Twin Cities
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The Macro Monday theme for 12/27 is Redux 2021, wherein we were tasked to include at least two of the year’s themes in a macro picture. Actually this encompasses more than just two themes:
.. #geometryshapes,
.. #five (white squares),
.. #gift (from my beloved SIL, Patricia Lane Evans),
.. #flowers,
.. #circles,
and possibly in the new year it will become
.. #everydaycarry (EDC) whenever I’m out with the BGC
(Btb, later I will post the establishing shot— the 5 white squares measure in at just over two and a half inches)
ANSH scavenger12 a gift
Created for the "Award Tree" Group's challenge, "Autumn Diptychs".
Although I had a pretty rich pano-sabotaged capture to start with, Autumn trees in all their glory behind an ornate stone and metal gateway, I tried this image out in mirroring it yielded an unforeseen, quite Surreal figure, so I went ran with it.
The rich visual glories of October give way to Halloween at the end of the month. Here I thought to blend the the two themes together, the rich colour of Fall and the mythological and Pagan celebration of end of the season.
Click on Image to Enlarge !
© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, ex
"Macro Mondays" - "Redux 2021"
The two themes are : Star & Behind the glass
I put tiny stars under a glass pyramid.
LACPIXEL - 2021
Please don't use this image without my explicit permission.
© All rights reserved
Sweet Pittosporum (Pittosporum undulatum)
For Macro Mondays - Redux
This year's MM Redux called for two themes for the year to be combined in one image.
I chose the Flower(s) theme from November 22 and the Sidelit theme from October 11.
Our Pittosporum tree had one flower open this morning, the first for this season. The bloom measures 15 mm (5/8 inch) across.
Happy Macro Monday!
#macromondays #Redux2021
What a great fun challenge for the end of the year :)
This time we had to put two themes out of 2021 together into one image. So many ideas and choices. Should i go for another little world scene or something different without the tiny helpers ? I decided to take #Bottle(s) and #Five for my participation. Well it almost has gotten a Trio since i could add #Behindtheglass as well for this Shot. Or maybe #Holes and #sidelit - you decide :)
The year almost has ended and i would like to thank all of you who are Part of this amazing group. The members who share week after week their great images as well as the moderators who are doing an fantastic job to keep this group alive with such great themes.
Thank you to all of you. You are an inspiration for me!
Thank you for your visits, comments and favs!
Vielen Dank für Eure Besuche, Kommentare und Sternchen!
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
Small metal ladybird decoration for hanging, just a couple of inches long in size.
For Macro Mondays, ‘Pick Two’ theme. Pairing Metallic and Insect.
Second of two captures taken for these week's Macro Monday theme combining two themes from separate lists.
This is the capture with the two candy cane treats in the frame completely for a 1:1.5 macro.
13 second capture needed for this one at ISO 100 and f/16. Captured with window lighting with the candies on a mirror, then holding a black pillow over top to block out the ceiling color and making the background black in the mirror.
Anyone feeling minty now :)
I shot this a week or two back for the final Macro Mondays theme which was Redux, where we were asked to combine two themes from all of the 2021 challenges. This was meant to be a combo of 'vibrant minimalism' and 'leaf'. Somehow I never got around to posting it but I like the colourful nature of it so thought it worth posting. Better late than never as they say.
It's not entirely obvious which two themes from the year I chose, so to avoid confusion, this represents gift and sidelit.
For Macro Mondays' #Pick Two theme.
List A: metallic
List B: insect
Unfortunately, this keyring isn't made from silver and diamonds. But it's definitely made of metal and shaped like a butterfly.
The image is approximately 2.5inches across.
For Macro Mondays' #pick two theme
Based on blue and paper. Cropped to just within the 3inch rule.
A selection of blue papers
Having two exhibitions at the same time was an interesting experience for me.
I wanted to make them as different as possible and to be able to see many aspects of my work.
“Myself” and as you know “Wandering”.
The two themes became a white room and corridor of darkness.
By watching both exhibitions, you will be able to see whole of my work.
I hope you will enjoy it.
