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À l'intérieur, trois voûtes, en cul de four à caissons et éclairés par un oculus dans leur partie supérieure, contrebutent la coupole centrale également à caissons et ajourée, reposant sur des pendentifs. L’éclairage zénithal est naturel, seulement dispensé par les oculus des voûtes.
Quatre compositions religieuses : la Passion du Christ, l'Eucharistie, la Trinité, les Tables de la Loi ainsi qu'un tympan au dessus de l'entrée représentant la translation des ossements à Saint-Denis composent le programme décoratif imaginé par Francois-Antoine Gérard.
Inside, three vaults, in the bottom of a coffered oven and lit by an oculus in their upper part, buttress the central dome, also coffered and openwork, resting on pendentives. The zenithal lighting is natural, only provided by the oculus of the vaults.
Four religious compositions: the Passion of Christ, the Eucharist, the Trinity, the Tables of the Law as well as a tympanum above the entrance representing the translation of the bones to Saint-Denis make up the decorative program imagined by Francois-Antoine Gerard.
Cúpula de la Capilla de los Condestables, una catedral dentro de otra catedral.
Al fondo de la nave principal de la Catedral de Burgos e injertada en el templo se construye esta capilla a finales del siglo XV. Lleva el nombre de los benefactores y de quienes la mandaron construir, don Pedro Fernández de Velasco y su esposa doña Mencía de Mendoza, Condestables de Castilla.
Es obra de Simón de Colonia, hijo de Juan de Colonia, que la termina en 1496 y de su hijo Francisco de Colonia, que también puso su firma en la construcción de la sacristía en 1517.
Esta capilla tiene planta hexagonal en su base y octogonal en la parte alta, sobre la que se construye una deslumbrante bóveda calada y acristalada en forma de estrella.
Toda ella es de filigrana gótica multiplicando el prodigio de la propia estancia.
El autor de esta bóveda de estrella, Simón de Colonia, creó esta fábula de piedra calada –expresión suma del gótico flamígero – entre los años 1482 y 1496.
Dome of the Chapel of the Constables, a cathedral within another cathedral.
At the bottom of the main nave of Burgos Cathedral and grafted onto the temple, this chapel was built at the end of the 15th century. It bears the name of its benefactors and of those who ordered it to be built, Mr. Pedro Fernández de Velasco and his wife Mrs. Mencía de Mendoza, Constables of Castilla.
It is the work of Simón de Colonia, son of Juan de Colonia, who finished it in 1496 and his son Francisco de Colonia, who also put his signature on the construction of the sacristy in 1517.
This chapel has a hexagonal floor plan at its base and an octagonal one at the top, on which a dazzling star-shaped openwork and glazed vault is built.
All of it is of Gothic filigree multiplying the prodigy of the room itself.
The author of this star vault, Simón de Colonia, created this openwork stone fable – the highest expression of flaming Gothic – between 1482 and 1496.
Ya en el año 1080 el rey de Castilla Alfonso VI, promovió la construcción de una catedral de estilo románico en la ciudad de Burgos.
En el año 1219, esa catedral acogió una ceremonia de gran relevancia para el reino de Castilla, la boda del entonces rey de Castilla Fernando III y la princesa germana Beatriz de Suabia.
En el siglo XIII, Burgos ya había sido reconocida como sede episcopal y un importante núcleo comercial, que, además, comenzaba a ganar fama más allá de las fronteras españolas al ser un lugar de paso del Camino de Santiago. Fue entonces cuando el obispo Don Mauricio, quien ofició la ceremonia nupcial de Fernando III y Beatriz de Suabia, le propuso al rey construir una nueva catedral acorde con la creciente importancia que la capital de Castilla merecía y que se levantara en las nuevas tendencias estilísticas europeas; el gótico.
El obispo había estudiado en la Universidad de París, por lo que era conocedor del arte gótico que se estilaba en la arquitectura francesa de la época. También tuvo que emprender un viaje que cruzaba ese país para llegar hasta el Sacro Imperio Romano Germánico, donde concertó el matrimonio entre el rey de Castilla y la princesa germana. Es por eso que aprovechó su amistad con el monarca para poder levantar la que hoy es la primera catedral gótica de España.
La catedral empezó a construirse en 1221 siguiendo patrones góticos franceses.se dio por terminada casi cuarenta años después.
En los siglos posteriores, se realizaron importantes añadidos al edificio inicial; las agujas de la fachada principal, la capilla del Condestable y el cimborrio del crucero, elementos del gótico flamígero que dotan al templo de su perfil inconfundible.
En la catedral se conservan obras de artistas extraordinarios, como los arquitectos y escultores de la familia Colonia (Juan, Simón de Colonia y Francisco); el arquitecto Juan de Vallejo, los escultores Gil de Siloé, Felipe Vigarny, Rodrigo de la Haya, Martín de la Haya, Juan de Ancheta y Juan Pascual de Mena, el escultor y arquitecto Diego de Siloé, el rejero Cristóbal de Andino, el vidriero Arnao de Flandes o los pintores Alonso de Sedano, Mateo Cerezo, Sebastiano del Piombo o Juan Ricci, entre otros muchos.
La fachada principal consta de tres cuerpos rematados por dos torres laterales de planta cuadrada. Las agujas caladas de influencia germánica se añadieron en el siglo xv y son obra de Juan de Colonia. El cuerpo inferior fue modificado en el siglo XVIII.
En el exterior sobresalen también las portadas del Sarmental y la Coronería, góticas del siglo XIII, y la portada de la Pellejería, con influencias renacentistas-platerescas del siglo XVI.
La catedral burgalesa fue declarada Patrimonio de la Humanidad por la Unesco el 31 de octubre de 1984. Es la única catedral española que tiene esta distinción de forma independiente, sin estar unida al centro histórico de una ciudad. Es además el templo católico de mayor rango en Castilla y León al tratarse del único templo que siendo catedral metropolitana es a la vez basílica.
In the year 1080, the King of Castile, Alfonso VI, promoted the construction of a Romanesque-style cathedral in the city of Burgos.
In the year 1219, that cathedral hosted a ceremony of great relevance for the kingdom of Castile, the wedding of the then King of Castile Ferdinand III and the German princess Beatriz of Suabia.
In the 13th century, Burgos had already been recognized as an episcopal seat and an important commercial center, which, in addition, was beginning to gain fame beyond the Spanish borders as a stopover on the Camino de Santiago. It was then that Bishop Don Mauricio, who officiated at the wedding ceremony of Ferdinand III and Beatrice of Suabia, proposed to the king that he build a new cathedral in accordance with the growing importance that the capital of Castile deserved and that would follow the new European stylistic trends; the gothic
The bishop had studied at the University of Paris, so he was familiar with the Gothic art that was styled in French architecture of the time. He also had to undertake a journey that crossed that country to reach the Holy Roman Empire, where he arranged the marriage between the king of Castile and the German princess. That is why he took advantage of his friendship with the monarch to be able to build what is today the first Gothic cathedral in Spain.
The new cathedral began to be built in 1221 following French Gothic patterns. It was completed almost forty years later.
In the following centuries, important additions were made to the initial building; the spiers of the main façade, the Constable's chapel and the dome of the transept, elements of flamboyant Gothic that give the temple its unmistakable profile.
In the cathedral, works by extraordinary artists are preserved, such as the architects and sculptors of the Colonia family (Juan, Simón de Colonia and Francisco); the architect Juan de Vallejo, the sculptors Gil de Siloé, Felipe Vigarny, Rodrigo de la Haya, Martín de la Haya, Juan de Ancheta and Juan Pascual de Mena, the sculptor and architect Diego de Siloé, the railing maker Cristóbal de Andino, the glassmaker Arnao de Flandes or the painters Alonso de Sedano, Mateo Cerezo, Sebastiano del Piombo or Juan Ricci, among many others.
The main façade consists of three bodies topped by two side towers with a square plan. The openwork spiers of Germanic influence were added in the 15th century and are the work of Juan de Colonia. The lower body was modified in the 18th century.
On the outside, the Sarmental and Coronería façades, Gothic from the 13th century, and the Pellejería façade, with Renaissance-Plateresque influences from the 16th century, also stand out.
