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Single origin Ethiopia Yergacheffe from 49th Parallel.

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Roscoff [ʁɔskɔf], est une commune française du Léon située sur la côte nord de la Bretagne, dans le département du Finistère.

Ancien havre de corsaires puis de contrebandiers, d'où partirent les Johnnies vendre leurs oignons rosés, Roscoff, homologué « petite cité de caractère1 », est une petite ville balnéaire qui a conservé son patrimoine architectural des XVIe et XVIIe siècles. Son port en eau profonde, desservi par Irish Ferries et Brittany Ferries, qui y a son siège, assure la liaison en ferry avec les îles Britanniques ainsi que l'Espagne.

Son estran, balayé par des marées dont le marnage peut atteindre 10,40 m, abrite une diversité biologique propre à deux écosystèmes d'algues frontaliers dont l'étude, en 1872, est l'origine du premier2 pôle européen3 de recherches et d'enseignement en biologie marine, la Station biologique de Roscoff. Recherché pour ses embruns iodés et la douceur d'un climat maintenue par un courant marin qui ne varie qu'entre 8 °C et 18 °C, Roscoff a vu la naissance du concept de centre de thalassothérapie en 1899, avec l'institut de Rockroum, et la fondation d'un centre héliomarin en 1900.

L'île de Batz est desservie par des vedettes au départ du vieux port de Roscoff.

Géographie physique

Carte schématique de Roscoff et ses environs.

Roscoff occupe la pointe du promontoire qui ferme à l'ouest la baie de Morlaix. La ville s'étend sur 619 hectares au nord de Saint-Pol-de-Léon distant de centre à centre de 5 kilomètres, avec lequel elle tend à former une conurbation, et possède 14 kilomètres de côte avec plusieurs plages de sable blanc très fin. L'accès par la terre se fait de Saint-Pol par une route unique, la RD 58 (ancienne route nationale) ou de Santec, au sud ouest, par une petite route côtière.

Le figuier de Roscoff vers 1910 (carte postale ND Photo)

Ce territoire est dessiné par trois pointes. Celle du milieu, la moins marquée, occupe le centre de la vieille ville et est appelée la pointe du Vil. Les deux autres sont 0,665 mille à l'est la péninsule de Bloscon, séparée de la précédente par la petite anse du vieux port, et 0,604 mille à l'ouest la presqu'île de Perharidy, séparée de la même par l'anse de Laber. Celle-ci, profonde de près de 2 kilomètres, se découvre entièrement à marée basse. Son tiers amont est depuis 1835 un polder.

Article détaillé : Pointe de Perharidy.

Roscoff appartient à la Ceinture Dorée, cet affleurement lœssique de 30 à 60 centimètres de profondeur, formé au Devensien par les déjections friables et les moraines du bord de la calotte glaciaire, dont la fertilité, bien qu'il soit plus de mille fois plus mince, ne se compare qu'à celui de la plaine du fleuve Jaune. C'est ce lœss, amendé par les phosphates du goémon, qui donne l'impression que les Roscovites, tels Ulysse, cultivent du sable. La région de Roscoff, réchauffée par le Gulf Stream et protégée des vents du nord par l'Île de Batz, est la zone privilégiée de la Ceinture Dorée. Le célèbre figuier de Roscoff, un figuier géant planté en 1610, situé dans l'enclos du couvent des Capucins, qui illustrait la douceur du climat local, a été coupé en 19864.

Situation et transports

Roscoff est à 98 milles marins, soit 182 kilomètres, de Plymouth, 210 kilomètres de Rennes et 562 de Paris. Il faut 6 heures en ferry5, environ 15 heures à la voile (mais deux jours par vents contraires), pour rejoindre Plymouth. L''aérodrome de Morlaix et la base de Landivisiau sont à une trentaine de kilomètres chacun.

En face de Roscoff, au-delà d'un double chenal, le grand Kan et le petit Kan séparés par le rocher de Perroc'h, et animé de forts courants, se situe l'Île-de-Batz distante de 0,55 mille.

Roscoff dispose d'un port en eau profonde, ce qui lui permet d'accueillir les ferries des compagnies Brittany Ferries et Irish Ferries, qui desservent la Grande-Bretagne (Plymouth) et l'Irlande (Cork).

Article détaillé : Port de Roscoff - Bloscon.

Roscoff est desservi par voie routière par la D 58 qui est à 4 voies (de type voie express) de Morlaix (où cette route rejoint la route nationale 12) jusqu'à Saint-Pol-de-Léon et la D 788 depuis Brest via Lesneven. La ligne ferroviaire Morlaix-Roscoff, à voie unique et non électrifiée, relie Roscoff au réseau ferré national ; son trafic est interrompu depuis juin 2018 en raison d'un effondrement de terrain survenu près de Morlaix6.

Article détaillé : Gare de Roscoff.

Vestige de l'habitat dispersé, la commune est entourée d'écarts (Laber, Kersaliou, Keradennec…), parfois séparés par des champs en pleine zone urbaine, signe que le rendement agricole reste supérieur à celui de la rente immobilière.

Population

47% de la population a plus de 60 ans. En période estivale, la commune peut dénombrer de 16 à 20 000 résidents17.

D'année en année, la densité démographique reste supérieure à 550 habitants au kilomètre carré, la plus forte de la côte du Léon après Brest et Morlaix18.

Logement

La commune regroupe 1 597 résidences principales, 881 résidences secondaires et 549 logements vacants (+10% en 5 ans) 19.

Climat

Le ciel de Roscoff, extrêmement variable sur une journée, délivre tout au long de l'année une luminosité d'une grande constance, laquelle est ici un des facteurs déterminants, avec la transparence des eaux, de l'abondance exceptionnelle des algues.

Faune remarquable

Dans les eaux limpides au large de Roscoff, ici en 2015, convergent deux écosystèmes d'algue, source d'une exceptionnelle biodiversité.

Roscoff est inclus dans la Zone de protection spéciale Natura 2000 de la Baie de Morlaix20 et borde21 la zone naturelle d'intérêt écologique, faunistique et floristique de l'estuaire de la Penzé. L'exceptionnelle diversité biologique de Roscoff, constituée de plus de trois mille espèces animales22, est liée à son interface maritime et à ses singularités géographiques (marée, climat, courants marins, nébulosité, géodésie, etc.) qui font s'y chevaucher deux écosystèmes d'algues, un nordique et un méditerranéen.

Oiseaux.

Sternes de différentes espèces (S. caugek23, goélette23, S. de Dougall24…)nb 1.

Fou de Bassan. Plus grand voilier planant au-dessus de Roscoff (jusqu'à 1,70 m d'envergure), il niche depuis la fin des années trente dans la réserve naturelle de l'île Rouzic, en janvier.

Goélands (Goéland argenté25, goéland brun, goéland marin26)

Cormoran huppé

Mouette rieuse

Mouette mélanocéphale

Océanite tempête. Elle niche dans la réserve naturelle des Sept-Îles et seuls les marins la voient, rarement.

Fulmar boréal

Tournepierre

Huîtrier pie

Tadorne de Belon

Bernache

Guillemots. En particulier, quelques dizaines de Guillemot de Troïl nichent dans la réserve naturelle des Sept-Îles.

Guifette noire23

Sarcelle d'hiver26

Héron cendré26

Petit Pingouin26

Grand Corbeau

…

Mammifères (leur observation est très aléatoire)

Phoque gris, non vu depuis 198127.

Veau marin28

Marsouin29

Vison d'Amérique

Musaraigne couronnée27

Hérisson d'Europe27

Blaireau commun27, autrefois chassé pour sa fourrure et consommé pour sa chair délicieuse.

Belette commune27

…

Les baleines (Rorqual commun27, Balaenoptera acutorostrata26, Cachalot pygmée27) et dauphins (Dauphin commun à bec court26, Dauphin de Risso26) ont pour l'instant disparu mais se voient toujours en très grand nombre dans le golfe de Gascogne.

L'hippocampe est répandu en Bretagne mais l'espèce guttulatus, présente sur la côte sud de l'Angleterre, dans le bassin d'Arcachon et jusqu'en Méditerranée, ne s'y voit qu'à Roscoff.

Poissons

Hippocampe à museau court30.

Hippocampe moucheté (Hippocampus guttulatus)31.

Vieille27, qui change de sexe avec l'âge.

…

Invertébrés

Ver plat de Roscoff

Halammohydra (H. octopodites, H. schulzei, H. vermiformis H. adhaerens), hydrozoaires de la méiofaune dont la découverte a permis en 1959 l'invention à Roscoff de l'ordre des Actinulides et une révision de la phylogénèse de certains cnidaires (Gymnoblastiques et méduses Trachylides) par Georges Tessier.

Loricifères, phylum inventé dans le benthos d'une dune hydraulique de Roscoff en 1983.

Spirorbis27

Oursin violet, modèle du développement embryonnaire dont le génome a été décodé en totalité à la Station biologique de Roscoff

Ver de sable, appât traditionnel dont l'hémoglobine étudiée32 à la Station biologique de Roscoff par l'équipe de Franck Zal permet d'envisager dans le cadre du projet Hémarina une production industrielle de sang artificiel33 (cicatrisation, greffe…).

Coquillages et crustacés communs (langouste, crabe, étrille, pétoncle, bernique, bigorneau, couteau…)

Crépidule

Veloutée moine27

Abeille noire de Bretagne

…

Flore remarquable

Le paysage de Roscoff abrite plus de sept cents espèces végétales différentes22.

Les microalgues pélagiques du plancton, tels Emiliania huxleyi34 et Phymatolithon calcareum, se protègent de coccolithes qui en sédimentant forment le traez, variété de sable crayeux, et le maërl où dominent les Corallinacées, tous deux dragués pour amender les sols.

Algues

Emiliania huxleyi35.

Phymatolithon calcareum qui produit le maërl.

Alexandrium minutum, sécréteur de la saxitoxine dont l'efflorescence rend les coquillages neurotoxiques.

Dinophysis, autre dinoflagellé qui, elle, se défend en sécrétant de l'acide okadaïque qui a provoqué sous d'autres tropiques des diarrhées.

Pseudo-nitzschias, diatomées phytotoxiques qui sécrètent de l'acide domoïque et font l'objet elles aussi d'une surveillance sanitaire.

Picobiliphytes, phylum de phycobilines invisibles du picoplancton découvert en 2003 et caractérisé en 200636 par Fabrice Not et Daniel Vaulot à la Station biologique de Roscoff37.

Laminaires (laminaire sucrée, fleur de mai, fouet des sorcières…) Pour voir une forêt de laminaires, il faut cependant aller à Molène.

Goémon, combustible du pauvre que quelques goémoniers récoltent encore pour servir d'engrais. La soude ne sort plus aujourd'hui des fours à goémon.

Goémon noir, matière première des alginates (E400 & E405) utilisés dans les industries alimentaires, pharmaceutiques et cosmétique.

Varech vésiculeux que les enfants font exploser entre leurs doigts.

Sargasse japonaise.

Corrallines (C. officinalis, C. squamata…), utilisées pour reconstruire les os et les dents.

Dulse alimentaire.

Mousse d'Irlande, source du E407.

Porphyras, enveloppe des makis.

…

Flore indigène

Ajonc. Cultivé sur les terres à lande, il était écrasé après récolte selon la méthode Calloet-Kerbrat pour faire un fourrage garant de la bonne qualité du beurre.

Genêt. Il était planté dans les jachères pour enrichir la pâture et fournir des balais, des litières, des joncs de toiture, le reste pour servir de combustible ou d'engrais.

Laiche, tressée pour faire des licous, des paillassons, des ruches, des coussins, etc.

Chardon, symbole des liens de Roscoff avec l'Écosse des Stuarts et le pèlerinage de Saint Ninian.

Fétuque

Les symboles de la littérature (lierre, coudrier, chèvrefeuille).

Orme de Cornouailles (en), typique de la Bretagne. Un exemplaire résiste à Kerestat38.

Les simples de la tradition (herbe d'or39 utilisée comme cierge propitiatoire40, jusquiame, pimprenelle d'eau, verveine, primevère, trèfle)41

…

Flore acclimatée

Le figuier des Capucins, aujourd'hui détruit, attraction touristique en 1913.

Figuier. Symbole de la terre d'Israël annonçant le Royaume des Cieux et plus encore affirmant la liberté dans la Grâce face à certains augustiniens, le premier figuier a été planté par les missionnaires capucins à côté de leur cloître en 163442, année de l'inauguration de la Chapelle d'albâtre dans Notre Dame de Batz. Le spécimen, visité par les voyageurs, couvrait plus de sept cents mètres carrés quand il a été rasé en 1987 pour faire un parking ; il avait 800 m²de ramifications supportées par 120 béquilles de granite et ses branchages abritaient trois profondes tonnelles43.

Artichaut, autre héritage de la curiosité des capucins, férus de botanique depuis leur promotion à la tête du projet scientifique et colonial de la France par le plus influent d'entre eux. Quelques siècles ont donc suffi pour aboutir à l'actuel cultivar Camus de Bretagne.

Échalote rosée ronde de Jersey44 introduite au XIIe siècle45.

Oignon rosé importé du Portugal et acclimaté par les Capucins au milieu du XVIIe siècle.

Pomme de terre46, résultat de l'activisme physiocratique de l'« évêque aux patates » lors de la crise alimentaire qui a précédé la Révolution.

Rhododendron

Tamaris

Palmier, déjà évoqué dans l'odyssée du malouin Saint Brendan.

Palmier de Chine, expédié de Chousan, à l'est de Shanghaï, par Charles de Montigny en 185147, planté en 1853 à Alger puis en 1856 à Porzantrez près de Morlaix48.

Désespoir des singes, souvenir des cap-horniers revenus de Valparaiso.

Aloe et agaves, témoignage des relations commerciales anciennes avec la Floride et la Nouvelle-Espagne.

…

Toponymie

Le nom en breton de la commune en breton est Rosko prononcé [ʁoskṓ].

Roscoff vient du breton ros signifiant promontoire, et de goff qui signifie forgeron, probablement un anthroponyme49, peut-être celui du même saint patron que celui de la paroisse de Plogoff, masque chrétien d'une divinité forgeronne, Gofannon. Le nom de Roscoff pourrait donc se traduire en français par le coteau du forgeron.

Une mutation consonantique durcit après ros le g en c. La prononciation de la consonne finale -ff est muette en léonard, d'où la graphie bretonne moderne : Rosko [roskṓ]. La prononciation française [roskɔf] est une lecture fautive de la graphie bretonne classique, Roscoff.

Gentilé

Les habitants de Roscoff, appelés Roscouins au XVIIIe siècle, s'appellent aujourd'hui les Roscovites.

Blason

Blason de Roscoff

Blason de Roscoff :

Blasonnement : D'azur au navire d'argent équipé d'hermine voguant sur une onde d'argent ; au chef de Bretagne (qui est semé d'hermine).

Devise

« A rei, a skei atao » (« Donner et frapper toujours »).

La devise est un jeu de mots sur les composantes du nom de la ville prononcé en breton: Rosko, le double f final étant muet. En breton ro signifie en effet donne, et sko veut dire littéralement frappe, selon le contexte au sens physique de joue des poings ou au sens moral de frappe l'imagination, accomplis quelque chose de touchant, mais aussi dirige, oriente, commande. D'où l'impératif ro, sko, donne, frappe, atténué par l'infinitif a rei, a skei, expression d'une sorte de justice immanente, dont le sous entendu ironique est que celui qui paye, décide. L'étymologie véritable de Roscoff est pourtant toute différente.

Hymne

Au début du XIXe siècle, le vicomte Eugène d'Herbais de Thun écrivit, sur une musique galloise qui avait eu beaucoup de succès dans les cercles celtisants, l'hymne Paotred rosko (Les gars de Roscoff)50. Les compagnies de Johnnies partantes en chantait le refrain Rosko, sko mibin, sko kaled, sko atao (« Roscoff, cogne sec, cogne dur, cogne sans cesse ») en hissant trois fois le pavillon en vue de la chapelle de Sainte Barbe, patronne de la cité depuis au moins le début du XVIIe siècle.

Histoire

Roscoff avant Roscoff

Préhistoire

Le réchauffement climatique, qui a commencé à l'épipaléolithique en achevant de transformer la vallée de la Manche en mer et s'est poursuivi après le boréal jusqu'à le phase atlantique, voit en Bretagne l'homme de Téviec se sédentariser vers - 7000 autour de sites de « pieds rouges » (récolteurs de coquillages sur l'estran), en particulier celui de la baie de Pemprat, au sud de Roscoff, qui, à défaut d'ossements, conserve un kokkenmodding semblable à ceux de la culture d'Ertebølle.

Des traces mégalithiques subsistent faiblement : le dolmen de Kerfissiec, le lech de Reuniou… La triple allée couverte de Keravel a été dynamitée par le propriétaire du terrain en 1942. La pointe de Bloscon a vraisemblablement été vers - 4 500 un tumulus tel celui de Barnenez, candidat à la place de plus vieux monument du monde, avant d'être réutilisé comme fort. Comme dans tout le pourtour de la baie de Morlaixnb 2, la toponymie témoigne toutefois d'un pôle important au néolithique, développement naturel de deux mille ans de présence des « pieds rouges » du mésolithique : Parc al lia (lia est le pluriel de lech) en retrait de la pointe de Bloscon au-dessus de l'actuel port en eau profonde, Parc an dolmen et Goarem an dolmen, noms de champs autour d'un hypothétique dolmen situé un peu plus au sud au lieu-dit Ruveic, etc. Roscogoz, quartier de la ville où se situait le premier port, était dans le souvenir de témoins du XIXe siècle le nom d'un dolmen51 peut être évoqué dans le nom de Rochgroum (pierre courbe) qui, à Santec, sert à en désigner un.

Macle de cassitérite du gisement de Saint Erc en Cornouailles.

La civilisation maritime du Wessex, celle qui construit au chalcolithique, vers 2100 av . J-C, le second Stonehenge, s'implante plus en amont (Cléder, Plouvorn, Saint-Vougay, Saint-Thégonnec) mais ses chefferies minières entretiennent un commerce intense de l'étain et ont nécessairement exploité les ports naturels tels que ceux que présentait la côte, alors plus basse, du futur Roscoff et de l'île de Batz réunis par la terre. Ce composant du bronze, fondu avec le cuivre de Cambrie et d'Espagne, affleure naturellement dans les sables alluviaires du gisement de l'actuel Saint-Renan et de son jumeau du Dartmoor, qui, parmi de nombreux autres dispersés dans l'ouest armoricain52 et le sud ouest britannique53, étaient les deux principaux fournisseurs de l'Occidentnb 3. L'imagination laissera rêver que le « promontoire du forgeron » qui a donné son nom à Roscoff était un site d'exportation de cette civilisation du bronze où le forgeron tenait un rôle magique.

Le lech de Reuniou (cf. infra "Vestiges mégalithiques") date de l'âge du fer, qui est tardif dans les Cassitérides, soit au plus tôt - 700. Comme il ne marque pas une fontaine, il correspond peut-être, comme certains autres lechs, à un ancien cimetière, ici détruit, et marque certainement un lieu fréquenté par les Osismes.

Antiquité

Vers - 100, les Celtes, soucieux après la défaîte de Bituit de maintenir les liens avec Carthage que Massilia ne permet plus, fondent en territoire armoricain la colonie de Vorganium, dont le site de Roscoff a été un des ports possibles. Lors de la reconstruction du fort de Bloscon en 1615 a été trouvée à dix mètres de profondeur la statue gauloise dite de Saint-Pyriec d'un enfant à l'oiseau, statue aujourd'hui disparue51. La construction du port en eau profonde a révélé un abri de l'époque gauloise, peut être en rapport avec les stèles funéraires de l'île de Batz qui était alors attachée au continent. L'île verte, qui se trouve au bord sud du chenal de l'île de Batz au bout de l'actuelle jetée piétonne, a en effet livré à la fin du XIXe siècle deux épées, huit haches, dont cinq portent un anneau, un torque, un fer de lance et un morceau de poignard51. Les navigateurs osismes, partenaires des tartessiens et de Carthage54 depuis au moins le voyage d'Himilcon, soit près de quatre cents ans, étaient un atout dans cette alliance contre Rome, qui se concrétisera militairement lors de l'expédition d'Hannibal.

Pol Potier de Courcy a trouvé près du même dolmen de Keravel des petits bronzes, traces d'une garnison du IIIe siècle51, probablement un des détachements des Mauri Osismaci que Carausius a dispersé pour surveiller les pirates le long de la nouvelle route côtière reliant Osismis, devenue capitale de la cité en 282, au gué du Mont Relaxe vers Aleth. De l'époque romaine, ont été également trouvées dans la ferme de Kergoff, une pièce d'or du VIe siècle51. D'autres monnaies romaines ont été retrouvées entre les deux guerres au Ruguel sur la presqu'île de Perharidy.

Une épave romaine datant du II ou IIIe siècle a été découverte à l'est de l'ilot Ti Saozon en 2014. Fouillée par la DRASSM sous le nom de Bloscon 1, elle a révélé des objets permettant de la dater ainsi que plus de 800 lingots d'étain ou d'alliage plomb-étain provenant probablement de l'actuelle Grande-Bretagne55.

Entre monastère et place militaire

La mer a submergé les mille trois mètres qui séparent aujourd'hui Roscoff, ici au fond, de l'Île de Batz, au premier plan, où l'église de Pol Aurélien est envahie par le sable.

Selon la légende hagiographique écrite au Bas Moyen Âge à partir d'un manuscrit daté de 88456, Saint Pol Aurélien, missioné par l'évêque de Guicastel, débarque en 510 à Ouessant puis est accueilli par son cousin à la forteresse de Saint-Pol, Castel Paol en breton. Des remparts, il a pu voir, selon les documents compilés par Albert Le Grand, le roi de Domnonée chasser en 513 les danois installés dans l'île Callotnb 4. Pol finit par s'installer à Batz alors rattachée au continent, y fonde un monastère et évangélise la région acquise au pélagianisme depuis plus d'un siècle comme en avaient attesté les missions de Saint Germain et son diacre Palladiusnb 5.

Nul doute que les rivages de Roscoff virent passer la voile blanche d'Iseut que Marie de France fait arriver trop tard pour sauver Tristan de Loonois.

Trois siècles plus tard, en 857, des Normands, suivant l'exemple d'Hasting, s'installent sur l'île de Batz et pillent toute la région. Leurs exactions récurrentes provoquent en 878 le transfert des reliques de Saint Pol à Fleury et celui de la population loin du rivage. Celui-ci ne sera réinvesti qu'à l'installation en 937, dans le sillage d'Alain Barbetorte rentré d'exil et vainqueur de Rognvald puis Håkon57, de la cour d'Even le Grand, comte de Léon, à Lesneven. Le vieux Roscoff, pillé, détruit, dépeuplé à plusieurs reprises, fut à chaque fois reconstruit, se cristallisant alors autour de deux pôles principaux, le port et l'église.

Au cours de l'hiver 1114-1115, la Manche gèle à quelques distances des côtes58, ce qui était déjà arrivé à l'hiver 763-76458,nb 6.

Ces Messieurs de Roscoff

Le Rosco goz de la fin du Moyen Âge

Article connexe : Réseau Centurie.

Le monument aux morts de Roscoff porte les noms de 41 personnes mortes pour la France pendant la Seconde Guerre mondiale ; parmi elles, Olivier Cabiochnb 63, résistant mort en déportation ; Eugène Le Sauxnb 64, marin qui mourut de ses blessures en Angleterre après que son bateau le Vauquois ait été victime d'une mine le 18 juin 1940 ; plusieurs autres, par exemple Yves Dirounb 65sont des marins disparus en mer ou comme François Fournisnb 66, victime de l'attaque anglaise contre la flotte française à Mers el-Kébir110.

