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Il y a des lieux où souffle l’Histoire.
D’après Maurice Barrès (Fr. 1862-1923)
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Hay lugares en donde sopla la Historia.
Sg. Maurice Barrès (Fr. 1862-1923)
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Photo : Le lac de Garde à Garde (Italie). On aperçoit la Villa Albertini. Les chroniques locales racontent que c’est en séjournant ici que le roi Carlo Alberto reçut, le 10 juillet 1948, la notice de l’annexion de la Lombardie au Piémont.
Foto: El lago de Garda, en Garda (provincia de Verona, región del Veneto, Italia). Se observan las torres de la Villa Albertini. La crónicas locales cuentan que el rey Carlo Alberto, viviendo alojado en esta villa, recibió aquí la noticia de la anexión de Lombardía al Piamonte.
Palazzo Carminati is the palace facing the Milan Cathedral on the West side of Piazza del Duomo, the central plaza of Milan, Italy. The palace is named after a famous Cafè, the Carminati. It was built in the late 1860s as private home of a well known Milanese silver manufacturer, Giacomo Cesati.
In the twentieth century, the palace became a landmark of Milan (and a symbol of the city's economic growth) because of the large neon advertising signs that were affixed to its façade, with an overall visual effect that has been compared to that of New York City's Broadway and Times Square or London's Piccadilly Circus. Advertising signs first appeared on the façade of the palace in the 1920s, but they were especially rich and colorful in the 1960s and 1970s. Besides being known to the Milanese, the façade of the palace became familiar to everyone in Italy through a number of appearances in films and television, including a spot for the Cynar liquor.
The signs were eventually removed by Milan's major Gabriele Albertini in 1999, as a consequence of a campaign aimed at promoting the plaza's "dignity", although this decision has since been frequently criticized.
I think I wrote in a previous post that I recently visited London to see an exhibition at the National Gallery called “ Siena: The Rise of Painting, 1300 ‒1350 “
At least a couple of contacts said they hoped I would post something from the exhibition . This piece by Duccio is quite small only about 18 inches high but it is quite extraordinary . Its hard to look at this 700 years old painting and recognise that Duccio was a revolutionary painter. Although the subject matter owes much to earlier Byzantine Art , the figures in the painting are not idealised but are recognisable human figures people Duccio could have met on the streets of Sienna . In his work we see the seeds of the Renaissance that developed in the next hundred years
Duccio was the leading artist of fourteenth-century Siena. His style is characterised by elegant, flowing lines, soft colours and tender representations of the divine. Here, the Virgin’s cloak is defined by a fluid gold hem. Mother and child share an affectionate gaze as the infant Christ plays with her white veil.
The central panel is flanked by two smaller panels – depicting Saint Dominic on the left and Saint Aurea on the right – which can fold inwards to cover and protect the main image. This was essential as it was most probably designed as a portable temporary altarpiece for private prayer while travelling.
The painting was made for Niccolò degli Albertini da Prato who became Cardinal Bishop of Ostia, near Rome.
THANKS FOR YOUR VISIT TO MY STREAM.
I WOULD BE VERY GRATEFUL IF YOU COULD NOT FAVE A PHOTO
WITHOUT ALSO LEAVING A COMMENT
Anthracobia melaloma (Albertini & Schweinitz) Arnould, 1893 = Anthracobia melaloma forma melaloma (Albertini & Schweinitz) Arnould, 1893 = Humaria melaloma (Albertini & Schweinitz) P. Karsten, 1885 = Lachnea melaloma (Albertini & Schweinitz) Saccardo, 1889 = Patella melaloma (Albertini & Schweinitz) Seaver, 1928 = Peziza melaloma Albertini & Schweinitz, 1805 = Pyronema melalomum (Albertini & Schweinitz) Rehm, l’anthracobia à frange noire.
Dreaming of my mountains.
The Grandes Murailles is a mountain chain located in Aosta Valley between Valpelline and Valtournenche. Lies to the west of Cervinia.
From the left Cresta Albertini and Dent d’Herens , surrounded with clouds Punta Bianca, Punta Carrel and Punta Mara Cristina.
Faith is a 1470 oil on panel painting by Piero del Pollaiuolo, now in the Uffizi in Florence.
Florence's Tribunale della Mercanzia (the body overseeing all the city's guilds) commissioned the artist to paint seven works portraying the cardinal virtues in a contract dated 18 August 1469. They were intended to decorated the seat-backs in its audience hall on piazza della Signoria. Charity was the first to be delivered in December 1469.
The commission was temporarily transferred to Botticelli, probably after a delay by Pollaiuolo. Botticelli produced Fortitude before loud protests from Pollaiuolo and his brother Antonio that a second contract returned it to Piero and his studio produced the remaining six works in the series. In completing it, it is unclear how much of a contribution Antonio made to Piero's work and some art historians have attributed it instead entirely to Antonio. Billi, Albertini and Cruttwell argue from documents that the whole cycle was by Piero, whereas Ullman and others attribute all six works to Antonio based on stylistic comparisons with the few signed works by Antonio, including prints. Yet others attribute the composition of the work to Antonio but the paintings themselves to Piero.
After the magistracy moved into the Uffizi, the paintings were exhibited in the gallery from 1717 onwards after the Tribunale was suppressed. In the 19th century the works were in such a poor state of conservation that only Prudence was exhibited. Faith was restored in 1999, revealing the painter's techniques, such as painting directly onto the panel without preparation in canvas and plaster and thus exploiting the panel's dark colour for dark parts of the modelling.
Temperance is a 1470 oil on panel painting by Piero del Pollaiuolo, now in the Uffizi in Florence. It represents Temperance, one of the seven virtues of the Catholic Church.
Florence's Tribunale della Mercanzia (the body overseeing all the city's guilds) commissioned the artist to paint seven works portraying the cardinal virtues in a contract dated 18 August 1469. They were intended to decorated the seat-backs in its audience hall on piazza della Signoria. Charity was the first painting to be completed and was delivered in December 1469.
The commission was temporarily transferred to Botticelli, probably after a delay by Pollaiuolo. Botticelli produced Fortitude before loud protests from Pollaiuolo and his brother Antonio led to a second contract returning the commission to Piero and his studio to produce the remaining six works in the series. In completing it, it is unclear how much of a contribution Antonio made to Piero's work and some art historians have attributed it instead entirely to Antonio. Billi, Albertini and Cruttwell argue from documents that the whole cycle was by Piero, whereas Ullman and others attribute all six works to Antonio based on stylistic comparisons with the few signed works by Antonio, including prints. Yet others attribute the composition of the work to Antonio but the paintings themselves to Piero.
