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Das heutige Obere Tor wurde als Torturm im Stil der Renaissance erebaut. Über der Durchfahrt erhoben sich zwei Geschosse, ein gemauertes und eins in Fachwerk. Den Abschluss bildete eine Haube in Zwiebelform mit durchbrochener Spitze. Das Ganze war mit Schiefer gedeckt. Im Jahr 1792 wurde diese Turmspitze vom Blitz getroffen. Dadurch brannten der Torturm, das ehemalige 2 Tor und der Geschützturm aus. Die beiden Torgebäude bekamen später ein gemeinsames Dach, der Geschützturm blieb Ruine. Nach dem Brand wurden der Quergraben zwischen Vor- und Hauptburg zugeschüttet und der heutige Weg mit Kopfsteinpflaster angelegt.
Quelle: Informationstafel am Tor
Erbaut wurde die zweiteilige Randhausanlage, mit Vorburg und Hauptburg, zwischen 1236 und 1260 als Hofburg der Markgrafen von Brandenburg. Die Burg Stargard ist das älteste weltliche Bauwerk in Mecklenburg-Vorpommern. Sie ist die einzige erhaltene mittelalterliche Höhenburg in Norddeutschland. Während des ersten längeren Aufenthaltes des Markgrafen Otto III. von Brandenburg, erhielt der Marktort Stargard am 11. Januar 1259 das Stadtrecht. Ab 1292 waren Burg und Land Stargard, als Lehen der Markgrafen von Brandenburg, in mecklenburgischer Hand. Im Jahr 1347 kam Stargard als Reichslehen an Mecklenburg.
Von 1352 bis 1471 war die Burg Residenz der Herzöge von Mecklenburg-Stargard. Um 1500 erfolgten große Umbauten, u.a. für den Einsatz von Pulverwaffen. Im Jahr 1508 wurde der erste Weinberg angelegt.
www.hoehenburg-stargard.de/burgerlebnis/geschichte/
Today's Upper Gate was built as a gate tower in the Renaissance style. Two storeys, one brick and one half-timbered, rose above the passage. The tower was topped by a dome in the shape of an onion with an openwork top. The whole was covered with slate. In 1792, this spire was struck by lightning. This caused the gate tower, the former second gate and the gun turret to burn out. The two gate buildings were later given a common roof, but the gun turret remained in ruins. After the fire, the cross ditch between the outer and main castle was filled in and today's path with cobblestones was laid out.
Source: Information board at the gate
The two-part complex of Stargard Castle with outer bailey and main castle was built between 1236 and 1260 as the court castle of the Margraves of Brandenburg. Stargard Castle is the oldest secular building in Mecklenburg-Western Pomerania. It is the only surviving medieval hilltop castle in northern Germany. During the first extended stay of Margrave Otto III of Brandenburg, the market settlement of Stargard was granted town charter on 11 January 1259. From 1292, Stargard castle and land were in Mecklenburg hands as a fief of the Margraves of Brandenburg. In 1347, Stargard came to Mecklenburg as an imperial fief.
From 1352 to 1471 the castle was the residence of the Dukes of Mecklenburg-Stargard. Around 1500, major alterations were made, among other things for the use of powder weapons. The first vineyard was planted in 1508.
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.
Belfry of Bruges a medieval bell tower in the Markt and Burg Quarter, central Bruges, Flanders, Belgium.
The Belfry of Bruges 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.
To the sides and back of the tower stands the former market hall, a rectangular building only 44 meters broad but 84 meters deep, with an inner courtyard. The belfry, accordingly, is also known as the Halletoren (tower of the halls). 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 city archives, however, were forever lost to the flames.
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 style was added to the rooftop in 1822.
A la Belle époque, des femmes, venant du monde entier, se promènent avec une ombrelle dans la station thermale de Chaudfontaine. Le parc de Hauster est le majestueux jardin familial du château.
Revisitant cet univers et l’histoire de Chaudfontaine comme lieu de villégiature, Lut Vandebos et Niko Van Stichel ont réalisé la sculpture en inox, Parasol 5 saisons.
Habitué aux interventions dans l’espace public et la nature, ce duo artistique a réalisé de nombreuses œuvres en Belgique, aux Pays-Bas, aux Etats-Unis, aux Pays-Bas et en Nouvelle-Zélande.
Le parasol ajouré est un fidèle complice de la lumière naturelle. Celle-ci fait apparaître et disparaître, poétiquement sur le sol, les dessins découpés dans l’acier. Les détails de ces dessins donnent un aperçu du monde animal et floral des différentes saisons. Ils font aussi référence à l’univers pictural d’Edouard Manet et des impressionnistes. Dans un cadre magnifique et un jardin historique comme le parc de Hauster, l’œuvre invite à un Déjeuner sur l’herbe
During the Belle Epoque, women from all over the world walk with an umbrella in the thermal spa of Chaudfontaine. Hauster Park is the castle's majestic family garden.
Revisiting this universe and the history of Chaudfontaine as a holiday resort, Lut Vandebos and Niko Van Stichel created the stainless steel sculpture, Parasol 5 Saisons.
Used to interventions in public spaces and nature, this artistic duo has produced numerous works in Belgium, the Netherlands, the United States, the Netherlands and New Zealand.
The openwork parasol is a faithful accomplice of natural light. This makes the drawings cut out of steel appear and disappear poetically on the ground. The details of these designs give an insight into the animal and floral world of the different seasons. They also refer to the pictorial world of Edouard Manet and the Impressionists. In a beautiful setting and a historic garden like Hauster Park, the work invites you to a Lunch on the Grass
En este palacio el arte nazarí alcanza su máximo esplendor, en el que se alcanza una belleza de una sensibilidad y armonía incomparables, donde la luz, el agua, el colorido, la decoración exquisita, convierte a este palacio en una maravilloso placer para los sentidos, en el que se deja atrás el periodo anterior de decoraciones más abstractas y geométricas para dar paso a un estilo más naturalista, sin duda influjo de lo cristiano, acrecentado por la amistad que mantuvieron Mohamed V y Pedro I, el Cruel, por aquel entonces monarca cristiano.
Historia del monumento
Cuando Mohamed V sucedió a su padre Yusuf I (1377), no se limitó a terminar las reformas que éste había comenzado, sino que comenzó a construir lo que sería su gran obra, el magnífico legado que nos dejó en la Alhambra: el Palacio de los Leones. Este palacio constituía las estancias privadas de la familia real, y se construyó en el ángulo que forman los Baños y el Patio de los Arrayanes.
