View allAll Photos Tagged (Part
As Baianas de Acarajé tornaram-se um dos maiores símbolos da cultura do nosso estado pelo mundo afora. No dia 25 de novembro comemora-se oficialmente o dia dessas artistas do dendê. Uma extensa programação festiva homenageia essas mulheres fortes que encaram seus ofícios com amor e dedicação, sem dispensar o torso na cabeça, o pano-das-costas, a saia rendada branca e o tabuleiro recheado de quitutes da culinária africana. Fonte: Bahia.com.br
O Salvador Foto Clube convida: venha fotografar conosco no Dia da Baiana!!!
O que: comemorações do Dia da Baiana.
Quando: sábado, 25/11/06
Horário: 7:30h.
Ponto de encontro: Igreja N. Sra. do Rosário dos Pretos
Quem pode ir: sócios do SFC, membros da lista e amantes da fotografia.
Sugestão camiseta: branca (para entrar no clima da festa!)
Você não pode perder!!!!
Leia mais sobre o Dia da Baiana aqui!
Completamente sem tempo!...
In the lower part of the picture you can see the hut we crossed and from where we began to go up. Also the station of the ropeway is visible along the shape of the rock on the right. Background: Langkofel.
For tour details see album description.
bonus luti bm. luôn =)))
* Em tin Anh . Anh hãy ngoan như những lời Anh nói . Em không lời nói gió bay đâu .!
và Em muốn dù có chuyện gì cũng không được dấu Em . Em sẽ là người biết đầu tiên và chia sẻ với Anh mọi thứ . dù có đau thì cũng đỡ hơn là tự suy nghĩ lung tung :] . Anh biết mà Em hay suy nghĩ lắm :] . Em muốn Anh nghe Em nhiều hơn . hãy lấy sự phiền phức khi Em càu nhàu là hạnh phúc vì không phải ai Em cũng làm vậy :x . mỗi ngày khi Em nhắn : Anh có thương Em không . Em muốn nghe câu trả lời : có Anh thương vợ nhiều lắm :"> . sở thích của Em là Em chỉ bước ra khỏi giường khi có tin nhắn của Anh :)) . nên là Em muốn khi Em thức dây mở điện thoại Anh đầu tiên trong ngày send tin nhắn cho Em ♥ . trừ khi con mẹ tổng đài phiền phức =; . một điều cuối cùng thôi nhỏ nhắn ít ỏi thôi : hãy để Em là người quan trọng mà khi làm việc gì sai Anh cũng nhớ đến Em để không tái phạm ♥ EmyêuAnh .
trời đang mưa đó . chắc tối nay sẽ lạnh . Anh nhớ giữ ấm . mau khỏi bệnh nha cục cưng của vợ . Em lo lắm nhưng không bên Anh được . Em thật tệ có phải không :-<
c.ơn chồg Su :-* c.ơn chị nhiều chị Rin ♥ Em thương 2 người lắm :-*
Mousehole is a picturesque fishing village on the south coast of Cornwall between Penzance and Land’s End. It was sacked by the Spaniards in July 1595 when the entire village, apart from one house, was burnt to the ground. That house still stands today. A hundred years ago Mousehole was a bustling port, crowded with local fishing boats, landing pilchards. Each year, early in November, timber beams are laid across the narrow harbour entrance, to protect the village from the worst of the winter gales. Even so waves can still be seen breaking over the harbour wall at high tide.
Mousehole today has retained much of its old world charm. Its narrow streets are filled with small shops, galleries and restaurants. Local cottages built from finely grained Lamorna granite, huddle together around the inner edge of the harbour. The area is protected from the force of the sea by two sturdy breakwaters. Dylan Thomas described the village as the loveliest in England, but there are many Cornishman who would dispute that this part of the world can be classed as England!
1/365
What's one of the best way to start the year? Making a 365-day project. Well, so, uhh, I plan to get real committed to this and all the related stuff.