Une plaque commémorative située à la gare commémore la mémoire de deux cheminots (Jean Braouézec et Jean Le Coz) tués lors du mitraillage de leur train par la RAF à la bifurcation de Roscoff sur la ligne Morlaix-Roscoff le 6 juin 1943113.

Le 18 avril 1943, l'occupant décide de détruire quelques parties du fort du Bloscon construit par Vauban pour y aménager sept blockhaus, quatorze casemates de tir et quelques autres ouvrages en béton, le tout accueillant une batterie de soixante hommes114. Début janvier 1944, c'est par cet élément du mur de l'Atlantique qu'Erwin Rommel commence sa tournée d'inspection jusqu'à Plérin115.

Un témoignage d'un roscovite illustre la vie des prisonniers français au stalag [le Stalag IX-B] de Bad Orb entre 1940 et 1943 : « Je suis prisonnier au stalag à Bad Orb. Sacré pays ! Le camp est construit sur une ancienne carrière. Que du caillou. Ici rien ne pousse. Pourtant Pauline, ma petite femme, m'a fait parvenir des graines de tomates dans son dernier colis. Alors, avec des copains, on s'organise. Chaque matin, pour rejoindre le travail à l'extérieur du camp, on enfile notre lourde capote, et nos deux musettes en bandoulière. Même par grand soleil. On crève de chaud, et çà fait sourire les Allemands. Mais, chaque soir, on revient avec nos musettes chargées de terre, et de tout ce qu'on a pu chaparder à l'extérieur du camp. (...) C'est comme çà qu'on a pu cultiver une magnifique plate bande de tomates, sous l'œil amusé de nos gardiens »116.

Le lundi 19 juin 1944, l'enterrement interdit par l'occupant de Franck Mac Dowell William Stout, aviateur néozélandais abattu la veille par la DCA de l'île de Batz, rassemble au chant du Libera deux à trois mille personnes de Roscoff, Saint-Pol et Santec117 dont une centaine d'enfants portant des fleursnb 67. La manifestation sera renouvelée le lendemain au cimetière du Vil.

Plusieurs roscovites sont morts pour la France dans les décennies d'après-guerre : Auguste Quéré, Henri Corre, Joseph Grall, Paul Montagnies de La Roque, Robert Merrien, Jean Lebian, Paul Autret, Robert Le Mat et G. Veillard en Indochine ; Alain Castel et Jean Velly pendant la Guerre d'Algérie110.

Développement et défis écologiques

En 1953, l'institut de thalassothérapie Rockroum, détruit pendant la Seconde Guerre mondiale, rouvre et la station de la Société Centrale de Sauvetage des Naufragés ferme118. L'aquarium Charles Pérez est achevé et ouvert au public, et le CNRS, dans une nouvelle aile, ajoute à la SBR des laboratoires d'océanographie dotés de leur premier navire, le Pluteus II. À partir du début des années soixante, le centre dirigé par Georges Tessier, jusqu'alors station estivale pour étudiants et chercheurs étrangers limités à la zone intertidale, accueille des équipes permanentes. Une seconde aile est construite en 1968. Pendant quelques semaines de mai, un comité de grève occupe les laboratoires.

En août 1969, la je

origins by Rajkumar Krishna

7 2

Citroën Xsara Kit Car - 1999 by Perico001

Citroën : Origins since 1919

Salon Rétromobile 2019

Paris Expo - Porte de Versailles

Paris - France

February 2019

Sarcophagus & Tomb by mike

4 6

Ancient Hieropolis.....There are only a few historical facts known about the origin of the city. No traces of the presence of Hittites or Persians have been found. The Phrygians built a temple, probably in the first half of the 3rd century BC. This temple, originally used by the citizens of the nearby town of Laodicea, would later form the centre of Hierapolis. Hierapolis was founded as a thermal spa early in the 2nd century BC within the sphere of the Seleucid Empire. Antiochus the Great sent 2,000 Jewish families to Lydia and Phrygia from Babylon and Mesopotamia, later joined by more from Judea. The Jewish congregation grew in Hierapolis and has been estimated as high as 50,000 in 62 BC.[1] The city was expanded with the booty from the 190 BC Battle of Magnesia where Antiochus the Great was defeated by the Roman ally Eumenes II. Following the Treaty of Apamea ending the Syrian War, Eumenes annexed much of Asia Minor, including Hierapolis. Hierapolis became a healing centre where doctors used the thermal springs as a treatment for their patients. The city began minting bronze coins in the 2nd century BC. These coins give the name Hieropolis. It remains unclear whether this name referred to the original temple (ἱερόν, hieron) or honoured Hiera, the wife of Telephus, son of Heracles and the Mysian princess Auge, the supposed founder of Pergamon's Attalid dynasty.[citation needed] This name eventually changed into Hierapolis ("holy city"),[2] according to the Byzantine geographer Stephanus on account of its large number of temples.[citation needed] In 133 BC, when Attalus III died, he bequeathed his kingdom to Rome. Hierapolis thus became part of the Roman province of Asia. In AD 17, during the rule of the emperor Tiberius, a major earthquake destroyed the city. Through the influence of the Christian apostle Paul, a church was founded here while he was at Ephesus.[3] The Christian apostle Philip spent the last years of his life here.[4] The town's Martyrium was alleged to have been built upon the spot where Philip was crucified in AD 80. His daughters were also said to have acted as prophetesses in the region.[5][6] In the year 60, during the rule of Nero, an even more severe earthquake left the city completely in ruins. Afterwards, the city was rebuilt in the Roman style with imperial financial support. It was during this period that the city attained its present form. The theatre was built in 129 for a visit by the emperor Hadrian. It was renovated under Septimius Severus (193–211). When Caracalla visited the town in 215, he bestowed the much-coveted title of neocoros upon it, according the city certain privileges and the right of sanctuary. This was the golden age of Hierapolis. Thousands of people came to benefit from the medicinal properties of the hot springs. New building projects were started: two Roman baths, a gymnasium, several temples, a main street with a colonnade, and a fountain at the hot spring. Hierapolis became one of the most prominent cities in the Roman Empire in the fields of the arts, philosophy, and trade. The town grew to 100,000 inhabitants and became wealthy. During his campaign against the Sassanid Shapur II in 370, the emperor Valens made the last-ever imperial visit to the city. During the 4th century, the Christians filled Pluto's Gate (a ploutonion) with stones, suggesting that Christianity had become the dominant religion and begun suppressing other faiths in the area. Originally a see of Phrygia Pacatiana,[7] the Byzantine emperor Justinian raised the bishop of Hierapolis to the rank of metropolitan in 531. The Roman baths were transformed to a Christian basilica. During the Byzantine period, the city continued to flourish and also remained an important centre for Christianity. In the early 7th century, the town was devastated first by Persian armies and then by another destructive earthquake, from which it took a long time to recover. In the 12th century, the area came under the control of the Seljuk sultanate of Konya before falling to crusaders under Frederick Barbarossa and their Byzantine allies in 1190. About thirty years later, the town was abandoned before the Seljuks built a castle in the 13th century. The new settlement was abandoned in the late 14th century. In 1354, the great Thracian Earthquake toppled the remains of the ancient city. The ruins were slowly covered with a thick layer of limestone.

Collection Peggy Guggenheim Palazzo Venier dei Leoni by philippe.Onwire

[Bibliography]

Peggy Guggenheim's career belongs in the history of 20th century art. Peggy used to say that it was her duty to protect the art of her own time, and she dedicated half of her life to this mission, as well as to the creation of the museum that still carries her name.

Peggy Guggenheim was born in New York on 26 August 1898, the daughter of Benjamin Guggenheim and Florette Seligman. Benjamin Guggenheim was one of seven brothers who, with their father, Meyer (of Swiss origin), created a family fortune in the late 19th century from the mining and smelting of metals, especially silver, copper and lead. The Seligmans were a leading banking family. Peggy grew up in New York. In April 1912 her father died heroically on the SS Titanic.

In her early 20s, Peggy volunteered for work at a bookshop, the Sunwise Turn, in New York and thanks to this began making friends in intellectual and artistic circles, including the man who was to become her first husband in Paris in 1922, Laurence Vail. Vail was a writer and Dada collagist of great talent. He chronicled his tempestuous life with Peggy in a novel, Murder! Murder! of which Peggy wrote: "It was a sort of satire of our life together and, although it was extremely funny, I took offense at several things he said about me."

In 1921 Peggy Guggenheim traveled to Europe. Thanks to Laurence Vail (the father of her two children Sindbad and Pegeen, the painter), Peggy soon found herself at the heart of Parisian bohÃ¨me and American ex-patriate society. Many of her acquaintances of the time, such as Constantin Brancusi, Djuna Barnes and Marcel Duchamp, were to become lifelong friends. Though she remained on good terms with Vail for the rest of his life, she left him in 1928 for an English intellectual, John Holms, who was the greatest love of her life. There is a lengthy description of John Holms, a war hero with writer's block, in chapter five of Edwin Muir's An Autobiography. Muir wrote: "Holms was the most remarkable man I ever met." Unfortunately, Holms died tragically young in 1934.

In 1937, encouraged by her friend Peggy Waldman, Peggy decided to open an art gallery in London. When she opened her Guggenheim Jeune gallery in January 1938, she was beginning, at 39 years old, a career which would significantly affect the course of post-war art. Her friend Samuel Beckett urged her to dedicate herself to contemporary art as it was âa living thing,â and Marcel Duchamp introduced her to the artists and taught her, as she put it, âthe difference between abstract and Surrealist art.â The first show presented works by Jean Cocteau, while the second was the first one-man show of Vasily Kandinsky in England.

In 1939, tired of her gallery, Peggy conceived âthe idea of opening a modern museum in London,â with her friend Herbert Read as its director (2). From the start the museum was to be formed on historical principles, and a list of all the artists that should be represented, drawn up by Read and later revised by Marcel Duchamp and Nellie van Doesburg, was to become the basis of her collection.

In 1939-40, apparently oblivious of the war, Peggy busily acquired works for the future museum, keeping to her resolve to âbuy a picture a day.â Some of the masterpieces of her collection, such as works by Francis Picabia, Georges Braque, Salvador DalÃ- and Piet Mondrian, were bought at that time. She astonished Fernand LÃ©ger by buying his Men in the City on the day that Hitler invaded Norway. She acquired Brancusiâs Bird in Space as the Germans approached Paris, and only then decided to flee the city.

In July 1941, Peggy fled Nazi-occupied France and returned to her native New York, together with Max Ernst, who was to become her second husband a few months later (they separated in 1943).

Peggy immediately began looking for a location for her modern art museum, while she continued to acquire works for her collection. In October 1942 she opened her museum/gallery Art of This Century. Designed by the Rumanian-Austrian architect Frederick Kiesler, the gallery was composed of extraordinarily innovative exhibition rooms and soon became the most stimulating venue for contemporary art in New York City.

Of the opening night, she wrote: âI wore one of my Tanguy earrings and one made by Calder in order to show my impartiality between Surrealist and Abstract Art" . There Peggy exhibited her collection of Cubist, abstract and Surrealist art, which was already substantially that which we see today in Venice. Peggy produced a remarkable catalogue, edited by André Breton, with a cover design by Max Ernst. She held temporary exhibitions of leading European artists, and of several then unknown young Americans such as Robert Motherwell, William Baziotes, Mark Rothko, David Hare, Janet Sobel, Robert de Niro Sr, Clyfford Still, and Jackson Pollock, the âstarâ of the gallery, who was given his first show by Peggy late in 1943. From July 1943 Peggy supported Pollock with a monthly stipend and actively promoted and sold his paintings. She commissioned his largest painting, a Mural, which she later gave to the University of Iowa.

Pollock and the others pioneered American Abstract Expressionism. One of the principal sources of this was Surrealism, which the artists encountered at Art of This Century. More important, however, was the encouragement and support that Peggy, together with her friend and assistant Howard Putzel, gave to the members of this nascent New York avant-garde. Peggy and her collection thus played a vital intermediary role in the development of Americaâs first art movement of international importance.

In 1947 Peggy decided to return in Europe, where her collection was shown for the first time at the 1948 Venice Biennale, in the Greek pavilion. In this way the works of artists such as Arshile Gorky, Jackson Pollock, and Mark Rothko were exhibited for the first time in Europe. The presence of Cubist, abstract, and Surrealist art made the pavilion the most coherent survey of Modernism yet to have been presented in Italy.

Soon after Peggy bought Palazzo Venier dei Leoni, on the Grand Canal in Venice, where she came to live. In 1949 she held an exhibition of sculptures in the garden curated by Giuseppe Marchiori, and from 1951 she opened her collection to the public.

In 1950 Peggy organized the first exhibition of Jackson Pollock in Italy, in the Ala Napoleonica of the Museo Correr in Venice. Her collection was in the meantime exhibited in Florence and Milan, and later in Amsterdam, Brussels, and Zurich. From 1951 Peggy opened her house and her collection to the public annually in the summer months. During her 30-year Venetian life, Peggy Guggenheim continued to collect works of art and to support artists, such as Edmondo Bacci and Tancredi Parmeggiani, whom she met in 1951. In 1962 Peggy Guggenheim was nominated Honorary Citizen of Venice.

In 1969 the Solomon R. Guggenheim Museum in New York invited Peggy Guggenheim to show her collection there. In 1976 she donated her palace and works of art to the Solomon R. Guggenheim Foundation. The Foundation had been created in 1937 by Peggy Guggenheimâs uncle Solomon, in order to operate his collection and museum which, since 1959, has been housed in Frank Lloyd Wrightâs famous spiral structure on 5th Avenue.

Peggy died aged 81 on 23 December 1979. Her ashes are placed in a corner of the garden of Palazzo Venier dei Leoni, next to the place where she customarily buried her beloved dogs. Since this time, the Guggenheim Foundation has converted and expanded Peggy Guggenheim's private house into one of the finest small museums of modern art in the world.

[Info]

Address

Peggy Guggenheim Collection

Palazzo Venier dei Leoni

Dorsoduro 701

I-30123 Venezia

Opening hours

Daily 10 am - 6 pm

Closed Tuesdays and December 25

General information

tel: +39.041.2405.411

fax: +39.041.520.6885

e-mail: info@guggenheim-venice.it

Visitor services

tel: +39.041.2405.440/419

fax: +39.041.520.9083

e-mail: visitorinfo@guggenheim-venice.it

Photography

Photography is permitted without flash. You may not use tripods or monopods.

Animals

Animals of all sizes are not allowed in the galleries and in the gardens.

For information and assistance please contact "Sporting Dog Club".

Call Tel. +39 347 6242550 (Marie) or +39 347 4161321 (Roberto)

or write to sportingdoginvenice@gmail.com

Venice Art for All

The Peggy Guggenheim Collection joins the Venice Art for All project and becomes accessible to all, including people with limited mobility.

Palazzo Venier dei Leoni was probably begun in the 1750s by architect Lorenzo Boschetti, whose only other known building in Venice is the church of San Barnaba.

It is an unfinished palace. A model exists in the Museo Correr, Venice. Its magnificent classical façade would have matched that of Palazzo Corner, opposite, with the triple arch of the ground floor (which is the explanation of the ivy-covered pillars visible today) extended through both the piani nobili above. We do not know precisely why this Venier palace was left unfinished. Money may have run out, or some say that the powerful Corner family living opposite blocked the completion of a building that would have been grander than their own. Another explanation may rest with the unhappy fate of the next door Gothic palace which was demolished in the early 19th century: structural damage to this was blamed in part on the deep foundations of Palazzo Venier dei Leoni.

Nor is it known how the palace came to be associated with "leoni," lions. Although it is said that a lion was once kept in the garden, the name is more likely to have arisen from the yawning lion's heads of Istrian stone which decorate the faÃ§ade at water level. The Venier family, who claimed descent from the gens Aurelia of ancient Rome (the Emperor Valerian and Gallienus were from this family), were among the oldest Venetian noble families. Over the centuries they provided eighteen Procurators of St Markâs and three Doges. Antonio Venier (Doge, 1382-1400) had such a strong sense of justice that he allowed his own son to languish and die in prison for his crimes. Francesco Venier (Doge, 1553-56) was the subject of a superb portrait by Titian (Madrid, FundaciÃ²n Thyssen-Bornemisza). Sebastiano Venier was a commander of the Venetian fleet at the Battle of Lepanto (1571) and later became Doge (1577-78). A lively strutting statue of him, by Antonio dal Zotto (1907), can be seen today in the church of Ss. Giovanni e Paolo, Venice.

From 1910 to c. 1924 the house was owned by the flamboyant Marchesa Luisa Casati, hostess to the Ballets Russes, and the subject of numerous portraits by artists as various as Boldini, Troubetzkoy, Man Ray and Augustus John. In 1949, Peggy Guggenheim purchased Palazzo Venier from the heirs of Viscountes Castlerosse and made it her home for the following thirty years. Early in 1951, Peggy Guggenheim opened her home and collection to the public and continued to do so every year until her death in 1979.

In 1980, the Peggy Guggenheim Collection opened for the first time under the management of the Solomon R. Guggenheim Foundation, to which Peggy Guggenheim had given her palazzo and collection during her lifetime.

Palazzo Venier dei Leoni's long low faÃ§ade, made of Istrian stone and set off against the trees in the garden behind that soften its lines, forms a welcome "caesura" in the stately march of Grand Canal palaces from the Accademia to the Salute.

[Permanent collection]

The core mission of the museum is to present the personal collection of Peggy Guggenheim. The collection holds major works of Cubism, Futurism, Metaphysical painting, European abstraction, avant-garde sculpture, Surrealism, and American Abstract Expressionism, by some of the greatest artists of the 20th century. These include Picasso (The Poet, On the Beach), Braque (The Clarinet), Duchamp (Sad Young Man on a Train), LÃ©ger, Brancusi (Maiastra, Bird in Space), Severini (Sea=Dancer), Picabia (Very Rare Picture on Earth), de Chirico (The Red Tower, The Nostalgia of the Poet), Mondrian (Composition No. 1 with Grey and Red 1938 / Composition with Red 1939), Kandinsky (Landscape with Red Spots, No. 2, White Cross), Miro (Seated Woman II), Giacometti Woman with Her Throat Cut, Woman Walking), Klee (Magic Garden), Ernst (The Kiss, Attirement of the Bride), Magritte (Empire of Light), DalÃ- (Birth of Liquid Desires), Pollock (The Moon Woman, Alchemy), Gorky (Untitled), Calder (Arc of Petals) and Marini (Angel of the City).

The museum also exhibits works of art given to the Solomon R. Guggenheim Foundation for its Venetian museum since Peggy Guggenheim's death, as well as long-term loans from private collections.

Hannelore B. and Rudolph B. Schulhof Collection

In October 2012 eighty works of Italian, European and American art of the decades after 1945 were added to the collections of the Solomon R. Guggenheim Foundation in Venice. They were the bequest of Hannelore B. Schulhof, who collected the works with her late husband Rudolph B. Schulhof. They include paintings by Burri, Dubuffet, Fontana, Hofmann, Kelly, Kiefer, Noland, Rothko, and Twombly, as well as sculptures by Calder, Caro, Holzer, Judd and Hepworth. The Hannelore B. and Rudolph B. Schulhof Garden exhibits works from this collection.

Gianni Mattioli Collection

The museum exhibits twenty six masterpieces on long-term loan from the renowned Gianni Mattioli Collection, including famous images of Italian Futurism, such as Materia and Dynamism of a Cyclist by Boccioni, Interventionist Demonstration by CarrÃ , The Solidity of Fog by Russolo, works by Balla, Severini (Blue Dancer), Sironi, Soffici, Rosai, Depero. The collection includes important early paintings by Morandi and a rare portrait by Modigliani.

Patsy R. and Raymond D. Nasher Sculpture Garden

The Patsy R. and Raymond D. Nasher Sculpture Garden and other outdoor spaces at the Peggy Guggenheim Collection presents works from the permanent collections (by Arp, Duchamp-Villon, Ernst, Flanagan, Giacometti, Gilardi, Goldsworthy, Holzer, Marini, Minguzzi, Mirko, Merz, Moore, Ono, Paladino, Richier, Takis), as well as sculptures on temporary loan from foundations and private collections (by Calder, KÃ¶nig , Marini, Nannucci, Smith).

Strasbourg dans la nuit, Strasbourg, Alsace, France by Paul

Strasbourg (/ˈstræzbɜrɡ/, French pronunciation: [stʁaz.buʁ, stʁas.buʁ]; German: Straßburg, [ˈʃtʁaːsbʊɐ̯k]) is the capital and principal city of the Alsace region in north eastern France and is the official seat of the European Parliament. Located close to the border with Germany, it is the capital of the Bas-Rhin département. The city and the region of Alsace were historically Alemannic-speaking, hence the city's Germanic name.[5] In 2006, the city proper had 272,975 inhabitants and its urban community 467,375 inhabitants. With 759,868 inhabitants in 2010, Strasbourg's metropolitan area (only the part of the metropolitan area on French territory) is the ninth largest in France. The transnational Eurodistrict Strasbourg-Ortenau had a population of 884,988 inhabitants in 2008.[6]

Strasbourg is the seat of several European institutions, such as the Council of Europe (with its European Court of Human Rights, its European Directorate for the Quality of Medicines and its European Audiovisual Observatory) and the Eurocorps, as well as the European Parliament and the European Ombudsman of the European Union. The city is also the seat of the Central Commission for Navigation on the Rhine and the International Institute of Human Rights.[7]

Strasbourg's historic city centre, the Grande Île (Grand Island), was classified a World Heritage site by UNESCO in 1988, the first time such an honour was placed on an entire city centre. Strasbourg is immersed in the Franco-German culture and although violently disputed throughout history, has been a bridge of unity between France and Germany for centuries, especially through the University of Strasbourg, currently the second largest in France, and the coexistence of Catholic and Protestant culture. The largest Islamic place of worship in France, the Strasbourg Grand Mosque, was inaugurated by French Interior Minister Manuel Valls on 27 September 2012.[8]

Economically, Strasbourg is an important centre of manufacturing and engineering, as well as a hub of road, rail, and river transportation. The port of Strasbourg is the second largest on the Rhine after Duisburg, Germany.

Etymology and Names

The city's Gallicized name (Lower Alsatian: Strossburi, [ˈʃd̥rɔːsb̥uri]; German: Straßburg, [ˈʃtʁaːsbʊɐ̯k]) is of Germanic origin and means "Town (at the crossing) of roads". The modern Stras- is cognate to the German Straße and English street, all of which are derived from Latin strata ("paved road"), while -bourg is cognate to the German Burg and English borough, all of which are derived from Proto-Germanic *burgz ("hill fort, fortress").

Geography

Strasbourg seen from Spot Satellite

Strasbourg is situated on the eastern border of France with Germany. This border is formed by the River Rhine, which also forms the eastern border of the modern city, facing across the river to the German town Kehl. The historic core of Strasbourg however lies on the Grande Île in the River Ill, which here flows parallel to, and roughly 4 kilometres (2.5 mi) from, the Rhine. The natural courses of the two rivers eventually join some distance downstream of Strasbourg, although several artificial waterways now connect them within the city.

The city lies in the Upper Rhine Plain, at between 132 metres (433 ft) and 151 metres (495 ft) above sea level, with the upland areas of the Vosges Mountains some 20 km (12 mi) to the west and the Black Forest 25 km (16 mi) to the east. This section of the Rhine valley is a major axis of north-south travel, with river traffic on the Rhine itself, and major roads and railways paralleling it on both banks.

The city is some 400 kilometres (250 mi) east of Paris. The mouth of the Rhine lies approximately 450 kilometres (280 mi) to the north, or 650 kilometres (400 mi) as the river flows, whilst the head of navigation in Basel is some 100 kilometres (62 mi) to the south, or 150 kilometres (93 mi) by river.