The Cathedral of Burgos, was declared a World Heritage Site by UNESCO on October 31, 1984. It is the only Spanish cathedral that has this distinction independently, without being linked to the historic center of a city. It is also the highest-ranking Catholic temple in Castilla y León as it is the only temple that, being a metropolitan cathedral, is also a basilica.
La puerta de las Vírgenes (siglo XV), está dedicada a Santa Ursula como Virgen Prudente, que se halla entronizada en el tímpano calado con tracería gótica. En las jambas y bajo doseletes, diez figuras femeninas, en interesante versión de la parábola de las doncellas fatuas y las prudentes. La puerta no tiene parteluz. Sobre la portada un gablete gótico o frontón triangular con un pequeño rosetón cierra el conjunto.
The Gate of the Virgins (15th century), is dedicated to Saint Ursula as the Prudent Virgin, who is enthroned in the openwork tympanum with Gothic tracery. On the jambs and under canopies, ten female figures, an interesting version of the parable of the foolish and wise maidens. The door has no mullion. On the cover, a gothic gable or triangular pediment with a small rose window closes the whole.
La porta de les Verges (segle XV), està dedicada a Santa Ursula com Verge Prudent, que es troba entronitzada en el timpà calat amb traceria gòtica. En els brancals i sota dosserets, deu figures femenines, en interessant versió de la paràbola de les donzelles fàtues i les prudents. La porta no té mainell. Sobre la portada un gablet gòtic o frontó triangular amb una petita rosassa tanca el conjunt.
casa rana feliz
san miguel de allende, gto
mexico
behind the carved openwork is a wire screen and glass shutters
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Cape Dog Head Lighthouse / Phare du Cap-de-la-Tête-au-Chien
The lighthouse of Cape Dog Head was established in 1909. It consists of a lighthouse, two houses, a barn, a shelter from the fog garish, fuel tanks, of a heliport and an openwork structure. A network of walkways and stairs connects the lighthouse and the associated structures, scattered on a rocky promontory.
Saint-Siméon, Charlevoix, Québec, Canada
Thank for your visit, fave and comment, always appreciated!
Regards, Serge
Copyright © Serge Daigneault Photography, 2015
The temple was transferred to the museum from the village of Dorohinka, Fastovsky district, Kyiv region in 1971.
In its appearance, extremely ancient, archaic features have been preserved. There are several assumptions regarding the age of the church. 1600, 1700, 1751 - such dates of its construction are found in various sources (Ukrainian, Russian, Polish). However, experts from the Institute of Environmental Geochemistry of the National Academy of Sciences of Ukraine, according to analyzes, claim that the year of construction is 1528.
The Church of the Archangel Michael is a trident "sailboat", in which the middle "mast" is wider and higher than the side ones. Log cabins made of pine beams are placed in a row from west to east. The eastern frame (altar) is hexagonal, the central one (Nava) and the western one (Babinets) are rectangular. A hipped roof rises above each part of the temple. The baths, as well as the roof, are covered with shingles, and the walls are sheathed with vertical boarding. Each bath is completed with an openwork forged cross.
Церква Архістратига Михаїла найдавніша із чотирьох храмів, розташованих на території музею Пирогово.
Храм перевезено до музею із села Дорогинка Фастівського району Київської області у 1971 році.
У його зовнішньому вигляді збереглися дуже давні, архаїчні особливості. За віком церкви є кілька припущень. 1600, 1700, 1751 роки – такі дати її побудови зустрічаються у різних джерелах (українських, російських, польських). Проте фахівці з Інституту геохімії навколишнього середовища НАН України, за даними аналізів, стверджують, що рік побудови – 1528-й.
Церква Архістратига Михаїла є тризубним «вітрилом», в якому середня «щогла» ширша і вища за бічні. Зруби із соснових брусів поставлені в ряд із заходу на схід. Східний зруб (вівтар) – шестикутний, центральний (нава) та західний (бабинець) – прямокутні. Над кожною частиною храму височить шатровий дах. Лазні, як і дах, покриті гонтом, а стіни обшиті вертикальною тесом. Кожну лазню завершує ажурний кований хрест.
Архангел Михаїл був покровителем княжого роду Ярославовичів (нащадків Ярослава Мудрого).
На честь Архангела Михаїла у 1070р. була побудована перша Михайлівська церква в Києві, на Видубичах, а в 1108р. заснований Михайлівський монастир в центрі Києва.
Архангел Михаїл визнаний покровителем усіх киян та міста Києва..
The temple was transferred to the museum from the village of Dorohinka, Fastovsky district, Kyiv region in 1971.
In its appearance, extremely ancient, archaic features have been preserved. There are several assumptions regarding the age of the church. 1600, 1700, 1751 - such dates of its construction are found in various sources (Ukrainian, Russian, Polish). However, experts from the Institute of Environmental Geochemistry of the National Academy of Sciences of Ukraine, according to analyzes, claim that the year of construction is 1528.
The Church of the Archangel Michael is a trident "sailboat", in which the middle "mast" is wider and higher than the side ones. Log cabins made of pine beams are placed in a row from west to east. The eastern frame (altar) is hexagonal, the central one (Nava) and the western one (Babinets) are rectangular. A hipped roof rises above each part of the temple. The baths, as well as the roof, are covered with shingles, and the walls are sheathed with vertical boarding. Each bath is completed with an openwork forged cross.
Церква Архістратига Михаїла найдавніша із чотирьох храмів, розташованих на території музею Пирогово.
Храм перевезено до музею із села Дорогинка Фастівського району Київської області у 1971 році.
У його зовнішньому вигляді збереглися дуже давні, архаїчні особливості. За віком церкви є кілька припущень. 1600, 1700, 1751 роки – такі дати її побудови зустрічаються у різних джерелах (українських, російських, польських). Проте фахівці з Інституту геохімії навколишнього середовища НАН України, за даними аналізів, стверджують, що рік побудови – 1528-й.
Церква Архістратига Михаїла є тризубним «вітрилом», в якому середня «щогла» ширша і вища за бічні. Зруби із соснових брусів поставлені в ряд із заходу на схід. Східний зруб (вівтар) – шестикутний, центральний (нава) та західний (бабинець) – прямокутні. Над кожною частиною храму височить шатровий дах. Лазні, як і дах, покриті гонтом, а стіни обшиті вертикальною тесом. Кожну лазню завершує ажурний кований хрест.
Архангел Михаїл був покровителем княжого роду Ярославовичів (нащадків Ярослава Мудрого).
На честь Архангела Михаїла у 1070р. була побудована перша Михайлівська церква в Києві, на Видубичах, а в 1108р. заснований Михайлівський монастир в центрі Києва.
Архангел Михаїл визнаний покровителем усіх киян та міста Києва..
The structure was covered with white and pink marble from the Candoglia quarry in Val D’Ossola. The Cathedral’s roof is covered in openwork pinnacles and spires crowned with sculptures that overlook the city.
Фасад здания, его шпили и внутренние помещения, украшены невообразимым числом статуй – 3400. В это число входят изображения исторических личностей, святых, мучеников, пророков и прочих библейских персонажей. Не обошлось и без верных символов средневековья – горгулий и химер. Они, как верные атрибуты готики, угнездились на стенах здания, отгоняя нечисть. Среди наружной отделки здания попадаются весьма любопытные экземпляры, например, изображение Муссолини или же древний прототип статуи Свободы, что ныне стоит в США.
The church dedicated to the Five Brothers of Martyrs together with the monastery of Missionaries of the Holy Family in Kazimierz Biskupi is a former monastery of Bernardine monks. The whole team belonged earlier to the Benedictine order and was built in 1513-1520. During the Swedish invasions, it was destroyed, then it was rebuilt and renovated.
The church represents late-Gothic architecture, after the destruction it was rebuilt at the end of the eighteenth century. It was renovated several times, and in 1970-1973 the interior received a modern interior. The interior is covered with Gothic vaults.
Currently, the monastery has a Higher Theological Seminary and ethnographic and natural collections brought, among others from Madagascar and Thailand. Around the monastery there are cloisters erected in the eighteenth century. The entrance to the monastery leads through a wooden tower-bell tower, finished with an openwork helmet. In the cloisters, portals in the late Gothic style have survived.