Part of the dream catcher. Got this baby as a Christmas present from a college friend, and well, I love it. Soft, fluffy feathers.
Dunk Island, known as Coonanglebah in the Warrgamay and Dyirbal languages, is an island within the locality of Dunk in the Cassowary Coast Region, Queensland, Australia. It lies 4 kilometres (2.5 mi) off the Australian east coast, opposite the town of Mission Beach. The island forms part of the Family Islands National Park and is in the larger Great Barrier Reef World Heritage Area.
The island is surrounded by reefs and has a diverse population of birds. The Bandjin and Djiru peoples once used the island as a source for food. Europeans first settled on the island in 1897. Dunk Island was used by the Royal Australian Air Force during World War II. In recent years the island and its resort facilities have been adversely affected by both Cyclone Larry and Cyclone Yasi.
The traditional Aboriginal owners of Dunk Island are the Bandjin and Djiru people, who have lived in this area for tens of thousands of years. After the sea level rise, they paddled to the islands in bark canoes to gather food and materials. The Warrgamay and Dyirbal name for Dunk Island is Coonanglebah, meaning "The Island of Peace and Plenty". It received its European name from Captain Cook, who sailed past it on 8 June 1770, remarked that it was a "tolerable high island" and named it after George Montague-Dunk, 2nd Earl of Halifax (a former First Lord of the Admiralty).
Europeans settled the nearby mainland during the 1800s, seeking gold, timber and grazing land. In 1848, John MacGillivray studied the fauna and flora of the island while HMS Rattlesnake was anchored off the island for ten days. He subsequently wrote of its natural features in the Narrative of the Voyage of HMS Rattlesnake, published in England in 1852.
Dunk Island, eight or nine miles in circumference, is well wooded—it has two conspicuous peaks, one of which (the North-West one) is 857 feet in height. Our excursions were confined to the vicinity of the watering place and the bay in which it is situated. The shores are rocky on one side and sandy on the other, where a low point runs out to the westward. At their junction, and under a sloping hill with large patches of brush, a small stream of fresh water, running out over the beach, furnished a supply for the ship, although the boats could approach the place closely only at high-water. — John MacGillivray, Narrative of the Voyage of HMS Rattlesnake
Edmund Banfield
In 1897, suffering from work anxiety and exhaustion, and advised by doctors that he had just six months to live, writer Edmund James Banfield moved to Dunk Island with his wife Bertha – so becoming the island's first white settlers. Previously a journalist and senior editor with the Townsville Daily Bulletin for fifteen years, Banfield let the tranquillity of this unspoilt tropical paradise weave its magic and he lived on Dunk Island for the remaining 26 years of his life until his death in 1923.
A small hut built with the assistance of an Aborigine called Tom was the Banfields' first home. Over a period of time they cleared four acres of land for a plantation of fruit and vegetables. Combined with their chickens, cows and goats as well as the abundance of seafood and mangrove vegetation, they lived very self-sufficiently. Fascinated by Dunk Island's flora and fauna Banfield meticulously recorded his observations and went on to write a series of articles about island life under the pseudonym Rob Krusoe. He was further inspired to write a full-length book entitled Confessions of a Beachcomber (1908). The book became a celebrated text for romantics and escapists and established Dunk Island's reputation as an exotic island paradise.
In the ensuing years, Banfield wrote several other books about Dunk including My Tropical Isle (1911) and Tropic Days (1918). In these he shared the secrets of nature that he had uncovered and described the customs and legends of the Aboriginal people on the island. E. J. Banfield died on 2 June 1923 and his final book Last Leaves from Dunk Island was published posthumously in 1925. His widow remained on the island for another year before moving to Brisbane where she died, ten years after her husband. Today both are buried on the trail to Mt Kootaloo.
Commencement of the resort and World War II
The island was bought in 1934 by Captain Brassey and Banfield's bungalow provided the basis for the beginnings of a resort. The resort was commenced in 1936. The Royal Australian Air Force occupied Dunk Island during World War II, building its airstrip in 1941. They installed a radar station on the island's highest point a year later, which was then dismantled when the war ended in 1945.
