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"Elle vient représenter un peu l'allégorie de la Sardane, de l'unification et la réunion, et Maillol aimait sculpter pour des œuvres en front de mer et là toutes ces œuvres mises devant la mer, c'est magnifique", s'exclame Olivier Capell, l'adjoint au maire en charge de la Culture."
Fragment de la notícia: www.francetvinfo.fr/culture/arts-expos/sculpture/a-banyul...
La basílica de San Apolinar el Nuevo (en italiano: Basilica di Sant'Apollinare Nuovo) es un templo cristiano de la ciudad italiana de Rávena. Inicialmente, se consagró para el culto arriano, al ser construido por orden del rey ostrogodo Teodorico el Grande en 505; tras la conquista bizantina (540) fue habilitada para el culto católico (en la época no se había producido aún la separación de las iglesias oriental y occidental). Forma parte del conjunto monumental de ocho estructuras de Rávena inscritas en la lista del Patrimonio de la Humanidad en 1996.
Como todas las iglesias de Rávena segundo del periodo imperial (hasta 476), ostrogodo (hasta 540) y bizantino (después de esa fecha), también San Apolinar el Nuevo cuenta con unos singulares mosaicos. Sin embargo, no pertenecen a la misma época: los hay del periodo de Teodorico y otros pertenecientes a la reestructuración ordenada por el obispo Agnello, cuando se consagró el edificio al culto cristiano católico.
Las paredes de la nave central están divididas en tres zonas bien diferenciadas por su decoración. La parte más alta está decorada con una serie de recuadros alternados con el motivo alegórico de un pabellón con dos palomas. Los recuadros presentan escenas de la vida de Cristo con especial cuidado de los detalles, a pesar de que antiguamente estaban aún más elevados, por lo que su visión era bastante limitada. Algunas escenas evidencian la evolución en el arte del mosaico en la época de Teodorico.
La parte inferior, la de mayor tamaño, es también la más conocida. En los muros de la derecha (según se mira al altar), se representa el famoso Palacio de Teodorico, reconocible por la inscripción latina PALATIVM (Palacio) en la parte baja del tímpano. Los edificios interiores representados están mostrados en perspectiva resaltada. Eso significa que lo que se ve corresponde a tres lados del peristilo, dispuestos en un plano único. Entre las columnas hay telas blancas decoradas con oro, que cubren las sombras de antiguas figuras humanas que permanecieron después de que una parte del mosaico fuera condenada a ser destruida: por una especie de damnatio memoriae todas las figuras humanas (casi con toda seguridad el propio Teodorico y miembros de su corte) fueron eliminadas y aún se notan amplias partes de color ligeramente distinto (debidas a una restauración llevada a cabo en otro momento) y las evidentes marcas en las columnas blancas, en las que aparecen por diversos lugares marcas de manos.
Más allá del Palacio se descubren algunos edificios basilicales o de planta central cuya función es representar de modo sintético la ciudad de Rávena.
Las procesiones contrapuestas de los Santos Mártires y las Santas Vírgenes, también en la parte inferior, se realizaron durante el dominio bizantino (cuando Rávena era un Exarcado dependiente de Constantinopla) y evidencian algunos caracteres propios del arte del Imperio de Oriente como la repetición de los gestos, el preciosismo de la indumentaria, la falta de volumen (con el consiguiente aplanamiento o bidimensionalidad de las figuras) y también la absoluta frontalidad, la fijeza de las miradas, la práctica monocromía de los fondos dorados, el uso de elementos vegetales con fines ornamentales y de relleno, la falta de un plano de apoyo para las figuras que, por esa razón, aparecen como suspendidas y flotando en el mundo.
es.wikipedia.org/wiki/Bas%C3%ADlica_de_San_Apolinar_el_Nuevo
The Basilica of Sant'Apollinare Nuovo is a basilica church in Ravenna, Italy. It was erected by the Ostrogothic king Theodoric the Great as his palace chapel during the first quarter of the 6th century (as attested to in the Liber Pontificalis). This Arian church was originally dedicated in 504 AD to "Christ the Redeemer".
It was reconsecrated in 561 AD, under the rule of the Byzantine emperor Justinian I, under the new name "Sanctus Martinus in Coelo Aureo" ("Saint Martin in Golden Heaven"). Suppressing the Arian church, the church was dedicated to Saint Martin of Tours, a foe of Arianism. According to legend, Pope Gregory the Great ordered that the mosaics in the church be blackened, as their golden glory distracted worshipers from their prayers. The basilica was renamed again in 856 AD when relics of Saint Apollinaris were transferred from the Basilica of Sant'Apollinare in Classe because of the threat posed by frequent raids of pirates from the Adriatic Sea.
On the upper band of the left lateral wall are 13 small mosaics, depicting Jesus' miracles and parables; and on the right wall are 13 mosaics depicting the Passion and Resurrection. However, the flagellation and crucifixion are lacking. They describe the parts of the Bible that were read aloud in the church during Lent under the rule of Theodoric the Great. On the left, Jesus is always depicted as young, beardless man, dressed as a Roman Emperor. On the right, Jesus is depicted with a beard. For the Arians, this emphasized that Jesus grew older and became a "man of sorrows", as spoken of by the prophet Isaiah. These mosaics are separated by decorative mosaic panels depicting a shell-shaped niche with a tapestry, cross, and two doves. These mosaics were executed by at least two artists.
