, e passò senza far rumore attraverso i vetri. Poi si stese su di te con la morbida tenerezza di una madre, e depose i suoi colori sulla tua faccia. Così le tue pupille sono rimaste verdi, e le tue guance straordinariamente pallide. Contemplando quella visitatrice i tuoi occhi si sono così bizzarramente ingranditi; e lei ti ha così teneramente serrato la gola che ti è rimasta per sempre la voglia di piangere.
Nell'espansione della sua gioia, la Luna continuava a riempire tutta la stanza di un'atmosfera fosforescente, di un veleno luminoso; e tutta quella viva luce pensava e diceva: "Subirai eternamente l'influsso del mio bacio. Sarai bella a modo mio. Amerai ciò che io amo e ciò che mi ama: l'acqua, le nuvole, il silenzio e la notte; il mare immenso e verde; l'acqua informe e multiforme; il luogo in cui non sei; l'amante che non conosci; i fiori mostruosi; i profumi che fanno delirare; i gatti che si beano sui pianoforti e che gemono come donne, con voce roca e dolce.
" e sarai amata dai miei amanti, corteggiata da chi mi fa la corte. Sarai la regina di chi ha gli occhi verdi, di coloro a cui ho stretto la gola con le mie carezze notturne; di coloro che amano il mare, il mare immenso, tumultuoso e verde, l'acqua informe e multiforme, il luogo in cui non sono, la donna che non conoscono, i fiori sinistri che somigliano ai turiboli di una religione ignota, i profumi che turbano la volontà, e gli animali selvaggi e voluttuosi che sono gli emblemi della loro follia".
Ed è per questo, maledetta e cara bambina viziata, che io ora sono ai tuoi piedi, e cerco in tutta la tua persona il riflesso della temibile Divinità, della fatidica madrina, dell'intossicante madrina di tutti i lunatici.
[dal libro "Le spleen de Paris" di Charles Baudelaire]
”E.M.M.I. stands for Extraplanetary Multiform Mobile Identifier. It can procedurally modify and enhance its own capabilities.
I estimate a 99% probability of death if an E.M.M.I. captures you.
You are faced with overwhelming power. Accept your helplessness.”
More photos in the album.
Villains of Metroid
Il castello medievale di Monreale visto da una delle torri difensive nord. Gran parte della torre rivolta verso il castello è crollata tempo fa, la scatola solarigrafica è rimasta miracolosamente incastrata tra le pietre del muro ancora in piedi, per nove mesi circa, più o meno dal solstizio d'estate 2014 all'equinozio di primavera 2015.
Forse sarebbe ancora in piedi anche il castello, se quei min... sovrani lungimiranti che erano i Savoia non ne avessero ordinato la distruzione, perché secondo loro poteva essere un rifugio per i banditi...
Il castello medievale, situato su un antichissimo cono vulcanico, faceva parte dei castelli a difesa del territorio dei Giudici (o sovrani) di Arborea. Nella torre nord fu inglobata una costruzione molto, molto più antica: un nuraghe.
Si tramandano diverse leggende legate al luogo, tra le più belle quelle che lo vedono abitato da esseri fantastici, come la Musca Maccedda (in una storia simile per certi versi a quella del vaso di Pandora), o il misterioso e multiforme personaggio di Luxia Arrabiosa/Radiosa che, similmente alle moire greche, nelle profondità di una grotta è impegnata a tessere su un telaio d'oro.
Accade che le affinità d'anima
non giungano ai gesti e alle parole ma
rimangano effuse come un magnetismo.
É raro ma accade.
Può darsi che sia vera soltanto la lontananza,
vero l'oblio, vera la foglia secca
più del fresco germoglio.
Tanto e altro può darsi o dirsi.
Comprendo la tua caparbia volontà di essere sempre assente
perché solo così si manifesta la tua magia.
Innumeri le astuzie che intendo.
Insisto nel ricercarti nel fuscello e mai nell'albero spiegato,
mai nel pieno, sempre nel vuoto: in quello che
anche al trapano resiste.
Era o non era la volontà dei numi che presidiano il tuo lontano focolare,
strani multiformi multanimi animali domestici;
fors'era così come mi pareva o non era.
Ignoro se la mia inesistenza appaga il tuo destino,
se la tua colma il mio che ne trabocca,
se l'innocenza é una colpa oppure
si coglie sulla soglia dei tuoi lari.