Post-war development of the resort
The Brassey family returned to run the resort for a period at the end of the war. The island then went through a succession of owners. In 1956, Gordon & Kathleen Stynes purchased it and relocated their family there from Victoria. They then redeveloped and upgraded the resort's facilities to establish the island as a tourist destination. As a result, Dunk Island became a popular destination for celebrities[11] including Sean Connery, Henry Ford II, and Australian Prime Ministers Harold Holt and Gough Whitlam. The Stynes Family owned and operated the island and resort until 1964, when it was sold to Eric McIlree, founder of Avis Rent-A-Car.
In 1976, Trans Australia Airlines purchased Dunk Island. Ownership passed to Qantas in 1992, following its merger with Australian Airlines. On 24 December 1997, the island was purchased by P&O Australian Resorts, which was acquired by Voyages in July 2004. In September 2009, both Dunk and Bedarra island resorts were purchased by Hideaway Resorts, a wholly owned subsidiary of Pamoja Capital.
Artists' colony
Dunk Island was also home to a small community of artists who lived, worked and showcased their work to many international and local visitors on a property on the southern side of the island. The Colony was established in 1974 by former Olympic wrestler Bruce Arthur, who died at his home on Island in March 1998 and continued to operate under resident metalsmith Susi Kirk until Cyclone Larry damaged much of the colony. Kirk continued to live at the colony until Cyclone Yasi destroyed her home in 2011, and has subsequently continued to live and work on Dunk Island as the last member of the artist colony.
After Cyclone Yasi, 2011–2020
After Cyclone Yasi, Dunk Island was bought by Australian entrepreneur Peter Bond and redevelopment of the resort commenced in 2014. This redevelopment never took place.
In September 2019 Mayfair 101, an Australian family-owned investment conglomerate led by James Mawhinney, purchased Dunk Island. Mayfair 101 also secured over 250 properties on mainland Mission Beach as part of its estimated AUD1.6 billion 10-15-year plan to restore the region. Mayfair 101 was awarded the Dunk Island Spit tender on 14 November 2019 by the Cassowary Coast Regional Council, providing the opportunity for Mayfair 101 to negotiate a 30-year lease over the iconic Dunk Island Spit. The island's redevelopment is being undertaken by Mayfair 101's property division, Mayfair Iconic Properties, which has established a team based at Mission Beach to undertake the significant rejuvenation of the region.
In August 2020, the previous owners of the island, Family Islands Operations, owned by the family of Australian businessman Peter Bond repossessed the island after the owners Mayfair 101 failed to meet their payment obligations.
Source: en.wikipedia.org/wiki/Dunk_Island
Image source: Queensland State Archives Item ID ITM435811 Islands - Barrier Reef
The best part about doing these shots with random stuff stuck to my face is the cleanup. And I normally HATE cleaning anything, but when it's peanut butter, somehow it's much tastier and enjoyable. ;)
In the Smoky Mountains, we were driving behind a pick-up truck that had the biggest dog in the back of the truck that I had ever seen. Curiosity got the better of me so we stayed behind the truck for a little while until he pulled into a park for the dog to swim in the creek. I told the man we had been behind him because I wanted to know what kind of dog he had. He told me that he had gotten him from the West coast and the dog had been advertised as part wolf and part malamute. Of course I had to pet him after he got out of the creek. He was sweet, handsome and huge. My little girls remained in the car at the request of the dog's owner. What do you think? Do you think he is indeed part wolf?
St Mary, Edith Weston, Rutland
Another bike ride in England's smallest county yesterday. Sixteen churches altogether, which sounds a lot, but churches in Rutland are refreshingly close together, and generally open, although I did find two yesterday that said they were open and weren't, and one that said it wasn't, but was.
Part two.
