Accession Number: 1974:0193:0847

 

Maker: Southworth & Hawes

 

Title: Unidentified Man

 

Date: ca. 1850

 

Medium: daguerreotype with applied color

 

Dimensions: sixth plate; 8.2 x 6.9 cm.

 

George Eastman House Collection

 

General information about the George Eastman House Photography Collection is available at http://www.eastmanhouse.org/inc/collections/photography.php.

 

For information on obtaining reproductions go to: www.eastmanhouse.org/flickr/index.php?pid=1974:0193:0847.

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

 

ID:5d7efc7bc880f883eee17b05f71b50d8

 

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Applied Arts Museum, Tashkent, Uzbekistan 16 Aug 2024

This was C&NW Weekend at the Illinois Railway Museum, where all the C&NW locomotives on museum property were given a chance to run trains on the mainline. The museum also hosted the C&NW Historical Society as part of its annual convention, and Union Pacific even sent UP 1995 for display!

 

Here, CNW SD50 #7009 shows off its newly applied C&NW logo underneath the cab window as it prepares to take the coach train for a run.

Applied some new eyelashes to Serenity, my Minifee Miyu :) Very happy with her full eyelashes :) Not so happy with her eyes though. I may change them back to original Mako eyes I have for her. :)

Applied a light HDR to this evening fog shot which brings the fog out a little better than the original I feel.

Datura inoxia - AKA Jimson Weed, Sacred Thorn-apple

 

Just a mild touch of post-processing applied ;-)

  

Part of a wall hanging in the gallery of the Vienna Kunstgewerbeschule (School of Applied Arts) at the St. Louis World Fair 1904.

Execution: Kunstgewerbeschule. Wool, metal threads, weave made of interlacing (laces), stitch satin Wolle, Metallfäden, Flechterei aus Webbändchen

 

Part of: Vienna: Secession, Fin de sieclé, Jugendstil, Art nouveau, Art deco - Wien um 1900

 

DMC-G2 - P1540421

5.2.2013

#green #grün #maigrün #red #rot #lieblingsfarbe #tapisserie #tapestry #weber #teppich #teppichweber #weben #weave #carpet

(further information you can see by clicking on the link at the end of page, even in English!)

History of the applied

From the Imperial School of Applied Arts to present "Applied"

In the center of Vienna, in the capital of the Hapsburg Dynasty, was founded in 1867 the forerunner of today's University of Applied Arts, the Imperial School of Applied Arts. It was (today's MAK) affiliated to the Austrian Museum of Art and Industry (today's MAK), the first Museum of Decorative Arts on the European continent. This was in 1863 brought into being based on the model of the South Kensington Museum in London, today's Victoria & Albert Museum and should serve as role models collection for artists, industrialists and the public. The early industrialized England was then playing a pioneer role in the promotion of a reformed arts and crafts, to counteract the decline in the "machine age". Within the meaning of historicism one should, in Vienna, too, being enabled to study the great styles of the past on applied arts objects in the museum and art school, a training and education center for designers and craftsmen. The Vienna School of Applied Arts was to train artists and teachers alike to serve the requirements of the "art industry".

Heinrich von Ferstel, who had already built the museum, was commissioned to design a separate building for the school. 1877 could the until today used main building of the University in a prominent position at the Vienna Ringstraße officially being opened. Students (female ones, if somebody was to ask!) were admitted in contrast to the Academy of Fine Arts from the beginning on. As one of the numerous graduates of that era only Gustav Klimt here should be mentioned.

With the artistic development toward nature observation and toward free design also at the School of Arts and Crafts in the late 19th Century set in a detachment from work according to historical styles. Felician of Myrbach, a member of the newly founded Vienna artists' association Secession, was in 1899 appointed director of the school, which was dissolved out the following year from the administration of the museum. In Myrbachs term fall numerous reforms and callings making of the School of Art one of the cradles of the Austrian Art Nouveau and founding its reputation as the spirit of modernism committed institution. Otto Wagner had as a board member of the school major influence on whose reform implementations. The former faculty reads like a Who's Who of today's much acclaimed "Vienna around 1900" with names like Kolo Moser, Josef Hoffmann, Alfred Roller - in 1909 beginning his formative directorate time - and students such as Oskar Kokoschka.

The end of the monarchy also meant the end of the "kk" Arts and Crafts School, although the long time director Roller (until 1934) ensured the continuity of the high standards of artistic quality. An educational reform program Franz Cizek in his widely acclaimed youth art classes put into practise. From Cizeks' course for Ornamental morphology emerged the Viennese Kinetism, only recently (again) finding its international art-historical recognition, and where for the first time artists (female ones) - as Erika Giovanna Klien - were dominant. Architects such as Josef Frank, Oskar Strnad and Oswald Haerdtl continued the great tradition of the Viennese art space and transformed it. Margarete Schütte-Lihotzky, a graduate of the School of Applied Arts, became the inventor of the first produced in large series, so-called "Frankfurt Kitchen (Frankfurter Küche)" which had a lasting effect in social housing.

(The Frankfurt kitchen was a milestone in domestic architecture, considered the forerunner of modern fitted kitchens, for it realised for the first time a kitchen built after a unified concept, designed to enable efficient work and to be built at low cost. It was designed in 1926 by Austrian architect Margarete Schütte-Lihotzky for architect Ernst May's social housing project New Frankfurt in Frankfurt, Germany.[1] Some 10,000 units were built in the late 1920s in Frankfurt. - Wikipedia)

In the era of National Socialism, the Vienna School of Applied Arts was the "Reich Chamber of Fine Arts" subordinated, many teachers and students excluded from the school, threatened and persecuted, the teaching brought into line. In particular, the graphics class under their manager Paul Kirnig supplied visualized propaganda for the objectives of the "Third Reich" contributing to the elevation of the School of Applied Arts to "Empire Academy of Applied Arts in Vienna (Reichshochschule für Angewandte Kunst)".

After 1945, the now "College of Applied Arts" under the directorate of Maximilian Fellerer had a difficult start. Its orientation on the model of an art academy was also reflected in the name "Academy of Applied Arts"(1948-1971, then again "University"). The extension of the curriculum, increasing student numbers and a large annex after plans of Karl Schwanzer on the side of Vienna channel (moved into in 1965 ) are signs of expansion in the era of economic boom.

In 1980s and 1990s, the Applied developed under the long management of rector Oswald Oberhuber and Rudolf Burger, who headed the university from 1995 to 1999, to a progress-oriented institution. Into this period of time fall appointments of professors who briefly gave impetus or had long-lasting effects for generations of students. Among the teachers in the fields of architecture, design, visual art and theory of these decades are included personalities such as Friedrich Achleitner, Christian Ludwig Attersee, Carl Auböck, Wander Bertoni, Joseph Beuys (as visiting lecturer), Rudolf Burger, Jean-Charles de Castelbajac, Tino Erben, Adolf Frohner, Peter Gorsen, Hans Hollein, Wilhelm Holzbauer, Alfred Hrdlicka , Wolfgang Hutter, Karl Lagerfeld, Maria Lassnig, Bernhard Leitner, Walter Luerzer, Axel Manthey, Paolo Piva, Wolf Prix, Christian Reder, Jil Sander, Sigbert Schenk, Kurt Schwarz, Johannes Spalt, Mario Terzic, Peter Weibel, Manfred Wagner - just to name a few.

Since 2000, Gerald Bast heads as rector the University of Applied Arts Vienna, after the year before new legislation had made the Austrian Art colleges to universities. His ambitious program for a both growing arts university in content as well as in student numbers in the age of globalization and complex political and economic upheavals, among other things is reflected in the establishment of new degree programs and the appointment of many new lecturer".

Patrick Werkner

www.dieangewandte.at/jart/prj3/angewandte/main.jart?rel=d...

Fast Forward

3x drizzle applied to my 7/18 data. Really softened it up. Encke's Division is visible and the polar hexagon sits on top. Click to enlarge. Here's a video from that night. www.youtube.com/watch?v=Ph2XTAOpKoo&feature=youtu.be

This was done for a photo project I'm working on for med school. Obviously, I'm slacking off since it's my last month :)

I've been using Lightroom very heavily on a daily basis over the past year or so. While I absolutely love the software, I think that there is room for improvement and thought I'd jot down some of my ideas on the best ways to improve the software.

 

I took a brief look at the new Lightroom 3.0 beta and my initial impression was lukewarm. Many of the features like watermarking, printing features, and online publishing from Lightroom, I didn't really care about. Some of the architectural changes that have been mentioned didn't feel all that powerful to me based on my initial testing. I found that in many regards, LR Beta 3.0 performed much slower and worse for me than LR 2.6, so I've largely abandoned using the beta at this point.

 

The final LR 3.0 product, of course, will likely be much more robust (hopefully) than the beta and ought to be a stronger product. And many, especially performance based, improvements that I mention in this post may actually be included in the final product. That said, here are the 10 most significant ways I think Adobe could improve the Lightroom product.

 

At present I am doing all of my Lightroom processing on a MacBook Pro running Snow Leopard with a 3.06 GHz intel Core 2 Duo processor and 4GB of RAM.

1. Performance drag when keywording (possible memory leaks?). One of the things that I've found with LR 2.6 is that keywording seems to be especially taxing on the system. If you keyword a photo, maybe 60% of the time after keywording it you get the little beach ball and have to wait several seconds before LR will free up and let you keyword the next photo. Keywording is already a horribly mundane chore, but having to do it with beach ball delays in Lightroom is especially frustrating. If I restart LR I'll be able to keyword seamlessly again, but typically within 5 minutes the delays between keywording photos begin again. This is my number one biggest gripe with Lightroom today.

 

2. Improving keyword autocomplete. When you keyword photos it is nice that LR uses your keyword list to auto complete possible keywords. As you start typing it searches previously used keywords and offers them up to you. You can highlight the word you are intereseted in and press enter, saving you time and typing. For some reason LR treats both the apostrophe and the enter key as one in the same. So, for instance, when you are keywording Joe's Pizza, It might actually autocomplete the keyword as Joe's hamburgers as soon as you hit the apostrophe in Joe's. Apostrophes are commonly used in keywording and it is counter intuitive to have the apostrophe trigger an auto-complete entry. Auto-complete should be restricted to the enter key.

 

3. Importing large numbers of photos from your memory card into LR can be horrendous. I've stopped using LR to import photos directly altogether. Sometimes the import will take place reasonably quickly, but many times it can take literally an hour to import what should take 5-10 minutes. I'm not sure why it takes so much more time to import photos into LR directly from a card, but it is *much* faster if I actually copy my images from my cards from the Mac finder and then synch the folder up manually with Lightroom later. When you are offloading images from a card you want this done very quickly. Adobe should optimize this import process focusing only on first copying the files and then adding them to the catalog or whatever else is slowing imports down after the copying is done, freeing up your memory card faster.

 

4. Lightroom's adjustment brush needs work. One of my favorite features with Lightroom 2.6 is the adjustment brush, you can use this brush to burn and dodge and affect key areas of a photo including exposure, contrast, brightness, clarity etc. by selectively painting an area of the photograph and then adjusting the sliders. Unfortunately though, I have found the adjustment brush to be much weaker than the general development tools in Lightroom. If I use the exposure slider for the entire photo (for instance) I have a wide latitude of exposure range with my RAW image. If I have a photo that is too dark in areas and too light in other areas I can use the total photo exposure tool to get either part (the too dark part or too light part) properly exposed. But when I try to use the exposure slider on the adjustment brush to treat the area not exposed to my satisfaction I find I frequently get pixelization if crank it up or down too hard. It would be good if Adobe could use the same technology that they are using to adjust, say, exposure at the entire photo level, with the adjustment brush to get better results when using it.

5. Lightroom needs more ways to stimulate the imperfection of film. One of my favorite recent ways to shoot has been using Hipstamatic with my iPhone. Hipstamatic does a tremendous job of creating a lofi film like aesthetic with digital photos from my iPhone. The only problem is that they are digital photos from my iPhone. I'd love to be able to have similar options that incorporate to a much greater degree the vintage effects of film from within lightroom. Scratches on photos, old polaroid borders, smudges, and other imperfections can create an entirely different photograph. While I'm sure some of these sorts of effects can be implemented in Photoshop, Photoshop is much more difficult to master. Adobe should follow the trend of Hipstamatic and make very easy to apply vintage film effects for Lightroom. While the LR 3 beta does include a way to sort of get a bit more grain to effect a vintage look in photos, this is a far cry from the effects that a little $1.99 app like Hipstamatic can provide.

 

6. Improved vignetting control. While Adobe has improved the post crop vignetting available in the 3.0 beta, it is still seriously lacking. In post cropped photos the vignetting is applied perfectly on photographs. With 100% precision and accuracy. The problem is that when people want to add vignetting, they are frequently doing so to give the photograph a more natural film like feel. In camera vignetting is never 100% precise, it is subtly different in every area, in some ways random. LR's vignetting control pre crop is much more natural feeling than post crop. While the 3.0 beta gives a touch more flexibility in how you can vignette it still does not provide for the sort of natural random vignetting that occurs naturally in camera.

 

7. Better preset directories. I love my presets. I use them constantly. I've got some really good ones. But damn they are hard to find. And there are so many bad ones out there floating around. Presets are a great place to start with your photo editing process, I've just had a hard time finding a very strong database or collection of the best ones.

