Oil on canvas; 70.5 x 95 cm.

  

Spanish painter. based in madrid from 1909, he was self-taught and began by copying pictures by diego velázquez and el greco in the prado. he received support from the poet juan ramón jiménez and established links with such young poets and artists as federico garcía lorca, rafael alberti, salvador dalí and luis buñuel. in 1925, when he participated in the artistas ibéricos exhibition (madrid, casón buen retiro), his work consisted of mildly abstracted landscapes and cubist still-lifes. after several lengthy spells in paris between 1926 and 1928, where he met picasso, he held a one-man exhibition at the palacio de bibliotecas y museos in madrid (1928), his unconventional choice of material—including combinations of oils, soil and sand—scandalizing both critics and visitors. his work developed towards abstraction under the influence of joan miró and was marked also by surrealism in an effort to synthesize the iberian spirit with the avant-garde.

   

Edukate (Strawberry) by Skye Nicolas

Metallic c-print signed and numbered limited edition of 6

20 x 30 in (50.8 x 76.2 cm)

  

Edukate (2011) is a limited edition of metallic c-prints created by artist Skye Nicolas featuring the juxtaposing of supermodel Kate Moss' iconic face with the word "EDU". Stylized in a campaign-like advert, Nicolas has synthesized the practical use of graphic composition echoing Warholean aesthetics which appropriates mass produced imagery; but by pairing this with the simplicity of a witty underlying slogan, he cleverly disposes of its bourgeois values which tend to sentimentalize artificially cultivated nostalgia void of feeling and subjectivity. The final product is a stunning image that calls onto the individual; playfully questioning ones personal value system, bringing forth intrinsic self-analysis and reflection, presenting what would seem like an open invitation to the reexamination of the postmodern educational system specifically implemented by private institutions in America.

 

The ironic use of word play is descriptive of Nicolas' series Sinatra Howls From The Underground (2009), which explores the fundamental yet potent tactics of 21st century advertising. The beautifully rendered series gives us a clear portrait of a transmedia consciousness that engorges itself on mass produced imagery, and a culture that has accepted corporate branding and mass consumption as an acceptable and inevitable way of life.

  

ON EDUCATION | Paulo Freire & Jacques Maritain

 

"If we have serious regard for what it means to be human, the teaching contents cannot be separated from the moral formations of the learners... teaching and learning simultaneously in the context of rigorous, methodological curiosity, anxious to explore the limits of creativity, persistent in the search and courageously humble in the adventure." (Paulo Freire | Pedagogy of Freedom, 1998)

 

"If we remember that the animal is a specialist, and a perfect one, all of its knowing power being fixed upon a single task to be done, we ought to conclude that an educational program which would only aim at forming specialists ever more perfect in ever more specialized fields, and unable to pass judgment on any other matter that goes beyond their special competence, would lead indeed to a progressive animalization of the human mind and life." (Jacques Maritain | Education at the Crossroads, 1943)

 

National Nordic Museum

Seattle, Washington

 

Fischersund

 

FAUX FLORA

 

For Fischersund, Iceland is more than home; it is muse. Formed in 2017 by siblings J6nsi, Inga, Lilja, and Sigurr6s, the family-run art collective draws inspiration from the country's landscapes and the memories they create in them.

 

The exhibition Faux Flora imagines new flowering plant species through artwork that synthesizes scent, sound, and images. With each flower, this

multisensory exhibition elicits emotions and evokes experience. Motifs and

fragrances familiar across Iceland coalesce into a new botany.

 

Here forms of life intertwine. The exhibition progresses through five chapters-germination, growth, flowering, seed formation, and dispersal mirroring the stages of human life: birth, childhood, adolescence, adulthood, and death.

 

See and smell these fictive flowers. Fischersund names and describes each plant in the exhibition, drawing on botanical treatises from across a span of centuries. In these scientific source materials, authors paired text with detailed illustrations to catalog and classify plant life. The artists, in turn, use contemporary and historical techniques such as video art and hand-painted photography to animate their flower species.

 

Perfume-a primary artistic medium for the collective-provides important olfactory

information for plant identification.

 

Listen closely to the sounds of each artificial plant, and envision the proposed flower's growth in the Icelandic landscape. A soundscape

composed for the exhibition marks the culmination of this linear, time bound journey.

 

Walk toward it slowly, appreciating the fleeting beauty of Faux Flora.

 

Fischersund: Faux Flora has been organized by Chief Curator Leslie Anne

Anderson and the artists.

 

Staff across the Museum collaborated to bring the

exhibition concept to life.

"Authenticity is the guiding principle in all of Lather Bee Rich’s creations. Ingredients are all natural, not synthesized or chemical. No newfangled soap experimentation is being performed in the soap’s manufacture.Instead the soap is made using authentic recipes from the 1920. For each of the six scents, names and photos of Lather Bee Rich’s actual ancestors were incorporated. Blazing Betty, Corky’s Cute Patoote, Dapper Dan, Dollface Darla, Lusty Lu-Lu and Papa Bob were authentic people with stories to tell and foibles to enjoy.

 

As the use of tin was prevalent in the early 20th century, tin soap tins were custom made to package the soap. Not only does the use of tin lend authentic credibility to the packaging design, tin is a strong environmental choice for the 21st century. It is endlessly re-usable and recyclable and at the end of its lifecycle it naturally biodegrades to its iron mineral components. Lather Bee Rich is a beautiful product carefully handmade and gorgeously packaged to capture the luxurious decadence of a former time."

  

Designed by Canada based El Designo.

A lifelong dream of mine has finally been achieved. That dream is to faithfully recreate the look of Mount St. Helens in Microsoft Flight Simulator X on the morning of May 18, 1980.

 

Special thanks to the USGS for providing the background data for this. In one of these captures, I replicated the famous Harry Glicken photo taken on the morning of May 17, 1980. And in another, a replication of Mount St. Helens from Bear Meadow, where the famous Gary Rosenquist sequence was captured.

 

To recreate the look of the peak, a special method of interpolating to the terrain model of an aerial photograph commissioned for the USGS taken by the Washington State Department of Transportation.This aerial had a one meter per pixel resolution, which provides ample details of the bulge, crater, and north flank. To simulate the rest of the peak, digital synthesizing of aerial photographs taken both May 17, 1980 and during the eruption of May 18, as well as an aerial image taken in June, 1980, sourced from USGS Earth Explorer, were done. These photos had to be digitally manipulated to match the DEM.

Get the VPX/Redline Xtreme Race Girls Calendar shop.vpxsports.com/p-128-redline-xtreme-calendar.aspx

  

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Shop at shop.vpxsports.com

Cattle (Bos taurus) are large, domesticated, bovid ungulates. They are prominent modern members of the subfamily Bovinae and the most widespread species of the genus Bos. Mature female cattle are referred to as cows and mature male cattle are referred to as bulls. Colloquially, young female cattle (heifers), young male cattle (bullocks), and castrated male cattle (steers) are also referred to as "cows".

 

Cattle are commonly raised as livestock for meat (beef or veal, see beef cattle), for milk and dairy products (see dairy cattle), and for hides, which are used to make leather. They are used as riding animals and draft animals (oxen or bullocks, which pull carts, plows and other implements). Another product of cattle is their dung, which can be used to create manure or fuel. In some regions, such as parts of India, cattle is considered as a sacred animal. Cattle, mostly small breeds such as the Miniature Zebu, are also kept as pets.

 

Different types of cattle are common to different geographic areas. Taurine cattle are found primarily in Europe and temperate areas of Asia, the Americas, and Australia. Zebus (also called indicine cattle) are found primarily in India and tropical areas of Asia, America, and Australia. Sanga cattle are found primarily in sub-Saharan Africa. These types (which are sometimes classified as separate species or subspecies) are further divided into over 1,000 recognized breeds.

 

Around 10,500 years ago, taurine cattle were domesticated from as few as 80 wild aurochs progenitors in central Anatolia, the Levant and Western Iran. A separate domestication event occurred in the Indian subcontinent, which gave rise to zebu. According to the Food and Agriculture Organization (FAO), there are approximately 1.5 billion cattle in the world as of 2018. Cattle are the main source of greenhouse gas emissions from livestock, and are responsible for around 10% of global greenhouse gas emissions. In 2009, cattle became one of the first livestock animals to have a fully mapped genome.

 

Taxonomy

See also: Bos and Bovinae

 

Cattle were originally identified as three separate species: Bos taurus, the European or "taurine" cattle (including similar types from Africa and Asia); Bos indicus, the Indicine or "zebu"; and the extinct Bos primigenius, the aurochs. The aurochs is ancestral to both zebu and taurine cattle. They were later reclassified as one species, Bos taurus, with the aurochs (B. t. primigenius), zebu (B. t. indicus), and taurine (B. t. taurus) cattle as subspecies. However, this taxonomy is contentious and some sources prefer the separate species classification, such as the American Society of Mammalogists' Mammal Diversity Database.

 

Complicating the matter is the ability of cattle to interbreed with other closely related species. Hybrid individuals and even breeds exist, not only between taurine cattle and zebu (such as the sanga cattle (Bos taurus africanus x Bos indicus), but also between one or both of these and some other members of the genus Bos – yaks (the dzo or yattle[10]), banteng, and gaur. Hybrids such as the beefalo breed can even occur between taurine cattle and either species of bison, leading some authors to consider them part of the genus Bos, as well. The hybrid origin of some types may not be obvious – for example, genetic testing of the Dwarf Lulu breed, the only taurine-type cattle in Nepal, found them to be a mix of taurine cattle, zebu, and yak. However, cattle cannot be successfully hybridized with more distantly related bovines such as water buffalo or African buffalo.

 

The aurochs originally ranged throughout Europe, North Africa, and much of Asia. In historical times, its range became restricted to Europe, and the last known individual died in Mazovia, Poland, in about 1627. Breeders have attempted to recreate cattle of similar appearance to aurochs by crossing traditional types of domesticated cattle, creating the Heck cattle breed.

 

A group of taurine-type cattles exist in Africa. It is hotly debated whether they represent an independent domestication event or were the result of crossing taurines domesticated elsewhere with local aurochs, but it's clear that they are genetically quite distinct; some authors choose to name them as a separate subspecies, Bos taurus africanus. The only pure African taurine breeds remaining are the N'Dama, Kuri and some varieties of the West African Shorthorn.

 

Etymology

Cattle did not originate as the term for bovine animals. It was borrowed from Anglo-Norman catel, itself from medieval Latin capitale 'principal sum of money, capital', itself derived in turn from Latin caput 'head'. Cattle originally meant movable personal property, especially livestock of any kind, as opposed to real property (the land, which also included wild or small free-roaming animals such as chickens—they were sold as part of the land). The word is a variant of chattel (a unit of personal property) and closely related to capital in the economic sense. The term replaced earlier Old English feoh 'cattle, property', which survives today as fee (cf. German: Vieh, Dutch: vee, Gothic: faihu).

 

The word cow came via Anglo-Saxon cū (plural cȳ), from Common Indo-European gʷōus (genitive gʷowés) 'a bovine animal', cf. Persian: gâv, Sanskrit: go-, Welsh: buwch. The plural cȳ became ki or kie in Middle English, and an additional plural ending was often added, giving kine, kien, but also kies, kuin and others. This is the origin of the now archaic English plural, kine. The Scots language singular is coo or cou, and the plural is kye.

 

In older English sources such as the King James Version of the Bible, cattle refers to livestock, as opposed to deer which refers to wildlife. Wild cattle may refer to feral cattle or to undomesticated species of the genus Bos. Today, when used without any other qualifier, the modern meaning of cattle is usually restricted to domesticated bovines.

 

Terminology

 

In general, the same words are used in different parts of the world, but with minor differences in the definitions. The terminology described here contrasts the differences in definition between the United Kingdom and other British-influenced parts of the world such as Canada, Australia, New Zealand, Ireland and the United States.

 

An "intact" (i.e., not castrated) adult male is called a bull.

A father bull is called a sire with reference to his offspring.

An adult female that has had a calf (or two, depending on regional usage) is a cow. Steers and heifers are also colloquially referred to as cows.

A mother cow is called a dam with reference to her offspring. Often, mentions of dams imply cows kept in the herd for repeated breeding (as opposed to heifers or cows sold off sooner).

A young female before she has had a calf of her own and who is under three years of age is called a heifer. A young female that has had only one calf is occasionally called a first-calf heifer. Heiferettes are either first-calf heifers or a subset thereof without potential to become lineage dams, depending on whose definition is operative.

Young cattle (regardless of sex) are called calves until they are weaned, then weaners until they are a year old in some areas; in other areas, particularly with male beef cattle, they may be known as feeder calves or feeders. After that, they are referred to as yearlings or stirks if between one and two years of age.

Feeder cattle or store cattle are young cattle soon to be either backgrounded or sent to fattening, most especially those intended to be sold to someone else for finishing. In some regions, a distinction between stockers and feeders (by those names) is the distinction of backgrounding versus immediate sale to a finisher.

A castrated male is called a steer in the United States; older steers are often called bullocks in other parts of the world, but in North America this term refers to a young bull. Piker bullocks are micky bulls (uncastrated young male bulls) that were caught, castrated and then later lost. In Australia, the term Japanese ox is used for grain-fed steers in the weight range of 500 to 650 kg that are destined for the Japanese meat trade. In North America, draft cattle under four years old are called working steers. Improper or late castration on a bull results in it becoming a coarse steer known as a stag in Australia, Canada and New Zealand. In some countries, an incompletely castrated male is known also as a rig.

A castrated male (occasionally a female or in some areas a bull) kept for draft or riding purposes is called an ox (plural oxen); ox may also be used to refer to some carcass products from any adult cattle, such as ox-hide, ox-blood, oxtail, or ox-liver.

A springer is a cow or heifer close to calving.

