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HECHOS 12:12 -JUAN MARCOS ES EL GRIAL: SAN MARCOS-TORRE DEL RELOJ-VENECIA (CLOCK TOWER-ST MARK-VENICE)
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St Mark's Clocktower

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Coordinates: 45°26′05″N 12°20′20″E / 45.43471°N 12.338912°E / 45.43471; 12.338912

The Clock Tower in 2006

The Clock Tower in Venice is an early renaissance building on the north side of the Piazza San Marco at the entrance to the Merceria. It comprises a tower, which contains the clock, and lower buildings on each side. It adjoins the eastern end of the Procuratie Vecchie. Both the tower and the clock date from the last decade of the 15th century, though the mechanism of the clock has subsequently been much altered. It was placed where the clock would be visible from the waters of the lagoon and give notice to everyone of the wealth and glory of Venice. The lower two floors of the tower make a monumental archway into the main street of the city, the Merceria, which linked the political and religious centre (the Piazza) with the commercial and financial centre (the Rialto). Today it is one of the 11 venues managed by the Fondazione Musei Civici di Venezia.

St Mark's Clocktower (Torre dell'Orologio), c.1860/70, by Carlo Ponti

 

 

General Description[edit]

On a terrace at the top of the tower are two great bronze figures, hinged at the waist, which strike the hours on a bell. One is old and the other young, to show the passing of time and, although said to represent shepherds (they are wearing sheepskins) or giants (they are huge figures of great mass, necessary so that their form can be recognized at a distance) they are always known as "the Moors" because of the dark patina acquired by the bronze. The bell is also original and is signed by one Simeone who cast it at the Arsenal in 1497.[1]

The clock tower in 1945 soon after liberation

Below this level is the winged lion of Venice with the open book, before a blue background with gold stars. There was originally a statue of the Doge Agostino Barbarigo (Doge 1486-1501) kneeling before the lion, but in 1797, after the city had surrendered to Napoleon, this was removed by the French, who were purging the city of all symbols of the old regime.[2]

Below again, is a semi-circular gallery with statues of the Virgin and Child seated, in gilt beaten copper. On either side are two large blue panels showing the time: the hour on the left in Roman numerals and the minutes (at 5 minute intervals) on the right in Arabic numerals. Twice a year, at Epiphany (6 January) and on Ascension Day (the Thursday 40 days after Easter, counting both days) the three Magi, led by an angel with a trumpet, emerge from one of the doorways normally taken up by these numbers and pass in procession round the gallery, bowing to the Virgin and child, before disappearing through the other door.

The gallery with Virgin & child

Below this is the great clock face in blue and gold inside a fixed circle of marble engraved with the 24 hours of the day in Roman numerals. A golden pointer with an image of the sun moves round this circle and indicates the hour of the day. Within the marble circle beneath the sun pointer are the signs of the zodiac in gold (these are original and date from the 1490s), which revolve slightly more slowly than the pointer to show the position of the sun in the zodiac. In the middle of the clockface is the earth (in the centre) and the moon, which revolves to show its phases, surrounded by stars which are fixed in position. The background is of blue enamel. The smaller blue circles in the four corners are not now used.

Below the clock is the archway, two storeys high, through which the street known as the Merceria leaves the Piazza on its way to the Rialto (This section of the Merceria is known as the Merceria dell'Orologio (of the clock)).

The buildings on each side have been let off separately as shops and apartments since the early 18th century.

On the other side of the tower there is another great clock face above the arch, visible to people walking down the street towards the Piazza. This is a simpler affair, again surrounded by a marble circle marked with the 24 hours, but in two series of 12 hours each. The sun pointer, marking the hours, is the only moving part on this side.

The construction of the tower and the clock[edit]

By 1490 an old clock at the north-west corner of St Mark's church, the clock of St Alipio, was in a very bad state and in 1493 the Senate commissioned the construction of a new clock.[3] The making of the clock was entrusted to a father and son, Gian Paolo and Gian Carlo Ranieri, of Reggio Emilia[4] In 1495 the Senate decided that a tower to hold the clock should be erected at the point where the street known as the Merceria leaves the Piazza. Buildings were demolished to make room for it and building started in 1496.