Climate

In spite of its position far inland, Strasbourg's climate is classified as Oceanic (Köppen climate classification Cfb), with warm, relatively sunny summers and cold, overcast winters. Precipitation is elevated from mid-spring to the end of summer, but remains largely constant throughout the year, totaling 631.4 mm (24.9 in) annually. On average, snow falls 30 days per year.

The highest temperature ever recorded was 38.5 °C (101.3 °F) in August 2003, during the 2003 European heat wave. The lowest temperature ever recorded was −23.4 °C (−10.1 °F) in December 1938.

Strasbourg's location in the Rhine valley, sheltered from the dominant winds by the Vosges and Black Forest mountains, results in poor natural ventilation, making Strasbourg one of the most atmospherically polluted cities of France.[10][11] Nonetheless, the progressive disappearance of heavy industry on both banks of the Rhine, as well as effective measures of traffic regulation in and around the city have reduced air pollution.

Prehistory

The first traces of human occupation in the environs of Strasbourg go back many thousands of years.[16] Neolithic, bronze age and iron age artifacts have been uncovered by archeological excavations. It was permanently settled by proto-Celts around 1300 BC. Towards the end of the third century BC, it developed into a Celtic township with a market called "Argentorate". Drainage works converted the stilthouses to houses built on dry land.[17]

From Romans

The Romans under Nero Claudius Drusus established a military outpost belonging to the Germania Superior Roman province at Strasbourg's current location, and named it Argentoratum. (Hence the town is commonly called Argentina in medieval Latin.[18]) The name "Argentoratum" was first mentioned in 12 BC and the city celebrated its 2,000th birthday in 1988. "Argentorate" as the toponym of the Gaulish settlement preceded it before being Latinized, but it is not known by how long. The Roman camp was destroyed by fire and rebuilt six times between the first and the fifth centuries AD: in 70, 97, 235, 355, in the last quarter of the fourth century, and in the early years of the fifth century. It was under Trajan and after the fire of 97 that Argentoratum received its most extended and fortified shape. From the year 90 on, the Legio VIII Augusta was permanently stationed in the Roman camp of Argentoratum. It then included a cavalry section and covered an area of approximately 20 hectares. Other Roman legions temporarily stationed in Argentoratum were the Legio XIV Gemina and the Legio XXI Rapax, the latter during the reign of Nero.

The centre of Argentoratum proper was situated on the Grande Île (Cardo: current Rue du Dôme, Decumanus: current Rue des Hallebardes). The outline of the Roman "castrum" is visible in the street pattern in the Grande Ile. Many Roman artifacts have also been found along the current Route des Romains, the road that led to Argentoratum, in the suburb of Kœnigshoffen. This was where the largest burial places were situated, as well as the densest concentration of civilian dwelling places and commerces next to the camp. Among the most outstanding finds in Kœnigshoffen were (found in 1911–12) the fragments of a grand Mithraeum that had been shattered by early Christians in the fourth century. From the fourth century, Strasbourg was the seat of the Bishopric of Strasbourg (made an Archbishopric in 1988). Archaeological excavations below the current Église Saint-Étienne in 1948 and 1956 unearthed the apse of a church dating back to the late fourth or early fifth century, considered to be the oldest church in Alsace. It is supposed that this was the first seat of the Roman Catholic Diocese of Strasbourg.

The Alemanni fought the Battle of Argentoratum against Rome in 357. They were defeated by Julian, later Emperor of Rome, and their King Chonodomarius was taken prisoner. On 2 January 366, the Alemanni crossed the frozen Rhine in large numbers to invade the Roman Empire. Early in the fifth century, the Alemanni appear to have crossed the Rhine, conquered, and then settled what is today Alsace and a large part of Switzerland.

In the fifth century Strasbourg was occupied successively by Alemanni, Huns, and Franks. In the ninth century it was commonly known as Strazburg in the local language, as documented in 842 by the Oaths of Strasbourg. This trilingual text contains, alongside texts in Latin and Old High German (teudisca lingua), the oldest written variety of Gallo-Romance (lingua romana) clearly distinct from Latin, the ancestor of Old French. The town was also called Stratisburgum or Strateburgus in Latin, from which later came Strossburi in Alsatian and Straßburg in Standard German, and then Strasbourg in French. The Oaths of Strasbourg is considered as marking the birth of the two countries of France and Germany with the division of the Carolingian Empire.[19]

A major commercial centre, the town came under the control of the Holy Roman Empire in 923, through the homage paid by the Duke of Lorraine to German King Henry I. The early history of Strasbourg consists of a long conflict between its bishop and its citizens. The citizens emerged victorious after the Battle of Oberhausbergen in 1262, when King Philip of Swabia granted the city the status of an Imperial Free City.

Around 1200, Gottfried von Straßburg wrote the Middle High German courtly romance Tristan, which is regarded, alongside Wolfram von Eschenbach's Parzival and the Nibelungenlied, as one of great narrative masterpieces of the German Middle Ages.

A revolution in 1332 resulted in a broad-based city government with participation of the guilds, and Strasbourg declared itself a free republic. The deadly bubonic plague of 1348 was followed on 14 February 1349 by one of the first and worst pogroms in pre-modern history: over a thousand Jews were publicly burnt to death, with the remainder of the Jewish population being expelled from the city.[20] Until the end of the 18th century, Jews were forbidden to remain in town after 10 pm. The time to leave the city was signalled by a municipal herald blowing the Grüselhorn (see below, Museums, Musée historique);.[21] A special tax, the Pflastergeld (pavement money), was furthermore to be paid for any horse that a Jew would ride or bring into the city while allowed to.[22]

Construction on Strasbourg Cathedral began in the twelfth century, and it was completed in 1439 (though, of the towers, only the north tower was built), becoming the World's Tallest Building, surpassing the Great Pyramid of Giza. A few years later, Johannes Gutenberg created the first European moveable type printing press in Strasbourg.

In July 1518, an incident known as the Dancing Plague of 1518 struck residents of Strasbourg. Around 400 people were afflicted with dancing mania and danced constantly for weeks, most of them eventually dying from heart attack, stroke or exhaustion.

In the 1520s during the Protestant Reformation, the city, under the political guidance of Jacob Sturm von Sturmeck and the spiritual guidance of Martin Bucer embraced the religious teachings of Martin Luther. Their adherents established a Gymnasium, headed by Johannes Sturm, made into a University in the following century. The city first followed the Tetrapolitan Confession, and then the Augsburg Confession. Protestant iconoclasm caused much destruction to churches and cloisters, notwithstanding that Luther himself opposed such a practice. Strasbourg was a centre of humanist scholarship and early book-printing in the Holy Roman Empire, and its intellectual and political influence contributed much to the establishment of Protestantism as an accepted denomination in the southwest of Germany. (John Calvin spent several years as a political refugee in the city). The Strasbourg Councillor Sturm and guildmaster Matthias represented the city at the Imperial Diet of Speyer (1529), where their protest led to the schism of the Catholic Church and the evolution of Protestantism. Together with four other free cities, Strasbourg presented the confessio tetrapolitana as its Protestant book of faith at the Imperial Diet of Augsburg in 1530, where the slightly different Augsburg Confession was also handed over to Charles V, Holy Roman Emperor.

After the reform of the Imperial constitution in the early sixteenth century and the establishment of Imperial Circles, Strasbourg was part of the Upper Rhenish Circle, a corporation of Imperial estates in the southwest of Holy Roman Empire, mainly responsible for maintaining troops, supervising coining, and ensuring public security.

After the invention of the printing press by Johannes Gutenberg around 1440, the first printing offices outside the inventor's hometown Mainz were established around 1460 in Strasbourg by pioneers Johannes Mentelin and Heinrich Eggestein. Subsequently, the first modern newspaper was published in Strasbourg in 1605, when Johann Carolus received the permission by the City of Strasbourg to print and distribute a weekly journal written in German by reporters from several central European cities.

From Thirty Years' War to First World War

The Free City of Strasbourg remained neutral during the Thirty Years' War 1618-1648, and retained its status as a Free Imperial City. However, the city was later annexed by Louis XIV of France to extend the borders of his kingdom.

Louis' advisors believed that, as long as Strasbourg remained independent, it would endanger the King's newly annexed territories in Alsace, and, that to defend these large rural lands effectively, a garrison had to be placed in towns such as Strasbourg.[23] Indeed, the bridge over the Rhine at Strasbourg had been used repeatedly by Imperial (Holy Roman Empire) forces,[24] and three times during the Franco-Dutch War Strasbourg had served as a gateway for Imperial invasions into Alsace.[25] In September 1681 Louis' forces, though lacking a clear casus belli, surrounded the city with overwhelming force. After some negotiation, Louis marched into the city unopposed on 30 September 1681 and proclaimed its annexation.[26]

This annexation was one of the direct causes of the brief and bloody War of the Reunions whose outcome left the French in possession. The French annexation was recognized by the Treaty of Ryswick (1697). The official policy of religious intolerance which drove most Protestants from France after the revocation of the Edict of Nantes in 1685 was not applied in Strasbourg and in Alsace, because both had a special status as a province à l'instar de l'étranger effectif (a kind of foreign province of the king of France). Strasbourg Cathedral, however, was taken from the Lutherans to be returned to the Catholics as the French authorities tried to promote Catholicism wherever they could (some other historic churches remained in Protestant hands). Its language also remained overwhelmingly German: the German Lutheran university persisted until the French Revolution. Famous students included Goethe and Herder.

The Duke of Lorraine and Imperial troops crossing the Rhine at Strasbourg during the War of the Austrian Succession, 1744

During a dinner in Strasbourg organized by Mayor Frédéric de Dietrich on 25 April 1792, Claude Joseph Rouget de Lisle composed "La Marseillaise". The same year François Christophe Kellermann, a child of Strasbourg was appointed the head of the Mosel Army. He led his company to victory at the battle of Valmy and saved the young French republic. He was later appointed Duke of Valmy by Napoléon in 1808.

During this period Jean-Baptiste Kléber, also born in Strasbourg, led the French army to win several decisive victories. A statue of Kléber now stands in the centre of the city, at Place Kléber, and he is still one of the most famous French officers. He was later appointed Marshal of France by Napoléon.

Strasbourg's status as a free city was revoked by the French Revolution. Enragés, most notoriously Eulogius Schneider, ruled the city with an increasingly iron hand. During this time, many churches and monasteries were either destroyed or severely damaged. The cathedral lost hundreds of its statues (later replaced by copies in the 19th century) and in April 1794, there was talk of tearing its spire down, on the grounds that it was against the principle of equality. The tower was saved, however, when in May of the same year citizens of Strasbourg crowned it with a giant tin Phrygian cap. This artifact was later kept in the historical collections of the city until it was destroyed by the Germans in 1870 during the Franco-Prussian war.[27]

In 1805, 1806 and 1809, Napoléon Bonaparte and his first wife, Joséphine stayed in Strasbourg.[28] In 1810, his second wife Marie Louise, Duchess of Parma spent her first night on French soil in the palace. Another royal guest was King Charles X of France in 1828.[29] In 1836, Louis-Napoléon Bonaparte unsuccessfully tried to lead his first Bonapartist coup in Strasbourg.

During the Franco-Prussian War and the Siege of Strasbourg, the city was heavily bombarded by the Prussian army. The bombardment of the city was meant to break the morale of the people of Strasbourg.[30] On 24 and 26 August 1870, the Museum of Fine Arts was destroyed by fire, as was the Municipal Library housed in the Gothic former Dominican church, with its unique collection of medieval manuscripts (most famously the Hortus deliciarum), rare Renaissance books, archeological finds and historical artifacts. The gothic cathedral was damaged as well as the medieval church of Temple Neuf, the theatre, the city hall, the court of justice and many houses. At the end of the siege 10,000 inhabitants were left without shelter; over 600 died, including 261 civilians, and 3200 were injured, including 1,100 civilians.[31]

In 1871, after the end of the war, the city was annexed to the newly established German Empire as part of the Reichsland Elsass-Lothringen under the terms of the Treaty of Frankfurt. As part of Imperial Germany, Strasbourg was rebuilt and developed on a grand and representative scale, such as the Neue Stadt, or "new city" around the present Place de la République. Historian Rodolphe Reuss and Art historian Wilhelm von Bode were in charge of rebuilding the municipal archives, libraries and museums. The University, founded in 1567 and suppressed during the French Revolution as a stronghold of German sentiment,[citation needed] was reopened in 1872 under the name Kaiser-Wilhelms-Universität.

Strasbourg in the 1890s.

A belt of massive fortifications was established around the city, most of which still stands today, renamed after French generals and generally classified as Monuments historiques; most notably Fort Roon (now Fort Desaix) and Fort Podbielski (now Fort Ducrot) in Mundolsheim, Fort von Moltke (now Fort Rapp) in Reichstett, Fort Bismarck (now Fort Kléber) in Wolfisheim, Fort Kronprinz (now Fort Foch) in Niederhausbergen, Fort Kronprinz von Sachsen (now Fort Joffre) in Holtzheim and Fort Großherzog von Baden (now Fort Frère) in Oberhausbergen.[32]

Those forts subsequently served the French army (Fort Podbielski/Ducrot for instance was integrated into the Maginot Line[33]), and were used as POW-camps in 1918 and 1945.

Two garrison churches were also erected for the members of the Imperial German army, the Lutheran Église Saint-Paul and the Roman Catholic Église Saint-Maurice.

1918 to the present

A lost, then restored, symbol of modernity in Strasbourg : a room in the Aubette building designed by Theo van Doesburg, Hans Arp and Sophie Taeuber-Arp.

Following the defeat of the German empire in World War I and the abdication of the German Emperor, some revolutionary insurgents declared Alsace-Lorraine as an independent Republic, without preliminary referendum or vote. On 11 November 1918 (Armistice Day), communist insurgents proclaimed a "soviet government" in Strasbourg, following the example of Kurt Eisner in Munich as well as other German towns. French troops commanded by French general Henri Gouraud entered triumphantly in the city on 22 November. A major street of the city now bears the name of that date (Rue du 22 Novembre) which celebrates the entry of the French in the city.[34][35][36] Viewing the massive cheering crowd gathered under the balcony of Strasbourg's town hall, French President Raymond Poincaré stated that "the plebiscite is done".[37]

In 1919, following the Treaty of Versailles, the city was annexed by France in accordance with U.S. President Woodrow Wilson's "Fourteen Points" without a referendum. The date of the assignment was retroactively established on Armistice Day. It is doubtful whether a referendum in Strasbourg would have ended in France's favour since the political parties striving for an autonomous Alsace or a connection to France accounted only for a small proportion of votes in the last Reichstag as well as in the local elections.[38] The Alsatian autonomists who were pro French had won many votes in the more rural parts of the region and other towns since the annexation of the region by Germany in 1871. The movement started with the first election for the Reichstag; those elected were called "les députés protestataires", and until the fall of Bismarck in 1890, they were the only deputies elected by the Alsatians to the German parliament demanding the return of those territories to France.[39] At the last Reichstag election in Strasbourg and its periphery, the clear winners were the Social Democrats; the city was the administrative capital of the region, was inhabited by many Germans appointed by the central government in Berlin and its flourishing economy attracted many Germans. This could explain the difference between the rural vote and the one in Strasbourg. After the war, many Germans left Strasbourg and went back to Germany; some of them were denounced by the locals or expelled by the newly appointed authorities. The Saverne Affair was vivid in the memory among the Alsatians.

In 1920, Strasbourg became the seat of the Central Commission for Navigation on the Rhine, previously located in Mannheim, one of the oldest European institutions. It moved into the former Imperial Palace.

When the Maginot Line was built, the Sous-secteur fortifié de Strasbourg (fortified sub-sector of Strasbourg) was laid out on the city's territory as a part of the Secteur fortifié du Bas-Rhin, one of the sections of the Line. Blockhouses and casemates were built along the Grand Canal d'Alsace and the Rhine in the Robertsau forest and the port.[40]

Between the German invasion of Poland on 1 September 1939 and the Anglo-French declaration of War against the German Reich on 3 September 1939, the entire city (a total of 120,000 people) was evacuated, like other border towns as well. Until the arrival of the Wehrmacht troops mid-June 1940, the city was, for ten months, completely empty, with the exception of the garrisoned soldiers. The Jews of Strasbourg had been evacuated to Périgueux and Limoges, the University had been evacuated to Clermont-Ferrand.

After the ceasefire following the Fall of France in June 1940, Alsace was annexed to Germany and a rigorous policy of Germanisation was imposed upon it by the Gauleiter Robert Heinrich Wagner. When, in July 1940, the first evacuees were allowed to return, only residents of Alsatian origin were admitted. The last Jews were deported on 15 July 1940 and the main synagogue, a huge Romanesque revival building that had been a major architectural landmark with its 54-metre-high dome since its completion in 1897, was set ablaze, then razed.[41]

In September 1940 the first Alsatian resistance movement led by Marcel Weinum called La main noire (The black hand) was created. It was composed by a group of 25 young men aged from 14 to 18 years old who led several attacks against the German occupation. The actions culminated with the attack of the Gauleiter Robert Wagner, the highest commander of Alsace directly under the order of Hitler. In March 1942, Marcel Weinum was prosecuted by the Gestapo and sentenced to be beheaded at the age of 18 in April 1942 in Stuttgart, Germany. His last words will be: "If I have to die, I shall die but with a pure heart". From 1943 the city was bombarded by Allied aircraft. While the First World War had not notably damaged the city, Anglo-American bombing caused extensive destruction in raids of which at least one was allegedly carried out by mistake.[42] In August 1944, several buildings in the Old Town were damaged by bombs, particularly the Palais Rohan, the Old Customs House (Ancienne Douane) and the Cathedral.[43] On 23 November 1944, the city was officially liberated by the 2nd French Armoured Division under General Leclerc. He achieved the oath that he made with his soldiers, after the decisive Capture of Kufra. With the Oath of Kuffra, they swore to keep up the fight until the French flag flew over the Cathedral of Strasbourg.

Many people from Strasbourg were incorporated in the German Army against their will, and were sent to the eastern front, those young men and women were called Malgré-nous. Many tried to escape from the incorporation, join the French Resistance, or desert the Wehrmacht but many couldn't because they were running the risk of having their families sent to work or concentration camps by the Germans. Many of these men, especially those who did not answer the call immediately, were pressured to "volunteer" for service with the SS, often by direct threats on their families. This threat obliged the majority of them to remain in the German army. After the war, the few that survived were often accused of being traitors or collaborationists, because this tough situation was not known in the rest of France, and they had to face the incomprehension of many. In July 1944, 1500 malgré-nous were released from Soviet captivity and sent to Algiers, where they joined the Free French Forces. Nowadays history recognizes the suffering of those people, and museums, public discussions and memorials have been built to commemorate this terrible period of history of this part of Eastern France (Alsace and Moselle). Liberation of Strasbourg took place on 23 November 1944.

In 1947, a fire broke out in the Musée des Beaux-Arts and devastated a significant part of the collections. This fire was an indirect consequence of the bombing raids of 1944: because of the destruction inflicted on the Palais Rohan, humidity had infiltrated the building, and moisture had to be fought. This was done with welding torches, and a bad handling of these caused the fire.[44]

In the 1950s and 1960s the city was enlarged by new residential areas meant to solve both the problem of housing shortage due to war damage and that of the strong growth of population due to the baby boom and immigration from North Africa: Cité Rotterdam in the North-East, Quartier de l'Esplanade in the South-East, Hautepierre in the North-West. Between 1995 and 2010, a new district has been built in the same vein, the Quartier des Poteries, south of Hautepierre.

In 1958, a violent hailstorm destroyed most of the historical greenhouses of the Botanical Garden and many of the stained glass windows of St. Paul's Church.

In 1949, the city was chosen to be the seat of the Council of Europe with its European Court of Human Rights and European Pharmacopoeia. Since 1952, the European Parliament has met in Strasbourg, which was formally designated its official 'seat' at the Edinburgh meeting of the European Council of EU heads of state and government in December 1992. (This position was reconfirmed and given treaty status in the 1997 Treaty of Amsterdam). However, only the (four-day) plenary sessions of the Parliament are held in Strasbourg each month, with all other business being conducted in Brussels and Luxembourg. Those sessions take place in the Immeuble Louise Weiss, inaugurated in 1999, which houses the largest parliamentary assembly room in Europe and of any democratic institution in the world. Before that, the EP sessions had to take place in the main Council of Europe building, the Palace of Europe, whose unusual inner architecture had become a familiar sight to European TV audiences.[45] In 1992, Strasbourg became the seat of the Franco-German TV channel and movie-production society Arte.

In 2000, a terrorist plot to blow up the cathedral was prevented thanks to the cooperation between French and German police that led to the arrest in late 2000 of a Frankfurt-based group of terrorists.

On 6 July 2001, during an open-air concert in the Parc de Pourtalès, a single falling Platanus tree killed thirteen people and injured 97. On 27 March 2007, the city was found guilty of neglect over the accident and fined €150,000.[46]

In 2006, after a long and careful restoration, the inner decoration of the Aubette, made in the 1920s by Hans Arp, Theo van Doesburg, and Sophie Taeuber-Arp and destroyed in the 1930s, was made accessible to the public again. The work of the three artists had been called "the Sistine Chapel of abstract art".

Architecture

Strasbourg, Cathedral of Our Lady

The city is chiefly known for its sandstone Gothic Cathedral with its famous astronomical clock, and for its medieval cityscape of Rhineland black and white timber-framed buildings, particularly in the Petite France district or Gerberviertel ("tanners' district") alongside the Ill and in the streets and squares surrounding the cathedral, where the renowned Maison Kammerzell stands out.

Notable medieval streets include Rue Mercière, Rue des Dentelles, Rue du Bain aux Plantes, Rue des Juifs, Rue des Frères, Rue des Tonneliers, Rue du Maroquin, Rue des Charpentiers, Rue des Serruriers, Grand' Rue, Quai des Bateliers, Quai Saint-Nicolas and Quai Saint-Thomas. Notable medieval squares include Place de la Cathédrale, Place du Marché Gayot, Place Saint-Étienne, Place du Marché aux Cochons de Lait and Place Benjamin Zix.

Maison des tanneurs.

In addition to the cathedral, Strasbourg houses several other medieval churches that have survived the many wars and destructions that have plagued the city: the Romanesque Église Saint-Étienne, partly destroyed in 1944 by Allied bombing raids, the part Romanesque, part Gothic, very large Église Saint-Thomas with its Silbermann organ on which Wolfgang Amadeus Mozart and Albert Schweitzer played,[49] the Gothic Église protestante Saint-Pierre-le-Jeune with its crypt dating back to the seventh century and its cloister partly from the eleventh century, the Gothic Église Saint-Guillaume with its fine early-Renaissance stained glass and furniture, the Gothic Église Saint-Jean, the part Gothic, part Art Nouveau Église Sainte-Madeleine, etc. The Neo-Gothic church Saint-Pierre-le-Vieux Catholique (there is also an adjacent church Saint-Pierre-le-Vieux Protestant) serves as a shrine for several 15th-century wood worked and painted altars coming from other, now destroyed churches and installed there for public display. Among the numerous secular medieval buildings, the monumental Ancienne Douane (old custom-house) stands out.

The German Renaissance has bequeathed the city some noteworthy buildings (especially the current Chambre de Commerce et d'Industrie, former town hall, on Place Gutenberg), as did the French Baroque and Classicism with several hôtels particuliers (i.e. palaces), among which the Palais Rohan (1742, now housing three museums) is the most spectacular. Other buildings of its kind are the "Hôtel de Hanau" (1736, now the city hall), the Hôtel de Klinglin (1736, now residence of the préfet), the Hôtel des Deux-Ponts (1755, now residence of the military governor), the Hôtel d'Andlau-Klinglin (1725, now seat of the administration of the Port autonome de Strasbourg) etc. The largest baroque building of Strasbourg though is the 150 m (490 ft) long 1720s main building of the Hôpital civil. As for French Neo-classicism, it is the Opera House on Place Broglie that most prestigiously represents this style.

