ทริปดำน้ำ: Similan – Richelieu
วันที่: 10-13 ธันวาคม 2552
เครดิตรูป: Scuba Jamboree เข้าไปชมภาพถ่ายฝีมือ วิน ธาวินได้ที่ Scubajam

เห็นรูปเซ็ตทริปนี้ของธาวินแล้วโหย ใต้ทะเลเนี้ยสวยขนาดนี้เลยเหรอเนี้ย ฝีมือถ่ายภาพแต่ละทริปเนี้ยพัฒนาขึ้นตลอดเลย พี่โน่สอนดีใช่ไหมอืมแต่เห็นกดมาเยอะเลย นักเรียนก็ตั้งใจสุดๆ เลยนะเนี้ย เยี่ยมค่ะชอบทุกใบเลย บางใบดูน่ากลัวแต่ได้ฟิวดีทำไมถึงกล้าถ่ายแบบไม่กลัวเหรอ  จะว่าไปตั้งแต่น้องวินรักการดำน้ำเนี้ย ก็ทำให้เราได้เห็นบรรยากาศใต้ท้องทะเลเยอะขึ้น ที่เคยเห็นว่าสวย ก็จะเริ่มสวยกว่าเพราะตากล้อง เฮอ เฮอ อยากไปเห็นกับตาตัวเองบ้างจัง อยากถ่ายรูปคู่กับปลาหน้าตาแปลกๆ สีสดใส อยากมีรูปที่อยู่ใต้น้ำอ่ะ ถ่ายได้ทุกมุมไม่มีซ้ำเพราะไม่เคยถ่ายมาก่อนแต่… ตอนนี้เรายังดำน้ำไม่เป็นเลย ฮุ ฮุ ครั้งนี้ธาวินไปเป็นวีคเลยนะดำน้ำไปตั้ง 15 Dives ตอนนี้สะสมได้กี่ Dive แล้วเนี้ยเมื่อไรธาวินเป็นอาจารย์สอนดำน้ำ เดี๋ยวจะไปเป็นนักเรียนนะ อิ อิ ทริปนี้ธาวินมีรูปใต้ทะเลมาฝากเกือบสามโหลสวยๆ ทั้งนั้นมาชมตัวอย่างกันเลย  

Pic no.1 รูปหมู่ ไม่รู้ทำไมปลาทั้งหลายตั้งใจมองกล้องกันจัง รูปนี้น่ารักมากเห็นบรรยายว่าเป็นรูปครอบครัวปลา

Pic no.2  รูปเดี่ยว ดูน่ากลัวแต่ได้ฟิวดีนะเป็นรูปที่ดูซ้ำหลายรอบ ถ้าเป็นเราคงตกใจว่ายน้ำหนีกระเจิดกระเจิง อากาศหมดไปแล้ว~~

รูปสวยๆ ใต้ทะเลผลงานถ่ายภาพของธาวินตามไปดูกันได้ใน Scubajam ตามลิงค์ข้างบนนะคะ ทริปนี้เห็นรูปธาวินแค่สองใบไม่ให้พี่ๆ เค้าถ่ายรูปให้บ้างละจ๊ะ ปลา กุ้ง ปู ใต้ทะเลไม่เคยเห็นก็ได้เห็นแล้ว แต่ธาวินเองก็ช่วงนี้ก็ไม่ค่อยเจอหน้าเหมือนกันนะ วันหลังถ่ายมาให้ดูหน่อยนะ อ่ะมาดูรูป หล่อ หล่อ แอบจี๊กมาฝากแฟนๆ ธาวินเช่นเคย สองใบนี้รู้สึกดีไปคนละแบบนะ ใบแรกเนี้ยมีเรื่องราวประกอบเป็นความทรงจำที่คนในรูปเค้าประทับใจอยู่ เหมือนย้อนวันวานเลย ส่วนใบที่สองรู้สึกดีที่เห็นคนในรูปร่าเริงซะขนาดนี้ อ่ะอินโทรแล้วเรามาดูรูปหายากของทริปนี้ดีกว่า ปลาวิน!!! อ่ะไม่ใช่ ธาวิน ต่างหาก ฮุ ฮุ

Pic no.3 ธาวินที่หินเรือใบกลับไปถ่ายที่เดิมเมื่อหลายปีก่อน ทะเลในอุดมคติของธาวินเลยนะเนี้ย

รูปประกอบข้างบนได้มาจากรายการจมูกมด ธาวินถ่ายกับคุณพ่อที่หินเรือใบ หมู่เกาะสิมิลัน ธาวินเค้าบรรยายภาพว่าเคยมาถ่ายภาพที่นี่เมื่ออายุประมาณสิบขวบ อืม…กลับมาอีกครั้งเป็นหนุ่มแล้วก็เลยเปลี่ยนท่านั่งเป็นท่าเดียวกับป๋าเลยแต่ถนัดซ้าย เฮอ เฮอ หินเรือใบถือเป็นสัญลักษณ์ของหมู่เกาะสิมิลัน ใครได้ไปอย่าลืมไปเก็บภาพมุมนี้นะจ๊ะ  ข้อมูลเพิ่มเติม

Pic no.4 รูปนี้เห็นแล้วอิจฉาดูท่าโพสซะก่อน ร่าเริงสุด สุด ดูแล้วยิ้มเลย “ปลาวิน” เกยตื้นซะแล้ว อิ อิ ปลาหายากของแฟนๆ

เก็บภาพประทับใจเพิ่มเติม ตามเข้าไปในเว็บ scubajam ได้เลยค่ะแล้วเดือนหน้าธาวินจะไปทริปได้ไหมอ่ะ เริ่มถ่ายละครแล้ว อยากให้ได้ไปเพราะอยากเห็นภาพ unseen แบบนี้บ่อยๆ อ่ะดูไปยิ้มไปละสิ ไปละวันนี้ต้องเข้าออฟฟิศ อู้นะเนี้ย ฮุ ฮุ

Between 1370 and 1383, the king Charles V of France had the Bastille built, that was a fortress intended for protecting the Saint Antoine’s door. The building was enlarged afterwards and became an impressive construction. It had eight towers and it was rounded by a deep moat.