 

8. When selecting multiple images in the film strip Loupe view, Lightroom should apply keywords to all images. Right now the only way to keyword multiple images in Lightroom is to use the Grid view. But if you want to keyword as you select images looking at them full size (grid view can only get you to half size) then you have to keyword them one at a time. Lightroom should allow me to select multiple images from the film strip in the Loupe view and apply keywords to all images selected.

9. A good in Lightroom geotagging feature that uses Google Maps. At present I am using Geotagger for the Mac and Google earth to geotag my images. It would be nice if Adobe could as seamlessly interact with Google Earth. Some external app might be out there right now that I'm not aware of for this yet with Google Earth, but nothing that I've seen.

 

10. Color analysis. One of the things that I've done on Flickr is to create sets of images based on primary colors in the images. It would be nice if I could filter my images in LR by color. I'd like to be able to filter all of my finished images by dominant color, blue, red, pink, etc. This would better allow me to select these images and keyword them selectively.

 

So those are my top 10 requests for Lightroom. My views of course are only mine and while my desire for things like more natural post crop vignetting etc. may be important to me and maybe a small minority vs. features like watermarking, web publishing and printing, I certainly recognize that Lightroom is built for a much larger audience that may be much more interested in some of the new features in the LR 3.0 beta than I am.

 

What are the features that you would like to see in LR 3.0? What would be the killer features for you. Are there ways to get some of what I want out of the existing product that I'm just not aware of? Are they ways to better optimize for performance with keywording, for instance. Do you have any good Lightroom tips that you've uncovered worth sharing?

Spring Steel Farm owner Ronnie Cook applied and qualified for U.S. Department of Agriculture (USDA) Natural Resources Conservation Service (NRCS) technical and financial assistance Environmental Quality Incentive Program (EQIP) to implement Conservation Practice Standard 561 - Heavy Use Area Protection (HUAP) with cement pads that protect the soil that cattle stand on while drinking water from floating ball valve troughs, in Wagener, SC, on Nov 17, 2020. Using the technical specification of the funded trough pads, he added several more at his own cost. For more information about CP 561, please go to nrcs.usda.gov/Internet/FSE_DOCUMENTS/stelprdb1263412.pdf. USDA Photo by Lance Cheung.

 

--Museum of Applied Arts--

 

-As the collections expanded, a building was erected to accommodate them. The opening of the Museum building on 25 October 1896, attended by the monarch, Francis Joseph, was the grand event marking the end of Hungary's Millennium celebrations.

 

The Museum's first two directors, György Ráth (1828–1905) and Jenő Radisics (1856–1917), were internationally renowned figures who provided the Museum with extensive and lively contacts at home and abroad, and the collections benefited accordingly.

 

Jenő Radisics takes the credit for laying the foundations of the Art Nouveau collection, particularly through his purchases at the Paris World's Fair of 1900 and at the Christmas exhibitions held in the Museum each year. He also acquired outstanding items for the historical collection.

 

After Gyula Végh took over in 1917, contacts with art collectors began to dominate. The Friends of the Museum Association also took an active part in acquiring many fine items and collections.

 

The National Collections Alliance was set up in 1922 to collectively promote the interests of several public collections. Between 1934 and 1948, the Museum of Applied Arts temporarily lost its independence and became the applied arts branch of the Hungarian National Museum.

Die HTW ist mit 14.000 Studierenden und 500 die größte staatliche Fachhochschule Berlins und Ostdeutschlands. Ihr Campus Wilhelminenhof, einer von zweien, befindet sich seit 2009 auf Teilen des Geländes des 1897 von der AEG gegründeten und 1999 geschlossenen ehemaligen Kabelwerks Oberspree (KWO), das1989 mit ca. 6.000 Beschäftigten einer der größten Industriebetriebe Ostberlins war.

 

In Oberschöneweide befand sich eins der größten Industriegebiete Europas, entwickelt ab 1889 vor allem von Emil Rathenau und der von ihm gegründeten AEG. Zu DDR-Zeiten war Oberschöneweide mit 36.000 Arbeitsplätzen in 14 Großbetrieben der wichtigste innerstädtische Industriestandort. Allein in den Betrieben am Spreeufer gab es 25.000 Beschäftigte, heute nur noch rund ein Zehntel. Einer der größten Betriebe war das Kabelwerk Oberspree (KWO´), gegründet von der AEG 1897 und nach dem 2. Weltkrieg verstaatlicht, mit 6000 Beschäftigten im Jahr 1990. 1993 wurde es von einem britischen Investor erworben und in den späten 1990-er Jahren geschlossen. Inzwischen belebt sich das Viertel wieder dank des Umzugs der Hochschule für Technik und Wirtschaft, für die auf einem Teil des Geländes Gebäude saniert und auch neu gebaut wurden

 

With 14,000 students and 500 employees, the HTW is the largest state university of applied sciences in Berlin and eastern Germany. Its Wilhelminenhof campus, one of two, has been located since 2009 on parts of the grounds of the former Oberspree (KWO) cable works, founded by AEG in 1897 and closed in 1999, which was one of East Berlin's largest industrial enterprises in 1989 with approx. 6,000 employees.

 

Oberschöneweide was one of the largest industrial areas in Europe, developed from 1889 onwards mainly by Emil Rathenau and AEG, which he founded. During the GDR era, Oberschöneweide was the most important inner-city industrial location with 36,000 jobs in 14 large companies. The companies on the banks of the Spree alone employed 25,000 people, today only about one tenth. One of the largest companies was the Kabelwerk Oberspree (KWO), founded by AEG in 1897 and nationalised after World War II, with 6000 employees in 1990. It was acquired by a British investor in 1993 and closed in the late 1990s. In the meantime, the district has been revitalised thanks to the relocation of the University of Technology and Economics, for which buildings have been renovated or newly built on part of the site.

 

90046 with re-applied bodyside logo is seen at Shilton with the 4M88 Felixstowe-Crewe on the 8th of February 2008.

 

Applied Patriotism

 

Woman has made herself indispensable to the Nation's war activities. This is being demonstrated daily in many splendid ways. The telephone operator takes her place in the front ranks of our "national army" of women.

 

Back of the scenes, invisible, her war work is to make telephone communication possible. Through her the Chief of Staff in Washington speaks to the Cantonment Commandant in a far-off state. The touch of her fingers forges a chain of conversation from Shipping Board to shipyard, Quartermaster General to supply depot, merchant to manufacturer, city to country, office to home.

 

Without her this increasing complexity of military, business and civil life could not be kept smoothly working. Hers is patriotism applied. She is performing her part with enthusiasm and fidelity.

 

The increasing pressure of war work continually calls for more and more telephone operators, and young women in every community are answering the summons—cheerfully and thoughtfully shouldering the responsibilities of the telephone service upon which the Nation depends. Each one who answers the call helps speed up the winning of the war.

By now it was raining quite hard, so I grabbed a couple of shots from the other side of the road before going in.

 

Hello I said to the churchwarden, we've come to photograph the church.

 

Oh I don't know if that's possible, you might be journalists. What do you want the pictures for?

 

I explained about the website and liking churches and that we had come from Dover to see this church. I gave he my Moo card, and she said it was OK. And then would not shut up, she told us all about the history of the church, the town, businesses. All nice, but I wanted to snap the church.

 

In the end, Jools took over and I set about snapping. And very fine it is too.

 

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A huge church that is accessed most days through the coffee shop next door. Saxon in its origins it was extended many times as befits a market town on the main London-Dover road. Today it consists of nave and chancel with aisles and chapels. Much remodelled in the nineteenth century (by Blomfield) and again late in the 20th it may lack atmosphere, but it certainly does not lack appeal.... or its part in national history. The body of Henry V rested here overnight on its journey back from France in 1422. Behind the painting in a medieval vestry, itself a rarity. There are lots of brasses and a large monument to John Spilman who introduced papermaking here in the seventeenth century. In the south chapel is a huge wall painting of St. George - the largest medieval painting in Kent.

 

www.kentchurches.info/church.asp?p=Dartford+1

 

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DARTFORD

LIES the next parish eastward from Crayford, on the high road from London to Dover, about fifteen miles from the former. It was called in Saxon Derentford, in Latin Derenti Vadum, signifying the forde or passage over the river Derent. (fn. 1) In Domesday it is written Tarentefort.

 

THIS PARISH takes within its bounds almost the whole both of Dartford-heath and the Brent. It contains about 4300 acres of land. The town has about four hundred houses and about two thousand five hundred inhabitants. The upland parts of the parish are but thin and gravelly, the crops of which are greatly increased by the culture of turnips; the vallies are a sertile and rich loam, the northern part of the parish is marsh land, which reaches to the Thames, containing about eight hundred acres, none of which is ever ploughed. The town of Dartford is situated in a valley, between two hills, which rise suddenly and sleep at each end of it. On that at the western extremity are chalk pits, which have been worked underneath to a considerable extent, and have rather a fearful and dangerous appearance to travellers; the opposite hill is a deep sandy loam. Dartford is at present a handsome and wealthy town, still increasing in size and inhabitants, the principal street of which is the great thoroughfare from London to Dover, on which there are built several good inns. From this street southward branches off the high road through Farningham to Sevenoke, in which stands Horseman's-place, now used, with the gardens, by a public gardener; northward from the high street is the Water-lane (so called from the little stream, the Cranford, which rises about a mile and a half southward of the town, at Hawley, which runs through it) and leads to the wharss at the water side, not far distant from which stands the Place-house, formerly the priory, with the buildings belonging to it, now used as a farm house and offices, adjoining to which is a piece of land, inclosed with a wall, formerly belonging to the priory, exceeding rich, which has been for many years been made use of as a public garden ground. The artichokes growing in it are noted for being the largest and best flavoured of any brought to the London markets, and are called, for distinction sake, the Dartford artichoke.

 

There is a good market for corn and provisions here on a Saturday, weekly; and a fair yearly, on the 2d and 3d of August. The old market house and shambles stood very inconveniently in the middle of the high street, but they were removed some years ago, and the present market place and shambles were built more commodiously elsewhere, by public subscription, to the great embellishment of the town, and the satisfaction of all travellers; at the same time the old uneasy pavement through the town was removed, and a new road of gravel made in its room, with a handsome footway of curbed stone on each side; near the east end of it stands the church, almost adjoining to the river Darent, which here crosses the high road under a handsome bridge. In king Edward III.'s reign there appears to have been no bridge here, the passage or ferry over the Darent at this place being valued among the rents of the manor; however, there was one built before the end of king Henry VI.'s reign, but it was one most narrow, steep, and dangerous for travellers, which continued so till not many years since it was altered to its present more commodious state, at the public charge of the county. A little below this bridge, the Darent becomes navigable for barges; and at the distance of about two miles, receiving the Cray into its channel, at a like distance empties itself into the Thames. On this creek there was formerly a considerable fishery, as appears by the records before mentioned; for so late as king James I.'s reign, the royal manor of Dartford received for the fishery six salmons yearly, a kind of fish now unknown here; and the manor of Dartford priory received a yearly rent of fifty pounds for a fishery likewise here at the same time; but no fishery at this time exists, nor has for many years past.

 

The trade and manufacture carried on by the several mills on the Darent contribute much to the flourishing state this town is in at present; for besides the powder-mills, first erected by Sir John Spilman as a paper mill, as before mentioned, situated a quarter of a mile above the town; there is a paper mill at a small distance below it, where there was one so early as 1590, erected by one Geoffry Box of Liege, for the cutting of iron bars into rods, being the first supposed to be erected for this purpose in England, and for the more easy converting of that metal to different uses; lower down, at the east end of the town, are two corn mills, and farther below bridge the ruins of the mill, employed as a cotton manufactory, which was burned down in 1796, and now lies in ruins. It was before made use of as a sawing mill, and before that as a brasel mill, for the slitting of iron bars into rods, nails, &c. being first erected for that purpose by John Browne, soon after the death of king Charles I. Near this is the public wharf, to which hoys and barges come up from the Thames. To this wharf is brought the produce of the woods in this neighbourhood, which are of considerable extent, and the manufactures, which are here shipped for the London market, as are the goods for the subsistence of the town and vicinity of it from the metropolis.

 

In the return of the survey, made of the several maritime places, in this county, by order of queen Elizabeth, in her 8th year, Dartford is said to contain houses inhabited, 182; persons lacking habitation, 6; keys or landing places; 4; ships and boats, 7; three of three tons, one of six, two of ten, one of fifteen; persons for carriage from Dartford to London, and so back again, 14; Sir Thomas Walsingham, steward of the town; Mr. Asteley, keeper of the queen's house; John Beer's; the wardens of Rochester-bridge.

 

In the reign of king Henry III. the archbishop of Cologne was sent hither, with several noblemen, by the emperor Frederick, to demand Isabella, the king's sister, in marriage, which was solemnised by proxy in this town, and she was then delivered to them, to be carried over. In 1331, king Edward III. at his return from France, held a famous tornament in this town. In the 5th year of king Richard II. a great commotion of the common people begun at this place, occasioned by Wat Tyler's having beat out the brains of one of the collectors of the poll tax, on account of his insolent behaviour to his daughter. The people, who were in general discontented, being inflamed by this circumstance, broke out into open rebellion, and he soon found himself at the head of one hundred thousand men. (fn. 2)

 

Thus attended, he marched directly to London, freeing, in the mean time, the prisoners detained in the public goals; among these was a priest, in the neighbourhood of Maidstone, one John Ball, vulgarly called John Straw, who, by his seditious sermons, had raised the people's sury to the utmost heighth, insomuch that, in conformity to his maxims, they resolved to destroy all the nobility and lawyers in the realm, for he had persuaded them that all men, being the sons of Adam, there ought to be no distinction; and, confequently, it was their duty to reduce the world to a perfect equality; in consequence of which he preached to the people on these rhymes:

 

"When Adam delse, and Eve span,

"Who was then a gentleman ?"