El palacio está compuesto por un patio central rodeado de galerías de columnas a modo de claustro cristiano, que permite el acceso a distintas salas: al oeste la de los Mocárabes, al este la de los Reyes, al norte la de Dos Hermanas, Ajimeces y Mirador de Daraxa y al sur la de los Abencerrajes y el Harén. No hay ventanas que miren al exterior, pero sí hay un jardín interior como corresponde a la idea musulmana del paraíso. Lo que hoy es tierra en el patio, fue jardín. De cada sala fluyen 4 arroyos que van al centro: los 4 ríos del paraíso. Las columnas se unen con paños calados que dejan pasar la luz. Fustes cilíndricos muy delgados, anillos en la parte superior, capiteles cúbicos sobre los que corren inscripciones. Las planchas grises de plomo son amortiguadores para los terremotos. Los dos templetes que avanzan a los dos lados opuestos del patio son como un recuerdo de la tienda de campaña de los beduinos. Son de planta cuadrada, decorados con cúpulas de madera que se apoyan en pechinas de mocárabes. El alero es obra del siglo XIX. Toda la galería está techada con artesonado de lacería.
Fuente de los Leones
Los últimos estudios hechos dicen que los leones proceden de la casa del visir judío Yusuf Ibn Nagrela (1066). No se sabe si se construyó antes de su muerte, se le acusó ya en la época de querer realizar un palacio más grandioso que el del mismo rey. Se conserva por el poeta Ibn Gabirol (S.XI) una descripción casi exacta de dicha fuente. Representan las 12 tribus de Israel. Dos de ellos tienen un triángulo en la frente indicando las dos tribus elegidas: Judá y Leví. Son del siglo XI. La taza lleva escrita en su perímetro versos del ministro y poeta Ibn Zamrak en los que bellamente se describe la propia fuente: "(...)A tan diáfano tazón, tallada perla,/ por orlas el aljófar remansado,/ y va entre margaritas el argento, /fluido y también hecho blanco y puro./Tan afín es lo duro y lo fluyente /que es difícil saber cuál de ellos fluye
In this palace the Moorish art reaches its peak, where a beauty unmatched sensitivity and harmony, where light, water, colorful, exquisite decor, makes this palace in a wonderful treat for the senses is reached in which it moves over the previous period of more abstract and geometric to give way to a more naturalistic style decorations certainly influence of Christianity, enhanced by the friendship that remained Mohamed V and Peter I, the Cruel, at that time Christian monarch.
History Monument
When Mohammed V succeeded his father Yusuf I (1377), he did not just finish the reforms it had begun, it began to build what would be his greatest work, the magnificent legacy he left us in the Alhambra Palace the Lions. This palace constituted the private rooms of the royal family, and was built in the angle between the Baths and the Patio of the Myrtles.
The palace is composed of a central courtyard surrounded by galleries of columns as a Christian cloister, which allows access to different rooms: west of the Mocárabes, east of the Kings, north of Dos Hermanas, Ajimeces and Daraxa Mirador and south of the Abencerrajes and the Harem. There are no windows to look outside, but there is an indoor garden as befits the Muslim idea of paradise. What is now land in the courtyard garden it was. Each room 4 streams flowing into the center: the 4 rivers of paradise. The columns are joined with openwork panels that let in light. Fustes cylindrical very thin rings on top, cubic capitals on those who run inscriptions. Gray lead plates are buffers for earthquakes. The two temples they move to opposite sides of the courtyard are as a reminder of the tent Bedouin. They are square, decorated with wooden domes that rest on stalactite squinches. The forward is the work of the nineteenth century. The entire gallery is covered with tracery coffered ceiling.
Fountain of Lions
Recent studies say that facts Lions come from the house of the Jewish vizier Ibn Yusuf Nagrela (1066). It is not known if it was built before his death, he was accused at the time and want to make a more magnificent than the palace of the king himself. by the poet Ibn Gabirol (S. XI) an almost exact description of the source is preserved. They represent the 12 tribes of Israel. Two of them have a triangle on the front indicating the two tribes chosen: Judah and Levi. They are the eleventh century. The cup carries verses written on its perimeter minister and poet Ibn Zamrak where the source itself is beautifully describes it: "(...) A so clear bowl, carved pearl / pearling dammed by borders, / and is among daisies Argento, / fluid and made white and pure. / Tan related is the hard and flowing / that it is difficult to know which one flows
The Cathedral of Saint Mary of the Assumption and Saint Frutos of Segovia, popularly known as the "Lady of the Cathedrals," is an imposing masterpiece of late and flamboyant Gothic architecture, one of the last Gothic cathedrals built in Spain and Europe. Its construction began in 1525, under the reign of Charles V, after the fire of the old Romanesque cathedral, and lasted for more than a century, ending in the 18th century.
Dimensions and Exterior Structure:
The cathedral stands majestically at the highest point in the city. It has remarkable dimensions: approximately 105 meters long, 50 meters wide, and a height of 33 meters in the main nave. The powerful bell tower, which was once the tallest in Spain at 108 meters before a fire in the 17th century, currently stands at almost 90 meters. Its slender structure is articulated by buttresses and pinnacles, with an octagonal peak topped by a dome added in the 17th century.
It has three main gateways:
San Geroteo Gate: Named in honor of the first bishop of the Diocese of Segovia, whose statue presides over the doorway.
San Frutos Gate: With a façade that reproduces a reduced layout of that of San Lorenzo de El Escorial, with Doric and Corinthian columns.
Santa María or Forgiveness Gate: Notable for its trefoiled arches and the image of Our Lady.
Interior and Notable Elements:
The cathedral's interior has a three-nave layout with a transept, a semicircular apse at the head, and an ambulatory surrounded by seven radiating chapels, five pentagonal and two square. The grandeur and harmony of its dimensions define the space.
Among its most notable elements are:
Stained glass windows: Numerous 16th-century stained glass windows, made by workshops such as Arnao de Flandes and Juan de la Hera, filter the light, creating a magical and colorful atmosphere.
Main altarpiece: In the 18th-century neoclassical style, the work of Ventura Rodríguez, it houses the relics of Saint Frutos.
Choir stalls: These come from the old cathedral and date back to the 15th century. They are Gothic in style, made of walnut wood with geometric decoration and natural themes on the backs and arms, highlighting the ogee arches and openwork tracery.
Organs: The cathedral houses two large Baroque organs, each with around 2,600 pipes, reaching almost 19 meters in height. Chapels: The numerous side chapels contain a vast collection of works of art, altarpieces, sculptures, and paintings from various periods and styles, such as the Chapel of the Blessed Sacrament or the Chapel of the Immaculate Conception.
Cloister: One of the most notable elements is the Gothic cloister, designed by Juan Guas, which was moved stone by stone from the old Romanesque cathedral. It has a quadrangular layout with ribbed vaults and displays the coats of arms of Bishop Arias Dávila and Henry IV.