When the Bastille lost its military utility, under the reign of Francis I it was used as Treasury and then the cardinal Richelieu transformed it into a prison where the enemies of the king were locked in. To the eyes of the French people, the Bastille embodied the tyrannical power of the king rather than a frightful prison.

The Storming of the Bastille marked the beginning of the French Revolution in 1789. During 1833 and 1840 a 52 metre column was erected and was called “ July Column”. It commemorates the “three glorious” day in 1830, when the king of France Charles X, was deposed. At the top, there is the “Spirit of Freedom” who holds a broken chain and a flaming torch.

This square is in the twelve arrondissement, close to charming holiday apartments in Paris city, and tourists who visit the French capital do not want to miss it.

Bastille square in Paris

It has been a while since my last posting… I was sick for a spell and busy writing too. Four chapters have been completed since then, all of which again required extensive research and power-reading. One book recently acquired from my friendly central megalibrary was Peter Earle’s inspiring “The Pirate Wars.” I was in the thick of it when I discovered that he also wrote a book called “Corsairs of Malta & Barbary” which was pretty hard to find. I was lucky enough to be able to arrange for a interlibrary loan and have been reading that book for the past 5 weeks or so and am almost done with it now. It has been quite elucidating about the day-to-day life and the operational details of the corsair organizations that roamed the Mediterranean. Fun stuff! (no really …)

The first chapter from this last round of writing is called “The Ḥizb an-Nūr and the revival of ash-Sharika.” It deals with an organization that grows from a new generation of intellectuals who begin to make their influence felt in Granada a few years after the young sultan Muḥammad XIV inherits the throne. It was quite interesting creating this group of men that together would find the courage to oppose the fear-mongering spread by the Ḥizbul-Khilāfah whose claim to orthodoxy makes them successful in attracting a large following. I also reintroduced the Knights of Malta into the story at this point, thus the reason for reading Peter Earle so intently. Overlooked by many historians, the Order of Malta played a significant role in the events that shaped the history of the lands of the Mediterranean from France to Egypt. There is no reason why this shouldn’t hold true for the Kingdom of Granada as well. In fact, just a couple of days ago, I discovered an article written in Spanish on the Identidad Andaluza website about this very subject. The name of the article is “La Defensa Marítima del Reino Nazarí” and was written by J. Enrique López de Coca Castañar. It covers the period preceding my story, but deals with the very same subject matter as this chapter.

The next three chapters were very difficult to write since they had to work within the framework of the story which already exists. (Actually, this applies to almost everything that I have written in this book.) In any case, these chapters need to weave the world of my story into the actual events occurring in the rest of Europe. This is the time of Thirty Years War and the rise of Richelieu and like many other states in Europe, the Kingdom of Granada is affected by the fortunes of the Habsburgs and the Bourbons. The first of this set of three chapters called “The Treaty of ad-Dār al-Bayḍā’ ” was written to reintroduce the Dutch as major players in the story line. Up to this point, they had been busy establishing themselves as Granada’s primary trading partner. This chapter explains how they attempt to force themselves upon Granada as their primary military ally as well. Of course, I then needed to present the French reaction to this turn of events and give some time to Richelieu’s rise to power. Originally written as a single chapter, I later found that it worked better split into two. These two chapters are now called “The Fall and Rise of Richelieu” and “The Renewal of the Alignment Act of al-Mariyya” and are placed before and after “The Treaty of ad-Dār al-Bayḍā’ ” respectively. “The Fall and Rise of Richelieu” uncovers the source of the relationship between Richelieu and Iskandar al-Ḥājib, while “The Treaty of ad-Dār al-Bayḍā’ ” explains how the French attempt to counter the Dutch bid for primacy in Granada. All four of these new chapters are required as a lead up to the Spanish Annus Mirabilus of 1625 which is where I’m at now. We shall see how that turns out for Granada …

Er is een theorie in geographie die zegt dat stedenbouwkundigen het haast nooit voor het zeggen hebben, maar dat invloedrijke projekt ontwikkelaars (en hun politieke vriendjes) meestal bepalen hoe een stad werkelijk functioneert en groeit. Dit geldt ook voor Suriname. Het zijn dezelfde projekt ontwikkelaars (en hun politieke vriendjes) die bestemmingsplannen het meest vrezen, omdat hun doel voor maximale winst uit verkavelings projekten kan worden beperkt.