After the magistracy moved into the Uffizi, the paintings were exhibited in the gallery from 1717 onwards after the Tribunale was suppressed. In the 19th century the works were in such a poor state of conservation that only Prudence was exhibited.
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Le roi devenait pâle, changeait de conversation
Le roi fit interdire à la Cour les mots « chagrin »
et « malheur », « amour » et « bonheur », qui tous faisaient mal,
mais il restait encore le mot « elle ».
La reine caressait son époux comme un enfant,
aux heures crépusculaires il reposait sur son sein,
les yeux écarquillés de douleur.
Il écoutait dans l’angoisse chaque pas s’approchant de la porte
et l’aversion envahissait son visage.
Quand vint le printemps, le roi n’alla pas dans son jardin,
il garda la chambre qui donnait au nord…
Bleu pâle, le printemps regardait à travers les vitres.
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El rey mandó prohibir en su corte palabras como "tristeza"
y "desdicha", "amor" y "felicidad", pues todas hacen sufrir
pero aún le quedaba la palabra "ella".
La reina acariciaba a su esposo como a un niño
y durante las horas crepusculares
él se reposaba en el regazo de ella
con los ojos desmesurados por el dolor
y escuchaba con angustia cada paso que se acercaba de la puerta.
Al llegar la primavera, el rey no se fue a su jardín
quedándose en la habitación aquélla que daba al norte...
Azul claro, la primavera miraba a través de los cristales.
Titre & texte de Edith Södergran. Version française Lucie Albertini et Carl Gustaf Bjurström
Título y texto de Edith Södergran, versión española de caminanteK a partir de la francesa.
Photo : Peñafiel - Valladolid (Es). Le Château
Foto: Castillo de Peñafiel (Valladolid)
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La vie brève de Edith Södergran (1892-1923), finlandaise d'expression suédoise, marquée par la pauvreté et la maladie, a été en grande partie vouée à la poésie. Dans son écriture la quête est omniprésente et la couleur rouge reste un thème récurrent qui renvoie à la fois à la vie et à la mort. Elle écrit dans Vierge moderne ce vers en forme de manifeste : « Je ne suis pas une femme. Je suis neutre. »
La pobre y corta vida de Edith Södergran (1892-1923), poeta finlandesa que escribió en sueco, estuvo iluminada tan solo por las horas que dedicó a la poesía. Régis Boyer, su traductor al francés dijo de ella "Edith Södergran, la desprovista...". A su vez, ella se definió así: "No soy mujer, soy neutra";. En su escritura destacan temas esenciales como la soledad, la muerte... y el color rojo. Sus obras son muy difíciles de encontrar y han sido poco traducidas.
Charity is a 1469 oil on panel painting by Piero del Pollaiuolo, now in the Uffizi in Florence.
Florence's Tribunale della Mercanzia (the body overseeing all the city's guilds) commissioned the artist to paint seven works portraying the cardinal virtues in a contract dated 18 August 1469. They were intended to decorated the seat-backs in its audience hall on piazza della Signoria. Charity was the first painting to be completed and was delivered in December 1469.
The commission was temporarily transferred to Botticelli, probably after a delay by Pollaiuolo. Botticelli produced Fortitude before loud protests from Pollaiuolo and his brother Antonio that a second contract returned it to Piero and his studio produced the remaining six works in the series. In completing it, it is unclear how much of a contribution Antonio made to Piero's work and some art historians have attributed it instead entirely to Antonio. Billi, Albertini and Cruttwell argue from documents that the whole cycle was by Piero, whereas Ullman and others attribute all six works to Antonio based on stylistic comparisons with the few signed works by Antonio, including prints. Yet others attribute the composition of the work to Antonio but the paintings themselves to Piero.[2]
After the magistracy moved into the Uffizi, the paintings were exhibited in the gallery from 1717 onwards after the Tribunale was suppressed. In the 19th century the works were in such a poor state of conservation that only Prudence was exhibited. In 2003, thanks to a donation from the Fratelli Piccini jewellers in Florence in honour of its centenary, the painting was restored.
Hope is a 1470 oil on panel painting by Piero del Pollaiuolo, now in the Uffizi in Florence.
Florence's Tribunale della Mercanzia (the body overseeing all the city's guilds) commissioned the artist to paint seven works portraying the cardinal virtues in a contract dated 18 August 1469. They were intended to decorated the seat-backs in its audience hall on piazza della Signoria. Charity was the first painting to be completed and was delivered in December 1469.
The commission was temporarily transferred to Botticelli, probably after a delay by Pollaiuolo. Botticelli produced Fortitude before loud protests from Pollaiuolo and his brother Antonio led to a second contract returning the commission to Piero and his studio to produce the remaining six works in the series. In completing it, it is unclear how much of a contribution Antonio made to Piero's work and some art historians have attributed it instead entirely to Antonio. Billi, Albertini and Cruttwell argue from documents that the whole cycle was by Piero, whereas Ullman and others attribute all six works to Antonio based on stylistic comparisons with the few signed works by Antonio, including prints. Yet others attribute the composition of the work to Antonio but the paintings themselves to Piero.
After the magistracy moved into the Uffizi, the paintings were exhibited in the gallery from 1717 onwards after the Tribunale was suppressed. In the 19th century the works were in such a poor state of conservation that only Prudence was exhibited.
Justice is a 1470 oil on panel painting by Piero del Pollaiuolo, now in the Uffizi in Florence.
Florence's Tribunale della Mercanzia (the body overseeing all the city's guilds) commissioned the artist to paint seven works portraying the cardinal virtues in a contract dated 18 August 1469. They were intended to decorated the seat-backs in its audience hall on piazza della Signoria. Charity was the first painting to be completed and was delivered in December 1469.
The commission was temporarily transferred to Botticelli, probably after a delay by Pollaiuolo. Botticelli produced Fortitude before loud protests from Pollaiuolo and his brother Antonio led to a second contract returning the commission to Piero and his studio to produce the remaining six works in the series. In completing it, it is unclear how much of a contribution Antonio made to Piero's work and some art historians have attributed it instead entirely to Antonio. Billi, Albertini and Cruttwell argue from documents that the whole cycle was by Piero, whereas Ullman and others attribute all six works to Antonio based on stylistic comparisons with the few signed works by Antonio, including prints. Yet others attribute the composition of the work to Antonio but the paintings themselves to Piero.
After the magistracy moved into the Uffizi, the paintings were exhibited in the gallery from 1717 onwards after the Tribunale was suppressed. In the 19th century the works were in such a poor state of conservation that only Prudence was exhibited.