Di me, di te tutto conosco, tutto ignoro.
E. Montale
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
"Southwell Minster (/ˈsʌðəl, ˈsaʊθwɛl/) is a minster and cathedral, in Southwell, Nottinghamshire, England. It is situated six miles from Newark-on-Trent and thirteen miles from Mansfield. It is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham.
In 1884 Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby:126–127. The diocese was divided in 1927 and the Diocese of Derby was formed. The diocese's centenary was commemorated by a royal visit to distribute Maundy money. George Ridding, the first Bishop of Southwell, designed and paid for the grant of Arms now used as the diocesan coat of arms.
The nave, transepts, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design. With the exception of fragments mentioned above, they are the oldest part of the existing church.
The Nave is of seven bays, plus a separated western bay. The columns of the arcade are short and circular, with small scalloped capitals. The triforium has a single large arch in each bay. The clerestory has small round-headed windows. The external window openings are circular. There is a tunnel-vaulted passage between the inside and outside window openings of the clerestory. The nave aisles are vaulted, the main roof of the nave is a trussed rafter roof, with tie-beams between each bay – a late C19 replacement.
By contrast with the nave arcade, the arches of the crossing are tall, rising to nearly the full height of the nave walls. The capitals of the east crossing piers depict scenes from the life of Jesus. Two stages of the inside of the central tower can be seen at the crossing, with cable and wave decoration on the lower order and zigzag on the upper. The transepts have three stories with semi-circular arches, like the nave, but without aisles.
The western facade has pyramidal spires on its towers – a unique feature today, though common in the C12. The existing spires date only from 1880, but they replace those destroyed by fire in 1711, which are documented in old illustrations. The large west window dates from the C15. The central tower's two ornamental stages place it high among England's surviving Norman towers. The lower order has intersecting arches, the upper order plain arches. The north porch has a tunnel vault, and is decorated with intersecting arches.
The choir is Early English in style, and was completed in 1241. It has transepts, thus separating the choir into a western and eastern arm. The choir is of two stories, with no gallery or triforium. The lower storey has clustered columns with multiform pointed arches, the upper storey has twin lancet arches in each bay. The rib vault of the choir springs from clustered shafts which rest on corbels. The vault has ridge ribs. The square east end of the choir has two stories each of four lancet windows.
Southwell (/ˈsaʊθwɛl, ˈsʌðəl/) is a town in Nottinghamshire, England, the site of Southwell Minster, the cathedral of the Anglican Diocese of Southwell and Nottingham. A population of under 7,000 rose to 7,297 at the 2011 Census. The origin of the name is unclear. It lies on the River Greet, about 14 miles (22 km) north-east of Nottingham. Other historic buildings include prebendal houses in Church Street and Westgate and the Methodist church, which has a right of way beneath it, so that the upper floor seats more than the lower. The workhouse (1824) was a prototype for many others. Owned by the National Trust, it shows its appearance in the 19th century. Behind the Minster is a partly ruined palace, once a residence of the Archbishop of York. It includes the recently restored State Chamber, Cardinal Wolsey's former dining room, and gardens among the ruins." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
The Netherlands - Zaandam
A series of four to show the multiformity of the White saddle (Helvella crispa - Witte kluifzwam). © Tom Kisjes
"The chapter house, started in 1288, is in an early decorated style, octagonal, with no central pier. It is reached from the choir by a passage and vestibule, through an entrance portal. This portal has five orders, and is divided by a central shaft into two subsidiary arches with a circle with quatrefoil above. Inside the chapter house, the stalls fill the octagonal wall sections, each separated by a single shaft with a triangular canopy above. The windows are of three lights, above them two circles with trefoils and above that a single circle with quatrefoil:87–105. This straightforward description gives no indication of the glorious impression, noted by so many writers:91, of the elegant proportions of the space, and of the profusion (in vestibule and passage, not just in the chapter house) of exquisitely carved capitals and tympana, mostly representing leaves in a highly naturalistic and detailed representation. The capitals in particular are deeply undercut, adding to the feeling of realism. Individual plant species such as ivy, maple, oak, hop, hawthorn can often be identified. The botanist Albert Seward published a detailed description of the carvings and their identification in 1935 and Nikolaus Pevsner wrote the classic description entitled The Leaves of Southwell, with photographs by Frederick Attenborough, in 1945.