Ter verduidelijking: ik geloof niet dat alle verkavelaars bestemmingsplannen vrezen. Er zullen zeker mensen zijn die graag meewerken aan een duurzame en meer leefbare stad. Maar in ons land kunnen we geen onderscheid maken omdat de wetgeving niet wordt geimplementeerd (meer over de wetgeving volgende week). Dat wil zeggen, hoe kan ik een projekt ontwikkelaar die een gebied aanvraagt ten noorden van Paramaribo, grenzend aan de Atlantische Oceaan, kwalijk nemen als de overheid hem dat ook geeft met de bedoeling het gebied te verkavelen? Het is niet de schuld van deze, misschien welbedoelende, verkavelaar en het is ook niet de schuld van de mensen die daar kavels kopen, waarschijnlijk nietwetend dat het een moerassig gebied is dat over enkele jaren onder water kan lopen … nee, het is de schuld van de overheid die alsnog geen struktuur- en bestemmingsplannen van kracht heeft gemaakt. Niemand weet dus wat dat gebied ten Noorden bestemd voor is of het beste voor bestemd moet zijn.

Dit brengt me naar Commewijne, armzalig Commewijne, waar het een en ander nog ingewikkelder is. Commewijne heeft namelijk geen officieel woongebied, niet zoals de andere drie woongebieden van Suriname: Apoera, Nickerie, en Paramaribo. Dit betekent dat verkavelaars nog meer vrijspel hebben dan in Paramaribo waar men wel enkele vergunningen hoort te krijgen van het Ministerie van Openbare Werken (OW) voor het uitvoeren van verkavelings projekten. Men heeft bijvoorbeeld geen bouwvergunning nodig in Commewijne! Notabene, wordt er momenteel heel veel verkaveld in dit district. Gezien de zeer hoge prijzen die betaald worden voor kavels, op bijvoorbeeld Palm Village, weet men nou eenmaal dat er geld te verdienen is. Helaas gaat het gebrek aan een bestemmingplan voor Meerzorg en omgeving zeer ernstige gevolgen hebben op de niet te lange duur.

Op het kaartje hieronder zijn het projekt Richelieu (in rood) en een nieuw ontbost gebied op plantage Peperpot (in blauw – waarschijnlijk ontbost voor kavels?) te zien. Er komen 4000 nieuwe woningen op een oppervlakte van 320 hectare op Richelieu. Op zicht misschien een mooie geste naar de bevolking toe. De vraag voor ons is uiteraard (en deze vraag kunnen we elke week opnieuw stellen), hoe past dit projekt binnen een groter overkoepelend strategisch plan voor dit district? Waarom is Richelieu gevestigd waar het is gevestigd, waar gaan de mensen werken, hoe gaat de infrastruktuur verder worden ontwikkeld, waar zal water en energie vandaan komen voor de woningen, enz enz? Verder nog, is dit wel legaal aangezien dit geen woongebied is en je niet zomaar mag verkavelen?

Maar wie ben ik, een enkele blogger, om zulke moeilijke vragen te stellen? De voorzitter van de assemblee, dhr. Somohardjo, en de minister van Sociale Zaken en Volkshuisvesting (SoZaVo), dhr. Setrowidjojo, steunen dit projekt en ze hebben hun politieke achterban ook in dit district. Ik gun Commewijne echt duurzame ontwikkeling (niet alleen omdat ik er zelf woon), maar niet op deze manier. In De Ware Tijd van 1/11/08 (titel: “Met Richelieu proclameert de overheid een ander woon concept“) staat onder de foto van dhr. Setrowidjojo onder andere “(v)olkswoningbouw zal voortaan niet meer projektmatig verricht worden, maar vanuit een breed plan van stedelijke ontwikkeling.” Dit is per definitie projektmatig en NIET gerricht op stedelijke ontwikkeling!

Mensen van Commwijne, wees op uw hoede. Ik hoop dat de volgende regering binnen twee jaar zal werken aan het vernieuwen van de Plan Wet en ook delen van Meerzorg zal verklaren tot woongebied. Tegelijkertijd moet er gewerkt worden aan een struktuurplan en bestemmingsplan en we pleiten ervoor dat dit gedaan wordt door deskundigen die de lokale context begrijpen. Indien dit niet gebeurd en het huidig beleid wordt voortgezet, wordt Commewijne nog het minst leefbare district van Suriname.

RN

Extraits d’un vidéo-reportage très sérieux (humhum!) sur la Montérégie, au sud de Montréal, au Québec. Réalisé pour un exposé dans un cours du programme Gestion Touristique à l’ITHQ.

For more details click on the map

Odessa or Odesa (Ukrainian: Одеса; Russian: Одесса; Romanian: Odesa; Greek: Οδησσός; Yiddish: אדעס) is the administrative center of the Odessa Oblast (province) located in southern Ukraine. The city is a major seaport located on the shore of the Black Sea and the fourth largest city in Ukraine with a population of 1,029,000 (as of the 2001 census).

Odessa was founded by Hacı I Giray, the Khan of Crimea, in 1240 and originally named Khadjibey after him. After a period of Lithuanian control, it passed into the domain of the Ottoman Sultan in 1529 and remained in Ottoman hands until the Ottoman Empire’s defeat in the Russo-Turkish War of 1792.

The Russians renamed the city Odessa in 1794. From 1819–1858 Odessa was a free port. During the Soviet period it was the most important port of trade in the Soviet Union and a Soviet naval base. On January 1, 2000 the Quarantine Pier of Odessa trade sea port was declared a free port and free economic zone for a term of 25 years.

In the 19th century it was the fourth largest city of Imperial Russia, after Moscow, Saint Petersburg, and Warsaw. Its historical architecture has a style more Mediterranean than Russian, having been heavily influenced by French and Italian styles. Some buildings are built in a mixture of different styles, including Art Nouveau, Renaissance and Classicist.