Prudence is a 1470 oil on panel painting by Piero del Pollaiuolo, now in the Uffizi in Florence.
Florence's Tribunale della Mercanzia (the body overseeing all the city's guilds) commissioned the artist to paint seven works portraying the cardinal virtues in a contract dated 18 August 1469. They were intended to decorated the seat-backs in its audience hall on piazza della Signoria. Charity was the first painting to be completed and was delivered in December 1469.
The commission was temporarily transferred to Botticelli, probably after a delay by Pollaiuolo. Botticelli produced Fortitude before loud protests from Pollaiuolo and his brother Antonio led to a second contract returning the commission to Piero and his studio to produce the remaining six works in the series. In completing it, it is unclear how much of a contribution Antonio made to Piero's work and some art historians have attributed it instead entirely to Antonio. Billi, Albertini and Cruttwell argue from documents that the whole cycle was by Piero, whereas Ullman and others attribute all six works to Antonio based on stylistic comparisons with the few signed works by Antonio, including prints. Yet others attribute the composition of the work to Antonio but the paintings themselves to Piero.
After the magistracy moved into the Uffizi, the paintings were exhibited in the gallery from 1717 onwards after the Tribunale was suppressed. In the 19th century the works were in such a poor state of conservation that only Prudence was exhibited.
Rhytisma acerinum (Persoon) Fries, 1819 = Melanosorus acerinus (« acerinum ») (Persoon) de Notaris, 1847 = Melasmia acerina Léveillé, 1846 = Polystigma acerinum (Persoon) Link, 1833 = Rhytisma acerinum forma acerinum (Persoon) Fries, 1819 = Rhytisma acerinum forma aceris-laurini Patouillard, 1897 = Rhytisma acerinum forma phacidioides Naumov, 1964 = Rhytisma acerinum forma punctatum Naumov, 1964 = Rhytisma acerinum var. acerinum (Persoon) Fries, 1819 = Rhytisma acerinum var. australe Saccardo, 1911 = Rhytisma acerinum var. dasycarpi Rehm, 1913 = Rhytisma pseudoplatani Karl Müller, 1913 = Xyloma acerinum Persoon, 1794 = Xyloma acerinum var. acerinum Persoon, 1794 = Xyloma acerinum var. betulinum Albertini & Schweinitz, 1805 = Xyloma gyrans Wallroth, 1833 = Xyloma lacrymans Wallroth, 1833, la tache noire de l’érable ou tache goudronneuse.
Tubaria conspersa (Persoon) Fayod, 1889 = Agaricus conspersus Persoon, 1800 = Agaricus conspersus var. conspersus Persoon, 1800 = Agaricus conspersus var. ochraceus Albertini & Schweinitz, 1805 = Hylophila conspersa (Persoon) Quélet, 1886 = Inocybe conspersa (Persoon) Roze, 1876 = Naucoria conspersa (Persoon) P. Kummer, 1871 = Naucoria conspersa var. conspersa (Persoon) P. Kummer, 1871 = Tubaria conspersa var. conspersa (Persoon) Fayod, 1889, la tubaire voilée ou tubaire floconneuse, felted twiglet.
German postcard by Ross Verlag, no. 3597/1, 1928-1929, sent by mail in Belgium in 1929. Photo: Aafa Film. Looks like Gibsons outfit in the Aafa film Der Unüberwindliche (Max Obal 1928), starring Luciano Albertini.
British actress Vivian Gibson (1898 - 1981) was a star of the German and Austrian silent cinema. After the arrival of sound her film career ended.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
Nicomedes Poca Pena era pobre, así que desde niño había aprendido a facilitarse placeres baratos.
Uno de los que practicaba con mayor asiduidad consistía en asar una mazorca, envolverla en papel de periódico y comérsela sentado en el bordillo de la acera, frente a la salumeria de la señora Gregoria Albertini.
Cuando la gente le preguntaba si le gustaban los jamones él, indefectiblemente contestaba que no.... que le gustaban los detalles...
:)
Rhytisma acerinum (Persoon) Fries, 1819 = Melanosorus acerinus (« acerinum ») (Persoon) de Notaris, 1847 = Melasmia acerina Léveillé, 1846 = Polystigma acerinum (Persoon) Link, 1833 = Rhytisma acerinum forma acerinum (Persoon) Fries, 1819 = Rhytisma acerinum forma aceris-laurini Patouillard, 1897 = Rhytisma acerinum forma phacidioides Naumov, 1964 = Rhytisma acerinum forma punctatum Naumov, 1964 = Rhytisma acerinum var. acerinum (Persoon) Fries, 1819 = Rhytisma acerinum var. australe Saccardo, 1911 = Rhytisma acerinum var. dasycarpi Rehm, 1913 = Rhytisma pseudoplatani Karl Müller, 1913 = Xyloma acerinum Persoon, 1794 = Xyloma acerinum var. acerinum Persoon, 1794 = Xyloma acerinum var. betulinum Albertini & Schweinitz, 1805 = Xyloma gyrans Wallroth, 1833 = Xyloma lacrymans Wallroth, 1833, la tache noire de l’érable ou tache goudronneuse.
_ _ _catálogo - LoiLoi - Lingeire Couture.
Click: Rodrigo Melleiro
Produção: Dani Albertini
Modelo: Vanessa Bardac
Make up/ hair: Leninha
All Rights Reserved ©
Ceratiomyxa porioides (Albertini & Schweinitz) J. Schröt., 1889 = Ceratiomyxa fruticulosa var. porioides (Albertini & Schweinitz) Lister, 1911 = Ceratiomyxa fruticulosa var. porioides forma flava (Albertini & Schweinitz) Y. Yamam., 1998 = Ceratiomyxa mucida var. porioides (Albertini & Schweinitz) Lister, 1894 = Ceratium porioides Albertini & Schweinitz, 1805 = Ceratium porioides var. flavum Albertini & Schweinitz, 1805 = Ceratium porioides var. lacteum Albertini & Schweinitz, 1805 = Famintzinia porioides (Albertini & Schweinitz) Hazsl., 1877.
Anthracobia melaloma (Albertini & Schweinitz) Arnould, 1893 = Anthracobia melaloma forma melaloma (Albertini & Schweinitz) Arnould, 1893 = Humaria melaloma (Albertini & Schweinitz) P. Karsten, 1885 = Lachnea melaloma (Albertini & Schweinitz) Saccardo, 1889 = Patella melaloma (Albertini & Schweinitz) Seaver, 1928 = Peziza melaloma Albertini & Schweinitz, 1805 = Pyronema melalomum (Albertini & Schweinitz) Rehm, l’anthracobia à frange noire.