——————————————————————————
One Caress Presents
[Wandering World]
Exhibition by nekonuko Nakamori
Start
SUN. 5 March 2017
Opening Party 10:00AM SLT
TAXI will come to 5 March
Macro Mondays 'two' theme.
Two identical Murano glass charms from my Pandora necklace.
Each charm measures just over 0.5"
ANSH 115 (9) coloured glass
This is a peanut butter and blackcurrant compote doughnut.
Each Christmas Eve I drop a bottle of FIzz off to my elderly next door neighbour. She then spends Christmas with her brother where they open the bottle over Christmas Day lunch. When she returns on the 27th December she always drops in some gourmet doughnuts. This is the picture of this years gift which she has kindly just dropped in.
Macro Monday’s....
The Two themes I have chosen are....
4th Jan - Gift
20th Dec - Tradition
Thanks for visiting
Happy Macro Monday.....
Crazy Tuesday: "Glass Bottles" theme
&
Our Daily Challenge: "Sciences"
Apologies for posting back-to-back "hair" shots, folks, but the timing of these two themes together just seemed to call for it. I don't have a white lab coat, so I tried to improvise with an old white shirt with the collar folded underneath. :-)
HCT
Thanks to Sieuwert Otterloo on Unsplash for the background laboratory image.
Boom, Appalachia celebrates!
Appalachia explodes in summer with colored blossoms. Here, an invasive mimosa, that is to say a Persian pink silk tree, begins to bloom in time for Independence Day. To me, these small fuzzy flowers look like nature's imitation of fireworks.
The blossoms were in an open spot above a mountain stream, skirting the dark under-forests of the Cumberland Plateau.
I love a good fireworks show.
For Macro Mondays, Redux 2021. Two themes from 2021 combined in one photo.
Bottle(s)
Geometric Shapes.
A wine bottle with a protective lattice cover.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Take Two is the theme for Macro Mondays 21. January 2019
combining two themes from separate lists.
...and be sure it`s less than 3 inch... I use always a stencil for measurement.
Maddie: (back) Are you sure that's a real magical reindeer?
Hattie: (front) Of course I'm sure.
Maddie: Then why doesn't he fly?
Sir Lancelot: (magical reindeer -not a pony with branches on its head) Yes why don't I Hattie? ...Is that snow?
Hattie: Because... the pine cones are too heavy.
Maddie: Isn't he used to pull a fat man?
Hattie: Snrk!! Yes, but then there's nine of them.
Sir Lancelot: There's NINE of me?!
*******************
Sir Lancelot the Surprised Pony first appeared here: www.flickr.com/photos/135742756@N07/52322781275/in/photol...
_____________
I made two themes in one today for the Blythe a Day group.
For Macro Mondays Redux 2021, two themes 'Orange' and 'Leaf'.
I have been keeping a hosta plant in a pot in my conservatory - as it is a pretty variegated variety with patches of different shades of green and yellow, I wanted to safeguard it from being ravaged by snails in my garden. Although the hostas in my garden died back a few weeks ago, this plant has only recently begun to die back likely owing to the relative shelter and warmth in the conservatory, turning a lovely shade of yellow/orange.
Ironically, I was keeping this hosta away from snails in the garden, but I have used some of the leaves as a yummy food source for my over-wintering snails.
No snails were harmed in the making of this photograph, but were very well fed! Brian and all his friends wish everyone a Happy New Year and look forward to more photographic adventures in 2022.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
These are two of my little metal birds crafted by Alison Catchlove that sit on my shelf. For the Looking Close on Friday group TWO theme. Have a super Friday and weekend folks ;0)
I picked 'blue' and 'flower' from the list for this weeks Macro Mondays 'Pick Two' theme. Tried a couple of other combinations but liked this one best.
I threw a couple of handfuls of wildflower seeds in my garden a few years ago and this beautiful nigella is one of the many recurring results.
A metallic glazed pottery vase for Macro Mondays Pick Two theme.
I was clearing out the shed last week and I came across this old hand built pottery vase that I made at my one attempt at pottery evening classes many years ago. It is not a great thing of beauty and the forgetmenots are trying to cover a great chip in the base, yet I can’t quite bring myself to throw it away, so I expect it will go back to the shed after its only moment of glory. Needless to say, I didn’t pursue the dream of being a potter!