Camée représentant le buste de Messaline et de ses enfants, Octavie et Britannicus.
Sardonyx, or, émail (monture en or émaillé du XVIIe siècle).
Chab. 228
Cabinet des Médailles, BNF
Regional NÖVOG took over the Mariazellerbahn (MzB) from state-owned ÖBB in December 2010. When we visited the MzB in February and March 2011, most of the rolling stock still represented the already past ÖBB time.
1099 004 on the way to St. Pölten near Schwarzenbach.
Three eras represented in one loco as 37422 also carries her previous numbers of 37266 and 6966, a hint to her longevity. She was built at the Vulcan Foundry and released in February 1965 making her 57 years old. Her first depot was 41A Tinsley, she lost her original number in March 1974 and was again renumbered to 422 in January 1986.
She is seen here in Leeds Central station working the 3S21 Selby to Harrogate leg of the West Yorkshire RHTT with 37716 on the rear.
I had hoped she would have stopped for a second or two but on this occasion she had the road and purred straight through.
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...oggi anche sul terreno della via Pal si erge una malinconica costruzione a quattro piani, piena d'inquilini,nessuno dei quali forse sa che quel campo aveva rappresentato la giovinezza di un gruppetto...
...now on the ground as Paul Street stands a lonely building with four floors full of tenants, none of whom may know that that field had represented a group of youth ........
This image was taken with a full-spectrum converted camera, and represents a very fun adventure into new areas of photography for me. I’ve always wanted to do a star trail image that focused on reflections as well! View large!
“Full spectrum” means that the camera can detect light from wavelengths beyond that of human vision. Camera sensors are normally sensitive to ultraviolet and infrared light, but a filter in front of the camera blocks this light from being recorded in the image. In this way a camera shows us a similar world to the world we see with our own eyes, but what if you wanted to collect all the light? Remove the filters and you’re pushing new limits.
Images done in “full spectrum” look very strange and far “redder” than you would expect. This is because there is a ton of infrared light, especially on a sunny day, that messes with the camera’s ability to record colours properly. In many ways a full-spectrum camera is useless, but the night sky is an exception. Because the white balance has to be skewed to compensate for the additional light, “true” colours aren’t exactly on the menu; the light pollution that we would see as orange on the horizon is green because of this colour shift. There is variation in the colour of the stars that we see in the frame as well, and my first impression is that I’m able to see a greater variation in full-spectrum than I can with my regular camera.
You might ask why I would convert a camera to full-spectrum photography when its uses are limited. By placing various filters in front of the camera lens I can shoot in various levels of infrared and ultraviolet light. The full spectrum has some limited value, but slicing up different bands of the spectrum is where the fun begins. I’ll be publishing an ebook later this year on infrared and extra-spectrum photography, so don’t be surprised if you see more images like this through the summer!
The water was mostly calm, but a few ripples on the surface caused some star reflections to become slightly chaotic, resembling recorded sound waves. A lot of deep shadows were pulled up to help balance the image and keep a surreal feel to the overall composition, and it’s amazing to think that all of this was lit exclusively with the light of the cosmos. There was no moon, and no light painting done. It was a spectacular night.
As I lay under the stars being serenaded by a variety of frogs (take a listen: donkom.ca/extra/frogs.mp3 ) I couldn’t help but feel at peace. I was doing what I love – exploring the unseen world and experimenting with photography, and finding time to enjoy the natural world around me. I was feasted on by mosquitoes and other insects of the night, but it didn’t bother me. I was in my element. :)
RoidWeek Spring 2021 day 2/1
Les médaillons en argent sur la table d'harmonie de la veena (luth classique de l'Inde du Sud) représente des divinités du panthéon de l'Inde. Le médaillon au centre représente Sarasvati, la patronne de la musique, des sciences et du savoir, des études et de l'art.
The silver medallions on the harmony table of the veena (classical lute of South India) represent deities of the pantheon of India. The medallion at the centre represents Sarasvati, the patron saint of music, science and knowledge, studies and art.
Ce types de médaillons ne sont pas présents sur toutes les veena. This type of medallion is not present on all veena.
The area around the Buçaco Palace was part of a Discalced Carmelite convent established in 1628. The monks of the Convento de Santa Cruz do Buçaco not only built a convent but also created a luxurious garden with many species of trees. The garden was supposed to represent Mount Carmel (where the order was founded) and the Earthly Paradise. Date from the late 17th century a series of chapels with representations of a Via Crucis in the garden. Part of the convent, including the church with Baroque altarpieces, is still preserved beside the palace. At the entrance of the old convent, there is a plaque to the Battle of Bussaco which commemorates the fact that Viscount Wellington, who later became the Duke of Wellington, spent the night in the convent after the battle on 27 September 1810. The Carmelites left Buçaco in 1834 century following the dissolution of the monasteries in Portugal
The three columns represent the influence of Western European languages on the development of Afrikaans. Behind, the glorious scenery of the Simonsberg.