 

The king, hearing they were advanced as far as Blackheath, sent to know their demands, to which, returning a most insolent answer, they immediately marched towards London, and took possession of the borough of Southwark; and the gates of London bridge being thrown open to them by the citizens, they entered the city, where they committed every scene of barbarity that could be expected from such a body, guided solely by their sury. They then seized on the Tower, where they sound the archbishop and the lord treasurer, whom they immediately beheaded. Upon this the king, dreading the consequences of so powerful a body, repaired to Smithfield, with some few attendants, and sent a knight to Tyler, to come there and confer with him, which this rebel, with much deliberation, at last complied with. At this conference he behaved with such insolence, that William Walworth, lord mayor of London, who attended the king, without considering the consequences that would attend it, discharged such a blow at the rebel's head with his sword, that he instantly fell dead at his feet. However, contrary to expectation, the multitude were so terrified, that they threw down their arms, and sued for mercy; and were all, in the space of a few minutes, dispersed, without the effusion of any blood, except of their leader. (fn. 3)

 

About a mile south-westward from the town is the large plain, called DARTFORD. HEATH, containing about 500 acres of land. It lies high, and on a fine gravelly soil; on it there are a great many of those pits and holes so frequent in these parts. Some of these reach below the gravel as low as the chalk, others no farther than the sand and gravel; many of them have been stopped up of late years, to prevent the frequent accidents which happen of men and cattle falling into them. The occasion of their being first dug has been already explained, under the adjoining parish of Crayford. This heath has been much noted of late, as being the spot chosen by the corps of Toxopbilites, under the appellation of the Royal Kentish Bowmen, for whose use a house has been fitted up at the western side of the heath, not far from Baldwin's, and is now distinguished by the name of the Lodge, being the scene of their exercise and recreation; at which times, on their gala days, butts, apartments, and company, have made the most splen did and costly appearance. It is as delightful and pleasant a spot as any in these parts.

 

Less than half a mile eastward from the town, the high road to Rochester crossing it, lies another heath, called DARTFORD-BRENT, vulgarly the BRIMPT. This place is famous for the encampment of the army of Richard Plantagenet, duke of York, in 1452, whilst he waited to obtain a parley with king Henry VI. who then lay encamped on Blackheath. In the year 1648 General Fairfax's army rendevouzed here.

 

The ROMAN-ROAD shews itself very conspicuously on the south side of the high road between Dartford and the Brent, and when it comes to the latter, it shapes its course more to the south south-east, leaving the high road at a greater distance, on the lefthand, and entering among the inclosures and woods, in its way to a hamlet called Stonewood, it goes on to Wingfield-bank, and thence to Shinglewell, towards Rochester.

 

At a small distance southward from the Romanroad on the Brent, close to the road to Greenstedgreen, are three small barrows, which seem to have been plundered of their contents.

 

¶The gravel-pit at the entrance of the Brent from Dartford was, whilst the affizes were held in this town, which was frequently, at the latter end of queen Elizabeth's reign, the place for the public execution of criminals; and in 1772, in digging for gravel here, eight human skeletons were sound, lying contiguous to each other; most probably the remains of some of those unhappy convicts. This spot was likewise made use of in the reign of queen Mary, for the execution of those who suffered for religion.

 

Our HERBALISTS have taken notice of several scarce plants and herbs sound here:

 

The camæpytis, herb ivy, or ground pine, not only here, but in the adjoining parishes.

 

Ruta muraria five salvia vitæ, stone rue, or rue maidenbair, on the wall of the church-yard.

 

Aphaca, small yellow fetch, in the corn-fields about this place.

 

Buckthorne, in the bedges of this place.

 

The juniper tree grows in plenty on the downs southward of Dartford-brent.

 

Mentastrum, horse mint; valde ramosum flore violaceo rubro.

 

Orchis five tragorchis max. the greatest goat stones, between Crayford and Dartford.

 

Orchis hermaphroditica, the butterfly satirion; testiculus vulpinus spegodes, the humble bee orchis; orchis melittias, the bee orchis; orchis myodes, the fly satirion; are found on the downs, southward of Dartford brent.

 

The lizard orchis, has been found in the lane between Dartford and Darent.

 

Several forts of the orchis ornithophora are found in the meadows adjoining the river Darent, southward of this town.

 

Trisolium stellatum glabrum, smooth starry headed tresoil, in Dartford salt marshes. (fn. 4)

 

Charities.

THOMAS AUDITOR, alias BARNARD, gave by will, in 1536, an annuity of 3s. to buy peas, to be distributed among the poor, in the first week in Lent, payable out of four acres of land, called Docklincrost, which bequest has not been paid for many years.

 

WILLIAM VAUGHAN gave by deed, in 1596, a rent, to be distributed quarterly to the most poor inhabitants of Dartford, out of a house and garden, vested in trustees, and of the annual produce of 13l. 4s.

 

JEROME WARRAM gave by will, in 1570, for the use of the poor, a house and garden, in the occupation of Mrs. Bugden, of the annual produce of 5s.

 

MRS. CATHARINE BAMME gave by deed, in 1572, among other charitable bequests, 20s. to the poor of this parish, to be paid out of an messuage and lands in Gillingham, vested in Edward Taylor, of the annual produce of that sum.

 

JOHN BYER gave by will, in 1572, for the habitation of the poor of this parish, nine alms houses, in Lowfield, adjoining southward to Horseman's-place, and endowed them with a barn and several pieces of land, in the occupation of Mrs. Glover and Mr. Fleet; the former at 17l. the latter at 5l. annual rent, and for the habitation of four poor aged people, and 20d. to be paid quarterly to each of them; now inhabited by paupers; annual produce 1l. 6s. 8d.

 

JOHN BARTON gave by will, in 1613, the interest of 130l. yearly, to be bestowed on bread, and distributed to the poor by the vicar and churchwardens. N. B. With this money, in 1623, the parish purchased by deed, of Francis Goldsmith and others, thirteen acres of land in Crayford parish, and a house in Dartford, the former vested in William Flint and others, at 12l. per annum rent; the latter in William Nettlefold, at 11l. 10s. per annum; on condition that 20s. should be yearly distributed to the poor on Shrove Sunday, as his gift, out of the rents of the lands purchased of him by Barton's money. He agreed to abate 15l. out of the purchase money; annual produce 1l.

 

WILLIAM REYNOLDS and WILLIAM HARRISON gave by will, in 1623, the interest of 50l. and 10l. to be laid out in bread, and distributed among the poor every Sunday in the year,

 

N. B. With these two gifts were purchased a house and piece of land belonging to it, which house has been taken down, and four new houses have been built on the ground, with monies borrowed upon them, which money the rents have discharged. The houses are let to several tenants, at the yearly rent of 5l. each; 2s. worth of bread have been yearly distributed every Sunday, out of the rent of these houses, as was stipulated when they were purchased; the annual produce 20l. per annum.

 

ROBERT ROGERS gave by deed, in 1629, rent to be distributed among the poor on Easter Monday, payable out of a house and yard, vested in Mrs. Catharine Tasker; annual produce 4l.

 

JONATHAN BRETT gave by deed, in 1629, for the relief of the poor inhabitants of this parish, four acres of land, vested in Mr. George Hardres, of the annual produce of 9l.

 

THOMAS COOPER in 1629, gave an annuity, to be distributed to the poor in bread, payable out of woodland in Bexley parish, in the occupation of James Craster, of the annual produce of 1l.

 

ANTHONY POULTER gave by will, in 1629, an annuity of 20s. to be distributed by the minister and churchwardens on Easter day, payable out of a house in Dartford, occupied by Mrs. Pettit, of the annual produce of 1l.

 

JOHN TWISLETON, esq. gave by deed, in 1660, certain rent, to be applied, one-third of it to the alms houses, and the other twothirds to be given to the poor, issuing out of three acres of land, in the occupation of Edward Rawlins, of the annual produce of 5l. 6s. 3d.

 

JOHN ROUND, in 1682, gave an annuity, to be distributed among the poor on Christmas day, payable out of the Bell inn, in Dartford, in the occupation of John Elliot, of the annual produce of 1l.

 

THE REV. CHARLES CHAMBERS gave by will, in 1745, the sum of 50l. vested in the 3 per cents. the interest to be distributed by the minister on Christmas day, among twenty-four poor persons, twenty of whom to be widows, annual produce 1l. 10s.

 

JOHN RANDALL gave by will, in 1771, 200l. now vested in the 3 per cent. the interest to be distributed among poor housekeepers and widows, at 5s. each; annual produce 7l. 8s. 6d. and he gave 100l. since, vested in like manner, the interest to be laid out in bread, and distributed to the poor on Sundays; annual produce 3l. 14s. 3d.

 

A PERSON UNKNOWN gave three houses for poor parishioners, to dwell in, now inhabited by paupers.

 

A PIECE OF LAND, on part of which the present workhouse was erected in 1728, by voluntary subscriptions; the other part, used as a garden to it, was given by a person unknown.

 

This land was let in 1720, for the use of the poor at 1l. per ann.

 

CHRISTOPHER HEATH gave lands to the next of kin of Ellen Sherrington, on condition that they should pay yearly out of them, to the use of the poor, 1l. 6s. 8d. and to the churchwardens and their successors, to the reparation of the church, 1l. 13s. 4d.

 

JOHN BEALE, of Swanscombe, devised 40s. per annum, towards the maintenance of a schoolmaster in Dartford, to be paid out of a messuage, called Hamanslay's, in Halsted, formerly occupied by William Watson.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the deanry of Dartford, and diocese of Rochester. The church, which is dedicated to the Holy Trinity, stands near the east end of the town, and is a large handsome building, consisting of three isles' and two chancels. In 1793, the whole church was repaired and beautified by the parishioners, at the expence of twelve hundred pounds. The pavement within the altar rails, with the painting and gilding over it, was done at the charge of Charles Manning, gent. in 1702. The tower is at the west end of it, in which there is a clock and a good ring of bells; one of which, of the smaller size, used till of late to be constantly rung, as of old custom, at four o'clock every morning, and again at the time of curfew at night.

 

The church yard formerly surrounded it, but some few years ago that part of it, which was on the southerin side, was given to the public to make the road more commodious for passengers. There is another burying-ground belonging to this church at some little distance from it, adjoining the high London road at the top of the hill, eastward of the town, of which further mention will be made. It is situated on so high an eminence, that it overlooks even the top of the tower of the church.

 

Among other monuments and inscriptions in this church, are the following: In the great chancel, on the north side of the altar is a monument for Sir John Spilman, inclosed with iron railing; on it are his essigies in armour and that of his lady, kneeling at a desk, each with a book open, and over their heads, on a tablet of black marble, with an inscription in German text for both of them; he died in 1607; on the top of the monument his arms, Or, a serpent wreathed in pale azure, crested, gules, on a mount in base, vert, two slaunches, gules, each charged with three lions passant, or; beneath, on the tomb, are two coats, Spilman, as above, impaling argent, a man cloathed sable, with a long cap on, holding in his hand an olive branch proper, and standing on a mount, inverted, gules. On the south side of the chancel, an altar tomb, inclosed with rails, and inscription, for Clement Petit, esq. of Joyes, in this parish, whose paternal seat was at Dentelion, in Thanet, obt. 1717. Before the rails of the altar, on a grave stone, are the figures of a man and woman, in brass, under a canopy, with labels from their mouths; round the verge of the stone is an inscription in brass, in part torn away, for Richard Martyn, of Dartford, who died in 14 . . . . she died in 1402. Near it is another stone, which had the figure of a man, with a label from his mouth, and an inscription round the verge, all in brass, now lost; but an inscription in brass still remains, on a plate, for John Hornley, S. T. B. who died in 1477. On another adjoining, are the figures in brass of a woman and six children, that of the man is lost; beneath on a plate, is an inscription for capt. Arthur Bostocke, gent. who married Francis, second daughter of Francis Rogers, esq. he died in 1612. On a grave stone, before the step of the chancel, is the figure in brass, of a woman, and inscription, for Agnes, daughter of John Appleton, wife of Wm. Hesilt, one of the barons of the exchequer of Henry VI. afterwards of Robert, brother of Sir Tho. Molyngton, baron of Wemme; she died in 1454. On the south side of the chancel, a monument for Wm. Burgess, late citizen and salter of London, obt. 1640; arms, a sess sret between three rooks. On the same side, before the altar rails, a memorial for Nicholas Tooke, gent. of Dartford, obt. 1672, æt. 90; arms, Tooke, argent, on a chevton, sable, three plates of the field between three greyhounds heads erased, sable collared, or; but this is cut here very erroneous. On the north side, a memorial for Mr. Mark Fielder, 1753, æt. 91; on the south side, a memorial for Mr. Wm. Tasker, of this parish, ob. 1732; and for Wm. Tasker, jun. their second son, ob. 1733. In the south chancel, a mural monument for John Twisleton, esq. of Horseman's-place, son and heir of John Twisleton, esq. of Drax, in Yorkshire, who was uncle and heir of Sir Geo. Twisleton, bart. of Barley, in that county, the antient paternal seat of the family. A memorial for John Twisleton, esq. late of Horseman's-place, ob. 1721. At the east end an altar tomb, inclosed with wooden rails, and on the south of it an inscription for John Beer, of Dartford, who had Nicholas, Anne, and Dorothy; for Nicholas, who had Clement and Edward, and for Clement Beer, who had John and Clement, who both died, s. p. Edward Beer, their uncle, was their heir, and lived unmarried fifty-nine years, and died in 1627. On the north side, an inscription, shewing, that Christopher Twisleton, esq. of Barley, in Yorkshire, married Anne Beer, by whom he had George Twisleton, who had John Twisleton, and Edward Beer, dying, s. p. gave all his lands in Kent to John Twisleton above mentioned, who erected this monument in 1628. On the west side are two shields, one quarterly, 1st and 4th, quarterly, a canton ermine; 2d and 3d, on a fess, three garbs; the other the same arms, impaling a chevron. A grave stone, having a brass plate for John Beer, esq. of Dartford, and Alice and Joan, his wives, and also for Henry Beer, his son and heir, who married Anne Beer, widow of Rich. Howlett, gent. deceased, and had by her a son, Wm. Beer, deceased, which John Beer died in 1572, and Henry in 1574; above, are two coats in brass, both, a bear rampant, on a canton, five escallop shells. On a grave stone, the figures of a man and his two wives, with children and their shields of arms in brass, all of which are lost, excepting the second wife and four children, and a plate with the inscription, for Wm. Rothele, of Dartford, who died in 1464, and Beatrix and Joane, his wives, and their children. Another on the north side, on which were the figures of a man and woman, in brass, now lost, but part of the inscription remains, for Katryn Burlton, who died 1496, and Rich. Burlton, jantilman, her husband, who died 15 . . . the rest torn off. A mont for Margaret, relict of John Pitt, esq. predent of the S. Sea company at Vera Crux, ob. 1731, æt. 49, arms, Pitt impaling a chevron, ingrailed, betw. three eagles heads erased. In the middle isle, are several memorials of Manning; a grave stone in the south cross isle, having the figures in brass of a man between his two wives, and underneath those of fifteen children, with inscription in black letter, for Wm. Death, gent. principal of Staple's inn, who had two wives, Elizabeth and Anne, by the former he had ten sons and six daughters, ob. 1590, Elizabeth, 1582; above a shield of arms, being death, a grissin passant between three crescents, quartering four other coats. (fn. 46) In the north isle are memorials for the Round's, Woodin, Poulter, Dalling, and Chambers, all of this parish. There are many more memorials and tombs of respectable inhabitants of this populous town and parish, as well in the church as the two church yards, but they are by far too numerous for insertion in this place.