2nd attempt - on this one I combined the following 2 themes:
Treasured on Nov 29 and Tradition on Dec 20
I have had these little ornaments for decades and they always get put on the mantelpiece each Christmas - HMM & HTT!
A series of 'warm water forms' draped around and over an artificial cave. Amber deposits from the Urizaharra local area are up on the plateau and marked with Flickr boxes to the left, with the river Ebro practically linking the Atlantic with the Mediterranean sea a few kilometres to the right.
Two themes have featured amongst others in my recent Flickr posts, the first being issues of dating the upper Ebro man made caves - currently placed in the early Medieval, and the second is the date and definition of a large format basin system I term the 'warm water form' - currently understood as presses from the early medieval. The Gobat East site is of great interest as both elements are found together. A fruit press on a curved roof with no logical modus operandi and with no space for working and storing and aside adjacent flat outcrops is a difficult hypothesis to defend, whereas a warm water form would marry perfectly. This is an ancient region of great wines and it would be romantic to imagine that they were later appropriated as spaces adapted for wooden presses.
Several monolithic graves are to be found inside the artificial cave space. I will discuss evidence to extend the chronology of some of these forms into late ages of prehistory.
The Gobat site is behind Haro, the capitol of the Rioja wine region, and in the greater fields of the historic town of San Vicente de la Sonsierra. Although in real terms the Basque region is up on the hills and the Rioja in the lower valley zone, a tongue of Basque country does descend to the valley with once again a sense of frothy detail to regional boarders, far from straight line conventions. A 7 straight kilometre jog could take you from this site in the Rioja, through a pseudopodia of the Basque region and into the Castille-et-León, and a 21 km jog on the exact same line would return an individual to the Basque region once more.
The site is without the formal carved ornamentations typical of the historical period, and even before going into detail, an observer may see comparisons with late Neolithic sites.
A second smaller monolithic cave is situated around 40m south (Gobat west). The Llana site, featured in recent posts with its close-by cluster of three 'warm water forms', is just one straight kilometre away ( although quite a bouncy kilometre up and down creeks).
AJM 13.01.21
The photographs today pick up on two themes that are obvious when people see this manganese smelter at work. Heavy industry is dirty work, but someone's got to do it. Anyone who has seen Bill Brandt's magnificent black and white images from the industrial heart of England in the mid 20th century knows it's not pretty. But it is real.
First of two captures taken for these week's Macro Monday theme combining two themes from separate lists.
This is the closer in capture with the two candy cane treats cropped some for the 1:1 true macro ratio.
13 second capture needed for this one at ISO 100 and f/16. Captured with window lighting with the candies on a mirror, then holding a black pillow over top to block out the ceiling color and making the background black in the mirror.
Anyone feeling minty now :)
This picture has been created for two themes:
7DWF CTT: #NewPurposes
Smile on Saturday Theme: #Happinessis...
inspired by Macro Mondays Theme: #doubleexposure
7DWF CTT: #NewPurposes
is to have a balance life between work/career and family by having a meaningful vacation, enjoying the moments, creating memories, and capturing it so that is lives on forever.
“Efforts and courage are not enough without purpose and direction.” -John F. Kennedy
Smile on Saturday Theme: #Happinessis...
My Happiness is my family.
“It's all about quality of life and finding a happy balance between work and friends and family.” -Philip Green
Thank you for visiting my stream! :-))
All comments are highly appreciated. It will help me a lot to improve my photography skills. Big thanks to all of you for the comments, faves and views.
Happy clicking to all!
©Ronald Garcia
©All Rights Reserved
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Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
The Temple of Kom Ombo is an unusual double temple in the town of Kom Ombo in Aswan Governorate, Upper Egypt. It was constructed during the Ptolemaic dynasty, 180–47 BC. Some additions to it were later made during the Roman period. The building is unique because its 'double' design meant that there were courts, halls, sanctuaries and rooms duplicated for two sets of gods. The southern half of the temple was dedicated to the crocodile god Sobek, god of fertility and creator of the world with Hathor and Khonsu. Meanwhile, the northern part of the temple was dedicated to the falcon god Haroeris ("Horus the Elder"), along "with Tasenetnofret (the Good Sister, a special form of Hathor or Tefnet/Tefnut) and Panebtawy (Lord of the Two Lands)." The temple is atypical because everything is perfectly symmetrical along the main axis.