Southwell Minster (/ˈsʌðəl, ˈsaʊθwɛl/) is a minster and cathedral, in Southwell, Nottinghamshire, England. It is situated six miles from Newark-on-Trent and thirteen miles from Mansfield. It is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham.
In 1884 Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby:126–127. The diocese was divided in 1927 and the Diocese of Derby was formed. The diocese's centenary was commemorated by a royal visit to distribute Maundy money. George Ridding, the first Bishop of Southwell, designed and paid for the grant of Arms now used as the diocesan coat of arms.
The nave, transepts, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design. With the exception of fragments mentioned above, they are the oldest part of the existing church.
The Nave is of seven bays, plus a separated western bay. The columns of the arcade are short and circular, with small scalloped capitals. The triforium has a single large arch in each bay. The clerestory has small round-headed windows. The external window openings are circular. There is a tunnel-vaulted passage between the inside and outside window openings of the clerestory. The nave aisles are vaulted, the main roof of the nave is a trussed rafter roof, with tie-beams between each bay – a late C19 replacement.
By contrast with the nave arcade, the arches of the crossing are tall, rising to nearly the full height of the nave walls. The capitals of the east crossing piers depict scenes from the life of Jesus. Two stages of the inside of the central tower can be seen at the crossing, with cable and wave decoration on the lower order and zigzag on the upper. The transepts have three stories with semi-circular arches, like the nave, but without aisles.
The western facade has pyramidal spires on its towers – a unique feature today, though common in the C12. The existing spires date only from 1880, but they replace those destroyed by fire in 1711, which are documented in old illustrations. The large west window dates from the C15. The central tower's two ornamental stages place it high among England's surviving Norman towers. The lower order has intersecting arches, the upper order plain arches. The north porch has a tunnel vault, and is decorated with intersecting arches.
The choir is Early English in style, and was completed in 1241. It has transepts, thus separating the choir into a western and eastern arm. The choir is of two stories, with no gallery or triforium. The lower storey has clustered columns with multiform pointed arches, the upper storey has twin lancet arches in each bay. The rib vault of the choir springs from clustered shafts which rest on corbels. The vault has ridge ribs. The square east end of the choir has two stories each of four lancet windows.
Southwell (/ˈsaʊθwɛl, ˈsʌðəl/) is a town in Nottinghamshire, England, the site of Southwell Minster, the cathedral of the Anglican Diocese of Southwell and Nottingham. A population of under 7,000 rose to 7,297 at the 2011 Census. The origin of the name is unclear. It lies on the River Greet, about 14 miles (22 km) north-east of Nottingham. Other historic buildings include prebendal houses in Church Street and Westgate and the Methodist church, which has a right of way beneath it, so that the upper floor seats more than the lower. The workhouse (1824) was a prototype for many others. Owned by the National Trust, it shows its appearance in the 19th century. Behind the Minster is a partly ruined palace, once a residence of the Archbishop of York. It includes the recently restored State Chamber, Cardinal Wolsey's former dining room, and gardens among the ruins." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
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(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
SALMO 104
Salmo 104:1 Bendize, ó minha alma, ao Senhor! Senhor, Deus meu, tu és magnificentíssimo! Estás vestido de honra e de majestade,
Salmo 104:2 tu que te cobres de luz como de um manto, que estendes os céus como uma cortina.
Salmo 104:3 És tu que pões nas águas os vigamentos da tua morada, que fazes das nuvens o teu carro, que andas sobre as asas do vento;
Salmo 104:4 que fazes dos ventos teus mensageiros, dum fogo abrasador os teus ministros.
Salmo 104:5 Lançaste os fundamentos da terra, para que ela não fosse abalada em tempo algum.
Salmo 104:6 Tu a cobriste do abismo, como dum vestido; as águas estavam sobre as montanhas.
Salmo 104:7 Â tua repreensão fugiram; à voz do teu trovão puseram-se em fuga.
Salmo 104:8 Elevaram-se as montanhas, desceram os vales, até o lugar que lhes determinaste.
Salmo 104:9 Limite lhes traçaste, que não haviam de ultrapassar, para que não tornassem a cobrir a terra.
Salmo 104:10 És tu que nos vales fazes rebentar nascentes, que correm entre as colinas.