 

In the 7th year of king Edward III. Thomas de Woldham, bishop of Rochester, caused a new window to be made in the chancel of the church.

 

William the Conqueror confirmed the gift which Hamo his steward had made of the church of Tarentford, in the king's manor, to the church of St. Andrew of Rochester; (fn. 47) which king Henry I. confirmed, with the churches appendant to it, and the tithes of this parish in corn, pannage, cattle, money, and in all other things, in like manner as St. Austin held the church of Middleton, with the tithes of that parish, in the time of his father, (fn. 48) and also the tithes of his mills in Darenteford.

 

Gundulph, bishop of Rochester, who was elected to that see in the reign of the Conqueror, having recovered the manors and possessions of his church, which had been dissipated and made away with, separated his own maintenance from that of the monks, in which division he allotted this church, among others, to the support of the almonry, belonging to the convent. (fn. 49) The monks did not continue long in the possession of it, for bishop Gilbert de Glanvill, who came to the see in 1185, on pretence that his predecessor had impoverished the see by his too large donations to the priory, divested them of all right to this church, which he restored to the see of Rochester; however, he reserved and confirmed to the monks their antient pension from it. (fn. 50)

 

Laurence, bishop of Rochester, in 1253, reserving the tithes of sheaves, and of every kind of hay, demised this church, and all the small tithes, oblations, and obventions, and the tithes of sheaves arising in gardens and curtileges not being ploughed, to the convent of Rochester, at the rent of thirty-eight marcs per annum, on condition that they supplied the cure, and they were to deduct their pension of ten marcs, paid by the rector, out of it. (fn. 51) He afterwards obtained pope Innocent IV.'s leave to appropriate this church, during his life, to the use of his table, which he complained was so slenderly provided for; that he and his family had not at times common necessaries for food; the clear receipts for the bishop's table being but five hundred marcs, which were not more than sufficient for half the expence of it, and the receipts from his manors not exceeding sixty marcs per annum. (fn. 52) This was confirmed to the bishop and his successors by pope Alexander IV. and again by Clement IV. Bishop Laurence, on the appropriation, endowed the vicarage of this church, with the small tithes of it, excepting hay, with two acres of arable, and one of meadow; and also with the tithes of sheaves growing from land dug up with the foot, as well for the support of the vicar, as the discharge of the ordinary burthens of his vicarage, and the payment of the above pension to the monks, the profits of the vicarage being then sound by a jury to be worth forty marcs sterling per annum, communibis sannis; which endowment being lost, bishop Thomas de Woldham, in 1299, confirmed it; and as the vicar had no house belonging to his vicarage, he granted him one standing on the soil belonging to the church, as a vicarage house for himself and his successors; and further, the tithe of twenty-one acres of meadow, called King's-marsh, in Dartford, heretofore taken by the bishop and his predecessors, and he decreed, that the vicar and his successors should keep and maintain the books, vestments, and other ornaments of the church, in a proper state and order, and should sustain and acknowledge all other ordinary burthens of it.

 

Archbishop Robert Winchelsea further endowed this vicarage with the tithe of hay, to the value of forty shillings, in satisfaction of which the whole tithe of hay, arising from the great salt march in Dartford, (excepting to the bishop of Rochester for the time being, the yearly sum of four shillings, due from the Knights Hospitallers to the bishop, as rector of this church) was decreed to the vicar, by the desinitive sentence of Walter, archbishop of Canterbury, in the year 1315, as an augmentation of his endowment.

 

Thomas de Woldham, bishop of Rochester, in the above year, granted in mortmain, to Robert Levee, vicar of Dartford, and his successors, a messuage, with its appurtenances, in Overe-street, in Dartford, which the bishop had purchased of Robert de Levee, of Frindsbury. (fn. 53) At the dissolution of the priory of Rochester, in the 32d year of king Henry VIII. the above pension of ten marcs, or 6l. 13s. 4d. was, by the king, in his 33d year, granted, among other pre emises, to his new erected dean and chapter of Rochester, who continue possessed of it at this time. The parsonage and advowson of the vicarage still remain part of the possessions of the bishop of Rochester. (fn. 54)

 

In the antient valuation of the bishop's revenues, this church was valued at 40l. and the bishop's mill and rent here, at 100s. In the 15th year of king Edward I.'s reign, the church was valued at forty-five marcs, and the vicarage at 100s. In the 33d of king Edward III. the church was valued at the like sum. (fn. 55)

 

By virtue of a commission of enquiry, in 1650, it was returned, that Dartford was a vicarage, with a house and glebe, all worth, with the privy tithes, seventy pounds per annum, master Charnock then incumbent. (fn. 56) It is a discharged living in the king's books, of the clear yearly certified value of 45l. 5s. 10½d. the yearly tenths of which are 1l. 17s. 1½d. (fn. 57)

 

This vicarage was, in 1736, augmented by the governors of queen Anne's bounty; at which time the Rev. Mr. Charles Chambers, vicar of Dartford, contributed one hundred pounds for that purpose. (fn. 58)

 

Bishop Laurence de St. Martin seems to have purchased, in the reign of king Henry III. several of the rents which now constitute the greatest part, if not the whole of the MANOR OF DARTFORD RECTORY, from Robert and Richard de Ripa, John Badecock, William de Wilmington, and others. (fn. 59)

 

This manor extends over both sides of the Highstreet, in Dartford, from the scite of the old marketplace to the church, and southward, in Lowfield, as far as the house of correction; all which is called the Bishop's liberty. At the leet of this manor, a constable and a borsholder are annually chosen for the liberty. There are several tenants which hold of it in socage, at small quit-rents.

 

In the 21st year of king Edward I. on a Quo warranto, the jury found that the bishop was feild, in right of his church, of view of frank pledge, and assize of bread and ale of his tenants in Dartford and Stone; and that the bishops, his predecessors, had been possessed of the same beyond memory.

 

There were TWO CHANTRIES, founded for divine services, in this parish; that of St. Edmund the Martyr, and of St. Mary, otherwise called Stampit. The former stood in the upper burial ground of this parish, which was a cimetary to it, and under this building was a charnel house. This chapel was suppressed at the same time with all other such endowments, and presently sell to ruin; but the cimetary was granted to the parish, as a place of burial for the parishioners, and continues so at this time. The advowson of this chantry was granted to the prioress and convent of Dartford priory, in the 46th year of king Edward III. at their first endowment.

 

John Bykenore endowed this chapel with five marcs, payable out of lands and tenements in Dartford, for the support of the chaplain of it. This chapel was under the jurisdiction of the archdeacon of the diocese.

 

¶The latter chantry of the Blessed Virgin St. Mary was subject to the official of the diocese. (fn. 60) It was founded by Thomas de Dertford, alias Art Stampett, vicar of this parish, in 1338, for one chaplain, to celebrate divine offices daily in the parish church of Dartford, in honour of the Blessed Virgin, and for the health of his soul, &c. and he appointed Ralph de Felthorpe the first chaplain of it, and endowed it with several lands and tenements, to the amount of one hundred and twenty acres, (fn. 61) in Dartford, the chaplain paying twelve pence yearly to the vicar of Dartford and his successors; and he gave the patronage of it, and the nomination of a chaplain to it in future, to the bishop of Rochester and his successors; which was confirmed by the bishop and the prior and chapter of Rochester the same year. (fn. 62) In the year 1553, Robert Bacon, incumbent of this chantry, had a pension of six pounds per annum.

 

www.british-history.ac.uk/survey-kent/vol2/pp286-328

Two Arriva Yorkshire operated VDL DB300 Wright Pulsar Gemini 2 buses are pictured leaving Leeds Bus Station with their respective duties.

 

TWY 7 - 1546 - Previously YJ61 OBW - leads the duo while on a diverted route. This vehicle wears the Sapphire version of the Arriva Journey Mark livery with branding for route 229 applied.

 

NK61 EBX - 1552 - Mick Senior - follows on behind in the standard Journey Mark with branding for route 268.

 

Date Taken: October 14th, 2024

Device Used: iPhone 12 Pro Max

Date Uploaded: November 28th, 2025

Upload Number: 1970

 

Interested in seeing some bus videos? You'll find buses both real and virtual on my YouTube channel, as well as other cool bus-themed stuff too! - www.youtube.com/@ZZ9sTransport

 

© ZZ9's Transport Photography (ZZ9 Productions). All Rights Reserved. Modification, redistribution, reuploading and the like is prohibited without prior written permission from myself.

Applied Enantiomerism to photography!!!!

Armand Jean du Plessis, 1st Duke of Richelieu; 9 September 1585 – 4 December 1642), known as Cardinal Richelieu, was a French statesman and prelate of the Catholic Church. He became known as l'Éminence rouge, or "the Red Eminence", a term derived from the title "Eminence" applied to cardinals and from the red robes that they customarily wear.

 

Consecrated a bishop in 1607, Richelieu was appointed Foreign Secretary in 1616. He continued to rise through the hierarchy of both the Catholic Church and the French government, becoming a cardinal in 1622 and chief minister to King Louis XIII of France in 1624. He retained that office until his death in 1642, when he was succeeded by Cardinal Mazarin, whose career he had fostered. Richelieu became engaged in a bitter dispute with Marie de Médici, the king's mother, and formerly his close ally.

 

Richelieu sought to consolidate royal power and restrained the power of the nobility in order to transform France into a strong centralized state. In foreign policy, his primary objectives were to check the power of the Habsburg dynasty (reigning notably in Spain and Austria) and to ensure French dominance in the Thirty Years' War of 1618–1648 after that conflict engulfed Europe. Despite suppressing the Huguenot rebellions of the 1620s, he made alliances with Protestant states like the Kingdom of England and the Dutch Republic to help him achieve his goals. However, although he was a powerful political figure in his own right, events such as the Day of the Dupes (French: Journée des Dupes) in 1630 showed that Richelieu's power still depended on the king's confidence.

 

An alumnus of the University of Paris and headmaster of the College of Sorbonne, Richelieu renovated and extended the institution. He became famous for his patronage of the arts and founded the Académie Française, the learned society responsible for matters pertaining to the French language. As an advocate for Samuel de Champlain and New France, he founded (1627) the Compagnie des Cent-Associés; he also negotiated the 1632 Treaty of Saint-Germain-en-Laye under which Quebec City returned to French rule after English privateers took it in 1629. He was created Duke of Richelieu in 1629.

 

Richelieu is known as the inventor of the table knife. Annoyed by the bad manners that were commonly displayed at the dining table by users of sharp knives (who would often use them to pick their teeth),[6] in 1637 Richelieu ordered that all of the knives on his dining table have their blades dulled and their tips rounded. The design quickly became popular throughout France and later spread to other countries.

 

Richelieu has frequently been depicted in popular fiction, notably as the lead villain in Alexandre Dumas's 1844 novel The Three Musketeers and its numerous film adaptations.