In all cattle species, a female twin of a bull usually becomes an infertile partial intersex, and is called a freemartin.

A wild, young, unmarked bull is known as a micky in Australia.

An unbranded bovine of either sex is called a maverick in the US and Canada.

Neat (horned oxen, from which neatsfoot oil is derived), beef (young ox) and beefing (young animal fit for slaughtering) are obsolete terms, although poll, pollard and polled cattle are still terms in use for naturally hornless animals, or in some areas also for those that have been disbudded or dehorned.

Cattle raised for human consumption are called beef cattle. Within the American beef cattle industry, the older term beef (plural beeves) is still used to refer to an animal of either sex. Some Australian, Canadian, New Zealand and British people use the term beast.

Cattle bred specifically for milk production are called milking or dairy cattle; a cow kept to provide milk for one family may be called a house cow or milker. A fresh cow is a dairy term for a cow or first-calf heifer who has recently given birth, or "freshened."

The adjective applying to cattle in general is usually bovine. The terms bull, cow and calf are also used by extension to denote the sex or age of other large animals, including whales, hippopotamuses, camels, elk and elephants.

Various other terms for cattle or types thereof are historical; these include nowt, nolt, mart, and others.

Singular terminology issue

 

"Cattle" can only be used in the plural and not in the singular: it is a plurale tantum. Thus one may refer to "three cattle" or "some cattle", but not "one cattle". "One head of cattle" is a valid though periphrastic way to refer to one animal of indeterminate or unknown age and sex; otherwise no universally used single-word singular form of cattle exists in modern English, other than the sex- and age-specific terms such as cow, bull, steer and heifer. Historically, "ox" was not a sex-specific term for adult cattle, but generally this is now used only for working cattle, especially adult castrated males. The term is also incorporated into the names of other species, such as the musk ox and "grunting ox" (yak), and is used in some areas to describe certain cattle products such as ox-hide and oxtail.

 

Cow is in general use as a singular for the collective cattle. The word cow is easy to use when a singular is needed and the sex is unknown or irrelevant—when "there is a cow in the road", for example. Further, any herd of fully mature cattle in or near a pasture is statistically likely to consist mostly of cows, so the term is probably accurate even in the restrictive sense. Other than the few bulls needed for breeding, the vast majority of male cattle are castrated as calves and are used as oxen or slaughtered for meat before the age of three years. Thus, in a pastured herd, any calves or herd bulls usually are clearly distinguishable from the cows due to distinctively different sizes and clear anatomical differences. Merriam-Webster and Oxford Living Dictionaries recognize the sex-nonspecific use of cow as an alternate definition, whereas Collins and the OED do not.

 

Colloquially, more general nonspecific terms may denote cattle when a singular form is needed. Head of cattle is usually used only after a numeral. Australian, New Zealand and British farmers use the term beast or cattle beast. Bovine is also used in Britain. The term critter is common in the western United States and Canada, particularly when referring to young cattle. In some areas of the American South (particularly the Appalachian region), where both dairy and beef cattle are present, an individual animal was once called a "beef critter", though that term is becoming archaic.

 

Other terminology

Cattle raised for human consumption are called beef cattle. Within the beef cattle industry in parts of the United States, the term beef (plural beeves) is still used in its archaic sense to refer to an animal of either sex. Cows of certain breeds that are kept for the milk they give are called dairy cows or milking cows (formerly milch cows). Most young male offspring of dairy cows are sold for veal, and may be referred to as veal calves.

 

The term dogies is used to describe orphaned calves in the context of ranch work in the American West, as in "Keep them dogies moving". In some places, a cow kept to provide milk for one family is called a "house cow". Other obsolete terms for cattle include "neat" (this use survives in "neatsfoot oil", extracted from the feet and legs of cattle), and "beefing" (young animal fit for slaughter).

 

An onomatopoeic term for one of the most common sounds made by cattle is moo (also called lowing). There are a number of other sounds made by cattle, including calves bawling, and bulls bellowing. Bawling is most common for cows after weaning of a calf. The bullroarer makes a sound similar to a bull's territorial call.

 

Characteristics

Anatomy

 

Cattle are large quadrupedal ungulate mammals with cloven hooves. Most breeds have horns, which can be as large as the Texas Longhorn or small like a scur. Careful genetic selection has allowed polled (hornless) cattle to become widespread.

 

Digestive system

Further information: Digestive system of ruminants

Cattle are ruminants, meaning their digestive system is highly specialized to allow the consumption of difficult to digest plants as food. Cattle have one stomach with four compartments, the rumen, reticulum, omasum, and abomasum, with the rumen being the largest compartment. The reticulum, the smallest compartment, is known as the "honeycomb". The omasum's main function is to absorb water and nutrients from the digestible feed. The omasum is known as the "many plies". The abomasum is like the human stomach; this is why it is known as the "true stomach".

 

Cattle are known for regurgitating and re-chewing their food, known as cud chewing, like most ruminants. While the animal is feeding, the food is swallowed without being chewed and goes into the rumen for storage until the animal can find a quiet place to continue the digestion process. The food is regurgitated, a mouthful at a time, back up to the mouth, where the food, now called the cud, is chewed by the molars, grinding down the coarse vegetation to small particles. The cud is then swallowed again and further digested by specialized microorganisms in the rumen. These microbes are primarily responsible for decomposing cellulose and other carbohydrates into volatile fatty acids cattle use as their primary metabolic fuel. The microbes inside the rumen also synthesize amino acids from non-protein nitrogenous sources, such as urea and ammonia. As these microbes reproduce in the rumen, older generations die and their cells continue on through the digestive tract. These cells are then partially digested in the small intestines, allowing cattle to gain a high-quality protein source. These features allow cattle to thrive on grasses and other tough vegetation.

 

Reproduction

Further information: Bull § Reproductive anatomy

 

On farms it is very common to use artificial insemination (AI), a medically assisted reproduction technique consisting of the artificial deposition of semen in the female's genital tract. It is used in cases where the spermatozoa can not reach the fallopian tubes or by choice of the owner of the animal. It consists of transferring, to the uterine cavity, spermatozoa previously collected and processed, with the selection of morphologically more normal and mobile spermatozoa. Synchronization of cattle ovulation to benefit dairy farming may be accomplished via induced ovulation techniques.

 

Bulls become fertile at about seven months of age. Their fertility is closely related to the size of their testicles, and one simple test of fertility is to measure the circumference of the scrotum: a young bull is likely to be fertile once this reaches 28 centimetres (11 in); that of a fully adult bull may be over 40 centimetres (16 in).

 

A bull has a fibro-elastic penis. Given the small amount of erectile tissue, there is little enlargement after erection. The penis is quite rigid when non-erect, and becomes even more rigid during erection. Protrusion is not affected much by erection, but more by relaxation of the retractor penis muscle and straightening of the sigmoid flexure.

 

The gestation period for a cow is about nine months long. The secondary sex ratio – the ratio of male to female offspring at birth – is approximately 52:48, although it may be influenced by environmental and other factors. A cow's udder contains two pairs of mammary glands, (commonly referred to as teats) creating four "quarters". The front ones are referred to as fore quarters and the rear ones rear quarters.

 

Weight and lifespan

 

The weight of adult cattle varies, depending on the breed. Smaller kinds, such as Dexter and Jersey adults, range between 300 and 500 kg (600 and 1,000 lb). Large Continental breeds, such as Charolais, Marchigiana, Belgian Blue and Chianina adults range from 640 to 1,100 kg (1,400 to 2,500 lb). British breeds, such as Hereford, Angus, and Shorthorn, mature at 500 to 900 kg (1,000 to 2,000 lb), occasionally higher, particularly with Angus and Hereford. Bulls are larger than cows of the same breed by up to a few hundred kilograms. British Hereford cows weigh 600–800 kg (1,300–1,800 lb); the bulls weigh 1,000–1,200 kg (2,200–2,600 lb). Chianina bulls can weigh up to 1,500 kg (3,300 lb); British bulls, such as Angus and Hereford, can weigh as little as 900 kg (2,000 lb) and as much as 1,400 kg (3,000 lb).

 

The world record for the heaviest bull was 1,740 kg (3,840 lb), a Chianina named Donetto, when he was exhibited at the Arezzo show in 1955. The heaviest steer was eight-year-old 'Old Ben', a Shorthorn/​Hereford cross weighing in at 2,140 kg (4,720 lb) in 1910.

 

In the United States, the average weight of beef cattle has steadily increased, especially since the 1970s, requiring the building of new slaughterhouses able to handle larger carcasses. New packing plants in the 1980s stimulated a large increase in cattle weights. Before 1790 beef cattle averaged only 160 kg (350 lb) net; and thereafter weights climbed steadily.

 

A newborn calf's size can vary among breeds, but a typical calf weighs 25 to 45 kg (55 to 99 lb). Adult size and weight vary significantly among breeds and sex. Steers are generally slaughtered before reaching 750 kg (1,650 lb). Breeding stock may be allowed a longer lifespan, occasionally living as long as 25 years. The oldest recorded cow, Big Bertha, died at the age of 48 in 1993.

 

Cognition

In laboratory studies, young cattle are able to memorize the locations of several food sources and retain this memory for at least 8 hours, although this declined after 12 hours. Fifteen-month-old heifers learn more quickly than adult cows which have had either one or two calvings, but their longer-term memory is less stable. Mature cattle perform well in spatial learning tasks and have a good long-term memory in these tests. Cattle tested in a radial arm maze are able to remember the locations of high-quality food for at least 30 days. Although they initially learn to avoid low-quality food, this memory diminishes over the same duration. Under less artificial testing conditions, young cattle showed they were able to remember the location of feed for at least 48 days. Cattle can make an association between a visual stimulus and food within 1 day—memory of this association can be retained for 1 year, despite a slight decay.

 

Calves are capable of discrimination learning and adult cattle compare favourably with small mammals in their learning ability in the closed-field test.

 

They are also able to discriminate between familiar individuals, and among humans. Cattle can tell the difference between familiar and unfamiliar animals of the same species (conspecifics). Studies show they behave less aggressively toward familiar individuals when they are forming a new group. Calves can also discriminate between humans based on previous experience, as shown by approaching those who handled them positively and avoiding those who handled them aversively. Although cattle can discriminate between humans by their faces alone, they also use other cues such as the color of clothes when these are available.

 

In audio play-back studies, calves prefer their own mother's vocalizations compared to the vocalizations of an unfamiliar mother.

 

In laboratory studies using images, cattle can discriminate between images of the heads of cattle and other animal species. They are also able to distinguish between familiar and unfamiliar conspecifics. Furthermore, they are able to categorize images as familiar and unfamiliar individuals.

 

When mixed with other individuals, cloned calves from the same donor form subgroups, indicating that kin discrimination occurs and may be a basis of grouping behaviour. It has also been shown using images of cattle that both artificially inseminated and cloned calves have similar cognitive capacities of kin and non-kin discrimination.

 

Cattle can recognize familiar individuals. Visual individual recognition is a more complex mental process than visual discrimination. It requires the recollection of the learned idiosyncratic identity of an individual that has been previously encountered and the formation of a mental representation. By using two-dimensional images of the heads of one cow (face, profiles, 3⁄4 views), all the tested heifers showed individual recognition of familiar and unfamiliar individuals from their own breed. Furthermore, almost all the heifers recognized unknown individuals from different breeds, although this was achieved with greater difficulty. Individual recognition was most difficult when the visual features of the breed being tested were quite different from the breed in the image, for example, the breed being tested had no spots whereas the image was of a spotted breed.

 

Cattle use visual/brain lateralisation in their visual scanning of novel and familiar stimuli. Domestic cattle prefer to view novel stimuli with the left eye, i.e. using the right brain hemisphere (similar to horses, Australian magpies, chicks, toads and fish) but use the right eye, i.e. using the left hemisphere, for viewing familiar stimuli.

 

Senses

Cattle use all of the five widely recognized sensory modalities. These can assist in some complex behavioural patterns, for example, in grazing behaviour. Cattle eat mixed diets, but when given the opportunity, show a partial preference of approximately 70% clover and 30% grass. This preference has a diurnal pattern, with a stronger preference for clover in the morning, and the proportion of grass increasing towards the evening.

 

Vision

 

Vision is the dominant sense in cattle and they obtain almost 50% of their information visually.

 

Cattle are a prey animal and to assist predator detection, their eyes are located on the sides of their head rather than the front. This gives them a wide field of view of 330° but limits binocular vision (and therefore stereopsis) to 30° to 50° compared to 140° in humans. This means they have a blind spot directly behind them. Cattle have good visual acuity, but compared to humans, their visual accommodation is poor.

 

Cattle have two kinds of color receptors in the cone cells of their retinas. This means that cattle are dichromatic, as are most other non-primate land mammals. There are two to three rods per cone in the fovea centralis but five to six near the optic papilla. Cattle can distinguish long wavelength colors (yellow, orange and red) much better than the shorter wavelengths (blue, grey and green). Calves are able to discriminate between long (red) and short (blue) or medium (green) wavelengths, but have limited ability to discriminate between the short and medium. They also approach handlers more quickly under red light. Whilst having good color sensitivity, it is not as good as humans or sheep.

 

A common misconception about cattle (particularly bulls) is that they are enraged by the color red (something provocative is often said to be "like a red flag to a bull"). This is a myth. In bullfighting, it is the movement of the red flag or cape that irritates the bull and incites it to charge.

 

Taste

Cattle have a well-developed sense of taste and can distinguish the four primary tastes (sweet, salty, bitter and sour). They possess around 20,000 taste buds. The strength of taste perception depends on the individual's current food requirements. They avoid bitter-tasting foods (potentially toxic) and have a marked preference for sweet (high calorific value) and salty foods (electrolyte balance). Their sensitivity to sour-tasting foods helps them to maintain optimal ruminal pH.