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Kościół pod wezwaniem Pięciu Braci Męczenników wraz z klasztorem Misjonarzy Świętej Rodziny w Kazimierzu Biskupim tworzy zespół pobernardyńki. Cały zespół należał wcześniej do zakonu benedyktynów, a został wybudowany w latach 1513-1520. W czasie najazdów szwedzkich został zniszczony, następnie go odbudowano i poddano renowacji.
Kościół reprezentuje architekturę późnogotycką, po zniszczeniach odbudowano go pod koniec osiemnastego stulecia. Był kilkakrotnie odnawiany, a w latach 1970-1973 wnętrze otrzymało nowoczesny wystrój. Wnętrze nakryte jest gotyckimi sklepieniami.
Obecnie w klasztorze znajduje się Wyższe Seminarium Duchowne oraz zbiory etnograficzne i przyrodnicze przywiezione m.in. z Madagaskaru i Tajlandii. Wokół klasztoru rozmieszczone są krużganki wzniesione w osiemnastym stuleciu. Wejście do klasztoru prowadzi przez drewnianą wieżę-dzwonnicę, zakończoną ażurowym hełmem. W krużgankach zachowały się portale w stylu późnego gotyku.
Le prime notizie su questo tempio risalgono al 1308, anno in cui venne nuovamente consacrata. L'edificio fu danneggiato dal terremoto del Friuli del 1348 e quindi ristrutturato ed ampliato con l'abside e la sacrestia. La facciata in pietra d'Istria venne realizzata nel 1470 sotto il rettore Emiliano Cimbriaco: di stile tardo-gotico veneziano, possiede un suggestivo rosone traforato con scolpita una Maternità e vetrate a mosaico, tra le prime ad essere realizzate in Friuli. Nella lunetta sopra il portale si trovano le raffigurazioni di Sant'Antonio abate tra San Giovanni Battista e Sant'Antonio da Padova.
Pellegrino da San Daniele, Crocifissione
Nel corso della Seconda Guerra Mondiale l'edificio riportò danni superficiali, aggravati poi dal terremoto del 1976; in seguito si provvide a un accurato ripristino cumulativo. La chiesa è ad unica navata, parte della quale, assieme al coro e all'arco trionfale, è coperta da tre cicli di affreschi: i primi due sono stati realizzati da Vitale da Bologna verso la fine del Trecento, mentre il terzo fu splendidamente affrescato da Martino da Udine, detto Pellegrino da San Daniele, il quale vi lavorò in diverse fasi dal 1497 al 1522. Nella volta del coro sono raffigurati Profeti ed Evangelisti, nella parete di fondo una Crocifissione, mentre nei sottarchi ancora figure di Profeti. Lungo le pareti del coro, nell'arco trionfale e a sinistra sono rappresentate le Storie di Sant'Antonio abate e di Cristo, ove sono presenti ancora tracce del ciclo più antico con scene dell'Infanzia di Cristo.
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The first news about this temple dates back to 1308, the year in which it was again consecrated. The building was damaged by the Friuli earthquake of 1348 and then renovated and enlarged with the apse and the sacristy. The Istrian stone façade was built in 1470 under the rector Emiliano Cimbriaco: of late Venetian Gothic style, it has a suggestive openwork rose window with a carved Maternity and mosaic windows, among the first to be made in Friuli. In the lunette above the portal there are depictions of Sant'Antonio abbot between San Giovanni Battista and Sant'Antonio da Padova.
Pellegrino da San Daniele, Crucifixion
During the Second World War the building suffered superficial damage, then aggravated by the 1976 earthquake; later an accurate cumulative restoration was made. The church has a single nave, part of which, together with the choir and the triumphal arch, is covered by three cycles of frescoes: the first two were painted by Vitale da Bologna towards the end of the fourteenth century, while the third was splendidly frescoed da Martino da Udine, called Pellegrino da San Daniele, who worked on it in different phases from 1497 to 1522. In the vault of the choir are represented Prophets and Evangelists, in the back wall a Crucifixion, while in the arches still figures of Prophets. Along the walls of the choir, in the triumphal arch and on the left, the Stories of Saint Anthony the Abbot and of Christ are represented, where there are still traces of the oldest cycle with scenes from the Childhood of Christ.
openwork spire of brick built at the west end of the church which was encased in stone in 1855 by George Gilbert Scott
The Belfry of Bruges is a medieval bell tower in the centre of Bruges, Belgium. One of the city's most prominent symbols, the belfry formerly housed a treasury and the municipal archives, and served as an observation post for spotting fires and other danger. A narrow, steep staircase of 366 steps, accessible by the public for an entry fee, leads to the top of the 83 m (272 feet) high building, which leans 87 centimeters to the east.
The belfry was added to the market square around 1240, when Bruges was an important centre of the Flemish cloth industry. After a devastating fire in 1280, the tower was largely rebuilt. The octagonal upper stage of the belfry was added between 1483 and 1487, and capped with a wooden spire bearing an image of Saint Michael, banner in hand and dragon underfoot. The spire did not last long: a lightning strike in 1493 reduced it to ashes, and destroyed the bells as well. A wooden spire crowned the summit again for some two-and-a-half centuries, before it, too, fell victim to flames in 1741. The spire was never replaced again, thus making the current height of the building somewhat lower than in the past; but an openwork stone parapet in Gothic Revival style was added to the rooftop in 1822.
The belfry is a key component of the UNESCO world heritage site of the historic centre of Bruges.
BREDA - De Grote of Onze Lieve Vrouwe kerk heeft een enorme cultuurhistorische betekenis, niet alleen als stedelijk maar zeker ook als erkend rijksmonument.
De imposante architectuur buiten en in de kerk aanwezige monumenten, graven, gewelf- en muur schilderingen. De geheel met natuursteen beklede kerk is vanaf 1410 gebouwd in de zgn. Brabants gotische stijl. Opengewerkte puntgevels, spitsen, hoge vensters een groot aantal luchtbogen en heel veel details en decoraties.
Prachtig lichtinval door de grote kerkramen, gewelf schilderingen – bouwperioden tussen 1410 en 1536 – en de oprijzende ramen.
The Grote or Onze Lieve Vrouwe Church has a huge cultural and historical meaning, not only as urban but also as a recognised national monument. The Grand architecture outside and in the present Church monuments, tombs, arched-and wall paintings. The whole Church is lined with natural stone from built in 1410. Brabants Gothic style. Openwork Gables, spires, high Windows a large number of flying buttresses and lots of details and decorations. Beautiful light streaming through the large church Windows, vault paintings – construction periods between 1410 and 1536 – and the towering Windows.
A nun supplies prayer candles to the statue of Saint James.
Cathedral Notre-Dame-du-Puy
Le Puy-en-Velay, Département Haute-Loire, Région Auvergne-Rhône-Alpes, France
The Cathedral is the origin of the Chemin du Puy, one of the principal origin points of the pilgrimage route of Santiago de Compostela in France.
"Le Puy-en-Velay's most striking attraction is the Cathédrale Notre-Dame du Puy, dating chiefly from the first half of the 12th century. The façade, striped in courses of white sandstone and black volcanic breccia, is reached by a flight of sixty steps, and consists of three orders, the lowest composed of three high arcades opening into the porch, which extends beneath the first bays of the nave. Above it are three central windows that light the nave, and above them are three gables on the gable-end of the nave, flanked by two openwork screening gables. The south transept doorway is sheltered by a Romanesque porch. Behind the choir rises a separate Romanesque bell-tower in seven storeys.
The bays of the nave are roofed by octagonal cupolas, the cupola at the crossing forming a lantern; the choir and transepts are barrel vaulted. The striking parti-colored cloister is connected to remains of 13th-century fortifications that separated the cathedral precincts from the rest of the city. Near the cathedral, the 11th-century baptistery of St John is built on Roman foundations.
[...]
Each morning, pilgrims gather to be blessed before starting their journey to Santiago de Compostela. The cathedral has been a Unesco World Heritage Site since 1998, as part of the "Routes of Santiago de Compostela in France. [...]"
(Wikipedia)
Der Azaleen- und Rhododendronpark Kromlau ist ein ca. 200 ha großer Landschaftspark im Ortsteil Kromlau der Gemeinde Gablenz im Landkreis Görlitz. Er gilt als die größte Rhododendren-Freilandanlage in Deutschland und ist bei freiem Eintritt immer geöffnet.