The clocktower in 1500 when it had just been completed (from de Barbari's woodcut of Venice)

The design of the tower is generally attributed on grounds of style (though without documentary evidence) to Mauro Codussi.[5] The Merceria passes through the archway at the foot of the tower. It is one of the principal streets of the city and leads to the Rialto. Deborah Howard explains how the idea was probably derived by Codussi from Alberti's work 'De re aedificatoria' ("About Building"), published earlier in the 15th century, where he emphasises the importance of towers to a city and the appropriateness of a monumental archway as the entrance to its principal street.[6]

The name of the sculptor who modeled the figures of the Moors is not known for certain. They have been most often attributed to Paolo Savin, but an article published in 1984 reached the conclusion that the most likely candidate is Antonio Rizzo. They were cast in bronze in 1494 by Ambrosio delle Anchore.[7]

The tower was built during 1496 and 1497 and the mechanism of the clock was then built into it under the supervision of the Ranieri. No expense was spared in the decoration of the tower and the clock, using quantities of ultramarine and gold leaf.[8] Even the 'Moors' were originally gilded.[9] The inauguration of both tower and clock took place on 1 February 1499. Sanudo wrote in his diary for this day that the clock was uncovered and seen for the first time as the Doge was leaving the Piazza to go to hear vespers at Sta Maria Formosa, adding that it was made with great ingenuity and was most beautiful.[10] Codussi died in 1504 and the wings on either side of the tower were added by 1506 (perhaps to give greater stability to the whole).[11] Barbari's great woodcut of Venice dated 1500 shows the newly built clock tower, before the wings were built, rising high above the original 12th-century Procuratie on either side. These Procuratie were lower than the present buildings, with only one storey above the arches on the ground floor, so that the tower then rose high above all the buildings on that side of the Piazza.

The wings are sometimes attributed to Pietro Lombardi, who was later to rebuild the Procuratie on the same side of the Piazza, but the wings are of no great distinction and more probably designed by Gonella who was then the proto (buildings manager) of St Marks.[12] The wings were also originally two storeys lower than today, with the roof at the level of the existing terraces.[13] A drawing by Canaletto shows the tower before the increase in the height of the wings. This makes the tower itself appear higher so that it makes a more positive statement as the grand entrance to a great city.[14]

By 1500, when the final account for the tower was passed, the elder Raineri had died. It was arranged that his son should remain in Venice to look after the clock and he was granted flour concessions which would give him a good income. He lived in Venice until his death in 1531.[15]

Alterations to the building and clock[edit]

The tower in 2016

For more detailed and technical information about the clock, see the separate article on the clock.

By 1531, after the death of Carlo Raineri, the clock was already not working properly. The Council of Ten decided that a permanent keeper must be appointed to live in a wing of the tower and be responsible to keep the clock in working order. Later, in 1551, Jacopo Sansovino, then the architect responsible for St Marks, was instructed to report on the state of the tower and clock. Major repairs were required, but by 1581, when his son, Francesco, published his description of Venice, all appears to have been in order.[16]

Shortly before 1663 the clock face was cleaned and the blue and gold colours restored 'like new'. Already by this date the procession of the Magi did not take place daily but only at certain festivals and also every hour of the day on every day while the Ascension Day celebrations lasted.[17]

By 1750 both tower and clock were badly in need of repair and restoration. In 1751 Giorgio Massari was employed to restore the buildings. In 1755 work started to add two additional floors above the roof terraces of the wings on either side of the tower.[18] Andrea Camerata took over from Massari in 1757. The eight columns on the front of the ground floor were added in that year, presumably for extra strength.