Cathedral Museum and Archive: The museum houses artistic and religious treasures, while the Cathedral Archive preserves more than 500 incunabula, including the "Sinodal de Aguilafuente," the first book printed in Spain.
Segovia Cathedral is not only a place of worship but also a major tourist attraction and an iconic symbol of the city, noted for its architectural beauty, rich history, and invaluable artistic heritage.
An indisputable symbol of the renaissance of Le Havre, Saint Joseph’s Church is an extraordinary building.
Its impressive dimensions and trans-Atlantic allure disturb the religious landmarks which nevertheless make it one of the most remarkable achievements of the 20th century in France.
New-York in Le Havre
Every major city has its landmark that history has given it. In Le Havre, Saint Joseph’s Church quickly achieved this coveted status, despite its young age, since this year marks the fiftieth anniversary of the first religious celebration. It is true that the ambition that prevailed in its construction, in the fever of post-war reconstruction, gave it serious assets to deserve this role as a flagship monument.
From afar, whether on land or at sea , its skyscraper-like appearance, so familiar to fans of New York, obviously owes nothing to chance. A true votive work in memory of the victims of the annihilation of Le Havre, Saint Joseph celebrates from the top of its 107 m height, the rebirth of a city that has established itself as the maritime gateway to France, thus endowing the religious building with another, more secular vocation.
Concrete and light
As we draw closer to this bitter hope, as if irresistibly attracted by its vertical thrust, we gradually grasp the incredible architectural dimension that led to the new emblem of the rebuilt Le Havre being classified as a historical monument less than ten years after its completion. Brought here to its climax, the magnificent expression that Auguste Perret managed to give to concrete brings out all the nuances of a hitherto unsuspected palette for this reconstituted stone.
However, the realisation is not complete until you cross the threshold into St Joseph’s, when the complicity between the concrete poet and master glassmaker Marguerite Huré explodes before your eyes: made entirely of openwork on its eight sides, the lantern tower perfects the liturgical principles thanks to the 12,768 multicoloured hand-blown stained-glass windows which, in a cleverly reinvented religious mysticism, touch the soul of the stunned visitor.
Source: www.lehavre-etretat-tourisme.com/en/discover/the-essentia...
DAY 7
Brugge’s crown.
The top of the Belfry tower.
You can see the bells, and on our way home, they chime a happy song over the slowly shutting down city.
A bit of melancholy, we have to pack, tomorrow a very long day, we are going home.
The belfry was added to the market square around 1240, when Bruges was prospering as an important centre of the Flemish cloth industry. After a devastating fire in 1280, the tower was largely rebuilt. The city archives, however, were forever lost to the flames.
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 style was added to the rooftop in 1822.
I wish you a day full of beauty and thank you for your visit, Magda, (*_*)
For more of my other work visit here: www.indigo2photography.com
Please do not use this image on websites, blogs or any other media without my explicit permission. © All rights reserved
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.
L'église Saint-Milliau à Ploumilliau.
Construite au 15ème siècle, cet important édifice de style Gothique est admirablement conservé.
Son clocher en granit à campanile ajouré est typique des clochers bretons.
Côtes d'Armor, Bretagne, france.
The Saint-Milliau church in Ploumilliau.
Built in the 15th century, this important Gothic building is admirably preserved.
Its granite bell tower with an openwork bell tower is typical of Breton steeples.
1200-1100 aC. statuette di dee con le braccia alzate, tra le più grandi conosciute a Creta fino ad oggi; attaccate sulle loro teste recano i simboli e le corna di consacrazione; sono state trovate nella insediamento Postpalatial di Karphi.
Il ritrovamento comprendeva anche un carro a tre ruote stilizzato di argilla con un auriga e teste di tori, una tavoletta di argilla sormontata da una testa umana e altri oggetti caratteristici di culto del periodo Essi sono stati rinvenuti in diverse parti dell'insediamento, indicando che le attività di culto avvenivano tutto il sito.
1200-1100 BC. figurines of goddesses with upraised arms, among the largest know in Crete to date, with attached symbols and horns of consecration on their heads, were found in the Postpalatial settlement of Karphi. Find also included a stylised clay three-wheeled chariot rhyton with a charioteer and attached bulls head, a clay tablet topped with a human head and other characteristic cult objects and vessels of the period, such as a clay tube kalathoi, an openwork potstand and a human-shaped rhyton. They were derived from different parts of the settlement, indicating that cult activities took place throughout the site.
La più bella collezione di arte e cultura minoica nel mondo, unico per bellezza e completezza è ospitato nel Museo di Herakleion; Uno dei più grandi, più importanti e più visitati musei della Grecia, e tra i più importanti d'Europa.
la mostra del museo contiene più di 15.000 reperti, che abbraccia un periodo di 5000 anni, dal neolitico al periodo greco romano.
The most magnificent collection of Minoan art and culture in the world, unique in beauty and completeness is housed in the Museum of Herakleion; One of the largest, most important and most visited museums in Greece, and among the most important in Europe.
The museum's exhibition contains more than 15,000 artefacts, covering a period of 5,000 years, from neolithic era to Graeco Roman period.
C'est un appareil photo Reflex produit en Allemagne de l'Est entre 1958 et 1959. Son nom FX3 provient du fait qu'il est muni de contacts pour la photo au flash électronique (F) ainsi que pour le flash à ampoule (X). C'est le dernier modèle de cette série FX.
Il est entièrement mécanique et n'utilise pas de pile. Il ne possède pas de cellule de mesure de la lumière. Il faut utiliser un posemètre ou la méthode d'exposition selon la règle du F16 www.la-photo-argentique.com/exposer-sans-mesure-la-regle-...
La particularité de cet appareil est sa visée verticale au niveau de la taille car il ne possède pas de prisme ce qui peut être intéressant pour la photo de rue. La contrepartie est qu'il est difficile de faire des photos en orientation portrait à moins d'utiliser le cadre amovible ajouré mais alors on doit estimer les distances et les reporter sur l'objectif pour la mise au point.
Il utilise des objectifs au format de la monture à vis M42 universelle. C'était la monture qu'utilisait la majorité des constructeurs avant que chacun d'entre-eux n'impose son propre format. Le choix des objectifs disponibles est impressionnant www.street-photo.fr/materiel/18/32
L'obturateur est en tissu. Les vitesses s'étendent du 1/500 au 1/2 + pose B ce qui est honorable pour l'époque. Un sélecteur permet d'avoir accès alternativement soit aux vitesses lentes soit aux vitesses rapides.
It is a SLR camera produced in East Germany between 1958 and 1959. Its name FX3 comes from the fact that it is provided with contacts for the photo with the electronic flash (F) as well as for the bulb flash (X ). This is the latest model of this FX series.