Salmo 104:11 Dão de beber a todos os animais do campo; ali os asnos monteses matam a sua sede.
Salmo 104:12 Junto delas habitam as aves dos céus; dentre a ramagem fazem ouvir o seu canto.
Salmo 104:13 Da tua alta morada regas os montes; a terra se farta do fruto das tuas obras.
Salmo 104:14 Fazes crescer erva para os animais, e a verdura para uso do homem, de sorte que da terra tire o alimento,
Salmo 104:15 o vinho que alegra o seu coração, o azeite que faz reluzir o seu rosto, e o pão que lhe fortalece o coração.
Salmo 104:16 Saciam-se as árvores do Senhor, os cedros do Líbano que ele plantou,
Salmo 104:17 nos quais as aves se aninham, e a cegonha, cuja casa está nos ciprestes.
Salmo 104:18 Os altos montes são um refúgio para as cabras montesas, e as rochas para os querogrilos.
Salmo 104:19 Designou a lua para marcar as estações; o sol sabe a hora do seu ocaso.
Salmo 104:20 Fazes as trevas, e vem a noite, na qual saem todos os animais da selva.
Salmo 104:21 Os leões novos os animais bramam pela presa, e de Deus buscam o seu sustento.
Salmo 104:22 Quando nasce o sol, logo se recolhem e se deitam nos seus covis.
Salmo 104:23 Então sai o homem para a sua lida e para o seu trabalho, até a tarde.
Salmo 104:24 Ó Senhor, quão multiformes são as tuas obras! Todas elas as fizeste com sabedoria; a terra está cheia das tuas riquezas.
Salmo 104:25 Eis também o vasto e espaçoso mar, no qual se movem seres inumeráveis, animais pequenos e grandes.
Salmo 104:26 Ali andam os navios, e o leviatã que formaste para nele folgar.
Salmo 104:27 Todos esperam de ti que lhes dês o sustento a seu tempo.
Salmo 104:28 Tu lho dás, e eles o recolhem; abres a tua mão, e eles se fartam de bens.
Salmo 104:29 Escondes o teu rosto, e ficam perturbados; se lhes tiras a respiração, morrem, e voltam para o seu pó.
Salmo 104:30 Envias o teu fôlego, e são criados; e assim renovas a face da terra.
Salmo 104:31 Permaneça para sempre a glória do Senhor; regozije-se o Senhor nas suas obras;
Salmo 104:32 ele olha para a terra, e ela treme; ele toca nas montanhas, e elas fumegam.
Salmo 104:33 Cantarei ao Senhor enquanto eu viver; cantarei louvores ao meu Deus enquanto eu existir.
Salmo 104:34 Seja-lhe agradável a minha meditação; eu me regozijarei no Senhor.
Salmo 104:35 Sejam extirpados da terra os pecadores, e não subsistam mais os ímpios. Bendize, ó minha alma, ao Senhor. Louvai ao Senhor.
Diciamolo subito: Helsinki non è una città fotogenica. Nel senso che è impossibile catturarne la ricchezza di dettagli e le sottili particolarità attraverso uno scatto di paesaggio urbano.
Helsinki è una festa per gli occhi che ci camminano in mezzo: decorazioni deliziose, numeri civici elegantissimi, facce e faccette che sostengono o scrutano l'orizzonte (o guardano i passanti).
Il tutto in un universo multiforme: si passa con nonchalance dal palazzo in stile neoclassico, ad Alvar Aalto; dai tram alla spiaggia dove prendere il sole (solo quello: il bagno non credo che sia fattibile, almeno per i non-indigeni).
Una città fatta per passeggiare e dolcemente accarezzata dalla luce, che d'estate è sempre presente, fino a a tardissima sera.
E chissà come sarà adesso Helsinki, con l'inverno e quindi l'oscurità totale alle porte e già una temperatura che va di poco sotto lo zero (domenica è prevista neve). Anche solo per capire come i finlandesi si sobbarcano l'inverno e come vivono la città.
E le acque vicino ai magazzini ora diventati ristoranti e bar perfettamente hipster, ghiacceranno? E nella Kauppatori, ci saranno ancora bancarelle di streetfood locale e buonissimo con tanto di stand coperti per mangiare all'aperto? E il traffico, con la neve, marcerà comunque o anche laggiù va tutto in crisi come succede a Milano quando nevicava (grazie global warming, moriremo male e pure al caldo)?