1850 wurde das Kavalierhaus im Schweizerhausstil erbaut. Mit dem weiten Dachüberstand, den vorgesetzten Balkonen und dem durchbrochenen Giebelfachwerk sollte ländliche Idylle angedeutet werden.
The Azalea and Rhododendron Park Kromlau is an approximately 200 hectare landscape park in the Kromlau district of the municipality of Gablenz in the Görlitz district. It is considered the largest outdoor rhododendron facility in Germany and is always open with free entry.
The Kavalierhaus was built in the Swiss house style in 1850. The wide roof overhang, the balconies in front and the openwork gable framework were intended to suggest a rural idyll.
Der Azaleen- und Rhododendronpark Kromlau ist ein ca. 200 ha großer Landschaftspark im Ortsteil Kromlau der Gemeinde Gablenz im Landkreis Görlitz. Er gilt als die größte Rhododendren-Freilandanlage in Deutschland und ist bei freiem Eintritt immer geöffnet.
1850 wurde das Kavalierhaus im Schweizerhausstil erbaut. Mit dem weiten Dachüberstand, den vorgesetzten Balkonen und dem durchbrochenen Giebelfachwerk sollte ländliche Idylle angedeutet werden.
The Azalea and Rhododendron Park Kromlau is an approximately 200 hectare landscape park in the Kromlau district of the municipality of Gablenz in the Görlitz district. It is considered the largest outdoor rhododendron facility in Germany and is always open with free entry.
The Kavalierhaus was built in the Swiss house style in 1850. The wide roof overhang, the balconies in front and the openwork gable framework were intended to suggest a rural idyll.
Azaleen und Rhododendronpark Kromlau
1850 wurde das Kavalierhaus im Schweizerhausstil erbaut. Mit dem weiten Dachüberstand, den vorgesetzten Balkonen und dem durchbrochenen Giebelfachwerk sollte ländliche Idylle angedeutet werden.
Azaleas and Rhododendron Park Kromlau
The Kavalierhaus was built in the Swiss house style in 1850. The wide roof overhang, the balconies in front and the openwork gable framework were intended to suggest a rural idyll.
The Prosta Tower is a 70 m tall office building designed by Stefan Kurylowicz and completed in 2011 in the district of Wola in Warsaw. Its openwork facade is its most characteristic feature.
The Prosta Tower is a 70 m tall office building designed by Stefan Kurylowicz and completed in 2011 in the district of Wola in Warsaw. Its openwork facade is its most characteristic feature.
These are among the first private holiday homes in Druskininkai. As far as is known, the Imperial villa belonged to a local entrepreneur of Jewish origin Frenkel, who opened a restaurant and guest rooms in it. The composition of the buildings is characteristic of the so-called "Italian" villa of the mid-19th century: a massive turret, a triangular pediment and low galleries on the sides. The decor is dominated by the Russian style: openwork carved platbands, Russian columns on both sides of the windows.
Built in 1885, the Church of the Intercession in Oreanda has long been one of the most iconic religious sites in the whole of Greater Yalta. Starting with Emperor Alexander III, all subsequent Romanovs prayed in it. It is the Intercession Church that Chekhov mentions in his story "The Lady with the Dog". In the architectural and cultural sense, the temple is interesting because it is made in the Georgian-Byzantine style, which is not quite familiar to Russia, which is distinguished by the construction in the form of a cross, a cone-shaped dome on which an openwork four-pointed Byzantine cross stands.
Построенная в 1885 году, церковь Покрова в Ореанде долгое время была одним из самых знаковых религиозных объектов всей Большой Ялты. Начиная с императора Александра III, в ней молились все последующие Романовы. Именно Покровская церковь упоминается Чеховым в его рассказе «Дама с собачкой». В архитектурно-культурном смысле храм интересен тем, что выполнен в не совсем привычном для России грузино-византийском стиле, который отличает постройка в виде креста, конусовидный купол, на котором высится ажурный четырёхконечный византийский крест.
La Cruz que vemos en la fotografía, es la que según la tradición portaba el Arzobispo Rodrigo Jiménez de Rada en la trascendental Batalla de las Navas de Tolosa, que tuvo lugar en 1212.
Está hecha de plata dorada, calada y adornada con labor de granulado. Engaste de perlas y cristales de colores.
The Cross in the picture is the one that according to tradition was carried by Archbishop Rodrigo Jiménez de Rada in the momentous Battle of Las Navas de Tolosa, which took place in 1212.
It is made of gilt silver, openwork and decorated with granulated work. Setting with pearls and colored crystals.
Malheureusement, nous n'avons pas visité l'intérieur du choeur car il y avait des files pour voir ce lieu payant et également pour cause de manque de temps, en effet, nous étions en transit dans la ville.
Dans les niches des 35 piliers qui divisent la clôture de chœur haute de 6,54 m, sont placées de courtes statues en pierre polychromée des Prophètes de l'Ancien Testament à l'extérieur, et à l'intérieur 15 statues figurant l'Église (12 apôtres, la Vierge Marie, saint Jean-Baptiste et saint Paul, et 72 statues d'anges groupées autour de sainte Cécile, puis enfin Charlemagne et Constantin dominant les portes). Le jubé clôt cet ensemble avec des arches gothiques ajourées. Le pourtour de cette clôture est orné sur deux rangées de 120 stalles surmontées de dais délicatement sculptés, et ses 72 statues d'anges aux figures symboliques.
Unfortunately, we did not visit the interior of the choir because there were queues to see this paid place and also because of lack of time, indeed, we were in transit in the city.
In the niches of the 35 pillars which divide the 6.54 m high choir enclosure, are placed short polychrome stone statues of the Prophets of the Old Testament on the outside, and inside 15 statues representing the Church (12 apostles, the Virgin Mary, Saint John the Baptist and Saint Paul, and 72 statues of angels grouped around Saint Cecilia, then finally Charlemagne and Constantin dominating the doors). The rood screen completes this set with openwork Gothic arches. The circumference of this enclosure is decorated with two rows of 120 stalls surmounted by delicately carved canopies, and its 72 statues of angels with symbolic figures.
This is an openwork gilt metal button, depicting a stylised shell, from the late 19th century. Behind it are 2 large sea shells, one of them a Murex. I love their soft pinks.
For this week's Smile on Saturday group theme, Shells.
Manakara (Madagascar) - Marché aux légumes à Manakara. L’endroit étant plus ou moins couvert par un étrange mélange de vieilles tôles ondulées et de bâches ajourées, les cellules des appareils photos, même les plus perfectionnés, se font régulièrement piéger par les lumières difficiles. Il est nécessaire de réviser ses fondamentaux pour interpréter et corriger les choix de l’électronique embarquée.
Vegetable Market
Manakara (Madagascar) - Vegetable market in Manakara. The place being more or less covered by a strange mixture of old corrugated sheets and openwork tarpaulins, the cells of the cameras, even the most advanced, are regularly trapped by the difficult lights. It is necessary to revise its fundamentals to interpret and correct the choices of on-board electronics.
I love physalis in any of its phases - both when it is an orange lantern, and when in winter it remains an openwork transparent lantern with a red berry inside
Park in Arkadia in the Spring green. At background the Diana Temple :)
The Diana Temple was designed and raised by Szymon Bogumił Zug in 1783. The construction of classical proportions decorated with the openwork ornamentation is based on four lonic columns. Under the tympanum facing the pond you can see Latin inscription: "Dove pace trovai d'ogni mia guerra" (it was here that I found peace after each of the battles).
The interior of the temple constitute: the Vestibule, the Etruscan Cabinet, the oval Bedroom abd the Presence Chamber called Pantheon decorated with the stucco columns, ornamented mould and the plafond depicting Aurora pained by Jan Piotr Norblin.