It is completely mechanical and does not use a battery. It does not have a light measuring cell. You must use a light meter or the exposure method according to the rule of F16 www.la-photo-argentique.com/exposition-sans-mesure-la-reg...
The particularity of this camera is its waist level finder which can be interesting for street photography. The counterpart is that it is difficult to take photos in portrait orientation unless you use the openwork removable frame, but then you have to estimate the distances and transfer them to the lens for focusing.
It uses lenses in the format of the universal M42 screw mount. It was the frame used by the majority of manufacturers before each of them imposed their own format. The choice of lenses available is impressive www.street-photo.fr/materiel/18/32
The Praktica FX3 has a cloth horizontal focal plane shutter. The speeds range from 1/500 to 1/2 + pose B which is honorable for the time. A selector provides alternate access either to slow speeds or to fast speeds.
Listed Building Grade II
List Entry Number : 1196339
Date First Listed : 15 February 1993
Erected late 18th or early 19th century, the bandstand has an octagonal plan and stands on a sandstone base. It has eight slender cast iron columns with fluted bases and voluted caps. At the tops are openwork brackets and spandrels. The ceiling is wooden, and there is a felted shallow polygonal roof with a wrought iron crest.
en.wikipedia.org/wiki/Listed_buildings_in_Saint_Anne%27s_...
L'église du Sacré-Cœur de Cholet a la particularité d'être construite en matériaux locaux : de la brique, du schiste orangé appelé pierre de Pineau, du granit rose de Saint-Macaire-en-Mauges et du granit bleu de Vezins. Par son plan basilical et sa coupole, elle rappelle les édifices romano-byzantins. Elle a pu voir le jour grâce aux dons de nombreux paroissiens.
Plusieurs artistes ont participé à la décoration intérieure et extérieure de l'édifice : pour les mosaïques et les vitraux (Charles Mauméjean), pour les sculptures (Fernand Dupré et Charles Maillard).
Depuis le 26 août 2011, l'église du Sacré-Cœur est dotée d'un carillon restauré qui compte 10 cloches supplémentaires fondues par le campaniste hollandais Royal Eijsbouts. Il se classe maintenant au 16e rang sur les 113 carillons français avec 49 cloches. Les fenêtres ajourées de la coupole permettent aux cloches d'être entendues de loin. Ce carillon est depuis septembre 2003 classé monument historique au même titre que l'église.
Le carillon est resté muet entre 1953 (date du décès du dernier carillonneur en poste, Jacques Vilain) et 2011 date de sa rénovation
The church of the Sacred - Heart of Cholet has the peculiarity to be built in local materials: of the brick, the orange-colored schist called stone of Pineau, some pink granite of Saint-Macaire-en-Mauges and some blue granite of Vezins. By her(its) basilical plan and her(its) dome, her calls back(reminds) the romano-Byzantine buildings. She was able to be born thanks to the gifts(donations) of numerous parishioners.
Several artists participated in the interior and exterior design of the building: for mosaics and stained-glass windows (Charles Mauméjean), for sculptures (Fernand Dupré and Charles Maillard).
Since August 26th, 2011, the church of the Sacred - Heart is endowed with a restored carillon which account 10 additional bells melted by the Dutch campaniste Royal Eijsbouts. He(it) is now classified in the 16th row(rank) on 113 French carillons with 49 bells. The openwork windows of the dome allow the bells to be heard(understood) by far. This carillon is since "September, 2003 classified as Historic Monument" in the same way as the church.
The carillon remained dumb between 1953 (date of the death of the last bell-ringer in office, Jacques Vilain) and 2011 dates its renovation
Im Nationalpark Vorpommersche Boddenlandschaft auf der Halbinsel Fischland-Darß-Zingst steht der Leuchtturm Darßer Ort. Er wurde 1848 erbaut und ist der zweitälteste Turm an der Küste in Mecklenburg-Vorpommern und gleichzeitig der älteste, der heute noch betrieben wird. Der Turm ist 35,4 m hoch. Im Inneren führt eine im Original erhaltene grüne Wendeltreppe aus Gußstahl mit 134 Stufen nach oben zu einer Aussichtsplattform. Die Tritte der Treppe sind massiv gefertigt, während man durch die durchbrochenen Muster der Setzstufen hindurchsehen kann. Der Turm ist nur zu Fuß, per Rad oder mit der Pferdekutsche zu erreichen.
In the Western Pomerania Lagoon Area National Park on the peninsula Fischland-Zingst-Darß there is the lighthouse Darßer place. It was built in 1848 and is the second oldest tower on the coast of Mecklenburg-Vorpommern, while the oldest, which is still practiced today. The tower is 35.4 meters high. The interior is preserved in its original green spiral staircase made of cast steel with 134 steps leads up to a viewing platform. The steps of the staircase are massively produced while you can see through the openwork pattern of the risers. The tower is accessible only on foot, by bicycle or on horseback.
I appreciate your visits, faves, constructive comments and invites! Thank you!
"How sweet the morning air is! See how that one little cloud floats like a pink feather from some gigantic flamingo..."
Arthur Conan Doyle
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© Copyright Natalie Panga - All rights reserved. EXPLORED June 17, 2013.
La peau de dentelle enveloppant la partie du bâtiment qui donne sur la mer et sur le fort Saint-Jean, laisse filtrer la lumière qui dessine des ombres au sol et sur les parois vitrées, magnifiques jeux de lumière, de transparence et de couleurs. Dans ce volume intermédiaire se laisse admirer la structure du bâtiment composée d’une multitude de barres d’acier et de tirants solidement chevillés qui rythment le volume ombragé de la pente permet au visiteur de jouir de la vue sans être vu, derrière un moucharabieh minéral. Entre la structure qui soutient les parois de verre et l’enveloppe de béton noir ajourée, un passage permet de déambuler tout autour des salles du musée, de descendre ou de monter jusqu’au toit-terrasse panoramique. De là, une passerelle de 135 mètres de long, avec vue spectaculaire sur le grand large, rejoint le monument historique du fort Saint-Jean et son chemin de ronde.
The lace skin enveloping the part of the building overlooking the sea and Fort Saint-Jean, lets filter the light that draws shadows on the floor and on the glass walls, beautiful play of light, transparency and color. In this intermediate volume is admired the structure of the building consists of a multitude of steel bars and firmly pegged rods that punctuate the shaded volume of the slope allows the visitor to enjoy the view without being seen, behind a moucharabieh mineral . Between the structure that supports the glass walls and the openwork black concrete envelope, a passage allows you to wander all around the museum rooms, to go down or climb up to the panoramic roof terrace. From there, a footbridge 135 meters long, with spectacular views of the open sea, joins the historic monument of Fort Saint-Jean and its walkway.
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.