The Afrikaans Language Monument (Afrikaans: Afrikaanse Taalmonument) is located on a hill overlooking Paarl, Western Cape Province, South Africa. Officially opened on 10 October 1975, it commemorates the semicentenary of Afrikaans being declared an official language of South Africa separate from Dutch. Also, it was erected on the 100th anniversary of the founding of Genootskap van Regte Afrikaners (the Society of Real Afrikaners) in Paarl, the organisation that helped strengthen Afrikaners' identity and pride in their language.
The monument, surprisingly post-modern for the product of an authoritarian right-wing state, consists of various tapering structures of a convex and concave nature, symbolising the influences of different languages and cultures on Afrikaans itself, as well as political developments in South Africa, as follows:
* three columns symbolise the European heritage of the language. The columns are from high to low to illustrate Europe’s diminishing influence on Afrikaans.
* three convex mounds on a podium symbolise the African influences on the language
* a wall on the stairway symbolises the influence of the Malay language and culture, placed between the curves of Western Europe and Africa as a separate entity. Yet it forms a unity with the two forces of Western Europe and Africa that merge to form the bridge that symbolically depicts the roots of Afrikaans.
* the highest column (about 57m high) symbolises the growth of Afrikaans and is open at the top. The other writer that inspired the architect, CJ Langenhoven, wrote that Afrikaans grows like a “fast-rising arch”; the second very high column represents South Africa and the declaration of the Republic of South Africa in 1
This represents a return to a project I'd been working on intermittently for a while - and then somehow lost sight of. By no means finished, eleven of the twelve rectangles here are out-of- camera jpegs. The twelfth is was a minimally adjust raw file out of the TG6. When I started, the idea was to take a single shot under the water every time I swam, and collect them together into an album of colours. Now I have made this - I think I will start again - and save the photos in the order I take them to make a daily record of the colour of the water I swim in, whether it is fresh or salty, clear or murky, sunny or overcast.
They represent Archbishop Riordan High School. The shoulder panels - depicting a knight - identify them as "The Crusaders". A San Francisco Parade.
Represented by corset and crinoline it is a retro look at the same time modern with newspaper prints. This would be the piece that Elyse Jolie would wear during French fashion week when she was asked to run by a famous brand.
Look:
The outfit was created in a newspaper using papier-mache techniques and satin ribbons.
Accessories: IT
The works representing mythological figures.
Drawing on information from the excavation and stylistic comparisons, the pavement has been dated to the first half or middle of the 2nd century AD. A deeper examination of the pavement during its lifting and restoration allowed for an understanding of the construction techniques and the successive phases of installation of its different segments. While the ensemble was realised in situ, in opus tessellatum, the circular medallion, created in opus vermiculatum using miniscule elements, was composed within a workshop upon a terracotta base (the emblema technique) and then inserted into a space left empty in the centre of the shield. The border decorated with a guilloche was added at a third stage in order to camouflage the join between the shield and the emblema. By identifying the material used for the medallion and the guilloche, we can say that the creation of the panel and its insertion were carried out by the same team.
Présentation
Derrière les façades de style néo-Renaissance prend place un escalier d'honneur, réplique de celui du Crystal Palace (créé par Joseph Paxton) de l'Exposition universelle de 1851 à Londres.
La décoration intérieure est caractéristique du goût Rothschild.
Les appartements, composés de 28 suites, possédaient dès l'origine un système de chauffage central avec également eau courante chaude et froide. À l'origine, le château ne comprenait pas de cuisine afin d'éviter les odeurs. Un souterrain, condamné pendant la Seconde Guerre mondiale, puis réhabilité en 2014, équipé de rails pour passer les plats sur de petits chariots, relie le sous-sol à une maison voisine, à l'angle nord-est, à environ 60 mètres : là se trouvaient le fourneau et la batterie nécessaires pour préparer les repas. Ce souterrain est visible dans un épisode de la série télévisée Les Brigades du Tigre (épisode Les fantômes de Noël) où il sert de cache pour le bandit de l'épisode en question.
Histoire
La demeure a remplacé l'ancien château de Fouché, duc d'Otrante, ministre de la Police de Napoléon Ier, qui avait acheté à l'État, en 1801, les domaines de Pontcarré et de Ferrières qui appartenaient auparavant à Racine du Jonquoy, intendant général du Génie, et père du célèbre Racine de Monville.
Il est entouré d'un immense parc à l'anglaise de 125 hectares, réputé pour être l'un des plus beaux de France.
Le domaine touche celui d'Armainvilliers réparti sur les communes de Gretz-Armainvilliers et Tournan-en-Brie, autrefois propriété des frères Pereire et passé ensuite aux Rothschild ; les deux représenteraient la superficie de la capitale (6 000 hectares).
The Great WARNING.
