Spinel/Spinelle (poste 1 ~ comme 1)
View allAll Photos Tagged spinel
Macro Monday Bokeh
My favourite necklace, they are pearls from the South Seas and spinels.
Meine Lieblingshalskette, das sind Perlen aus der Südsee und Spinellen.
Mon collier préféré, ce sont des perles des mers du Sud et des spinelles.
Mi collar favorito, son perlas de los mares del sur y espinelas.
La mia collana preferita, sono perle dei mari del sud e spinelli.
Mijn favoriete ketting, het zijn parels uit de Zuidzeeën en spinellen.
Dear Flickr friends, I wish you a Merry Christmas, Happy Holidays, and, if you don't celebrate, very relaxed, beautiful days between Christmas and New Year
Liebe Flickr Freunde, ich wünsche Euch entspannte und friedliche Weihnachtsfeiertage und einen guten Rutsch ins Neue Jahr.
Chers amis de Flickr, je vous souhaite des vacances de Noël détendues et paisibles et une bonne année.
Queridos amigos de Flickr, os deseo unas relajadas y tranquilas vacaciones de Navidad y un feliz año nuevo.
Caros amigos do Flickr, desejo-lhe umas férias de Natal relaxadas e tranquilas e um feliz ano novo.
Cari amici di Flickr, vi auguro una vacanza di Natale rilassante e tranquilla e un felice anno nuovo.
Beste vrienden Flickr, ik wens u een ontspannen en rustige kerstvakantie en een gelukkig nieuwjaar.
"There are two ways of spreading light: to be the candle or the mirror that receives it" – Edith Wharton (American writer and designer).
The theme for "Smile on Saturday" for the 4th of January is "lit by candlelight", where the subject has to be illuminated by candlelight. I could have chosen many things, however I opted for a piece of jewellery, as I love the light reflecting sparkle of jewellery. In this case I have chosen a foliate late Victorian rose gold brooch featuring two spinels and a central citrine. Underneath the light cast by two tea lights set closely by it, the gold has taken on an even richer hue and the spinels a pinkish quality, whilst the citrine positively glows with amber gold candlelight. The brooch itself, being made in 1850 in Chester by the goldsmiths M&V (unable to find any information) is a lovely feminine example of a bar brooch. I hope you like my choice for this week’s theme, and that it makes you smile!
Blog Post #11
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Also shown...
::Static:: Chrystalline Armor {Tourmaline}
::Static:: Frostbitten Body Gems {Spinel}
:[Petrichor]:- Kratus Horns - Royal
=Zenith=Venetian Style Flower Masquerade Mask
Astralia - Crows Empress Dress
(Yummy) Eternal Life Ring Collection
DOUX - Ara Hairstyle
DOUX Savannah Hairstyle
Taken at the Mystic Realms! :D
Circaète Jean-le-Blanc
Circaetus gallicus
"La spécialisation du Circaète Jean-le-Blanc sur les serpents dicte sa répartition méridionale autour des bassins de la Méditerranée et de la mer Noire, remontant jusqu’à la mer Baltique dans l’ouest de la Russie. L’arc alpin marque la limite nord de son aire de reproduction en Europe centrale, avec des nidifications régulières dans le nord de l’Italie et dans les départements français de Haute-Savoie, Ain et Jura.
Malgré des soupçons de nidifications antérieures, la première preuve de reproduction du Circaète en Suisse n’a été apportée qu’en 2012 dans la région de Loèche VS. Après une pause de deux ans, le même couple a niché à nouveau en 2015 et 2016 dans deux carrés atlas du Haut-Valais (J. Cloutier, L. Maumary). La première nidification au sud des Alpes a été observée en 2016 dans le Tessin central. Des observations complémentaires en 2017 établissent deux autres couples nicheurs en Valais (R. Arlettaz, L. Maumary) et un supplémentaire au Tessin (L. Pagano, F. Rampazzi, M. & N. Spinelli).