Following the Bolshevik Revolution in 1917 during World War I, Odessa was occupied by several groups, including the Ukrainian Tsentral’na Rada, the French Army, the Red Army and the White Army. Finally, in 1920, the Red Army took control of Odessa and united it with the Ukrainian SSR, which later became part of the USSR.

During World War II, from 1941–1944, Odessa was subject to Romanian administration, as the city had been made part of the Transnistria occupation district. Romanians used the name ‘Odessa’ as the Ukrainian version of the city. The Romanian occupation may be described a “soft one” compared to the short period of German occupation in 1944.

The Romanian commanding General made an unofficial armistice with the partisans hidden in the city’s catacombs, who in turn did not mount much resistance to the Romanians.

When the people of Odessa suffered from hunger, the Romanians transported grain from Bessarabia to Odessa in 1942 and 1943. It is told that the Romanians imported the best cognac and wines, in addition to two train loads of the best French food in 1942 to the restaurants of Odessa, from France.

During the April 1944 battle Odessa suffered severe damage and many casualties. Many parts of Odessa were damaged during its siege and recapture on 10 April 1944, when the city was finally liberated by the Red Army.

Following the Siege of Odessa, and the Axis occupation, approximately 25,000 Odessans (mostly Jews) were murdered and over 35,000 deported. Most of the atrocities were committed during the first six months of the occupation which officially begun on 17 October 1941, after the bombing of the Romanian HQ and the subsequent brutal response of the Romanian military.

After this time period, the Romanian administration changed its policy, refusing to deport the remaining Jewish population to extermination camps in German occupied Poland, and allowing Jews to work as hired labourers. As a result, despite the tragic events of 1941, the survival of the Jews in this area was higher than in other areas of occupied Europe.

Source: Wikipedia

Travel journal

If you are in Chisinau and you want to arrive in Odessa, the best idea is to get a vehicle –a bus from North Station (near Calea Basarabiei market).

So we did.

At 07.30 we took the first bus which goes to Odessa and we paid for a ticket 93 Moldavian lei (it means 5.8 euros). The bus-driver gave us an inquest to complete for entering in Ukraine.

A half of this inquest you give when you come in the country and another one when you leave it. We passed the customs very quickly, without problems and in 4-5 hours we arrived in Odessa.

As we didn’t have a map for orientation, we started to ask people how to arrive to Potemkin Stairs, which was our first visit. Honestly, we tell you, you must be patient with Ukrainian people because how many people you ask, you will receive different contradictory answers to arrive at the place you need

In this way, we took the trolley number 5, we paid for the ticket 1 grivna (0.08 euros) and after 4 stations we were on Tiraspol’skaya Street. We walked for other 15 minutes among some nice old buildings and we arrived at the Poteomkin Stairs.

By the way, the streets from Odessa are very nice in autumn .

We visited the Passage from Odessa which impressed us very much by its architecture. We have to recognize the prices from those shops were pretty high. On the streets, we saw a lot of expensive bars, restaurants and pubs, but interesting arranged, however, with few clients.

From the beginning, we were a bit disappointed a cause of those stairs-we thought it would be more imposing, but it looked like some usually stairs. From the right side, there was a funicular which leave you down, at the beginning of the stairs.

Sincerely, we don’t see the meaning of this funicular because the distance is not so long, it’s only 142 meters you can descend in 2 minutes!

A funny moment was when we had to split thousands of balloons threw from the roof of a building-people from Odessa celebrated the inauguration of a shopping center. It was nice to see people of all ages doing a thing that gave them a smile on theirs faces.

If you are in Ukraine, it is impossible to not respect the tradition- we bought beer and dry salt fish! How the harbour was near, we had a freezing walk on the promenade; the sea was not so hospitable with us.

At half past 5 we had to take the bus to return in Chisinau so we had to hurry to arrive at the bus station. We had the same problem: all people we asked what trolley we must take gave us different answers, but in the end we arrived to the final destination.

From the bus station we bought some carrot pies (3.5 griva=0.25 euros each pie). The ticket price Odessa-Chisinau was 53 grivnas/person (equal 4 euros). At the customs; we gave the second part of that inquest we completed before we entered in Ukraine and in 4 hours we were in Chisinau.

Odessa seemed us to be a nice, pretty big city, with a lot of interesting places to visit, however, better in summer

Bus station (Avtovokzal)

A kiosk with all kind of crumpets, just near to bus station

A soviet block

A very width tram (the ticket is 1 UAH which means 0.08 EURO)

Just a photo from the center, with ukrainian yellow marshrutka

A bus...

A nice building, with Cuba Cafe

Paved road in the old center

Trolley...

Old center (the road to harbour)

Military of Ukraine (Southern forces)

Real hypermarket

You can observe the colour of the bars (Ukrainian flag)

I think this is Preobrazhenskiy Cathedral from Sobornaya Square

Beeline mobile phone company from Russia and life:), Kyivstar, Golden Telecom and MTS from Ukraine

The Passage from Odessa (1899) "baroque style"

Built in 1899, by polish architect Lev Vlodek, the passage belonged to the merchant Mendelevich. Now, passage is one of the lare largest auction centers in Odessa

McDonald's

An exchange panel

This is the monument of the founders of the city, build in 1900, restored in 2007

Nice buildings...