The field is the world, and the good seed represents the people of the Kingdom. The weeds are the people who belong to the evil one.The enemy who planted the weeds among the wheat is the devil. The harvest is the end of the world, and the harvesters are the angels.“Just as the weeds are sorted out and burned in the fire, so it will be at the end of the world.The Son of Man will send his angels, and they will remove from his Kingdom everything that causes sin and all who do evil.And the angels will throw them into the fiery furnace, where there will be weeping and gnashing of teeth.Then the righteous will shine like the sun in their Father’s Kingdom. Anyone with ears to hear should listen and understand! - Matthew 13:38-43 www.biblegateway.com/passage/?search=Matthew13:38-43&...
En número de 14, representan según su autor, Oteiza, al apostolado en general y no a los 12 Apóstoles concretos de Cristo. Descarnados y sin rostro que los identifique, con un manifiesto intento de alcanzar la más pura espiritualidad, desafían a la propia materia, rompen los tópicos estilísticos y armonizan, de forma noble y brava, con la naturaleza que rodea al Santuario de Nuestra Señora de Aránzazu en el que se encuentran tallados.
All Rights Reserved. All images on this site are © copyright Juan Pedro Gómez-51.
Please, don’t use this images in websites, blogs or other media without my explicit permission. Use without consent on my part of it, will report the formal complaint to the registration of intellectual property. Thanks.
I personally am very moved by the respect value and tradition that the poppy represents.
How lucky it was that on the evening I had chosen to photograph these poignant flowers at West Pentire near Crantock, that growing between them were a vast array of native arable wildflowers which are managed by the National Trust to ensure their continued conservation.
Somehow it seemed very fitting bearing in mind the words from armistice day “the going down of the sun” how respectful the setting sun was to only show its subdued rays on this particular evening and in turn illuminated the sea in such a way to make us realise how lucky we are to have what we have compared to those who gave so much for our tomorrow.
Finally as it is Umbellifer Wednesday it was quite appropriate to include Umbellifer’s silhouetted along the top of the hedge on the left hand side of shot, who appear to be providing a guard of honour to the whole evenings happenings.
HUW🌸🌼🌸
Thank you for stopping by and viewing my photographs, I get so much pleasure from taking them.
I very much appreciate the comments and faves that you leave, Brian.
🐎😎
Dedicated to hb19… I know these letters represent to best of Flickr… if you have been
fortunate to receive a visit from this creative and talented “SHOOTER” you would
understand where I’m coming from… His drive is inspirational… His comments are
cherished… I don’t come close to his sky color or his signature style.
But my shot is to say…
Thank you for your friendship, “I TIP MY LENS” to this giant of a person…
TIO...
This collection represents a sophisticated visual exploration of cinematic and analog textures, meticulously crafted to emulate the distinct characteristics of iconic film stocks and high-end digital sensors. From the warm, nostalgic glow of Kodak Gold 200 and the dreamlike imperfections of a Holga 120N to the clinical precision of the Fujifilm GFX 100 and the timeless, high-contrast soul of Leica M Monochrom.
The series traverses diverse narrative landscapes: intimate portraits bathed in golden hour light, gritty cinematic battlefields, neon-drenched urban nights, and the stark solitude of sub-zero environments. Each frame serves as a technical study in color science, grain structure, and dynamic range, blurring the lines between traditional cinematography and modern computational creativity.
These images were generated by Artificial Intelligence.
Crossed flintlock pistols represent the Military Police Corps and the unit crest below identifies the 175th Military Police Battalion in which my father served as a company commander during the U.S. occupation of Germany in the first years of 1950 during the Korean War. When we returned to the United States he served in what came to be called the Criminal Investigation Command now the Army Criminal Investigation Division (CID) which these days is the Army version of NCIS.
For the Macro Mondays challenge, Father. Area shown is about 45mm tall.
Happy Macro Monday!
O Senado aprovou (03/06) o projeto que regulamenta a profissão de motorista. O PLC 41/2014 que altera a Lei 12.619/2012 já havia sido aprovado pela Câmara dos Deputados. A proposta ganhou grande repercussão, principalmente, diante das inúmeras manifestações de apoio por parte das entidades representativas.
O projeto foi votado com rapidez graças à aprovação de pedido de urgência apresentado no dia 21/05 pelo senador Zeze Perrella (PDT-MG), que também acompanhou a tramitação da proposta no Senado e trabalhou pela realização de acordo partidário para a aprovação imediata do projeto.
Durante o processo de votação o senador Perrella afirmou que os partidos já haviam concordado anteriormente com a aprovação, que teria de acontecer naquele mesmo dia, sem adiamento, o que fato aconteceu.
As galerias acima do plenário estavam repletas de representantes e entidades dos motoristas, que aplaudiram.
O texto flexibiliza o descanso obrigatório dos motoristas profissionais entre um dia e outro. Pela Lei em vigor, o intervalo poderia ser fracionado em 9 horas interruptas mais 2 horas. Já pela nova proposta o fracionamento passa a ser de 8 horas ininterruptas mais 3 horas, ambos totalizando 11 horas.