This was the beautiful view of the sunset from Rozenhoedkaai looking towards the Belfry.
The belfry of Bruges, or Belfort, is a medieval bell tower in the historical 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-metre-high building, which leans about a metre to the east.
To the sides and back of the tower stands the former market hall, a rectangular building only 44 m broad but 84 m deep, with an inner courtyard. The belfry, accordingly, is also known as the Halletoren (tower of the halls).
The building is a central feature of the 2008 film In Bruges.
The belfry was added to the market square around 1240, when Bruges was prospering as an important centre of the Flemish cloth industry. After a devastating fire in 1280, the tower was largely rebuilt. The city archives, however, were forever lost to the flames.
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 style was added to the rooftop in 1822.
A poem by Henry Wadsworth Longfellow, titled "The Belfry of Bruges," refers to the building's checkered history:
In the market-place of Bruges stands the belfry old and brown;
Thrice consumed and thrice rebuilded, still it watches o'er the town.
Clay figurines of goddesses with upraised arms - Archaeological Museum of Heraklion Crete
1200-1100 aC. statuette di dee con le braccia alzate, tra le più grandi conosciute a Creta fino ad oggi; attaccate sulle loro teste recano i simboli e le corna di consacrazione; sono state trovate nella insediamento Postpalatial di Karphi.
Il ritrovamento comprendeva anche un carro a tre ruote stilizzato di argilla con un auriga e teste di tori, una tavoletta di argilla sormontata da una testa umana e altri oggetti caratteristici di culto del periodo Essi sono stati rinvenuti in diverse parti dell'insediamento, indicando che le attività di culto avvenivano tutto il sito.
1200-1100 BC. figurines of goddesses with upraised arms, among the largest know in Crete to date, with attached symbols and horns of consecration on their heads, were found in the Postpalatial settlement of Karphi. Find also included a stylised clay three-wheeled chariot rhyton with a charioteer and attached bulls head, a clay tablet topped with a human head and other characteristic cult objects and vessels of the period, such as a clay tube kalathoi, an openwork potstand and a human-shaped rhyton. They were derived from different parts of the settlement, indicating that cult activities took place throughout the site.
This is a cheap metal ring I found somewhere along the way. I wear it till I can buy a stainless steel ring.
I am finally back home. I have been living in temporary accommodations for 2 months due to water damage at home. Looking forward to participating again.
This year the FFF+ Group have decided to have a monthly challenge called "Freestyle On The Fifth". A different theme chosen by a member of the group each month, and the image is to be posted on the 5th of the month.
This month the theme, "Sparkle" was chosen by Lisa (red stilletto).
And what sparkles more than diamonds?
This beautiful Edwardian Art Nouveau daisy brooch is English and was made in 1906. It was sold through Skinner silversmith and diamond setter in Orchard Street, London and comes in its original purple satin and velevet lined leather case. The brooch itself is 18 carat rose gold with a platinum illusion setting set with fifteen rose cut old mine diamonds with a cultured pearl centre. When the light catches the diamonds, they sparkle and wink brilliantly.
Edwardian jewellery is renowned for its delicate, beautifully crafted designs. In contrast to Victorian jewellery, many pieces created during the Art Nouveau period were made in a very feminine fashion, using finer smaller stones and very light settings made possible by using platinum.
(Private collection).
The Grade II Listed 30 Church Street in Great Malvern, Worcestershire.
Originally a concert hall dating from around 1860. Its interior is decorated with an order of Corinthian pilasters supporting an entablature. Ceiling divided into rectangles
by beams and rising from a coved cornice. Gallery at one end with east-iron openwork bombe front.
Information Source:
britishlistedbuildings.co.uk/101349433-cecilia-hall-malve...
Censers are any type of vessels made for burning incense. These vessels vary greatly in size, form, and material of construction. They may consist of simple earthenware bowls or fire pots to intricately carved silver or gold vessels, small table top objects a few centimetres tall to as many as several metres high. Many designs use openwork to allow a flow of air. In many cultures, burning incense has spiritual and religious connotations, and this influences the design and decoration of the censer.
Founding (1349) > Geluk > Kadam (1349 - 1599)
བྱ་ཁྱུང་དགོན་ཐེག་ཆེན་ཡོན་ཏན་དར་རྒྱས་གླིང་།
> Jakhyung Gön Tekchen Yönten Dargyé Ling
> bya khyung dgon theg chen yon tan dar rgyas gling
places.kmaps.virginia.edu/features/22670
The monastery of Jakhyung Shedrubling lies on a ridge overlooking the River Ma Chu (Yellow river). This is one of the most historic and renowned Gelukpa monasteries of Amdo, founded in 1349 by Lama Dondrub Rinchen, the teacher of Tsongkhapa. The attractive monastery is situated in a small forest zone.
www.footprinttravelguides.com/asia/tibet/?Action=product&...
Anno 1908, architect Friedrich Schoeffel. The assymmetrical facade of the tenement house built in rationalist upright Art nouveau forms does not have showy ornamental furnishings, apart from openwork decorative hammered work, which are crowning both pediments. Areas of different texture’s plastering and supplements of colored ceramic tiles are used in decoration of the building. Freely stylized motifs of late Gothic forms can be seen in lines of several isles.
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!
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The cathedral of Milano is often described as one of the greatest churches in the world. The ground plan is of a nave with five aisles, crossed by a transept and then followed by choir and apsis. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral that was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
The cathedral's five wide naves, divided by 40 pillars, are reflected in the hierarchic openings of the facade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
Source:Wikipedia
L'église Saint-Milliau à Ploumilliau.
Construite au 15ème siècle, cet important édifice de style Gothique est admirablement conservé.
Son clocher en granit à campanile ajouré est typique des clochers bretons.
Côtes d'Armor, Bretagne, france.
The Saint-Milliau church in Ploumilliau.
Built in the 15th century, this important Gothic building is admirably preserved.
Its granite bell tower with an openwork bell tower is typical of Breton steeples.
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.
Museo Nazionale della Corea.
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A destra:
Brocca Celadon con loto traforato.
Dinastia Goryeo (918-1374), H. 17,7 cm, (fondo) D. 10,5 cm.
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A sinistra:
Cuscino Celadon con disegno di loto traforato.
Periodo Goryeo (918-1374), altezza 11,2 cm, larghezza 26,7 cm.
La forma di questo cuscino celadon ricorda quelli usati durante la dinastia Song cinese, ma in realtà è molto più sofisticata.
Escludendo il fondo, il cuscino è densamente decorato con disegni di loto e peonia.
Il disegno della peonia è stato scolpito a semirilievo mediante l'applicazione di un coltello da intaglio tenuto in posizione orizzontale.