Strasbourg also offers high-class eclecticist buildings in its very extended German district, the Neustadt, being the main memory of Wilhelmian architecture since most of the major cities in Germany proper suffered intensive damage during World War II. Streets, boulevards and avenues are homogeneous, surprisingly high (up to seven stories) and broad examples of German urban lay-out and of this architectural style that summons and mixes up five centuries of European architecture as well as Neo-Egyptian, Neo-Greek and Neo-Babylonian styles. The former imperial palace Palais du Rhin, the most political and thus heavily criticized of all German Strasbourg buildings epitomizes the grand scale and stylistic sturdiness of this period. But the two most handsome and ornate buildings of these times are the École internationale des Pontonniers (the former Höhere Mädchenschule, girls college) with its towers, turrets and multiple round and square angles[50] and the École des Arts décoratifs with its lavishly ornate façade of painted bricks, woodwork and majolica.[51]

Notable streets of the German district include: Avenue de la Forêt Noire, Avenue des Vosges, Avenue d'Alsace, Avenue de la Marseillaise, Avenue de la Liberté, Boulevard de la Victoire, Rue Sellénick, Rue du Général de Castelnau, Rue du Maréchal Foch, and Rue du Maréchal Joffre. Notable squares of the German district include: Place de la République, Place de l'Université, Place Brant, and Place Arnold

As for modern and contemporary architecture, Strasbourg possesses some fine Art Nouveau buildings (such as the huge Palais des Fêtes and houses and villas like Villa Schutzenberger and Hôtel Brion), good examples of post-World War II functional architecture (the Cité Rotterdam, for which Le Corbusier did not succeed in the architectural contest) and, in the very extended Quartier Européen, some spectacular administrative buildings of sometimes utterly large size, among which the European Court of Human Rights building by Richard Rogers is arguably the finest. Other noticeable contemporary buildings are the new Music school Cité de la Musique et de la Danse, the Musée d'Art moderne et contemporain and the Hôtel du Département facing it, as well as, in the outskirts, the tramway-station Hoenheim-Nord designed by Zaha Hadid.

Place Kléber

The city has many bridges, including the medieval and four-towered Ponts Couverts that, despite their name, are no longer covered. Next to the Ponts Couverts is the Barrage Vauban, a part of Vauban's 17th-century fortifications, that does include a covered bridge. Other bridges are the ornate 19th-century Pont de la Fonderie (1893, stone) and Pont d'Auvergne (1892, iron), as well as architect Marc Mimram's futuristic Passerelle over the Rhine, opened in 2004.

The largest square at the centre of the city of Strasbourg is the Place Kléber. Located in the heart of the city's commercial area, it was named after general Jean-Baptiste Kléber, born in Strasbourg in 1753 and assassinated in 1800 in Cairo. In the square is a statue of Kléber, under which is a vault containing his remains. On the north side of the square is the Aubette (Orderly Room), built by Jacques François Blondel, architect of the king, in 1765–1772.

Parks

The Pavillon Joséphine (rear side) in the Parc de l'Orangerie

The Château de Pourtalès (front side) in the park of the same name

Strasbourg features a number of prominent parks, of which several are of cultural and historical interest: the Parc de l'Orangerie, laid out as a French garden by André le Nôtre and remodeled as an English garden on behalf of Joséphine de Beauharnais, now displaying noteworthy French gardens, a neo-classical castle and a small zoo; the Parc de la Citadelle, built around impressive remains of the 17th-century fortress erected close to the Rhine by Vauban;[52] the Parc de Pourtalès, laid out in English style around a baroque castle (heavily restored in the 19th century) that now houses a small three-star hotel,[53] and featuring an open-air museum of international contemporary sculpture.[54] The Jardin botanique de l'Université de Strasbourg (botanical garden) was created under the German administration next to the Observatory of Strasbourg, built in 1881, and still owns some greenhouses of those times. The Parc des Contades, although the oldest park of the city, was completely remodeled after World War II. The futuristic Parc des Poteries is an example of European park-conception in the late 1990s. The Jardin des deux Rives, spread over Strasbourg and Kehl on both sides of the Rhine opened in 2004 and is the most extended (60-hectare) park of the agglomeration. The most recent park is Parc du Heyritz (8,7 ha), opened in 2014 along a canal facing the hôpital civil.

2 - Traversata Alpe Vova Salecchio: Salecchio Superiore by Maria Grazia Schiapparelli

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Per chi fosse interessato all'escursione, ecco il link:

www.inalto.org/it/relazioni/escursionismo/salecchio

In Formazza valley there are some very old settlements of the Walser population; this is a german origin group, that came to Italy in the middle age, and colonized the middle mountains around the Mount Rosa. They lived here the all year, they spoke a kind of german dialect; now remain here only their houses...

Assassins Creed Origins • Black Desert × Senu by Herakleopolites inGame Photography

✖ inGame Photography 🎮📷

• Germany📍• Ps4 • Games • Screenshot • Art • Virtual • Adventure • Images • Photography • All Shots taken by me. 🌹

Game × Assassins Creed Origins

Place × Black Desert

✖ Instagram: @herakleopolites_

❌ www.herakleopolites.wordpress.com

✖ TAGS × #desertingame

#Assassinscreedorigins #Assassinscreed #acorigins #aco #ubisoft #Playstation #ps4 #ps4share #game #games #gamescreenshot #photomode #photography #photographyart #ingamephotography #image #photooftheday #art #adventure #adventuretime #virtualphotography #virtual #selfmade #myshots #myworks #art_in_the_game #ps4sharingpanda #herakleopolites_ #herakleopolitesshots #videogames #screenshot #mywork #eagle #instagood #playstation #photo #images #landscape

Eglise Saint-Pierre (décoration intérieure XVIIIe) de Lachapelle (82) by Yvette Gauthier

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"Aux origines, la chapelle est un castrum, village établi au pied d'un château et possédant son propre lieu de culte. L'église actuelle est en fait l'ancienne chapelle du château , dont elle ne se distingue par aucun détail d'architecture. Elle est devenue église paroissiale au XVe siècle après l'abandon du village d'origine qui était situé à 1 km.

L'austérité extérieure contraste avec la luxuriance du décor interne. Un ensemble de boiseries fut installé de 1761 à 1776 par l'ébéniste Maraignon dit Champaigne, de Lectoure, pour les frères Goulard, curés. Leur fortune personnelle autorisa une création originale aux proportions parfaites dans un esprit pleinement rocaille. On remarque en particulier les tribunes, réservées aux hommes, qui donnent à l'ensemble un petit air d'opéra. Intégralement conservé, ce décor de bois peint et doré, exceptionnel par son unité, sa cohérence, l'harmonie et le rythme, reste le témoin le plus complet et le plus représentatif du succès d'un style rocaille épanoui auprès des riches ecclésiastiques méridionaux jusqu'à la fin du XVIIIe siècle."

Toyota Origin by Román Emin

Toyota Origin, Versión limitada y vendida únicamente en Japón. Se produjeron aproximadamente unas 1000 unidades de este precioso auto.

Nikon D7100 | 80mm | 1/125 sec | f/8 | iso 320

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pierre Rabhi by dominique Bernardini

paysan, philosophe et essayiste français d'origine algérienne, inventeur du concept « Oasis en tous lieux ».

Il défend un mode de société plus respectueux de l'homme et de la terre et soutient le développement de pratiques agricoles respectueuses de l'environnement et préservant les ressources naturelles, l'agroécologie, notamment dans les pays arides

Une de ses citation

« On voit s'ériger des générations d'enfants qui, faute d'un éveil à la vie, sont réduits à n'être que des consommateurs insatiables, blasés et tristes. »

Farmer, philosopher and essayist French of Algerian origin, inventor of the concept of "Oasis in all places."

He advocates a more respectful way of human society and the earth and supports the development of sustainable agricultural practices preserving the environment and natural resources, agro-ecology, especially in arid countries

One of his quote

"We see themselves up generations of children who, for lack of an awakening to life, are reduced to mere insatiable consumers jaded and sad. "

St James' Church at Cardington by Tony Garofalo

5 3

The parish church of St. James has its origins in the 11th century and the presence of a church on this site is in fact documented in the Domesday Book of 1086. It stands in the picturesque Shropshire village of Cardington ("Carda's Farmstead" or “Carda’s Village”), where it is overlooked by nearby Caer Caradoc Hill (www.flickr.com/photos/67668518@N08/8656836212/in/photostr...), on which Caractacus is rumoured to have made his unsuccessful last stand against the invading legions of Rome in AD 50.

Both Cardington and its church were given to the Knights Templar in 1167 and remained in their possession until 1308 when the order was disbanded. The old church was re-built by the Templars in the later part of the 12th century and during the following century the chancel was added and the imposing west tower was constructed. The tower rises in three stages, with a battlemented parapet that was not added until much later. Further additions and alterations were made to the made to the church over the following three centuries and the fine timber porch that can be seen in the picture was added in 1639. The last major restoration was carried out between 1852 and 1868 when the gallery was removed and the Norman chancel arch was replaced with a much larger one.

St. James’ Church is an active Anglican parish church in the deanery of Condover (“Flat-topped ridge by Cound Brook”), the archdeaconry of Ludlow (“Hill by the noisy stream” or “Tumulus by the noisy stream”), and the diocese of Hereford (“Ford suitable for the passage of an army”). It is a Grade I listed building. Outside in the churchyard there are three other structures of note that have all been designated as Grade II listed buildings. They comprise a sandstone sundial from the mid-18th century, the pedestal tomb of Richard Butler that is dated 1831 and a group of five chest tombs dating from the late 18th to the early 19th centuries.

misty origins by Anton Best

Origin by Elena Erda

7 5

Croatia - may 2009 -

Origins Bumblebee by Klinikle

Buzzworthy Bumblebee

060 Haynes Apperson Runabout (1903) BS 8683 by Robert Knight

Haynes Apperson Surrey (1902) Engine 500cc 8 HP Two Cylinder

Country of Origin USA (Kokomo, Indiana)

Registration Number BS 8683

Body Type Runabout

2021 London-Brighton Number 151

Entrant Martin Bodenham

Pilote Martin Bodenham

HAYNES (HAYNES APPERSON) ALBUM

www.flickr.com/photos/45676495@N05/albums/72157700577222292/

With a badge that carried the slogan - Americas First Car, the Haynes Automobile Company can trace its car making history back to 1898 when the company, formerly known as Haynes-Apperson company was established in Kokomo, Indiana, by brothers Edgar Apperson, Elmer Apperson and Elwood Haynes. Elwood Haynes was a talented metallurgist who invented a very special stainless steel alloy called Stellite which is still used to this day on the space shuttle to this day, he approached the Apperson Brothers to build his first car. The cars were powered by 5 HP engines while the heavy parts were made of aluminium alloy.

In 1905 the Apperson brothers left the company to form Apperson Brothers Automobile Company. Elwood Haynes remained renaming the old company simply the Haynes Automobile Co. from 1914,

Haynes offered a Light Six at $1485. Their ads boasted that it was, - The result of 22 years successful experience in building motor Haynes also proclaimed it Americas greatest light six, and that it will travel 22 to 25 miles on one gallon of gas and has more than 1 horsepower to every 55 pounds of weight.

For 1916 Haynes introduced the twelve cylinder Light Twelve, sold alongside a refined Light Six in the guise of Models 36 and 37

1923 saw the introduction of the 57, with a 121 inch wheelbase in five-seat four-door sedan, three-seat coupelet, and two-seat roadster advertised as being complete with front and rear bumpers, six disc (as opposed to wire) wheels, wind wings, sun visors, artistically fashioned individual steps (for the running boards), and individual fenders

But the end was in sight, Haynes Automobiles was declared bankrupt in 1924 and went out of business in 1925.

Haynes was a relatively expensive make, film star Cleo Madison drove a Haynes Light Six as did composer Louis F. Gottschalk .

In 1915 a Haynes 50-60 Model Y Touring Car achieved notoriety when it was featured in what has been called the worlds oldest known pornographic film - A Free Ride

Diolch am 89,601,768 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.

Thanks for 89,601,768 amazing views, every one is greatly appreciated.

Shot 06.11.2021 Regents Street In that London in the South (London-Brighton weekend). Ref. 123-060

Nepal - Pharping - Sekh Narayan Temple - Hanuman - 5 by Manfred Sommer

Hanuman is a Hindu god and an ardent devotee of Rama. He is a central character in the Indian epic Ramayana and its various versions. He also finds mentions in several other texts, including Mahabharata, the various Puranas and some Jain texts. A vanara, Hanuman participated in Rama's war against the demon king Ravana. Several texts also present him as an incarnation of Lord Shiva. He is the son of Kesari, and is also described as the son of Vayu, who according to several stories, played a role in his birth. Several sects including Arya Samaj believe that Hanuman was a human and not vanara.

ETYMOLOGY & OTHER NAMES

The Sanskrit texts mention several legends about how Sri Hanuman got his name. One legend is that Indra, the king of the deities, struck Sri Hanuman's jaw during his childhood (see below). The child received his name from the Sanskrit words Hanu ("jaw") and -man (or -mant, "prominent" or "disfigured"). The name thus means "one with prominent or disfigured jaw". Another theory says the name derives from the Sanskrit words Han ("killed" or "destroyed") and maana (pride); the name implies "one whose pride was destroyed". Some Jain texts mention that Sri Hanuman spent his childhood on an island called Hanuruha, which is the origin of his name.

According to one theory, the name "Hanuman" derives from the proto-Dravidian word for male monkey (ana-mandi), which was later Sanskritized to "Hanuman" (see historical development below). Linguistic variations of "Hanuman" include Hanumat, Anuman (Tamil), Anoman (Indonesian), Andoman (Malay) and Hunlaman (Lao).

Hanuman came to be regarded as an avatar (incarnation) of Shiva by the 10th century CE (this development possibly started as early as in the 8th century CE). Hanuman is mentioned as an avatar of Shiva or Rudra in the Sanskrit texts like Mahabhagvata Purana, Skanda Purana, Brhaddharma Purana and Mahanataka among others. This development might have been a result of the Shavite attempts to insert their ishta devata (cherished deity) in the Vaishnavite texts, which were gaining popularity. The 17th century Oriya work Rasavinoda by Divakrsnadasa goes on to mention that the three gods – Brahma, Vishnu and Shiva – combined take to the form of Hanuman.

Hanuman became more important in the medieval period, and came to be portrayed as the ideal devotee (bhakta) of Rama. His characterization as a lifelong brahmachari (celibate) was another important development during this period. The belief that Hanuman's celibacy is the source of his strength became popular among the wrestlers in India. The celibacy or brahmacharya aspect of Hanuman is not mentioned in the original Ramayana.

BIRTH & CHILDHOOD

Hanuman was born to the vanaras. His mother Anjana was an apsara who was born on earth due to a curse. She was redeemed from this curse on her giving birth to a son. The Valmiki Ramayana states that his father Kesari was the son of Brihaspati and that Kesari also fought on Rama's side in the war against Ravana. Anjana and Kesari performed intense prayers to Shiva to get a child. Pleased with their devotion, Shiva granted them the boon they sought. Hanuman, in another interpretation, is the incarnation or reflection of Shiva himself.

Hanuman is often called the son of the deity Vayu; several different traditions account for the Vayu's role in Hanuman's birth. One story mentioned in Eknath's Bhavartha Ramayana (16th century CE) states that when Anjana was worshiping Shiva, the King Dasharatha of Ayodhya was also performing the ritual of Putrakama yagna in order to have children. As a result, he received some sacred pudding (payasam) to be shared by his three wives, leading to the births of Rama, Lakshmana, Bharata, and Shatrughna. By divine ordinance, a kite snatched a fragment of that pudding and dropped it while flying over the forest where Anjana was engaged in worship. Vayu, the Hindu deity of the wind, delivered the falling pudding to the outstretched hands of Anjana, who consumed it. Hanuman was born to her as a result. Another tradition says that Anjana and her husband Kesari prayed Shiva for a child. By Shiva's direction, Vayu transferred his male energy to Anjana's womb. Accordingly, Hanuman is identified as the son of the Vayu.

Another story of Hanuman's origins is derived from the Vishnu Purana and Naradeya Purana. Narada, infatuated with a princess, went to his lord Vishnu, to make him look like Vishnu, so that the princess would garland him at swayamvara (husband-choosing ceremony). He asked for hari mukh (Hari is another name of Vishnu, and mukh means face). Vishnu instead bestowed him with the face of a vanara. Unaware of this, Narada went to the princess, who burst into laughter at the sight of his ape-like face before all the king's court. Narada, unable to bear the humiliation, cursed Vishnu, that Vishnu would one day be dependent upon a vanara. Vishnu replied that what he had done was for Narada's own good, as he would have undermined his own powers if he were to enter matrimony. Vishnu also noted that Hari has the dual Sanskrit meaning of vanara. Upon hearing this, Narada repented for cursing his idol. But Vishnu told him not repent as the curse would act as a boon, for it would lead to the birth of Hanuman, an avatar of Shiva, without whose help Rama (Vishnu's avatar) could not kill Ravana.

BIRTH PLACE

Multiple places in India are claimed as the birthplace of Hanuman.

According to one theory, Hanuman was born on 'Anjaneya Hill', in Hampi, Karnataka. This is located near the Risyamukha mountain on the banks of the Pampa, where Sugreeva and Rama are said to have met in Valmiki Ramayana's Kishkinda Kanda. There is a temple that marks the spot. Kishkinda itself is identified with the modern Anegundi taluk (near Hampi) in Bellary district of Karnataka.

Anjan, a small village about 18 km away from Gumla, houses "Anjan Dham", which is said to be the birthplace of Hanuman. The name of the village is derived from the name of the goddess Anjani, the mother of Hanuman. Aanjani Gufa (cave), 4 km from the village, is believed to be the place where Anjani once lived. Many objects of archaeological importance obtained from this site are now held at the Patna Museum.

The Anjaneri (or Anjneri) mountain, located 7 km from Trimbakeshwar in the Nasik district, is also claimed as the birthplace of Hanuman.

According to Anjan Dham, Hanuman was born on Lakshka Hill near Sujangarh in Churu district, Rajasthan.

CHILDHOOD

As a child, believing the sun to be a ripe mango, Hanuman pursued it in order to eat it. Rahu, a Vedic planet corresponding to an eclipse, was at that time seeking out the sun as well, and he clashed with Hanuman. Hanuman thrashed Rahu and went to take sun in his mouth.[18] Rahu approached Indra, king of devas, and complained that a monkey child stopped him from taking on Sun, preventing the scheduled eclipse. This enraged Indra, who responded by throwing the Vajra (thunderbolt) at Hanuman, which struck his jaw. He fell back down to the earth and became unconscious. A permanent mark was left on his chin (हनुः hanuḥ "jaw" in Sanskrit), due to impact of Vajra, explaining his name. Upset over the attack, Hanuman's father figure Vayu deva (the deity of air) went into seclusion, withdrawing air along with him. As living beings began to asphyxiate, Indra withdrew the effect of his thunderbolt. The devas then revived Hanuman and blessed him with multiple boons to appease Vayu.

Brahma gave Hanuman a boon that would protect him from the irrevocable Brahma's curse. Brahma also said: "Nobody will be able to kill you with any weapon in war." From Brahma he obtained the power of inducing fear in enemies, of destroying fear in friends, to be able to change his form at will and to be able to easily travel wherever he wished. From Shiva he obtained the boons of longevity, scriptural wisdom and ability to cross the ocean. Shiva assured safety of Hanuman with a band that would protect him for life. Indra blessed him that the Vajra weapon will no longer be effective on him and his body would become stronger than Vajra. Varuna blessed baby Hanuman with a boon that he would always be protected from water. Agni blessed him with immunity to burning by fire. Surya gave him two siddhis of yoga namely "laghima" and "garima", to be able to attain the smallest or to attain the biggest form. Yama, the God of Death blessed him healthy life and free from his weapon danda, thus death would not come to him. Kubera showered his blessings declaring that Hanuman would always remain happy and contented. Vishwakarma blessed him that Hanuman would be protected from all his creations in the form of objects or weapons. Vayu also blessed him with more speed than he himself had. Kamadeva also blessed him that the sex will not be effective on him.So his name is also Bala Bramhachari.

On ascertaining Surya to be an all-knowing teacher, Hanuman raised his body into an orbit around the sun and requested to Surya to accept him as a student. Surya refused and explained claiming that he always had to be on the move in his chariot, it would be impossible for Hanuman to learn well. Undeterred, Hanuman enlarged his form, with one leg on the eastern ranges and the other on the western ranges, and facing Surya again pleaded. Pleased by his persistence, Surya agreed. Hanuman then learned all of the latter's knowledge. When Hanuman then requested Surya to quote his "guru-dakshina" (teacher's fee), the latter refused, saying that the pleasure of teaching one as dedicated as him was the fee in itself. Hanuman insisted, whereupon Surya asked him to help his (Surya's) spiritual son Sugriva. Hanuman's choice of Surya as his teacher is said to signify Surya as a Karma Saakshi, an eternal witness of all deeds. Hanuman later became Sugriva's minister.

Hanuman was mischievous in his childhood, and sometimes teased the meditating sages in the forests by snatching their personal belongings and by disturbing their well-arranged articles of worship. Finding his antics unbearable, but realizing that Hanuman was but a child, (albeit invincible), the sages placed a mild curse on him by which he became unable to remember his own ability unless reminded by another person. The curse is highlighted in Kishkindha Kanda and he was relieved from the curse by the end of Kishkindha Kanda when Jambavantha reminds Hanuman of his abilities and encourages him to go and find Sita and in Sundara Kanda he used his supernatural powers at his best.

ADVANTURES IN RAMAYANA

The Sundara Kanda, the fifth book in the Ramayana, focuses on the adventures of Hanuman.

MEETING WITH RAMA

Hanuman meets Rama during the Rama's 14-year exile. With his brother Lakshmana, Rama is searching for his wife Sita who had been abducted by Ravana. Their search brings them to the vicinity of the mountain Rishyamukha, where Sugriva, along with his followers and friends, are in hiding from his older brother Vali.

Having seen Rama and Lakshmana, Sugriva sends Hanuman to ascertain their identities. Hanuman approaches the two brothers in the guise of a brahmin. His first words to them are such that Rama says to Lakshmana that none could speak the way the brahmin did unless he or she had mastered the Vedas. He notes that there is no defect in the brahmin's countenance, eyes, forehead, brows, or any limb. He points out to Lakshmana that his accent is captivating, adding that even an enemy with sword drawn would be moved. He praises the disguised Hanuman further, saying that sure success awaited the king whose emissaries were as accomplished as he was.

When Rama introduces himself, the brahman identitifies himself as Hanuman and falls prostrate before Rama, who embraces him warmly. Thereafter, Hanuman's life becomes interwoven with that of Rama. Hanuman then brings about friendship and alliance between Rama and Sugriva; Rama helps Sugriva regain his honour and makes him king of Kishkindha. Sugriva and his vanaras, most notably Hanuman, help Rama defeat Raavana and reunite with Sita.

In their search for Sita, a group of Vanaras reaches the southern seashore. Upon encountering the vast ocean, every vanara begins to lament his inability to jump across the water. Hanuman too is saddened at the possible failure of his mission, until the other vanaras and the wise bear Jambavantha begin to extol his virtues. Hanuman then recollects his own powers, enlarges his body, and flies across the ocean. On his way, he encounters a mountain that rises from the sea, proclaims that it owed his father a debt, and asks him to rest a while before proceeding. Not wanting to waste any time, Hanuman thanks the mountain, touches it briefly, and presses on. He then encounters a sea-monster, Surasa, who challenges him to enter her mouth. When Hanuman outwits her, she admits that her challenge was merely a test of his courage. After killing Simhika, a rakshasi, he reaches Lanka.