That was near to the Potemkin Stairs

The 142-metre-long Potemkin Stairs

Slavic style

Wedding near to the Black Sea

The Potemkin Stairs were constructed between 1837–1841

Hair for all Ukraine from Yulia Volodymyrivna Tymoshenko (Ukrainian: Юлія Володимирівна Тимошенко), the Prime Minister of Ukraine

In Kiev is cheaper

Trains near to the Odessa Harbour

I love you, my Odessa

The highway from the harbour

An info panel at the harbour

An ukrainian vessel

Other vessels

Hotel Odessa on the Black Sea, just near to the harbour

UKRFERRY "Caledonia" which can take you to Istanbul

Lenin is alive

A cute ukrainian cat

Public phone cabin

A panel with the condition of weather in the Bus station

Ce qui suit est une expérience, âmes sensibles s’abstenir et cliquez sur le lien suivant : www.la-petite-maison-dans-la-prairie.com

Plus sérieusement, voici ma première expérience de patine avec autre chose que la boue les jours de pluie.
L’approche que j’en ai, est proche de l’expérimentation scientifique, une expérience de chimie voire de biologie car le cuir vie paraît-il – en tout cas, s’il vivait, j’ai du le tuer.

Commençons. Voici la photo de la victime avant l’opération et son pedigree

A l’état initial (enfin j’avais déjà passé une chaussure à l’acétone avant la photo)

Famille : Vaneau
Type : Richelieu 3 œillets à empeigne effilée et bordure avec petit bout carré
Constitution : Cousu blake
Age : 2 ans approximativement
Signes particuliers : pattes d’oies, euh… ridules et plissures fines sur l’ensemble de la chaussure témoignage d’un cuir (trop ?) fin et de qualité relativement passable.

Prétexte à l’expérimentation

La patine de mes Vaneau ne me plaisait plus, elles avaient besoin d’un sérieux coup de jeune. Et puis je voulais tenter une patine maison réalisée avec mes petites mains pleines de doigts courts et véloces

Etape 1 – la préparation

Je prépare un plan de travail dégagé avec une planche de contreplaqué afin de ne pas abîmer la table et mets à portée de main :
- l’acétone
- des chiffons en coton
- un flacon de teinture textile marron foncé (marque Teinture aux drapeaux -AVEL)
- un pinceau à poils fins et …propres (je préfère le pinceau à l’applicateur en coton livré avec le flacon car ce dernier est trop gros). Le pinceau étant relativement fin (et que je ne suis pas trop gauche) je n’ai pas eu besoin de mettre du scotch sur les endroits que je ne voulais pas teindre.
- des gants (ils sont normalement livrés avec la teinture). Même remarque que pour l’applicateur en coton, je préfère utiliser des gants en latex car il n’y a pas de surplus qui risque de gêner mes mouvements et j’ai une meilleure prise en main.

Les instruments de torture

Etape 2 – Nettoyage et décapage
Je nettoie les chaussures avec une brosse à poils moyens pour enlever les « grosses poussières »
Je passe un chiffon doux légèrement imbibé d’eau pour avoir une surface propre.
Avec un chiffon imbibé d’acétone (en faisant attention de ne pas trop en mettre au début), je frotte la surface de la chaussure.
On observe une perte de teinte assez rapidement. Je renouvèle l’opération, l’acétone étant très volatil, son efficacité est relativement de courte durée.

Etape 3 – Teinture
Une fois la paire passée à la lessiveuse « acétone », je mets les embauchoirs afin que le cuir prenne une bonne forme et je laisse reposer une demi heure.
Puis, je retire les embauchoirs et passe la teinture.
Dès le passage complet de la chaussure à la teinture, je reprends un chiffon doux imbibé d’acétone (à petite dose, le but n’étant pas de retirer entièrement la nouvelle teinture) que je passe sur les zones que je souhaite éclaircir (empeigne, garants, etc…)
Une fois terminé, je remets les embauchoirs et laisse sécher une petite heure au moins

Une chaussure teintée, une! ..

Deux chaussures dans la même teinte (cela prend forme mais c’est encore un peu terne tout ça…)

Etape 4 – Cirage et glaçage
Je passe du cirage marron clair en faisant des mouvements circulaires sur l’ensemble de la chaussure (cela fait plaisir de voir que la chaussure terne devient sous les mouvements de plus en plus brillante)
Puis glaçage du bout et un peu aussi les garants

Avec un coup de cirage, c’est déjà plus sympa, non ?

Etape 5 – Finition
Pour finir, un petit coup de chiffon doux en coton sur la chaussure afin d’enlever l’excédent de cirage et enfin les lacets!
J’ai opté pour des lacets violet, non pas pour faire comme Paul Smith (!) mais l’intérieur des chaussures est violet !

Tadîîinnn!!!

Et voilà ! A consommer avec modération…

Seregno 24 settembre 2008

Caro Rino,

Richelieu

nella tua ultima lettera mi chiedi, e ti chiedi, se il potere politico, come quello religioso, abbia esercitato un ruolo determinante, nel bene e nel male, nel fenomeno della diffusione della stampa. Risponderei, in linea di massima, affermativamente, ma solo nel lungo periodo. All’epoca dell’invenzione della stampa, nel secolo immediatamente successivo all’attività di Gutenberg, appare molto attivo da questo punto di vista solamente il potere temporale della Chiesa e l’emergente forma di controllo protestante; il potere secolare sembra accorgersi poco della potenzialità insita nella oculata gestione di un fenomeno di comunicazione (sempre più di massa) come quello tipografico, al fine di operare un migliore controllo delle coscienze. Anche gli stessi Ferdinando e Isabella di Spagna, che nel 1502 istituirono la censura regia con la Prammatica sanzione di Toledo, sembrano muoversi sempre in un contesto dominato dalla sfera religiosa. La censura, insomma, indice privilegiato per misurare l’attenzione dei potenti nei riguardi della stampa, non si rivolge ancora direttamente, e in modo circostanziato, alla politica e alla conservazione del sistema statuale. Un’eccezione alla regola la si può individuare nello sfruttamento del mezzo della stampa per la propaganda anti papista di Enrico VIII, tramite il lavoro di Thomas Cromwell, e nel tentativo di persecuzione nei confronti del tipografo Tyndale, reo di aver tradotto la Bibbia. In questo caso si può notare che gli interessi personali del re, e di politica interna, superano le questioni religiose, arrivando addirittura a sostenere due posizioni incoerenti pur di perseguire i propri piani politici. Ma a parte l’Inghilterra, non è ancora il tempo del capillare controllo dei sudditi da parte dei sovrani.