Sugli ampi lati rotondi è possibile vedere un disegno di loto traforato costituito da un fiore di loto e foglie con disegni di volute scolpiti in rilievo sopra e sotto il loto.
National Museum of Korea.
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To the right:
Celadon jug with openwork lotus.
Goryeo dynasty (918-1374), H. 17.7 cm, (bottom) D. 10.5 cm.
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To the left:
Celadon cushion with openwork lotus design.
Goryeo period (918-1374), height 11.2 cm, width 26.7 cm.
The shape of this celadon pillow is reminiscent of those used during China's Song Dynasty, but is actually much more sophisticated.
Excluding the bottom, the pillow is densely decorated with lotus and peony designs.
The peony design was carved in semi-relief by applying a carving knife held in a horizontal position.
On the wide round sides you can see an openwork lotus design consisting of a lotus flower and leaves with scroll designs carved in relief above and below the lotus.
IMG20240416153824m
Una de las piezas más importantes del conjunto catedralicio es el sepulcro de Carlos III el Noble y Leonor de Trastámara. Este monumento funerario, está considerado como una obra maestra de la escultura funeraria de principios del siglo XV.
Situado en el centro del segundo tramo de la nave central, presenta forma de lecho sepulcral exento con unas dimensiones de 2,73 metros de largo, 2,12 de ancho y 1,08 de alto. Sobre él, se encuentran las figuras yacentes de los reyes bajo grandes doseles de fina tracería calada, todo ello en alabastro. Los frentes de la cama sepulcral, están cubiertos con 28 figuras de plorantes, cada uno bajo pequeños doseles y separados por columnillas y rematados por pináculos, que a su vez se encuentran sobre un pequeño zócalo. La cama está realizada en mármol oscuro y las figuras tanto de plorantes como de los reyes, así como las arquitecturas, en alabastro.
Los reyes están recostados sobre grandes cojines que aún mantienen parte de la policromía y dorados originales. Muestran una actitud serena, con los ojos abiertos, sus rasgos les representan en la plenitud de su vida, pero sin perder un ápice de realismo. El rey está representado como un hombre maduro, de gran nariz, pequeños labios, con un rostro bondadoso en el que no faltan las arrugas, y en el que vemos también los músculos como los del cuello. Las manos juntas sobre el pecho en posición orante, robustas y a la vez delicadas, en las que observamos un asombroso trabajo de las arrugas y las venas que las recorren, confiriéndoles un realismo nada común.
es.wikipedia.org/wiki/Catedral_de_Pamplona_(Espa%C3%B1a)
One of the most important pieces in the cathedral complex is the tomb of Charles III the Noble and Eleanor of Trastámara. This funerary monument is considered a masterpiece of funerary sculpture from the early 15th century.
Located in the centre of the second section of the central nave, it is in the form of a free-standing sepulchral bed measuring 2.73 metres long, 2.12 metres wide and 1.08 metres high. Above it are the recumbent figures of the kings under large canopies of fine openwork tracery, all in alabaster. The fronts of the sepulchral bed are covered with 28 figures of plorants, each one under small canopies and separated by small columns and topped by pinnacles, which in turn are on a small plinth. The bed is made of dark marble and the figures of both plorants and kings, as well as the architecture, are in alabaster.
The kings are reclining on large cushions that still retain some of the original polychromy and gilding. They show a serene attitude, their eyes open, their features depicting them in the prime of their lives, but without losing an ounce of realism. The king is depicted as a mature man, with a large nose, small lips, a kindly face with wrinkles and muscles such as those of the neck. His hands are clasped together on his chest in a prayerful position, robust yet delicate, and the wrinkles and veins that run through them give them an uncommon realism.
Translated with www.DeepL.com/Translator (free version)
Abutments and pillars made of hand-cut granite blocks.
Beautiful American-influenced architecture.
Openwork paneling with a single lateral opening covering the upper half of the trusses.
In 1950, the shingled roof was blown away and was re-covered with corrugated iron.
Closed to traffic in 1979.
In the spring of 2003, about ten granite blocks detached from the central pillar. Thanks to a grant from the Government of Quebec and the financial involvement of the municipality, restoration work on the bridge's masonry was carried out during the fall of 2003 and spring of 2004.
Following the restoration of the covered bridge structure, the official inauguration took place on September 10, 2005.
The site is equipped with numerous picnic tables, a large parking lot, and outhouses. Souvenir kiosk on site since 2009 (open in summer)
The name of this bridge pays tribute to the builders: McVetty for the structure and McKenzie for the abutments and pier.
The entire site where the bridge is located is classified as a historic monument.
A new interpretive panel was installed in spring 2013, but the granite panel has been missing since 2018.
Since 2018, the bridge has been equipped with a lighting system that can be used during various events.
Every year, the National Holiday is celebrated on the site, as is Covered Bridge Night, a large outdoor celebration where camping is even possible.
Long known as the McVetty-McKerry Bridge, the name was changed in February 2012 to McVetty-McKenzie Bridge. This change is due to a transcription error. The toponymic signs have been replaced to illustrate this change. In June 2023, it was learned that, following an inspection, the bridge's capacity would now be 50 people at a time. As a result, large events previously held on the site are no longer permitted.
In April 2024, fencing was installed to completely block access to the bridge. Residents expressed their dissatisfaction to the municipality, which claimed it had no other option following a request from the insurance company. Restoration work could cost nearly $1 million. In May 2024, more than half of Lingwick residents signed a petition calling for the bridge's rapid reopening.
On July 30, 2024, the Ministère de la Culture et des Communications issued a notice of intent to classify the bridge under the Cultural Heritage Act. Shortly after, in September, citizens requested that this request be suspended, believing that such a classification would slow down the start of possible work because of the criteria that must be met when restoring a listed structure.
Lingwick (Bury), Québec.
Here the tower has been reworked. The buttresses are thinkened, and additional openwork has been added at the top. Looking at photo resources showed that the peaks over gothic arches tend to get darker over time (probably from soot) and so they have been repainted.
Borgund Stave Church is a stave church located in the village of Borgund in the municipality of Lærdal in Sogn og Fjordane county, Norway.
built sometime between 1180 and 1250 AD with later additions and restorations. Its walls are formed by vertical wooden boards, or staves, hence the name "stave church". The four corner posts are connected to one another by ground sills, resting on a stone foundation. The intervening staves rise from the ground sills; each is tongued and grooved, to interlock with its neighbours and form a sturdy wall.
Borgund has tiered, overhanging roofs, topped with a tower. On the gables of the roof, there are four carved dragon heads, swooping from the carved roof ridge crests, recalling the carved dragon heads found on the prows of Norse ships. Borgund is one of the only churches to still have preserved its ridge crests, carved with openwork vine and vegetable repeating designs. The dragons on top of the church were often used as a form of drainage.