FINDING SITA

Hanuman reaches Lanka through flight and marvels at its beauty. After he finds Sita in captivity in a garden, Hanuman reveals his identity to her, reassures her that Rama has been looking for her, and uplifts her spirits. He offers to carry her back to Rama, but she refuses his offer, saying it would be an insult to Rama as his honour is at stake. In order to give Sita faith, Hanuman gives her a ring that Rama wanted Hanuman to give her. After meeting Sita, Hanuman begins to wreak havoc, gradually destroying the palaces and properties of Lanka. He kills many rakshasas, including Jambumali and Aksha Kumar. To subdue him, Ravana's son Indrajit uses the Brahmastra. Though immune to the effects of this weapon Hanuman, out of respect to Brahma, allows himself be bound. Deciding to use the opportunity to meet Ravana, and to assess the strength of Ravana's hordes, Hanuman allows the rakshasa warriors to parade him through the streets. He conveys Rama's message of warning and demands the safe return of Sita. He also informs Ravana that Rama would be willing to forgive him if he returns Sita honourably.

Enraged, Ravana orders Hanuman's execution, whereupon Ravana's brother Vibhishana intervenes, pointing out that it is against the rules of engagement to kill a messenger. Ravana then orders Hanuman's tail be lit afire. As Ravana's forces attempted to wrap cloth around his tail, Hanuman begins to lengthen it. After frustrating them for a while, he allows it to burn, then escapes from his captors, and with his tail on fire he burns down large parts of Lanka. After extinguishing his flaming tail in the sea, he returns to Rama.

SHAPESHIFTING

In the Ramayana Hanuman changes shape several times. For example, while he searches for the kidnapped Sita in Ravana's palaces on Lanka, he contracts himself to the size of a cat, so that he will not be detected by the enemy. Later on, he takes on the size of a mountain, blazing with radiance, to show his true power to Sita.

Also he enlarges & immediately afterwards contracts his body to out-wit Surasa, the she-demon, who blocked his path while crossing the sea to reach Lanka. Again, he turns his body microscopically small to enter Lanka before killing Lankini, the she-demon guarding the gates of Lanka.

He achieved this shape-shifting by the powers of two siddhis; Anima and Garima bestowed upon him in his childhood by Sun-God, Surya.

MOUNTAIN LIFTING

When Lakshmana is severely wounded during the battle against Ravana, Hanuman is sent to fetch the Sanjivani, a powerful life-restoring herb, from Dronagiri mountain in the Himalayas, to revive him. Ravana realises that if Lakshmana dies, a distraught Rama would probably give up, and so he dispatches the sorcerer Kalanemi to intercept Hanuman. Kalanemi, in the guise of a sage, deceives Hanuman, but Hanuman uncovers his plot with the help of an apsara, whom he rescues from her accursed state as a crocodile.

Ravana, upon learning that Kalanemi has been slain by Hanuman, summons Surya to rise before its appointed time because the physician Sushena had said that Lakshmana would perish if untreated by daybreak. Hanuman realizes the danger, however, and, becoming many times his normal size, detains the Sun God to prevent the break of day. He then resumes his search for the precious herb, but, when he finds himself unable to identify which herb it is, he lifts the entire mountain and delivers it to the battlefield in Lanka. Sushena then identifies and administers the herb, and Lakshmana is saved. Rama embraces Hanuman, declaring him as dear to him as his own brother. Hanuman releases Surya from his grip, and asks forgiveness, as the Sun was also his Guru.

Hanuman was also called "langra veer"; langra in Hindi means limping and veer means "brave". The story behind Hanuman being called langra is as follows. He was injured when he was crossing the Ayodhya with the mountain in his hands. As he was crossing over Ayodhya, Bharat, Rama's young brother, saw him and assumed that some Rakshasa was taking this mountain to attack Ayodhya. Bharat then shot Hanuman with an arrow, which was engraved with Rama's name. Hanuman did not stop this arrow as it had Rama's name written on it, and it injured his leg. Hanuman landed and explained to Bharat that he was moving the mountain to save his own brother, Lakshmana. Bharat, very sorry, offered to fire an arrow to Lanka, which Hanuman could ride in order to reach his destination more easily. But Hanuman declined the offer, preferring to fly on his own, and he continued his journey with his injured leg.

PATALA INCIDENT

In another incident during the war, Rama and Lakshmana are captured by the rakshasa Mahiravana and Ahiravan), brother of Ravana, who held them captive in their palace in Patala (or Patalpuri) - the netherworld. Mahiravana keeps them as offerings to his deity. Searching for them, Hanuman reaches Patala, the gates of which are guarded by a young creature called Makardhwaja (known also as Makar-Dhwaja or Magar Dhwaja), who is part reptile and part Vanara.

The story of Makardhwaja's birth is said to be that when Hanuman extinguished his burning tail in the ocean, a drop of his sweat fell into the waters, eventually becoming Makardhwaja, who perceives Hanuman as his father. When Hanuman introduces himself to Makardhwaja, the latter asks his blessings. Hanuman enters Patala.

Upon entering Patala, Hanuman discovers that to kill Mahiravana, he must simultaneously extinguish five lamps burning in different directions. Hanuman assumes the Panchamukha or five-faced form of Sri Varaha facing north, Sri Narasimha facing south, Sri Garuda facing west, Sri Hayagriva facing the sky and his own facing the east, and blows out the lamps. Hanuman then rescues Rama and Lakshmana. Afterwards, Rama asks Hanuman to crown Makardhwaja king of Patala. Hanuman then instructs Makardhwaja to rule Patala with justice and wisdom.

To date Chandraloak Devpuri mandir is located at Dugana a small village 17 km from Laharpur,Sitapur district,Uttar Pradesh. A divine place where Chakleswar Mahadev situated.

HONOURS

Shortly after he is crowned Emperor upon his return to Ayodhya, Rama decides to ceremoniously reward all his well-wishers. At a grand ceremony in his court, all his friends and allies take turns being honoured at the throne. Hanuman approaches without desiring a reward. Seeing Hanuman come up to him, an emotionally overwhelmed Rama embraces him warmly, declaring that he could never adequately honour or repay Hanuman for the help and services he received from the noble Vanara. Sita, however, insists that Hanuman deserved honour more than anyone else, and Sita gives him a necklace of precious stones adorning her neck.

When he receives it, Hanuman immediately takes it apart, and peers into each stone. Taken aback, many of those present demand to know why he is destroying the precious gift. Hanuman answers that he was looking into the stones to make sure that Rama and Sita are in them, because if they are not, the necklace is of no value to him. At this, a few mock Hanuman, saying his reverence and love for Rama and Sita could not possibly be as deep as he implies. In response, Hanuman tears his chest open, and everyone is stunned to see Rama and Sita literally in his heart.

HANUMAN RAMAYANA

After the victory of Rama over Ravana, Hanuman went to the Himalayas to continue his worship of the Lord Rama. There he scripted a version of the Ramayana on the Himalayan mountains using his nails, recording every detail of Rama's deeds. When Maharishi Valmiki visited him to show him his own version of the Ramayana, he saw Hanuman's version and became very disappointed.

When Hanuman asked Valmiki the cause of his sorrow, the sage said that his version, which he had created very laboriously, was no match for the splendour of Hanuman's, and would therefore go ignored. At this, Hanuman discarded his own version, which is called the Hanumad Ramayana. Maharishi Valmiki was so taken aback that he said he would take another birth to sing the glory of Hanuman which he had understated in his version.

Later, one tablet is said to have floated ashore during the period of Mahakavi Kalidasa, and hung at a public place to be deciphered by scholars. Kalidasa is said to have deciphered it and recognised that it was from the Hanumad Ramayana recorded by Hanuman in an extinct script, and considered himself very fortunate to see at least one pada of the stanza.

AFTER RAMAYANA WAR

After the war, and after reigning for several years, the time arrived for Rama to depart to his supreme abode Vaikuntha. Many of Rama's entourage, including Sugriva, decided to depart with him. Hanuman, however, requested from Rama that he will remain on earth as long as Rama's name was venerated by people. Sita accorded Hanuman that desire, and granted that his image would be installed at various public places, so he could listen to people chanting Rama's name. He is one of the immortals (Chiranjivi) of Hinduism.

MAHABHARATA

Hanuman is also considered to be the brother of Bhima, on the basis of their having the same father, Vayu. During the Pandavas' exile, he appears disguised as a weak and aged monkey to Bhima in order to subdue his arrogance. Bhima enters a field where Hanuman is lying with his tail blocking the way. Bhima, unaware of his identity, tells him to move it out of the way. Hanuman, incognito, refuses. Bhima then tries to move the tail himself but he is unable, despite his great strength. Realising he is no ordinary monkey, he inquires as to Hanuman's identity, which is then revealed. At Bhima's request, Hanuman is also said to have enlarged himself to demonstrate the proportions he had assumed in his crossing of the sea as he journeyed to Lanka and also said that when the war came, he would be there to protect the Pandavas. This place is located at Sariska National Park in the Alwar District of the State of Rajasthan and named as Pandupole (Temple of Hanuman ji).Pandupole is very famous tourist spot of Alwar.

During the great battle of Kurukshetra, Arjuna entered the battlefield with a flag displaying Hanuman on his chariot. The incident that led to this was an earlier encounter between Hanuman and Arjuna, wherein Hanuman appeared as a small talking monkey before Arjuna at Rameshwaram, where Rama had built the great bridge to cross over to Lanka to rescue Sita. Upon Arjuna's wondering aloud at Rama's taking the help of monkeys rather than building a bridge of arrows, Hanuman challenged him to build a bridge capable of bearing him alone; Arjuna, unaware of the vanara's true identity, accepted. Hanuman then proceeded to repeatedly destroy the bridges made by Arjuna, who decided to take his own life. Krishna smiled and placed his divine discus beneath the bridge,and this time hanuman could no longer break it.Vishnu then appeared before them both after originally coming in the form of a tortoise, chiding Arjuna for his vanity and Hanuman for making Arjuna feel incompetent. As an act of penitence, Hanuman decided to help Arjuna by stabilizing and strengthening his chariot during the imminent great battle. After, the battle of Kurukshetra was over, Krishna asked Arjuna, that today you step down the chariot before me. After Arjuna got down, Krishna followed him and thanked Hanuman for staying with them during the whole fight in the form of a flag on the chariot. Hanuman came in his original form, bowed to Krishna and left the flag, flying away into the sky. As soon as he left the flag, the chariot began to burn and turned into ashes. Arjuna was shocked to see this, then Krishna told Arjuna, that the only reason his chariot was still standing was because of the presence of Himself and Hanuman, otherwise, it would have burnt many days ago due to effects of celestial weapons thrown at it in the war.

According to legend, Hanuman is one of the four people to have heard the Bhagwad Gita from Krishna and seen his Vishvarupa (universal) form, the other three being Arjuna, Sanjaya and Barbarika, son of Ghatotkacha.

OTHER TEXTS

Apart from Ramayana and Mahabharata, Hanuman is mentioned in several other texts. Some of these stories add to his adventures mentioned in the earlier epics, while others tell alternative stories of his life.

Paumacariya (also known as Pauma Chariu or Padmacharit), the Jain version of Ramayana written by Vimalasuri, mentions Hanuman as a Vidyadhara (a supernatural being), who is the son of Pavangati and Anjana Sundari. Anjana gives birth to Hanuman in a forest cave, after being banished by her in-laws. Her maternal uncle rescues her from the forest; while boarding his vimana, Anjana accidentally drops her baby on a rock. However, the baby remains uninjured while the rock is shattered. The baby is raised in Hanuruha, his great uncle's island kingdom, from which Hanuman gets his name. In this version, Hanuman is not celibate. He marries princess Anangakusuma, the daughter of Kharadushana and Ravana's sister Chandranakha. Ravana also presents Hanuman one of his nieces as a second wife. After becoming an ally of Sugriva, Hanuman acquires a hundred more wives. Hanuman is originally enraged at Rama for murdering his father-in-law Kharadushana. However, he becomes a supporter of Rama after meeting him and learning about Sita's kidnapping by Ravana. He goes to Lanka on Rama's behalf, but is unable to convince Ravana to surrender. Ultimately, he joins Rama in the war against Ravana and performs several heroic deeds. After the victory and subsequent celebrations, both Rama and Hanuman take Jaineshwari Diksha and become Jain Munis and achieve salvation. Later Jain texts such as Uttarapurana (9th century CE) by Gunabhadra and Anjana-Pavananjaya (12th century CE) tells the same story.

The Brahma Purana mentions that the vanaras built several Shiva lingams in Kishkindha. After his return to Ayodhya, Rama asks Hanuman to destroy these lingams, as they are no longer required. However, when Hanuman is unable to uproot these lingams, Rama orders them to worshipped permanently. The Skanda Purana mentions a variant of this story, which happens in Rameswaram. The Narada Purana describes Hanuman as a master of vocal music, and as an embodiment of the combined power of Shiva and Vishnu.

Apart from the Puranas, the Agama Saunaka Samhitha, and Agastya Sara Samhitha explains certain stories which are not mentioned in other Hindu texts along with the worship rituals of Hanuman. Recently a simple English Translation of some of stories are released as a book named Tales Of Hanuman: Tales from the eternal life of Hanuman

The 16th-century Indian poet Tulsidas wrote Hanuman Chalisa, a devotional song dedicated to Hanuman. He claimed to have visions where he met face to face with Hanuman. Based on these meetings, he wrote Ramcharitmanas, an Awadhi language version of Ramayana. The Sankat Mochan Hanuman Temple (Varanasi) is said to be located on the spot where Tulsidas had these visions. The works of Tulsidas played an important role in increasing the popularity of Hanuman worship in North India.

Durga Chalisa mentions that Hanuman leads and welcomes the procession of the ferocious lion-riding Bhavani.

The non-Indian versions of Ramayana, such as the Thai Ramakien, mention that Hanuman had relationships with multiple women, including Svayamprabha, Benjakaya (Vibhisana's daughter), Suvannamaccha and even Ravana's wife Mandodari. According to these versions of the Ramayana, Macchanu is son of Hanuman borne by Suvannamaccha, daughter of Ravana. The Jain text Paumacariya also mentions that Hanuman married Lankasundari, the daughter of Lanka's chief defender Bajramukha. Another legend says that a demigod named Matsyaraja (also known as Makardhwaja or Matsyagarbha) claimed to be his son. Matsyaraja's birth is explained as follows: a fish (matsya) was impregnated by the drops of Hanuman's sweat, while he was bathing in the ocean.

PROPHECY & LEGACY

A number of religious leaders have claimed to have seen Hanuman over the course of the centuries, notably Madhvacharya (13th century CE), Tulsidas (16th century), Samarth Ramdas (17th century), Raghavendra Swami (17th century) and Swami Ramdas (20th century).

Swaminarayan, founder of the Hindu Swaminarayan sects, holds that other than worship of God through the Narayana Kavacha, Hanuman is the only deity who may be worshiped in the event of trouble by evil spirits.

Others have also asserted his presence wherever the Ramayana is read.

“Bow down to Hanumān, who is the slayer of demons, and who is present with head bowed and eyes full of flowing tears wherever the fame of Rāma is sung.”

This can be found in other texts such as the Vinaya Patrika by Tulsidas and the Mahabharta, and in other texts with only slight variation in language. During the readings of the Ramayana (Ramayanpath), a special puja and space (asan) are reserved for Hanuman.

TEMPLES

Hanuman is worshipped by villagers as a boundary guardian, by Shaiva ascetics as a Yogi, and by wrestlers for his strength. There are numerous temples for Hanuman, and his images are usually installed at all temples where images of avatars of Vishnu are installed. Hanuman temples are believed to keep the area and surroundings free of rakshasas (demons) and other evil beings. Hanuman idols are found on mountain roads because it is believed that he protects people from accidents.

Jakhu temple is a famous temple at Shimla, the capital of Himachal Pradesh. The word "Jakhu" is derived from "Yaku"/"Yaksha". The hill is the legendary abode of Yaksha, Kinners Nagas and Asuras. The temple was founded on a plain where, according to legend, Hanuman's sudden landing flattened a hill. A 33-metre statue of Hanuman has been erected at the top of the 2,591-metre tall Jakhu Hill, the highest point in Shimla.

According to the Ramayana, during the battle between Lord Rama and Ravana at Lanka, Lakshmana, brother of Lord Rama, was mortally wounded by an arrow. To save his life, Hanuman journeyed to the Himalayas to retrieve the Sanjeevani herb. En route, he encountered a meditating sage on Jakhu mountain; as he paused to inquire about the herb, Hanuman's landing on the mountain compressed the earth, changing the shape of the mountain to its present state. In his haste to depart, Hanuman is said to have left his friends behind, and they are said to continue to roam the area even today. A temple honoring Lord Hanuman was constructed by the Jakhu sage.

The oldest known independent Hanuman statue is the one at Khajuraho, which has an inscription dated Sam. 940 (AD 883) mentioning that it was erected by Gahil's son Gollak.

Sankat Mochan Shri Hanuman Mandir, located in the Punjab town of Phillaur is one of the popular temples of Hanuman. Sankat Mochan Hanuman Temple, Varanasi, believed to be built by Tulsidas, is second most popular temple in the city.

Namakkal Anjaneyar temple is located in the town of Namakkal, Tamil Nadu. There is an 18-feet idol of Sri Hanuman in the temple facing east, worshipping Sri Lakshmi Narasimha Swami (one of the avatar of god Vishnu) in this temple. Anjenayar idol is Swayambu, believed to be growing in height; thus, temple has no roof enclosing.

Sholinghur Sri Yoga Narasimha swami temple and Sri Yoga Anjaneyar temple, located in Sholinghur, a town which is about 30 km from Arakkonam of Vellore District.Sri yoga Anjaneyar temple located over small hill containing 480 steps from ground. Lord Anjaneyar with Sathurpujam (sathur=four, pujam=arms) Sri Sangu and Sri Chakaram 2 hands and Jabba Malai and Jaba Shankaram in other two respectively facing Sri yoga Narasimha swami and Yoga Amurthavalli Thayar present over hill (periya malai= big hill) with 1305 steps from ground. Sholinghur shetram one among 108 divya desams also one of most famous temple of our Lord Anjaneya.

Ragigudda Anjaneya temple is a Hanuman temple located in JP Nagar Bangalore. The temple is located on a hillock.

The Hanuman temple at Nerul, Navi Mumbai, Maharashtra, India is situated inside SIES complex. The Hanuman idol is 10 m tall and is installed on a pedestal of height 4 m, bringing the total height to 14 m. In the picture shown, Hanuman has silver coverings (Silver Kavasam). The 33 feet Hanuman idol is carved out of single granite stone. This is the tallest single granite stone Hanuman idol in India as per the temple.

Similarly, a 10 m idol of Sri Anjaneyar was entrenched in 1989 at Nanganallur in Chennai, India. The distinguishing factor of the idol is that it was molded out of a single rock.

An 26-m Karya Siddhi Hanuman statue was installed at Carapichaima in Trinidad and Tobago, by Avadhoota Dattapeetham's Pontiff Ganapathy Sachchidananda. It is the tallest in the Western hemisphere and second tallest in the world. One has also built a Karya Siddhi Hanuman Temple in Frisco, Texas in the U.S.

The tallest Hanuman statue is the Veera Abhaya Anjaneya Hanuman Swami, standing 135 feet tall at Yerravaram, 46 km from Rajahmundry in Andhra Pradesh, installed in 2003.

The image of Hanuman is said to have come alive and moved when installed at the Shri Hanuman Mandir, Sarangpur. The temple is noted for getting rid of evil spirits.

Suchindram temple is a pious place lying about 14 km from Kanyakumari, Tamil Nadu. The temple is famous for it 18 feet tall Hanuman idol. This idol is decorated fully with butter (Vennai kappu in Tamil) and Sandalwood paste (Chandana kappu in Tamil).

In Rajasthan,Hanuman Temples at Mehendipur Balaji in Dausa district (80 km from Jaipur) and Salasar dhaam in Churu district (160 km from Jaipur) attract a large number of devotees from all over India. [{Chandraloak Devpuri Balaji}] is located in Dugana 17 km from Laharpur district-sitapur,UttarPradesh

Bhaktha Anjaneyar is Temple is located in Vedasandur, Dindigul, Tamil Nadu.

Kaviyoor is a small village about 5–6 km from the town of Thiruvalla, Kerala The Kaviyoor Mahadevar Temple here is about 100 years old and the Hanuman temple inside the Shiva temple is considered as very auspicious by devotees. Hanuman idol consecrated here is made of Panchaloha and is depicting him telling the story of Ramayana to Sita in the Asoka Vana.

Yalagur, a small village about 30–35 km from the town of Bagalkot in Karnataka, also has a temple dedicated to Hanuman.

Sri Baktha Hanuman Temple, Ramboda.Sri Lanka. Ramboda is a place where Hanuman was searching for Sita Devi.

WORSHIP

Some of the prayers, songs, mantras, shlokas, devoted to Hanuman include Hanuman Chalisa, Bajranga Baan, Maruti Strotam, Anjaneya Dandakam, Vadvanal Strotam, Hanuman Sathhika, Hanuman Bahuk, Hanuman Dwadesha, Bhimrupi Strotam, Sundara Kanda, Maruti Gayatri Mantra, Hanumansahasranam stotra (Stotra of thousand names of Hanuman), Ek-mukhi Hanuman Raksha Kavacham, Pancha-mukhi Hanuman Raksha Kavacham and Sapta-mukhi Hanuman Raksha Kavacham.

"Ram Raksha Strotam", the Sanskrit Strota, a Shield of Rama has lines devoted to Hanuman, saying, whoever, reads this, will be protected by Hanuman.

PANCHAMUKHA SRI HANUMAN

Sri Hanuman assumed Panchamukha or five-faced form to kill Ahiravana, a powerful rakshasa black-magician and practitioner of the dark arts during the Ramayana war. Ahiravana, brother of Ravana, had taken Lord Rama and Lakshmana to netherworld as captive, and the only way to kill him was to extinguish five lamps burning in different directions, all at the same instant. Sri Hanuman assumed His Panchamukha form and accomplished the task, thus killing the rakshasa, and freeing Rama and Lakshmana.

This form of Sri Hanuman is very popular, and is also known as Panchamukha Anjaneya and Panchamukhi Anjaneya. (Anjaneya, which means "son of Anjana", is another name of Sri Hanuman). These faces show there is nothing in the world which does not come under any the influence of any of the five faces, symbolic of his all around security to all devotees. This also signifies vigilance and control over the five directions - north, south, east, west and the upward direction/zenith.

There are five ways of prayer, Naman, Smaran, Keerthanam, Yachanam and Arpanam. The five faces depict these five forms. Lord Sri Hanuman always used to Naman, Smaran and Keerthanam of Lord Sri Rama. He totally surrendered (Arpanam) to his Master Sri Rama. He also begged (yachanam) Sri Rama to bless him the undivided love.

The weapons are a parashu, a Khanda, a chakra, a dhaalam, a gada, a trishula, a kumbha, a Katar, a plate filled with blood and again a big Gada.

Chitrakoot in Central India is claimed to be the resting place of Sri Hanuman. The Hanuman Dhara Temple is situated on the peak of mountain where there is natural rock formation image of Shri Hanuman inside the cave and a natural stream of water falling on the tail. It is believed that after the coronation of Lord Rama, Sri Hanuman requested for a permanent place to settle in the Kingdom of Lord Rama, where his Injury of burns on his tails will be cured. Lord Rama, then with his arrow, spurred a stream of water on the tip of mountain and asked Sri Hanuman to rest there with water of the stream falling on his tail to cool down burning sensation in his tail. The access to the cave temple is through stairs starting from bottom of the mountain to its top. It takes roughly 30 to 40 minutes to reach the temple. Over time the temple has gained a new name, namely Hanuman Dhara.