 

Plants have low levels of sodium and cattle have developed the capacity of seeking salt by taste and smell. If cattle become depleted of sodium salts, they show increased locomotion directed to searching for these. To assist in their search, the olfactory and gustatory receptors able to detect minute amounts of sodium salts increase their sensitivity as biochemical disruption develops with sodium salt depletion.

 

Hearing

Cattle hearing ranges from 23 Hz to 35 kHz. Their frequency of best sensitivity is 8 kHz and they have a lowest threshold of −21 db (re 20 μN/m−2), which means their hearing is more acute than horses (lowest threshold of 7 db). Sound localization acuity thresholds are an average of 30°. This means that cattle are less able to localise sounds compared to goats (18°), dogs (8°) and humans (0.8°). Because cattle have a broad foveal fields of view covering almost the entire horizon, they may not need very accurate locus information from their auditory systems to direct their gaze to a sound source.

 

Vocalizations are an important mode of communication amongst cattle and can provide information on the age, sex, dominance status and reproductive status of the caller. Calves can recognize their mothers using vocalizations; vocal behaviour may play a role by indicating estrus and competitive display by bulls.

 

Olfaction and gustation

 

Cattle have a range of odoriferous glands over their body including interdigital, infraorbital, inguinal and sebaceous glands, indicating that olfaction probably plays a large role in their social life. Both the primary olfactory system using the olfactory bulbs, and the secondary olfactory system using the vomeronasal organ are used. This latter olfactory system is used in the flehmen response. There is evidence that when cattle are stressed, this can be recognised by other cattle and this is communicated by alarm substances in the urine. The odour of dog faeces induces behavioural changes prior to cattle feeding, whereas the odours of urine from either stressed or non-stressed conspecifics and blood have no effect.

 

In the laboratory, cattle can be trained to recognise conspecific individuals using olfaction only.

 

In general, cattle use their sense of smell to "expand" on information detected by other sensory modalities. However, in the case of social and reproductive behaviours, olfaction is a key source of information.

 

Touch

Cattle have tactile sensations detected mainly by mechanoreceptors, thermoreceptors and nociceptors in the skin and muscles. These are used most frequently when cattle explore their environment.

 

Magnetoreception

There is conflicting evidence for magnetoreception in cattle. One study reported that resting and grazing cattle tend to align their body axes in the geomagnetic north–south direction. In a follow-up study, cattle exposed to various magnetic fields directly beneath or in the vicinity of power lines trending in various magnetic directions exhibited distinct patterns of alignment. However, in 2011, a group of Czech researchers reported their failed attempt to replicate the finding using Google Earth images.

 

Behavior

Under natural conditions, calves stay with their mother until weaning at 8 to 11 months. Heifer and bull calves are equally attached to their mothers in the first few months of life. Cattle are considered to be "hider" type animals, utilizing secluded areas more in the hours before calving and continued to use it more for the hour after calving. Cows that gave birth for the first time show a higher incidence of abnormal maternal behavior.

 

In one study, beef-calves reared on the range were observed to suckle an average of 5.0 times every 24 hours with an average total time of 46 min spent suckling. There was a diurnal rhythm in suckling activity with peaks between 05:00–07:00, 10:00–13:00 and 17:00–21:00.

 

Reproductive behavior

Semi-wild Highland cattle heifers first give birth at 2 or 3 years of age, and the timing of birth is synchronized with increases in natural food quality. Average calving interval is 391 days, and calving mortality within the first year of life is 5%.

 

Dominance and leadership

One study showed that over a 4-year period, dominance relationships within a herd of semi-wild highland cattle were very firm. There were few overt aggressive conflicts and the majority of disputes were settled by agonistic (non-aggressive, competitive) behaviors that involved no physical contact between opponents (e.g. threatening and spontaneous withdrawing). Such agonistic behavior reduces the risk of injury. Dominance status depended on age and sex, with older animals generally being dominant to young ones and males dominant to females. Young bulls gained superior dominance status over adult cows when they reached about 2 years of age.

 

As with many animal dominance hierarchies, dominance-associated aggressiveness does not correlate with rank position, but is closely related to rank distance between individuals.

 

Dominance is maintained in several ways. Cattle often engage in mock fights where they test each other's strength in a non-aggressive way. Licking is primarily performed by subordinates and received by dominant animals. Mounting is a playful behavior shown by calves of both sexes and by bulls and sometimes by cows in estrus, however, this is not a dominance related behavior as has been found in other species.

 

The horns of cattle are "honest signals" used in mate selection. Furthermore, horned cattle attempt to keep greater distances between themselves and have fewer physical interactions than hornless cattle. This leads to more stable social relationships.

 

In calves, the frequency of agonistic behavior decreases as space allowance increases, but this does not occur for changes in group size. However, in adult cattle, the number of agonistic encounters increases as the group size increases.

 

Grazing behavior

When grazing, cattle vary several aspects of their bite, i.e. tongue and jaw movements, depending on characteristics of the plant they are eating. Bite area decreases with the density of the plants but increases with their height. Bite area is determined by the sweep of the tongue; in one study observing 750-kilogram (1,650 lb) steers, bite area reached a maximum of approximately 170 cm2 (30 sq in). Bite depth increases with the height of the plants. By adjusting their behavior, cattle obtain heavier bites in swards that are tall and sparse compared with short, dense swards of equal mass/area. Cattle adjust other aspects of their grazing behavior in relation to the available food; foraging velocity decreases and intake rate increases in areas of abundant palatable forage.

 

Cattle avoid grazing areas contaminated by the faeces of other cattle more strongly than they avoid areas contaminated by sheep, but they do not avoid pasture contaminated by rabbit faeces.

 

Temperament and emotions

 

In cattle, temperament can affect production traits such as carcass and meat quality or milk yield as well as affecting the animal's overall health and reproduction. Cattle temperament is defined as "the consistent behavioral and physiological difference observed between individuals in response to a stressor or environmental challenge and is used to describe the relatively stable difference in the behavioral predisposition of an animal, which can be related to psychobiological mechanisms". Generally, cattle temperament is assumed to be multidimensional. Five underlying categories of temperament traits have been proposed:

 

shyness–boldness

exploration–avoidance

activity

aggressiveness

sociability

In a study on Holstein–Friesian heifers learning to press a panel to open a gate for access to a food reward, the researchers also recorded the heart rate and behavior of the heifers when moving along the race towards the food. When the heifers made clear improvements in learning, they had higher heart rates and tended to move more vigorously along the race. The researchers concluded this was an indication that cattle may react emotionally to their own learning improvement.

 

Negative emotional states are associated with a bias toward negative responses towards ambiguous cues in judgement tasks. After separation from their mothers, Holstein calves showed such a cognitive bias indicative of low mood. A similar study showed that after hot-iron disbudding (dehorning), calves had a similar negative bias indicating that post-operative pain following this routine procedure results in a negative change in emotional state.

 

In studies of visual discrimination, the position of the ears has been used as an indicator of emotional state. When cattle are stressed other cattle can tell by the chemicals released in their urine.

 

Cattle are very gregarious and even short-term isolation is considered to cause severe psychological stress. When Aubrac and Friesian heifers are isolated, they increase their vocalizations and experience increased heart rate and plasma cortisol concentrations. These physiological changes are greater in Aubracs. When visual contact is re-instated, vocalizations rapidly decline, regardless of the familiarity of the returning cattle, however, heart rate decreases are greater if the returning cattle are familiar to the previously isolated individual. Mirrors have been used to reduce stress in isolated cattle.

 

Sleep

Further information: Sleep in non-human animals and Cow tipping

The average sleep time of a domestic cow is about 4 hours a day. Cattle do have a stay apparatus, but do not sleep standing up; they lie down to sleep deeply. In spite of the urban legend, cows cannot be tipped over by people pushing on them.

 

Genetics

Further information: Bovine genome

On 24 April 2009, edition of the journal Science, a team of researchers led by the National Institutes of Health and the US Department of Agriculture reported having mapped the bovine genome. The scientists found cattle have about 22,000 genes, and 80% of their genes are shared with humans, and they share about 1000 genes with dogs and rodents, but are not found in humans. Using this bovine "HapMap", researchers can track the differences between the breeds that affect the quality of meat and milk yields.

 

Behavioral traits of cattle can be as heritable as some production traits, and often, the two can be related. The heritability of fear varies markedly in cattle from low (0.1) to high (0.53); such high variation is also found in pigs and sheep, probably due to differences in the methods used. The heritability of temperament (response to isolation during handling) has been calculated as 0.36 and 0.46 for habituation to handling. Rangeland assessments show that the heritability of aggressiveness in cattle is around 0.36.

 

Quantitative trait loci (QTLs) have been found for a range of production and behavioral characteristics for both dairy and beef cattle.

 

Domestication and husbandry

 

Cattle occupy a unique role in human history, having been domesticated since at least the early neolithic age.

 

Archaeozoological and genetic data indicate that cattle were first domesticated from wild aurochs (Bos primigenius) approximately 10,500 years ago. There were two major areas of domestication: one in the Near East (specifically central Anatolia, the Levant and Western Iran), giving rise to the taurine line, and a second in the area that is now Pakistan, resulting in the indicine line. Modern mitochondrial DNA variation indicates the taurine line may have arisen from as few as 80 aurochs tamed in the upper reaches of Mesopotamia near the villages of Çayönü Tepesi in what is now southeastern Turkey and Dja'de el-Mughara in what is now northern Syria.

 

Although European cattle are largely descended from the taurine lineage, gene flow from African cattle (partially of indicine origin) contributed substantial genomic components to both southern European cattle breeds and their New World descendants. A study on 134 breeds showed that modern taurine cattle originated from Africa, Asia, North and South America, Australia, and Europe. Some researchers have suggested that African taurine cattle are derived from a third independent domestication from North African aurochsen.

 

Usage as money

As early as 9000 BC both grain and cattle were used as money or as barter (the first grain remains found, considered to be evidence of pre-agricultural practice date to 17,000 BC). Some evidence also exists to suggest that other animals, such as camels and goats, may have been used as currency in some parts of the world. One of the advantages of using cattle as currency is that it allows the seller to set a fixed price. It even created the standard pricing. For example, two chickens were traded for one cow as cows were deemed to be more valuable than chickens.

 

Modern husbandry

Further information: Animal husbandry

 

Cattle are often raised by allowing herds to graze on the grasses of large tracts of rangeland. Raising cattle in this manner allows the use of land that might be unsuitable for growing crops. The most common interactions with cattle involve daily feeding, cleaning and milking. Many routine husbandry practices involve ear tagging, dehorning, loading, medical operations, artificial insemination, vaccinations and hoof care, as well as training for agricultural shows and preparations. Also, some cultural differences occur in working with cattle; the cattle husbandry of Fulani men rests on behavioural techniques, whereas in Europe, cattle are controlled primarily by physical means, such as fences. Breeders use cattle husbandry to reduce M. bovis infection susceptibility by selective breeding and maintaining herd health to avoid concurrent disease.

 

Cattle are farmed for beef, veal, dairy, and leather. They are less commonly used for conservation grazing, or to maintain grassland for wildlife, such as in Epping Forest, England. They are often used in some of the most wild places for livestock. Depending on the breed, cattle can survive on hill grazing, heaths, marshes, moors and semidesert. Modern cattle are more commercial than older breeds and, having become more specialized, are less versatile. For this reason, many smaller farmers still favor old breeds, such as the Jersey dairy breed. In Portugal, Spain, southern France and some Latin American countries, bulls are used in the activity of bullfighting; In many other countries bullfighting is illegal. Other activities such as bull riding are seen as part of a rodeo, especially in North America. Bull-leaping, a central ritual in Bronze Age Minoan culture, still exists in southwestern France. In modern times, cattle are also entered into agricultural competitions. These competitions can involve live cattle or cattle carcases in hoof and hook events.

 

In terms of food intake by humans, consumption of cattle is less efficient than of grain or vegetables with regard to land use, and hence cattle grazing consumes more area than such other agricultural production when raised on grains. Nonetheless, cattle and other forms of domesticated animals can sometimes help to use plant resources in areas not easily amenable to other forms of agriculture.

 

Feral cattle

Feral cattle are defined as being 'cattle that are not domesticated or cultivated'. Populations of feral cattle are known to come from and exist in: Australia, United States of America, Colombia, Argentina, Spain, France and many islands, including New Guinea, Hawaii (see Hawaiian wild cattle), Galapagos, Juan Fernández Islands, Hispaniola (Dominican Republic and Haiti), Tristan da Cunha and Île Amsterdam (see Amsterdam Island cattle), two islands of Kuchinoshima and Kazura Island next to Naru Island in Japan. Chillingham cattle is sometimes regarded as a feral breed. Aleutian wild cattles can be found on the Aleutian Islands. The "Kinmen cattle" which are predominantly found on Kinmen Island, Taiwan is mostly domesticated while smaller portion of the population is believed to live in the wild due to accidental releases.

 

Other notable examples include cattle in the vicinity of Hong Kong (in the Shing Mun Country Park, among Sai Kung District and Lantau Island and on Grass Island), and semi-feral animals in Yangmingshan, Taiwan.

 

Economy

 

The meat of adult cattle is known as beef, and that of calves is veal. Other animal parts are also used as food products, including blood, liver, kidney, heart and oxtail. Cattle also produce milk, and dairy cattle are specifically bred to produce the large quantities of milk processed and sold for human consumption. Cattle today are the basis of a multibillion-dollar industry worldwide. The international trade in beef for 2000 was over $30 billion and represented only 23% of world beef production. Approximately 300 million cattle, including dairy cattle, are slaughtered each year for food. The production of milk, which is also made into cheese, butter, yogurt, and other dairy products, is comparable in economic size to beef production, and provides an important part of the food supply for many of the world's people. Cattle hides, used for leather to make shoes, couches and clothing, are another widespread product. Cattle remain broadly used as draft animals in many developing countries, such as India. Cattle are also used in some sporting games, including rodeo and bullfighting.