A new Borgund Church was built in 1868 right next to the old church, and the old church has not been in ordinary use since that year. Borgund Stave Church was bought by the Society for the Preservation of Ancient Norwegian Monuments in 1877. The first guidebook in English for the stave church was published in 1898!
The church served as the inspiring example for the reconstruction of the Fantoft Stave Church in Fana, Bergen, in 1883 and for its rebuilding in 1997. The Gustav Adolf Stave Church in Hahnenklee, Germany, built in 1908, is modelled on the Borgund church. Two replicas exist in the United States, one at Chapel in the Hills, Rapid City, South Dakota., another in Lyme, Connecticut.
Quentin Massys, also attested as Quinten or Kwinten and with the surname Matsys or Metsys or Matsijs, (Louvain, 1466 - Antwerp, 1530) - Madonna enthroned with Child (circa 1525) - oil on oak wood 138.2 x 91.5 cm - Gemäldegalerie, Berlin
La Madre di Dio è mostrata a figura intera quasi a grandezza naturale. Si siede su un trono di pietra, i cui lati sono adornati da colonne levigate di marmo rossastro. La parete di fondo forma un arco aperto, decorato con trafori gotici, che si inserisce nell'estremità semicircolare del tavolo. Maria indossa un abito blu con maniche iridescenti rosa e grigio-blu e un mantello rosso vivo che si estende in morbide pieghe sul gradino del trono fino al pavimento, che è disposto con piastrelle colorate. La testa di Maria è coperta da un velo trasparente che le ricade sulle spalle e avvolge il bambino inginocchiato sulle sue ginocchia. Il motivo del bacio, che dona all'immagine solennemente rappresentativa della Madonna un tocco di intimità, proviene dall'arte di Leonardo da Vinci. Il trattamento dei volti con le transizioni di luce e ombra appena percettibili testimonia la conoscenza e l'influenza dell'arte di Leonardo. Nella cura del paesaggio e nella natura morta preziosamente dipinta stesa sul tavolino davanti al trono della Madonna, Massys è completamente impegnato nel realismo dei dettagli dell'arte olandese. Le ampie vedute del paesaggio su entrambi i lati del trono mostrano l'influenza dell'arte paesaggistica di Joachim Patenier, per i cui paesaggi Massys a volte dipingeva le figure. Il giardino recintato con la siepe di rose e la fontana sull'altro lato del trono indica il significato profondo della nostra immagine della Madonna. Ricorda l'immagine dell '"hortus conclusus" tratta dal Cantico dei Cantici di Salomone, che simboleggia la verginità e l'impeccabilità della Madonna. La natura morta in primo piano ha anche un significato simbolico. Le ciliege rosse e luminose sono associate a un riferimento al sangue del Signore versato sulla croce, mentre la mela è da interpretare come un simbolo del peccato originale cancellato da Cristo. Pane e vino alludono al sacrificio di redenzione, che si rinnova perpetuamente nella Messa.
The Mother of God is shown almost full-length. She sits on a stone throne whose sides are adorned with polished columns of reddish marble. The back wall forms an open arch, decorated with Gothic openwork, which fits into the semi-circular end of the table. Maria wears a blue dress with pink and grey-blue iridescent sleeves and a bright red cloak that extends in soft folds on the throne step to the floor, which is arranged with coloured tiles. Maria's head is covered by a transparent veil that falls over her shoulders and envelops the child kneeling on her knees. The motif of the kiss, which gives the solemnly representative image of the Madonna a touch of intimacy, comes from the art of Leonardo da Vinci. The treatment of the faces with the barely perceptible transitions of light and shadow testifies to the knowledge and influence of Leonardo's art. In the care of the landscape and the preciously painted still life on the table in front of the Madonna's throne, Massys is completely committed to the realism of the details of Dutch art. The wide views of the landscape on both sides of the throne show the influence of Joachim Patenier's landscape art, for whose landscapes Massys sometimes painted the figures. The enclosed garden with the rose hedge and the fountain on the other side of the throne indicate the profound significance of our image of the Madonna. It recalls the image of the "hortus conclususus" taken from Solomon's Song of Songs, which symbolizes the virginity and impeccability of the Madonna. The still life in the foreground also has a symbolic meaning. The red and bright cherries are associated with a reference to the blood of the Lord shed on the cross, while the apple is to be interpreted as a symbol of original sin erased by Christ. Bread and wine allude to the sacrifice of redemption, which is renewed perpetually in the Mass.
La peau de dentelle enveloppant la partie du bâtiment qui donne sur la mer et sur le fort Saint-Jean, laisse filtrer la lumière qui dessine des ombres au sol et sur les parois vitrées, magnifiques jeux de lumière, de transparence et de couleurs. Dans ce volume intermédiaire se laisse admirer la structure du bâtiment composée d’une multitude de barres d’acier et de tirants solidement chevillés qui rythment le volume ombragé de la pente permet au visiteur de jouir de la vue sans être vu, derrière un moucharabieh minéral. Entre la structure qui soutient les parois de verre et l’enveloppe de béton noir ajourée, un passage permet de déambuler tout autour des salles du musée, de descendre ou de monter jusqu’au toit-terrasse panoramique. De là, une passerelle de 135 mètres de long, avec vue spectaculaire sur le grand large, rejoint le monument historique du fort Saint-Jean et son chemin de ronde.
The lace skin enveloping the part of the building overlooking the sea and Fort Saint-Jean, lets filter the light that draws shadows on the floor and on the glass walls, beautiful play of light, transparency and color. In this intermediate volume is admired the structure of the building consists of a multitude of steel bars and firmly pegged rods that punctuate the shaded volume of the slope allows the visitor to enjoy the view without being seen, behind a moucharabieh mineral . Between the structure that supports the glass walls and the openwork black concrete envelope, a passage allows you to wander all around the museum rooms, to go down or climb up to the panoramic roof terrace. From there, a footbridge 135 meters long, with spectacular views of the open sea, joins the historic monument of Fort Saint-Jean and its walkway.
Borgund Stave Church is a stave church located in the village of Borgund in the municipality of Lærdal in Sogn og Fjordane county, Norway.
Built sometime between 1180 and 1250 AD with later additions and restorations. Its walls are formed by vertical wooden boards, or staves, hence the name "stave church". The four corner posts are connected to one another by ground sills, resting on a stone foundation. The intervening staves rise from the ground sills; each is tongued and grooved, to interlock with its neighbours and form a sturdy wall.
Borgund has tiered, overhanging roofs, topped with a tower. On the gables of the roof, there are four carved dragon heads, swooping from the carved roof ridge crests, recalling the carved dragon heads found on the prows of Norse ships. Borgund is one of the only churches to still have preserved its ridge crests, carved with openwork vine and vegetal repeating designs. The dragons on top of the church were often used as a form of drainage.