Location: Kildonan on the Alberni Inlet, Vancouver Island, British Columbia, Canada.
For more information:
RiverBear Photo Blog: Road Trip - Western British Columbia - Port Alberni to Bamfield
Ceratiomyxa fruticulosa var. fruticulosa (O.F. Müller) T. Macbride, 1899 = Byssus fruticulosa O.F. Müller, 1777 = Ceratiomyxa arbuscula (Berkeley & Broome) Patouillard, 1903 = Ceratiomyxa caesia E. Jahn, 1918 ( ? 1911) = Ceratiomyxa descendens (Emoto) Emoto, 1977 = Ceratiomyxa freyana Meyl., 1975 = Ceratiomyxa fruticulosa forma aurantiaca Jaap, 1922 = Ceratiomyxa fruticulosa forma aurea (Link) Y. Yamam., 1998 = Ceratiomyxa fruticulosa var. arbuscula (Berkeley & Broome) Nannenga-Bremekamp, 1975 = Ceratiomyxa fruticulosa var. caesia (E. jahn) G. Lister, 1925 = Ceratiomyxa fruticulosa var. comata Lavrov, 1929 = Ceratiomyxa fruticulosa var. descendens Emoto, 1933 = Ceratiomyxa fruticulosa var. flexuosa (Lister) G. Lister, 1911 = Ceratiomyxa fruticulosa var. rosella Cejp, 1962 = Ceratiomyxa hydnoidea (Jacq.) O. Kuntze, 1898 = Ceratiomyxa mucida (Persoon) J. Schröt., 1889 = Ceratiomyxa mucida var. arbuscula (Berkeley & Broome) Torrend, 1907 = Ceratiomyxa mucida var. flexuosa Lister, 1894 = Ceratiomyxa mucida var. hydnoidea (Jacq.) Torrend, 1907 = Ceratiomyxa plumosa G.F. Atk., 1894 = Ceratium arbuscula Berkeley & Broome, 1873 = Ceratium aureum Link, 1815 = Ceratium crustosum Berkeley & M.A. Curtis, 1874 = Ceratium filiforme Berkeley & Broome, 1873 = Ceratium fuscum Cooke, 1879 = Ceratium hydnoideum (Jacq.) Albertini & Schweinitz, 1805 = Ceratium mucidum (Persoon) J. Schröt., 1885 (1889) = Ceratium pyxidatum Albertini & Schweinitz, 1805 = Ceratium roseum Cooke, 1879 = Ceratium sphaeroideum Cooke & kalchbr., 1880 = Clavaria byssoides Bulliard, 1791 = Clavaria puccinia Batsch, 1783 = Corynoides byssoides (Bulliard) Gray, 1821 = Famintzinia fruticulosa (O.F. Müller) Lado, 2001 = Isaria mucida Persoon, 1794 = Isaria mucida Schumach., 1803 = Puccinia byssoides (Bulliard) J.F. Gmelin, 1792 = Tremella hydnoidea Jacq., 1778, le buisson cireux.
Pour la synonymie : 1. Cochet in Bulletin de la Société Mycologique de France 1977 p(160)
2. Lado.C (2005-2010). An on line nomenclatural information system of Eumetozoa. http: // nomen. Eumycetozoa. Com. (11.12.2010)
3.Index Fungorum
Propolis farinosa (Persoon) Fries, 1849 = Cryptomyces versicolor (de Notaris) Berkeley = Hymenula alba (de Candolle) Corda, 1838 = Hysterium fagineum Schrader, 1799 = Mellitiosporium versicolor (Fries) Corda, 1838 = Polydesmia rosae Killermann, 1935 = Propolis alba (de Candolle) Fries, 1849 = Propolis betulae Fuckel, 1871 = Propolis betulae forma callunae E. Bommer & M. Rousseau, 1890 = Propolis betulae var. callunae (E. Bommer, M. Rousseau & Saccardo) Saccardo, 1892 = Propolis epilobii Fries, 1870 = Propolis faginea (Schrader) P. Karsten, 1871 = Propolis faginea forma cinerescens (« cinerascens ») (Persoon) Saccardo, 1878 = Propolis faginea forma nivea (Saccardo) Saccardo, 1878 = Propolis faginea forma strobilina (Desmazières) Saccardo, 1878 = Propolis faginea var. atra E.K. Cash, 1936 = Propolis faginea var. betulae (Fuckel) Rehm, 1888 = Propolis fulva (Peck) Saccardo, 1889 = Propolis parallela Fuckel, 1870 = Propolis rhodoleuca (Sommerfelt) Fries, 1849 = Propolis rhodoleuca var. strobilina (Desmazières) W. Phillips, 1887 = Propolis rosae Fuckel, 1870 = Propolis rubella Fuckel, 1870 = Propolis saligna (Albertini & Schweinitz) Fries, 1849 = Propolis strobilina (Cooke) Saccardo, 1889 = Propolis transversalis Fuckel, 1870 = Propolis versicolor (Fries) Fries, 1849 = Propolis versicolor forma nivea Saccardo, 1878 = Propolis versicolor var. betulae (Fuckel) Rehm, 1888 = Propolis viridis L.M. Dufour, 1896 = Propolomyces farinosus (Persoon) Sherwood, 1977 = Propolomyces versicolor (Fries) Dennis, 1982 = Sclerotium album de Candolle, 1815 = Stictis alba (de Candolle) Fries, 1828 = Stictis cinerescens Persoon, 1822 = Stictis farinosa Persoon, 1822 = Stictis fulva Peck, 1881 = Stictis rhodoleuca Sommerfelt, 1826 = Stictis strobilina Cooke, 1883 = Stictis versicolor Fries, 1822 = Stictis versicolor var. strobilina Desmazières, 1843 = Tremella saligna Albertini & Schweinitz, 1805 = Xylogramma album (de Candolle) Wallroth, 1833.