L’installation du Circaète en Suisse a été précédée d’une augmentation spectaculaire du nombre d’observations depuis 1991. En France et en Italie, les effectifs sont aussi en augmentation."
Source : www.vogelwarte.ch/fr/atlas/especes#circaete-jean-le-blanc
OUT : CHU-ING. Dokidoki Look. RARE @OKINAWA SUMMER
HAIR : pr!tty - Doki - [All Color Huds]
EYE : {S0NG} :: Yuki~ Dark Brown Eye @OKINAWA SUMMER
HAT : `M.BIRDIE / Magical mood. Hat-star1
SHOES : CHU-ING. Pastel Baby. Shoes RARE
WAND : .random.Matter. - Moon Witch - Wand [Black]
EARRING : CHU-ING. Pastel Baby. Earring L sky
BACK : CMYK// School corridor @OKINAWA SUMMER
DECO : :[P]:- Ursa Major Pillow
DECO : *ionic* Little love & happiness... that's all (posters)
DECO : *ionic* papelitos
DECO : *::.who what.::* -YOZORAnoKONPEITOU- {mix}
deco : Candy Crunchers - MoMo - Angel
DECO : :[P]:- Driftwood Galaxy
DECO : MishMish - Dolphin / Blue
DECO : comet. + WE + {cream}
DECO : comet. + kyutiebey stand +
DECo : comet. + spinel +
DECO : Foxes - Vixen - Fishy - Blue
a little tilt shift here for emphasis. Here is some background on the place. Lovely surroundings with impressive steep cliffs surrounding much of the drive from Keremeos to Hedley BC along the 3 highway.
Gold was discovered in the area in 1898 and the development of the mine started in 1903. More than 120 km of tunnels were excavated and the mine operated until 1955. In 1986 the mine was reopened and operated as an open pit mine for about ten years. This was one of the most productive gold mines in British Columbia.
In the Nickel Plate mine, gold occurs with native bismuth, bismuth tellurides, and As-Cu-Fe-Co-Mo sulfides in the disseminated stockwork of a garnet-pyroxene skarn at the contact between Early Jurassic dioritic Hedley intrusions and the host siltstone and limestone units of the Upper Triassic Nicola Group (B.C. Minfile 2005).
The deposit was discovered in 1898. Continuous production of gold at the Nickel Plate mine began in 1903 and lasted until 1930 (Cooke 1946). The mine has been sporadically operated since then and was last closed in 1996 (B.C. Minfile 2005).
Although native gold is well known, a single find of about a half-dozen gold crystals from the Nickel Plate mine is known, Mauthner and Francis (2006) These consist of octahedra to 0.5 mm, some with cubic modification and spinel twins to 0.7 mm, perched on arsenopyrite crystals. Other associated minerals include grossular, diopside, and telluride minerals.
(mindat.org)
“Jewellery has the power to be the one little thing that makes you unique” – Elizabeth Taylor (British/American actress)
The theme for “Smile on Saturday” for the 23rd of September is “two times two”. In the last two years, I have been exploring a new avenue in my photographic creativity, that of portraiture photography. I used a somewhat illusive sitter for several “Smile on Saturday” themes in the past. My model has kindly returned to sit for me yet again for this theme. I decided that I wanted to photograph two hands and two rings, and my model has, in my opinion anyway, two beautiful hands. He also has a selection of some very lovely rings. The ring on the left is a 1920s Art Deco cocktail ring of garnets and pearls in a platinum setting on a band of gold. The ring on the right is a mid-Victorian square cut red spinel set in an elegant gold mount from the 1860s. To highlight the beauty of the two rings, I decided to process this photo as a selective colour image. I hope that you like my choice for the theme this week, and that it makes you smile!