Sri Panchamukha Anjaneya Swami was the main deity of Sri Raghavendra Swami. The place where he meditated on this five-faced form of Sri Hanuman is now known as Panchamukhi, wherein a temple for him has been built. There is also a shrine for Panchamukha Anjaneya Swami at Kumbakonam in Tamil Nadu, India. A 12 m tall monolithic green granite murti of Sri Panchamukha Hanuman has been installed in Thiruvallur, also in Tamil Nadu. This place was known as Rudravanam in olden times when many saints and seers had blessed this place with their presence. The Panchamukha Hanuman Ashram itself was established by a saint called Venkatesa Battar. A four foot image of Panchmukha Hanuman has been consecrated West of Lusaka, Zambia in Oye Kapi farm.

RELATION WITH SHANI

In Hinduism, Hanuman is one of the few deities not afflicted by Shani. Hanuman is the one of the deities in Hindu religion, over whom Shani could not cast his spell. Shani could not overcome Hanuman and as such people worship Hanuman to get rid of malefic effects of Shani.

In the Ramayana, Hanuman is said to have rescued Shani, from the clutches of Ravana.

In gratitude, Shani promised Hanuman that those who prayed him (Hanuman) would be rescued from the painful effects of Saturn, which in Hindu astrology, is said to produce malefic effects on one's life when one is afflicted "negatively" with Saturn.

Another version of the encounter between Lord Hanuman and Shani Bhagavan is that the latter once climbed on to Lord Hanuman's shoulder, implying that he (Hanuman) was coming under the effects of the influence of Shani. At this, Hanuman assumed a large size, and Shani was caught painfully between Hanuman's shoulders and the ceiling of the room they were in. As the pain was unbearable, Shani requested Hanuman to release him, promising that he (Shani) would moderate the malefic effects of his influence on a person praying to Hanuman. Hanuman released Shani thereafter.

In the verse with a thousand Names of Hanuman the Hanumansahasranam stotra, Shani is one of the Names of Hanuman. In some regions of India, Hanuman is also seen sporting an iron whip akin to Shani.

WIKIPEDIA

Tania - Origin Story by Justin Bonaparte

Model: Tania d'Anconia

Photographer: Justin Bonaparte

@justin.bonaparte.creative

www.modelmayhem.com/jfinite

Batman: Arkham Origins by gryf_cs

Batman: Arkham Origins - Downsampled from 3200x1800, Hide HUD, cheat engine, no clip, camera coordinates, SweetFX K-putt'e Config 1.3

Oscar de la Renta: Five Decades of Style by George W. Bush Presidential Center

A major retrospective of American fashion designer Oscar de la Renta, exploring his significant career from its origins to his most recent runway and red-carpet masterpieces. July 19 through October 5, 2014 at the George W. Bush Presidential Center. Photo by Terri Glanger for the George W. Bush Presidential Center.

AC Origins by Värg

SSG Arkham Origins by ScreenshotGuru

Played a lot of Arkham Origins Lately. Enjoy

1990 Rover 825 by Ruairidh MacVeigh

This was meant to take on the world this was, but sadly it didn’t get very far! The Rover 800 had so many possibilities, so many variants could have been derived from it, but unfortunately the management was once again very quick to nip this beautiful car in the bud, and the Rover 800 would join that long line of ‘what-could-have-been’ motors that seem to pave British motoring history.

The origin of the Rover 800 goes back to the late 1970’s, when nationalised British car manufacturer and all around general failure British Leyland was absolutely desperate to fix its seemingly endless list of problems. The company had now garnered a reputation for creating some of the worst, most outdated cars of all time, the likes of the Morris Marina, the Austin Allegro and the Triumph TR7 being derided in both critical and customer reviews. A mixture of strike action by uncontrollable Trade Unions led by the infamous Red Robbo had meant that cars were only put together for a few hours per day on a three day week. As such, reliability was atrocious on a biblical scale, be it mechanical, cosmetic or electrical.

As such, in 1979, British Leyland began talks with Japanese car manufacturer Honda to try and help improve the reliability of their machines. The pioneer of this brave new deal was the Triumph Acclaim of 1980, BL’s first reliable car and not a bad little runabout. Basically a rebadged Honda Ballade, the Acclaim wasn’t meant to set the world ablaze, but it certainly helped get the company back onto people’s driveways, selling reasonably well thanks to its reliable mechanics (even if rust was something of an issue). As such, BL decided that from now on it would give its fleet a complete overhaul, basing their new models on Japanese equivalents. From 1984, the Rover 200 arrived on the scene, again, a rebadged Honda Ballade, while the Maestro and the Montego ranges also took on several tips from their Japanese counterparts, though they were primarily based on British underpinnings.

The Rover 800 however spawned quite early on, in 1981 to be exact. Following the catastrophic failure of the Rover SD1 in the American market, which only sold 774 cars before Rover removed itself from the USA altogether, the company was desperate to get another foothold across the pond. As such, the new project, dubbed project XX, would be the icing on the cake in terms of British Leyland’s fleet overhaul, a smooth and sophisticated executive saloon to conquer the world. However, plans were pushed back after the launch of the Montego and the Maestro, and thus project XX wouldn’t see the light of day again until about 1984.

Still in production and suffering from being long-in-the-tooth, the Rover SD1 was now coming up on 10 years old, and though a sublime car in terms of style and performance, it was now struggling in sales. Rover really needed to replace this golden oldie, and thus project XX was back on. In the usual fashion, Honda was consulted, and it was decided that the car would be based on that company’s own executive saloon, the Honda Legend. Jointly developed at Rover’s Cowley plant and Honda’s Tochigi development centre, both cars shared the same core structure and floorplan, but they each had their own unique exterior bodywork and interior. Under the agreement, Honda would supply the V6 petrol engine, both automatic and manual transmissions and the chassis design, whilst BL would provide the 4-cylinder petrol engine and much of the electrical systems. The agreement also included that UK-market Honda Legends would be built at the Cowley Plant, and the presence of the Legend in the UK would be smaller than that of the Rover 800, with profits from the 800 shared between the two companies.

Launched on July 10th, 1986, the Rover 800 was welcomed with warm reviews regarding its style, its performance and its reliability. Though driving performance was pretty much the same as the Honda Legend, what put the Rover above its Japanese counterpart was its sheer internal elegance and beauty, combined with a differing external design that borrowed cues from the outgoing SD1. The 800 also provided the company with some much-needed optimism, especially following the gradual breakup of British Leyland by the Thatcher Government between 1980 and 1986.

Following her election in 1979, Prime Minister Margaret Thatcher took a no nonsense attitude to the striking unions, and the best form of defence was attack. To shave millions from the deficit, she reduced government spending on nationalised companies such as British Airways, British Coal Board, British Steel and British Leyland by selling them to private ownership. For British Leyland, the slow breakup of the company started with the sale of Leyland Trucks and Buses to DAF of Holland and Volvo, respectively. 1984 saw Jaguar made independent and later bought by Ford, but when rumours circulated that the remains of British Leyland would be sold to foreign ownership, share prices crashed, and the company was privatised and put into the hands of British Aerospace on the strict understanding that the company could not be sold again for four years. With this move, British Leyland was renamed Rover Group, the Austin badge being dropped, and the only remaining brands left being the eponymous Rover and sporty MG.

In the light of this tumultuous period, many of Rover and MG’s projects had to be scrapped in light of turbulent share prices and income, these projects including the Austin AR16 family car range (based largely off the Rover 800) and the MG EX-E supercar. The Rover 800 however was the first model to be released by the company following privatisation, and doing well initially in terms of sales, hopes were high that the Rover 800 would herald the end of the company’s troubled spell under British Leyland. The Rover 800 was planned to spearhead multiple Rover ventures, including a return to the US-market in the form of the Sterling, and a coupe concept to beat the world, the sublime Rover CCV.

However, British Leyland may have been gone, but their management and its incompetence remained. Rather than taking the formation of Rover Group as a golden opportunity to clean up the company’s act, to the management it was business as usual, and the Rover 800 began to suffer as a consequence. A lack of proper quality control and a cost-cutting attitude meant that despite all the Japanese reliability that had been layered on these machines in the design stage, the cars were still highly unreliable when they left the factory.

Perhaps the biggest sentiment to the 800’s failure was the Sterling in America. The Sterling had been named as such due to Rover’s reputation being tarnished by the failure of the unreliable SD1. Initial sales were very promising with the Sterling, a simple design with oodles of luxury that was price competitive with family sedan’s such as the Ford LTD and the Chevy Caprice. However, once the problems with reliability and quality began to rear their heads, sales plummeted and the Sterling very quickly fell short of its sales quota, only selling 14,000 of the forecast 30,000 cars per annum. Sales dropped year by year until eventually the Sterling brand was axed in 1991.

With the death of the Sterling came the death of the CCV, a luxury motor that had already won over investors in both Europe and the USA. The fantastic design that had wooed the American market and was ready to go on sale across the States was axed unceremoniously in 1987, and with it any attempt to try and capture the American market ever again.

In 1991, Rover Group, seeing their sales were still tumbling, and with unreliable callbacks to British Leyland like the Maestro and Montego still on sale, the company decided to have yet another shakeup to try and refresh its image. The project, dubbed R17, went back to the company’s roots of grand old England, and the Rover 800 was the first to feel its touch. The R17 facelift saw the 800’s angular lines smoothed with revised light-clusters, a low-smooth body, and the addition of a grille, attempting to harp back to the likes of the luxurious Rover P5 of the 1960’s. Engines were also updated, with the previous M16 Honda engine being replaced by a crisp 2.0L T16, which gave the car some good performance. The car was also made available in a set of additional ranges, including a coupe and the sport Vitesse, complete with a higher performance engine.

Early reviews of the R17 800 were favourable, many critics lauding its design changes and luxurious interior, especially given its price competitiveness against comparable machines such as the Vauxhall Omega and the Ford Mondeo. Even Jeremy Clarkson, a man who fervently hated Rover and everything it stood for, couldn’t help but give it a good review on Top Gear. However, motoring critics were quick to point out the fact that by this time Honda was really starting to sell heavily in the UK and Europe, and people now asked themselves why they’d want to buy the Rover 800, a near carbon-copy of the Honda Legend, for twice the price but equal performance. Wood and leather furnishings are very nice, but not all motorists are interested in that, some are just interested in a reliable and practical machine to run around in.

As such, the Rover 800’s sales domestically were very good, it becoming the best-selling car in the UK for 1992, but in Europe not so much. Though Rover 800’s did make it across the Channel, the BMW 5-Series and other contemporary European models had the market sown up clean, and the Rover 800 never truly made an impact internationally. On average, the car sold well in the early 1990’s, but as time went on the car’s place in the market fell to just over 10,000 per year by 1995. Rover needed another shake-up, and the Rover 75 did just that.

In 1994, Rover Group was sold to BMW, and their brave new star to get the company back in the good books of the motoring public was the Rover 75, an executive saloon to beat the world. With this new face in the company’s showrooms, the Rover 800 and its 10 year old design was put out to grass following its launch in 1998. Selling only around 6,500 cars in its final full year of production, the Rover 800 finished sales in 1999 and disappeared, the last relic of the British Leyland/Honda tie up from the 1980’s.

Today the Rover 800 finds itself under a mixed reception. While some argue that it was the last true Rover before the BMW buyout, others will fervently deride it as a Honda with a Rover badge, a humiliation of a Rover, and truly the point where the company lost its identity. I personally believe it to be a magnificent car, a car with purpose, a car with promise, but none of those promises fulfilled. It could have truly been the face of a new Rover in the late 1980’s, and could have returned the company to the front line of the motoring world, at least in Britain. But sadly, management incompetence won again for the British motor industry, and the Rover 800 ended its days a lukewarm reminder that we really didn’t know a good thing until it was gone.

Wien, 1. Bezirk, Burgring, Kunsthistorisches Museum, Museo di Storia dell'Arte, Museo de Historia del Arte de Viena, Musée d'Art Historique de Vienne, Museum of Art History, Muzeum Historii Sztuki w Wiedniu (Burgring/Maria-Theresien-Platz) by alfred lex

2 1

Michelangelo Merisi, called Caravaggio (1571-1610), active, among others, in Rome, Naples, Malta, Sicily

Rosary Madonna, around 1603

The Madonna requests Saint Dominic to spread rosaries to the people. The Saint Peter Martyr points to the origin of all graces, the Christ Child. The founder asks the viewer to go under the protection of the Dominic as well. Caravaggio probably painted the altarpiece in Rome, in 1620, it came as a donation of an artists' group (among them Rubens and Jan Brueghel) to the Dominican church in Antwerp and was bought by the Imperial Painting Gallery in 1781.

Michelangelo Merisi, genannt Caravaggio (1571-1610), tätig, unter anderen, in Rom, Neapel, Malta, Sizilien

Rosenkranzmadonna, um 1603

Die Madonna fordert den Heiligen Dominikus auf, Rosenkränze an das Volk zu verteilen. Der Heilige Petrus Martyr verweist zeigend auf den Ursprung aller Gnaden, den Christusknaben. Der Stifter fordert den Betrachter auf, sich ebenfalls unter den Schutz des Dominikus zu begeben. Caravaggio malte das Altarbild wahrscheinlich in Rom - 1620 kam es als Stiftung einer Künstlergemeinschaft (unter ihnen Rubens und Jan Brueghel) in die Dominikanerkirche nach Antwerpen und wurde 1781 von der kaiserlichen Gemäldegalerie angekauft.

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .

Kuppelhalle

Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.

189, the farm museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of ancient coins

Collection of modern coins and medals

Weapons collection

Collection of sculptures and crafts with the Collection of Ancient Musical Instruments

Picture Gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director

Collections

To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

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Origins by Braeden Petruk

In an era of instant, fingertip access to everything one could ever need, it's sometimes hard to imagine getting by without our hordes of amenities and conveniences.

Imagine you're living in a small town in the 18th century; your kitchen table is rotting from the extreme humidity and lack of "air conditioning" to maintain its form. You save up money to buy a new table, hop in your car, and drive to Ikea where you'll get a concise package of tools and instructions for assembling a brand new table -- wait. None of that exists yet!

You have to sacrifice time preparing and caring for crops and livestock to gather what is required to create a new table. If you don't already have an axe and hammer, you'll need to trade massive amounts of gold or food to buy the toos, or you can purchase metal rods, shave down wood handles, and make them yourself.

Then you head out to the forest to find large, sturdy trees that you can fell and painstakingly saw and sand into (relatively) straight and flat boards suitable for holding plates and other containers. After spending countless hours creating tools and physically felling and lugging trees back to your house, you need to actually assemble the table.

That's the easy part, right? Get out your little allen key, match routed edges in various labeled and colored pieces, and spin pre-measured screws and washers into carefully arranged holes, and you're done -- ah, right. Doesn't exist.

Instead, you purchase or smith some nails or screws, find pieces that are straight enough to fit alongside each other, and finally, if you're thinking long-term, either purchase or make some sort of varnish out of (fat or something?) so that the table doesn't rot again in a year.

It's really hard to imagine having to do this -- but when you reason out any trivial task that we do today as if you were living 200 years ago, it becomes quite apparent: we're stupid, lazy bums! And if our constant supply of services and conveniences someday collapses, I think it's safe to say that we're royally screwed. Done for.

My table's broken -- and I can't make an Amazon single-click order to have a new one delivered tomorrow morning?! WHAT DO I DO?!

A localiser by Mémoire 2Cité

twitter.com/Memoire2cite - La matrice des G.E. s'est développée au lendemain de la guerre, lors de la reconstruction, mais ses origines de 1930, en France (Cité de la Muette à Drancy, quartier des Gratte-ciel à Villeurbanne).Gilles Ragot, historien de l'art, maître de recherche içi www.youtube.com/watch?v=dEBfg4vXNOM … Les 30 Glorieuses . com et la carte postale.l'UNION SOCIALE POUR L HABITAT fete ses 90 ans "TOUT savoir tout voir, tout connaitre, sur le LOGEMENT SOCIAL des HLM aux HBM avec le Musée HLM" en ligne sur le WEB içi www.banquedesterritoires.fr/lunion-sociale-pour-lhabitat-... … De grandes barres d’immeubles, appelées les grands ensembles, sont le symbole de nos banlieues. Entrée Libre revient sur le phénomène de destruction de ces bâtiments qui reflètent aujourd’hui la misere www.youtube.com/watch?v=mCqHBP5SBiM twitter.com/Memoire2cite/status/1121877386491043840/photo... Avril 1993, 6 ans après l'implosion de la tour DEBUSSY des 4000, 30% seulement des travaux de rénovation ont été réalisés et le chômage frappe toujours 1/3 des hbts. C'est un échec. A Mantes la Jolie, 6 mois après la destruction des 4 tours du Val Fourré, www.youtube.com/watch?v=ta4kj05KJOM … Banlieue 89, Bacalan à Bordeaux 1986 - Un exemple de rénovation urbaine et réhabilitation de l'habitat dans un des quartiers de Bordeaux La Cité Claveau à BACALAN. A l'initiative du mouvementla video içi www.youtube.com/watch?v=IN0JtGBaA1o … L'assoçiation de ROLLAND CASTRO @ Le Plan Banlieue 89 - mode d'emploi - Archive INA - La video içi. TRANSFORMER LES PAYSAGES URBAINS AVEC UNE APPROCHE CULTURELLE www.youtube.com/watch?v=Aw-_f-bT2TQ … SNCF les EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi.

www.youtube.com/watch?v=lDEQOsdGjsg … Içi la DATAR en 1000 clichés missionphotodatar.cget.gouv.fr/accueil - Notre Paris, 1961, Réalisation : André Fontaine, Henri Gruel Les archives filmées de la cinémathèque du ministère de 1945 à nos jours içi www.dailymotion.com/video/xgis6v?playlist=x34ije

31 TOULOUSE - le Mirail 1962 réalisation : Mario Marret construction de la ville nouvelle Toulouse le Mirail, commentée par l'architecte urbaniste Georges Candilis le film www.dailymotion.com/video/xn4t4q?playlist=x34ije Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.Les films du MRU - Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije …

archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ...

museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive

le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije :- que dire de RICARDO BOFFIL Les meilleures balades que j’ai fait autour de Paris je les ai faites dans l’application Plans. Je ne minore pas le rôle de Google Maps, révolution cartographique sans précédent et sans égale, qui aura réalisé nos fantasmes d’Aleph borgesien — l’idée d’un point d’où le monde serait visible en totalité — parachevé Mercator et permis d’explorer des parties du globe inconnues de Cook, Bougainville et Amundsen. Je n’oublie pas non plus cet exercice de cartographie au collège, qui nous avait démontré que nous étions à 3 cartes IGN de la capitale, et que le tissu urbain était de plus en plus serré à mesure que nous avancions vers le nord. Mais Plan possédait une fonctionnalité inédite, le Flyover, technologie à l’origine destinée aux pilotes de chasse, et qui fournissait des rendus 3D spectaculaire des bâtiments survolés — ainsi que des arbres et des déclivités du sol.On quittait enfin les champs asphyxiants de la photographie aérienne pour des vues à l’oblique des villes visitées : après un siècle d’écrasement — la photographie aérienne est étroitement contemporaine du bombardement aérien — les villes reprenaient enfin de la vigueur et remontaient vers le ciel. J’avais d’ailleurs effectué moi-même une manœuvre de redressement similaire le jour où j’étais parti, à pied depuis Paris, visiter à Nanterre une exposition sur la photographie aérienne. J’étais à la quête des premières vues de Paris qu’avait prises Nadar depuis un ballon captif. À défaut de ces images, définitivement manquantes, j’avais parcouru, après la Grande Arche, les derniers kilomètres de la Voie Royale, cette prodigieuse perspective historique partie du Louvre — rare exemple de frise chronologique implémentée dans une structure urbanistique.J’avais en réalité un peu dévié de la ligne droite pour aller voir les tours Nuages d’Emile Aillaud, le Facteur Cheval du modernisme, dont je connaissais déjà les autres chefs d’œuvres d'architecture naïve, les nouilles chinoises de Grigny et le spaghetti de Pantin.C’était précisément l’usage que j’avais fait de l’application Plans : j’étais parti à la recherche de tous les groupements de tour qu’elle m’avait permis d’identifier, sur mon iPad. Je les faisais tourner avec deux doigts, comme un éclaireur qui marcherait autour d’un donjon, avant de les immortaliser, sous leur plus bel angle, par une capture d’écran.Un éclaireur autour d’un donjon : c’était exactement cela, qui m’avait fasciné. Les guerres territoriales entre Les Tarterêts de Corbeil et les Pyramides d’Evry avaient marqué mon enfance. La notion de cité, telle qu’elle avait été définie, à partir des années 80, dans le second âge des grands ensembles, l’âge du déclin, avait conservé un cachet médiéval. Ici, vivaient guetteurs et trafiquants, condottieres à la tête d’une écurie de go-fast et entretenant des chenils remplis de mâtins rares et dangereux. Ici, l’État central ne remplissait plus ses tâches régaliennes, ici la modernité laïque était entrée en crise. Mais ce que j’avais découvert, en collectionnant ces captures d’écran, c’était à quel point l’urbanisme de la banlieue parisienne était, strictement, d’obédience médiévale. On était passé, d’un seul mouvement et sans même s’en rendre compte de Château-Gaillard à la Cité 4000, du Donjon de Vincennes aux tours de Sarcelles, du château de Gisors aux choux fleurs de Créteil.J’ai même retrouvé la colonne détruite du désert de Retz dans le babylonien château d’eau de Noisiel.Des hauteurs de Rosny à celle de Chanteloup, du plateau de Clichy à la dalle d’Argenteuil, on avait bizarrement livré des pastiches inconscients de la grande architecture militaire médiévales : les environs de Paris s’étaient retrouvés à nouveau fortifiés, la vieille tour de Montlhéry n’était plus solitaire, et même les immeubles de briques rouges qui avaient succédé à l’enceinte de Thiers évoquaient des murailles.

Et ce que j’avais initialement pris pour des anomalies, des accidents malheureux du post-modernisme, les grand ensembles voûtés et cannelés de Ricardo Boffil, étaient peut-être ce qui exprimait le mieux tout cela — ou du moins qui clôturaient avec le génie le plus clair cet âge des grands ensembles.

Car c’était cela, ces Carcassonnes, ces Acropoles, ces Atlandides qui surnageaient avec le plus de conviction au milieu des captures d’écrans de ruines médiévales qui s’accumulaient sur mon bureau.

Si décriées, dès leur construction, pour leur kitch intolérable ces mégastructures me sont soudain apparues comme absolument nécessaires.

Si les Villes Nouvelles n’ont jamais existé, et persisteront dans la mémoire des hommes, elles le doivent à ces rêveries bizarres et grandioses, à ces hybridations impossibles entre les cités idéales de Ledoux et les utopies corbuséennes.

L’Aqueduc de Saint-Quentin-en-Yvelines, les Espaces d’Abraxas à Marne-la-Vallée, les Colonnes de Saint-Christophe à Cergy-Pontoise sont les plus belles ruines du Grand Paris.

www.franceculture.fr/emissions/la-conclusion/ricardo-bofill immerssion dans le monde du logement social, l'univers des logements sociaux, des H.B.M au H.L.M - Retour sur l'histoire du logement collectif d'apres guerre - En Françe, sur l’ensemble du territoire avant, 4 millions d’immeubles étaient vétustes, dont 500.000 à démolir; au total 10% des logements étaient considérés comme insalubres et 40% réputés d’une qualité médiocre, et surpeuplés. C’est pour ces raisons que, à partir de 1954, le Ministre à la Reconstruction et au Logement évalue le besoin en logements à 2.000.660, devenant ainsi une priorité nationale. Quelques années plus tard à l’appel de l’Abbé Pierre, le journaliste Gilbert Mathieu, en avril 1957 publiait dans le quotidien Le Monde une série d’articles sur la situation dramatique du logement : Logement, notre honte et dénonçant le nombre réduit de logements et leur impitoyable état. Robert Doisneau, Banlieue après-guerre, 1943-1949 /Le mandat se veut triple : reconstruire le parc immobilier détruit durant les bombardements essentiellement du printemps/été 1944, faire face à l’essor démographique et enfin résorber l’habitat insalubre notamment les bidonvilles et les cités de transit. Une ambition qui paraît, dès le début, très élevée, associée à l’industrialisation progressive de la nation entre autre celle du secteur de la construction (voir le vidéo de l’INA du 17 juillet 1957 intitulée La crise du logement, un problème national. Cela dit, l’effort pour l’État français était d’une ampleur jamais vue ailleurs. La double nécessité de construire davantage et vite, est en partie la cause de la forme architecturale excentrique qui constituera les Grands Ensembles dans les banlieues françaises. Cinq caractéristiques permettent de mieux comprendre ce terme : la rupture avec le tissu urbain ancien, un minimum de mille logements, une forme collective (tours, barres) de quatre jusqu’à vingt niveaux, la conception d’appartements aménagés et équipés et enfin une gestion destinée pour la plupart à des bailleurs de logement social.