Didymium squamulosum (Albertini & Schweinitz) Fries, 1818 = Chondrioderma cookei Rostafinski, 1876 = Cionium squamulosum (Albertini & Schweinitz) Sprengel, 1827 = Diderma squamulosum Albertini & Schweinitz, 1805 = Didymium affine Raunkiear, 1890 = Didymium angulatum Peck, 1879 = Didymium annulatum T. Macbride, 1922 = Didymium applanatum Nannenga-Bremekamp, 1972 = Didymium bonianum Patouillard, 1891 = Didymium cookei (Rostafinski) Raunkiaer, 1890 = Didymium costatum Fries, 1829 = Didymium discoideum Rostafinski, 1874 = Didymium effusum Link, 1815 = Didymium effusum var. maculatum L.F. Čelakovský, 1893 = Didymium filamentosum Wallroth, 1833 = Didymium fuckelianum Rostafinski, 1873 = Didymium herbarum Fries, 1829 = Didymium neglectum Berkeley & Broome, 1873 non Massee, 1892 = Didymium praecox de Bary, 1861 = Didymium radiatum Berkeley & M.A. Curtis, 1869 = ? Didymium squamulosum var. claviforme Sturgis, 1907 = Didymium squamulosum var. costatum (Fries) Rostafinski, 1874 = Didymium squamulosum var. rufipes L.F. Čelakovský, 1893 = Licea stipitata de Candolle, 1815 = Physarum liceoides Duby, 1830 = Tubulina pedicellata Poiret, 1817.
Anthracobia melaloma (Albertini & Schweinitz) Arnould, 1893 = Anthracobia melaloma forma melaloma (Albertini & Schweinitz) Arnould, 1893 = Humaria melaloma (Albertini & Schweinitz) P. Karsten, 1885 = Lachnea melaloma (Albertini & Schweinitz) Saccardo, 1889 = Patella melaloma (Albertini & Schweinitz) Seaver, 1928 = Peziza melaloma Albertini & Schweinitz, 1805 = Pyronema melalomum (Albertini & Schweinitz) Rehm, l’anthracobia à frange noire.
Quand j'ai rencontré pour la première fois ces curieux champignons ils occupaient une assez grande surface dans le sous-bois et, comme je pensais voir de l'herbe sèche, j'ai failli passer mon chemin sans les photographier.
When I met for the first time, these curious mushrooms, they occupied a rather large surface in the undergrowth, and as I thought to see dry grass, I almost passed my way without photographing them.
Macrotyphula juncea (Albertini & Schweinitz) Berthier, 1974 = Clavaria filiformis Bulliard, 1790 = Clavaria hortulana Velenovský, 1922 = Clavaria juncea (Albertini & Schweinitz) Fries, 1818 = Clavaria juncea var. vivipara Bulliard, 1791 = Clavaria triuncialis β juncea Albertini & Schweinitz, 1805 = Clavaria triuncialis var. juncea Albertini & Schweinitz, 1805 = Clavariadelphus junceus (Albertini & Schweinitz) Corner, 1950 = Macrotyphula filiformis (Bulliard) Paechnatz, 1987 = Pistillaria oleae (Maire) Corner, 1950 = Typhula filiformis (Bulliard) Fries, 1838 = Typhula juncea (Albertini & Schweinitz) P. Karsten, 1882 = Typhula oleae Maire, 1928 = Typhula ramentacea Fries, 1821, la clavaire en forme de jonc.
Un champignon poré étalé sur son support, comme un croûte, et dont les pores sont labyrinthiformes et dont les synonymes sont extrêmement nombreux.
Schizopora paradoxa (Schrader) Donk, 1967 = Agaricus versiporus (Persoon) E.H.L. Krause, 1932 = Boletus incertus (Persoon) Murrill, 1920 = Coriolus obliquus (Schrader) Patouillard, 1900 = Daedalea mollis Velenovský, 1922 = Daedalea mollis var. membranacea Wormskjöld ex Fries, 1828 = Hydnum obliquum Schrader, 1794 = Hydnum paradoxum Schrader, 1794 = Hyphodontia paradoxa (Schrader) Langer & Vesterholt, 1996 = Irpex daedaleaeformis Velenovský, 1922 = Irpex decumbens Rick, 1932 = Irpex deformis Fries, 1828 = Irpex deformis Schrader = Irpex obliquus (Schrader) Fries, 1828 = Irpex obliquus forma labyrinthiformis Cleland & Rodway, 1930 = Irpex obliquus forma obliquus (Schrader) Fries, 1828 = Irpex obliquus var. argillaceocinnamomeus Cleland & Rodway, 1930 = Irpex obliquus var. obliquus (Schrader) Fries, 1828 = Irpex paradoxus (Schrader) Fries, 1838 = Irpex porosolamellatus Rick, 1959 = Kneiffiella paradoxa (Schrader) V. Malysheva & Zmitrovich, 2004 = Lenzites paradoxa (Schrader) Patouillard, 1885 = Oxyporus pseudo-obducens (Pilát) Bondartsev, 1953 = Polyporus incertus (Persoon) Saccardo, 1888 = Polyporus laciniatus Velenovský, 1922 = Polyporus obliquus (Schrader) E.H.L. Krause, 1934 = Polyporus versiporus Persoon, 1825 = Polyporus versiporus ssp. incertus Persoon, 1825 = Polyporus versiporus ssp. versiporus Persoon, 1825 = Polyporus versiporus var. angulatus Persoon, 1825 = Polyporus versiporus var. deflexus Persoon, 1825 = Polyporus versiporus var. farinosus Persoon, 1825 = Polyporus versiporus var. immutatus Persoon, 1825 = Polyporus versiporus var. lanuginosus Persoon, 1825 = Polyporus versiporus var. sistotremoides Persoon, 1825 = Polyporus versiporus var. versiporus Persoon, 1825 = Poria albofulva Rick, 1960 = Poria incerta (Persoon) Murrill, 1920 = Poria membranicincta var. megalospora Rick, 1960 = Poria mucida sensu Bourdot & Galzin = Poria pseudo-obducens Pilát, 1941 = Poria versipora (Persoon) Saccardo, 1888 = Poria versipora forma obliqua (Schrader) Kreisel, 1961 = Poria versipora forma versipora (Persoon) Saccardo, 1888 = Schizopora versipora (Persoon) Teixeira, 1986 = Sistotrema obliquum (Schrader) Albertini & Schweinitz, 1805 = Sistotrema paradoxum (Schrader) Persoon, 1801 = Sistotrema plumosa de Brondeau = Xylodon deformis (Fries) P. Karsten, 1882 = Xylodon obliquus (Schrader) P. Karsten, 1881 = Xylodon paradoxus (Schrader) Chevallier, 1826 = Xylodon versiporus (Persoon) Bondartsev, 1953 = Xylodon versiporus forma deformis (Schrader) Domański, 1965 = Xylodon versiporus forma obliquus (Schrader) Domański, 1965 = Xylodon versiporus forma paradoxus (Schrader) Domański, 1965 = Xylodon versiporus forma versiporus (Persoon) Bondartsev, 1953 = Xylodon versiporus var. paradoxus (Schrader) Domański, 1965 = Xylodon versiporus var. pseudo-obducens (Pilát) Domański, 1964 = Xylodon versiporus var. versiporus (Persoon) Bondartsev, 1953, le schizopore paradoxal.