 

Meat production

Cattle meat production (kt)

Country2008200920102011

Argentina3132337826302497

Australia2132212426302420

Brazil9024939591159030

China5841606062446182

Germany1199119012051170

Japan520517515500

US12163118911204611988

Source: Helgi Library, World Bank, FAOSTAT

 

About a quarter of the world's meat comes from cattle.

 

Dairy

Main articles: Dairy cattle, Dairy farming, and Dairy

 

Certain breeds of cattle, such as the Holstein-Friesian, are used to produce milk, which can be processed into dairy products such as milk, cheese or yogurt. Dairy cattle are usually kept on specialized dairy farms designed for milk production. Most cows are milked twice per day, with milk processed at a dairy, which may be onsite at the farm or the milk may be shipped to a dairy plant for eventual sale of a dairy product. Lactation is induced in heifers and spayed cows by a combination of physical and psychological stimulation, by drugs, or by a combination of those methods. For mother cows to continue producing milk, they give birth to one calf per year. If the calf is male, it generally is slaughtered at a young age to produce veal. They will continue to produce milk until three weeks before birth. Over the last fifty years, dairy farming has become more intensive to increase the yield of milk produced by each cow. The Holstein-Friesian is the breed of dairy cow most common in the UK, Europe and the United States. It has been bred selectively to produce the highest yields of milk of any cow. Around 22 litres per day is average in the UK.

 

Hides

Most cattle are not kept solely for hides, which are usually a by-product of beef production. Hides are most commonly used for leather, which can be made into a variety of products, including shoes. In 2012 India was the world's largest producer of cattle hides.

 

Oxen

Main article: Ox

 

Oxen (singular ox) are cattle trained as draft animals. Often they are adult, castrated males of larger breeds, although females and bulls are also used in some areas. Usually, an ox is over four years old due to the need for training and to allow it to grow to full size. Oxen are used for plowing, transport, hauling cargo, grain-grinding by trampling or by powering machines, irrigation by powering pumps, and wagon drawing. Oxen were commonly used to skid logs in forests, and sometimes still are, in low-impact, select-cut logging. Oxen are most often used in teams of two, paired, for light work such as carting, with additional pairs added when more power is required, sometimes up to a total of 20 or more. Oxen can be trained to respond to a teamster's signals. These signals are given by verbal commands or by noise (whip cracks). Verbal commands vary according to dialect and local tradition. Oxen can pull harder and longer than horses. Though not as fast as horses, they are less prone to injury because they are more sure-footed.

 

Many oxen are used worldwide, especially in developing countries. About 11.3 million draft oxen are used in sub-Saharan Africa. In India, the number of draft cattle in 1998 was estimated at 65.7 million head. About half the world's crop production is thought to depend on land preparation (such as plowing) made possible by animal traction.

 

Climate change and economics of cattle rearing

See also: Economic impacts of climate change

Climate change increases heat stress, and even mild heat stress can reduce the yield of cow milk. Some researchers suggest that the already recorded stagnation of dairy production in both China and West Africa can attributed to persistent increases in heat stress.: 747  In China, daily milk production per cow is already lower than the average by between 0.7 and 4 kg in July (the hottest month of the year), and by 2070, it may decline by up to 50% (or 7.2 kg) due to climate change. In male cattle, severe heat can affect both spermatogenesis and the stored spermatozoa, and it may take up to eight weeks for sperm to become viable again. In females, heat stress negatively affects conception rates as it impairs corpus luteum and thus ovarian function and oocyte quality. Even after conception, a pregnancy is less likely to be carried to term due to reduced endometrial function and uterine blood flow, leading to increased embryonic mortality and early fetal loss. Calves born to heat-stressed cows typically have a below-average weight, and their weight and height remains below average even by the time they reach their first year, due to permanent changes in their metabolism. Heat stress can also be outright lethal, which is already seen during some heatwaves: in July 1995, over 4000 cattle perished in the mid-central United States heatwave, and in 1999, over 5000 cattle died during a heatwave in northeastern Nebraska.

 

By 2017, it was already reported that farmers in Nepal kept fewer cattle due to the losses imposed by a longer hot season.: 747  As of 2022, it has been suggested that every additional millimeter of annual precipitation increases beef production by 2.1% in the tropical countries and reduces it by 1.9% in temperate ones, yet the effects of warming are much larger. Under SSP3-7.0, a scenario of significant warming and very low adaptation, every additional 1 °C (1.8 °F) would decrease global beef production by 9.7%, mainly because of its impact on tropical and poor countries. In the countries which can afford adaptation measures, production would fall by around 4%, but by 27% in those which can't. Only a few exceptions have been identified to date: for instance, east and south of Argentina may become more suitable to cattle ranching due to climate-driven shifts in rainfall, but a shift to Zebu breeds would likely be needed to minimize the impact of warming. Other studies suggest that Brahman cattle and its cross-breeds are more resistant to heat stress than the regular bos taurus breeds, but on a global scale, it is considered unlikely that even more heat-resistant cattle can be bred at a sufficient rate to keep up with the expected warming.

 

Population

The cattle population of Britain rose from 9.8 million in 1878 to 11.7 million in 1908, but beef consumption rose much faster. Britain became the "stud farm of the world" exporting livestock to countries where there were no indigenous cattle. In 1929 80% of the meat trade of the world was products of what were originally English breeds. There were nearly 70 million cattle in the US by the early 1930s.

 

For 2013, the FAO estimated global cattle numbers at 1.47 billion. Regionally, the FAO estimate for 2013 includes: Asia 497 million; South America 350 million; Africa 307 million; Europe 122 million; North America 102 million; Central America 47 million; Oceania 40 million; and Caribbean 9 million.

 

As per FAS/USDA 2021 data, India had the largest cattle population in the world in 2021 followed by Brazil and China

 

India's cattle's population was reported at 305.5 million head in 2021, accounting for roughly 30% of the world's population. India, Brazil and China accounted for roughly 65% of the world's cattle population in 2021.

 

It has been estimated that out of all animal species on Earth, Bos taurus has the largest biomass at roughly 400 million tonnes, followed closely by Euphausia superba (Antarctic krill) at 379 million tonnes, and Homo sapiens (humans) at 373 million tonnes.

 

Cattle population

Environmental impact

See also: Environmental effects of meat production, Milk § Environmental impact, Deforestation of the Amazon rainforest, Beef § Environmental impact, and Greenhouse gas emissions from agriculture § Livestock

 

Meat from cattle has the highest emissions intensity of any agricultural commodity.

Gut flora in cattle include methanogens that produce methane as a byproduct of enteric fermentation, which cattle belch out. The same volume of atmospheric methane has a 72x higher (over 20 years) global warming potential than atmospheric carbon dioxide. Methane belching from cattle can be reduced with genetic selection, immunization against the many methanogens, rumen defaunation (killing the bacteria-killing protozoa), diet modification (e.g. seaweed fortification), decreased antibiotic use, and grazing management, among others.

 

A 2013 report from the Food and Agriculture Organization (FAO) based on 2005 data states that the livestock sector is responsible for 14.5% of greenhouse gas emissions, 65% of which is due to cattle. The IPCC estimates that cattle and other livestock emit about 80 to 93 Megatonnes of methane per year, accounting for an estimated 37% of anthropogenic methane emissions, and additional methane is produced by anaerobic fermentation of manure in manure lagoons and other manure storage structures. Another estimate is 12% of global GHG. While cattle fed forage actually produce more methane than grain-fed cattle, the increase may be offset by the increased carbon recapture of pastures, which recapture three times the CO2 of cropland used for grain.

 

Mean greenhouse gas emissions for different food types.

Food TypesGreenhouse Gas Emissions (g CO2-Ceq per gram protein)

Ruminant Meat

62

Recirculating Aquaculture

30

Trawling Fishery

26

Non-recirculating Aquaculture

12

Pork

10

Poultry

10

Dairy

9.1

Non-trawling Fishery

8.6

Eggs

6.8

Starchy Roots

1.7

Wheat

1.2

Maize

1.2

Legumes

0.25

Mean land use of different foods

Food TypesLand Use (m2·year per 100 g protein)

Lamb and Mutton

185

Beef

164

Cheese

41

Pork

11

Poultry

7.1

Eggs

5.7

Farmed Fish

3.7

Peanuts

3.5

Peas

3.4

Tofu

2.2

 

One of the cited changes suggested to reduce greenhouse gas emissions is intensification of the livestock industry, since intensification leads to less land for a given level of production. This assertion is supported by studies of the US beef production system, suggesting practices prevailing in 2007 involved 8.6% less fossil fuel use, 16.3% less greenhouse gas emissions, 12.1% less water use, and 33.0% less land use, per unit mass of beef produced, than those used in 1977. The analysis took into account not only practices in feedlots, but also feed production (with less feed needed in more intensive production systems), forage-based cow-calf operations and back-grounding before cattle enter a feedlot (with more beef produced per head of cattle from those sources, in more intensive systems), and beef from animals derived from the dairy industry. A more controversial suggestion, advocated by George Monbiot in the documentary "Apocalypse Cow", is to stop farming cattle completely, however farmers often have political power so might be able to resist such a big change.

 

Estimated virtual water requirements for various foods (m³ water/ton

Hoekstra & Hung

(2003)

 

Chapagain & Hoekstra (2003)Zimmer & Renault

(2003)

 

Oki et al. (2003)Average

Beef15,97713,50020,70016,730

Pork5,9064,6005,9005,470

Cheese5,2885,290

Poultry2,8284,1004,5003,810

Eggs4,6572,7003,2003,520

Rice2,6561,4003,6002,550

Soybeans2,3002,7502,5002,520

Wheat1,1501,1602,0001,440

Maize4507101,9001,020

Milk865790560740

Potatoes160105130

 

Significant numbers of dairy, as well as beef cattle, are confined in concentrated animal feeding operations (CAFOs), defined as "new and existing operations which stable or confine and feed or maintain for a total of 45 days or more in any 12-month period more than the number of animals specified" where "[c]rops, vegetation, forage growth, or post-harvest residues are not sustained in the normal growing season over any portion of the lot or facility." They may be designated as small, medium and large. Such designation of cattle CAFOs is according to cattle type (mature dairy cows, veal calves or other) and cattle numbers, but medium CAFOs are so designated only if they meet certain discharge criteria, and small CAFOs are designated only on a case-by-case basis.

 

Mean eutrophying emissions (water pollution) of different foods per 100 g of protein

Food TypesEutrophying Emissions (g PO43-eq per 100 g protein)

Beef

365.3

Farmed Fish

235.1

Farmed Crustaceans

227.2

Cheese

98.4

Lamb and Mutton

97.1

Pork

76.4

Poultry

48.7

Eggs

21.8

Peanuts

14.1

Peas

7.5

Tofu

6.2

Mean acidifying emissions (air pollution) of different foods per 100 g of protein

Food TypesAcidifying Emissions (g SO2eq per 100 g protein)

Beef

343.6

Cheese

165.5

Pork

142.7

Lamb and Mutton

139.0

Farmed Crustaceans

133.1

Poultry

102.4

Farmed Fish

65.9

Eggs

53.7

Peanuts

22.6

Peas

8.5

Tofu

6.7

A CAFO that discharges pollutants is required to obtain a permit, which requires a plan to manage nutrient runoff, manure, chemicals, contaminants, and other wastewater pursuant to the US Clean Water Act. The regulations involving CAFO permitting have been extensively litigated.

 

Commonly, CAFO wastewater and manure nutrients are applied to land at agronomic rates for use by forages or crops, and it is often assumed that various constituents of wastewater and manure, e.g. organic contaminants and pathogens, will be retained, inactivated or degraded on the land with application at such rates; however, additional evidence is needed to test reliability of such assumptions . Concerns raised by opponents of CAFOs have included risks of contaminated water due to feedlot runoff, soil erosion, human and animal exposure to toxic chemicals, development of antibiotic resistant bacteria and an increase in E. coli contamination. While research suggests some of these impacts can be mitigated by developing wastewater treatment systems and planting cover crops in larger setback zones, the Union of Concerned Scientists released a report in 2008 concluding that CAFOs are generally unsustainable and externalize costs.

 

Another concern is manure, which if not well-managed, can lead to adverse environmental consequences. However, manure also is a valuable source of nutrients and organic matter when used as a fertilizer. Manure was used as a fertilizer on about 6,400,000 hectares (15.8 million acres) of US cropland in 2006, with manure from cattle accounting for nearly 70% of manure applications to soybeans and about 80% or more of manure applications to corn, wheat, barley, oats and sorghum. Substitution of manure for synthetic fertilizers in crop production can be environmentally significant, as between 43 and 88 megajoules of fossil fuel energy would be used per kg of nitrogen in manufacture of synthetic nitrogenous fertilizers.

 

Grazing by cattle at low intensities can create a favourable environment for native herbs and forbs by mimicking the native grazers who they displaced; in many world regions, though, cattle are reducing biodiversity due to overgrazing. A survey of refuge managers on 123 National Wildlife Refuges in the US tallied 86 species of wildlife considered positively affected and 82 considered negatively affected by refuge cattle grazing or haying. Proper management of pastures, notably managed intensive rotational grazing and grazing at low intensities can lead to less use of fossil fuel energy, increased recapture of carbon dioxide, fewer ammonia emissions into the atmosphere, reduced soil erosion, better air quality, and less water pollution.

 

Health

The veterinary discipline dealing with cattle and cattle diseases (bovine veterinary) is called buiatrics. Veterinarians and professionals working on cattle health issues are pooled in the World Association for Buiatrics, founded in 1960. National associations and affiliates also exist.

