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The brief for the restoration project, agreed between the parish, its architect and insurers, was to restore the window, as far as possible, to its original appearance, without the addition of protective glazing. Following the storm damage, the remains of the window glass, lead and supporting metalwork were collected together [Figures 1 and 2]. Remarkably, one of the nine panels making up the circle was almost intact, although others were so badly damaged as to be unrecognisable.

We were fortunate to be able to source a high-quality photograph of the window taken before the damage from Gordon Plumb, which proved extremely useful to the restoration project [Figure 3].

Flemish painter ; born at Tournai, 10 May, ; died in Brussels, 20 November, He produced melodramatic and sensational pictures, very much on the lines of those of Ary Scheffler, with a leaning towards the pathetic and emotional side.

Abstract In the current work we stand for the revival of the transvaporite ore genesis model, which was introduced by Hungarian academician E. Szadeczky-Kardoss more than half a century ago, but has now fallen out of favor and superseded by the orthomagmatic model. Our arguments in support of the transvaporite model are based on the contemporary overpressure theory developed for Mesozoic—Cenozoic petroleum basins.

We propose a new variant of the transvaporization model whereby the formation of giant ore deposits occurs in the areas where former petroleum-rich basins are intersected by Large Igneous Provinces LIPs. In such conditions, a zone of significant overpressure that is 1. Subsequently, under the influence of compressive mechanism of mass transfer, gas-saturated brines of sedimentary rocks migrate toward intruding melts, and then mix with them.

As a result, unusual rocks transvaporites are formed and giant ore deposits created. In all these deposits transvaporization appears to play the key role in ore genesis given the: Furthermore, within 52 polymetallic giant ore deposits in which two to five metals reach giant reserve levels, evidence of transvaporization is present in 33 deposits i. A significant practical implication of the transvaporite model is that it should modify future strategies for ore deposits exploration.

Louis Gallait

He produced melodramatic and sensational pictures, very much on the lines of those of Ary Scheffler, with a leaning towards the pathetic and emotional side. Gallait was, however, a more accomplished painter than Scheffer, with whom his works have frequently been compared. His colouring was superior, and his drawing more accurate, but the two men were possessed of similar devotional fervour, and poetic emotion of a sentimental type. Gallait was a youthful prodigy, and produced his first picture when ten years old, obtaining an important local prize.

One of his earliest performances was purchased by the municipal authorities of Tournai and presented to the Cathedral, and it was owing to the generosity of his own townspeople that he was enabled in to go to Paris and study under Hennequin.

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Dating back to , Babylonstoren is a historic Cape Dutch farm that boasts one of the best preserved farmyards in the Cape. Divided into 15 sections, its fascinating garden comprises fruit, vegetables, berries, bees for pollinating, indigenous plants and fragrant lawns.

In the upper part of the town, the Great Tower, which is the twin of the keep at the Louvre, is the symbol of Royal Power. The new Gothic Cathedral which is under construction is a hymn to the authority of the Archbishops of Bourges, primates of Aquitaine. Figurehead of the Capetian domain facing the south of France, St Etienne’s Cathedral had to be unique in design. The architectural style chosen by the unknown Master-builder is based on a plan with no transept and plastic effects of great modernity for their time.

The Cathedral is still surrounded by the half-timbered houses of the medieval town. The Site In , with the assistance of the Chapter of canons, Archbishop Henri de Sully decides to rebuild the Cathedral, starting with the chevet, in the new Gothic style. The choir is erected above a church, wrongly referred to as the ” crypt “, which had been built on the moat of the Gallo-Roman wall to gain space.

The architectural features of the whole edifice are already visible in the chevet: In , Archbishop Guillaume de Dangeon, a former Cistercian abbot, succeeds Henri de Sully and plays an important part in the development of the site and in the definition of the iconographical programme: Guillaume’s death, followed soon after by his canonisation, brings in a flood of donations from the faithful and pilgrims.

The second stage of construction, including the nave and the west front, is finished around Five carved portals complete the facade. The architects who succeeded the first Master-builder maintained the coherence and the apparent simplicity of the programme, the absence of a transept contributing to the effect of unity of space.


A geological framework for the Kiaka gold deposit is proposed for the first time. Located within the Manga-Fada N’Gourma greenstone and plutonic belt in south of the Burkina Faso, the deposit is hosted by a metamorphosed volcano-sedimentary sequence of lithic-, quartz-biotite metagreywackes, aluminosilicate-bearing metapelites and garnet-orthopyroxene-bearing schists and volcanic units.

Structural observations indicate four local deformation events: The S2 foliation and D2 shear zones are developed during lower amphibolite facies metamorphism whereas retrogression occurs during D reactivations along these shear zones at upper greenschist facies conditions. The intersection of these shears zones and the Markoye shear zone dextral-reverse D1 and sinistral-reverse D2 reactivations controlled the final geometry of the host rocks and the ore zones. Four subparallel elongated ore bodies are mainly hosted within D2-related shear zones and some are developed in an apparent axial plane of a F2 isoclinal fold.

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The area on both sides of the river which flows into the Loire a few kilometers west of Tours is now home to quite a number of artisan winegrowers who make wine without additives and from organic grapes. Bruno Allion is also part of a group of biodynamic growers who gather regularly to exchange and prepare herb tea for spraying. I tasted his wines now and then in the last few years and met him last near here in Montrichard, at the natural sparkling fair.

I visited him on a warm august day and we had first some refreshing mint syrup in the lovely garden. Bruno Allion set up his own domaine in , starting with a 2. He is from a family of growers along the Cher river east of Tours named differently back then , his father was selling to the local coop since the start of his working life as a grower in the s’.

Bruno’s father had uprooted the hybrids farmed in time by his own father, replanting Sauvignon, Gamay etc instead. Bruno’s oldest parcel is a plot of year-old gamay which remains from his grandfather’s surface. His total surface today is about 13 hectares. Bruno’s official installation was , he did like his father, selling his grapes to the coop but he began to make wine on the side, competing thus on a small scale with the coop, and at the time it led him into trouble because he had a favorable article about his wine in Decanter following a sale he made to a UK exporter.

The managers at the coop instead of being happy that the region and one of their growers was spotted abroad saw this as a blow on their own work, an unfair competition and he was pressured to keep a lower profile, especially, they said, that he wasn’t supposed by contract to make more than a certain percentage of wine in his own chai. He was not farming organic at the time, he remembers that his father started using herbicides in when he himself did his time in the military, and he stopped using them , which makes an overall relatively short time.

He was officially certified in the conversion had begun in He has been vinifying his wines for a few years without added sulfites.