Pour la banlieue parisienne leur localisation s’est opérée majoritairement dans la périphérie, tandis que dans les autres cas, plus de la moitié a été construite dans le centre ville, le plus souvent à la limite des anciens faubourgs.

Architecture d’Aujourd’hui n° 46, 1953 p. 58-55

C’est le triomphe de l’urbanisme fonctionnel et rationaliste cher à Le Corbusier. Entre 1958 et 1973, cent quatre-vingt-quinze Zones à Urbaniser en Priorité (ZUP) sont créées, comprenant deux millions de logements, essentiellement de type populaire en Habitations à Loyer Modéré (HLM), mais pas exclusivement, remplaçant ainsi les anciennes Habitations à Bon Marché (HBM) crées en 1894. Selon le décret du 27 mars 1954 qui en fixe les conditions d’attribution, les bénéficiaires de la législation n’ont pas changé, ce sont toujours des « personnes peu fortunées vivant principalement de leur salaire », selon la loi Strauss de 1906. En 1953, tous les HLM voient leur surface maximale se réduire, en passant de 71 à 65 mètres carrés pour un quatre pièces. L’accès au logement des familles modestes se fera donc au détriment de la qualité et quantité de l’espace habité pour des familles nombreuses. À ce propos, le sociologue Thierry Oblet a bien montré comment se sont articulées les pensées des architectes et des ingénieurs modernistes, avec leur souci planificateur d’un État interventionniste[8] grâce à l’hégémonie du béton, de la ligne droite et de la standardisation de la construction.

Les exemples de cette architecture restent nombreux : de la Cité de 4000 (pour 4000 logements) à la Courneuve en Seine-Saint-Denis (93) aux logements de 15 étages aux balcons pétales, appelés « Chou-fleur » à Créteil en Val-de Marne (94) dessinés au début des années 70 par l’architecte Gérard Grandval. De la Cité des nuages à Nanterre dans les Hauts-de-Seine (92) à la Grande borne construite entre 1967 et 1971 sur le territoire des communes de Grigny et Viry-Châtillon, dans l’Essonne (91) en passant par la Noé à Chanteloup-les-Vignes dans le département des Yvelines (78) scénario du célèbre film La Haine[9] de Kassovits.

Récemment, plusieurs expositions photographiques se sont

concentrées sur cette nouvelle figure de l’urbanisme fonctionnaliste français de l’après-guerre. Par exemple Toit&Moi, 100 ans de logement social (2012), Les Grands ensembles 1960-2010 (2012) produite par l’école supérieure d’arts & médias de Caen/Cherbourg, selon un projet du Ministère de la Culture et de la Communication. Enfin l’exposition Photographie à l’œuvre, (2011-2012) d’Henri Salesse, photographe du service de l’inventaire du Ministère de la Reconstruction et de l’Urbanisme et Voyage en périphérie (2012) de Cyrus Cornut.

Il s’agissait là non seulement d’un progrès matériel, mais aussi démocratique, donnant ainsi à chaque citoyen, la possibilité d’accéder à son petit appartement doté de tous les conforts de l’époque. La recherche d’économie et de rapidité dans la conduite des chantiers portent à l’utilisation du béton comme matériel privilégié et à des plans architecturaux aussi simples que possible avec la réalisation de logements standardisés, dont les barres et les tours deviennent les figures principales : Au mitan des années cinquante, apparurent d’étranges formes urbaines. Des immeubles d’habitation de plus en plus longs et de plus en plus hauts, assemblés en blocs qui ne s’intégraient pas aux villes existantes. Ces blocs s’en différenciaient ostensiblement et parfois comme systématiquement, s’en isolaient. Ils semblaient faire ville à part. Surtout ils ne ressemblaient pas à ce qu’on avait l’habitude d’appeler ville. Et leur architecture aussi, qui était tellement déroutante. On les a nommés » grands ensembles. Cité de l’Abreuvoir, Bobigny (93), 2003 (Inventaire général du Patrimoine, Région Ile de France / Stéphane Asseline)

Bref, entre 1946 et 1975 le parc immobilier français passe de 12,7 millions à 21 millions de logements. Environ 8 millions de ceux-ci sont neufs, construits entre 1953-1975 – dont la moitié sous forme de grands ensembles – et près de 80 % des logements grâce à une aide de l’État avec des crédits publics. Le nombre de logements sociaux passe de moins de 500.000 à près de 3 millions, dont 43 % en région parisienne, où la demande est la plus forte[11]. Ce qui témoigne d’un effort énorme. Secrétariat d’État à la Reconstruction et au Logement, Supplément du logement en 1954, cité par Bachmann, C. Le Guennec, N., Violences urbaines…Op.cit, p.24. Alors que l’hiver 1954 est particulièrement rigoureux, l’abbé Pierre lance un appel en faveur des sans-logis et déshérités et organise des collectes de vêtements et de nourriture pour les plus démunis. Cela nous rappelle également que les inégalités sociales restaient particulièrement importantes à l’époque, malgré les débuts de la croissance économique, et que la crise du logement n’était pas encore complètement résolue. Danièle Voldman, La reconstruction des villes françaises de 1940 à 1954 : histoire d’une politique, Paris, L’Harmattan, 1997. Les Actualités françaises, La crise du logement, un problème national, 17 juillet, 1957, in fresques.ina.fr/…/la-crise-du-logement-un-probleme-n…, consulté le 20/02/2014. C’est l’urbaniste Marcel Rotival dans un numéro d’Architecture d’Aujourd’hui de juin 1935 (vol.1, n°6, juin 1935, p.57) qui propose pour la première fois cette terminologie pour désigner les Habitations à Bon Marché (HBM) et leur transformation en Habitations à Loyer Modéré (HLM), par la loi du 21 juillet 1951: « Nous espérons, un jour, sortir des villes comme Paris, non seulement par l’avenue des Champs Elysées, la seule réalisation de tenue sans laquelle Paris n’existerait pas, mais sortir par Belleville, par Charonne, par Bobigny, etc., et trouver harmonieusement disposés le long de larges autostrades, au milieu de grands espaces boisés, de parcs, de stades, de grandes cités claires, bien orientées, lumineusement éclairées par le soleil. » Largement reprise depuis les années 1950 dans le jargon administratif et public, elle apparaît pour la première fois dans un texte officiel qu’en 1973 avec la Circulaire Guichard, alors Ministre de l’Aménagement du territoire, de l’Equipement, du Logement et du tourisme. Celui-ci met un terme à la politique initiée après-guerre afin « d’empêcher la réalisation des formes d’urbanisation désignées généralement sous le nom de “grands ensembles”, peu conforme aux aspirations des habitants et sans justification économique sérieuse ». Paradoxalement, le terme de grands ensembles s’officialise donc au moment même où ils son mis en question. ZUP est un acronyme qui signifie Zone à Urbaniser en Priorité. Elles ont été créées par le décret N°58-1464 du 31 décembre 1958, afin de planifier et d’encadrer sur le territoire national, le développement urbain pour répondre à la carence de logements face à l’accroissement démographique et favoriser enfin la résorption de l’habitat insalubre. Oblet, Thierry, Gouverner la ville. Les voies urbaines de la démocratie moderne, Paris, PUF, 2003. En particulier par l’intermédiaire de la Société centrale de construction et de la Société centrale pour l’équipement du territoire, créées au milieu des années 1950 en tant que filiales de la Caisse des dépôts et consignations.

Kassovitz, Mathieu, La Haine, France, 1995.

Cornu, Marcel, Libérer la ville, Bruxelles, Casterman, 1977, p.60. Annie Fourcaut « Les banlieues populaires ont aussi une histoire », Projet 4/2007 (n° 299), pp. 7-15.

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...

Official Trailer - the Pruitt-Igoe Myth: an Urban History

www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc …

Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po …

DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..

passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document … explosion des tours Gauguin Destruction par implosion des Tours Gauguin (quartier de La Bastide) de Limoges le dimanche 28 novembre 2010 à 11 heures. Limoges 28/11/2010 youtu.be/cd0ln4Nqqbs … 42 Roanne - c'etait le 11 novembre 2013 - Souvenirs des HLM quartier du Parc... Après presque 45 minutes de retard, les trois dernières tours Chanteclair sont tombées. Le tir prévu etait à 11h14 La vidéo içi www.leprogres.fr/loire/2013/11/01/roanne-les-3-dernieres-... … … www.leprogres.fr/loire/2013/11/01/roanne-une-vingtaine-de... …Besançon (25) - la Nouvelle cité d'HLM La Planoise en 1960 avec la video des premiers habitants de Planoise en juin 1968 www.youtube.com/watch?v=LVKAkJSsCGk … … … archive INA … BEGIN Japanology - les utopies de l'extreme et Kenzo Tange l'architecte japonnais - la video içi www.youtube.com/watch?v=ZlAOtYFE4GM … 71 les Prés Saint-Jean a Chalon-sur-Saône - L'Implosion des 3 tours HLM de 15 etages le 5 décembre 2009 par FERRARI DEMOLITION içi www.youtube.com/watch?v=oDsqOjQJS8E … … … & là www.youtube.com/watch?v=ARQYQLORBBE … 21 DIJON Cité des Grésilles - c'etait l'implosion de la residençe HLM Paul Bur le 19 02 2010 www.youtube.com/watch?v=fAEuaq5mivM … … & la www.youtube.com/watch?v=mTUm-mky-sw … 59 - la technique dite du basculement - Destruction de l'immeuble Rhone a Lille avec pleins de ralentit içi video-streaming.orange.fr/actu-politique/destruction-de-l... … 21 Chenôve (le GRAND DIJON) - Implosion de la barre François RUDE le 3 nov 2010 (top video !!) www.youtube.com/watch?v=ClmeXzo3r5A … …Quand l histoire çe repete et çe repetera autant de fois que nesçessaire quand on voie la quantitée de barres 60 70's...dans le collimateur de l'ANRU2.. 77 MEAUX 3 grandes tours..& puis s'en vont.. Démolition Pierre Collinet Batiment Genêt, Hortensia et Iris - Reportage Journal le 26 juin 2011 youtu.be/fpPcaC2wRIc 71 CHALON SUR SAONE C'etait les Prés Saint Jean le 05 décembre 2009 , pour une implosion hlm hors du commun !!! Caméra mise à même le sol , à une vingtaine de mètres de la première tour .... www.youtube.com/watch?v=kVlC9rYU-gs … 78 les MUREAUX le 3 octobre 2010 ,Les dernières minutes de la Tour Molière aux Mureaux (Yvelines) et sa démolition par semi-foudroyage, filmés du quartier de la Vigne Blanche. www.youtube.com/watch?v=u2FDMxrLHcw …71 MACON LES GRANDES PERRIERES C'etait un 30 juin 2013, avec l'implosion de la barre HLM des Perrières par GINGER www.youtube.com/watch?v=EzYwTcCGUGA … … une video exceptionnelle ! c'etait Le Norfolk Court un ensemble résidentiel, le Norfolk Court, construit dans les années 1970, a été démoli à Glasgow en Ecosse le 9 mai 2016 . Il rate la démolition d'un immeuble au tout dernier moment LES PASSAGERS DU BUS EN PROFITE A SA PLAçE lol www.20minutes.fr/tv/t-as-vu/237077-il-rate-la-demolition-... … 69 LYON Quand La Duchère disait adieu à sa barre 230 le jeudi 2 juillet 2015

www.youtube.com/watch?v=BSwidwLw0NA … www.youtube.com/watch?v=BdLjUAK1oUk … www.youtube.com/watch?v=-DZ5RSLpYrM …Avenir Deconstruction : Foudroyage de 3 barres HLM - VAULX-EN-VELIN (69) www.youtube.com/watch?v=-E02NUMqDno Démolition du quartier Bachelard à Vaulx-en-Velin www.youtube.com/watch?v=DSAEBIYYpXY Démolition des tours du Pré de l'Herpe (Vaulx-en-Velin)

www.youtube.com/watch?v=fG5sD1G-QgU REPORTAGE - En sept secondes, un ensemble de 407 appartements à Vaulx-en-Velin a été détruit à l'explosif dans le cadre du renouvellement urbain... www.youtube.com/watch?v=Js6w9bnUuRM www.youtube.com/watch?v=MCj5D1NhxhI - St-QUENTIN LA ZUP (scic)- NOUMEA - NOUVELLE CALEDONIE historique de la cité Saint-Quentin içi www.agence-concept.com/savoir-faire/sic/

www.youtube.com/watch?v=_Gt6STiH_pM …[VIDEOS] Trois tours de la cité des Indes de Sartrouville ont été démolies dans le cadre du plan de rénovation urbaine du quartier Mille quatre cent soixante-deux détonateurs, 312 kilos le 06/06/2010 à 11 heures. la belle video içi www.youtube.com/watch?v=fY1B07GWyDE VIGNEUX-SUR-SEINE, VOTRE HISTOIRE, VOS SOUVENIRS. içi www.youtube.com/watch?v=8o_Ke26mB48 … , Film des Tours et du quartier de la Croix Blanche, de 1966 à 1968. Les Tours en train de finir de se construire, ainsi que le centre commerciale. Destruction de la Tour 21, pour construire de nouveaux HLM...

42 LOIRE ST-ETIENNE MONTREYNAUD tout une histoire youtu.be/ietu6yPB5KQ - Mascovich & la tour de Montreynaud www.youtube.com/watch?v=p7Zmwn224XE … -Travaux dalle du Forum à Montreynaud Saint-Etienne www.youtube.com/watch?v=0WaFbrBEfU4 … & içi www.youtube.com/watch?v=aHnT_I5dEyI … - et fr3 là www.youtube.com/watch?v=hCsXNOMRWW4 … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline et sur les pentes de cette colline s’accroche une petite ville, un quartier, un peu à part. Cet endroit niché au milieu de la verdure, c’est le quartier de Montreynaud. www.youtube.com/watch?v=Sqfb27hXMDo&fbclid=IwAR2ALN4d... …Et sinon, avez-vous remarqué au dessus du P de AGIP ? On voit, dans le film, la Tour Réservoir Plein Ciel du quartier de Montreynaud, détruite 3 ans plus tard par foudroyage ! Sûr que @Memoire2cite a des photos du quartier et de la tout à l'époque ! ;-) 42 LOIRE SAINT-ETIENNE MONTREYNAUD LA ZUP Souvenirs avec Mascovich & son clip "la tour de Montreynaud" www.youtube.com/watch?v=p7Zmwn224XE …

- Que de chemin parcouru, Muraille de Chine La Palle Beaulieu jusqu'aux années 90. L habitat se transforme et s adapte aux nouveaux besoins. Autre temps, période d'essor économique et du "vivre ensemble". Merci à @Memoire2cite pour cette introspection du passé! -

Origin of Species by Pira Urosevic

3 1

Inspiration: Argentina + Big Agra

....I think I need to step back from the news feeds because they are just too distressing for words. I think I need to go draw something fluffy and cute. Maybe get at finishing that hedgehog.....

Material: Sakura Micron 005 pen, Faber-Castell Albrecht Durer watercolour pencils on Stillman & Birn, Zeta paper.

Computing The Origins by glazzeye

Shot at The American Museum of Natural History/NYC

This pic shows a window view into the Sackler Institute for Comparative Genomics.

As it is said in the institute's own words: "The work of the American Museum of Natural History lies at the heart of many of science's most promising directions. Founded in 1869, the Museum's mission is to discover, interpret, and disseminate—through scientific research and education—knowledge about human cultures, the natural world, and the universe...

In the emerging field of genomic science, the Museum has a unique role—that of exploring genomics as a comparative, rather than single-species, discipline. For more than a decade, the Museum has fostered pacesetting research on the genetic makeup of a great diversity of species..."

Well, what fascinated me was the contrast between the person sitting with her laptop and the skelleton models of some links in human evolution billion of years back.

《原點 ORIGIN》2023新一代設計展 by Postergram

策展人：本埠設計 / 蔡嘉豪

視覺設計： StudioProsDesign / 李宜軒

Concept Grizzlor by Enigma Force

3 1

Masters of the Universe line. Made by Mattel in 2025.

The Origins series which are designed like the original action figures . But with more articulation than the original figures.

Inspired from the original concept art.

One of the things I like about the Origins line is they go all out on the art work !

I just don't have the space to store all the packages they

come in. So the next best thing is to take pictures to save for posterity ....

Most of the Concept designs for the characters I like too, of course. So I like that Mattel is doing figures based on the original or concept ideas .

Mattel has taken He-Man & the Masters of the Universe characters into many different scales and lines.

I like a lot of them. But for cost and storage reasons,

I can't collect them all.

But the Origins line gets me !

The same style as the original figures.

But with more articulation. Yes !

Single Origin by Sai Mr.

Chinon CM3 , Mamiya Sekor Auto 55mm f1.4 M42 , Agfa vista plus 400 film

Indonesia - Java - Yogyakarta - Wayang Golek - Gamelan Orchestra - 16dd by Manfred Sommer

Gamelan is traditional ensemble music of Java and Bali in Indonesia, made up predominantly of percussive instruments. The most common instruments are metallophones played by mallets as well as a set of hand played drums called kendhang which register the beat. Other instruments include xylophones, bamboo flutes, bowed instrument called rebab, and even vocalists called sindhen.

Although the popularity of gamelan has declined since the introduction of pop music, gamelan is still commonly played in formal occasions and in many traditional Indonesian ceremonies. For most Indonesians, gamelan is an integral part of Indonesian culture.

TERMINOLOGY

The word gamelan comes from the low Javanese word gamel, which may refer to a type of mallet used to strike instruments or the act of striking with a mallet. The term karawitan refers to the playing of gamelan instruments, and comes from the word rawit, meaning 'intricate' or 'finely worked'. The word derives from the Javanese word of Sanskrit origin, rawit, which refers to the sense of smoothness and elegance idealized in Javanese music. Another word from this root, pangrawit, means a person with such sense, and is used as an honorific when discussing esteemed gamelan musicians. The high Javanese word for gamelan is gangsa, formed either from the words tembaga and rejasa referring to the materials used in bronze gamelan construction (copper and tin), or tiga and sedasa referring to their proportions (three and ten).

HISTORY

The gamelan predates the Hindu-Buddhist culture that dominated Indonesia in its earliest records and instead represents a native art form. The instruments developed into their current form during the Majapahit Empire. In contrast to the heavy Indian influence in other art forms, the only obvious Indian influence in gamelan music is in the Javanese style of singing, and in the themes of the Wayang kulit (shadow puppet plays).

In Javanese mythology, the gamelan was created by Sang Hyang Guru in Saka era 167 (c. AD 230), the god who ruled as king of all Java from a palace on the Maendra mountain in Medang Kamulan (now Mount Lawu). He needed a signal to summon the gods and thus invented the gong. For more complex messages, he invented two other gongs, thus forming the original gamelan set.

The earliest image of a musical ensemble is found on the 8th century Borobudur temple, Central Java. Musical instruments such as the bamboo flute, bells, drums in various sizes, lute, and bowed and plucked string instruments were identified in this image. However it lacks metallophones and xylophones. Nevertheless, the image of this musical ensemble is suggested to be the ancient form of the gamelan.

In the palaces of Java are the oldest known ensembles, the Munggang and Kodokngorek gamelans, apparently from the 12th century. These formed the basis of a "loud style". A different, "soft style" developed out of the kemanak tradition and is related to the traditions of singing Javanese poetry, in a manner which is often believed to be similar to performance of modern bedhaya dance. In the 17th century, these loud and soft styles mixed, and to a large extent the variety of modern gamelan styles of Bali, Java, and Sunda resulted from different ways of mixing these elements. Thus, despite the seeming diversity of styles, many of the same theoretical concepts, instruments, and techniques are shared between the styles.

INSTRUMENTS

A gamelan is primarily constituted from metallophones while other instruments such as flute (suling) and zither (celempung) are discretionary. Hand played drums called kendhang however is essential despite not being a metallophone as it control the tempo and rhythm of pieces as well as the transitions from one section to another.

VARIETIES

They are distinguished by their collection of instruments and use of voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are the same, and those that arose in prestigious courts are often considered to have their own style. Certain styles may also be shared by nearby ensembles, leading to a regional style.

The varieties are generally grouped geographically, with the principal division between the styles favored by the Balinese, Javanese, and Sundanese peoples. The Madurese also had their own style of gamelan, although it is no longer in use, and the last orchestra is kept at the Sumenep palace. Sundanese gamelan is often associated with Gamelan Degung, a Sundanese musical ensemble that utilises a subset of modified gamelan instruments with a particular mode of pelog scale. Balinese gamelan is often associated with the virtuosity and rapid changes of tempo and dynamics of Gamelan gong kebyar, its best-known style. Other popular Balinese styles include Gamelan and kecak, also known as the "monkey chant." Javanese gamelan was largely dominated by the courts of the 19th century central Javanese rulers, each with its own style, but overall is known for a slower, more meditative style than that of Bali. Although Javanese gamelan can be made from steel, the better instruments are made of cast brass. The two kinds of instruments are tuned in different ways.

Outside of the main core on Java and Bali, gamelans have spread through migration and cultural interest, new styles sometimes resulting as well. Malay gamelans are designed in ways that are similar to the Javanese gamelan except they lack most of the elaborating instruments and are tuned in a near-equidistant slendro, often using a western B♭ or C as a tuning basis. Javanese emigrants to Suriname play gamelan in a style close to that found in Central Javanese villages. Gamelan is also related to the Filipino kulintang ensemble. There is also a wide variety of gamelan in the West, including both traditional and experimental ensembles.

In oral Javanese culture distinctions are made between complete or incomplete, archaic and modern, and large standard and small village gamelan. The various archaic ensembles are distinguished by their unique combinations of instruments and possession of obsolete instruments such as the bell-tree (byong) in the 3-toned gamelan kodhok ngorek. Regionally variable village gamelan are often distinguished from standard gamelan (which have the rebab as the main melodic instrument) by their inclusion of a double-reed wind (selompret, slompret, or sompret) in addition to variable drum and gong components, with some also including the shaken bamboo angklung or other instruments not usually associated with gamelan.

CULTURAL CONTEXT

In Indonesia, gamelan often accompanies dance, wayang puppet performances, or rituals and ceremonies. Typically players in the gamelan will be familiar with dance moves and poetry, while dancers are able to play in the ensemble. In wayang, the dalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music. Gamelan can be performed by itself – in "klenengan" style, or for radio broadcasts – but concerts in the Western style are not traditional.

Gamelan's role in rituals is so important that there is a Javanese saying, "It is not official until the gong is hung". Some performances are associated with royalty, such as visits by the sultan of Yogyakarta. Certain gamelans are associated with specific rituals, such as the Gamelan Sekaten, which is used in celebration of Mawlid an-Nabi (Muhammad's birthday). In Bali, almost all religious rituals include gamelan performance. Gamelan is also used in the ceremonies of the Catholic church in Indonesia. Certain pieces are designated for starting and ending performances or ceremonies. When an "ending" piece (such as "Udan Mas") is begun, the audience will know that the event is nearly finished and will begin to leave. Certain pieces are also believed to possess magic powers, and can be used to ward off evil spirits.