A new Borgund Church was built in 1868 right next to the old church, and the old church has not been in ordinary use since that year. Borgund Stave Church was bought by the Society for the Preservation of Ancient Norwegian Monuments in 1877. The first guidebook in English for the stave church was published in 1898!
The church served as the inspiring example for the reconstruction of the Fantoft Stave Church in Fana, Bergen, in 1883 and for its rebuilding in 1997. The Gustav Adolf Stave Church in Hahnenklee, Germany, built in 1908, is modelled on the Borgund church. Two replicas exist in the United States, one at Chapel in the Hills, Rapid City, South Dakota., another in Lyme, Connecticut.
La Catedral fue comenzada, según los Anales Compostelanos, en el año 1158, con el fin de cobijar los restos de uno de los santos más conocidos y venerados en el Camino de Santiago, santo Domingo de la Calzada, fallecido en el año 1109.
Conocemos el nombre del maestro que diseño y comenzó a erigir el templo, maese Garçión, el cual posiblemente fue de origen francés. Este maestro proyectó un gran templo tardorrománico acorde con la importancia del lugar, y del que aún se conservan importantes vestigios, en concreto la cabecera y el diseño del resto del templo. Desde el punto de vista arquitectónico destaca su estructura, con una Cabecera con deambulatorio que circunda el presbiterio, y tres capillas absidiales de las que original solo se conserva la central. En cuanto a la escultura de esta parte de la catedral, hay que destacar por su importancia toda la serie de capiteles historiados del deambulatorio y sobre todo las cuatro pilastras decoradas que dan al presbiterio. En ellas se ha visto representado un árbol de Jessé destacando por su calidad las imágenes de la Santísima Trinidad y de un Rey David músico.
El Coro de la Catedral es una gran pieza plateresca realizada en la década de 1520 por Andrés de Nájera y Guillén de Holanda entre otros. La calidad de sus tallas se aprecia en las labores de delicados calados o en la taracea de sus sitiales. Los relieves de las sillas representan figuras de santos y santas. Presidiendo, en la silla abacial, se encuentra santo Domingo. También es digno de reseñar el interesante programa simbólico de todo el conjunto, reafirmado por una serie de sentencias inscritas en muchos de los respaldos.
es.wikipedia.org/wiki/Catedral_de_Santo_Domingo_de_la_Cal...
The Cathedral was started, according to the Compostela Annals, in 1158, in order to shelter the remains of one of the best known and most venerated saints on the Camino de Santiago, Santo Domingo de la Calzada, who died in 1109.
We know the name of the master who designed and began to erect the temple, Master Garçión, which was possibly of French origin. This master projected a great late-Romanesque temple in keeping with the importance of the place, and of which important vestiges are still preserved, specifically the head and the design of the rest of the temple. From an architectural point of view, its structure stands out, with a head with an ambulatory that surrounds the presbytery, and three apsidal chapels of which only the central one is preserved. As for the sculpture in this part of the cathedral, the entire series of historiated capitals in the ambulatory and especially the four decorated pilasters that overlook the presbytery should be noted for its importance. In them a tree of Jessé has been represented, highlighting the images of the Holy Trinity and a musician King David for their quality.
The Choir of the Cathedral is a great Plateresque piece made in the 1520s by Andrés de Nájera and Guillén de Holanda, among others. The quality of their carvings is appreciated in the delicate work of openwork or in the inlaying of their seats. The reliefs on the chairs represent figures of saints. Presiding, in the abbey chair, is Saint Dominic. It is also worth noting the interesting symbolic program of the whole set, reaffirmed by a series of sentences inscribed in many of the endorsements.
La Ceja, Antioquia, Colombia.
Esta es la casa de unos amigos en La Ceja. La construyeron en el estilo colonial que vino de España, especialmente de Andalucía. Tiene todos los elementos característicos, como el patio interno de piedra, las chambranas en madera que rodean la casa; los calados en puertas y ventanas, el techo en teja de barro y un jardín precioso lleno de flores.
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This is the house of some friends in La Ceja. They built it in the colonial style that came from Spain, especially Andalusia. It has all the characteristic elements, such as the internal stone patio, the wooden frames that surround the house; the openwork on doors and windows, the clay tile roof and a beautiful garden full of flowers.
The Torre de Belém in the Belém district at the mouth of the Tagus is one of the most famous landmarks in Lisbon. Along with the nearby Mosteiro dos Jerónimos, the tower is one of the few outstanding Manueline-style structures to have survived the 1755 Lisbon earthquake. The top, 35 meter high, exposed floor of the tower is now a viewing platform.
In 1515 the tower was commissioned by the Portuguese King Manuel I. It was completed six years later, the year Manuel died (1521). Since then it has symbolized the heyday of the Portuguese maritime and commercial empire. Located as a lighthouse on a rock in the Tejo estuary, it greeted the arriving explorers and merchant ships. Originally there was a second tower on the opposite side. Enemy ships could be caught in the crossfire. However, this twin tower was destroyed by the great earthquake of 1755.
A symbol of protection for seafarers, a statue of Our Lady of Safe Homecoming looks out to sea. On the northwest side of the tower there is also a sculpture of a rhinoceros head, which is the first plastic depiction of this animal in Europe.
The Indian rhinoceros, which Afonso de Albuquerque brought back from his trip to India in 1515 and which later also provided Albrecht Dürer with the template for the woodcut of his "Rhinoceros".
It is an illustration of the Indian rhinoceros, which Afonso de Albuquerque brought back from his trip to India in 1515 and which later also provided Albrecht Dürer with the template for the woodcut of his "Rhinoceros". The bastion gets its own character from the rich decorations with cord reliefs, shield-shaped battlements, openwork balconies and Moorish lookouts.
The gloomy interior served as a prison and armory well into the 19th century. In the 19th century there were deposits on the northern bank of the Tejou. Today the Torre is therefore only a few meters from the land. The Torre de Belém has been a World Heritage Site since 1983
The level of the Dead Sea is constantly falling. Approximately 1.2 meters per year. Retreating, the water exposes the openwork bottom woven from the salt. In a few months, these patterns will be part of the coast. And even after six months or a year, the coastal edge will move a few meters inside from this place.
DIAMOND AND RUBY SET GOLD TIARA
TURKEY, CIRCA 1800
A rare Ottoman Empire ca. 1800 tiara. The foliate openwork frame supports attached elements set with mine-cut diamonds. The center stone is a large diamond mounted on floral rosette with radiating diamond-set petals issuing floral sprays set with diamonds and rubies. The crown is in the shape of a star and crescent motif. Suspension loops to the sides