 

Early life

Born in Paris on 9 September 1585, Armand du Plessis was the fourth of five children and the last of three sons: he was delicate from childhood and suffered frequent bouts of ill-health throughout his life. His family belonged to the lesser nobility of Poitou: his father, François du Plessis, seigneur de Richelieu, was a soldier and courtier who served as the Grand Provost of France, and his mother, Susanne de La Porte, was the daughter of a famous jurist.

 

When he was five years old, Richelieu's father died of fever in the French Wars of Religion, leaving the family in debt; with the aid of royal grants, however, the family was able to avoid financial difficulties. At the age of 9, young Richelieu was sent to the College of Navarre in Paris to study philosophy. Thereafter, he began to train for a military career. His private life seems to have been typical for a young officer of the era; in 1605, aged twenty, he was treated by Théodore de Mayerne for gonorrhea.

 

Henry III had rewarded Richelieu's father for his participation in the Wars of Religion by granting his family the Bishopric of Luçon. The family appropriated most of the revenues of the bishopric for private use; they were, however, challenged by clergymen who desired the funds for ecclesiastical purposes. To protect the important source of revenue, Richelieu's mother proposed to make her second son, Alphonse, the bishop of Luçon. Alphonse, who had no desire to become a bishop, became instead a Carthusian monk. Thus, it became necessary that the younger Richelieu join the clergy. He had strong academic interests and threw himself into studying for his new post.

 

In 1606, Henry IV nominated Richelieu to become Bishop of Luçon. As Richelieu had not yet reached the canonical minimum age, it was necessary that he journey to Rome for a special dispensation from Pope Paul V. This secured, Richelieu was consecrated bishop in April 1607. Soon after he returned to his diocese in 1608, Richelieu was heralded as a reformer. He became the first bishop in France to implement the institutional reforms prescribed by the Council of Trent between 1545 and 1563.

 

At about this time, Richelieu became a friend of François Leclerc du Tremblay (better known as "Père Joseph" or "Father Joseph"), a Capuchin friar, who would later become a close confidant. Because of his closeness to Richelieu, and the grey colour of his robes, Father Joseph was also nicknamed L'éminence grise (lit. 'the Grey Eminence'). Later, Richelieu often used him as an agent during diplomatic negotiations.

 

Rise to power

In 1614, the clergymen of Poitou asked Richelieu to be one of their representatives to the Estates-General. There, he was a vigorous advocate of the Catholic Church, arguing that it should be exempt from taxes and that bishops should have more political power. He was the most prominent clergyman to support the adoption of the decrees of the Council of Trent throughout France; the Third Estate (commoners) was his chief opponent in this endeavour. At the end of the assembly, the First Estate (the clergy) chose him to deliver the address enumerating its petitions and decisions. Soon after the dissolution of the Estates-General, Richelieu entered the service of King Louis XIII's wife, Anne of Austria, as her almoner.

 

Richelieu advanced politically by faithfully serving the queen-mother's favourite, Concino Concini, the most powerful minister in the kingdom. In 1616, Richelieu was made Secretary of State, and was given responsibility for foreign affairs. Like Concini, the Bishop was one of the closest advisors of Louis XIII's mother, Marie de Médicis. The queen had become Regent of France when the nine-year-old Louis ascended the throne; although her son reached the legal age of majority in 1614, she remained the effective ruler of the realm. However, her policies, and those of Concini, proved unpopular with many in France. As a result, both Marie and Concini became the targets of intrigues at court; their most powerful enemy was Charles de Luynes. In April 1617, in a plot arranged by Luynes, Louis XIII ordered that Concini be arrested, and killed should he resist; Concini was consequently assassinated, and Marie de Médicis overthrown. His patron having died, Richelieu also lost power; he was dismissed as Secretary of State, and was removed from the court. In 1618, the king, still suspicious of the Bishop of Luçon, banished him to Avignon. There, Richelieu spent most of his time writing; he composed a catechism titled L'Instruction du chrétien.

 

In 1619, Marie de Médicis escaped from her confinement in the Château de Blois, becoming the titular leader of an aristocratic rebellion. The king and the duc de Luynes recalled Richelieu, believing that he would be able to reason with the queen. Richelieu was successful in this endeavour, mediating between her and her son. Complex negotiations bore fruit when the Treaty of Angoulême was ratified; Marie de Médicis was given complete freedom, but would remain at peace with the king. The queen-mother was restored to the royal council.

 

After the death of the king's favourite, the duc de Luynes, in 1621, Richelieu rose to power quickly. The year after, the king nominated Richelieu for a cardinalate, which Pope Gregory XV accordingly granted in September 1622. Crises in France, including a rebellion of the Huguenots, rendered Richelieu a nearly indispensable advisor to the king. After he was appointed to the royal council of ministers on 29 April 1624, he intrigued against the chief minister Charles, duc de La Vieuville. On 12 August of the same year, La Vieuville was arrested on charges of corruption, and Cardinal Richelieu took his place as the king's principal minister the following day, but the Cardinal de la Rochefoucauld nominally remained president of the council (Richelieu was officially appointed president in November 1629).

 

Amboise is a commune in the Indre-et-Loire department in central France. Today a small market town, it was once home of the French royal court.

 

Amboise lies on the banks of the river Loire, 27 kilometres (17 mi) east of Tours. It is also about 18 kilometres (11 mi) away from the historic Château de Chenonceau, situated on the river Cher near the small village of Chenonceaux. Amboise station, on the north bank of the Loire, has rail connections to Orléans, Blois and Tours.

 

Clovis I (c. 466 – 511) and the Visigoths signed a peace treaty of alliance with the Arvernians in 503, which assisted him in his defeat of the Visigothic kingdom in the Battle of Vouillé in 507.

 

Joan of Arc passed through in 1429 on her way to Orleans to the Battle of Patay.

 

Château du Clos Lucé was the residence of Leonardo da Vinci between 1516 and his death in 1519. Da Vinci died in the arms of King Francis I, and he was buried in a crypt near the Château d'Amboise. The house has lost some of its original parts, but it still stands today containing a museum of da Vinci's work and inventions, and overlooks the river Loire.

 

The Amboise conspiracy was the conspiracy of Condé and the Huguenots in 1560 against Francis II, Catherine de' Medici and the Guises.

 

The Château at Amboise was home to Mary Stewart, Queen of Scots, for much of her early life, being raised there at the French court of Henry II. She arrived in France from Scotland in 1548, aged six, via the French king's favourite palace at Saint-Germain-en-Laye near Paris, and remained in France until 1561, when she returned to her homeland—sailing up the Firth of Forth to Edinburgh on 15 August that year.

  

The Edict of Amboise (1563) conceded the free exercise of worship to the Protestants.

 

Here was born in 1743 Louis Claude de Saint-Martin, French philosopher, known as Le Philosophe Inconnu (d. 1803).

 

Abd el Kader Ibn Mouhi Ad-Din (c. 1807 – 1883) was imprisoned at the Château d'Amboise.

 

In 2019, the 500th anniversary of da Vinci's death, Amboise held many events celebrating the master's life and his work completed in the town. The number of visitors to Château du Clos Lucé, for example, was estimated as 500,000 in 2019, a 30% increase over the typical annual number.

 

The city is known for the Clos Lucé manor house where Leonardo da Vinci lived (and ultimately died) at the invitation of King Francis I of France, whose Château d'Amboise, which dominates the town, is located just 500 m (1,640 feet) away. The narrow streets contain some good examples of timbered housing.

 

Just outside the city is the Pagode de Chanteloup, a 44-metre-tall (144 ft) Chinese pagoda built in 1775 by the Duke of Choiseul. The pagoda is seven levels high, with each level slightly smaller than the last one. An interior staircase to reach all levels is open to the public.

 

The Musée de la Poste (in the Hôtel Joyeuse) is a museum tracing the history of the postal delivery service.

 

A 20th-century fountain by Max Ernst stands in front of the market place.

 

Applied GIMP's Unsharp and Despeckle.to similar pose.

Here're the previous looks:

www.flickr.com/photos/76434492@N02/7492202010/

www.flickr.com/photos/76434492@N02/7406084502/

www.flickr.com/photos/76434492@N02/7316482354/

   

Fish, any of approximately 34,000 species of vertebrate animals (phylum Chordata) found in the fresh and salt waters of the world. Living species range from the primitive jawless lampreys and hagfishes through the cartilaginous sharks, skates, and rays to the abundant and diverse bony fishes. Most fish species are cold-blooded; however, one species, the opah (Lampris guttatus), is warm-blooded.

 

The term fish is applied to a variety of vertebrates of several evolutionary lines. It describes a life-form rather than a taxonomic group. As members of the phylum Chordata, fish share certain features with other vertebrates. These features are gill slits at some point in the life cycle, a notochord, or skeletal supporting rod, a dorsal hollow nerve cord, and a tail. Living fishes represent some five classes, which are as distinct from one another as are the four classes of familiar air-breathing animals—amphibians, reptiles, birds, and mammals. For example, the jawless fishes (Agnatha) have gills in pouches and lack limb girdles. Extant agnathans are the lampreys and the hagfishes. As the name implies, the skeletons of fishes of the class Chondrichthyes (from chondr, “cartilage,” and ichthyes, “fish”) are made entirely of cartilage. Modern fish of this class lack a swim bladder, and their scales and teeth are made up of the same placoid material. Sharks, skates, and rays are examples of cartilaginous fishes. The bony fishes are by far the largest class. Examples range from the tiny seahorse to the 450-kg (1,000-pound) blue marlin, from the flattened soles and flounders to the boxy puffers and ocean sunfishes. Unlike the scales of the cartilaginous fishes, those of bony fishes, when present, grow throughout life and are made up of thin overlapping plates of bone. Bony fishes also have an operculum that covers the gill slits.

 

The study of fishes, the science of ichthyology, is of broad importance. Fishes are of interest to humans for many reasons, the most important being their relationship with and dependence on the environment. A more obvious reason for interest in fishes is their role as a moderate but important part of the world’s food supply. This resource, once thought unlimited, is now realized to be finite and in delicate balance with the biological, chemical, and physical factors of the aquatic environment. Overfishing, pollution, and alteration of the environment are the chief enemies of proper fisheries management, both in fresh waters and in the ocean. (For a detailed discussion of the technology and economics of fisheries, see commercial fishing.) Another practical reason for studying fishes is their use in disease control. As predators on mosquito larvae, they help curb malaria and other mosquito-borne diseases.

 

Fishes are valuable laboratory animals in many aspects of medical and biological research. For example, the readiness of many fishes to acclimate to captivity has allowed biologists to study behaviour, physiology, and even ecology under relatively natural conditions. Fishes have been especially important in the study of animal behaviour, where research on fishes has provided a broad base for the understanding of the more flexible behaviour of the higher vertebrates. The zebra fish is used as a model in studies of gene expression.

 

There are aesthetic and recreational reasons for an interest in fishes. Millions of people keep live fishes in home aquariums for the simple pleasure of observing the beauty and behaviour of animals otherwise unfamiliar to them. Aquarium fishes provide a personal challenge to many aquarists, allowing them to test their ability to keep a small section of the natural environment in their homes. Sportfishing is another way of enjoying the natural environment, also indulged in by millions of people every year. Interest in aquarium fishes and sportfishing supports multimillion-dollar industries throughout the world.

 

Fishes have been in existence for more than 450 million years, during which time they have evolved repeatedly to fit into almost every conceivable type of aquatic habitat. In a sense, land vertebrates are simply highly modified fishes: when fishes colonized the land habitat, they became tetrapod (four-legged) land vertebrates. The popular conception of a fish as a slippery, streamlined aquatic animal that possesses fins and breathes by gills applies to many fishes, but far more fishes deviate from that conception than conform to it. For example, the body is elongate in many forms and greatly shortened in others; the body is flattened in some (principally in bottom-dwelling fishes) and laterally compressed in many others; the fins may be elaborately extended, forming intricate shapes, or they may be reduced or even lost; and the positions of the mouth, eyes, nostrils, and gill openings vary widely. Air breathers have appeared in several evolutionary lines.

 

Many fishes are cryptically coloured and shaped, closely matching their respective environments; others are among the most brilliantly coloured of all organisms, with a wide range of hues, often of striking intensity, on a single individual. The brilliance of pigments may be enhanced by the surface structure of the fish, so that it almost seems to glow. A number of unrelated fishes have actual light-producing organs. Many fishes are able to alter their coloration—some for the purpose of camouflage, others for the enhancement of behavioral signals.

 

Fishes range in adult length from less than 10 mm (0.4 inch) to more than 20 metres (60 feet) and in weight from about 1.5 grams (less than 0.06 ounce) to many thousands of kilograms. Some live in shallow thermal springs at temperatures slightly above 42 °C (100 °F), others in cold Arctic seas a few degrees below 0 °C (32 °F) or in cold deep waters more than 4,000 metres (13,100 feet) beneath the ocean surface. The structural and, especially, the physiological adaptations for life at such extremes are relatively poorly known and provide the scientifically curious with great incentive for study.