The clock face after restoration (2006)

Bartolomeo Ferracina was chosen to restore the clock mechanism. He made very extensive alterations, changing the movement from a foliot escapement to a pendulum system, which was much more accurate. The bands in the clock face which had previously shown the apparent movement of the planets round a central earth were removed. The marble circle round the clock face which had been marked, as now, with 24 hours, was covered by a circle showing two series of 12 hours and the Moors were also made to strike the bell in 12-hour cycles, with special rings involving 132 strokes of the bell, at midday and midnight. These changes were complete by 1757. Ferracina then turned his attention to the procession of the Magi, which had apparently not worked for many years, and the new mechanism was inaugurated on Ascension Day 1759. In order to prevent undue wear and tear, this continued to work only during the fortnight after Ascension Day.

By 1855 repairs were needed again. The top floor of the tower was reinforced and staircases were replaced by iron stairs. In 1858 Luigi de Lucia repaired and made further alterations in the clock mechanism, but preserving the essentials of the changes which had been made by Ferracina.

At this time a completely new feature was added, so that the time could be read more accurately than was previously possible. Panels were made to appear in the doorways on either side of the Virgin and child, above the clock face. Those on the left show the hour while those on the right show the minutes (changing every 5 minutes), each with white letters on a blue ground. The numbers blocked the route of the Magi and additional machinery was designed to lift them out of the way when the processions took place. They originally had gas lights behind them so that they could be read at night. The mechanism operating these numbers caused trouble and was not working properly until 1866. Other improvements and alterations were also made in 1865/66 by Antonio Trevisan and Vincenzo Emo.

The two 12-hour cycles round the main face of the clock remained until about 1900 when the original 24-hour circle was discovered beneath them and they were removed.

Further adjustments were made in 1953 and the latest, extensive series of repairs and alterations (some causing controversy amongst horologists) were carried out from 1998 to 2006 (five hundred years after the tower and clock were first completed).

Visits to the Clock Tower[edit]

Stairways (steep and narrow) inside the building give access to the terrace on the roof, passing the clock mechanism on the way. Tours (in Italian, English and French) must be booked in advance.



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Mark Zuckerberg dice que "Beast", su perro pastor húngaro fue su "arma secreta" para cerrar la compra de WhatsApp por $19 mil millones

 
Mark ZuckerbergFrederic Legrand - COMEO / Shutterstock.com 

 Mark Zuckerberg es mundialmente famoso por ser uno de los fundadores de Facebook, pero ahora también será conocido por su muy especial perro pastor húngaro llamado "Beast".

"Algunas veces, en el mundo del comercio multimillonario las decisiones se toman de acuerdo a factores que a menudo pueden parecer misteriosos u opacos para las personas comunes."

En una reciente entrevista a la cadena CNN, Zuckerberg dijo, que la clave principal para cerrar la compra de WhatsApp por $19 mil millones en 2014, fue su pastor húngaro "Beast".

Priscilla Chan y BeastPriscilla Chan, esposa de Mark Zuckerberg con Beast. @beast.the.dog / Facebook

Según Mark Zuckerberg:

 

"Creo que 'Beast', mi perro, fue en realidad mi 'arma secreta' para cerrar este acuerdo... Fue un momento muy tenso mientras discutíamos acerca la adquisición de WhatsApp con Jan Koum, uno de los cofundadores y CEO en el momento de aplicación de mensajería, inesperadamente Jan se paró de su silla y me dijo: '¡Está bien!.. pero necesito pensar acerca de esto.'"

Así lo relata Zuckerberg: Fue en ese momento cuando mi perro 'Beast' entró en la habitación donde negociábamos, luciendo un poco confundido y como que pensando: "¿Qué está pasando aquí? Qué pasa con estos dos muchachos sentados aquí en silencio".

Pero en lugar de irse para alguna una parte de la casa, más familiar y cómoda, 'Beast' decidió hacerse cargo de las negociaciones y llevarlas a otro nivel (obviamente en modo broma):

 

"A continuación, Beast se le acercó a Jan y le saltó en sus piernas, Jan comenzó a acariciarlo y a jugar con el... unos segundos después me dice: ¡Está bien!.. estamos de acuerdo con la compra.!"