Bisognerebbe proprio tornarci, a Helsinki, anche d'inverno.
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Vous êtes les bienvenus 😄
El Paseo del Buen Pastor o Paseo Cultural del Buen Pastor es un centro cultural, recreativo y comercial, ubicado en el corazón del barrio Nueva Córdoba, Av. Hipólito Yrigoyen 325 en la ciudad de Córdoba, Argentina. Fue inaugurado en el año 2007 por el gobernador de la Sota.
Funciona como punto de reunión y encuentro de los cordobeses, ya que es uno de los espacios más agradables que tiene Córdoba por su multiespacio recreativo, cultural y turístico. El Paseo Del Buen Pastor cuenta con una galería comercial, en la cual se desarrollan eventos y exposiciones, también se encuentran dos restaurantes, bares, tiendas, y una fuente de aguas danzantes que gracias a su sistema de música e iluminación se convierte en un lugar atractivo muy frecuentado por los visitantes.
El edificio fue construido entre 1897 y 1906 para la orden de las hermanas de Nuestra Señora de la Caridad del Buen Pastor de Angers y destinado a ser un centro correccional de mujeres y menores . Durante casi 100 años este lugar funcionó como asilo y cárcel correccional de mujeres. En el año 1888, un grupo de religiosas francesas pertenecientes a la congregación “Nuestra Señora de la Caridad del Buen Pastor”, crean el “Taller de la Sagrada Familia” en donde protegían y educaban a niñas pobres y huérfanas. Como resultado del buen desempeño de esta obra, en 1892 el gobierno provincial dispone a las religiosas hacerse cargo de la atención y dirección de reclusas, y para ello las autoridades donan en 1896 un terreno para llevar a cabo el asilo. En 1905, el arquitecto José Montblanch planea la cárcel de mujeres y la capilla, y lleva a cabo el proyecto.
Cárcel del Buen Pastor
Durante la intervención del brigadier Raúl Lacabanne en Córdoba y la última dictadura militar (1976-1983), el penal funcionó como un lugar de reclusión de detenidas políticas. La propia cárcel ya era inadecuada como tal en 1970 y la instalación fue cerrada poco después. Sus últimas ocupantes prisioneras fueron tres mujeres detenidas por razones políticas en torno a 1977.1 Al llegar al 2000, la capilla se desacraliza, y fue restaurada para rescatar tanto su planta en cruz griega (única en su especie en la ciudad), como las pinturas murales y cuadros de artistas como Manuel Cardeñosa, Emiliano Gómez Clara y Emilio Caraffa. También se preservó el atrio y las galerías circundantes.
Aguas Danzantes
Luego, después de años de abandono, la Provincia de Córdoba en agosto de 2002 anunció la aprobación de un proyecto de reciclado para los 10 000 m² del solar. El proyecto fue supervisado por la Agencia Córdoba Cultura y fue realizado por la Dirección Provincial de Arquitectura con un presupuesto de 5 millones de U$D iniciándose a principios de 2005 con la demolición de la antigua cárcel.
Una galería comercial de 6.400 m² se ha desarrollado, incluyendo un centro de exposiciones, sala de eventos, fuente de aguas danzantes y espacio de encuentro y recreación, dos restaurantes, bares, tiendas y reservados para los comerciantes minoristas de vinos, cuero y artesanías. El "Paseo del Buen Pastor", con principal acceso por la Avenida Hipólito Irigoyen n° 325, se inauguró el 4 de agosto de 2007, concebido como un complejo cultural, recreativo y gastronómico-comercial, y está ubicado en uno de los sectores de mayor cotización inmobiliaria de la ciudad de Córdoba.2
Este nuevo espacio cultural preservó la antigua capilla junto a sus valiosos murales, la cual podemos encontrar en el centro del Buen Pastor, y en cuanto a los pabellones de la ex-cárcel fueron tirados debido al mal estado de conservación que tenían. La demolición de la cárcel permitió poner en valor el majestuoso perfil neo-gótico de la Iglesia de los Padres Capuchinos, que resalta aún más por el contraste con la moderna arquitectura del complejo.3
En el espacio libre que quedó tras la demolición de los 6.400 metros cuadrados de pabellones de la ex cárcel de mujeres, se edificaron locales comerciales que alojan dos restaurantes, un resto bar, una vinoteca y venta de productos regionales, un bar temático y un local de venta de artículos de cuero.