Solo agli inizi del XVII secolo, dopo due secoli di lenta preparazione, sarà possibile assistere ad una mirata e consapevole gestione da parte del potere politico, per la precisione in Francia, grazie all’operato di una delle figure più significative dell’intera storia moderna: Richelieu. Il motivo è presto detto: l’assolutismo, la centralizzazione del potere, che in quegli anni cominciavano a svilupparsi, hanno bisogno di più controllo sociale e di una emancipazione dal potere, e dal carisma, della Chiesa; e uno degli strumenti utili alla conservazione del potere è proprio la comunicazione. Quindi anche il sovrano si accorge dell’importanza della stampa, e la sfrutta. Richelieu (e ancora più di lui il futuro Luigi XIV), oltre ad operare una censura capillare, istituisce strumenti per il diretto controllo sulla produzione libraria e sui mestieri ad essa collegati: editori, stampatori, tipografi e altri lavoratori devono sottomettersi a regole sempre più rigide e severe. Queste figure, che lavoravano spesso fianco a fianco con gli scrittori, sono centrali nello sviluppo della stampa e, nel tempo, hanno costituito un vero punto fermo nell’economia dell’epoca moderna, almeno in occidente. Spesso si trattava di artigiani altamente specializzati, alcuni veri e propri artisti, che seppur situati in secondo piano, hanno costituito l’ossatura, l’asse portante, dell’intero fenomeno Gutenberg (che fra l’altro era uno di loro).

Quali sono, a tuo avviso, i mestieri, nati grazie all’invenzione della stampa, che più hanno caratterizzato il successo senza precedenti di questo nuovo modo di comunicare? Sei d’accordo con me quando definisco alcuni di questi artigiani degli “artisti”?

Aspetto, come sempre, tue nuove. Un saluto affettuoso anche alla tua consorte,

Alessio

]]> http://mouvementcatherinien.wordpress.com/2009/08/13/the-perfect-pair/ Thu, 13 Aug 2009 12:05:59 +0000 mouvementcatherinien http://mouvementcatherinien.wordpress.com/2009/08/13/the-perfect-pair/

..of Richelieues!!

Any recommendations? I’ve looked around and really not been able to find quite what I’m looking for…..

I’m thinking tones of brown with a dark heel.

Sarabande

In 17th century France, the sarabande was a popular but frowned upon dance. Fiery and fast, in 1583 it was banned in Spain on account of its obscenity.

Anne of Austria and Marie de Rohan managed to trick Cardinal Richelieu into dressing up and dancing a sarabande in the Queen’s private apartments.

The mind boggles!

According to Mark Bryant in his wonderful book -

Private Lives: A True Compendium of Curious Facts, Bizarre Habits and Fascinating Anecdotes about the Famous and Infamous throughout History

Cardinal Richelieu owned fourteen cats.

Cardinal Richelieu

I have yet to find a contemporary painting of the Cardinal avec cats – I believe the engraving above is from the 18th century.

Mark Bryant even names some of the cats :

Lucifer, Gazette, Racan and Perruque (twins born in the Academian Racan’s wig) Serpolet, Pyramus, Thisbe, Ludovic the Cruel and, his favourite, Sourmise.

They were all looked after by two attendants and were provided for in his will.

I have a copy of Richelieu’s will and, without the actual names of the two attendants, I can’t say for sure whether the above is true or not. As far as I can see there is no mention of cats.

Another brilliant book is Katharine MacDonogh’s Reigning Cats and Dogs: A History of Pets at Court since the Renaissance.

Her comment on Richelieu and his cats…

Paradis de Montcrif

However, some of the most celebrated clerical cat lovers never kept pets of any description. It was from the incongruous marriage of might and impotence that the myth of Cardinal Richelieu was conceived. Paradis de Montcrif, lecteur of Queen Marie Leszczynska and toady at the court of Louis XV, was the author of the story in which, as the power behind the throne of Louis XIII, Richelieu was cast as a satanic figure who sat and slept surrounded by kittens (he killed them when they reached maturity), essentially familiars, who lent their diabolical aid to maintain this sinister, feline minister in office. Attention was thus skilfully deflected from the King himself who, although the eventual father of the ultra-virile Louis XIV, produced no heirs during the first twenty-two years of marriage to Anne of Austria.

The association of cats, witchcraft and impotence explains their omission from royal portraiture from the reign of Louis XIV onwards.

Two very opposing views.

My Richelieu has cats. Sourmise is mentioned. I will try to find out more about this subject in due course.

1558- First text about the French blue cats.

On the death of a small kitten

Joachim du Bellay

 Here lies Belaud, my little grey cat,

 Belaud, that was the most handsome perhaps

That nature ever made in cat’s clothing.

This was Belaud, death to rats.

 Belaud, to be sure his beauty was such

That he deserves to be immortal.