White satin evening dress with crystal embroidery and black spinel, made special by the foreshortened shoulders and a deep side slit. Included is alpha mask for mesh body BoM and classic body
Fitmesh: Maitreya, Belleza Isis, Freya, Venus, Legacy, Ocacin, Model M, Slink Hourglass and Physique, Toni Curvy and Fine , Voluptuous
Alpha Mask
Ankle strap heels, Belleza, Maitreya , Slinck
Pearl necklaces , mesh, copy and Edit
Demo At Store
your limousine Boutique
maps.secondlife.com/secondlife/Bay%20City%20-%20Edgartown...
marketplace.secondlife.com/p/Adl-High-Fashion-Dita-Gown/2...
Although St Mark's was modelled after the Church of the Holy Apostles in Constantinople, ceremonial needs as well as the limitations posed by the physical site and the pre-existing walls and foundations made it necessary to adapt the design. The overall cruciform plan with five domes was maintained. But the Holy Apostles was a true centrally planned church: the central dome, larger than the others, was alone pierced with windows, and the altar was located underneath. Also, there was no distinction between the four crossarms: no apse existed, and double-tiered arcades surrounded the interior on all sides. In contrast, the longitudinal axis was emphasized in St Mark's so as to create the space appropriate for the processions associated with state ceremonies. Both the central and western domes are larger, accentuating the progression along the nave, and by means of a series of increasingly smaller arches, the nave visually narrows towards the raised chancel in the eastern crossarm, where the altar stands. The crossarms of the transept are shorter and narrower. Optically, their height and width are further reduced by the insertion of arches, supported on double columns, within the barrel vaults. The domes of the transept and the chancel are also smaller.
As with the Holy Apostles, each of the domes rests on four barrel vaults, those of the central dome rising from quadripartite (four-legged) piers. But the two-tiered arcades that reinforced the vaults in the Holy Apostles were modified. In St Mark's there are no upper arcades, and as a result the aisles are less isolated from the central part of the church. The effect overall is of more unified sense of space and an openness that have parallels in other Byzantine churches constructed in the eleventh century, an indication that the chief architect was influenced by middle-Byzantine architectural models in addition to the sixth-century Church of the Holy Apostles.
The location of the main altar within the apse necessarily affected the decorative programme. The Christ Pantocrator, customarily located in the central dome over the altar, was placed in the semi-dome of the apse, where normally the Virgin in prayer was depicted in middle-Byzantine churches. The large seated figure, now a sixteenth-century recreation, is surrounded with the inscription: "The King of all, made flesh for the love of sinners, do not despair of forgiveness while you have time." (SUB REX CUNCTORUM CARO FACTUS AMORE REORUM · NE DESPERATIS VENIE DUM TEMPUS HABETIS). Below, interspersed with three windows, are late-eleventh and early-twelfth-century mosaics that portray Saint Nicholas of Myra, Saint Peter, Saint Mark, and Saint Hermagoras of Aquileia as the protectors and patrons of the state, Saint Nicholas being specifically the protector of seafarers. Saint Peter, Saint Mark, and Saint Hermagorus also indicate the apostolic foundation of the Aquileian church, of which Venice is understood to be the legitimate successor.
Over the high altar in the eastern crossarm is the Dome of Immanuel (God with us), which concerns the Incarnation. It presents a young, beardless Christ in the centre, surrounded by stars in allusion to his divine nature. Radially arranged underneath are standing figures of the Virgin, as the mother of Incarnate God (ΜΡ ΘΥ), and Old-Testament prophets, the latter bearing scrolls with passages that largely refer to the Incarnation. Rather than seraphim as was customary in middle-Byzantine churches, the pendentives of the dome show the symbols of the four evangelists.