Em relação ao tempo máximo de direção contínua, sem intervalos, o projeto final ficou como no texto enviado pela Câmara: dentro de cada seis horas no volante, o motorista deverá descansar 30 minutos. No entanto, esse tempo poderá ser fracionado, assim como o de direção, desde que o tempo dirigindo seja limitado ao máximo de 5,5 horas contínuas. Atualmente, o tempo máximo de direção é de 4 horas contínuas.
Já a jornada máxima de trabalho, que pelo projeto original poderia chegar a 12 horas, foi mantida em 10 horas, após acordo entre os senadores. Pelo texto aprovado, a jornada diária do motorista profissional empregado continua a ser de oito horas, com possibilidade de duas horas extras, totalizando o máximo de dez horas. O texto da Câmara permitia a extensão das horas extras, se decidido em convenção ou acordo coletivo, o que poderia levar a jornada a 12 horas.
O relator da proposta, senador Romero Jucá (PMDB-RR), disse que o texto da Câmara já representava um avanço em relação à legislação atual e avaliou que as mudanças feitas no Senado garantiam novas melhoras, como a manutenção da jornada diária em oito horas mais duras horas extras e alterações em outros procedimentos.
"Esse projeto amplia o seguro para os motoristas. Cria procedimentos necessários para o teste toxicológico para habilitação e renovação da carteira, que é importante. Estabelece tratamento para aqueles motoristas dependentes, além de muitos outros avanços", argumentou o relator.
Pela proposta aprovada todos os motoristas profissionais nas categorias C, D e E deverão realizar exames toxicológicos para habilitação e renovação, com uma janela de detecção de 90 dias. O exame proposto permite verificar todo o histórico de consumo de substancias psicoativas durante este período. Ainda pelo texto aprovado na Câmara, os motoristas empregados serão submetidos a exames para admissão e no desligamento.
O senador Zeze Perrella comentou que o projeto atende ás necessidades básicas e os interesses dos motoristas em todos os setores, e representa um avanço em relação às leis atuais, contribuindo assim para o fortalecimento do setor de transporte e dos motoristas que nele trabalham. O senador mineiro acompanhou todas etapas do processo de votação.
Outros senadores, como Lídice da Mata (PSB-BA) e Paulo Paim (PT-RS), ressaltaram que, como o projeto retorna para a Câmara dos Deputados, ainda poderá ser aperfeiçoado.
O relator resolveu suprimir do texto isenções de pedágio previstas no texto da Câmara. Para ele, o benefício concedido geraria mudanças em contratos e seria revertido em cobrança extra para os demais motoristas.
"Pedágio que não se cobra de alguém vai se cobrar dobrado de outro alguém, que, no caso, seriam os veículos de passageiros, que teriam que pagar mais caro. O contrato de concessão que determina um resultado financeiro, então, é melhor não mexer", disse Jucá.
"Esse é um projeto importante para o setor dos transportes e a classe dos motoristas, especialmente diante de uma realidade como a brasileira, em que cerca de 70% de todas as mercadorias que circulam no país é feita através do transporte rodoviário", comentou Perrella.
Agencia senado com assessoria de imprensa
L’Antiquité représente pour le peintre Hubert Robert un cadre familier. Il illustre ici l’intérieur d’une basilique romaine : ruines grandioses d’une basilique à la voûte ornée de caissons et à la colonnade corinthienne, qui sert d’étable à un troupeau. La lumière pénètre par le trou de la voûte effondrée et au premier plan, une zone d’ombre, colline de décombres au sommet de laquelle se détache une vache, accentue cet effet remarquable de perspective. Affectionnant tout particulièrement le thème de la galerie, il sublime ces vestiges en tirant parti des dégradations du temps et en les amplifiant. Avec sa touche légère et esquissée, il anime ces ruines d’une façon qui lui est très personnelle en intégrant des personnages s’appropriant très naturellement le lieu.
En détail
Un personnage en tunique romaine peut être aperçu au sein du groupe d’individus ayant investi la galerie : une fantaisie fréquente chez le peintre.
Le saviez-vous ?
Hubert Robert illustre ici la possibilité d’éclairer par le haut la grande galerie du Louvre dont on veut en cette fin de XVIIIe siècle faire un musée. L’accident de la voûte, d’où s’échappe un rayon lumineux, préfigure l’éclairage zénithal des musées à venir.
Le Sanctuaire de Notre - Dame des Larmes a été érigé à la mémoire de la miraculeuse déchirer une effigie en plâtre représentant le Cœur Immaculé de Marie , placé au chevet des conjoints Iannuso à leur humble maison sur la Via degli Orti à Syracuse , en 1953 .