Ceratiomyxa fruticulosa var. fruticulosa (O.F. Müller) T. Macbride, 1899 = Byssus fruticulosa O.F. Müller, 1777 = Ceratiomyxa arbuscula (Berkeley & Broome) Patouillard, 1903 = Ceratiomyxa caesia E. Jahn, 1918 ( ? 1911) = Ceratiomyxa descendens (Emoto) Emoto, 1977 = Ceratiomyxa freyana Meyl., 1975 = Ceratiomyxa fruticulosa forma aurantiaca Jaap, 1922 = Ceratiomyxa fruticulosa forma aurea (Link) Y. Yamam., 1998 = Ceratiomyxa fruticulosa var. arbuscula (Berkeley & Broome) Nannenga-Bremekamp, 1975 = Ceratiomyxa fruticulosa var. caesia (E. jahn) G. Lister, 1925 = Ceratiomyxa fruticulosa var. comata Lavrov, 1929 = Ceratiomyxa fruticulosa var. descendens Emoto, 1933 = Ceratiomyxa fruticulosa var. flexuosa (Lister) G. Lister, 1911 = Ceratiomyxa fruticulosa var. rosella Cejp, 1962 = Ceratiomyxa hydnoidea (Jacq.) O. Kuntze, 1898 = Ceratiomyxa mucida (Persoon) J. Schröt., 1889 = Ceratiomyxa mucida var. arbuscula (Berkeley & Broome) Torrend, 1907 = Ceratiomyxa mucida var. flexuosa Lister, 1894 = Ceratiomyxa mucida var. hydnoidea (Jacq.) Torrend, 1907 = Ceratiomyxa plumosa G.F. Atk., 1894 = Ceratium arbuscula Berkeley & Broome, 1873 = Ceratium aureum Link, 1815 = Ceratium crustosum Berkeley & M.A. Curtis, 1874 = Ceratium filiforme Berkeley & Broome, 1873 = Ceratium fuscum Cooke, 1879 = Ceratium hydnoideum (Jacq.) Albertini & Schweinitz, 1805 = Ceratium mucidum (Persoon) J. Schröt., 1885 (1889) = Ceratium pyxidatum Albertini & Schweinitz, 1805 = Ceratium roseum Cooke, 1879 = Ceratium sphaeroideum Cooke & kalchbr., 1880 = Clavaria byssoides Bulliard, 1791 = Clavaria puccinia Batsch, 1783 = Corynoides byssoides (Bulliard) Gray, 1821 = Famintzinia fruticulosa (O.F. Müller) Lado, 2001 = Isaria mucida Persoon, 1794 = Isaria mucida Schumach., 1803 = Puccinia byssoides (Bulliard) J.F. Gmelin, 1792 = Tremella hydnoidea Jacq., 1778, le buisson cireux.
Pour la synonymie : 1. Cochet in Bulletin de la Société Mycologique de France 1977 p(160) 2. Lado.C (2005-2010). An on line nomenclatural information system of Eumetozoa. http: // nomen. Eumycetozoa. Com. (11.12.2010) et 3. Index Fungorum.
Un champignon poré étalé sur son support, comme un croûte, dont les pores sont labyrinthiformes et dont les synonymes sont extrêmement nombreux.
Schizopora paradoxa (Schrader) Donk, 1967 = Agaricus versiporus (Persoon) E.H.L. Krause, 1932 = Boletus incertus (Persoon) Murrill, 1920 = Coriolus obliquus (Schrader) Patouillard, 1900 = Daedalea mollis Velenovský, 1922 = Daedalea mollis var. membranacea Wormskjöld ex Fries, 1828 = Hydnum obliquum Schrader, 1794 = Hydnum paradoxum Schrader, 1794 = Hyphodontia paradoxa (Schrader) Langer & Vesterholt, 1996 = Irpex daedaleaeformis Velenovský, 1922 = Irpex decumbens Rick, 1932 = Irpex deformis Fries, 1828 = Irpex deformis Schrader = Irpex obliquus (Schrader) Fries, 1828 = Irpex obliquus forma labyrinthiformis Cleland & Rodway, 1930 = Irpex obliquus forma obliquus (Schrader) Fries, 1828 = Irpex obliquus var. argillaceocinnamomeus Cleland & Rodway, 1930 = Irpex obliquus var. obliquus (Schrader) Fries, 1828 = Irpex paradoxus (Schrader) Fries, 1838 = Irpex porosolamellatus Rick, 1959 = Kneiffiella paradoxa (Schrader) V. Malysheva & Zmitrovich, 2004 = Lenzites paradoxa (Schrader) Patouillard, 1885 = Oxyporus pseudo-obducens (Pilát) Bondartsev, 1953 = Polyporus incertus (Persoon) Saccardo, 1888 = Polyporus laciniatus Velenovský, 1922 = Polyporus obliquus (Schrader) E.H.L. Krause, 1934 = Polyporus versiporus Persoon, 1825 = Polyporus versiporus ssp. incertus Persoon, 1825 = Polyporus versiporus ssp. versiporus Persoon, 1825 = Polyporus versiporus var. angulatus Persoon, 1825 = Polyporus versiporus var. deflexus Persoon, 1825 = Polyporus versiporus var. farinosus Persoon, 1825 = Polyporus versiporus var. immutatus Persoon, 1825 = Polyporus versiporus var. lanuginosus Persoon, 1825 = Polyporus versiporus var. sistotremoides Persoon, 1825 = Polyporus versiporus var. versiporus Persoon, 1825 = Poria albofulva Rick, 1960 = Poria incerta (Persoon) Murrill, 1920 = Poria membranicincta var. megalospora Rick, 1960 = Poria mucida sensu Bourdot & Galzin = Poria pseudo-obducens Pilát, 1941 = Poria versipora (Persoon) Saccardo, 1888 = Poria versipora forma obliqua (Schrader) Kreisel, 1961 = Poria versipora forma versipora (Persoon) Saccardo, 1888 = Schizopora versipora (Persoon) Teixeira, 1986 = Sistotrema obliquum (Schrader) Albertini & Schweinitz, 1805 = Sistotrema paradoxum (Schrader) Persoon, 1801 = Sistotrema plumosa de Brondeau = Xylodon deformis (Fries) P. Karsten, 1882 = Xylodon obliquus (Schrader) P. Karsten, 1881 = Xylodon paradoxus (Schrader) Chevallier, 1826 = Xylodon versiporus (Persoon) Bondartsev, 1953 = Xylodon versiporus forma deformis (Schrader) Domański, 1965 = Xylodon versiporus forma obliquus (Schrader) Domański, 1965 = Xylodon versiporus forma paradoxus (Schrader) Domański, 1965 = Xylodon versiporus forma versiporus (Persoon) Bondartsev, 1953 = Xylodon versiporus var. paradoxus (Schrader) Domański, 1965 = Xylodon versiporus var. pseudo-obducens (Pilát) Domański, 1964 = Xylodon versiporus var. versiporus (Persoon) Bondartsev, 1953, le schizopore paradoxal.