An extensive cycle narrating the Life of Christ covers much of the interior, with the principal events located along the longitudinal axis. The eastern vault, between the central dome and the chancel, contains the major events of the infancy (Annunciation, Adoration of the Magi, Presentation in the Temple) along with the Baptism of Christ and the Transfiguration. In their present form, these mosaics date from the sixteenth century and are based on preliminary drawings by Tintoretto's workshop. The western vault depicts the events of the Passion of Jesus on one side (the kiss of Judas, the trial before Pilate, and the Crucifixion) and the Resurrection on the other side (the Harrowing of Hell and the post-resurrection appearances). Consistent with middle-Byzantine decorative programmes, the Crucifixion and the Harrowing of Hell, are placed opposite one another, and the resurrected Christ is portrayed as if walking toward the altar. A secondary series illustrating Christ's miracles is located in the transepts, but the arrangement of the episodes is not always chronological. The series, originally consisting of twenty-nine scenes, seems to have derived from an eleventh-century Byzantine Gospel. The transepts also contain a detailed cycle of the Life of the Virgin: these scenes were probably derived from an eleventh-century illuminated manuscript of the Protogospel of James from Constantinople. As a prelude, a Tree of Jesse showing the ancestors of Christ was added to the end wall of the northern crossarm between 1542 and 1551. Throughout the various narrative cycles, Old-Testament prophets are portrayed holding texts that relate to the New-Testament scenes nearby.
The Dome of the Ascension occupies the central position, whereas in the Church of the Holy Apostles it was located over the southern crossarm. The prominence given to the representation of the Ascension of Christ into heaven may have had political connotations as a reference to the civic celebrations on Ascension Day, which began with solemn mass in St Mark's and involved the Doge's ceremonial marriage of the Adriatic as a symbol of Venice's dominion on the sea. The dome, executed in the late twelfth century, is exemplary of middle-Byzantine prototypes in Constantinople. In the centre Christ ascends, accompanied by four angels and surrounded by standing figures of the Virgin, two angels, and the twelve apostles. As tradition in Byzantine art, two of the apostles have been substituted with Mark and Luke in order to have, together with Matthew and John, all four of the evangelists. The inscription derives from Acts 1:10 and anticipates the return of Christ and the Last Judgement: "Say, why do you stand looking into heaven? This Son of God, Jesus, o men of Galilee, as he departs from you, so shall he come as judge of the world, with right judgement to give all their due" (DICITE QUID STATIS IN AETHERE CONSIDERATIS · FILIUS ISTE D[E]I I[ESU]S CIVIS GALILEI · SUMPTUS UT A VOB[IS] ABIIT ET SIC ARBITER ORBIS · JUDICII CURA VENIET DARE DEBITA JURA). As customary for the central dome in middle-Byzantine churches, the pendentives contain the four evangelists, each with his gospel. The addition, underneath, of the representations of the four rivers that flowed from the Garden of Eden indicates a western influence. Thematically, these rivers allegorize the live-giving water that flows from the Gospel. Distinctly western is also the inclusion of the virtues and beatitudes that alternate with the windows.
As in the Church of the Holy Apostles, the Dome of Pentecost is located over the western crossarm. In the centre is an hetoimasia, an empty throne with a book and dove. Radiating outward are silver rays which fall on the heads of the apostles and evangelists seated around the outer rim of the dome, each with a flame on his head. The circular inscription describes the infusion of the Holy Spirit on Pentecost: "The Spirit pours over them, strengthening them by filling the heart of each and uniting them by bonds of love. Then the nations become believers, seeing the miracle of the speaking in various tongues" (SPIRITUS IN FLAMMIS SUP[ER] HOS DISTILLAT UT AMNIS CORDA REPLENS MUNIT ET AMORIS NEXIBUS UNIT HINC VARIE GENTES MIRACULA CONSPICIENTES FIUNT CREDENTES VIM LINGUE PERCIPIENTES). The nations are represented by the groups of figures that are interspersed with the windows below, whereas the pendentives, rather than the nations as was typical for the Pentecost dome in Byzantine churches, contain angels.