Le miracle a été répété du 29 Août au 1 Septembre 1953 dans le remue - ménage général d'une immense multitude de fidèles, dans la maison des époux Iannuso. larmes Collections ont été soumises à une analyse scientifique qui serait liquide lacrymal. La dévotion qui a suivi a pris des proportions énormes. La petite image de la Vierge des larmes , d' abord provisoirement admis dans les Euripide à proximité Piazza, a été placée à l' intérieur du sanctuaire . Le travail a été conçu en 1957 par les architectes français Michel Andrault et Pierre Parat suite d' un concours international. La construction a commencé en 1966, en raison de l'extrême modernité du projet dès le début , il y avait beaucoup de controverse des citoyens et estime qu'il considérait le travail d' un « monstre concret » qui allait peser plus sur ' zone urbaine déjà fortement compromise, ces diatribes très retardé la réalisation qui a pris fin qu'en 1994. au cours de l'excavation des fondations a été trouvé vivant au sixième siècle avant JC et zone déterré un morceau de route. Cette route était la route principale du quartier Akradina . La construction a été achevée après environ 28 ans et le sanctuaire a été ouvert le 6 Novembre 1994 par le pape Jean - Paul II . Huit ans plus tard, le même Jean - Paul II l' a élevé au rang de basilique mineure .
Le sanctuaire se compose de la crypte et le temple supérieur, avec un corps conique formée par des nervures en béton armé qui atteignent une hauteur totale de 74 m, surmonté d'un couronnement en acier de 20 mètres de hauteur portant une statue de bronze Madonna doré, le travail de Francesco Caldarella , entouré par un halo avec des éléments circulaires et radialement. Dans le temple supérieur est l'autel central, qui abrite l'image miraculeuse. Latéralement , il y a les chapelles: (de droite) Chapelle du Saint Suaire (jouer), Saint - Joseph et Sainte - Lucie. À gauche: Bienheureux autel Sacrement de la Charité et enfin la chapelle de Saint Pio de Pietrelcina, a ensuite été transféré à la crypte du sanctuaire.
A l'étage de la crypte, ils sont conservés vestiges de l'époque romaine et l' Antiquité tardive consistant en un sous - sol salaire et une grande pièce attenante avec murs d' origine ornées de mosaïques . Dans la crypte , il y a les chapelles, celle de Saint Corrado Confalonieri , de Sainte - Agathe , Saint - François d'Assise , saint Pio de Pietrelcina et d' autres.
Dans la chapelle de Sainte - Lucie est la tombe de Mgr. Calogero Lauricella , évêque de Syracuse de 1973 jusqu'à sa mort en 1989 .
Les interprétations architecturales
La forme architecturale du sanctuaire a été critiqué par les célèbres liturgistes et les planificateurs. Sa grande hulk béton a changé les perspectives négatives urbaines de Syracuse et a dominé les lieux de culte anciens et importants que les Catacombes de Sainte - Lucie et la crypte de San Marciano.
La structure est soumise à diverses interprétations. Les architectes ont proposé de réaliser structurellement le concept d'élévation de l' humanité vers Dieu . En fait, la plante avec sa circularité est censée représenter l'humanité qui atteint à Dieu.
D' autres significations données sont celles de: phare, identifié avec Maria menant au port qui est Jésus ; tente, au sein de laquelle la mère accueille ses enfants pour les conduire au Père; Lily se retourna à l' envers, et enfin une larme qui tombe vue de dessus l'impact dynamique sur le sol.
It was used as the state temple for King Suryavarman II and became his final resting place. The temple was designed to represent the mythical home of the Hindu Gods – Mount Meru.
Angkor Wat has become the national symbol of Cambodia. It is featured on the national flag, many businesses feature the name “Angkor” and there is even a beer named in its honour. Ангкор Ват представляет собой часть храмового комплекса г. Ангкор в индуистском стиле, который был древней столицей Камбоджи вплоть до XV в. На сегодняшний день он сохранился лучше других храмов, расположенных на территории г. Ангкор. Храм Ангкор Ват даже изображен на государственном флаге Камбоджи.
Построен храм в период c 1113 по 1150 гг. при правлении короля Сурьявармана II (посмертное имя – Парамавишнулок) и, по одной из версий, возводился, как усыпальница для него.
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The lives of Alexander Croll and John Wright represent one of the most enduring and successful partnerships in the pioneering history of the New South Wales North Coast timber and shipbuilding industries.
To a lesser extent, their early venture also aligned with fellow pioneer John Rodger, laying the foundational roots for the timber communities of the Myall Lakes and Great Lakes regions of NSW, Australia.
The Early Bond: From Glasgow to the Colony
The deep lifelong connection between Alexander Croll and John Wright began across the globe in Scotland.
Born just a few years apart in Banffshire (Wright in May 1835 and Croll in August 1835/1837), the two men moved to Glasgow as youths to train in the demanding trade of shipwrights. During their grueling apprenticeships on the Clyde, Croll and Wright shared living quarters, developing a mutual trust and work ethic that would define their future. Though they initially planned to settle in New Zealand, trade disruptions caused by the New Zealand Wars redirected their ambitions and they moved on to Australia, arriving in New South Wales around 1860–1861 aboard the Lord Worsley.
Like many young men of the era, they first tried their luck panning for gold along the Snowy River. When the goldfields failed to yield a fortune, they relied on their trade skills and journeyed to the dense, untouched coastal forests of the Myall Lakes district.