Beast es un peludo y adorable pastor húngaro muy seguido de las redes sociales. El perro de Zuckerberg y su esposa, Priscilla Chan, tiene ya más de 2,6 millones de seguidores en su página de fans en Facebook.

Beast, pastor húngaro Zuckerberg y su esposa, Priscilla ChanBeast, es un Komondor, una raza de perro guardián y pastor, originario de Hungría. Su principal característica es el peculiar aspecto de su pelaje parecido a una persona que lleve dreadlocks, que cae formando mechones parecidos a los dreadlocks usadas por los rastafari. @beast.the.dog / Facebook

En una entrevista con el TODAY, Zuckerberg dijo que 'Beast':

 

"Es un perro ridículamente lindo. Parece como una oveja pequeña. Él es maravilloso."

Pero a pesar del final feliz, para Zuckerberg, la relación entre Koum y Facebook dio un gran giro, para peor, unos años después.

Jan Koum dejó Facebook en 2018 debido a desacuerdos sobre la monetización de WhatsApp, siguiendo los pasos del otro co-fundador de WhatsApp, Brian Acton, quien dejó el gigante de las redes sociales años antes, según reportó el Wall Street Journal.

Al irse de este modo repentino, se estima que los co-fundadores perdieron alrededor de $1,3 mil millones (1.140 millones) en el valor de sus opciones de acciones no adquiridas, y también de cualquier visita de "Beast" en un futuro cercano.

https://megaricos.com/2019/02/19/mark-zuckerberg-dice-que-beast-su-perro-pastor-hungaro-fue-su-arma-secreta-para-cerrar-la-compra-de-whatsapp-por-19-mil-millones/

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Sacred Geometry

Sacred Geometry, forms the underlying principles of its Religious Architecture, Art and Music in Venice.  Evidence suggests that the original layout of the early city was planned, using  these ancient geometrical and mathematical considerations One good example is in the siting of groups of Bell-Towers (Campaniles), that contributed towards the development and success of this great city.  In what is a “labyrinth” of canals and walkways; these high towers aided communication (by visual line of site and sound), movement around the city and maintenance of authority, security and defence.


 

Sacred Geometry: the “Starred Dodecahedron” at St Mark’s Basilica. To the left of the main doorway on the floor, is a curious mosaic of a starred dodecahedron; attributed to Paolo Uccello (1397-1475), the famous Florentine Renaissance artist.  It is thought that his main influence was Luca de Pacioli (1445-1517), a Franciscan monk and famous mathematician, considered the father of modern book-keeping.

In 1509 in Venice, de Pacioli published “De Divina Proportione”; primarily concerned with the “Golden Ratio” and its use in architecture and painting.

The dodecahedron is a twelve-sided or faceted figure.  Each facet has five sides, so by extending the sides out to meet and form “pyramids”; a star is formed.  Hence, the starred dodecahedron is made up of twelve pentagons.

The significance of this was that the pentagon (a five-sided figure with straight and equal sides), was to the wise men of Antiquity, symbolic of Venus; the planet governing Venice.  Hence the importance of its presence at St Mark’s Basilica.

In traditional symbolism, the dodecahedron was the form that best represented the manifestation of God in Nature.  For Plato it symbolised “Cosmic Harmony”.  It is a three-dimensional representation of the symmetry of the pentagon and the “Golden Ratio”, that occurs naturally throughout the natural world.

This golden ratio (or golden mean), is the essential property of the dodecahedron and other geometric forms described by Plato as “celestial”.  Five in number, they were the model for all the forms found in the natural world.  Sacred geometry is the underlying and organising principle of Creation.  These universal forms are systematically organised in a geometrical form in which each figure has its own mathematical and philosophical interpretation; hence their use in religious architecture and art.

 

SACRED GEOMETRY

Sacred geometry is a  vision of the world, according to which the basic criteria for existence, are perceived to be sacred.  By learning its laws, principles and the interrelationships of shapes, the “Universal Grand Project” (Magnum Misterium), can be contemplated.