In keeping with Pentecost, as the institution of the Church, the side vaults and walls of the western crossarm largely illustrate the subsequent missionary activities of all twelve of the apostles and their deaths as martyrs. The specific events in the lives of the various apostles and the manner of their deaths adhere to Western traditions, as narrated in Latin martyrologies that derive in part from the Book of Acts but to a greater extent from apocryphal sources. However, the single representations and the overall concept of presenting the lives of the saints in a composition that combines several events together in one scene have their parallels in Greek manuscript illustrations of the middle-Byzantine period. A number of the mosaics were later remade, using preliminary drawings by Antonio Vassilacchi, Palma Giovane, and Alessandro Varotari.
The western vault illustrates Saint John's vision of the Apocalypse and, as the end of the decorative programme, the Last Judgement. Several of these mosaics are no longer the originals, having been remade on the basis of preliminary drawings by Tintoretto, Domenico Tintoretto, Maffeo Verona, and Antonio Vassilacchi. On the wall below there is a thirteenth-century deesis with Christ enthroned between the Virgin and Saint Mark.
The chancel is enclosed by a Gothic altar screen, dated 1394. The work of Pierpaolo dalle Masegne [it] and his brother Jacobello dalle Masegne [it], it is formed by eight columns made of marbles from southern France, Lesbos, and Anatolia and is surmounted by a bronze and silver Crucifix, flanked by statues of the Virgin and Saint Mark, together with the twelve apostles. On the left of the screen is the ambo for readings from Scripture. On the right is the platform from which the newly elected Doge was presented to the people. From here, important relics were also displayed on major holidays, notably the relic of the Precious Blood which was shown to the faithful on Maundy Thursday and again during the Easter Vigil.
Behind the screen, marble banisters with Jacopo Sansovino's bronze statues of the Evangelists and Girolamo Paliari's of the four Latin Doctors of the Church mark the limit of the choir, which after the reorganization by Doge Andrea Gritti (in office 1523–1538) was utilized by the Doge, civic leaders, foreign ambassadors, and the knights of Saint Mark. The backs of the seats (dispersed) were inlaid with allegories of the theological and cardinal virtues and were covered for ceremonies with silk and gold thread tapestries by Jan Rost of Flanders [it]. The tribunes above, for musicians and singers, are faced with bronze reliefs by Sansovino that portray events in the life of Saint Mark and his miracles.
Beyond the banisters is the presbytery, reserved for the clergy, with the high altar which since 1835 contains the relics of Saint Mark, previously located in the crypt. The ciborium above the altar is composed of a canopy in Verd antique supported by four intricately carved columns, in Proconnesian marble, with scenes that narrate the lives of Christ and the Virgin. The age and provenance of the columns is disputed, with proposals ranging from sixth-century Byzantium to thirteenth-century Venice. According to tradition, they are spoils taken from the Basilica of Santa Maria del Cannetto in Pola by Doge Pietro II Orseolo (in office 991–1009). The altarpiece, originally designed as an antependium, is the Pala d'Oro, a masterpiece of Byzantine enamels on gilded silver that incorporates 1,300 pearls, 300 sapphires, 300 emeralds, 400 garnets, 90 amethysts, 15 rubies, 75 spinels, and 4 topazes, all highly polished, unfaceted gems. The altarpiece was ordered from Constantinople in 1102 by Doge Ordelafo Faliero Dodoni (in office 1102–1118). It was enlarged in 1209 with enamels taken from the Monastery of the Pantocrator in the aftermath of the Fourth Crusade. In its present form, the altarpiece dates to 1345 when the enamels were reorganized and the Gothic frame was added. Some of the enamels may come from the first altarpiece, ordered in Constantinople by Doge Pietro I Orseolo in 976.
The two choir chapels, located on either side of the chancel, occupy the space corresponding to the lateral aisles in the other crossarms. They are connected to the chancel through archways which also serve to reinforce the barrel vaults supporting the dome above.