Pioneering the Myall Lakes (1860s–1872)
Arriving in the Bulahdelah region, Croll and Wright started out in the grueling business of pit-sawing. They soon gained employment at Boolambayte Creek working for Duncan MacRae, who had established the area's first timber mill. The two Scotsmen put their shipwright training to immediate use, constructing vessels—such as the Caledonia—to transport MacRae’s timber. During this period of foundational hard work,
Croll settled down, marrying Eliza Jane MacKay in 1867. By 1872, after years of working alongside MacRae, Croll and Wright were ready to strike out on their own. Partnering with a third skilled associate, John Rodger, they established the first official sawmill at Bungwahl on the top of the Myall Lakes. This industrial site was strategically chosen to allow their flat-bottomed punts and newly built timber vessels easy access to navigable water, ensuring they could ship heavy logs and sawn timber out to the booming Sydney market.
Diverging Paths and Legacies
While the Bungwahl partnership was highly successful, the three pioneers had different long-term geographic ambitions, leading them to amicably divide the business over the next few years.
John Wright sold his share of the Bungwahl sawmill and shipwright business to Croll in 1877 for £2000, having earlier, in 1875, moved to the North Shore of Forster, by 1879 known as Tuncurry. On arrival in Tuncurry Wright leased waterfront land to build a massive new sawmill, slipway, and established John Wright & Son Shipyards, which operated for nearly a century. By 1878 John Wright had also taken up several thousand acres of land just east of Krambach where he built another large sawmill known as Avalon.
The third Bungwahl Mill partner, John Rodger, eventually migrated north as well, moving his sawmilling focus toward the Camden Haven River and Laurieton to tap into new forest reserves.
Alexander Croll remained firmly anchored at Bungwahl. He bought out Rodger and Wright's shares and expanded the Bungwahl mill, running it it as a highly prosperous family empire.
Croll spent the rest of his life at his Bungwahl estate, "Huntley." As he aged, he passed the management of the mill to his capable sons, Alexander Jr. and James (who later expanded the family timber legacy into Dungog as J. Croll & Sons). Alexander Croll passed away at home on August 16, 1917, at the age of 82.
Reflecting the immense respect he commanded, his funeral was the largest ever seen in the district at the time. His coffin was carried 19 miles by river launch to Bulahdelah, where 32 of his sawmill employees formed a solemn guard of honour as he was carried to his final resting place—marking the end of a grand colonial journey that began in a shared Glasgow boarding house room.
Image Source - Great Lakes Museum
Information, Restoration and colourisation of image by Chat GPT Ai.
Torcecuello euroasiático
(Jynx torquilla)
El más atípico representante de la familia de los pícidos en Europa es un ave de pequeño tamaño y críptico plumaje que poco tiene que ver con los verdaderos pájaros carpinteros. En efecto, el extraño torcecuello es incapaz de taladrar la madera, carece de algunas de las adaptaciones de los piciformes típicos y se comporta más como un paseriforme cuando se posa en las ramas o corretea por el suelo; sin embargo, conserva los hábitos
trogloditas y una larga lengua con la que asalta los hormigueros.
Descripción y Clasificación
Orden Piciformes; familia Picidae
Longitud 16-17 cm. Envergadura 25-27 cm.
Identificación
Este pícido de pequeño tamaño posee un aspecto característico y notables singularidades morfológicas que lo diferencian de los restantes componentes de la familia, dentro de la cual constituye una subfamilia independiente. En contraposición a los contrastados coloridos de otros pájaros carpinteros, el torcecuello luce una librea muy críptica, de color pardo grisáceo y profusamente manchada de punteados y barrados, que recuerda inmediatamente a la de los chotacabras o las rapaces
nocturnas. La especie no presenta apenas dimorfismo sexual y su aspecto general resulta bastante diferente del de otros pícidos, pues recuerda en ocasiones al de un paseriforme, ya que suele deambular a saltos por el suelo, prefiere posarse en ramas horizontales (en lugar de hacerlo por los troncos) y carece de algunas de las características propias del grupo, como las rígidas rectrices (sustituidas en su caso por largas plumas blandas) y el fornido pico para perforar la madera, algo que el torcecuello jamás intenta .
Canto
Produce un sonido nasal y lastimero —ki, ki, ki, ki—, que puede parecerse al de otros pícidos e incluso al de ciertas rapaces.
Protest on Vredenburgplein in Utrecht, where 17,000 pair of shoes were diplayed, representing the children killed in the Gaza conflict and the names of the victims were called.
Le trullo (pluriel trulli) représente une forme typique de construction rurale de la Murgia dei Trulli (Murgie des trulli), plateau situé entre les villes de Bari, Brindisi et Tarente dans la région des Pouilles en Italie du Sud.
Il s'agit, selon le cas, d'un habitat temporaire ou saisonnier dans les champs ou d'un habitat permanent de petits paysans et d'ouvriers agricoles. On en rencontre des témoins isolés dans la campagne mais aussi de véritables agglomérations comme à Alberobello dans la province de Bari. La zone la plus riche en trulli est la valle d'Itria, entre Alberobello, Locorotondo, Cisternino et Martina Franca.