Five universal shapes or forms known as the “Platonic Solids” (after Plato), are systematised in a geometric complex, in which each figure has its own mathematical and philosophical interpretation.

They are applied in projects of sacred architecture and sacred art, which always uses the “divine proportions”, in which Man reflects the Universe and the Universe reflects Man.  It is commonly believed that sacred geometry is found in Music, Light and Cosmology.

Some consider it to be a universal facet of the human condition; as for example when man discovered its system of values, in Megalithic and Neolithic cultures.

Sacred Geometry is fundamental to the construction of churches, synagogues, temples and mosques and to their interior design and proportions.  Passed down through Graeco-Egyptian culture, to ancient Rome and then inspiring the medieval Roman and Gothic architecture of European cathedrals; which incorporated this geometry of sacred symbolism.

 

THE FIVE PLATONIC SOLIDS (after Plato)

Pythagoras the philosopher and mathematician, was said to have founded the system of Sacred Geometry at his school in Croton, Greece.   It is believed that he brought back his knowledge, from travels to Egypt and India.  He created “Pythagorian Geometry” by using the golden ratio of 1.618 and applying it to the geometric forms of the five basic solids.  Plato, mentioned them to such a degree that they became known as the “Five Platonic Solids”.

It was a Greek myth that inspired Pythagoras, about the child-god Dionysus’s toys: a basket, dice, top, ball and mirror.

On a cosmic level:

The Basket: represents the Universe

The Dice: represents the five Platonic solids symbolising the natural elements: ether – air – fire – water – earth.

The Top: is the atom of the matter.

The Ball: is the earth’s globe.

The Mirror: reflects the work of the Supreme Geometrist, (Dionysus), which itself is the universal manifestation of Life and Consciousness; of God towards Man and Man towards God.

Each of the five Platonic solids represent a planetary energy, that is connected by its form to a natural element.

The five basic solids are: the tetrahedron (pyramid) – four sides, the hexahedron (cube) – six sides, the octahedron – eight sides, the dodecahedron – twelve sides and the icosahedron – twenty sides.

(Definition – Hedron: : geometrical solids having a specified number of plane faces  Poly: many)

In three-dimensional space, a Platonic solid is a regular, convex polyhedron. It is constructed by congruent (identical in shape and size), regular (all angles equal and all sides equal), polygonal faces with the same number of faces meeting at each vertex.

Five solids meet these criteria:

Dodecahedron: is linked to Venus and Ether, the natural quintessence expressed by a temple’s dome.

Octahedron: is linked to Saturn and the Air, represents the Cross of the  Transcept.

The Tetrahedron:  is linked to Mars and Fire, is represented by openings in the temple, where light gushes through.

Icosahedron: is linked to the Moon and Water, establishes the harmony of forms in the temple’s design; constructing the connecting lines between the alters and columns.

Hexahedron: fixes the Sun to its element, the Earth; by determining the shape of the temple’s foundations or floor.

The main purpose of Sacred Geometry is to create Universal Perfection, through perfect mathematical forms and calculations.  By using sacred architecture, connecting the Multiple to the Single, in a space dedicated to this end.

Here are alternative definitions of Sacred Geometry, that may help understanding of a rather complex subject:

Sacred Geometry is the underlying and organizing principle of Creation.

Five universal forms are systematically organised into a geometric form, in which each figure has its own mathematical and philosophical interpretation; hence their use in religious art and architecture.

These forms best represent the “Manifestation of God in Nature” and our Universe and those beyond” and to Plato was symbolic of “Cosmic Harmony”.

They were the model for all the forms found in the natural world.

Sacred Geometry may be understood as a worldview of pattern recognition, a complex system of religious symbols and structures involving space, time and form.  According to this view the basic patterns of existence are perceived as sacred.

By connecting with these, a believer contemplates the Great Mysteries, and the Great Design.  By studying the nature of these patterns, forms and relationships and their connections, insight may be gained into the mysteries – the laws and lore of the Universe.

Sacred Geometry is another term for the Algorithm, Matrix, Illusion, or Simulation that unites and creates all realities.