París.- Una suerte de continente, cuyas regiones parecen propagarse al paso del tiempo. Vista y amada, pero jamás descubierta por completo al ojo humano. Lutecia primero, París por siempre desde el siglo III a.n.e.

El desaparecido escritor argentino Julio Cortázar la llamó el octaedro y los jóvenes estudiantes siglos atrás, con la moda de hablar en latín le dieron el nombre de Quartier Latin a uno de los barrios más emblemáticos de esta urbe.

Tomada por una punta, examinada en el medio, aún así es difícil encontrar su final, porque tiene la virtud de perdernos en cualquier laberinto del conocimiento. Ciudad Luz, por las corrientes iluministas, abigarrada muchedumbre de un colmenar donde se liban las mieles más insólitas y extraordinarias.

Para no desvariar, la afamada Universidad de la Sorbona, fundada en 1257 por Robert de Sorbon, devenida tres siglos después centro de debates trascendentales sobre teología. Y tras su reconstrucción entre 1885 y 1901, dedicada hoy a la historia, humanidades, geografía, derecho y las lenguas de los grandes escritores franceses.

Sobre la montaña de Santa Genoveva, a la izquierda del Sena, La Sorbona contempla el espectáculo sui-géneris del Barrio Latino, donde los estudiantes no cesaban de inundar sus calles con debates teológicos en latín en el medioevo. De ahí su nombre, el cerebro de París, dicen los cronistas, donde 25 mil estudiantes cada año tratan de dar continuidad a la saga de sus antecesores. Es la zona más cosmopolita de la ciudad, en la cual además se ubican otras excelsas instalaciones.

El Palacio de Luxemburgo y sus majestuosos jardines, donde la imaginación vuela al compás del tiempo, ese lapso más allá de la vida, y es perceptible la sensación de paz y armonía entre enamorados y niños de todas las edades. Luego, el Panteón, uno de los grandes monumentos neoclásicos galos, construido a partir de 1764.

Primero como iglesia dedicada a Santa Genoveva y después templo de hombres ilustres, “aux grands hommes la patrie reconnaissante”, por dictamen de la Revolución Francesa. Voltaire, Rousseau, Victor Hugo, Emile Zola, Marie Curie, Soufflot, su arquitecto, y más recientemente, en el 2002, el féretro de Alejandro Dumas, descansan en el Panteón.

El boulevard de Saint-Michel, epicentro de la vida bohemia del Barrio Latino, muestra inequívoca de los contrastes de esta gran urbe. En medio del frío invierno poetas y músicos de calles y estaciones del metro, buscando el sustento diario.

Mujeres y ancianos que deambulan sin rumbo fijo tanto en el Boul´ Mich´, como en la elitista zona de la Opera, acentúan las paradojas de riquezas mal repartidas, con los excluidos, por lo general de la fuente de las minorías étnicas.

FRAGMENTOS LITERARIOS

De nuevo Víctor Hugo, no podía faltar, en la Place des Vosges, donde se paseaban los nobles y el Cardenal Richelieu ordenó construir una escultura ecuestre de Luis XIII, mucho antes de que las cabezas de reyes y aristócratas rodaran al compás de la Revolución Francesa.

En el número seis de la Plaza, la residencia remozada donde durante 26 años escribió el autor de Los Miserables, en plena gloria literaria y financiera.

Hoy, además de sitio sobrecogedor, una suerte de concierto musical y ecológico. Gorriones desafiantes, palomas y mirlos apacibles, se suman a los cantos e interpretaciones lo mismo clásicas que folclóricas. Places de Vosgues, llamada así en honor a la primera provincia que pagó sus impuestos.

Concebida como un cuadrado perfecto de nueve edificios a cada lado, levantada por orden de Enrique IV en 1605, lugar también de residencia del Cardenal Richelieu. Grupos de música guaraní y peruana, jóvenes estudiantes de violín y piano, y danzas ucranianas y rusas, matizando el panorama en medio de museos, bares y jardines de ensueño.

También en Le Marais, a poca distancia, encerrando celosamente al Medioevo, aparece el Museo del Cluny, con ruinas galorromanas y una colección impresionante de obras de esa época. Notre Dame, por supuesto, el símbolo imperecedero del Jorobado de Nuestra Señora de París, una mole albinegra que recibe más de 12 millones de visitantes por año. Y las rocas y palos imaginarios alrededor de la Bastilla, del sueño no cumplido de la humanidad.

Cortázar dedicó largas jornadas para volver sobre los pasos de Hemingway, Hugo, Marcel Proust… en esas caminatas imprescindibles de un hombre amante de “todo lo que esté lleno de espacios vacíos”, con Rayuela bajo sus brazos.

Así, con respeto y humildad, es preferible pasar de largo apenas en la epidermis de este continente, para cortejar sus regiones y explorarlas en sus entresijos.

Bruno Frisoni.

J’aurais pu aussi vous montrer une belle photo de bottes en caautchouc jaune de chez Aigle vous savez celles que l’on met lorsqu’on va passer un week end à Concarneau. Et puis je me suis dis ” Bon aujourd’hui on va se la jouer sexy ou bien sage et pas crêpes bretonnes et marée basse.)

 On va admirer le talon vertigineux de cette belle chaussure de Bruno Frisoni.

Eden Shoes “Maringa”

On va redescendre sur terre avec cette jolie ballerine à bout argenté.

Richelieu de Gaia d’ Este.

On va reprendre de l’arrogance avec cette chaussure Richelieu au talon de cuir de Gaia d’ Este.