The park in Arkadia was founded in 1778 by Princess Helena Radziwiłł, who lived in Nieborow. For designing and decorating its numerous pavilions she employed the most outstanding Polish architects and painters of the time. She also gathered one of the first antique art collections in Poland in the park. Owing to her, Arkadia enjoyed the status of one of the greatest cultural centers of the turn of the 18th and 19th centuries. In the park, nature and art are in harmony: the complex is composed of buildings imitating ancient ruins or the English Gothic style (Murgrabia House, Little Gothic House, Stone Arch, Diana's Temple with a Pantheon and Etruscan Room, the Sanctuary of the High Priest, the Cave of Sybil, the Tomb of Illusions, Circus and Amphitheatre). Arkadia is the only such classical-romantic historical complex in Europe, and the Museum received the European Award for the Protection of Historic Sites in 1994 for its restoration.
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Park w Arkadii skąpany w wiosennej zieleni. W tle Świątynia Diany :)
Świątynia Diany wzniesiona została w roku 1783. Usytuowana nad stawem budowla prezentuje styl klasycystyczny. Jej fasadę frontową zdobi portyk kolumnowy z umieszczonym w tympanonie napisem Dove pace trovai d'ogni mia guerra. Jest to cytat z sonetu Petrarki - "tutaj odnalazłem spokój po każdej mojej walce". Do stawu prowadzą kamienne schody, zakończone dwiema rzeźbami: lwem i sfinksem. Najciekawsze jest jednak wnętrze. Oglądać tu można dekorację sztukateryjną, oraz plafon autorstwa J. P. Noblina „Jutrzenka” z lat 1783-1785, usytuowany na drewnianej kopule. Za salą główną, po lewej stronie znajduje się sześcioboczny Gabinet Etruski, pełniący rolę muzeum. Oglądać tu można ciekawe polichromie. W roku 1995 zakończyły się prace renowacyjne Świątyni.
Arkadia - park romantyczny w stylu angielskim założony przez Helenę z Przeździeckich (1753-1821), żonę Michała Hieronima Radziwiłła właściciela pobliskiego Nieborowa. Koncepcja takich ogrodów wykluczała jakąkolwiek symetrię czy regularność. Poprzez umiejętne połączenie urozmaiconego ukształtowania terenu, zbiorników i cieków wodnych, swobodnego rozmieszczenia różnorodnych gatunków roślinności oraz wkomponowania najróżniejszych form architektonicznych (antycznych, neogotyckich, średniowiecznych, renesansowych, wiejskich) tworzono malownicze enklawy o bajkowym krajobrazie, zmieniającym się w zależności od pory roku, dnia, aktualnej pogody itp. Były to wymarzone miejsca kontemplacji, romantycznej zadumy, spacerów, lektury, wypoczynku, kontaktu z naturą i sztuką. Do zakładania ogrodu księżna przystąpiła w 1778 roku, a rozwijała go i komponowała do swojej śmierci. Obecnie park w Arkadii zajmuje obszar 14 ha położony między drogą Łowicz - Skierniewice a rzeką Skierniewką. Mimo licznych zmian jakie zaszły przez ponad dwa wieki jego istnienia jest jedynym w Polsce zabytkiem architektury ogrodowej w Polsce który zachował pierwotną koncepcję przestrzenną z końca XVIII wieku. Jest unikatowym zabytkiem klasy "0" chętnie odwiedzanym przez liczne rzesze turystów.
Excerpt from the plaque:
‘Alam (Standard), Iran or India, 17th – 18th centuries. Iron, cast, welded, and riveted with cut-out decoration: The imposing size and sophisticated structure of this ‘alam (standard) make it unique. Decorated with dragon heads, it also contains four branches in the shape of emerging sequential almonds to create the overall appearance of a flame. The inscription in thuluth (a style in Islamic calligraphy) engraved over an elaborate openwork background suggests it was created in 17th-century Iran. Alternatively, it may have been produced in South India, as there was an extensive link between the artists and calligraphers of both empires during that era.
When the mood calls for something daring, decadent, and divinely flirtatious—I reach for my Mati Dress by Enchantress. 🍸✨
Wrapped in this seductive lattice of glossy temptation, every cut-out teases with just the right amount of skin, while the sculpted bra and curve-hugging silhouette serve pure bedroom-to-ballroom drama. The high-gloss fabric and openwork crochet styling give it a lingerie-meets-runway vibe—think 90s Thierry Mugler with a dangerous splash of Helmut Newton.
Whether I’m in sultry patent black, icy sheer white, or a fiery red with matching strappy heels and panties, the included HUD lets me play chameleon with:
* 🔥 60 colors across 3 unique dress & sleeve styles
* 💕 20 colors for the bra, panties, and heels
* 💅 Mix-and-match customization for every sultry mood
And oh, the fit? Utter perfection across all my avatars. It's rigged to fit like a dream on:
* ✅ Maitreya, Petite, LaraX & LaraX Petite
* ✅ Legacy, Legacy Perky & Bombshell
* ✅ eBody Reborn & Waifu
* ✅ Inithium Kupra
* ✅ Kalhene Erika
* ✅ GenX Classic & Curvy
Whether I’m lounging barefoot with a cocktail or laced up in stilettos and garters, Mati transforms me into a walking fantasy. It’s not just a dress—it’s a statement of power, play, and unapologetic glamour. 💋
️ Grab yours here on Marketplace:
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Or come see it in-world at the Enchantress boutique:
📍 maps.secondlife.com/secondlife/LeLa%20Island/48/141/2232
Dare to enchant… because tonight, I am the fantasy.
Люблю пион я больше всех цветов…
Люблю его мохнатую игривость
И гордый вид, похожий на спесивость,
Не терпящий давленья и оков.
И красоту атласных лепестков,
И вид плодов, что словно с неба звезды,
Их чашечки, похожие на гнезда…
Прибежище ажурных мотыльков.
Люблю пион, он облаков двойник,
Любитель солнца и поклонник тени,
На свет является порою он весенней,
Любви и света – нежный проводник.
Кузьминская Лариса
I love the peony more than all the colors...
I love his shaggy playfulness.
And a proud look, like arrogance,
He does not tolerate pressure and shackles.
And the beauty of satin petals,
And the sight of the fruit, as if from the sky of a star,
Their socket-like cups...
A haven for openwork moths.
I love the peony, it's a cloud double,
A lover of the sun and a fan of the shadow,
It is sometimes born in spring,
Love and light are a gentle conduit.
Kuzminskaya Larisa
Obwohl dieser schöne Pilz so verlockend aussieht, sollte man ihn lieber nicht essen. Der Fliegenpilz trägt den lateinischen Namen "Amanita muscaria" und ist ein Giftpilz.
Mit Pilzen ist es wie mit den Eisbergen. Das meiste spielt sich unter der Bodenoberfläche ab. Der eigentliche Pilzkörper ist ein fadenartiges Zellgeflecht. Ohne Pilze würde die Welt wohl in Bio-Abfall ersticken. Pilze zersetzen organisches Material. Pilzgeflechte sind so weit ausgedehnt, dass durch sie Nahrung von einem Baum zum anderen transportiert wird.
Borobudur, Jogjakarta, Central Java, Indonesia
Built in the 8th and 9th centuries AD, Borobudur is one of the greatest Buddhist monuments in the world. The temple is a stupa built in three tiers around a hill which was a natural center: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa. The walls and balustrades are decorated with fine low reliefs. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha.
The Ava Set by WellMade is more than fashion—it is a spell of seduction woven in lace and silk. As I slide it on, the bra cups cradle me with satin smoothness, while the barely-there panties tease like a whispered secret. The openwork vest, with its tassel accents, frames every curve with daring artistry, leaving just enough to the imagination. Every step becomes a performance, every glance an invitation. This is lingerie reimagined for high fashion—bold, unapologetic, and undeniably intoxicating.
Its cut and texture recall the glamorous lingerie revolution of the late 60s and 70s, when fearless women began to blur the lines between intimacy and outerwear. Ava carries that same rebellious sensuality into today, shimmering with erotic elegance. Whether I wear it as a sultry boudoir piece or as a statement of style under the stars, it transforms me into something unforgettable.
The included HUD opens a world of seduction, offering 20 exquisite colors. From blushing pinks to fiery reds, angelic whites to midnight blacks, each hue reinvents the mood. And with each piece wearable separately, the Ava Set gives me endless power to style, reveal, and entice.