The texts and reliefs in the temple refer to cultic liturgies which were similar to those from that time period. The temple itself had a specific theology. The characters invoked the gods of Kom Ombo and their legend. Two themes were present in this temple: the universalist theme and the local theme. The two combine to form the theology of this temple. A temple was already built in the New Kingdom to honor these gods, however, this site gained in importance during the Ptolemaic Kingdom. Little remains of the New Kingdom temple. The existing temple was begun by Ptolemy VI Philometor (180–145 BC) at the beginning of his reign and added to by other Ptolemies, most notably Ptolemy XIII Theos Philopator (51–47 BC), who built the inner and outer hypostyles. The scene on the inner face of the rear wall of the temple is of particular interest, and "probably represents a set of surgical instruments."
Much of the temple has been destroyed by the Nile, earthquakes, and later builders who used its stones for other projects. Some of the reliefs inside were defaced by Copts who once used the temple as a church. All the temples buildings in the southern part of the plateau were cleared of debris and restored by Jacques de Morgan in 1893.
A few of the three hundred crocodile mummies discovered in the vicinity are displayed in The Crocodile Museum.
In September 2018, the Egyptian antiquities ministry announced that a sandstone sphinx statue had been discovered at the temple. The statue, measuring approximately 28 cm in width and 38cm in height, likely dates to the Ptolemaic Dynasty.
My photo for the 'pick two' theme this week, a pink flower. This is one of the many little flowers on the Nemesia plant in our garden.
Happy Macro Monday!
2:52 Mono
I must say processing mono photos has me quite out of my comfort zone.
As mentioned previously, I have been quite inspired over the last month by leaves, especially ones well past their prime.
While out exploring our backyard down the coast, this and several other brown and dried Geranium leaves on the ground caught my eye, mainly because of their beautiful curls, textures and shapes. I thought this one with it's furry details made for a perfect mono.
So two out of two themes first up this year have been leaves, I promise to mix it up a little next week!
Goofy has found himself in a precarious spot.
Shot for two themes:
•Smile on Saturday! :-), Title Wanted!
•Flickr Friday, #HugATree
Created for the Macro Mondays theme, DICE, and for the Crazy Tuesday theme, REFLECTING IN A MIRROR.
Doubling down on one picture for two themes.
Macro Mondays 'pick two' theme.
My two are 'delicate' (or 'curved') and 'pottery'.
My second submission as my first was rejected - the first time in nearly five years in the group that that has happened. 😢 😊
The figurine measures just on 2" and the widest point
Transistors are great multicolours and they are inside electronics, two themes in MM this year. Colours are codes: white is 9, yellow is 4, violet is 7 and red is 2... did you know?
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Often it’s the smallest component that keeps even the best maintained and oiled machine running. These are split links for a bicycle chain, usually they are replaced when removing the chain for deep cleaning or when fitting a new chain but I always carry a spare when cycling - just in case. I took this picture last week for the Flickr Friday theme “tiny” then realised it would fit the Macro Monday theme “Transport” hence my change of title to “Two Themes For The Price of One”.
„Two in one - zigzag in a drop - two themes combined into each other..."
„Zwei in Eins - ZickZack in einem Tropfen - zwei Themen ineinander vereint…“
„I would like to take this opportunity to thank all followers, all new followers, and all those who just stop by. I say thank you for all previous and for all the new fav's and comments. 🙏“
„Ich danke an dieser Stelle allen Followern, allen neuen Followern, und all jenen die einfach so mal vorbeischauen. Ich sage Danke für alle bisherigen und für all die neu hinzukommenden Fav‘s und Kommentare. 🙏“
My personal challenge for 2022 - I'll try - and do my very best...
Meine persönliche Herausforderung für 2022 - ich werd's versuchen - und mein Bestes geben…