 

Digital dermatitis is caused by the bacteria from the genus Treponema. It differs from foot rot and can appear under unsanitary conditions such as poor hygiene or inadequate hoof trimming, among other causes. It primarily affects dairy cattle and has been known to lower the quantity of milk produced, however the milk quality remains unaffected. Cattle are also susceptible to ringworm caused by the fungus, Trichophyton verrucosum, a contagious skin disease which may be transferred to humans exposed to infected cows.

 

Public health

Cattle diseases were in the center of attention in the 1980s and 1990s when the Bovine spongiform encephalopathy (BSE), also known as mad cow disease, was of concern. Cattle might catch and develop various other diseases, like blackleg, bluetongue, foot rot too.

 

In most states, as cattle health is not only a veterinarian issue, but also a public health issue, public health and food safety standards and farming regulations directly affect the daily work of farmers who keep cattle. However, said rules change frequently and are often debated. For instance, in the UK, it was proposed in 2011 that milk from tuberculosis-infected cattle should be allowed to enter the food chain. Internal food safety regulations might affect a country's trade policy as well. For example, the United States has just reviewed its beef import rules according to the "mad cow standards"; while Mexico forbids the entry of cattle who are older than 30 months.

 

Medicinal uses

Cow urine is commonly used in India for internal medical purposes. It is distilled and then consumed by patients seeking treatment for a wide variety of illnesses. At present, no conclusive medical evidence shows this has any effect. However, an Indian medicine containing cow urine has already obtained U.S. patents.

 

Effect of high stocking density

Stocking density refers to the number of animals within a specified area. When stocking density reaches high levels, the behavioural needs of the animals may not be met. This can negatively influence health, welfare and production performance.

 

The effect of overstocking in cows can have a negative effect on milk production and reproduction rates which are two very important traits for dairy farmers. Overcrowding of cows in barns has been found to reduced feeding, resting and rumination. Although they consume the same amount of dry matter within the span of a day, they consume the food at a much more rapid rate, and this behaviour in cows can lead to further complications. The feeding behaviour of cows during their post-milking period is very important as it has been proven that the longer animals can eat after milking, the longer they will be standing up and therefore causing less contamination to the teat ends. This is necessary to reduce the risk of mastitis as infection has been shown to increase the chances of embryonic loss. Sufficient rest is important for dairy cows because it is during this period that their resting blood flow increases up to 50%, this is directly proportionate to milk production. Each additional hour of rest can be seen to translate to 2 to 3.5 more pounds of milk per cow daily. Stocking densities of anything over 120% have been shown to decrease the amount of time cows spend lying down.

 

Cortisol is an important stress hormone; its plasma concentrations increase greatly when subjected to high levels of stress. Increased concentration levels of cortisol have been associated with significant increases in gonadotrophin levels and lowered progestin levels. Reduction of stress is important in the reproductive state of cows as an increase in gonadotrophin and lowered progesterone levels may impinge on the ovulatory and lutenization process and to reduce the chances of successful implantation. A high cortisol level will also stimulate the degradation of fats and proteins which may make it difficult for the animal to sustain

Duncan.co/face-of-ai

Edukate (Lime) by Skye Nicolas

Metallic c-print signed and numbered limited edition of 6

20 x 30 in (50.8 x 76.2 cm)

  

Edukate (2011) is a limited edition of metallic c-prints created by artist Skye Nicolas featuring the juxtaposing of supermodel Kate Moss' iconic face with the word "EDU". Stylized in a campaign-like advert, Nicolas has synthesized the practical use of graphic composition echoing Warholean aesthetics which appropriates mass produced imagery; but by pairing this with the simplicity of a witty underlying slogan, he cleverly disposes of its bourgeois values which tend to sentimentalize artificially cultivated nostalgia void of feeling and subjectivity. The final product is a stunning image that calls onto the individual; playfully questioning ones personal value system, bringing forth intrinsic self-analysis and reflection, presenting what would seem like an open invitation to the reexamination of the postmodern educational system specifically implemented by private institutions in America.

 

The ironic use of word play is descriptive of Nicolas' series Sinatra Howls From The Underground (2009), which explores the fundamental yet potent tactics of 21st century advertising. The beautifully rendered series gives us a clear portrait of a transmedia consciousness that engorges itself on mass produced imagery, and a culture that has accepted corporate branding and mass consumption as an acceptable and inevitable way of life.

  

ON EDUCATION | Paulo Freire & Jacques Maritain

 

"If we have serious regard for what it means to be human, the teaching contents cannot be separated from the moral formations of the learners... teaching and learning simultaneously in the context of rigorous, methodological curiosity, anxious to explore the limits of creativity, persistent in the search and courageously humble in the adventure." (Paulo Freire | Pedagogy of Freedom, 1998)

 

"If we remember that the animal is a specialist, and a perfect one, all of its knowing power being fixed upon a single task to be done, we ought to conclude that an educational program which would only aim at forming specialists ever more perfect in ever more specialized fields, and unable to pass judgment on any other matter that goes beyond their special competence, would lead indeed to a progressive animalization of the human mind and life." (Jacques Maritain | Education at the Crossroads, 1943)

 

Heliconius charithonia, the zebra longwing or zebra heliconian, is a species of butterfly belonging to the subfamily Heliconiinae of the family Nymphalidae.[2][3] It was first described by Carl Linnaeus in his 1767 12th edition of Systema Naturae. The boldly striped black and white wing pattern is aposematic, warning off predators.

 

The species is distributed across South and Central America and as far north as southern Texas and peninsular Florida; there are migrations north into other American states in the warmer months.

 

Zebra longwing adults roost communally at night in groups of up to 60 adults for safety from predators. The adult butterflies are unusual in feeding on pollen as well as on nectar; the pollen enables them to synthesize cyanogenic glycosides that make their bodies toxic to potential predators. Caterpillars feed on various species of passionflower, evading the plants' defensive trichomes by biting them off or laying silk mats over them. (Wikipedia)

 

I'm told that this species is somewhat rare these days. Note the damaged wing.

 

Calcite (botryoidal aggregates) from Illinois, USA.

 

A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are over 5400 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.

 

The carbonate minerals all contain one or more carbonate (CO3-2) anions.

 

Calcite is a common mineral. It is calcium carbonate (CaCO3). It has a nonmetallic luster, commonly clearish to whitish to yellowish to grayish in color, is moderately soft (H≡3), moderately light-weight, has hexagonal crystals, and rhombohedral cleavage (three cleavage planes at 75º & 105º angles - cleavage pieces look like lopsided boxes). The easiest way to identify calcite is to drop acid on it - it easily bubbles (effervesces) in acid. The bubbles are carbon dioxide gas. If the acid is dilute hydrochloric acid, the chemical reaction is:

 

2HCl(aq) + CaCO3(s) -->> CO2(g)↑ + H2O(l) + CaCl2(aq)

 

The most important & voluminous calcitic rocks in the world are limestone (sedimentary), marble (metamorphic), carbonatite (igneous), and travertine (speleothem, or "cave formations", and many hotspring deposits). Quite a few hydrothermal veins in the world are calcitic or have calcite as a principal component.

 

This specimen is from a Mississippi Valley-type deposit in southern Illinois. Commonly abbreviated "MVT", Mississippi Valley-type deposits are named for a series of mineral deposits that occur in non-deformed platform sedimentary rocks along the Upper Mississippi River Valley, USA. Many specific minerals occur in MVT deposits, but are dominated by galena, sphalerite, barite, and fluorite. These minerals occur in caves and karst, paleokarst structures, in collapse fabrics, in pull-apart structures, etc. MVT deposits in America are mined as important, large sources of lead ore and zinc ore. The classic areas for MVT deposits are southern Illinois, the tristate area of Oklahoma-Missouri-Kansas, northern Kentucky, southwestern Wisconsin, and southeastern Missouri. The minerals are hydrothermal in origin and were precipitated from basinal brines that were flushed out to the edges of large sedimentary basins (e.g., the Illinois Basin and the Black Warrior Basin). In basin edge areas, the brines came into contact with Mississippian-aged carbonate rocks (limestone and dolostone), which caused mineralization. The brines were 15% to 25% salinity with temperatures of 50 to 200 degrees Celsius (commonly 100 to 150 degrees C). MVT mineralization usually occurs in limestone and dolostone but can also be hosted in shales, siltstones, sandstones, and conglomerates. Gangue minerals include pyrite, marcasite, calcite, aragonite, dolomite, siderite, and quartz. Up to 40 or 50 pulses of brine fluids are recorded in banding of mineral suites in MVT deposits (for example, sphalerite coatings in veins have a stratigraphy - each layer represents a pulse event). Each pulse of water was probably expelled rapidly - overpressurization and friction likely caused the water to heat up. Some bitumen (crystallized organic matter) can occur, which is an indication of the basinal origin of the brines. The presence of asphalt-bitumen indicates some hydrocarbon migration occurred. Some petroleum inclusions are found within fluorite crystals and petroleum scum occurs on fluorite crystals. MVT deposits are associated with oil fields and the temperature of mineral precipitation matches the petroleum window. The brines may simply have accompanied hydrocarbon fluids as they migrated updip.

 

The high temperatures of these basin periphery deposits wasn't necessarily influenced by igneous hydrothermal activity. Hot fluids can occur in basins that are deep enough for the geothermal gradient to be ~100 to 150 degrees Celsius. If a permeable conduit horizon is present in a succession of interbedded siliciclastic sedimentary rocks, migration of hot, deep basinal brines may be quick enough to get MVT deposit conditions at basin margins.

 

MVT deposits occur in the Upper Mississippi Valley of America as well as in northern Africa, Scandinavia, northwestern Canada, at scattered sites in Europe, and at some sites in the American Cordillera. Some of these occurrences are in deformed host rocks. MVT deposits have little to no precious metals - maybe a little copper (Cu). Mineralization is usually associated with limestone or dolostone in fracture fillings and vugs. Little host rock alteration has occurred - usually only dolomitization of limestones.

 

The age of the host rocks in the Mississippi Valley area varies - it ranges from Cambrian to Mississippian. Dating of mineralization has been difficult, but published ages indicate a near-latest Paleozoic to Mesozoic timing.

 

MVT deposits in the Upper Mississippi River area are often divided into three subtypes based on the dominant mineral: 1) lead-rich (galena dominated); 2) zinc-rich (sphalerite dominated); and 3) fluorite-rich.

 

The crystalline calcite specimen shown here is from the Illinois-Kentucky Fluorspar District ("fluorspar" is a very old name for fluorite), which is an MVT fluoritic subtype. Fluorite and fluorite-rich rocks are mined for the fluorine, which is principally used by the chemical industry to make HF - hydrofluoric acid. Fluorite mineralization in this district occurred at about 277 Ma, during the Early Permian, according to one published study (Chesley et al., 1994). Another study concluded that fluorite mineralization was much later, during the Late Jurassic (see Symons, 1994).

 

Locality: unrecorded/undisclosed mine in the Cave-in-Rock Mining District, southern Illinois, USA

-----------------------

Photo gallery of calcite:

www.mindat.org/gallery.php?min=859

-----------------------

Some info. on Mississippi Valley-type deposits was synthesized from:

 

Chesley et al. (1994) - Direct dating of Mississippi Valley-type mineralization: use of Sm-Nd in fluorite. Economic Geology 89: 1192-1199.

 

Symons (1994) - Paleomagnetism and the Late Jurassic genesis of the Illinois-Kentucky fluorspar deposits. Economic Geology 89: 438-449.

 

Rakovan (2006) - Mississippi Valley-type deposits. Rocks & Minerals 81(January/February 2006): 69-71.

 

Fisher et al. (2013) - Fluorite in Mississippi Valley-type deposits. Rocks & Minerals 88(January/February 2013): 20-47.

 

3d rendering of the molecule the customer is synthesizing for his Phd.

Tao Wei, ChE PhD Student, synthesizes proteins in the NCRC on North Campus of the University of Michigan in Ann Arbor, MI on May 26, 2017.

 

Wei is part of Timothy Scott's, Assistant ChE Professor, laboratory that focuses on polymer synthesis. This device helps synthesize proteins quickly and efficiently.

 

Photo: Joseph Xu/Michigan Engineering Senior Producer, University of Michigan

This monument, by sculptor Penelope Jencks, honoring humanitarian and First Lady Anna Eleanor Roosevelt (1884-1962), was dedicated at 72nd Street on October 5, 1996 in the presence of Hillary Rodham Clinton, First Lady of the United States. A new landscape on the site of a former West Side Highway access ramp was designed by Bruce Kelly/David Varnell Landscape Architects. Funding for the $1.3 million Eleanor Roosevelt Monument project, which included a renovated entranceway, was provided by the City of New York, the State of New York, and the Eleanor Roosevelt Monument Fund, which has established an endowment for the ongoing maintenance of the sculpture.

 

Riverside Park, one of only eight officially designated scenic landmarks in the City of New York, has a long and storied history. The rugged bluffs and rocky outcroppings created through prehistoric glacial deposits once descended directly to the Hudson River shore and were densely wooded during the Native American habitation. In 1846 the Hudson River Railroad was cut through the forested hillside. Acknowledging the city’s expansion northward, Central Park Commissioner William R. Martin proposed in 1865 that a scenic drive and park be built on Manhattan’s Upper West Side. The land between the heights and the railroad was bought by the City over the next two years.

 

Frederick Law Olmsted, renowned co-designer of Central Park and Prospect Park, was retained in 1873 and submitted a plan in 1875 combining park and parkway into a synthesized landscape which adhered to the general topographical contours of hill and dale. Over the next twenty-five years park designs developed under a succession of landscape architects, including Olmsted’s partner Calvert Vaux and Samuel Parsons. The result, stretching then from West 72nd to 125th Streets, was a grand tree-lined boulevard, an English-style rustic park with informally arranged trees and shrubs, contrasting natural enclosures and open vistas.

