Fig.1点饭包忘了点生菜的小笨笨
Fig.2松花江的水有点急，傍晚回来的时候江边好多好多在演奏乐器的团队，不愧是音乐之都，走在人来人往的路上真的会爱上这座城市
Fig.3又一起坐船船啦～
Fig.4天气好好在太阳岛走一圈儿好舒服～
Fig.5坐了缆车回，吹着小风看着夕阳真好啊
Fig.6来了哈尔滨不得中央大街走一圈儿
总结：就是好快乐好快乐好快乐 https://t.cn/z8ATPUC
Fig.2松花江的水有点急，傍晚回来的时候江边好多好多在演奏乐器的团队，不愧是音乐之都，走在人来人往的路上真的会爱上这座城市
Fig.3又一起坐船船啦～
Fig.4天气好好在太阳岛走一圈儿好舒服～
Fig.5坐了缆车回，吹着小风看着夕阳真好啊
Fig.6来了哈尔滨不得中央大街走一圈儿
总结：就是好快乐好快乐好快乐 https://t.cn/z8ATPUC
#泛美锦标赛# 泛美锦标赛青年组开赛，美国队包揽团体&全能四金：女团以157.266遥遥领先；加拿大获得亚军（146.899）；阿根廷战胜巴西收获铜牌（146.067/145.399）。三位07年出生的美国选手Dulcy Grey Caylor，Tiana Sumanasekera和Alicia Dorothy Zhou包揽女子全能前三（51.666，51.567，51.433）；但由于每队两人的限制，第三人队内淘汰后，由阿根廷08年小将Isabella Ayelen Ajalla获得铜牌（50.934）。男团方面，美国队以234.75分夺冠，加拿大和巴西分获二三名（225.85/224.0）。美国04年的Frederick Nathaniel Richard获得男子全能金牌（82.2，按照FIG的新规，18岁的男子选手可以自愿选择以青年组或成年组的身份参赛，在当年初确定，本年度内不允许变更）；来自哥伦比亚的Angel Gabriel Barajas Vivas（06年）和Keynher Camilo Vera Carrascal（07年）分获二三名（76.35/76.1）。
珠宝｜Pendant with a Triton Riding a Unicorn-like Sea Creature，ca. 1870–95，Reinhold Vasters German。
With the exception of the links of the chain, an additional molding separating the two bands of decoration on the base, and the unicorn’s horn, this jewel is identical to one in a design in the Victoria and Albert Museum, London (inv. No. E 2818-1919), by Reinhold Vasters of Aachen. The design was included among the nineteenth-century Renaissance-style jewels and jewelry designs in that museum’s exhibition Princely Magnificence: Court Jewels of the Renaissance, 1500–1630. It is illustrated in the exhibition catalogue,[1] where it was noted that the base of a jewel in the same exhibition lent by Lord Astor of Hever was made from the design for the lower part of the base of the jewel in the drawing.[2] The same jewel was illustrated in the catalogue of the collection of Frederick Spitzer, where it was identified as an Italian work of the sixteenth century.[3]
The variation in quality and variety of media found in objects known to have been made from Vasters’s designs indicate that a number of craftsmen were employed in carrying them out. Although many of the designs are accompanied by directions for their execution, and nearly all the directions are written in German, many of the objects made from them were sold by Frederick Spitzer in Paris. Some of them, at least, may have been executed there. It seems possible on the evidence provided by this jewel to question whether all designs were in fact executed under Vasters’s supervision. The creature in the drawing for this jewel is without a horn. Vasters probably intended it to be a hippocampus, but the identity of the finished figure is confused by the addition of the horn to its forehead, and one wonders whether the resulting sea-going unicorn might have been the whim of the goldsmith who executed the design.
[Clare Vincent, The Jack and Belle Linsky Collection in the Metropolitan Museum of Art, New York, 1984, pp. 194–95, no. 114.]
Footnotes:
[1] Princely Magnificence: Court Jewels of the Renaissance, 1500–1630 (exhib. cat.), London, Victoria and Albert Museum, 1980, p. 140, fig. HG4, pp. 139–40, no. HG4.
[2] Ibid., p. 138, fig. H20.
[3] F. Spitzer, La Collection Spitzer: Antiquité, moyen-âge, renaissance, Paris, III (1891), p. 152, no. 56.
With the exception of the links of the chain, an additional molding separating the two bands of decoration on the base, and the unicorn’s horn, this jewel is identical to one in a design in the Victoria and Albert Museum, London (inv. No. E 2818-1919), by Reinhold Vasters of Aachen. The design was included among the nineteenth-century Renaissance-style jewels and jewelry designs in that museum’s exhibition Princely Magnificence: Court Jewels of the Renaissance, 1500–1630. It is illustrated in the exhibition catalogue,[1] where it was noted that the base of a jewel in the same exhibition lent by Lord Astor of Hever was made from the design for the lower part of the base of the jewel in the drawing.[2] The same jewel was illustrated in the catalogue of the collection of Frederick Spitzer, where it was identified as an Italian work of the sixteenth century.[3]
The variation in quality and variety of media found in objects known to have been made from Vasters’s designs indicate that a number of craftsmen were employed in carrying them out. Although many of the designs are accompanied by directions for their execution, and nearly all the directions are written in German, many of the objects made from them were sold by Frederick Spitzer in Paris. Some of them, at least, may have been executed there. It seems possible on the evidence provided by this jewel to question whether all designs were in fact executed under Vasters’s supervision. The creature in the drawing for this jewel is without a horn. Vasters probably intended it to be a hippocampus, but the identity of the finished figure is confused by the addition of the horn to its forehead, and one wonders whether the resulting sea-going unicorn might have been the whim of the goldsmith who executed the design.
[Clare Vincent, The Jack and Belle Linsky Collection in the Metropolitan Museum of Art, New York, 1984, pp. 194–95, no. 114.]
Footnotes:
[1] Princely Magnificence: Court Jewels of the Renaissance, 1500–1630 (exhib. cat.), London, Victoria and Albert Museum, 1980, p. 140, fig. HG4, pp. 139–40, no. HG4.
[2] Ibid., p. 138, fig. H20.
[3] F. Spitzer, La Collection Spitzer: Antiquité, moyen-âge, renaissance, Paris, III (1891), p. 152, no. 56.
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