Sacred geometry involves sacred universal patterns used in the design of everything in our reality, most often seen in sacred architecture and sacred art.  The basic belief is that geometry and mathematical ratios, harmonics and proportion are also found in music, light, cosmology.  This value system is seen as widespread even in prehistory, a cultural universal of the human condition.

 

ADDITIONAL UNIVERSAL SACRED SHAPES AND PATTERNS

Sphere: Perhaps one of the simplest and most perfect of all forms, the sphere is an expression of unity, completeness, integrity, and equality.  It is the most profound and sacred symbol in the Universe and contains all the wisdom of creation.  It is from the sphere that the other shapes are organized.  With the sphere, we are reminded that everything fits together in perfect proportions and it is the portal that opens you to the workings of nature

The Flower of Life.  The Flower of Life is made of evenly-spaced, overlapping circles with six-fold symmetry similar to a hexagon.  The Flower of Life embodies our Life Force energy, or Chi, and the lifeblood that flows through us.  Our energy, the Earth, and everything in the Universe is woven within a common repeating pattern that manifests in the geometry of this single sacred flower. Its perfect, infinite pattern represents the very thread of our being, stretching across planes and dimensions.  The Flower of Life symbol is used throughout the world. It can be found at the Temple of Osiris in Egypt, the Forbidden City in China, and sacred sites in Israel, India, Spain, and Japan.

The Merkaba.  The Merkaba is another powerful symbol that is created when two star- tetrahedrons are combined – one pointing up to the heavens, channelling energy down from the Universe to the Earth; and one pointing downwards, drawing energy up from the Earth.  The Merkaba is a light vehicle believed to be used by the ascended masters to connect with and transport to the Higher Realms. “Mer” means light. “Ka” means Spirit. “Ba” means Body.  The Merkaba is linked to Metatron, the archangel who is most attributed to sacred geometry and the mysteries and inner workings of the Universe.

The Kaballistic Tree of Life.  The symbol is believed to be derived from the Tree of Life.   The diagram is also used by Christian Cabbala, Hermetic Qabalah and Theosophy.  Kabbalah is an ancient wisdom that reveals how the universe and life work.  On a literal level, the word Kabbalah means “receiving”.  It is the study of how to receive fulfilment in our lives, discover how the universe works and what the meaning of life is.  Essentially, spiritual illumination – a pathway to God.  It is usually referred to as the Kabbalistic Tree of Life, in order to distinguish it from other concepts with the same name.  The Kabbalist seeks to know himself and the universe, as an expression of God and to make the journey of Return by stages charted by the Sephiroth; until he has come to the realisation he sought.

Shell: Passion flower: Spiral Galaxy: Giants Causeway

 

 

 

 

 

 

 

 

 

 

 

 

Fremasonry – The All Seeing Eye

 


 

Please see my other related posts, in the category of: History and Architecture

For those interested in the mysterious, mythical or dark side of Venetian history and culture; I have put together a list of links below to those posts that include elements of Christian Symbolism, Sacred Geometry, Kabbalah, Freemasonry and Alchemy, which I hope to expand.

 

St Mark’s Basilica

The Lion of St Mark

Santa Maria della Salute

Symbolism of the Venetian Cross

Palazzo Lezze and Alchemic Symbolism

Kabbalah and San Francesco della Vigna

La Maddalena and Masonic Symbolism

Doge’s Palace – Column Capitals

Mouths of the Lion

Pateras – Small Circular Reliefs


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De: BARILOCHENSE6999 Enviado: 12/12/2022 02:50
Nuclear Fusion in the Universe and on Earth Ahmed Ashraf. - ppt download

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De: mykingdom Enviado: 03/01/2023 03:53
I have recently started a web site, the info you offer on this website has helped me greatly. Thanks for all of your time & work. "Marriage love, honor, and negotiate." by Joe Moore. 