 ”Prize T Bar” Jimmy Choo.

Pour finir on va attendre sagement l’été avec ses superbes sandales à talons de Jimmy Choo. En vente chez myprestigium.com

Et puis mince je ne résiste pas! voici une botte en caoutchouc de chez Aigle avec le motif citron.

J’adoooooooore.

Botte Aigle pour enfant.

Os delicados fios trançados são valorizados pela moda romântica, artesanal e vintage. Conheça um pouco da história desse nobre tecido

Renda Filé (leia-se filê)

crédito da foto

Este tipo de renda é como se fosse uma versão feminina das redes de pesca feitas pelos homens e muito usada em saídas de praia, xales e lenços. Sobre uma rede feita à mão, o artesão preenche os espaços vazados. As feitas com fibras naturais, como seda, linho e fios de algodão, são as mais valiosas.

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Renda Guipure

crédito da foto

De origem francesa, é formada por arabescos em ponto túnel, unidos por finas correntes de fios, com o fundo vazado. Pode ser artesanal ou industrial e, em geral, é feita de linho, algodão ou qualquer outro fio bem fino. É muito usada em vestidos de noiva e roupas de festa.

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Renda Renascença

crédito da foto

Muito trabalhosa, feita à mão com agulha de costura, é uma das rendas mais valiosas. Comum em Recife, a Renascença está ainda mais apreciada hoje por causa da moda artesanal e é exportada para muitos países, incluindo Europa, Emirados Árabes, Estados Unidos e Japão.

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Renda Richelieu

crédito da foto

Usada em saídas de praia e mantas, ela lembra um crochê bem fino. É formada em tela, com formas arredondadas e desenhos delicados, como um bico. O ponto é feito enrolando a linha na agulha, com um fio passando por dentro e formando cordões em diferentes volumes.

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Renda de Bilro

crédito da foto

Originária da Itália, esta renda é muito popular no Nordeste brasileiro. Totalmente artesanal, é feita com o uso de uma almofada onde as agulhas são fixadas para guiar a trama, elaborada pelos movimentos dos bilros (pecinhas de madeira presas aos fios), orientadas pela posição das agulhas. Presença forte na moda e na exportação.

Vestido com renda de bilro, criação de Walter Rodrigues, 2001. Aplicações de renda de bilro produzidas pelas rendeiras da Associação das Rendeiras de Morros da Mariana, Piauí, no projeto Moda e Artesanato. Crédito da foto.

As mãos da artesã tecendo a renda. Crédito da foto.

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Renda Soutache

crédito da foto

Feita de materiais sintéticos, é uma renda rebordada com o fio soutache, um fio chato e fino, evidenciando os contornos da renda de baixo. É uma renda em alto-relevo e, embora cubra apenas pedaços do tecido, tem um caimento pesado. Fica ótima em detalhes, como golas e punhos.

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Renda Chantilly

crédito da foto

Uma das mais nobres e conhecidas, a renda chantilly é um misto de viscose e poliamida, o que a deixa com um caimento incrível e um toque aveludado. É um bordado em cima de um tule bem fininho e geralmente tem um pouco de elasticidade. Pode chegar a valores astronômicos: a da foto acima custa módicos R$670 o metro (!).

Olha ela aí, no desfile do Samuel Cirnansck, no SPFW 2008.

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Rendas Sintéticas

crédito da foto

Mais baratas e fáceis de encontrar em diversos desenhos e cores. As de poliéster são bem populares mas não tem elasticidade e são ásperas. Boas para usar em detalhes em cima da roupa, sem contato com a pele. As rendas feitas com poliamida, como a da foto acima, são mais texturizadas e macias.

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E você, gosta de renda e looks com renda? Qual é a sua preferida?

Algumas das informações acima foram retiradas de uma revista Manequim de 2006.

Fu nel 1605 che Joseph Hall, lo scrittore satirico e futuro vescovo, fece la sua prima visita nelle Fiandre. “Quante chiese diroccate vedemmo lungo il cammino, nulla più che informi macerie a ricordare al viandante che quelli erano stati luoghi di devozione e di odio. Oh, le miserevoli impronte della guerra!… Ma (cosa degna di meraviglia) le chiese crollano e i collegi de’ Gesuiti sorgono ovunque.

Il medioevo è lontano, ma pochi ne tengono conto e sono gli stessi che sfruttano le credenze popolari per raggiungere i propri obbiettivi. Nel 1615 un nuovo parroco si insedia a Loudun. Urbain Grandier è stato forgiato dai Gesuiti, dai quali ha ricevuto in dono un’eccezionale erudizione. La natura lo ha invece fornito di un’irresistibile oratoria e di una figura benfatta, doti che possono essere molto utili, specialmente se sei affetto da un inestinguibile desiderio sessuale. A proprie spese, il nostro protagonista scoprirà che pestare i piedi sbagliati, nell’era di Richelieu, può essere letale anche per un membro dello stesso clero. Urbain non ha le qualità dell’asceta, questo è certo, ma non è nemmeno un demonio. È solo un uomo che riguardo al voto di celibato si esprime in questo modo: «La promessa di adempiere a un compito impossibile non è vincolante». Per salvare la sua anima e quella delle sue presunte vittime, tutti gli esorcisti di Francia si precipiteranno in città, ma forse il demonio è uno solo ed i suoi piedi poggiano su basi terrene così solide, che nemmeno re Luigi XIII riuscirà mai a spostarli.

Un grazie a Vladi, autore dell’articolo.