 

Almost all natural bodies of water bear fish life, the exceptions being very hot thermal ponds and extremely salt-alkaline lakes, such as the Dead Sea in Asia and the Great Salt Lake in North America. The present distribution of fishes is a result of the geological history and development of Earth as well as the ability of fishes to undergo evolutionary change and to adapt to the available habitats. Fishes may be seen to be distributed according to habitat and according to geographical area. Major habitat differences are marine and freshwater. For the most part, the fishes in a marine habitat differ from those in a freshwater habitat, even in adjacent areas, but some, such as the salmon, migrate from one to the other. The freshwater habitats may be seen to be of many kinds. Fishes found in mountain torrents, Arctic lakes, tropical lakes, temperate streams, and tropical rivers will all differ from each other, both in obvious gross structure and in physiological attributes. Even in closely adjacent habitats where, for example, a tropical mountain torrent enters a lowland stream, the fish fauna will differ. The marine habitats can be divided into deep ocean floors (benthic), mid-water oceanic (bathypelagic), surface oceanic (pelagic), rocky coast, sandy coast, muddy shores, bays, estuaries, and others. Also, for example, rocky coastal shores in tropical and temperate regions will have different fish faunas, even when such habitats occur along the same coastline.

 

Although much is known about the present geographical distribution of fishes, far less is known about how that distribution came about. Many parts of the fish fauna of the fresh waters of North America and Eurasia are related and undoubtedly have a common origin. The faunas of Africa and South America are related, extremely old, and probably an expression of the drifting apart of the two continents. The fauna of southern Asia is related to that of Central Asia, and some of it appears to have entered Africa. The extremely large shore-fish faunas of the Indian and tropical Pacific oceans comprise a related complex, but the tropical shore fauna of the Atlantic, although containing Indo-Pacific components, is relatively limited and probably younger. The Arctic and Antarctic marine faunas are quite different from each other. The shore fauna of the North Pacific is quite distinct, and that of the North Atlantic more limited and probably younger. Pelagic oceanic fishes, especially those in deep waters, are similar the world over, showing little geographical isolation in terms of family groups. The deep oceanic habitat is very much the same throughout the world, but species differences do exist, showing geographical areas determined by oceanic currents and water masses.

 

All aspects of the life of a fish are closely correlated with adaptation to the total environment, physical, chemical, and biological. In studies, all the interdependent aspects of fish, such as behaviour, locomotion, reproduction, and physical and physiological characteristics, must be taken into account.

 

Correlated with their adaptation to an extremely wide variety of habitats is the extremely wide variety of life cycles that fishes display. The great majority hatch from relatively small eggs a few days to several weeks or more after the eggs are scattered in the water. Newly hatched young are still partially undeveloped and are called larvae until body structures such as fins, skeleton, and some organs are fully formed. Larval life is often very short, usually less than a few weeks, but it can be very long, some lampreys continuing as larvae for at least five years. Young and larval fishes, before reaching sexual maturity, must grow considerably, and their small size and other factors often dictate that they live in a habitat different than that of the adults. For example, most tropical marine shore fishes have pelagic larvae. Larval food also is different, and larval fishes often live in shallow waters, where they may be less exposed to predators.

 

After a fish reaches adult size, the length of its life is subject to many factors, such as innate rates of aging, predation pressure, and the nature of the local climate. The longevity of a species in the protected environment of an aquarium may have nothing to do with how long members of that species live in the wild. Many small fishes live only one to three years at the most. In some species, however, individuals may live as long as 10 or 20 or even 100 years.

 

Fish behaviour is a complicated and varied subject. As in almost all animals with a central nervous system, the nature of a response of an individual fish to stimuli from its environment depends upon the inherited characteristics of its nervous system, on what it has learned from past experience, and on the nature of the stimuli. Compared with the variety of human responses, however, that of a fish is stereotyped, not subject to much modification by “thought” or learning, and investigators must guard against anthropomorphic interpretations of fish behaviour.

 

Fishes perceive the world around them by the usual senses of sight, smell, hearing, touch, and taste and by special lateral line water-current detectors. In the few fishes that generate electric fields, a process that might best be called electrolocation aids in perception. One or another of these senses often is emphasized at the expense of others, depending upon the fish’s other adaptations. In fishes with large eyes, the sense of smell may be reduced; others, with small eyes, hunt and feed primarily by smell (such as some eels).

 

Specialized behaviour is primarily concerned with the three most important activities in the fish’s life: feeding, reproduction, and escape from enemies. Schooling behaviour of sardines on the high seas, for instance, is largely a protective device to avoid enemies, but it is also associated with and modified by their breeding and feeding requirements. Predatory fishes are often solitary, lying in wait to dart suddenly after their prey, a kind of locomotion impossible for beaked parrot fishes, which feed on coral, swimming in small groups from one coral head to the next. In addition, some predatory fishes that inhabit pelagic environments, such as tunas, often school.

 

Sleep in fishes, all of which lack true eyelids, consists of a seemingly listless state in which the fish maintains its balance but moves slowly. If attacked or disturbed, most can dart away. A few kinds of fishes lie on the bottom to sleep. Most catfishes, some loaches, and some eels and electric fishes are strictly nocturnal, being active and hunting for food during the night and retiring during the day to holes, thick vegetation, or other protective parts of the environment.

 

Communication between members of a species or between members of two or more species often is extremely important, especially in breeding behaviour (see below Reproduction). The mode of communication may be visual, as between the small so-called cleaner fish and a large fish of a very different species. The larger fish often allows the cleaner to enter its mouth to remove gill parasites. The cleaner is recognized by its distinctive colour and actions and therefore is not eaten, even if the larger fish is normally a predator. Communication is often chemical, signals being sent by specific chemicals called pheromones.

 

Many fishes have a streamlined body and swim freely in open water. Fish locomotion is closely correlated with habitat and ecological niche (the general position of the animal to its environment).

 

Many fishes in both marine and fresh waters swim at the surface and have mouths adapted to feed best (and sometimes only) at the surface. Often such fishes are long and slender, able to dart at surface insects or at other surface fishes and in turn to dart away from predators; needlefishes, halfbeaks, and topminnows (such as killifish and mosquito fish) are good examples. Oceanic flying fishes escape their predators by gathering speed above the water surface, with the lower lobe of the tail providing thrust in the water. They then glide hundreds of yards on enlarged, winglike pectoral and pelvic fins. South American freshwater flying fishes escape their enemies by jumping and propelling their strongly keeled bodies out of the water.

 

So-called mid-water swimmers, the most common type of fish, are of many kinds and live in many habitats. The powerful fusiform tunas and the trouts, for example, are adapted for strong, fast swimming, the tunas to capture prey speedily in the open ocean and the trouts to cope with the swift currents of streams and rivers. The trout body form is well adapted to many habitats. Fishes that live in relatively quiet waters such as bays or lake shores or slow rivers usually are not strong, fast swimmers but are capable of short, quick bursts of speed to escape a predator. Many of these fishes have their sides flattened, examples being the sunfish and the freshwater angelfish of aquarists. Fish associated with the bottom or substrate usually are slow swimmers. Open-water plankton-feeding fishes almost always remain fusiform and are capable of rapid, strong movement (for example, sardines and herrings of the open ocean and also many small minnows of streams and lakes).

 

Bottom-living fishes are of many kinds and have undergone many types of modification of their body shape and swimming habits. Rays, which evolved from strong-swimming mid-water sharks, usually stay close to the bottom and move by undulating their large pectoral fins. Flounders live in a similar habitat and move over the bottom by undulating the entire body. Many bottom fishes dart from place to place, resting on the bottom between movements, a motion common in gobies. One goby relative, the mudskipper, has taken to living at the edge of pools along the shore of muddy mangrove swamps. It escapes its enemies by flipping rapidly over the mud, out of the water. Some catfishes, synbranchid eels, the so-called climbing perch, and a few other fishes venture out over damp ground to find more promising waters than those that they left. They move by wriggling their bodies, sometimes using strong pectoral fins; most have accessory air-breathing organs. Many bottom-dwelling fishes live in mud holes or rocky crevices. Marine eels and gobies commonly are found in such habitats and for the most part venture far beyond their cavelike homes. Some bottom dwellers, such as the clingfishes (Gobiesocidae), have developed powerful adhesive disks that enable them to remain in place on the substrate in areas such as rocky coasts, where the action of the waves is great.

 

The methods of reproduction in fishes are varied, but most fishes lay a large number of small eggs, fertilized and scattered outside of the body. The eggs of pelagic fishes usually remain suspended in the open water. Many shore and freshwater fishes lay eggs on the bottom or among plants. Some have adhesive eggs. The mortality of the young and especially of the eggs is very high, and often only a few individuals grow to maturity out of hundreds, thousands, and in some cases millions of eggs laid.

 

Males produce sperm, usually as a milky white substance called milt, in two (sometimes one) testes within the body cavity. In bony fishes a sperm duct leads from each testis to a urogenital opening behind the vent or anus. In sharks and rays and in cyclostomes the duct leads to a cloaca. Sometimes the pelvic fins are modified to help transmit the milt to the eggs at the female’s vent or on the substrate where the female has placed them. Sometimes accessory organs are used to fertilize females internally—for example, the claspers of many sharks and rays.

 

In the females the eggs are formed in two ovaries (sometimes only one) and pass through the ovaries to the urogenital opening and to the outside. In some fishes the eggs are fertilized internally but are shed before development takes place. Members of about a dozen families each of bony fishes (teleosts) and sharks bear live young. Many skates and rays also bear live young. In some bony fishes the eggs simply develop within the female, the young emerging when the eggs hatch (ovoviviparous). Others develop within the ovary and are nourished by ovarian tissues after hatching (viviparous). There are also other methods utilized by fishes to nourish young within the female. In all live-bearers the young are born at a relatively large size and are few in number. In one family of primarily marine fishes, the surfperches from the Pacific coast of North America, Japan, and Korea, the males of at least one species are born sexually mature, although they are not fully grown.

 

Some fishes are hermaphroditic—an individual producing both sperm and eggs, usually at different stages of its life. Self-fertilization, however, is probably rare.

 

Successful reproduction and, in many cases, defense of the eggs and the young are assured by rather stereotypical but often elaborate courtship and parental behaviour, either by the male or the female or both. Some fishes prepare nests by hollowing out depressions in the sand bottom (cichlids, for example), build nests with plant materials and sticky threads excreted by the kidneys (sticklebacks), or blow a cluster of mucus-covered bubbles at the water surface (gouramis). The eggs are laid in these structures. Some varieties of cichlids and catfishes incubate eggs in their mouths.

 

Some fishes, such as salmon, undergo long migrations from the ocean and up large rivers to spawn in the gravel beds where they themselves hatched (anadromous fishes). Some, such as the freshwater eels (family Anguillidae), live and grow to maturity in fresh water and migrate to the sea to spawn (catadromous fishes). Other fishes undertake shorter migrations from lakes into streams, within the ocean, or enter spawning habitats that they do not ordinarily occupy in other ways.

 

The basic structure and function of the fish body are similar to those of all other vertebrates. The usual four types of tissues are present: surface or epithelial, connective (bone, cartilage, and fibrous tissues, as well as their derivative, blood), nerve, and muscle tissues. In addition, the fish’s organs and organ systems parallel those of other vertebrates.

 

The typical fish body is streamlined and spindle-shaped, with an anterior head, a gill apparatus, and a heart, the latter lying in the midline just below the gill chamber. The body cavity, containing the vital organs, is situated behind the head in the lower anterior part of the body. The anus usually marks the posterior termination of the body cavity and most often occurs just in front of the base of the anal fin. The spinal cord and vertebral column continue from the posterior part of the head to the base of the tail fin, passing dorsal to the body cavity and through the caudal (tail) region behind the body cavity. Most of the body is of muscular tissue, a high proportion of which is necessitated by swimming. In the course of evolution this basic body plan has been modified repeatedly into the many varieties of fish shapes that exist today.

 

The skeleton forms an integral part of the fish’s locomotion system, as well as serving to protect vital parts. The internal skeleton consists of the skull bones (except for the roofing bones of the head, which are really part of the external skeleton), the vertebral column, and the fin supports (fin rays). The fin supports are derived from the external skeleton but will be treated here because of their close functional relationship to the internal skeleton. The internal skeleton of cyclostomes, sharks, and rays is of cartilage; that of many fossil groups and some primitive living fishes is mostly of cartilage but may include some bone. In place of the vertebral column, the earliest vertebrates had a fully developed notochord, a flexible stiff rod of viscous cells surrounded by a strong fibrous sheath. During the evolution of modern fishes the rod was replaced in part by cartilage and then by ossified cartilage. Sharks and rays retain a cartilaginous vertebral column; bony fishes have spool-shaped vertebrae that in the more primitive living forms only partially replace the notochord. The skull, including the gill arches and jaws of bony fishes, is fully, or at least partially, ossified. That of sharks and rays remains cartilaginous, at times partially replaced by calcium deposits but never by true bone.

 

The supportive elements of the fins (basal or radial bones or both) have changed greatly during fish evolution. Some of these changes are described in the section below (Evolution and paleontology). Most fishes possess a single dorsal fin on the midline of the back. Many have two and a few have three dorsal fins. The other fins are the single tail and anal fins and paired pelvic and pectoral fins. A small fin, the adipose fin, with hairlike fin rays, occurs in many of the relatively primitive teleosts (such as trout) on the back near the base of the caudal fin.

 

The skin of a fish must serve many functions. It aids in maintaining the osmotic balance, provides physical protection for the body, is the site of coloration, contains sensory receptors, and, in some fishes, functions in respiration. Mucous glands, which aid in maintaining the water balance and offer protection from bacteria, are extremely numerous in fish skin, especially in cyclostomes and teleosts. Since mucous glands are present in the modern lampreys, it is reasonable to assume that they were present in primitive fishes, such as the ancient Silurian and Devonian agnathans. Protection from abrasion and predation is another function of the fish skin, and dermal (skin) bone arose early in fish evolution in response to this need. It is thought that bone first evolved in skin and only later invaded the cartilaginous areas of the fish’s body, to provide additional support and protection. There is some argument as to which came first, cartilage or bone, and fossil evidence does not settle the question. In any event, dermal bone has played an important part in fish evolution and has different characteristics in different groups of fishes. Several groups are characterized at least in part by the kind of bony scales they possess.

