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Fotografía realizada por Ugo Passalacqua ©️ Todos los derechos reservados - No utilizar sin autorización
Fotografía en plano general que muestra un sendero de tierra en medio de la densa vegetación del Parque Arqueológico de San Agustín, Colombia. A un costado del camino, bajo un cobertizo de bambú, se erige una estatua monolítica de piedra antropomorfa que vigila el paso de los visitantes. La composición destaca la escala del paisaje natural, la fronda del bosque andino y la integración de las esculturas ancestrales en su entorno original.
A wide-shot photograph showing a dirt trail winding through dense vegetation in the San Agustín Archaeological Park, Colombia. Beside the path, sheltered under a bamboo, stands an anthropomorphic monolithic stone statue guarding the way. The composition highlights the natural landscape, the lush Andean forest canopy, and the seamless integration of ancient sculptures within their original environment.
... and further than we realise
As the group approached you could feel their enthusiasm and sense of adventure. Their conversation seemed loud in a quiet place. Their accents were alien (Essex, I think). They came prepared with raincoats and brollies. Waves of rain blew across the moor and the mist thickened and thinned but never blanked out the way ahead entirely. Their dog was well behaved and on a lead, but the sheep were not to understand this and together with the general chatter of the party they were alarmed. If it had not been for a long dry summer they would have been up to their ankles in sheep dropping and mud. Fortunately, the ground is still hard and the rain sits in shallow puddles on the surface.
What have they come to see? A nondescript stone circle dating back to the Neolithic. History is important, if for no other reason(s) than: 1) to know, not to make the same mistakes; and, 2) to give us a sense of who we are.
In this shot, the mist had thinned enough to reveal the presence of the hills in the background - nothing more than a slight change in shade.
RP__0413
G-KASX Supermarine Seafire MkXVII SX336 Royal Navy VL 105
The Supermarine Seafire was a naval version of the Supermarine Spitfire and this seafire was constructed at the Westland Factory in Yeovil Somerset UK.
The aircraft is marked up in the colours of 767 naval air squadron based as RNAS based Yeovilton with 105 and the Yeovilton VL a
Photo taken at the Imperial War Museum Duxford Cambridgeshire
Battle of Britian Air show practice and fly-in day 11th Sept 2026
HAA_6386
Warsaw, details
More is here:
www.patreon.com/iskander/posts/100-about-warsaw-168831130
The famous Narmer Palette, depicting in early hieroglyphs the unification of Upper and Lower Egypt by King Narmer, founder of the 1st Dynasty, in the 31st century BCE.
This face shows Narmer, the founder of ancient Egypt's Old Kingdom wearing the White Crown of Upper Egypt and is shown at the center, wielding a raised mace as he grasps a kneeling enemy by the hair, ready to strike him down.
His sandal-bearer stands behind him, while above, the god Horus — depicted as a falcon — perches on a cluster of papyrus flowers representing Lower Egypt, symbolically restraining the enemy on Narmer's behalf.
Below this central scene, two defeated enemies either flee or lie prone, having already fallen before the king.
At the very top of the palette, two cow-headed figures with human faces look out from either corner — usually identified as the goddess Hathor, though some Egyptologists suggest they may represent the lesser-known cow-goddess Bat instead.
This "smiting" pose — the king gripping a foe by the hair with mace raised — became one of the most enduring and frequently repeated images in all of ancient Egyptian royal art, used by pharaohs for the next three thousand years.
The Narmer Palette was carved from a single piece of flat, fine-grained dark gray-green siltstone.
Discovered by British archaeologists James Quibell and Frederick W. Green in what they called the Main Deposit in the Temple of Horus at Nekhen, Aswan Governorate, during the 1897–98 dig season.
Currently on display at the Egyptian Museum of Cairo.
Sainte-Adresse / Le Havre
France
AOK 15 - KVA F - KVGr Le Havre
WN 04 - Batterie de Dollemard
Originally built by the French military between 1892 and 1894.
Built to protect the Seine estuary and the port of Le Havre.
At the time, France wanted to defend the area against potential attacks from England.
It featured deep underground tunnels and was originally armed with four 270 mm mortars and four 95 mm Lahitolle cannons.
WWII
During World War II, the German army occupied France and integrated the fort into their Atlantic Wall coastal defenses.
The Germans set up 138mm coastal guns at the site.
They also planned to install four larger 150mm guns, but that plan was abandoned in 1942.
Because the fort sat in a highly exposed position, on top of a 94-meter cliff, it invited heavy Allied naval and air attacks.
As a result, the Germans dismantled the battery in 1943 and moved its guns down into the main Le Havre harbor area.
When the region was liberated, the fort was briefly utilized by the 25th US Navy Construction Battalion (Seabees).
Favoured by painters and writers. Customers have included Oscar Wilde, Renoir, Monet, Whistler and Pisarro. Sickert's painting of the exterior is in the Tate.
Screenshot
Screenshot
Apart from the outdoor clothing of the tourists, this is how a street in Glencoe, Scotland would have looked in the 17th Century. The turf and creel house at the Glencoe Visitor Centre is an authentic recreation of a home in the township of Achtriachtan. The township existed around the time of the infamous Glencoe massacre of 1692. In Explore 12.9.26
boat ride in Gdańsk
author: Jan Helebrant
location: Gdańsk, Poland
www.juhele.blogspot.com
license CC0 Public Domain Dedication