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De: BARILOCHENSE6999 Enviado: 28/02/2023 03:45
Resultado de imagen para MILKY WAY CLOCK
Resultado de imagen para JUDAS TADEO PINTURA SANTA CENA
Alien invasion: How a tiny town in the Nevada desert is preparing for  crowds to 'Storm Area 51' - Roadtrippers
Letra V Del Alfabeto De Oro (símbolo De La Victoria) Ilustraciones Svg,  Vectoriales, Clip Art Vectorizado Libre De Derechos. Image 32994690.
Resultado de imagen para MEZQUITA HIPERCUBO
Resultado de imagen para MEZQUITA HIPERCUBO
Qué es el Área 51 y cuál es su relación con los ovnis, los extraterrestres  y las armas nucleares? Descubre sus oscuros secretos.
Resultado de imagen para 12 MEN MOON WALKERS LAST SUPPER
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Resultado de imagen para RAMERA PIEDRAS JUAN 8
Resultado de imagen para EINSTEIN STONE
Image
7.3: Cúpula de Jerusalén de la Roca (691 CE) - LibreTexts Español
???? Como dibujar un OCTÓGONO a partir de un lado paso a paso ???? Dibujo  técnico - YouTube
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II. La Cúpula de la Roca en Jerusalén - Artehistoria
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25 de noviembre de 1915 - El artículo de Einstein - Naukas
DIVULGACIÓN CIENTÍFICA. Cuestionando fundamentos, los 100 años de la  Relatividad General de Einstein

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De: BARILOCHENSE6999 Enviado: 07/04/2023 01:05
Saint Mark's Basilica Venice: 7 Things You Must Know Before Visiting
Chispas Literarias - Jefe de Chispas Literarias - Chispas Literarias |  LinkedIn
EL SISTEMA SOLAR. - ppt descargar
disfrutalaciencia on Twitter: "¿En qué sentido giran los planetas de  nuestro sistema solar? https://t.co/nyN7mJt0ht" / Twitter
serviciosculturales‎‏ - Explore | Facebook
Por qué Venus es el único planeta que gira en el sentido de las agujas del  reloj y tiene una rotación tan lenta en comparación con otros planetas de  tamaño similar como
Planeta Venus
La teoría... - Consejo Mexiquense de Ciencia y Tecnología | Facebook
ROLscience: ¿En qué dirección giran los planetas?
Video: Vea en esta animación cómo gira cada planeta del Sistema Solar
15 Curiosidades sobre Venus, el planeta que está al revés - Planeta Curioso

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De: BARILOCHENSE6999 Enviado: 27/04/2023 00:22
Resultado de imagen para SAN MARCOS 25 DE ABRIL
April 25: Saint Mark, the Evangelist – Catholic Telegraph
Saint Mark the Evangelist - Feast Day - April 25 - Catholic Saint of the Day
Día del ADN (25 de abril) - Saber es práctico
Descubrimiento Del ADN Timeline | Preceden
Descubrimiento de la Estructura del ADN [Infografía]
El descubrimiento del ADN
A 60 años del gran paso dado al desentrañar la estructura del ADN -  Internacionales - ABC Color
Es hora de celebrar el ADN! (Día del ADN - 25 de abril) -  TryEngineering.org Desarrollado por IEEE
Logo Del Día Internacional Del Adn 25 De Abril Ilustración del Vector -  Ilustración de mundo, estructura: 211968013
Día Internacional Del Adn. 25 De Abril. Emblema Blanco Y Negro Aislado  Sobre Fondo Blanco. Ilustración Vectorial Ilustraciones Svg, Vectoriales,  Clip Art Vectorizado Libre De Derechos. Image 164626347.
mundo adn día antecedentes. abril 25 fiesta póster ilustración. 21017281  Vector en Vecteezy
Biogenetica medica
GIGA - 25 de abril: Día Mundial del ADN El 25 de abril de... | Facebook
Cienciabajolalupa - ¡¡#Cienciabajolalupa te presenta su segmento  #CelebraCiencia!! :D ¡El pasado 25 de abril, la comunidad científica a  nivel mundial celebró el Día del ADN o #DNADay! Esta fecha conmemora dos de


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