 

Scales have played an important part in the evolution of fishes. Primitive fishes usually had thick bony plates or thick scales in several layers of bone, enamel, and related substances. Modern teleost fishes have scales of bone, which, while still protective, allow much more freedom of motion in the body. A few modern teleosts (some catfishes, sticklebacks, and others) have secondarily acquired bony plates in the skin. Modern and early sharks possessed placoid scales, a relatively primitive type of scale with a toothlike structure, consisting of an outside layer of enamel-like substance (vitrodentine), an inner layer of dentine, and a pulp cavity containing nerves and blood vessels. Primitive bony fishes had thick scales of either the ganoid or the cosmoid type. Cosmoid scales have a hard, enamel-like outer layer, an inner layer of cosmine (a form of dentine), and then a layer of vascular bone (isopedine). In ganoid scales the hard outer layer is different chemically and is called ganoin. Under this is a cosminelike layer and then a vascular bony layer. The thin, translucent bony scales of modern fishes, called cycloid and ctenoid (the latter distinguished by serrations at the edges), lack enameloid and dentine layers.

 

Skin has several other functions in fishes. It is well supplied with nerve endings and presumably receives tactile, thermal, and pain stimuli. Skin is also well supplied with blood vessels. Some fishes breathe in part through the skin, by the exchange of oxygen and carbon dioxide between the surrounding water and numerous small blood vessels near the skin surface.

 

Skin serves as protection through the control of coloration. Fishes exhibit an almost limitless range of colours. The colours often blend closely with the surroundings, effectively hiding the animal. Many fishes use bright colours for territorial advertisement or as recognition marks for other members of their own species, or sometimes for members of other species. Many fishes can change their colour to a greater or lesser degree, by movement of pigment within the pigment cells (chromatophores). Black pigment cells (melanophores), of almost universal occurrence in fishes, are often juxtaposed with other pigment cells. When placed beneath iridocytes or leucophores (bearing the silvery or white pigment guanine), melanophores produce structural colours of blue and green. These colours are often extremely intense, because they are formed by refraction of light through the needlelike crystals of guanine. The blue and green refracted colours are often relatively pure, lacking the red and yellow rays, which have been absorbed by the black pigment (melanin) of the melanophores. Yellow, orange, and red colours are produced by erythrophores, cells containing the appropriate carotenoid pigments. Other colours are produced by combinations of melanophores, erythrophores, and iridocytes.

 

The major portion of the body of most fishes consists of muscles. Most of the mass is trunk musculature, the fin muscles usually being relatively small. The caudal fin is usually the most powerful fin, being moved by the trunk musculature. The body musculature is usually arranged in rows of chevron-shaped segments on each side. Contractions of these segments, each attached to adjacent vertebrae and vertebral processes, bends the body on the vertebral joint, producing successive undulations of the body, passing from the head to the tail, and producing driving strokes of the tail. It is the latter that provides the strong forward movement for most fishes.

 

The digestive system, in a functional sense, starts at the mouth, with the teeth used to capture prey or collect plant foods. Mouth shape and tooth structure vary greatly in fishes, depending on the kind of food normally eaten. Most fishes are predacious, feeding on small invertebrates or other fishes and have simple conical teeth on the jaws, on at least some of the bones of the roof of the mouth, and on special gill arch structures just in front of the esophagus. The latter are throat teeth. Most predacious fishes swallow their prey whole, and the teeth are used for grasping and holding prey, for orienting prey to be swallowed (head first) and for working the prey toward the esophagus. There are a variety of tooth types in fishes. Some fishes, such as sharks and piranhas, have cutting teeth for biting chunks out of their victims. A shark’s tooth, although superficially like that of a piranha, appears in many respects to be a modified scale, while that of the piranha is like that of other bony fishes, consisting of dentine and enamel. Parrot fishes have beaklike mouths with short incisor-like teeth for breaking off coral and have heavy pavementlike throat teeth for crushing the coral. Some catfishes have small brushlike teeth, arranged in rows on the jaws, for scraping plant and animal growth from rocks. Many fishes (such as the Cyprinidae or minnows) have no jaw teeth at all but have very strong throat teeth.

 

Some fishes gather planktonic food by straining it from their gill cavities with numerous elongate stiff rods (gill rakers) anchored by one end to the gill bars. The food collected on these rods is passed to the throat, where it is swallowed. Most fishes have only short gill rakers that help keep food particles from escaping out the mouth cavity into the gill chamber.

 

Once reaching the throat, food enters a short, often greatly distensible esophagus, a simple tube with a muscular wall leading into a stomach. The stomach varies greatly in fishes, depending upon the diet. In most predacious fishes it is a simple straight or curved tube or pouch with a muscular wall and a glandular lining. Food is largely digested there and leaves the stomach in liquid form.

 

Between the stomach and the intestine, ducts enter the digestive tube from the liver and pancreas. The liver is a large, clearly defined organ. The pancreas may be embedded in it, diffused through it, or broken into small parts spread along some of the intestine. The junction between the stomach and the intestine is marked by a muscular valve. Pyloric ceca (blind sacs) occur in some fishes at this junction and have a digestive or absorptive function or both.

 

The intestine itself is quite variable in length, depending upon the fish’s diet. It is short in predacious forms, sometimes no longer than the body cavity, but long in herbivorous forms, being coiled and several times longer than the entire length of the fish in some species of South American catfishes. The intestine is primarily an organ for absorbing nutrients into the bloodstream. The larger its internal surface, the greater its absorptive efficiency, and a spiral valve is one method of increasing its absorption surface.

 

Sharks, rays, chimaeras, lungfishes, surviving chondrosteans, holosteans, and even a few of the more primitive teleosts have a spiral valve or at least traces of it in the intestine. Most modern teleosts have increased the area of the intestinal walls by having numerous folds and villi (fingerlike projections) somewhat like those in humans. Undigested substances are passed to the exterior through the anus in most teleost fishes. In lungfishes, sharks, and rays, it is first passed through the cloaca, a common cavity receiving the intestinal opening and the ducts from the urogenital system.

 

Oxygen and carbon dioxide dissolve in water, and most fishes exchange dissolved oxygen and carbon dioxide in water by means of the gills. The gills lie behind and to the side of the mouth cavity and consist of fleshy filaments supported by the gill arches and filled with blood vessels, which give gills a bright red colour. Water taken in continuously through the mouth passes backward between the gill bars and over the gill filaments, where the exchange of gases takes place. The gills are protected by a gill cover in teleosts and many other fishes but by flaps of skin in sharks, rays, and some of the older fossil fish groups. The blood capillaries in the gill filaments are close to the gill surface to take up oxygen from the water and to give up excess carbon dioxide to the water.

 

Most modern fishes have a hydrostatic (ballast) organ, called the swim bladder, that lies in the body cavity just below the kidney and above the stomach and intestine. It originated as a diverticulum of the digestive canal. In advanced teleosts, especially the acanthopterygians, the bladder has lost its connection with the digestive tract, a condition called physoclistic. The connection has been retained (physostomous) by many relatively primitive teleosts. In several unrelated lines of fishes, the bladder has become specialized as a lung or, at least, as a highly vascularized accessory breathing organ. Some fishes with such accessory organs are obligate air breathers and will drown if denied access to the surface, even in well-oxygenated water. Fishes with a hydrostatic form of swim bladder can control their depth by regulating the amount of gas in the bladder. The gas, mostly oxygen, is secreted into the bladder by special glands, rendering the fish more buoyant; the gas is absorbed into the bloodstream by another special organ, reducing the overall buoyancy and allowing the fish to sink. Some deep-sea fishes may have oils, rather than gas, in the bladder. Other deep-sea and some bottom-living forms have much-reduced swim bladders or have lost the organ entirely.

 

The swim bladder of fishes follows the same developmental pattern as the lungs of land vertebrates. There is no doubt that the two structures have the same historical origin in primitive fishes. More or less intermediate forms still survive among the more primitive types of fishes, such as the lungfishes Lepidosiren and Protopterus.

 

The circulatory, or blood vascular, system consists of the heart, the arteries, the capillaries, and the veins. It is in the capillaries that the interchange of oxygen, carbon dioxide, nutrients, and other substances such as hormones and waste products takes place. The capillaries lead to the veins, which return the venous blood with its waste products to the heart, kidneys, and gills. There are two kinds of capillary beds: those in the gills and those in the rest of the body. The heart, a folded continuous muscular tube with three or four saclike enlargements, undergoes rhythmic contractions and receives venous blood in a sinus venosus. It passes the blood to an auricle and then into a thick muscular pump, the ventricle. From the ventricle the blood goes to a bulbous structure at the base of a ventral aorta just below the gills. The blood passes to the afferent (receiving) arteries of the gill arches and then to the gill capillaries. There waste gases are given off to the environment, and oxygen is absorbed. The oxygenated blood enters efferent (exuant) arteries of the gill arches and then flows into the dorsal aorta. From there blood is distributed to the tissues and organs of the body. One-way valves prevent backflow. The circulation of fishes thus differs from that of the reptiles, birds, and mammals in that oxygenated blood is not returned to the heart prior to distribution to the other parts of the body.

 

The primary excretory organ in fishes, as in other vertebrates, is the kidney. In fishes some excretion also takes place in the digestive tract, skin, and especially the gills (where ammonia is given off). Compared with land vertebrates, fishes have a special problem in maintaining their internal environment at a constant concentration of water and dissolved substances, such as salts. Proper balance of the internal environment (homeostasis) of a fish is in a great part maintained by the excretory system, especially the kidney.

 

The kidney, gills, and skin play an important role in maintaining a fish’s internal environment and checking the effects of osmosis. Marine fishes live in an environment in which the water around them has a greater concentration of salts than they can have inside their body and still maintain life. Freshwater fishes, on the other hand, live in water with a much lower concentration of salts than they require inside their bodies. Osmosis tends to promote the loss of water from the body of a marine fish and absorption of water by that of a freshwater fish. Mucus in the skin tends to slow the process but is not a sufficient barrier to prevent the movement of fluids through the permeable skin. When solutions on two sides of a permeable membrane have different concentrations of dissolved substances, water will pass through the membrane into the more concentrated solution, while the dissolved chemicals move into the area of lower concentration (diffusion).

 

The kidney of freshwater fishes is often larger in relation to body weight than that of marine fishes. In both groups the kidney excretes wastes from the body, but the kidney of freshwater fishes also excretes large amounts of water, counteracting the water absorbed through the skin. Freshwater fishes tend to lose salt to the environment and must replace it. They get some salt from their food, but the gills and skin inside the mouth actively absorb salt from water passed through the mouth. This absorption is performed by special cells capable of moving salts against the diffusion gradient. Freshwater fishes drink very little water and take in little water with their food.

 

Marine fishes must conserve water, and therefore their kidneys excrete little water. To maintain their water balance, marine fishes drink large quantities of seawater, retaining most of the water and excreting the salt. Most nitrogenous waste in marine fishes appears to be secreted by the gills as ammonia. Marine fishes can excrete salt by clusters of special cells (chloride cells) in the gills.

 

There are several teleosts—for example, the salmon—that travel between fresh water and seawater and must adjust to the reversal of osmotic gradients. They adjust their physiological processes by spending time (often surprisingly little time) in the intermediate brackish environment.

 

Marine hagfishes, sharks, and rays have osmotic concentrations in their blood about equal to that of seawater and so do not have to drink water nor perform much physiological work to maintain their osmotic balance. In sharks and rays the osmotic concentration is kept high by retention of urea in the blood. Freshwater sharks have a lowered concentration of urea in the blood.

 

Endocrine glands secrete their products into the bloodstream and body tissues and, along with the central nervous system, control and regulate many kinds of body functions. Cyclostomes have a well-developed endocrine system, and presumably it was well developed in the early Agnatha, ancestral to modern fishes. Although the endocrine system in fishes is similar to that of higher vertebrates, there are numerous differences in detail. The pituitary, the thyroid, the suprarenals, the adrenals, the pancreatic islets, the sex glands (ovaries and testes), the inner wall of the intestine, and the bodies of the ultimobranchial gland make up the endocrine system in fishes. There are some others whose function is not well understood. These organs regulate sexual activity and reproduction, growth, osmotic pressure, general metabolic activities such as the storage of fat and the utilization of foodstuffs, blood pressure, and certain aspects of skin colour. Many of these activities are also controlled in part by the central nervous system, which works with the endocrine system in maintaining the life of a fish. Some parts of the endocrine system are developmentally, and undoubtedly evolutionarily, derived from the nervous system.

 

As in all vertebrates, the nervous system of fishes is the primary mechanism coordinating body activities, as well as integrating these activities in the appropriate manner with stimuli from the environment. The central nervous system, consisting of the brain and spinal cord, is the primary integrating mechanism. The peripheral nervous system, consisting of nerves that connect the brain and spinal cord to various body organs, carries sensory information from special receptor organs such as the eyes, internal ears, nares (sense of smell), taste glands, and others to the integrating centres of the brain and spinal cord. The peripheral nervous system also carries information via different nerve cells from the integrating centres of the brain and spinal cord. This coded information is carried to the various organs and body systems, such as the skeletal muscular system, for appropriate action in response to the original external or internal stimulus. Another branch of the nervous system, the autonomic nervous system, helps to coordinate the activities of many glands and organs and is itself closely connected to the integrating centres of the brain.