The choir chapel on the northern side is dedicated to Saint Peter. Historically, it was the principal area for the clergy, probably in consideration of its proximity to the residences of the clerics to the north of the church. The altar contains the relics of Saints Peter, John the Evangelist, Matthew, Luke, and Bartholomew, which were likely acquired in the ninth century for the Participazio church. This was consistent with the tradition, that began with Saint Ambrose's fourth-century Basilica Apostolorum in Milan, whereby the possession of important relics, specifically those of the apostles, was necessary to distinguish the political and ecclesiastical importance of a city.
The mosaic decoration in the vault above the chapel largely narrates the life of Saint Mark in order to demonstrate the apostolic origins of the Patriarchate of Aquileia. It begins with Saint Peter's unhistorical consecration of Saint Mark as bishop of Aquileia and later of Saint Hermagoras as his successor and concludes with Saint Mark's departure for Alexandria, his martyrdom, and burial. The figures of 'Patriarch' Helias of Grado and Pope Pelagius II, located on the arch that connects the chapel to the chancel, refer to the alleged papal recognition of Grado as Aquileia's successor and of Grado's metropolitan jurisdiction over Venetia. Beginning in 1156, the Patriarch of Grado (after 1451 Patriarch of Venice) resided in Venice, and from at least the twelfth century, he had a seat on the northern side of the chancel of St Mark's, near the entry to the choir chapel of Saint Peter, from which he could assist at mass on the high altar.
Prior to the sixteenth century, the Doge's throne was located on the opposite side of the chancel, near the choir chapel of Saint Pope Clement I, which through the doorway opens to the courtyard of the Doge's Palace. The chapel was particularly reserved for the Doge's private use. From the window above, which communicates with his private apartments, it was also possible for the Doge to assist at mass in the church. Around the perimeter of the chapel, the inscription reminds the Doge that he shall be judged for his actions after his death, and it specifically exhorts him to love justice and to give everyone his due; to be a patron and benefactor of paupers, widows, minors, and orphans; and to not be influenced by fear, desire, hate, or greed.
Above the chapel, the mosaics in the vault continue to illustrate the story of Saint Mark with the events of the translatio. They constitute the oldest surviving representation of the transfer of Saint Mark's relics to Venice and serve to demonstrate Venice's legitimate right to possess the relics. They also symbolically indicate the transfer of metropolitan authority from Aquileia/Grado to Venice. The altar contains the relics of early martyrs of the Roman Empire, particularly of Aquileia.
Europe, Greece, Aegean, Cyclades, Naxos, Enaerios, Emery (slightly cut from all sides)
A pylon of the sky-lift emery (smyrigli) transport system (the 'Enaerios') that took emery ore from the mines of the mountains near Stravolagada to the harbour in Moutsouna (one gotta love that 100-year-old, rough engineering of the early days of the industrial revolution in Greece) where the carts of the sky lift were put on rails and were rolled to the loading quay were the ore was loaded in these barges. They would then navigate to a bulk carrier that was, because of its deep draught, anchored somewhere in the bay.
The 'Enaerios' transportation system was created in 1928 and operated till 1978. Its statistics: 170 carts, 9 km long, 73 iron pylons with a height from 5 to 43 m. Some 50 workers were needed to operate it. Before the Enaerios, donkeys were used an after the completion of the road network of Naxos in 1978, lorries took over the transport.
Emery is locally known as smyrigly (also named smyrida) and was for many years the main source of wealth of Naxos. It largely consists of the mineral corundum (aluminium oxide=Al2O3) and other minerals such as the iron-bearing spinels, hercynite, magnetite, and rutile. The hardness of corundum is second only to diamond. It was used as an abrasive for metals, glass, wood and sandblasting and as a traction enhancer on roads, loading ramps, airport runways and pavements. Nowadays sintered carbide and oxide materials have replaced emery as abrasive, although on a small scale emery is still mined on the island.
This is number 29 of the Cyclades 2011 album and 74 of gloriously dilapidated.