Compatible mesh bodies embrace every form of beauty:
💗 Erika
💜 Kupra
🌹 Reborn
🌸 Waifus
💎 Legacy
❤️ Bombshell + Perky
🌷 Maitreya
💫 LaraX + Petite
For a limited time only, the Ava Set is available at a flash promo price of just 89L at District69—a fleeting chance to capture this rare seduction.
✨ Step into your power, indulge your desire, and claim the Ava Set here:
[Teleport to WellMade @ District69]
Le Cube vert, accueillant le siège mondial d’Euronews, chaîne d’information européenne, est conçu comme un immense parallélépipède transpercé par deux atriums coniques introduisant la lumière et l’air, et offrant des vues sur le paysage environnant et des accès aux berges de la Saône. Ces atriums s’apparentent à deux yeux gigantesques fixant le fleuve et son environnement. Le geste spectaculaire d’évidement du volume par deux atriums ouvre la façade et favorise la ventilation naturelle diurne et nocturne à l’intérieur de la construction. Ces espaces à ciel ouvert offrent des lieux de détente accessibles depuis les bureaux. Si le volume architectural se découvre d’abord comme un bloc monolithe, ses extrusions et sa résille enrichissent sa matérialité – graphique, coloré, poreux et aérien.
L’enveloppe est composée d’une façade légère largement vitrée, doublée d’une résille d’aluminium ajourée monochrome aux perforations irrégulières. Elle forme une double peau perméable qui scénarise les jeux de lumière à l’intérieur et enrichit les points de vue vers l’extérieur. Cette approche cinétique résonne avec les mouvements oscillants de la Saône. Le choix du vert renvoie à la couleur de la Saône et met en dialogue l’architecture et le paysage naturel des collines des Balmes, situé sur l’autre rive. L’artiste Fabrice Hyber a conçu la résille du bâtiment : “Ce sont des ondes comme les ondes sonores ou de diffusion mais aussi celles de l’eau, des flux.”
The Green Cube, hosting the global headquarters of Euronews, a European news channel, is conceived as an immense parallelepiped pierced by two conical atria introducing light and air, and offering views of the surrounding landscape and access to the riverbanks. of the Saone. These atriums are like two gigantic eyes fixing the river and its environment. The spectacular gesture of recess of the volume by two atriums opens the facade and favors natural diurnal and nocturnal ventilation inside the building. These open spaces offer relaxing spaces accessible from the offices. If the architectural volume is first discovered as a monolithic block, its extrusions and mesh enhance its materiality - graphic, colorful, porous and airy.
The envelope is composed of a largely glazed light facade, lined with monochrome openwork aluminum mesh with irregular perforations. It forms a permeable double skin that scriptures the play of light inside and enriches the points of view to the outside. This kinetic approach resonates with the oscillating movements of the Saone. The choice of green refers to the color of the Saône and puts into dialogue the architecture and the natural landscape of the hills of Balmes, located on the other side. The artist Fabrice Hyber designed the fishnet of the building: "These are waves like sound waves or diffusion but also those of water, flows."
Unravel the Art of Seduction with Belle De Jour
By Oh! – Oh!-riginal Mesh
Drape yourself in a symphony of sensuality and high-fashion allure with Belle De Jour, the epitome of daring elegance. This masterpiece of crochet craftsmanship clings to your curves like a whispered promise, effortlessly blending contemporary haute couture with the timeless artistry of lace and openwork textiles.
A Fashion Legacy Reimagined
Inspired by centuries of handcrafted lacework and crochet techniques, Belle De Jour pays homage to the delicate artistry of 17th-century Venetian lace, the Victorian era’s obsession with intricate crochet, and the Bohemian revival of the 1960s and ‘70s. From the lavish courts of Europe to the free-spirited movement of modern haute couture, crochet has symbolized both demure femininity and bold sensuality. With Belle De Jour, these influences merge into a contemporary digital masterpiece—luxurious, evocative, and undeniably seductive.
Intricate Crochet Craftsmanship
Woven with precision, Belle De Jour offers nine exquisite crochet patterns, each designed to entice and intrigue. The delicate openwork echoes the handmade Irish crochet of the 19th century, while the bold, geometric designs nod to Art Deco’s structured elegance. Whether you desire a whisper of vintage charm or a daringly modern statement, this garment adapts effortlessly to your every mood.
A Perfectly Sculpted Fit
Sculpted to perfection, Belle De Jour drapes like liquid temptation, available in three distinct crochet sizes, allowing for the perfect balance between coverage and revelation. Whether you prefer a sultry peek-a-boo effect reminiscent of Edwardian lace overlays or the bold transparency of 1970s festival chic, this garment allows you to embody any era with grace and confidence.
An Infinite Palette of Passion
Adorn yourself in a selection of luxurious color options, ranging from deep, seductive hues to soft, ethereal pastels. Each shade enhances the depth and dimension of the crochet fabric, evoking everything from the powdered elegance of 18th-century rococo fashion to the bold, avant-garde statements of contemporary runway couture.
Blinn Phong + Soft PBR – The Future of Virtual Fashion
Rendered with advanced Blinn Phong and Soft PBR, this crochet masterpiece glistens under the light, capturing the natural play of shadows and reflections across its textured weave. It revives the opulent shimmer of 1920s silk crochet and the modern-day brilliance of luxury lingerie, ensuring that every glance in your direction is nothing short of mesmerizing.
Tailored for the Most Desirable Bodies
Indulge in the perfect fit for the most exquisite virtual silhouettes. Belle De Jour is flawlessly compatible with:
- LaraX – The embodiment of sleek sensuality
- Petitex – Delicate and dainty, yet striking
- Legacy – Timeless curves, effortlessly elegant
- Perky – Playful, flirtatious, and irresistibly tempting
- Bombshell – Bold, breathtaking, and unapologetically sultry
- Reborn – Embracing every curve with divine precision
- Waifu – A dreamy, captivating fantasy
The Power to Customize
Activate your inner seductress with Belle De Jour’s transparency control options, allowing you to switch between revealing and concealing with a single click. Whether it’s a hint of mystery or a full display of confidence, your style remains uniquely yours.
Now available exclusively at Dove’s Dream Event, opening March 11. Step into a world where elegance meets sensuality—where every detail is a tribute to timeless beauty.
📍 Dove’s Dream Event Location:
maps.secondlife.com/secondlife/Gallii/127/190/4061
🌐 For more stunning releases and exclusives, visit [Oh!] – Oh!-riginal Mesh at their mainstore:
maps.secondlife.com/secondlife/Yeunhee/105/109/3602
A garment steeped in history, redefined for the modern muse. Dare to seduce. Dare to enchant. Dare to wear Belle De Jour.
Дельфиниум — цветок чудесный.
Он оберег и талисман.
Он приворот любви известный
Капризных, изошрённых дам.
Дельфиниум — источник яда,
Цветок печали, тень тоски.
Он притяжение для взгляд.
Он нежность ласковой руки..Во все времена Дельфиниум удивляет своими формами и красотой цветения.
Его стебель может вырасти крохой, не достигнув и десяти сантиметров от
земли, или подняться в высоту, словно трехметровая мачта. Его соцветия
напоминают цветущую пирамиду или фонтанчик, ликующий под лучами солнца.
А, как поразительна цветовая гамма бутонов Дельфиниума! Среди ажурных
листьев раскрываются лазоревые, белые, лиловые или голубые, красные или
кремовые лепестки, и с нескрываемым любопытством, из центра махровых
соцветий смотрят с лепестков белые "глазки". Но самый примечательный цвет
у Дельфиниума – это “синий”, символизирующий красоту небес и вечность,
глубину морей и благородство происхождения, совершенство, мирную жизнь..На самом деле цветок Дельфиниум не так безобиден, как выглядит. Не стоит
им лакомиться каким-нибудь животным, тем более людям, потому что ядовит.
Яд Дельфиниума сравним… разве только с ядом таинственного "кураре". Даже
пчелы, прилетающие к такому растению- медоносу, готовят "пьяный" мед...Но, если хочется приворожить кого-то, то Дельфиниум незаменим. В руках
опытного ведьмака он пригоден для создания “зелья любви”. Для суеверных
людей Дельфиниум может служить оберегом. Засушите, обязательно синий,
Дельфиниум и спрячьте в льняной мешочек. Затем, перед ночным сном повести
на шею не для взгляда посторонних глаз. Тогда кошмарные видения или
бессонница тут же прекратятся..Еще древние славяне готовили из Дельфиниума лекарство, заживляющее раны.