From Tickencote I headed westwards now towards Rutland Water, catching my first glimpse of it after about three miles from a hill top looking down into Empingham, where the tall stone church spire spiked up through boilings of trees and rustic chimney pots as if going for first prize in a 'Typical images of Rutland' competition. I hurtled down the hill into the long main street of the village, and as usually happens the church now disappeared, hidden by other buildings. Hazarding that the older part of the village might be below the top road (hazarding is always my last resort before bothering to get out my map) I coasted down, the buildings got older, and there was the church.
It looked vaguely familiar, a huge church, its big tower and spire hard against the road, the church beyond opening out into transepts and a tall chancel as it climbed the slope. Overwhelmingly a Perpendicular church which you enter up urban steps through the west door, and the feeling is thus that of a French church (was this the reason for the sense of the familiar?). Inside, the wide open interior is at first sight entirely modern, but a homely restoration, no Victorian pomp and grandeur here. All the harsh Victorian pews have thankfully been replaced with modern chairs. There are earlier survivals, including a few fragments of that rare thing in Rutland, medieval glass, in the north transept, and beautiful decorative wallpainting and a Saint in the splay of the window in the south transept behind the organ - I wonder how many people notice that? (I congratulate myself here as compensation for missing the wallpainting of a Saint at Lyddington two weeks ago).
I headed down the hill to the main road ahead of me, which was the A606 between Stamford and Nottingham - aha! This was the road I used to take regularly when going to visit friends in Castle Donington, and turning back I saw again the familiar view of that great tower and spire from the corner, a landmark on the busy road. The traffic rushed though, as I had once, and I remembered thinking to myself that I would visit this church one day. Well, now I had, without realising it.
I headed onto the A606 for a while, then turned off southwards to the road which runs parallel to the eastern end of Rutland Water. This was a busy, climbing road, not particularly pleasant. However, a couple of times there were gateways in the hedges (hedges rather than stone walls in this part of Rutland) which gave spectacular views out over the water. Between the road and the water was the cycleway which circumnavigates Rutland Water, and I looked down on dozens of cyclists in hard hats and fluorescent jackets, glumly pumping away and weaving between the walkers, many of whom were also wearing fluorescent jackets (why?) and I was very glad to be up on the busy road.
Eventually I came down onto the Normanton edge of the Water, with its car parks, cafés, gift shops, and the like. I shouldn't be snobbish, and most of these people were on their well-deserved annual holidays camping or B&Bing locally, or on enjoyable day trips from Leicester and Peterborough, all contributing to the local economy. But crowds like these are not why I go on bike rides. I joined the weaving cyclists, many of whom seemed to have merely the slightest acquaintance with the Highway Code ('we pass on the left in this country, mate') for half a mile to reach what remains of Normanton church.
The sight of the church is so familiar from photographs, stuck out on its peninsula in the water and buried half in the gravel, but is nonetheless dramatic for that. The work of Thomas Cundy pére et fils in the 1820s, an entirely urban Georgian church, an adaptation of their design for St John Smith Square in London. It is as if that church has come on holiday and is going for a paddle.
When they flooded the valley in the 1970s, tiny Normanton was one of two villages lost (the other was Nether Hambleton) but its church survived - just. It actually sits atop the dam, but even so its lower half is below water level and has been filled in with concrete, the windows of the clerestory now forming the windows of the church. A causeway goes out to it. All the burials were removed from the graveyard and cremated with due ceremony. For a while the church was a visitor centre, with a display about the making of Rutland Water, but this obviously didn't bring in enough cash because the displays have been removed and the structure is hired out as a venue to those who can afford it. It certainly looks classy, if you turn your back on the ice cream hut. You can still go inside if nothing is on, but today they were preparing for a wedding, so the causeway was as close as I could get.