Circaète Jean-le-Blanc
Circaetus gallicus
"La spécialisation du Circaète Jean-le-Blanc sur les serpents dicte sa répartition méridionale autour des bassins de la Méditerranée et de la mer Noire, remontant jusqu’à la mer Baltique dans l’ouest de la Russie. L’arc alpin marque la limite nord de son aire de reproduction en Europe centrale, avec des nidifications régulières dans le nord de l’Italie et dans les départements français de Haute-Savoie, Ain et Jura.
Malgré des soupçons de nidifications antérieures, la première preuve de reproduction du Circaète en Suisse n’a été apportée qu’en 2012 dans la région de Loèche VS. Après une pause de deux ans, le même couple a niché à nouveau en 2015 et 2016 dans deux carrés atlas du Haut-Valais (J. Cloutier, L. Maumary). La première nidification au sud des Alpes a été observée en 2016 dans le Tessin central. Des observations complémentaires en 2017 établissent deux autres couples nicheurs en Valais (R. Arlettaz, L. Maumary) et un supplémentaire au Tessin (L. Pagano, F. Rampazzi, M. & N. Spinelli).
L’installation du Circaète en Suisse a été précédée d’une augmentation spectaculaire du nombre d’observations depuis 1991. En France et en Italie, les effectifs sont aussi en augmentation."
Source : www.vogelwarte.ch/fr/atlas/especes#circaete-jean-le-blanc
Blouse:tamanegi-kobo Ruby
Pants:tamanegi-kobo Black Spinel
I made in the sleeve "pattern B" for the first time the blouse. I had thought because there is a volume in the shoulder I, such a design would not look good, but very happy looks good well unexpectedly:)
"La spécialisation du Circaète Jean-le-Blanc sur les serpents dicte sa répartition méridionale autour des bassins de la Méditerranée et de la mer Noire, remontant jusqu’à la mer Baltique dans l’ouest de la Russie. L’arc alpin marque la limite nord de son aire de reproduction en Europe centrale, avec des nidifications régulières dans le nord de l’Italie et dans les départements français de Haute-Savoie, Ain et Jura.
Malgré des soupçons de nidifications antérieures, la première preuve de reproduction du Circaète en Suisse n’a été apportée qu’en 2012 dans la région de Loèche VS. Après une pause de deux ans, le même couple a niché à nouveau en 2015 et 2016 dans deux carrés atlas du Haut-Valais (J. Cloutier, L. Maumary). La première nidification au sud des Alpes a été observée en 2016 dans le Tessin central. Des observations complémentaires en 2017 établissent deux autres couples nicheurs en Valais (R. Arlettaz, L. Maumary) et un supplémentaire au Tessin (L. Pagano, F. Rampazzi, M. & N. Spinelli).
L’installation du Circaète en Suisse a été précédée d’une augmentation spectaculaire du nombre d’observations depuis 1991. En France et en Italie, les effectifs sont aussi en augmentation."
Source : www.vogelwarte.ch/fr/atlas/especes#circaete-jean-le-blanc
Gorgeous Gold Druzy Pendant, 24K Gold Plated Tinkerbell Faerie Charms, 24K Gold Stardust Beads, Vintage Tensha Beads, Vintage 24K Gold Plated Chains, Swarovski Crystals, 14K Gold Filled Wire and 14K Gold Plated Ear Posts set with Rhinestones.
A crystal for energy rejuvenation and strengthening - Red spinel rondelles suspended from chains and dangles from a vermeil classic chandelier earring connector measuring approx. 7mm x 15mm. Total length of earring is 55mm. Wires, chains and earwires in gold-filled.
Collage done inside a ruled, soft cover Moleskine; images are scans from my childhood reference books (the background is the Pyramid of Djoser in Egypt, the various minerals are from the DK Eyewitness Book Crystal & Gem, illustrated birds are by Kenneth Lilly in the Animal Atlas); quote is by e.e. cummings.
Making these collages is a nostalgic experience. I grew up studying the pictures in these books and, while looking through for good pieces, I recall bits of my childhood. This is the second I've made thus far and I plan on continuing the series.