Отсюда второе, очень странное его название "живокость". Но не вздумайте
сами готовить такое лекарство. Потому что рецепта давно нет в помине.
Возможно, он зарыт глубоко в земле на далеком, необитаемом острове и под
каким-нибудь о-о-огромных размеров деревом, возле которого грозная охрана
- огнедышащий дракон..Дельфиниумы благородны в происхождении…. С Олимпа Боги улыбались сей красе.
Они с терпением относятся к тени и солнцу, весенним заморозкам, несгибаемые
при порывах, холодящих нас, ветров. Махровые “фонтанчики”, подобные мечте,
блистают на свету, когда в росе. Изящные Дельфиниумы цветут в садах и кто
увидит их, воскликнет: ”А-а-ах!”...........................................................................................
Delphinium is a wonderful flower.
He is a talisman and a talisman.
He is a famous love spell
Capricious, sophisticated ladies.
Delphinium is a source of poison,
A flower of sadness, a shadow of longing.
It attracts the eye.
He is the tenderness of a loving hand......At all times, Delphinium surprises with its forms and the beauty of flowering.
Its stem can grow tiny, not reaching ten centimeters from
the ground, or rise in height, like a three-meter mast. Its inflorescences
resemble a blooming pyramid or a fountain, rejoicing under the rays of the sun.
And, how amazing is the color scheme of Delphinium buds! Among the openwork
leaves, azure, white, purple or blue, red or
cream petals open, and with undisguised curiosity,
white "eyes" look from the petals from the center of the terry inflorescences. But the most remarkable color
of the Delphinium is “blue”, symbolizing the beauty of the heavens and eternity,
the depth of the seas and the nobility of origin, perfection, peaceful life....In fact, the Delphinium flower is not as harmless as it looks. It is not worth
them to feast on any animal, especially people, because it is poisonous.
The poison of Delphinium is comparable... except with the poison of the mysterious "curare". Even
bees arriving at such a honey plant prepare "drunk" honey...But if you want to enchant someone, then Delphinium is irreplaceable. In the hands
of an experienced witcher, it is suitable for creating a “love potion". For superstitious
people, Delphinium can serve as a talisman. Dry, necessarily blue,
Delphinium and hide it in a linen bag. Then, before going to sleep at night, lead
to the neck not for the sight of prying eyes. Then the nightmarish visions or
insomnia will immediately stop. Even the ancient Slavs prepared a medicine from Delphinium that heals wounds.
Hence its second, very strange name "larkspur". But do not try
to prepare such a medicine yourself. Because there is no recipe in sight for a long time.
Perhaps it is buried deep in the ground on a distant, uninhabited island and under
some oh-oh-huge tree, near which there is a formidable guard
- fire-breathing dragon. Delphiniums are noble in origin.... From Olympus, the Gods smiled at this beauty.
They are patient with the shade and the sun, spring frosts, unyielding
in the gusts of winds that chill us. Terry “fountains”, like a dream,
shine in the light when in dew. Elegant Delphiniums bloom in gardens and anyone
who sees them will exclaim: ”A-a-ah!”.
To purchase, please just go to my about and find a link to my facebook. My facebook page has all the links. Thank you so much!
The Openwork House (Accordion House, Burov House) is a monument of experimental housing construction in the Art Deco style, located in Moscow at the intersection of Begovaya Street and Leningradsky Prospekt. It was erected by architects Andrey Konstantinovich Burov and Boris Nikolaevich Blokhin in 1939-1940 by the method of large-block construction.
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Sony 16-50
[Oh!] Sainte Maxime – Where Desire Meets Timeless Craftsmanship
As the delicate crochet threads embrace my curves, I feel the echoes of a time when lace was a whisper of forbidden romance, a secret language of seduction. Inspired by the fine crochet craftsmanship of the Belle Époque and the daring hemlines of the Roaring Twenties, the Sainte Maxime Mini is a sensual celebration of texture, light, and movement.
The openwork crochet, woven in an intricate lattice of desire, skims the skin, teasing the eye with glimpses of what lies beneath. A timeless yet contemporary silhouette, the Sainte Maxime Mini is cut high on the thigh, ensuring every step, every sway, commands attention. The gently scooped neckline flatters the décolletage, while the long sleeves add a whisper of mystery—inviting touch, yet just out of reach.
The Ultimate in Customization:
For those who adore variety, the HUD offers a palette of 9 distinct crochet textures in an exquisite soft PBR shine, allowing the fabric to catch the light with every sultry movement. Each color shift transforms the mood—soft and romantic, bold and provocative, or effortlessly chic. And with 3 unique crochet sizes, the sheerness can be dialed from subtle allure to daring revelation.
Crafted for the Perfect Fit:
Meticulously rigged for the most coveted mesh bodies, ensuring a flawless, sculpted fit:
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Bombshell
Reborn
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Where to Find the Sainte Maxime Mini:
Be the first to slip into this masterpiece at the Cosmopolitan Event—happening now through March 29th. Don’t miss your chance to add this essential piece of desire to your collection.
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Can’t make it to the event? Visit Oh!’s Mainstore for all the latest releases and exclusive designs.
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Step into history. Step into seduction. Step into Sainte Maxime.
💋 [Oh!] – Original Mesh, Just for You 💋
Eastgate and Eastgate Clock in Chester, stands on the site of the original entrance to the Roman fortress of Deva Victrix. It is a prominent landmark in the city of Chester and is said to be the most photographed clock in England after Big Ben.
For more photographs of the City of Chester please click here:https://www.jhluxton.com/England/Cheshire/City-of-Chester/
The original gate was guarded by a timber tower which was replaced by a stone tower in the 2nd century, and this in turn was replaced probably in the 14th century. The present gateway dates from 1768 and is a three-arched sandstone structure which carries the walkway forming part of Chester city walls.
In 1899 a clock was added to the top of the gateway to celebrate the diamond jubilee of Queen Victoria two years earlier. It is carried on openwork iron pylons, has a clock face on all four sides, and a copper ogee cupola.
The clock was designed by the Chester architect John Douglas.
The whole structure, gateway and clock, was designated as a Grade I listed building on 28 July 1955.
View on The Diana Temple in the Spring day. Park in Arkadia, Poland :)
The Diana Temple was designed and raised by Szymon Bogumił Zug in 1783. The construction of classical proportions decorated with the openwork ornamentation is based on four lonic columns. Under the tympanum facing the pond you can see Latin inscription: "Dove pace trovai d'ogni mia guerra" (it was here that I found peace after each of the battles).
The interior of the temple constitute: the Vestibule, the Etruscan Cabinet, the oval Bedroom abd the Presence Chamber called Pantheon decorated with the stucco columns, ornamented mould and the plafond depicting Aurora pained by Jan Piotr Norblin.
The park was founded in 1778 by Princess Helena Radziwiłł, who lived in Nieborow. For designing and decorating its numerous pavilions she employed the most outstanding Polish architects and painters of the time. She also gathered one of the first antique art collections in Poland in the park. Owing to her, Arkadia enjoyed the status of one of the greatest cultural centers of the turn of the 18th and 19th centuries. In the park, nature and art are in harmony: the complex is composed of buildings imitating ancient ruins or the English Gothic style (Murgrabia House, Little Gothic House, Stone Arch, Diana's Temple with a Pantheon and Etruscan Room, the Sanctuary of the High Priest, the Cave of Sybil, the Tomb of Illusions, Circus and Amphitheatre). Arkadia is the only such classical-romantic historical complex in Europe, and the Museum received the European Award for the Protection of Historic Sites in 1994 for its restoration.