279 - Alpine Renault A110 1300G de 1967
Rallye Monté Carlo Historique
Pilote : Franck BOCCIOLESI
Copilote : Marie Christine ALBERTINI
Col de Pierre Vesce
Drome
France
IMG_5881
sur brûlis.
Anthracobia melaloma (Albertini & Schweinitz) Arnould, 1893 = Anthracobia melaloma forma melaloma (Albertini & Schweinitz) Arnould, 1893 = Humaria melaloma (Albertini & Schweinitz) P. Karsten, 1885 = Lachnea melaloma (Albertini & Schweinitz) Saccardo, 1889 = Patella melaloma (Albertini & Schweinitz) Seaver, 1928 = Peziza melaloma Albertini & Schweinitz, 1805 = Pyronema melalomum (Albertini & Schweinitz) Rehm, l’anthracobia à frange noire.
Ceratiomyxa fruticulosa var. fruticulosa (O.F. Müller) T. Macbride, 1899 = Byssus fruticulosa O.F. Müller, 1777 = Ceratiomyxa arbuscula (Berkeley & Broome) Patouillard, 1903 = Ceratiomyxa caesia E. Jahn, 1918 ( ? 1911) = Ceratiomyxa descendens (Emoto) Emoto, 1977 = Ceratiomyxa freyana Meyl., 1975 = Ceratiomyxa fruticulosa forma aurantiaca Jaap, 1922 = Ceratiomyxa fruticulosa forma aurea (Link) Y. Yamam., 1998 = Ceratiomyxa fruticulosa var. arbuscula (Berkeley & Broome) Nannenga-Bremekamp, 1975 = Ceratiomyxa fruticulosa var. caesia (E. jahn) G. Lister, 1925 = Ceratiomyxa fruticulosa var. comata Lavrov, 1929 = Ceratiomyxa fruticulosa var. descendens Emoto, 1933 = Ceratiomyxa fruticulosa var. flexuosa (Lister) G. Lister, 1911 = Ceratiomyxa fruticulosa var. rosella Cejp, 1962 = Ceratiomyxa hydnoidea (Jacq.) O. Kuntze, 1898 = Ceratiomyxa mucida (Persoon) J. Schröt., 1889 = Ceratiomyxa mucida var. arbuscula (Berkeley & Broome) Torrend, 1907 = Ceratiomyxa mucida var. flexuosa Lister, 1894 = Ceratiomyxa mucida var. hydnoidea (Jacq.) Torrend, 1907 = Ceratiomyxa plumosa G.F. Atk., 1894 = Ceratium arbuscula Berkeley & Broome, 1873 = Ceratium aureum Link, 1815 = Ceratium crustosum Berkeley & M.A. Curtis, 1874 = Ceratium filiforme Berkeley & Broome, 1873 = Ceratium fuscum Cooke, 1879 = Ceratium hydnoideum (Jacq.) Albertini & Schweinitz, 1805 = Ceratium mucidum (Persoon) J. Schröt., 1885 (1889) = Ceratium pyxidatum Albertini & Schweinitz, 1805 = Ceratium roseum Cooke, 1879 = Ceratium sphaeroideum Cooke & kalchbr., 1880 = Clavaria byssoides Bulliard, 1791 = Clavaria puccinia Batsch, 1783 = Corynoides byssoides (Bulliard) Gray, 1821 = Famintzinia fruticulosa (O.F. Müller) Lado, 2001 = Isaria mucida Persoon, 1794 = Isaria mucida Schumach., 1803 = Puccinia byssoides (Bulliard) J.F. Gmelin, 1792 = Tremella hydnoidea Jacq., 1778, le buisson cireux.
Pour la synonymie : 1. Cochet in Bulletin de la Société Mycologique de France 1977 p(160).
2. Lado.C (2005-2010). An on line nomenclatural information system of Eumetozoa. http: // nomen. Eumycetozoa. Com. (11.12.2010)
3.Index Fungorum
The most attractive shopfront in Verona & certainly one of most beautiful I've ever seen. In Italy Art Nouveau is called Liberty Style after the owner of the London Department store of that name.
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The large strigilated lenos (tub-shaped) sarcophagus, with an amphora in the center bearing a modern inscription (T D...) In the central lozenge, is decorated on each side by a group consisting of a mansuetarius (wild animal tamer), dressed in a tunie and cloak, and a harnessed lion, with powerful and well-defined musculature, which has just pinned down a prey collapsed on a rocky ground: an antelope on the left side, and a restored ram on the right. The rendering of the lions' heads is particularly meticulous, worked with strong projection, with the locks of the manes defined by deep drill grooves, the frowning forehead with the characteristic "rosettes" to suggest the fur and the jaws gaping wide to show the fangs. The attendant carved on the left side, who tries to tame the beast with a stick in his right hand, is a mature man, with a bald head and long beard, characteristics often associated with portraits of philosophers (Stroszeck 1998, p. 51); on the right side is a younger man, who rests his left hand on the animal's back. The frame and base of the case are made up of an Ionic kymation with an egg and dart molding, acanthus leaves, astragals and lanceolate leaves. The moldings are interrupted at the back of the coffer, which is itselt decorated behind the curvature of the sides with two winged Gorgon heads of considerable dimensions. These show distinct stylistic differences: that to the left of the viewer is characterized by arched eyebrows, rendered plastically, and large wide eyes without incisions; the hair of the Gorgon on the right is defined by more intensive, finer grooves, the eyebrows are sharp, not very prominent, and the eyes have the pupils incised with a pelta shape and drill points marking the tear duct (for the use of the gorgoneion motif on lenos sarcophagi with lion heads, see in particular Stroszeck 1998, pp. 28, 27-29).