Elongated teardrop chalcedony in a very subtle pastel green topped with blue topaz, spinel rondelles with tints of yellow and orange. a 30mm drop from earwire. Made using 925 silver wires and earwire.
Spinel from Mustio carbonate quarry, Finland. Etched from calcite, stacked image.
My commercial portfolios
Spinel is a hard vitreous magnesium aluminium oxide that has been used as a gemstone for centuries. The beauty of spinel has caused it to be mistaken for ruby and sapphire in the past. Spinel occurs in a range of colours, such as rose pink to rich red; lavender to deep violet; light to deep blue, orange, yellow, brown and black.Spinel is a durable gemstone and it is most often faceted in oval, round, or cushion shapes and is not currently found in calibrated sizes due to its rarity.
En los últimos episodios, Sakura y sus amigos se enfrentan a Eriol, Rubi Moon y Spinel Sun. Eriol hizo un hechizo para que todos los habitantes de Tomoeda durmieran, y si Sakura no lo deshacía antes del amanecer, todos dormirían eternamente. Sakura debía cambiar la carta "The Light" (La Luz, ¡eh! ¡yo!), para deshacer el hechizo. Kero-chan y Yue se fusionaron con el báculo de Sakura, pues era imposible para ella cambiarlas sola. También la ayudó Shaoran, justo en el momento en el que ella iba a rendirse. Ambos derrotaron a Eriol, quien desapareció luego de la pelea. Sakura había convertido a todas las Cartas Clow en Cartas Sakura. Cuando Sakura iba a seguir a Eriol, Shaoran la detuvo y le confesó que ella le gustaba, a lo que Sakura enmudeció.
Fantasy Fair extended 1 more day (today) maps.secondlife.com/secondlife/The%20Tides/188/118/44 Petite in Persimmon and Mertallic Petite Mermaid set in Spinel at Skinthesis , at the fair , and at Main shop ... maps.secondlife.com/secondlife/Oubliette/234/109/35
A Jigha is a traditional Indian ornament used mainly by noblemen on the front of their turbans.The ornament is set with Spinel, Emeralds, Diamonds, Enamel, and Gilded silver
Beautiful trillion pyramid faceted black rutilated quartz accompanied by black spinel rondelles, stardust bead and tassels that adds a fashion flair to it. Measures 40mm. 925 silver components.
Chromite. The mineral is iron chromium oxide. Cedar Mountain Ridge Chromite Deposits. Cedar Mountain Mining District. Near Livermore, Alameda Co., Calif.
Statue en porphyre.
La richesse des collections est due aux fouilles des villes ensevelies de Pompéi et Herculanum et aux antiquités gréco-romaines de la collection Farnèse, qui constituent le noyau de la collection. Pendant plus d'un siècle, on y vit affluer les découvertes de tout le territoire du Royaume de Naples. Différentes collections achetées ou reçues en don (Borgia de Velletri, Lovisato, Spinelli) ont également enrichi l'ensemble.
Sample from Mustio limestone quarry, Finland. Etched from calcite, stacked image.
My commercial portfolios
... from lift off. I turned and suddenly it was gone.
Spent the next hour searching through the snow and underlying mulch for this color change spinel. After giving up and coming in for yet another change into dry clothes, it occurred to me to fill up a bucket with the snow and debris to melt in my utility sink, sifting through the wet muck for my favorite spinel. At the end I'd not found it. As I was dumping out the last of the water, there it lay in the sink bottom! (I don't call this series "adventures in gemstones" for nothing :-)
1.17cts color change blue/purple
My lovely friend Ann/angelfish_68 sent these awesome yellow-tinted Elfdoll sunglasses to Julian and the other guys (although, Julian has claimed them as his own).
Julian liked them so much that he decided to wear them during the photo shoot for his new single "Too Much Love Can Kill You".
So, this series of pictures is dedicated to Ann. Thank you so much!