Actualmente, el visitante puede optar por diferentes programas: conciertos, presentaciones de libros, muestras de pinturas, esculturas y fotografías, obras de teatro, visitas guiadas, show de títeres entre otros.
Todos los días del año, desde que cae el sol, la explanada del Paseo del Buen Pastor da lugar a un show único con sincronización electrónica de movimientos de agua combinados con efectos de luces y sonido.
Se trata de un espectáculo de música que protagonizan los chorros multiformes de la fuente, alcanzando gran altura y una diversidad de movimientos al compás de la melodía. La propuesta ahora se renueva para que, a partir de marzo, se pueda apreciar el Himno Nacional Argentino en versión instrumental, Las Cuatro Estaciones de Vivaldi y Beso a Beso de La Mona.
Siendo uno de los atractivos turísticos y culturales más importantes de Córdoba, miles de visitantes se acercan cuando las aguas danzan al ritmo de la música para presenciar su esplendor. Mientras que, al caer la noche, el espectáculo multiplica su esplendor con la iluminación de luces de colores, un entretenimiento que sorprende a todos los transeúntes.
Entre ellos camina Oscar, un turista rosarino que, por estos días, disfruta de las bellezas cordobesas. “Estamos pasando unos días de descanso en Córdoba. No conocía el Buen Pastor y pude ver por primera vez las aguas danzantes; son muy hermosas todas las figuras que se forman, está todo muy bien coordinado”, manifestó.
En tanto, Mariana, una artista plástica que exponía en el marco de la muestra “Una mirada de la mujer sobre la mujer”, también brindó su opinión respecto al espectáculo danzante: “Contribuyen mucho y llaman la atención de mucha gente, es única en Córdoba. Es lindo porque se pasan distintos temas: hay música más popular, más clásica, inclusive anoche hasta el himno. Es un gran atractivo”, sintetizó.
El espectáculo puede disfrutarse de lunes a lunes, cada hora, desde las 18 y hasta las 22.
La Lune, qui est le caprice même, regarda par la fenêtre pendant que tu dormais dans ton berceau, et se dit: "Cette enfant me plaît."
Et elle descendit moelleusement son escalier de nuages et passa sans bruit à travers les vitres. Puis elle s'étendit sur toi avec la tendresse souple d'une mère, et elle déposa ses couleurs sur ta face. Tes prunelles en sont restées vertes, et tes joues extraordinairement pâles. C'est en contemplant cette visiteuse que tes yeux se sont si bizarrement agrandis; et elle t'a si tendrement serrée à la gorge que tu en as gardé pour toujours l'envie de pleurer.
Cependant, dans l'expansion de sa joie, la Lune remplissait toute la chambre comme une atmosphère phosphorique, comme un poison lumineux; et toute cette lumière vivante pensait et disait: "Tu subiras éternellement l'influence de mon baiser. Tu seras belle à ma manière. Tu aimeras ce que j'aime et ce qui m'aime: l'eau, les nuages, le silence et la nuit; la mer immense et verte; l'eau uniforme et multiforme; le lieu où tu ne seras pas; l'amant que tu ne connaîtras pas; les fleurs monstrueuses; les parfums qui font délirer; les chats qui se pâment sur les pianos et qui gémissent comme les femmes, d'une voix rauque et douce!
"Et tu seras aimée de mes amants, courtisée par mes courtisans. Tu seras la reine des hommes aux yeux verts dont j'ai serré aussi la gorge dans mes caresses nocturnes; de ceux-là qui aiment la mer, la mer immense, tumultueuse et verte, l'eau informe et multiforme, le lieu où ils ne sont pas, la femme qu'ils ne connaissent pas, les fleurs sinistres qui ressemblent aux encensoirs d'une religion inconnue, les parfums qui troublent la volonté, et les animaux sauvages et voluptueux qui sont les emblèmes de leur folie."
Et c'est pour cela, maudite chère enfant gâtée, que je suis maintenant couché à tes pieds, cherchant dans toute ta personne le reflet de la redoutable Divinité, de la fatidique marraine, de la nourrice empoisonneuse de tous les lunatiques.
Par Charles Baudelaire.