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Wiosenny widok na Świątynię Diany w parku w Arkadii :)
Świątynia Diany wzniesiona została w roku 1783. Usytuowana nad stawem budowla prezentuje styl klasycystyczny. Jej fasadę frontową zdobi portyk kolumnowy z umieszczonym w tympanonie napisem Dove pace trovai d'ogni mia guerra. Jest to cytat z sonetu Petrarki - "tutaj odnalazłem spokój po każdej mojej walce". Do stawu prowadzą kamienne schody, zakończone dwiema rzeźbami: lwem i sfinksem. Najciekawsze jest jednak wnętrze. Oglądać tu można dekorację sztukateryjną, oraz plafon autorstwa J. P. Noblina „Jutrzenka” z lat 1783-1785, usytuowany na drewnianej kopule. Za salą główną, po lewej stronie znajduje się sześcioboczny Gabinet Etruski, pełniący rolę muzeum. Oglądać tu można ciekawe polichromie. W roku 1995 zakończyły się prace renowacyjne Świątyni.
Arkadia - park romantyczny w stylu angielskim założony przez Helenę z Przeździeckich (1753-1821), żonę Michała Hieronima Radziwiłła właściciela pobliskiego Nieborowa. Koncepcja takich ogrodów wykluczała jakąkolwiek symetrię czy regularność. Poprzez umiejętne połączenie urozmaiconego ukształtowania terenu, zbiorników i cieków wodnych, swobodnego rozmieszczenia różnorodnych gatunków roślinności oraz wkomponowania najróżniejszych form architektonicznych (antycznych, neogotyckich, średniowiecznych, renesansowych, wiejskich) tworzono malownicze enklawy o bajkowym krajobrazie, zmieniającym się w zależności od pory roku, dnia, aktualnej pogody itp. Były to wymarzone miejsca kontemplacji, romantycznej zadumy, spacerów, lektury, wypoczynku, kontaktu z naturą i sztuką. Do zakładania ogrodu księżna przystąpiła w 1778 roku, a rozwijała go i komponowała do swojej śmierci. Obecnie park w Arkadii zajmuje obszar 14 ha położony między drogą Łowicz - Skierniewice a rzeką Skierniewką. Mimo licznych zmian jakie zaszły przez ponad dwa wieki jego istnienia jest jedynym w Polsce zabytkiem architektury ogrodowej w Polsce który zachował pierwotną koncepcję przestrzenną z końca XVIII wieku. Jest unikatowym zabytkiem klasy "0" chętnie odwiedzanym przez liczne rzesze turystów.
Granzin, was "Grenzdorf" bedeutet, wird 1230 erstmals urkundlich erwähnt. Es liegt in der Nähe der mecklenburgischen Stadt Boizenburg. Eine Kirche wird 1335 bezeugt. Die heutige Kirche, ein schlichter klassizistischer Bau von 1842, hat den freistehenden Glockenturm aus Fachwerk mitsamt den beiden mittelalterlichen (1509 u. 1510) Bronzeglocken mit gotischer Minuskel-Inschrift von diesem Vorgängerbau übernommen. Im Innern eine Flachdecke mit Kreuz-Malerei sowie Jugendstil-Malereien an den Wänden und in der Apsis. Die Orgel wurde aber bereits 1831 von Friedrich Jacob Friese (Friese I) für die Vorgängerkirche gebaut, dann aber durch Johann Heinrich Runge umgebaut und 1841 in die neue Kirche umgesetzt. Der Altar ist von durchbrochenen Schranken umgeben. Auf dem Altar steht ein rechteckiges Ölgemälde, das Jesus im Garten Gethsemane zeigt. Der Taufstein ist eine zwölfeckige, neugotische Arbeit aus Kalkstein mit aufgelegter Schale aus Bronze. Im Kirchenschiff eine von Süd über West nach Nord umlaufende Empore. Der Kirchhof ist als Friedhof gestaltet. In der Südwestecke steht ein neugotisches Mausoleum mit Wappen der Familie von Stern im Giebeldreieck. Alte Grabplatten vor den Zugängen verweisen ebenfalls auf die Familie v. Stern.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
Granzin, meaning “Border Village”, was first mentioned in a document in 1230. The village is situated near the Mecklenburg town of Boizenburg. A church is attested in 1335. Today's church, a simple neo-Classical building dating from 1842, has inherited the freestanding half-timbered bell tower and the two medieval (1509 and 1510) bronze bells with Gothic minuscule inscriptions from its predecessor. The interior has a flat ceiling with cross paintings and Art Nouveau paintings on the walls and in the apse. However, the organ was already built by Friedrich Jacob Friese (Friese I) for the previous church in 1831, but was then rebuilt by Johann Heinrich Runge and moved to the new church in 1841. The altar is surrounded by openwork barriers. On the altar is a rectangular oil painting depicting Jesus in the Garden of Gethsemane. The baptismal font is a dodecagonal, Gothic Revival work made of limestone with a bronze bowl on top. The nave has a gallery running from south to west to north. The churchyard is designed as a cemetery. In the south-west corner is a Gothic Revival mausoleum with the coat of arms of the von Stern family in the gable triangle. Old gravestones in front of the entrances also refer to the von Stern family.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
Le projet de cette nouvelle église Saint-Vincent fut organisé par le biais d'un concours en 1928, à l'occasion de l'Exposition Universelle de 1930. C'est donc l'architecte liégeois Robert Toussaint qui remporte le concours. Il va inaugurer son bâtiment le 15 juin 1930.
L'ossature, les charpentes et le gros œuvre de l'église sont en béton armé ce qui est une prouesse pour l'époque. Ces techniques sont également choisies pour un souci d'économie, de rapidité de construction et de sécurité.
La toiture est composée principalement d'un gigantesque dôme recouvert en cuivre. Elle comporte également une coupole pour le chœur, deux coupoles latérales et quatre petites coupoles.
Les façades sont constituées de « pierres armées Pauchot », les soubassements sont en grès et granit et les contre-murs intérieurs sont en briques.
Le plan central est inspiré du transept de la basilique du Sacré-Cœur (Koekelberg) à Bruxelles. Un grand volume octogonal qui est recouvert par le grand dôme principal à galerie ajourée. Sur ce dôme vient se poser un lanterneau surmonté d'une croix. Cependant, le chœur et la nef de l'édifice sont moins profonds. À ceux-ci sont accolées deux chapelles et quatre semi-coupoles à pignons pointus.
Le monument est devancé d'un parvis ainsi que d'un impressionnant arc en plein cintre en béton. Le portail et les portes piétonnes sont surmontés d'un auvent et d'un campanile.
Cette construction a été jugée de style néobyzantin. Mais elle démontre également l'utilisation de nouvelles techniques modernes de construction comme le système des pieux en fondation utilisé pour la première fois dans un édifice religieux.
Le parachèvement de l'église ne sera réalisé qu'après la crise des années 1929-1930.
The project for this new Saint-Vincent church was organized through a competition in 1928, on the occasion of the 1930 World's Fair. Liège architect Robert Toussaint won the competition. He inaugurated his building on June 15, 1930.
The church's frame, roof trusses, and main structure were made of reinforced concrete, a feat for the time. These techniques were also chosen for reasons of economy, speed of construction, and safety.
The roof is composed primarily of a gigantic copper-clad dome. It also includes a cupola for the choir, two side domes, and four smaller domes.
The facades are made of "Pauchot reinforced stone," the foundations are made of sandstone and granite, and the interior counterwalls are made of brick. The central plan is inspired by the transept of the Basilica of the Sacred Heart (Koekelberg) in Brussels. A large octagonal volume is covered by the large main dome with an openwork gallery. A lantern surmounted by a cross rests on this dome. However, the choir and nave of the building are less deep. Two chapels and four semi-domes with pointed gables adjoin them.
The monument is fronted by a forecourt and an impressive concrete semicircular arch. The portal and pedestrian gates are topped by a canopy and a bell tower.
This construction has been considered Neo-Byzantine in style. However, it also demonstrates the use of new modern construction techniques, such as the pile-foundation system used for the first time in a religious building.
The church was not completed until after the crisis of 1929-1930.
The lighthouse in the fortress of Hellevoetsluis is the oldest original and working round lighthouse in the Netherlands. The lighthouse dates from 1822 and is characteristic of the fortress of Hellevoetsluis and its history.
The tower is 18.10m high, is painted cream and has 2 floors. Around the iron lighthouse with copper dome is a cast iron walkway with balustrade, which rests on openwork cast iron consoles. The tower was extensively renovated in 1901 and tiled up to the entrance in 1961. There are a number of round window openings in the tower.