 

The development of the park encouraged the construction of mansions along the drive. At the turn of the century, a movement dubbed the "City Beautiful" sought to promote a more dignified civic architecture, and found expression in the formal neo-classical detailing of the park’s extension from the 125th Street viaduct to 155th Street. Monuments placed along the Drive during this era included Grant’s Tomb , the Soldiers and Sailors Memorial, the Firemen’s Memorial, and Joan of Arc .

 

The increased rail traffic and waterfront industries founded on landfill extending the shoreline led to an outcry by wealthy residents for municipal action against these uses as unpleasant to the park and community. After decades of discussion a massive park expansion plan, crafted by architect Clinton Lloyd with landscape architect Gilmore Clarke, was implemented between 1934 and 1937 under Parks Commissioner Robert Moses. The park was widened westward by 148 acres, and the Henry Hudson Parkway, ball fields, esplanade, 79th Street marina and rotunda were added to it.This monument, by sculptor Penelope Jencks, honoring humanitarian and First Lady Anna Eleanor Roosevelt (1884-1962), was dedicated at 72nd Street on October 5, 1996 in the presence of Hillary Rodham Clinton, First Lady of the United States. A new landscape on the site of a former West Side Highway access ramp was designed by Bruce Kelly/David Varnell Landscape Architects. Funding for the $1.3 million Eleanor Roosevelt Monument project, which included a renovated entranceway, was provided by the City of New York, the State of New York, and the Eleanor Roosevelt Monument Fund, which has established an endowment for the ongoing maintenance of the sculpture.

 

Riverside Park, one of only eight officially designated scenic landmarks in the City of New York, has a long and storied history. The rugged bluffs and rocky outcroppings created through prehistoric glacial deposits once descended directly to the Hudson River shore and were densely wooded during the Native American habitation. In 1846 the Hudson River Railroad was cut through the forested hillside. Acknowledging the city’s expansion northward, Central Park Commissioner William R. Martin proposed in 1865 that a scenic drive and park be built on Manhattan’s Upper West Side. The land between the heights and the railroad was bought by the City over the next two years.

 

Frederick Law Olmsted, renowned co-designer of Central Park and Prospect Park, was retained in 1873 and submitted a plan in 1875 combining park and parkway into a synthesized landscape which adhered to the general topographical contours of hill and dale. Over the next twenty-five years park designs developed under a succession of landscape architects, including Olmsted’s partner Calvert Vaux and Samuel Parsons. The result, stretching then from West 72nd to 125th Streets, was a grand tree-lined boulevard, an English-style rustic park with informally arranged trees and shrubs, contrasting natural enclosures and open vistas.

 

The development of the park encouraged the construction of mansions along the drive. At the turn of the century, a movement dubbed the "City Beautiful" sought to promote a more dignified civic architecture, and found expression in the formal neo-classical detailing of the park’s extension from the 125th Street viaduct to 155th Street. Monuments placed along the Drive during this era included Grant’s Tomb , the Soldiers and Sailors Memorial, the Firemen’s Memorial, and Joan of Arc .

 

The increased rail traffic and waterfront industries founded on landfill extending the shoreline led to an outcry by wealthy residents for municipal action against these uses as unpleasant to the park and community. After decades of discussion a massive park expansion plan, crafted by architect Clinton Lloyd with landscape architect Gilmore Clarke, was implemented between 1934 and 1937 under Parks Commissioner Robert Moses. The park was widened westward by 148 acres, and the Henry Hudson Parkway, ball fields, esplanade, 79th Street marina and rotunda were added to it.

© 2009 2018 Photo by Lloyd Thrap Photography for Halo Media Group

 

Lloyd-Thrap-Creative-Photography

 

All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.

 

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

 

60 x 55 x 40 cm, aluminium, wood, programmed light 2017.

Graham County, NC. Synthesized IRY-->RGB image from a single exposure. Converted camera, #15 filter. Worked up in Pixelbender and Photoshop.

2C-E (2,5-dimethoxy-4-ethylphenethylamine) is a psychedelic phenethylamine of the 2C family. It was first synthesized by Alexander Shulgin.

 

It is commonly active in the 10–20 mg range, taken orally or nasally and highly dose-sensitive. Insufflating (snorting) requires a much lower dose, typically not exceeding 10 mg, but this method of consumption elicits an extremely painful sensation in the nasal cavity for 10 minutes or so. Shulgin classified 2C-E as a member of the "Magical Half-Dozen" in his book PiHKAL: A Chemical Love Story. Many have reported that the general effects of 2C-E are similar to those of the other psychedelic phenethylamines, but far more intense. Vivid visuals similar to those experienced while under the influence of LSD are common, and many reports indicate that the effects of this particular chemical may be overly intense for those not well experienced with psychedelics.

 

In the United Kingdom, 2C-E is a Class A controlled substance. The UK has the strictest laws in the EU on designer drugs. The Misuse Of Drugs Act was amended in 2002 to include a "catch most" clause outlawing every drug, and possible future drug, from the LSD (ergoline) and MDMA (phenethylamine) chemical families (including 2C-E). The amendment is a near verbatim quote from the books of the American biochemist Alexander Shulgin, who obtained a PhD from the University of California, Berkeley. Dr. Shulgin, a former research chemist at the Dow Chemical Company, re-discovered the synthesis for MDMA in 1976 and published the syntheses for more than 200 phenethylamine compounds of his own invention, and 55 tryptamine compounds many of which were also his own invention. The Shulgins were motivated to release the synthesis information as a way to protect the public's access to information about psychedelic compounds, a goal Alexander Shulgin has noted many times.

 

As of July 9, 2012, in the United States 2C-E is a Schedule I substance under the Food and Drug Administration Safety and Innovation Act of 2012, making possession, distribution and manufacture illegal.

Mats Gustafsson

This is the impressive collection of Acorn computers that @retrokit brought down. From left to right: BBC Master 128 (running a collection of synthesized music from the 80s), BBC Model B (fitted with a RetroClinic Datacentre, shown here running 'Granny's Garden'), Acorn Archimedes A410/1, A3000 and A5000.

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David Bonnett (left), CIMMYT wheat geneticist and genetic resources enhancer, talks with leading Australian grain farmers during a visit to the center's Toluca experiment station, discussing CIMMYT’s efforts to increase diversity and improve disease resistance and productivity through wide crosses with ancestors, using re-synthesized breadwheats and translocations from more distant relatives of wheat. CIMMYT hosted the group at Toluca and El Batán between 19 and 22 August 2011, as part of a tour of farms, private and public research institutes and grain processing facilities in Singapore, UK, France, Canada, USA, and Mexico, which was supported by Australia’s Grains Research and Development Corporation (GRDC). GRDC recognizes CIMMYT's past and current contributions to higher and more stable wheat yields in Australia and invests in CIMMYT research.

 

Photo credit: X. Fonseca/CIMMYT.

 

For more information, see CIMMYT's blog story at: blog.cimmyt.org/index.php/2011/08/key-australian-farmers-....

Screen shot at the premier of Holly Adams new Film Here Boy!!.

 

Location: Gulid Theater, Albuquerque, New Mexico.

 

© 2009 2014 Photo by Lloyd Thrap Photography for Halo Media Group

 

Lloyd-Thrap-Creative-Photography

 

All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.

 

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

Lloyd Thrap's Public Portfolio

 

Western Arabia Terra imaged by the Mars Express HRSC instrument. This image captures the transition from the rugged equatorial highland terrain of Arabia Terra as it transitions into the relatively featureless northern lowland region of Acidalia Planitia. Although this region is among the oldest locations on the Martian surface, the geology is unspectacular, consisting of generally unmodified craters, few tectonic features, and relatively few channels carved by water. In the absence of attention from geologists, very few of the craters in this region have been named.

 

This image was captured in the middle of Martian summer, when Mars is near its furthest from the Sun. During this period, the Martian atmosphere cools substantially, allowing daytime water ice clouds to form at equatorial latitudes across the entire planet for a few months. This phenomenon, called the Aphelion Cloud Belt, was active in this photo, although the clouds associated with it were beginning to thin for the season when this image was taken.

 

This image was created using two limb-scan images taken through Mars Express' blue and green filters. These sequences are designed to study Martian atmospheric layers. These sequences require a complex geometric correction to resemble what a human eye might see. In addition, a red channel has been synthesized by subtracting blue channel data from the green channel data.

 

This image was taken during Mars Express' 15569th orbit of the red planet, April 13, 2016.

 

Image Credit: ESA/DLR/FU Berlin/J. Cowart, CC BY-SA 3.0 IGO

2C-E (2,5-dimethoxy-4-ethylphenethylamine) is a psychedelic phenethylamine of the 2C family. It was first synthesized by Alexander Shulgin.

 

It is commonly active in the 10–20 mg range, taken orally or nasally and highly dose-sensitive. Insufflating (snorting) requires a much lower dose, typically not exceeding 10 mg, but this method of consumption elicits an extremely painful sensation in the nasal cavity for 10 minutes or so. Shulgin classified 2C-E as a member of the "Magical Half-Dozen" in his book PiHKAL: A Chemical Love Story. Many have reported that the general effects of 2C-E are similar to those of the other psychedelic phenethylamines, but far more intense. Vivid visuals similar to those experienced while under the influence of LSD are common, and many reports indicate that the effects of this particular chemical may be overly intense for those not well experienced with psychedelics.

 

In the United Kingdom, 2C-E is a Class A controlled substance. The UK has the strictest laws in the EU on designer drugs. The Misuse Of Drugs Act was amended in 2002 to include a "catch most" clause outlawing every drug, and possible future drug, from the LSD (ergoline) and MDMA (phenethylamine) chemical families (including 2C-E). The amendment is a near verbatim quote from the books of the American biochemist Alexander Shulgin, who obtained a PhD from the University of California, Berkeley. Dr. Shulgin, a former research chemist at the Dow Chemical Company, re-discovered the synthesis for MDMA in 1976 and published the syntheses for more than 200 phenethylamine compounds of his own invention, and 55 tryptamine compounds many of which were also his own invention. The Shulgins were motivated to release the synthesis information as a way to protect the public's access to information about psychedelic compounds, a goal Alexander Shulgin has noted many times.

 

As of July 9, 2012, in the United States 2C-E is a Schedule I substance under the Food and Drug Administration Safety and Innovation Act of 2012, making possession, distribution and manufacture illegal.

Lunaite - lunar brecciated anorthosite (lunar impact melt anorthosite breccia) (6.5 millimeters across).

 

Several hundred rocks that have fallen to Earth as meteorites are demonstrably from the Moon. Numerous rock samples were brought back by the American Apollo missions of the latest 1960s and early 1970s, but those samples are inaccessible except to a few planetary geology researchers.

 

This is a sample from a much-celebrated Moon rock that was found in Africa's Sahara Desert. This fragment is small, but it is sufficient to show the overall nature & texture of the rock.

 

This is the NWA 482 Meteorite (Northwest Africa 482 Meteorite), found in Algeria in the year 2000. The lithology is a brecciated anorthosite. A few clasts of other lithologies have been identified as well, so a better term is a polymict breccia. This rock formed during an ancient impact event early in the Moon's history. The full rock term is often given as polymict impact melt breccia. The photo shows well its brecciated & fractured nature. The breccia consists of light-colored clasts in a very dark matrix.

 

The light colored clasts are ferroan anorthosite. Anorthosite is an intrusive igneous rock that is exclusively or near-exclusively composed of plagioclase feldspar. There are several different plagioclase feldspar minerals. This rock is 80-90% composed of anorthite, a very calcium-rich plagioclase.

 

The dark-colored, fine-grained matrix of this rock is reported to contain anorthite plagioclase feldspar, olivine, pyroxene (pigeonite & augite), troilite (FeS), metallic iron-nickel alloy, ilmenite, and whitlockite.

 

Available information indicates it is likely derived from the lunar highlands on the far side of the Moon (the side always facing away from Earth). The anorthosite portion of this rock represents the earliest lunar crust (4.5 billion years old). This date indicates the initial formation of our solar system. The oldest Martian rocks are 4.5 billion years. The oldest probable Mercury rocks are 4.5 billion years. The oldest rocks from the asteroid belt are 4.5 billion years. The oldest known Earth material is 4.4 billion years.

 

Isotopic analysis of NWA 482 has provided dates for other significant events in this rock's history. The major brecciation and impact melt event occurred at 3.75 billion years ago. Another significant thermal event occurred at 2.4 billion years ago.

 

Available dates indicating when this rock was ejected from the Moon's surface vary (for example, at about 1 million years ago and at about 280,000 years ago). Available dates indicating arrival time on Earth also vary (60,000-120,000 years ago and 8600 years ago; the younger date is more likely, considering the relatively unweathered appearance of the original rock).

 

The above info. is mostly synthesized from published abstracts during Geological Society of America and Lunar & Planetary Science meetings held from 2001 to 2006.

 

More info. on NWA 482:

www.lpi.usra.edu/meteor/metbull.php?sea=NWA+482&sfor=...

 

pamela+andersonmélange, synthesize, alloy, amalgam, processingorg

Bobby Momenteller - Photography by: Alex Gonzalez of VPXSPORTS.COM

  

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2C-D is a psychedelic drug of the 2C family that is sometimes used as an entheogen. It was first synthesized in 1970 by a team from the Texas Research Institute of Mental Sciences, and its activity was subsequently investigated in humans by Alexander Shulgin. The full name of the chemical is 2,5-dimethoxy-4-methyl-phenethylamine. In his book PiHKAL (Phenethylamines i Have Known And Loved), Shulgin lists the dosage range as being from 20 to 60 mg and many people recommend even higher doses. Lower doses (generally 10 mg or less) of 2C-D have been explored as a potential nootropic, albeit with mixed results. 2C-D is generally taken orally, though may be insufflated (i.e. taken nasally). Insufflating tends to cause intense pain, however, and the dosage level is usually much lower, typically in the region of 1 to 15 mg.