Leur âge d'or a été le xixe siècle, qui vit le morcellement des grandes propriétés en petites parcelles louées par bail emphytéotique et, dans ses dernières décennies, l'extension de la viticulture.
Three vehicles representing three great Japanese anime films/series. The Swordfish II from Cowboy Bebop (by Chris Hoffman), the Alakuneda Think Tank from Ghost in the Shell (by myself), and Kaneda's Bike from Akira (by Hachiroku24). The Alakuneda Think Tank has since been upgraded to a more accurate version.
Lathraea squamaria (Orobanchaceae) 083 24
Lathraea squamaria (the common toothwort) is a species of toothwort. It is widely distributed in Europe and also occurs in Turkey.
It is parasitic on the roots of hazel and alder, and occasionally other trees, and represents the second occasion on which a member of the Orobanchaceae family lost the ability to photosynthesize and became parasitic.
Toothwort is a perennial plant producing clumps of flowering shoots in late spring. The low, hairy, creamy-pink flowering shoot grows in a one-sided spike to a height of 8 to 23 cm.
The few scales on the stem represent the leaves, but the whole shoot is devoid of chlorophyll.
Source: Wikipedia (En)
Cultural and traditional performances representing cultures and countries from around Asia and the Pacific in celebration and honor of Asian Pacific American Heritage Month in Balboa Park, San Diego (5/20/2023).
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Frescoes of 1555 - Mercury Room (handmaid that representing the arts) - Rocca dei Rossi - San Secondo Parmense
La rocca dei Rossi è un maniero tardo-medievale situato a San Secondo Parmense, in provincia di Parma. A partire dal XV secolo fu la rocca principale dalla quale i Rossi amministrarono i propri feudi, nonché residenza della famiglia dei conti da Pier Maria II de' Rossi in poi.
La rocca fu costruita su di un dosso intorno al 1413 per volere di Pietro de' Rossi, padre di Pier Maria I de Rossi, a difesa del borgo fortificato di San Secondo sul quale i Rossi vantavano diritti sin dal XII secolo ed esercitavano signoria come conti dal 1365.
Rocca dei Rossi is a castle located in the town of San Secondo Parmense, Province of Parma. in the Italian region Emilia-Romagna.
It was begun in 1466 on land donated to Giacomo Rossi, of a highly prominent family in Parma. The stronghold was later turned into a luxurious manor decorated with 16th-century frescoes by important local artists.
Only the northwest wing and the northeast façade remain of the 16th century structure. During the last part of the 19th century, a large part of the castle was destroyed. The Renaissance courtyard, the main staircase and the reception hall, and the frescoes on the piano nobile remain. In 1983, an earthquake caused considerable damage to the building, requiring extensive restructuring.
In the 16th century, the Rossi castle was decorated with frescoes depicting secular themes by prominent disciples of Giulio Romano, including by Baglione, Orazio Samacchini, il Bertoja, Procaccini and Paganino. The estravagant decoration was due to a wish by the Rossi not to appear inferior to the new lords of Parma, the Farnese.
PANAVIA Tornado painted to represent GR.1, ZA447/EA ‘MiG Eater’ of RAF No.15 Squadron, Operation Granby, positioned in front of the setting sun at White Waltham.
It is said that seeing a lotus in your dream, represents growth, love, purity, beauty and expansion of the soul.
Lotus comes from the Greek word "lotos" and the Sanskrit name is padma, it is an ancient and universal symbol.
"It is the flower sacred to nature and her Gods, and represents the abstract and the Concrete Universes, standing as the emblem of the productive powers of both spiritual and physical nature.
It was held sacred from the remotest antiquity by the Aryan Hindus, the Egyptians, and the Buddhists after them; revered in China and Japan, and adopted as a Christian emblem by the Greek and Latin Churches, who made of it a messenger as the Christians do now, who replace it with the water lily.
It had, and still has, its mystic meaning which is identical with every nation on the earth" (SD 1:379 - Theosophy Dictionary on Lotus).
A few days ago I saw this pond on the left of the road, somewhere, in the Indian state of Bihar as we were driving from Varanasi to Bodh Gaya.
It was early in the morning at sunrise and it was still very foggy, there were many lotusses waiting for the sun and their reflection on the muddy waters was providing a dreamy kind of atmosphere.
I thought then that showing this image upside down would emphasize the effect...
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Maquette représentant la cérémonie funéraire de l'enterrement d'une femme aristocrate dans une tombe monumentale dite "tombe à char".
D'après la tombe de la nécropole de Bucy-le-Long "la Héronnière", Ve siècle avant notre ère.
La chambre funéraire au centre de l'enclos évoque une habitation : poteaux de bois faîtiers sur un toit à double pentes,
parois aménagées.
This photo represents “the spaces I occupy” by highlighting my presence and individuality. The vibrant yellow background mirrors the energy and positivity I bring to any space, while my upward gaze and expressive pose reflect my introspection and dreams. It’s a celebration of how I shape the world around me, both physically and emotionally, as my authentic self.