The Torlonia sarcophagus belongs to a large group of sarcophagi, very common between the end of the 3rd century and the beginning of the 4th century CE which share the typology of the tub-shaped coffer, strigilation and the decoration of the sides (Stroszeck 1998). If the lenos form refers to the Dionysian mythic context, the theme of the lion, whether accompanied or not by the bestiarius (who fought wild beasts in the arena) or the mansuetarius (a tamer of these beasts), can be understood not only as an apotropaic (protective) motif or a symbol of the inevitability of death (or the triumph over it); it can, at least in the case of the most monumental specimens, be an allusion to the status of the deseased and his function as magistrate in charge of organizing the venationes (animal hunts, a public spectacle typically held in amphitheatres or the Circus Maximus) (Wrede 2001, P. 79). This sarcophagus, undoubtedly one of the most prestigious exemplars of the series dates back to 260-270 CE.
It's possible that the sarcophagus in one of the two "sepulchra marmored oum statuis sculpta" mentioned by Francesco Albertini in his brief description of the courtyard of Palazzo Savelli at the Theater of Marcellus (Albertini 1510, Book 3, fol. Yiii v; the other sarcophagus Is without a shadow of a doubt MT 420, cat. 88). The sculpture can however be recognized with more certainty in the guide of Aldrovandi, who in 1550 saw the sarcophagus still intact in the courtyard and identified the prey as "two deer" (Aldrovandi 1556, p. 283). The state of conservation of the sarcophagus between the 1620s and 1630s is documented by a drawing made by Pietro Testa, "Il Lucchesino" for the Museum Chartaceum (Paper Museum) of Cassiano dal Pozzo: in this phase, the sarcophagus was missing the right side and at the front it conserved only a small portion of the lion's mane in the group on the right. The sarcophagus was still combined with a fragmentary cover, decorated with a central tablet flanked by two Genii of the seasons and the busts of the deceased: a woman dressed in a chiton and cloak and a man in a toga contabulata. The lid, absent in a landscape with ruins by Direk van Bergen (1645-1689), Is still recognizable in a red chalk drawing, possibly attributable to Clérisseau and datable in the central eighteenth century. The Torlonia sarcophagus, or a typologically related specimen, appears in a watercolor drawing by Clérisseau (also the author of a copy of a dal Pozzo drawing), in which a "burial chamber" is reproduced (Stroszeck 1998, p. 146).
The recomposition of the right side, including an antique fragmont with a lion belonging to another sarcophagus of a similar type and a modern fragment with a ram's head, is documented for the first time by Vitali's engraving.
-- Essay by Eloisa Dodero
Roman, Imperial period, ca. 260-270 CE.
Provenance: Palazzo Savelli (later Orsini)
Torlonia Collection, Rome. On loan to the Art Institute of Chicago (ARTIC)
Located along the Alberni Inlet between Port Alberni and Kildonan on Vancouver Island, British Columbia, Canada.
For more information:
RiverBear Photo Blog: Road Trip - Western British Columbia - Port Alberni to Bamfield
Champignon non rare, lignicole, poussant sur bouleau mort. Console ocre à brunâtre, glabre et zonée, à marge blanche portant à la face inférieure des pores généralement allongés et brunissant au toucher.
Daedaleopsis confragosa (Bolton) J. Schröter, 1888 = Agaricus confragosus (Bolton) Murrill, 1905 = Amauroderma confragosum (Van der Byl) D.A. Reid, 1973 = Boletus confragosus Bolton, 1792 = Boletus labyrinthiformis Bulliard, 1791 = Daedalea bulliardii Fries, 1821 = Daedalea confragosa (Bolton) Persoon, 1801 = Daedalea confragosa forma anceps (Blonski) Dománski, Orloś & Skirgiello, 1967 = Daedalea confragosa forma rubescens (Albertini & Schweinitz) Dománski, Orloś & Skirgiello, 1967 = Daedalea confragosa var. anceps (Blonski) Bondartsev, 1953 = Daedalea intermedia Berkeley, 1881 = Daedalea rubescens Albertini & Schweinitz, 1805 = Daedalea rubescens var. anceps Blonski, 1889 = Daedalea suaveolens Persoon, 1801 = Daedalea zonata Schweinitz, 1822 = Daedaleopsis confragosa forma bulliardii (Fries) Dománski, Orloś & Skirgiello, 1967 = Daedaleopsis confragosa forma confragosa (Bolton) J. Schröter, 1888 = Daedaleopsis confragosa forma sibirica (P. Karsten) Bondartsev, 1953 = Daedaleopsis confragosa var. bulliardii (Fries) Ljubarski = Daedaleopsis confragosa var. confragosa (Bolton) J. Schröter, 1888 = Daedaleopsis confragosa var. rubescens (Albertini & Schweinitz) Ljubarsky, 1975 = Daedaleopsis rubescens (Albertini & Schweinitz) Imazeki, 1943 = Ischnoderma confragosum (Bolton) Zmitrovich, 2001 = Lenzites confragosa (confragosus) (Bolton) Patouillard, 1900 = Lenzites sibirica P. Karsten, 1904 = Lenzites tricolor forma daedalea Bourdot & Galzin, 1925 = Lenzites tricolor var. rubescens (Albertini & Schweinitz) Teng, 1996 = Lenzites tricolor var. trametea Quélet = Polyporus confragosus (Bolton) P. Kummer, 1871 = Polyporus confragosus Van der Byl, 1927 = Polyporus rubescens (Albertini & Schweinitz) P. Kummer, 1871 = Striglia confragosa (Bolton) Kuntze, 1891 = Striglia intermedia (Berkeley) Kuntze, 1891 = Striglia zonata (Schweinitz) Kuntze, 1891 = Trametes confragosa (Bolton) Jørstad, 1939 = Trametes confragosa forma confragosa (Bolton) Jørstad, 1939 = Trametes confragosa forma rubescens (Albertini & Schweinitz) Pilát, 1938 = Trametes rubescens (Albertini & Schweinitz) Fries, 1838, le(la) tramète rougissant(e) ou tramète de Bulliard, tramète raboteuse ou raboteux, tramète rude.
Tubaria conspersa (Persoon) Fayod, 1889 = Agaricus conspersus Persoon, 1800 = Agaricus conspersus var. conspersus Persoon, 1800 = Agaricus conspersus var. ochraceus Albertini & Schweinitz, 1805 = Hylophila conspersa (Persoon) Quélet, 1886 = Inocybe conspersa (Persoon) Roze, 1876 = Naucoria conspersa (Persoon) P. Kummer, 1871 = Naucoria conspersa var. conspersa (Persoon) P. Kummer, 1871 = Tubaria conspersa var. conspersa (Persoon) Fayod, 1889, la tubaire voilée ou tubaire floconneuse, felted twiglet.
Henri MANUEL (1874-1947)
Joséphine Baker et son mari le comte Pepito Albertini tenant une poupée à l'effigie de sa jeune épouse, 1927. Avec l’aimable autorisation de drouot.com