 

2C-D became a Schedule I Controlled Substance in the United States as of July 9, 2012.

Model: Manet. Fountain

 

www.facebook.com/people/Manet-Fountain/100002074449927

 

Community is our reason to exist, the most essential element to Talking Fountain flow, letting expression go where ever it wants to.From arts&crafts with receptions, fundraising& weekly events, our doors and arms are open to the needs of our people.

Lloyd-Thrap-Creative-Photography

 

© 2011 Lloyd Thrap Photography for Halo Media Group

All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.

 

No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.

The Postcard

 

A postally unused carte postale published by Edia of Versailles.

 

The Gardens of Versailles

 

The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.

 

Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.

 

In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.

 

The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.

 

The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.

 

50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.

 

On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.

 

In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.

 

The Du Bus Plan for the Gardens of Versailles

 

With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.

 

Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.

 

Louis XIV

 

In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.

 

With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.

 

From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.

 

(a) The First Building Campaign

 

In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.

 

Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.

 

The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.

 

By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.

 

Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.

 

(b) The Second Building Campaign

 

Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.

 

Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.

 

With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.

 

Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".

 

The Grotte de Thétys

 

Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.

 

It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.

 

The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.

 

Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.

 

The Bassin de Latone

 

Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.

 

Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.

 

This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.

 

The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.

 

The Bassin d'Apollon

 

Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.

 

The Grand Canal

 

With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.

 

In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.

 

The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.

 

The Parterre d'Eau

 

Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.

 

In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.

 

Evolution of the Bosquets

 

One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:

 

-- The Bosquet du Marais

-- The Bosquet du Théâtre d'Eau, Île du Roi

-- The Miroir d'Eau

-- The Salle des Festins (Salle du Conseil)

-- The Bosquet des Trois Fontaines

-- The Labyrinthe

-- The Bosquet de l'Arc de Triomphe

-- The Bosquet de la Renommée (Bosquet des Dômes)

-- The Bosquet de l'Encélade

-- The Bosquet des Sources

 

In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.

 

-- The Bassin des Sapins

 

In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.

 

Later modifications in the gardens transformed this fountain into the Bassin de Neptune.

 

-- Pièce d'Eau des Suisses

 

Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.

 

This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.

 

(c) The Third Building Campaign

 

Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.

 

The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.

 

Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.

 

In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.

 

In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.

 

Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.

 

With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.

 

To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.

 

Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.

 

Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.

 

During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.

 

The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.

 

Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.

 

(d) The Fourth Building Campaign

 

Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.

 

Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.

 

Louis XV

 

With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.

 

In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.

 

During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).

 

Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.

 

In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.

 

Louis XVI

 

Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.

 

Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.

 

The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.

 

However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.

 

The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.

 

Revolution

 

In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.

 

Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.

 

These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.

 

Napoléon I

 

The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.

 

Restoration

 

With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.

 

The July Monarchy; The Second Empire

 

While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.

 

With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.

 

Pierre de Nolhac

With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.

 

Bosquets of the Gardens

 

Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.

 

Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi

 

These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.

 

In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.

 

During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.

 

Labyrinthe - Bosquet de la Reine

 

In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.

 

Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.

 

Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.

 

The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.

 

Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.

 

Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.

 

Bosquet de la Montagne d'Eau - Bosquet de l'Étoile

 

Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.

 

The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.

 

Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon

 

Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.

 

The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.

 

In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.

 

During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.

 

Île du Roi - Miroir d'Eau - Jardin du Roi

 

Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.

 

The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.

 

The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.

 

A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.

 

Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque

 

In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.

 

Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.

 

Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert

 

The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.

 

Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.

 

In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.

 

Bosquet des Trois Fontaines - Berceau d'Eau

 

Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.

 

Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.

 

In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.

 

Bosquet de l'Arc de Triomphe

 

This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.

 

As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.

 

Bosquet de la Renommée - Bosquet des Dômes

 

Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.

 

At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.

 

The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.

 

The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.

 

Bosquet de l'Encélade

 

Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.

 

From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.

 

When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.

 

Bosquet des Sources - La Colonnade

 

Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.

 

In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.

 

In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.

 

Galerie d'Eau - Galerie des Antiques - Salle des Marronniers

 

Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.

 

Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.

 

The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.

 

Salle de Bal

 

This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.

 

Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.

 

The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.

 

Replantations of the Gardens

 

Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.

 

During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.

 

Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.

 

This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.

 

Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.

 

However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.

 

The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.

 

The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.

 

Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.

 

This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.

 

Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.

 

Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.

 

Problems With Water

 

The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.

 

The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.

 

To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.

 

Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.

 

The Grand Canal

 

By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.

 

With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.

 

While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.

 

While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.

 

In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.

 

In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.

 

The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.

 

Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.

 

Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.

 

The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.

 

In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.

 

During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.

 

With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.

 

Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.

 

The Canal de l'Eure

 

One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.

 

The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.

 

Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.

 

However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.

 

Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.

 

Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.

 

The Versailles Gardens In Popular Culture

 

The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.

The Postcard

 

A postally unused carte postale published by Louis Lévy of Paris.

 

The Gardens of Versailles

 

The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.

 

Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.

 

In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.

 

The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.

 

The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.

 

50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.

 

On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.

 

In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.

 

The Du Bus Plan for the Gardens of Versailles

 

With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.

 

Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.

 

Louis XIV

 

In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.

 

With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.

 

From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.

 

(a) The First Building Campaign

 

In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.

 

Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.

 

The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.

 

By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.

 

Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.

 

(b) The Second Building Campaign

 

Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.

 

Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.

 

With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.

 

Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".

 

The Grotte de Thétys

 

Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.

 

It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.

 

The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.

 

Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.

 

The Bassin de Latone

 

Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.

 

Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.

 

This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.

 

The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.

 

The Bassin d'Apollon

 

Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.

 

The Grand Canal

 

With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.

 

In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.

 

The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.

 

The Parterre d'Eau

 

Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.

 

In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.

 

Evolution of the Bosquets

 

One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:

 

-- The Bosquet du Marais

-- The Bosquet du Théâtre d'Eau, Île du Roi

-- The Miroir d'Eau

-- The Salle des Festins (Salle du Conseil)

-- The Bosquet des Trois Fontaines

-- The Labyrinthe

-- The Bosquet de l'Arc de Triomphe

-- The Bosquet de la Renommée (Bosquet des Dômes)

-- The Bosquet de l'Encélade

-- The Bosquet des Sources

 

In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.

 

-- The Bassin des Sapins

 

In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.

 

Later modifications in the gardens transformed this fountain into the Bassin de Neptune.

 

-- Pièce d'Eau des Suisses

 

Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.

 

This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.

 

(c) The Third Building Campaign

 

Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.

 

The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.

 

Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.

 

In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.

 

In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.

 

Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.

 

With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.

 

To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.

 

Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.

 

Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.

 

During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.

 

The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.

 

Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.

 

(d) The Fourth Building Campaign

 

Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.

 

Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.

 

Louis XV

 

With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.

 

In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.

 

During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).

 

Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.

 

In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.

 

Louis XVI

 

Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.

 

Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.

 

The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.

 

However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.

 

The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.

 

Revolution

 

In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.

 

Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.

 

These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.

 

Napoléon I

 

The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.

 

Restoration

 

With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.

 

The July Monarchy; The Second Empire

 

While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.

 

With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.

 

Pierre de Nolhac

With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.

 

Bosquets of the Gardens

 

Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.

 

Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi

 

These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.

 

In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.

 

During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.

 

Labyrinthe - Bosquet de la Reine

 

In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.

 

Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.

 

Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.

 

The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.

 

Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.

 

Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.

 

Bosquet de la Montagne d'Eau - Bosquet de l'Étoile

 

Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.

 

The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.

 

Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon

 

Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.

 

The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.

 

In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.

 

During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.

 

Île du Roi - Miroir d'Eau - Jardin du Roi

 

Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.

 

The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.

 

The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.

 

A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.

 

Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque

 

In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.

 

Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.

 

Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert

 

The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.

 

Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.

 

In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.

 

Bosquet des Trois Fontaines - Berceau d'Eau

 

Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.

 

Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.

 

In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.

 

Bosquet de l'Arc de Triomphe

 

This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.

 

As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.

 

Bosquet de la Renommée - Bosquet des Dômes

 

Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.

 

At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.

 

The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.

 

The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.

 

Bosquet de l'Encélade

 

Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.

 

From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.

 

When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.

 

Bosquet des Sources - La Colonnade

 

Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.

 

In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.

 

In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.

 

Galerie d'Eau - Galerie des Antiques - Salle des Marronniers

 

Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.

 

Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.

 

The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.

 

Salle de Bal

 

This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.

 

Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.

 

The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.

 

Replantations of the Gardens

 

Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.

 

During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.

 

Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.

 

This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.

 

Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.

 

However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.

 

The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.

 

The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.

 

Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.

 

This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.

 

Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.

 

Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.

 

Problems With Water

 

The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.

 

The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.

 

To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.

 

Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.

 

The Grand Canal

 

By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.

 

With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.

 

While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.

 

While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.

 

In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.

 

In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.

 

The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.

 

Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.

 

Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.

 

The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.

 

In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.

 

During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.

 

With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.

 

Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.

 

The Canal de l'Eure

 

One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.

 

The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.

 

Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.

 

However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.

 

Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.

 

Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.

 

The Versailles Gardens In Popular Culture

 

The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.

Visit us at www.vpxsports.com

Shop at shop.vpxsports.com

Urbex Benelux -

 

Fatty acids, or fatty acid residues when they are part of a lipid, are a diverse group of molecules synthesized by chain-elongation of an acetyl-CoA primer with malonyl-CoA or methylmalonyl-CoA groups in a process called fatty acid synthesis. They are made of a hydrocarbon chain that terminates with a carboxylic acid group; this arrangement confers the molecule with a polar, hydrophilic end, and a nonpolar, hydrophobic end that is insoluble in water. The fatty acid structure is one of the most fundamental categories of biological lipids, and is commonly used as a building-block of more structurally complex lipids. The carbon chain, typically between four and 24 carbons long, may be saturated or unsaturated, and may be attached to functional groups containing oxygen, halogens, nitrogen, and sulfur. If a fatty acid contains a double bond, there is the possibility of either a cis or trans geometric isomerism, which significantly affects the molecule's configuration.

 

Journey on the Tongue is a totally new taste and sound installation which invites you on a spectacular multi-sensory journey. Realized by the three artists Ayako Suwa, the pursuer of “Expressive food,” sound artist Evala, the founder of “See by Your Ears,” and media artist Yasuaki Kakehi, who explores new haptic experiences. This work is a new perception of sound and taste.

 

In your mouth, on your tongue, you will taste a sound experience of the journey to the various destinations. When you wear earplugs to cancel extraneous sounds and put a candy “Taste of Journey” in your mouth, the journey starts with sounds vibration. Then you can hear the sounds clearly inside your body. Though you close your eyes and ears, the experience evokes various dreamscapes via the multiple sensations of sound, touch, and flavor. Everything synthesizes in the mouth to provide a sense of time passing and spatial movement.

 

Credit: Jürgen Grünwald

Syenite (hornblende syenite) from the Cretaceous of Vermont, USA.

 

Igneous rocks form by the cooling and crystallization of hot, molten rock (magma and lava). If this happens at or near the land surface, or on the seafloor, they are extrusive igneous rocks. If this happens deep underground, they are intrusive igneous rocks. Most igneous rocks have a crystalline texture, but some are clastic, vesicular, frothy, or glassy.

 

Syenite is an intrusive igneous rock. It is similar to granite and gabbro in that it has phaneritic texture, with all or almost all crystals between 1 millimeter and 1 centimeter in size each. Phaneritic texture forms as a result of relatively slow cooling of magma deep underground.

 

Syenite has a chemical composition between that of granite's felsic chemistry and gabbro's mafic chemistry. Syenite is an example of an intermediate igneous rock, which has 52 to 65% silica (= SiO2 chemistry) (intermediate has also been defined as 55 to 65% silica). Intermediate igneous rocks are sometimes light-colored, sometimes dark-colored, and sometimes have medium colors.

 

The mineral content of syenite is dominated by feldspar with little to no quartz. Syenite is defined as alkali feldspar-rich, with little to no plagioclase feldspar. The minor plagioclase feldspar component is often intergrown with the alkali feldspar to form perthite.

 

In the syenite seen here, the whitish-gray component is perthitic alkali feldspar. The black crystals are hornblende amphibole and biotite mica. Minor minerals in this material include pyrite, magnetite, titanite/sphene, apatite, and zircon.

 

Geologic unit: Cuttingsville Complex, mid-Cretaceous, 97 Ma

 

Locality: unrecorded locality near Cuttingsville, southern Vermont, USA (but likely from an old quarry at Granite Hill, in the southwestern part of the Cuttingsville Complex, ~1.5 to 1.7 km southwest of the town of Cuttingsville)

----------------

Some info. synthesized from:

 

Eby & McHone (1997) - Plutonic and hypabyssal intrusion of the Early Cretaceous Cuttingsville Complex, Vermont. in: Guidebook to field trips in Vermont and adjacent New Hampshire and New York. New England Intercollegiate Geological Conference, 89th Annual Meeting, 1997: B2-1 to B2-17.

 

Eggleston (1918) - Eruptive rocks at Cuttingsville, Vermont. American Journal of Science 45: 377-410.

 

Lost In The Paradoxical Tunnel.

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constructive decisiones examining analytical walls,

systematically arranged традиции assign pursuits discoveries,

accepting legitimní defeats mature aphorisms taught,

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reluctance reveréntia deprived equatorial midst,

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amplest λόγους reflects misled predicazione presumed,

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spectaculaire experience ingeniously adheres,

monopolies privilegii bravado business waste,

disguised versions venereal תפילות thrust,

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epithalamion thy sponsam praising qualities adored,

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infused in thy ondeelbaar tunnel,

thy self and thee are pronounced 死んだ .