It was barely a mile to my next port of call, the pretty village of Edith Weston. Generally in Rutland, the further west you go the prettier the villages get, as if escaping the influence of puritan East Anglia and submerging themselves in the opulent lushness of the Wolds which are making their journey from south-west to north-east England. And here was St Mary's church, a delightful church, not over-large but with a tall tower and a short, slender spire, set in a pretty graveyard and looking idiosyncratic - the main view from the south features three crossed gables in a row, the porch, the south transept and a 19th Century chancel chapel.
You step inside to light and late Norman splendour in the arcades and chancel arch. The chancel beyond is late Victorian, but still splendid and idiosyncratic, cross-vaulted in an obvious imitation of the chancel at Tickencote. The icing on the cake is a lovely range of 20th Century glass, from Hugh Arnold through Paul Woodroffe to that finest of 21st Century stained glass artists, Pippa Blackall. The cherry is the splendid and absurd memorial to Sir Gilbert Heathcote which explodes at the west end of the north aisle. Further east in the same aisle is a memorial plaque to the bodies removed from Normanton graveyard. All in all, church of the day so far.
And now I headed west again along the northern perimeter of RAF North Luffenham, in the general direction of Lyndon.
To be continued.
Part of Via rail Canada's HEP program of the early 1990's, these cars were second-hand from Amtrak and other roads gutted and refurbished, now roaming the rails in Ontario and Quebec mostly. Kodachrome on Nikon EL2 35mm SLR with Nikkor 50 f/1.4 lens. Fall 1990 or 1991. Halifax Nova Scotia.
Original Caption: Part of Widespread Damage Caused by Flooding of Guadalupe River
U.S. National Archives’ Local Identifier: 412-DA-1973
Photographer: Reaves, Bill, 1934-
Subjects:
New Braunfels (Comal county, Texas, United States) inhabited place
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: catalog.archives.gov/id/544466
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
Photographer: Lars Borges
i'm on his website <3
www.larsborges.de/personal/Favorite-Place.html
Facebook Page : www.facebook.com/pages/akko/141314999703?ref=ts
*~~~~~*~~~~~~*~~~~~*~~~~~*~~~~~*~~~~~*~~~~~
hello friends!!
thanks for all the Birthday wish e-mails the other day <3
hohoho ( yes.....i'm now 23!! )
am now packing for my next comming trip and preparing for another shoot tomorrow <3
la la la~~ =D
how are you doing?
hope i can upload some more soon and will try to catch up with your pictures =D
hugs and kisses !
xx
akko
Each player has three pieces. The winner is the first player to align their three pieces on a line drawn on the board.
Scanned apple. Created for Open University Digital Photography T189. The problem with the scanner is the shadow it casts as the light scrolls past. When my photoshopping skills have improved I'll try this on a plain background.
(for further information please click on the link at the end of page!)
Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.
Everything's better with bacon! My "before" photo of our Gordon Ramsay-style turkey inside the Big Green Egg.
Happy *#&@*&^%# Thanksgiving!
Part of a Set / Slideshow of images of an installation called Dispersing Fashion by Stephanie Lawrence.
Dispersing Fashion
"Witness a time-based process of destruction that explores environmental issues."
An art installation comprising dresses made from a water dissolving material. Water slowly drips from bladders suspend above the dresses, and collects in shallow trays / pools.
By Stephanie Lawrence
BA (Hons.)
Performance and Visual Art: Dance
"My work is a manifestation of environmental politics; an expression of my concerns about deforestation that initiated from an inspirational trip to Malaysia / Borneo. One concern is the reluctance people have to use water efficiently, which
contributes to global warming and other environmental problems such as; the droughts we are experiencing in the UK.
Three dresses within the work act as a metaphor for the gradual destruction of the world we live in. The dripping taps we leave on in everyday life is represented through the three shower heads, which slowly destroy each dress revealing the damaging effects our everyday actions contribute to.
Over the two hour duration of the work you are encourage to revisit this steadily shifting environment.
The water used within this project will be recycled into the university pond after use."
This image / video is available under the indicated creative commons licence - subject to the approval of the artist(s) featured - and also subject to any additional conditions that the artist(s) may wish to apply.