Gamelan is frequently played on the radio. For example, the Pura Pakualaman gamelan performs live on the radio every Minggu Pon (a day in the 35-day cycle of the Javanese calendar). In major towns, the Radio Republik Indonesia employs professional musicians and actors, and broadcast programs of a wide variety of gamelan music and drama.

In the court tradition of central Java, gamelan is often played in the pendopo, an open pavilion with a cavernous, double-pitched roof, no side walls, and a hard marble or tile floor. The instruments are placed on a platform to one side, which allows the sound to reverberate in the roof space and enhances the acoustics.

In Bali, the Gamelan instruments are all kept together in a balé, a large open space with a roof over the top of it and several open sides. Gambelan (the Balinese term) are owned by a banjar, nobility or temples and kept in their respective compounds.

In case of banjar ownership the instruments are all kept there together because people believe that all the instruments belong to the community as a whole and that no one person has ownership over an instrument. Not only is this where the instruments are stored, but this is also the practice space for the sekaha (Gamelan orchestra group). The open walls allow for the music to flow out into the community where the rest of the people may enjoy it. Balinese gamelan cannot be heard inside closed rooms, because it easily crosses the threshold of pain. This does not apply to small ensembles like a gamelan gendér.

The sekaha is led by a single instructor whose job it is in the community to lead this group and to come up with new pieces. When they are working on a new piece, the instructor will lead the group in practice and help the group form the new music as they are practicing. When the instructor creates a new song, he leaves enough open for interpretation that the group can improvise, so the group will write the music as they practice it.

There are many styles in Balinese gamelan. Kebyar is one of the most recent ones. Some Balinese Gamelan groups constantly change their music by taking older pieces they know and mixing them together, as well as trying new variations on their music. Their music constantly changes because they believe that music should grow and change; the only exception to this is with their most sacred songs which they do not change. A single new piece of music can take several months before it is completed.

Men and women usually perform in separate groups, with the exception in Java of the pesindhen, the female singer who performs with male groups.

In the twenty-five countries outside of Indonesia that have gamelan, music is often performed in a concert context or as part of ceremonies of expat communities. It may also incorporate dance or wayang.

TUNING

The tuning and construction of a gamelan orchestra is a complex process. Javanese gamelans use two tuning systems: sléndro and pélog. There are other tuning systems such as degung (exclusive to Sunda, or West Java), and madenda (also known as diatonis, similar to a European natural minor scale). In central Javanese gamelan, sléndro is a system with five notes to the octave, fairly evenly spaced, while pélog has seven notes to the octave, with uneven intervals, usually played in five note subsets of the seven-tone collection. This results in sound quite different from music played in a western tuning system. Many gamelan orchestras will include instruments in each tuning, but each individual instrument will only be able to play notes in one. The precise tuning used differs from ensemble to ensemble, and give each ensemble its own particular flavour. The intervals between notes in a scale are very close to identical for different instruments within each gamelan, but the intervals vary from one gamelan to the next.

Colin McPhee remarked, "Deviations in what is considered the same scale are so large that one might with reason state that there are as many scales as there are gamelans." However, this view is contested by some teachers of gamelan, and there have been efforts to combine multiple ensembles and tuning structures into one gamelan to ease transportation at festival time. One such ensemble is gamelan Manikasanti, which can play the repertoire of many different ensembles.

Balinese gamelan instruments are commonly played in pairs which are tuned slightly apart to produce interference beats, ideally at a consistent speed for all pairs of notes in all registers. This concept is referred to as "ombak," translating to "wave," communicating the idea of cyclical undulation. One instrument, tuned slightly higher, is thought of as the "inhale," and the other, slightly lower, is called the "exhale." When the inhale and the exhale are combined, beating is produced, meant to represent the beating of the heart, or the symbol of being alive. It is thought that this contributes to the very "busy" and "shimmering" sound of gamelan ensembles. In the religious ceremonies that contain gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state. The scale roughly approximates that of the phrygian mode of the Western major scale (E-E on the white keys of the piano), with the notes EFGBC corresponding to the note positions 12356 in the slendro scale used by most gamelan.

As well as the non-western octave and the use of beats, Javanese gamelan uses a combination of tempo and density known as Irama, relating how many beats on the saron panerus instrument there are to notes in the core melody or balungan; density is considered primary.

NOTATION

Gamelan music is traditionally not notated and began as an oral tradition. In the 19th century, however, the kraton (palaces) of Yogyakarta and Surakarta developed distinct notations for transcribing the repertoire. These were not used to read the music, which was memorized, but to preserve pieces in the court records. The Yogyanese notation is a checkerboard notation, which uses six or seven vertical lines to represent notes of higher pitch in the balungan (melodic framework), and horizontal lines which represent the series of beats, read downward with time. The fourth vertical line and every fourth horizontal line (completing a gatra) are darkened for legibility. Symbols on the left indicate the colotomic or metric structure of gongs and so forth, while specific drum features are notated in symbols to the right. The Solonese notation reads horizontally, like Western notation, but does not use barlines. Instead, note values and rests are squiggled between the notes.

Today this notation is relatively rare, and has been replaced by kepatihan notation, which is a cipher system. Kepatihan notation developed around 1900 at the kepatihan Palace in Surakarta, which had become a high-school conservatory. The pitches are numbered (see the articles on the scales slendro and pélog for an explanation of how), and are read across with dots below or above the numbers indicating the register, and lines above notes showing time values; In vocal notation, there are also brackets under groups of notes to indicate melisma. Like the palace notation, however, Kepatihan records mostly the balungan part and its metric phrases as marked by a variety of gongs. The other parts are created in real time, and depend on the knowledge each musician has of his instrument, and his awareness of what others are playing; this "realization" is sometimes called "garap." Some teachers have also devised certain notations, generally using kepatihan principles, for the cengkok (melodic patterns) of the elaborating instruments. Some ethnomusicologists, trained in European music, may make transcriptions onto a Western staff. This entails particular challenges of tuning and time, sometimes resulting in unusual clefs.

INFLUENCE ON WESTERN MUSIC

The gamelan has been appreciated by several western composers of classical music, most famously Claude Debussy who heard a Javanese gamelan in the premiere of Louis-Albert Bourgault-Ducoudray's Rapsodie Cambodgienne at the Paris Exposition of 1889 (World's Fair). The work had been written seven years earlier in 1882, but received its premiere only in 1889. The gamelan Debussy heard in it was in the slendro scale and was played by Central Javanese musicians. Despite his enthusiasm, direct citations of gamelan scales, melodies, rhythms, or ensemble textures have not been located in any of Debussy's own compositions. However, the equal-tempered whole tone scale appears in his music of this time and afterward, and a Javanese gamelan-like heterophonic texture is emulated on occasion, particularly in "Pagodes", from Estampes (solo piano, 1903), in which the great gong's cyclic punctuation is symbolized by a prominent perfect fifth.

The composer Erik Satie, an influential contemporary of Debussy, also heard the Javanese gamelan play at the Paris Exposition of 1889. The repetitively hypnotic effects of the gamelan were incorporated into Satie's exotic Gnossienne set for piano.

Direct homages to gamelan music are to be found in works for western instruments by John Cage, particularly his prepared piano pieces, Colin McPhee, Lou Harrison, Béla Bartók, Francis Poulenc, Olivier Messiaen, Pierre Boulez, Bronislaw Kaper and Benjamin Britten. In more recent times, American composers such as Henry Brant, Steve Reich, Philip Glass, Dennis Murphy, Loren Nerell, Michael Tenzer, Evan Ziporyn, Daniel James Wolf and Jody Diamond as well as Australian composers such as Peter Sculthorpe, Andrew Schultz and Ross Edwards have written several works with parts for gamelan instruments or full gamelan ensembles. I Nyoman Windha is among contemporary Indonesian composers that have written compositions using western instruments along with Gamelan. Hungarian composer György Ligeti wrote a piano étude called Galamb Borong influenced by gamelan. Avant-garde composer Harry Partch, one of America's most idiosyncratic composers, was also influenced by Gamelan, both in his microtonal compositions and the instruments he built for their performance

American folk guitarist John Fahey included elements of gamelan in many of his late-1960s sound collages, and again in his 1997 collaboration with Cul de Sac, The Epiphany of Glenn Jones. Influenced by gamelan, Robert Fripp used rhythmically interlocking guitars in his duets with Adrian Belew in the 1981–1984 trilogy of albums (Discipline, Beat, Three of a Perfect Pair) by rock band King Crimson and with The League of Crafty Guitarists. The gamelan has also been used by British multi-instrumentalist Mike Oldfield at least three times, "Woodhenge" (1979), "The Wind Chimes (Part II)" (1987) and "Nightshade" (2005).

On the debut EP of Sonic Youth the track 'She's not Alone' has a gamelan timbre. Experimental pop groups The Residents, 23 Skidoo (whose 1984 album was even titled Urban Gamelan), Mouse on Mars, His Name Is Alive, Xiu Xiu, Macha, Saudade, The Raincoats and the Sun City Girls have used gamelan percussion. Avant-garde performance band Melted Men uses Balinese gamelan instruments as well as gamelan-influenced costumes and dance in their shows. The Moodswinger built by Yuri Landman gives gamelan–like clock and bell sounds, because of its 3rd bridge construction. Indonesian-Dutch composer Sinta Wullur has integrated Western music and gamelan for opera.

INFLUENCE ON CONTEMPORARY MUSIC

In contemporary Indonesian music scene, some groups fuse contemporary westernized jazz fusion music with the legacy of traditional ethnic music traditions of their people. In the case of Krakatau and SambaSunda, the bands from West Java, the traditional Sundanese kacapi suling and gamelan degung Sunda orchestra is performed alongside drum set, keyboard and guitars. Other bands such as Bossanova Java were fused Javanese music with bossa nova, while the Kulkul band fuse jazz with Balinese gamelan.

The Indonesian singer Anggun, often incorporated Indonesian traditional tunes of gamelan and tembang style of singing in her works. Typical gamelan tunes can be trace in several songs in her album Snow on the Sahara such as "Snow on the Sahara", "A Rose in the Wind", and also in her collaboration works with Deep Forest on "Deep Blue Sea" on their 2002 album, Music Detected. Philippines born Indonesian singer Maribeth Pascua also featuring gamelan tunes in her songs Denpasar Moon and Borobudur.

Beyond Indonesia, gamelan has also had an influence on Japanese popular music, specifically the synthpop band Yellow Magic Orchestra. Their 1981 record Technodelic, one of the first albums to heavily rely on samples and loops, made use of gamelan elements and samples. Yellow Magic Orchestra member Ryuichi Sakamoto also used gamelan elements for his soundtrack to the 1983 British-Japanese film Merry Christmas, Mr. Lawrence, which won him the 1983 BAFTA Award for Best Film Music.

Later, many Americans were first introduced to the sounds of gamelan by the popular 1988 Japanese anime film Akira. Gamelan elements are used in this film to punctuate several exciting fight scenes, as well as to symbolize the emerging psychic powers of the tragic hero, Tetsuo. The gamelan in the film's score was performed by the members of the Japanese musical collective Geinoh Yamashirogumi, using their semar pegulingan and jegog ensembles. Gamelan and kecak are also used in the soundtrack to the video games Secret of Mana and Sonic Unleashed. The two opening credits of 1998 Japanese Anime Neo Ranga use Balinese music (Kecak and Gamelan gong kebyar). Each "waking up" of Ranga in the anime uses the Gong Kebyar theme. The musical soundtrack for the Sci Fi Channel series Battlestar Galactica features extensive use of the gamelan, particularly in the 3rd season, as do Alexandre Desplat's scores for Girl With A Pearl Earring and The Golden Compass. James Newton Howard, who composed Disney's 2001 feature film Atlantis: The Lost Empire, chose Gamelan for the musical theme of the Altanteans.

Loops of gamelan music appear in electronic music. An early example is the Texas band Drain's album Offspeed and In There, which contains two tracks where trip-hop beats are matched with gamelan loops from Java and Bali and recent popular examples include the Sofa Surfers' piece Gamelan, or EXEC_PURGER/.#AURICA extracting, a song sung by Haruka Shimotsuki as part of the Ar tonelico: Melody of Elemia soundtracks.

Gamelan influences can also be heard in the 2006 hip hop song, Tokyo Drift (Fast & Furious), by Teriyaki Boyz.

In the Regular Show episode "150-Piece Kit", a gamelan is mentioned to be part of the eponymous kit.

GAMELAN OUTSIDE INDONESIA

Gamelan is also found outside of Indonesia. There are forms of gamelan that have developed outside Indonesia, such as American gamelan in the United States and Malay Gamelan in Malaysia. Gamelan has also become quite widespread along the South East of Sri Lanka, particularly with the Tamil community, and in Colombo, at the Indonesian Embassy.

WIKIPEDIA

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ORIGINS by Mickaël Lyard

#NP : ♫♪ ❝ That's the price you pay

Leave behind your heartache, cast away

Just another product of today

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The Battle for Grayskull by Wes

NYC - AMNH: Spitzer Hall of Human Origins - Rebuilding Sima 5 by Wally Gobetz

Scientists at the American Museum of Natural History reconstruct hominids to provide a glimpse of our ancestors. Here, four stages in the reconstruction of Sima 5, from a site called the "Pit of the Bones" in the Sierra de Atapuerca in Northern Spain, highlight the intricate steps of the process.

The Anne and Bernard Spitzer Hall of Human Origins pairs fossils with DNA research to present the remarkable history of human evolution. The hall covers millions of years of human history, from early ancestors who lived more than six million years ago to modern Homo sapiens, who evolved 200,000 to 150,000 years ago.

Star Control Origins by Gépi Magyarítások

Borító képek

Ud, Origin by Mike Cornwall

Foreshore Drive, Sydney, 31st July 2023

Origin_M50_6 by Tobias Löffler

M50 Goldwing

Citroën Karin Concept - 1980 by Perico001

Citroën : Origins since 1919

Salon Rétromobile 2019

Paris Expo - Porte de Versailles

Paris - France

February 2019

assassin's creed origins by kouki 46

Origins Bumblebee by Klinikle

Buzzworthy Bumblebee

St Thomas the Apostle Church, Navestock Heath, Essex. by BIG ALBERT

Parish church. C11-C12 origin largely rebuilt in the C13 and C14 and repaired after a land mine exploded in the churchyard in 1940. Flint and rubble with a timber-framed W tower. The church comprises a nave of four bays and a chancel of 2 bays. A single S aisle to the nave continues to the E for one bay as a chapel. The walls are rendered and the roof peg-tiled. NAVE: the S elevation of the nave has, from W to E , C13 lancet window, C13 doorway with segment headed arch and C20 timber porch, C15 3-light window with super mullions. Nave, N elevation from W to E , C15 2-light window with super mullions, C11-C12 door with semicircular tympanum and segment head with intermittent roll moulding, C15 2-light window with super mullions, C14 window reticulated tracery. CHANCEL: N side, W to E , C15 low side window, C14 2-light window with reticulated tracery and label with head stops, C14 2-light window with reticulated tracery. Chancel, S side, C14 window 2 lights, reticulated tracery. Chancel, E end C14 3-light window reticulated tracery. BELFRY TOWER: set in line with the S aisle originally faced in weatherboarding is now plastered with a steeply sloping tiled roof over its aisles and surmounted by a shingled broach spire. The tower is carried on 4 canted heavy oak posts whose framing is strengthened by long continuous passing braces carried down to the ground sills and posts of the aisles to the tower and jointed by notched lap joints. Within the tower base, 4 attached shafts with capitals and bases of perpendicular profile support an inserted belfry floor with arched braces meeting at a foliage boss. Tower formerly ascribed to the C15 but as a result of radiocarbon tests and on structural evidence, is now considered to be of the C13, probably c1250 or earlier. The doorway between tower and S aisle dated c1400 (RCHM) is probably contemporary with the inserted work and together with some reshaping of the old tower braces, represents refurbishing at the opening of the C15. The 4-bayed arcade of the S aisle is of timber, plastered to resemble C13 stone ashlar work and is now exposed at the chancel-nave junction. This core of timber is now thought to date from the C13 and to continue to the W within the imitation stone work. The various oak doors with iron work appear to be post-medieval replacements, the S door in particular copies the C12 form. FITTINGS AND MONUMENTS: the fittings include a C13 piscina in the S chapel and several C17 monuments including, chancel E wall, to John Greene, Sergeant at Law and Judge of Sheriff's court, 1653 and Anne (Blanchard) his wife, 1641, large tablet with recess containing half length figure of a man in judge's robes and flanked by Corinthian pilasters supporting an enlablature and broken pediment with 10 shields of arms. Chancel, N wall, monument of Anne (Nicolls), wife of Charles Snelling, 1625, also Roland their child, 1625, slate panel within arched marble frame, with small effigies of woman, now headless, and swaddled child, 2 shields of arms. Nave, S wall to John Greene, 1625 slate tablet in marble frame with pediment, cherubs and shields of arms. The bells include a tenor and second with the inscription,'Miles Graye made mee 1637', a third by John Walgrave of London (early C15) mentioned in an inventory dated 1458, and a fourth by John Harding c1560. The windows of the chancel retain some of their medieval exterior iron grilles with barbed terminals, most complete on the E window. (RCHM: Central and SW Essex : Monument 1: 190; Archaeological Journal: Hewett CA: The Timber Belfries of Essex: 1962-: 227; Essex Journal: Hewett CA & Smith JR: Faked Masonry of the Mid-C13 in Navestock Church: 1972-; The Buildings of England: Pevsner N: Essex: 1965-: 303).

Navestock is a civil parish in the Borough of Brentwood in south Essex, in the East of England region of the United Kingdom. It is located approximately 5 km (3.1 mi) northwest of the town of Brentwood and the M25 motorway cuts through the western edge of the parish. It covers an area of in excess of 1800 hectares (4500 acres) and had a population of 510 in 2001, increasing to 585 in 2011.[1] The name means ‘the stump on the headland’, which reflects its topography and landscape.[2]

History

The western edge of the parish was within the ancient forest of Essex, and two boundary stones still mark its limits. The church of St Thomas the Apostle dates back to the 12th century, and was subject to St Paul's Cathedral, London, which held the manor of Navestock until the dissolution of the monasteries. After this the manor was in the hands of Sir Brian Tuke and was included when he sold Pyrgo to King Henry VIII in 1544 although Navestock and Stapleford were both subsequently leased to George and Walter Cely, relatives of John Cely who had previously been Paler of the Park of Havering Palace at Havering-atte-Bower.[3]

Sir Edward Waldegrave was lord of the manor of Navestock under Elizabeth I [4] and the Waldegrave family remained the local landowners until the 19th century. There are various Waldegrave memorials in the parish church, including those of James Waldegrave, 1st Earl Waldegrave; the Hon. Edward Waldegrave, son of the 4th Earl, who drowned off Falmouth on his return from the Battle of Corunna in 1809; the 7th Earl Waldegrave and his wife Frances; and Viscount Chewton, son of the 8th Earl, who died from injuries in the Crimean War.

Enclosure of common land, by the 3rd Earl Waldegrave, took place in 1770. Navestock was an early centre for cricket, which has been played on the green at Navestock Side since the 18th century.[5]

According to the census of 1801 the population of Navestock was 623, and reached a peak of 982 in 1851. There was then a gradual decline in population during the period of agricultural depression in the late 19th century and the 1901 census recorded only 692 inhabitants. After fluctuating at around that level in the first half of the 20th century the population has declined further and was only 510 in 2001.[5] This makes Navestock unusual in that despite its proximity to London its population is below its level of two hundred years ago, although there are many travelers living on smallholdings in the area who don't register so the number is undoubtedly a lot higher than officially listed.

Historically Navestock was included in the hundred of Ongar. It formed part of the Ongar Rural District Council from 1894 until that authority was absorbed into Epping and Ongar Rural District Council in 1955. Following local government reorganisation in 1974 it has been part of the Borough of Brentwood. The present civil parish retains largely the same boundaries as the ancient parish as it existed prior to the mid-19th century, and forms part of the 'Brizes and Doddinghurst' district council ward.

Geography

Navestock remains a rural and agricultural parish despite being less than 30 km from central London. It is not served well by main roads and so despite being well within the London commuter belt has undergone little recent housing development, and retains a feeling of remoteness. There is no traditional nucleated village in Navestock, but there is a concentration of houses at Navestock Side in the east of the parish and a rather more dispersed one at Navestock Heath in the centre. The medieval church and hall are in an isolated position about a mile further north from Navestock Heath.

The greater part of the parish sits on top of two spurs divided by a stream flowing north into the River Roding, which forms the northern boundary of the parish. The highest point is 103m near Navestock Side in the eastern edge of the parish, while much of the centre and south of the parish forms a plateau generally above 70 metres. The land falls away steeply to the north to the Roding valley, the lowest point being below 30m where the Roding leaves the parish in the far north-west corner.

Landmarks

The country house Abbotswick Hall, now a Catholic retreat centre, is located in the parish.

Origin Of Selfies by Larry

I'm pretty sure those little hand mirrors started it all......

Model: Jessica Manuel

HMUA: Jessica Manuel

Outfit: Connie Chung & Jessica Manuel

Location: Union Station Depot

Cosmic Origin by Ars Electronica

5 1

Top experts convey their astronomical knowledge to novices, intermediate students and advanced practitioners, and elaborate on what humankind now knows about the universe. Jerry T. Bonell (US) of the NASA Goddard Space Flight Center explain the “hot universe” that is brimming with high-energy insights. Scientists of the European Southern Observatory in Chile, on the other hand, introduce us to the “cold universe”. The visible portion of the cosmos is explained by Dietmar Hager (AT), an astrophotographer who’s certainly the right man for this job.

credit: rubra

Originnally made by hand of OmarVintage and SatcheL DandeLion by Kayyisah Mar

Butuh relaksasi, capek penat sepanjang hari → bawa sabun kopi ke kamar mandi, beeeeeeught langsung nyuuuusssss, Gw gak suka kopi kak, Ganti kopi pake cendana, wangi cendana tuuh wangi nya para kembang desa jaman baheula alami gak pake jampi2 Aaah cendana, ngingetin gw sama Suzana, ngeri kak Aaah loe mah suka gitu orang nya, Suzana tuuh sukaan nya melati lain cendana, tauuuuk, Ahaaa,thats its melati kaaaaak, top banget gw suka tuuh sama wangi nya Tapi Gw kan laki kak, masa iyah pakai sabun melati kalau mau relaksasi, aaah girly banget gitu looh kesan nya, apa kata dunia kalau badan gw ke endus wangi melati, Hmmmm, kayah nya emang nasib loo bro, loe mesti pakai OatSusuMadu, aroma nya gak tajem, buat ngusir bau badan keringet loe lumayan laah, coba in giih, Yang bener ajaah bro, Gw nih perjaka ting ting, bini ajaah belum gape, mau ngasih madu, kesan nya gahar betul gw Stok Sabun Gw tinggal satu ini aja bro, loe mau pake atau loe mau diemin, suka suka loe daah, ini yang paling wahid, cleopatra demen kayag nya, namanya Sabun Castile loe pasti suka kaaaan, loe gak perlu sibuk sama aroma nya, cewek nya popeye kayag nya juga suka, Haaaaah,

Assassin's Creed Origins by kouki 46

Lateral Root Origin by Berkshire Community College Bioscience Image Library

cross section: lateral root origin

magnification: 400x

Berkshire Community College Bioscience Image Library

In angiosperms and gymnosperms lateral roots usually form when a few mature cells of the root pericycle become meristematic. The primordial cell mass matures into a growing tip that grows through the cortex, ultimately piercing the epidermis

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