Steve.D.Hammond.

The Sultan Ahmed Mosque (Turkish: Sultan Ahmet Camii) is a historic mosque in Istanbul. The mosque is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior.

 

It was built from 1609 to 1616, during the rule of Ahmed I. Its Külliye contains a tomb of the founder, a madrasah and a hospice. While still used as a mosque, the Sultan Ahmed Mosque has also become a popular tourist attraction.

 

The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design is the culmination of two centuries of both Ottoman mosque development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Aga, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour.

 

At its lower levels and at every pier, the interior of the mosque is lined with more than 20,000 handmade ceramic tiles, made at Iznik (the ancient Nicaea) in more than fifty different tulip designs. The tiles at lower levels are traditional in design, while at gallery level their design becomes flamboyant with representations of flowers, fruit and cypresses. More than 200 stained glass windows with intricate designs admit natural light, today assisted by chandeliers.

Not the most attractive of flowers, but quite interesting and quite scarce so it was nice to find such a large clump. Broomrapes are parasitic, lacking chlorophyll to synthesize their own food and instead taking their nutrients from the roots of a host plant, in this case Wild Thyme (Thymus polytrichus). In Northern Ireland this species is primarily found along the north coast on the basalt scarp or sand dunes. 2013 seems to have been a very good year for this species as I have seen quite a few in several sites. The first record for the British Isles comes from a sighting by Belfast botanist John Templeton on Cave Hill above Belfast in the late 18th Century.

Porphyritic anorthoclase phonolite (6.6 cm across) - this Mt. Kenya rock has the same chemistry and texture as kenyte, but the dark-colored matrix of this porphyritic phonolite is more coarsely-crystalline than in kenyte, and also lacks flow-banding.

 

This rock is Pleistocene in age, and was collected from an outcrop on the southern slopes of Mt. Kenya Volcano.

 

Large pale-colored crystals = anorthoclase feldspar phenocrysts.

 

Dark, finely-crystalline groundmass = dominated by sanidine & nepheline.

--------------

Mt. Kenya is an eroded, extinct volcano in south-central Kenya, just next to the East African Rift Valley system. The volcano was active principally during the Pliocene and Pleistocene. The summit area of Mt. Kenya consists of majestic-looking, high spires of rock - these rocks are shallow intrusives that filled up the throat of the old volcano. The eroded slopes of the volcano consist of a variety of extrusive rocks, including trachytes, basalts, phonolites, and kenytes.

---------------

Mostly synthesized from:

 

Baker (1967) - Geology of the Mount Kenya area. Geological Survey of Kenya Report 79. 78 pp. 4 pls. 1 map.

 

Price et al. (1985) - Geochemistry of phonolites and trachytes from the summit region of Mt. Kenya. Contributions to Mineralogy and Petrology 89: 394-409.

 

Cerium oxide nanorods, synthesized in the laboratory and used in catalysis processes.

 

Courtesy of Dr. Maria Carbajo , UNIVERSIDAD DE EXTREMADURA

 

Image Details

Instrument used: Tecnai

Magnification: 71000x

Voltage: 200kV

Spot: 2.0

Detector: CCD

 

This show on MTV makes light of the harsh situation facing many families today. This show turns real teens lives into a production in the process of raising a baby. The nagative statistics that are associated with teen pregnancy and raising a child are extremely disheartening, but this television show de-synthesizes the negatives and turns it in to entertainment.

   

Zap 2 It

©2011Tribune Media Services, Inc.

tvlistings.zap2it.com/tv/teen-mom/EP01209503

A long rubber tube, closed in a loop, is animated by contortions and undulations like an invertebrate body. Surrounded by a group of four dumb human beings equipped with sound halberds, the creature seems to try to release itself from this disturbing presence in vain. Its efforts and sufferings excite the curiosity of the four human beings and become the subject of primary and sophisticated polyphonic rituals only constituted by synthesized voices.

 

credit: Samuel Carnavali

Journey on the Tongue is a totally new taste and sound installation which invites you on a spectacular multi-sensory journey. Realized by the three artists Ayako Suwa, the pursuer of “Expressive food,” sound artist Evala, the founder of “See by Your Ears,” and media artist Yasuaki Kakehi, who explores new haptic experiences. This work is a new perception of sound and taste.

 

In your mouth, on your tongue, you will taste a sound experience of the journey to the various destinations. When you wear earplugs to cancel extraneous sounds and put a candy “Taste of Journey” in your mouth, the journey starts with sounds vibration. Then you can hear the sounds clearly inside your body. Though you close your eyes and ears, the experience evokes various dreamscapes via the multiple sensations of sound, touch, and flavor. Everything synthesizes in the mouth to provide a sense of time passing and spatial movement.

 

Credit: Jürgen Grünwald

Ink on paper; 55 x 41 cm.

  

Spanish painter. based in madrid from 1909, he was self-taught and began by copying pictures by diego velázquez and el greco in the prado. he received support from the poet juan ramón jiménez and established links with such young poets and artists as federico garcía lorca, rafael alberti, salvador dalí and luis buñuel. in 1925, when he participated in the artistas ibéricos exhibition (madrid, casón buen retiro), his work consisted of mildly abstracted landscapes and cubist still-lifes. after several lengthy spells in paris between 1926 and 1928, where he met picasso, he held a one-man exhibition at the palacio de bibliotecas y museos in madrid (1928), his unconventional choice of material—including combinations of oils, soil and sand—scandalizing both critics and visitors. his work developed towards abstraction under the influence of joan miró and was marked also by surrealism in an effort to synthesize the iberian spirit with the avant-garde.

  

If you missed Miku on stage in Los Angeles then you may want to catch her at the Anime Festival Asia 2011! And yes - it will be a similar setup to the Los Angeles gig in 3D.

 

Stolen from the official site below.

 

Hatsune Miku is a computer music software that enables users to create synthesized vocals of unprecedented quality and remarkable realism by just typing in lyrics and melody, using voice samples of seiyuu Saki Fujita. Powered by Yamaha's Vocaloid (Vocal + Android) technology, Hatsune Miku was developed by Crypton Future Media in Sapporo, and released on August 31st, 2007.

   

Since then, there have been more than 30,000 songs and movies about Hatsune Miku posted in a popular Video sharing web site such as YouTube and Nico-Nico- Douga(Japan). In 2008, Hatsune Miku performed for the first time on stage at Animelo Summer Live 2009 in front of a crowd of more than 25,000 people.

   

This simple software, with a cute voice and an illustration of its avatar on the cover, created not only large amounts of CGM (consumer generated media) music but remarkable numbers of derivative illustrations and dedicated free software as well.

   

Anime Festival Asia will premiere the first Hatsune Miku concert in Asia. The concert will be a sequel to the most recent live production in Sapporo, which pushed the live Miku experience to a whole new level.

 

Also forgot to mention but Danceloid and myself are to be part of the bonus material that comes with the Blu-ray of the Los Angeles concert ^^;

 

I didn't have time to check whether my flies were undone or not so I left it to Fukuoka-san to check for me ^^;

     

View more at www.dannychoo.com/post/en/26265/Hatsune+Miku+Live+Concert...

The Postcard

 

A postally unused carte postale published by A. Papeghin of 24, Rue des Petites-Écuries, Paris.

 

Papeghin

 

Papeghin of Paris and Tours was a publisher of mainly black and white and monochrome collotype postcards between 1900 and 1931.

 

The firm's output largely depicted local views of amusement areas and sporting events, including the Olympics. Most of the subjects found on their cards were centred around Paris. In fact they published a photo book of Paris in 1919.

 

The Gardens of Versailles

 

The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.

 

Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.

 

In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.

 

The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.

 

The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.

 

50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.

 

On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.

 

In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.

 

The Du Bus Plan for the Gardens of Versailles

 

With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.

 

Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.

 

Louis XIV

 

In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.

 

With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.

 

From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.

 

(a) The First Building Campaign

 

In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.

 

Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.

 

The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.

 

By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.

 

Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.

 

(b) The Second Building Campaign

 

Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.

 

Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.

 

With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.

 

Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".

 

The Grotte de Thétys

 

Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.

 

It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.

 

The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.

 

Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.

 

The Bassin de Latone

 

Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.

 

Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.

 

This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.

 

The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.

 

The Bassin d'Apollon

 

Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.

 

The Grand Canal

 

With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.

 

In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.

 

The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.

 

The Parterre d'Eau

 

Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.

 

In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.

 

Evolution of the Bosquets

 

One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:

 

-- The Bosquet du Marais

-- The Bosquet du Théâtre d'Eau, Île du Roi

-- The Miroir d'Eau

-- The Salle des Festins (Salle du Conseil)

-- The Bosquet des Trois Fontaines

-- The Labyrinthe

-- The Bosquet de l'Arc de Triomphe

-- The Bosquet de la Renommée (Bosquet des Dômes)

-- The Bosquet de l'Encélade

-- The Bosquet des Sources

 

In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.

 

-- The Bassin des Sapins

 

In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.

 

Later modifications in the gardens transformed this fountain into the Bassin de Neptune.

 

-- Pièce d'Eau des Suisses

 

Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.

 

This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.

 

(c) The Third Building Campaign

 

Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.

 

The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.

 

Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.

 

In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.

 

In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.

 

Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.

 

With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.

 

To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.

 

Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.

 

Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.

 

During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.

 

The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.

 

Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.

 

(d) The Fourth Building Campaign

 

Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.

 

Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.

 

Louis XV

 

With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.

 

In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.

 

During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).

 

Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.

 

In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.

 

Louis XVI

 

Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.

 

Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.

 

The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.

 

However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.

 

The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.

 

Revolution

 

In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.

 

Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.

 

These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.

 

Napoléon I

 

The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.

 

Restoration

 

With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.

 

The July Monarchy; The Second Empire

 

While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.

 

With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.

 

Pierre de Nolhac

With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.

 

Bosquets of the Gardens

 

Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.

 

Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi

 

These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.

 

In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.

 

During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.

 

Labyrinthe - Bosquet de la Reine

 

In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.

 

Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.

 

Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.

 

The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.

 

Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.

 

Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.

 

Bosquet de la Montagne d'Eau - Bosquet de l'Étoile

 

Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.

 

The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.

 

Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon

 

Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.

 

The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.

 

In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.

 

During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.

 

Île du Roi - Miroir d'Eau - Jardin du Roi

 

Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.

 

The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.

 

The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.

 

A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.

 

Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque

 

In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.

 

Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.

 

Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert

 

The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.

 

Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.

 

In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.

 

Bosquet des Trois Fontaines - Berceau d'Eau

 

Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.

 

Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.

 

In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.

 

Bosquet de l'Arc de Triomphe

 

This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.

 

As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.

 

Bosquet de la Renommée - Bosquet des Dômes

 

Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.

 

At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.

 

The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.

 

The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.

 

Bosquet de l'Encélade

 

Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.

 

From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.

 

When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.

 

Bosquet des Sources - La Colonnade

 

Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.

 

In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.

 

In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.

 

Galerie d'Eau - Galerie des Antiques - Salle des Marronniers

 

Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.

 

Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.

 

The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.

 

Salle de Bal

 

This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.

 

Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.

 

The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.

 

Replantations of the Gardens

 

Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.

 

During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.

 

Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.

 

This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.

 

Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.

 

However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.

 

The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.

 

The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.

 

Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.

 

This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.

 

Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.

 

Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.

 

Problems With Water

 

The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.

 

The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.

 

To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.

 

Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.

 

The Grand Canal

 

By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.

 

With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.

 

While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.

 

While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.

 

In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.

 

In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.

 

The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.

 

Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.

 

Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.

 

The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.

 

In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.

 

During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.

 

With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.

 

Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.

 

The Canal de l'Eure

 

One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.

 

The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.

 

Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.

 

However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.

 

Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.

 

Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.

 

The Versailles Gardens In Popular Culture

 

The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.

Lizzy: don't you see? the world is still violent, angry and tragic. people are constantly losing their loved ones over petty disputes. my son and I are both ancient relics removed outside of time, but the time we came from was exactly as violent as the Commonwealth today. I always fought violence with violence, but David understands that never solves the problem. more delusional murderers of innocents will spring up in their place! what if we were failed creations long before the Synths? I don't need to comprehend the complexities of Science to understand something's terribly wrong with the human race. the Institute is our only hope

PI: David Baker, University of Washington

 

This project is advancing protein structure modeling capabilities to enable the design of novel proteins, including therapeutic peptides that target diseases such as Ebola, HIV, and Alzheimer’s. Artificial peptides represent a new class of drugs that have potential for greater efficacy and fewer side effects than traditional drugs. In addition, the computational tools can be used to design peptide catalysts and enzymes for various environmental, energy, and industrial applications.

 

A designed 29-residue peptide that uses the three-way crosslinker 1,3,5-tris(bromomethyl)benzene (dark gray) to covalently constrain the structure and to form hydrophobic packing interactions with other residues. This molecule is currently being synthesized for experimental examination.

 

Image credit: Vikram Mulligan, University of Washington

 

Scientific discipline: Chemistry

 

This research used resources of the Argonne Leadership Computing Facility at Argonne National Laboratory.

PI: David Baker, University of Washington

 

This project is advancing protein structure modeling capabilities to enable the design of novel proteins, including therapeutic peptides that target diseases such as Ebola, HIV, and Alzheimer’s. Artificial peptides represent a new class of drugs that have potential for greater efficacy and fewer side effects than traditional drugs. In addition, the computational tools can be used to design peptide catalysts and enzymes for various environmental, energy, and industrial applications.

 

A designed 29-residue peptide that uses the three-way crosslinker 1,3,5-tris(bromomethyl)benzene (dark gray) to covalently constrain the structure and to form hydrophobic packing interactions with other residues. This molecule is currently being synthesized for experimental examination.

 

Image credit: Vikram Mulligan, University of Washington

 

Scientific discipline: Chemistry

 

This research used resources of the Argonne Leadership Computing Facility at Argonne National Laboratory.