 

The brain of the fish is divided into several anatomical and functional parts, all closely interconnected but each serving as the primary centre of integrating particular kinds of responses and activities. Several of these centres or parts are primarily associated with one type of sensory perception, such as sight, hearing, or smell (olfaction).

 

The sense of smell is important in almost all fishes. Certain eels with tiny eyes depend mostly on smell for location of food. The olfactory, or nasal, organ of fishes is located on the dorsal surface of the snout. The lining of the nasal organ has special sensory cells that perceive chemicals dissolved in the water, such as substances from food material, and send sensory information to the brain by way of the first cranial nerve. Odour also serves as an alarm system. Many fishes, especially various species of freshwater minnows, react with alarm to a chemical released from the skin of an injured member of their own species.

 

Many fishes have a well-developed sense of taste, and tiny pitlike taste buds or organs are located not only within their mouth cavities but also over their heads and parts of their body. Catfishes, which often have poor vision, have barbels (“whiskers”) that serve as supplementary taste organs, those around the mouth being actively used to search out food on the bottom. Some species of naturally blind cave fishes are especially well supplied with taste buds, which often cover most of their body surface.

 

Sight is extremely important in most fishes. The eye of a fish is basically like that of all other vertebrates, but the eyes of fishes are extremely varied in structure and adaptation. In general, fishes living in dark and dim water habitats have large eyes, unless they have specialized in some compensatory way so that another sense (such as smell) is dominant, in which case the eyes will often be reduced. Fishes living in brightly lighted shallow waters often will have relatively small but efficient eyes. Cyclostomes have somewhat less elaborate eyes than other fishes, with skin stretched over the eyeball perhaps making their vision somewhat less effective. Most fishes have a spherical lens and accommodate their vision to far or near subjects by moving the lens within the eyeball. A few sharks accommodate by changing the shape of the lens, as in land vertebrates. Those fishes that are heavily dependent upon the eyes have especially strong muscles for accommodation. Most fishes see well, despite the restrictions imposed by frequent turbidity of the water and by light refraction.

 

Fossil evidence suggests that colour vision evolved in fishes more than 300 million years ago, but not all living fishes have retained this ability. Experimental evidence indicates that many shallow-water fishes, if not all, have colour vision and see some colours especially well, but some bottom-dwelling shore fishes live in areas where the water is sufficiently deep to filter out most if not all colours, and these fishes apparently never see colours. When tested in shallow water, they apparently are unable to respond to colour differences.

 

Sound perception and balance are intimately associated senses in a fish. The organs of hearing are entirely internal, located within the skull, on each side of the brain and somewhat behind the eyes. Sound waves, especially those of low frequencies, travel readily through water and impinge directly upon the bones and fluids of the head and body, to be transmitted to the hearing organs. Fishes readily respond to sound; for example, a trout conditioned to escape by the approach of fishermen will take flight upon perceiving footsteps on a stream bank even if it cannot see a fisherman. Compared with humans, however, the range of sound frequencies heard by fishes is greatly restricted. Many fishes communicate with each other by producing sounds in their swim bladders, in their throats by rasping their teeth, and in other ways.

 

A fish or other vertebrate seldom has to rely on a single type of sensory information to determine the nature of the environment around it. A catfish uses taste and touch when examining a food object with its oral barbels. Like most other animals, fishes have many touch receptors over their body surface. Pain and temperature receptors also are present in fishes and presumably produce the same kind of information to a fish as to humans. Fishes react in a negative fashion to stimuli that would be painful to human beings, suggesting that they feel a sensation of pain.

 

An important sensory system in fishes that is absent in other vertebrates (except some amphibians) is the lateral line system. This consists of a series of heavily innervated small canals located in the skin and bone around the eyes, along the lower jaw, over the head, and down the mid-side of the body, where it is associated with the scales. Intermittently along these canals are located tiny sensory organs (pit organs) that apparently detect changes in pressure. The system allows a fish to sense changes in water currents and pressure, thereby helping the fish to orient itself to the various changes that occur in the physical environment.

  

This is a version of a previously posted shot but with an applied texture. This is the first time I have tried this technique. I love the process and the textures but think maybe this image still needs more work

 

Texture is 'Midnight Over the Woods' by the brilliant Distressed Jewell from her Sugar Spun Skys pack.

 

I strongly suggest taking a look at her stream to see what results can be achieved with textures.

 

www.flickr.com/photos/jewellofdistressed/

i applied to the mome university (moholy-nagy unoversity of art & design), for photography major. these are the ones that didn't end up in my portfolio.

 

gonna delete them soon, however. they suck.

Mr. J. W. Lawler applied for a conditional publican’s license at Narromine in April, 1898.

 

At the Licensing Court, Lawler stated that he proposed to erect a hotel on Allotment 5, Section 16 fronting Burraway and Merilba Streets, opposite the railway station. The hotel would be built on his land, it would be a brick two storey house according to plan produced, containing 16 rooms, and costing between £800 and £900. At the time, all other hotels in Narromine were of wood and one storey. The population of Narromine had considerably increased, especially during the last twelve months owing to the large areas of land taken up. The railway traffic had doubled in the last twelve months owing to the low level bridge constructed at the end of Manildra Street which gave access to the town from the northern side of the river and increased the traffic. Signatures were presented to the court in the form of a petition in support of the application.

 

There were four hotels in Narromine at this time and accommodation was short. Mr. Lawler was not sure of the population of the town or the number of dwellings, but said there were seven (7) stores and there was a direct road for traffic through Narromine going west. There was also a good deal of traffic from Peak Hill, and a considerable outlet from the Bogan.

The Bench suggested certain alterations to the plan to improve ventilation, which were agreed to by the applicant.

Sergeant Butler, Sub-Inspector under the Licensing Act, had visited Narromine the week before and inspected the site of the proposed hotel. He said the population of the town was 650, and within a radius of five miles of the town 1,000. There were 170 children on the roll at the public school. Five general stores, three being of fair size. The total number of dwellings was about 200. There were three churches.

Narromine had 4 hotels, three being comparatively new buildings, one had been licensed within the last few months (Exchange), and another had been recently rebuilt (Railway was improved in 1897). With one exception they were substantial buildings, well kept and furnished. He believed these were sufficient to meet the requirements of Narromine and district. Very little traffic passed through Narromine except by rail, and the only time a great number of people would be likely to be in the town would be at harvest time.

(The other pubs in town at the time were the Royal (southern side of the town, E. Obus, prop.), the Railway Hotel (now Imperial, further along Burraway Street, J. Cowell, prop.) and the Commercial (Dandaloo Street, where the Bank of N.S.W. was later built, Isabella Robinson, prop).

There are 14,000 acres under cultivation within a 14 mile radius of Narromine. Within the last few years the town had come into prominence for its wheat growing capabilities. It is a large grazing district, and had the nearest railway to Tomingley, Myall and Peak Hill. There are no brick buildings in Narromine.

At the same hearing Horace S. Antill of Nevertire applied for a conditional publican’s license at Narromine on Lot 5, Section 12 fronting Merilba Street, adjoining the Court House, and to call it the Court House Hotel. Cost £600 to £700, a wooden building.

An objection was filed by the police on the grounds that there was a church in the vicinity of the proposed site.

Sergeant Butler inspected the site and stated that if this hotel was built it would be not more than 100 feet from the Union Church. The hotel yard would only be divided from the Church by a lane 12 foot wide.

(There was a Union Church building on the block behind the present Treseder’s Timber Mill, facing Merilba Street. The Court House, later a Hall and Municipal Chambers, was on the corner of Merilba & Nymagee Streets - Section 12, Lot 6, Sub. 11 and as stated there was only a lane between the proposed hotel and church).

Another application was made at the same sitting of the court by Mr. James Elliott for a hotel to be erected of wood on the southern side of the railway line as there was only one hotel on that side of the line at the present time (Royal).

The Bench refused the applications of Antill and Elliott and granted Lawler’s application. When completed it was known as The Court House Hotel, the same name submitted by Mr. Antill.

On 4th June. 1898 in the Dubbo Liberal newspaper an extension of time for tenders for the Court House Hotel was given, tenders to close on 11 June.

The Court House Hotel was opened in April, 1899

Hotels in the 1890’s were the equivalent of today’s motels. Many travellers (train or horse and sulky) stayed at the hotel, as did dentists. In the case of the Court House Hotel, it had a butcher shop on the corner of Burraway/Merilba Streets, it was opened by Jerry Smith and his partner Robert Barnett.

There was also a small shop for a barber and an Estate Agent.

Ads in the local paper usually carried a notice saying a “Porter” would meet the train to assist patrons. “Good stabling” was also mentioned, plus many mentions of the “good stock” held in the hotel.

Sporting teams, i.e. cricket and football, would travel from Trangie or Dubbo by train. The teams arrived on the morning train, played their matches, and a “tea” was organised by hotels at night, Mr. Bass the baker, was one of the caterers in these early years. At 10 p.m. the team would catch the train back to Dubbo.

In later years teachers and members of the banking staff boarded at the hotels in town.

In 1902 Mr. Fitch had fine commodious brick stables erected at the rear of the Court House Hotel with 20 large roomy stalls.

In the same year extensions were also added to the hotel.

On the 4 November, 1908 the Dubbo Liberal newspaper reported -

“On Monday night last Mr. W.L. Lloyd addressed a fairly large audience from the balcony of Mr. D. Fitch’s Court House Hotel on the failure of the No License movement in New Zealand and America. The speaker dealt principally with Government figures, and alleged there had been an increase in crime in New Zealand since the prohibition movement commenced, according to statistics. Mr. Lloyd was accorded a patient hearing. Mr. D. Fitch occupied the chair.”

Other organisations also held meetings in various hotels in the town.

“On the 24 February, 1909 the Dubbo Liberal reported a serious accident that took place at Fitch’s Hotel, Narromine on Monday afternoon, the victim being a man named J.G. Knox. It appears Mr. Knox was working in the well at the hotel which is about 80’ deep, and it was intended to remove the bricks for use in another well. Knox went down for this purpose, but while he was at work the sides of the wall caved in completely burying the unfortunate man. Men were put on it at once to try to extricate Knox, but owing to the earth continuing to fall in this was a necessarily slow job, and though work was kept up all Monday night the body was not recovered at the time we telephoned on Tuesday morning. Knox was a man of 45 years of age, and followed the occupation of a selector and well sinker, and was formerly employed by Mr. Utley. He leaves a widow and family and was the father of a girl killed in a riding accident some time ago. Great sympathy has been expressed with the family in their troubles.”

A local man Mr. Thom was called in to try and recover Mr. Knox’s body, but he was unable to locate him. Mr. Fitch had to call on experts from Sydney to complete the search.

It was not until the Liberal dated 10 March, 1909 that the paper reported that the body of Knox had been recovered, one of the largest funerals seen in Narromine, three quarters of a mile long conducted from the Town Hall where the remains were taken. A subscription was taken up for his wife and young family.

The Narromine News & Trangie Advocate dated 13 February, 1929 reported Mr. Le Brun Brown, a member of the Licensing Reduction Board, held a court at Narromine and inquired into the matter of the improvements as desired by the police of Narromine Hotels.

Mr. W.H. Kelly of Wellington appeared on behalf of Mrs. Mostyn, the owner of the Court House Hotel.

“Mr. Kelly: I take it the police will give evidence to show that the work they want done is necessary. In this case I would like to point out, that although Mrs. Mostyn is, strictly speaking, the owner, she is, in a way, really only a life tenant and if all the improvements asked for are carried it will be a big financial strain.

The Bench: She will get 8% on her money won’t she?

Mr. Kelly: I am quite aware of that and I want to say that as far as the Inspector is concerned we want to treat him fairly. Regarding the septic tank, I would like to point out that the water is not on the town yet, and I don’t know where the effluent is to go.

The Bench: We are only asking for a small septic tank, and the water can be carried away.

Mr. Kelly: I don’t know if the local Municipal Council will approve of that.

The Bench: But the Department of Public Health does.

Mr. Kelly: I can’t see how the effluent is to be got rid of.

The Bench: That is not difficult. At one up-to-date hotel I know of the water from the septic tank is used to grow vegetables for the hotel tables. At Leeton or Griffith, the effluent is used to water trees on recreation reserves.

Mr. Kelly: Room 32 on the left wing of the Court Hotel can be divided and made into a lavatory and a bath room. We are willing to do that. We are also agreeable to put in two bathrooms and two lavatories.

Sergeant Christian: What about the septic tank?

Mr. Kelly: We are also agreeable to put in a septic tank, and I hope the Bench will allow the owner as long as possible to do the work.

Other improvements Mr. Kelly agreed to do were: The demolishing of the old wooden building adjoining the billiard room; erection of a galvanised fence at rear of the premises, and the complete remodelling of the kitchen, laundry and pantry.

In regard to the galvanised fence Mr. Kelly pointed out that certain time would be required in order to notify the owner of the adjoining property of the work. It was not fair to expect his client to pay the whole cost of the fence.

The Bench said whatever time was necessary would be granted.

Mr. Kelly: Alright, we will agree to do all the improvements mentioned, now what about time. For years the Licensing Inspector has been submitting quarterly reports that the hotel was satisfactory, yet after hearing the court at Dubbo recently, the Licensing Board came here and suddenly the police got busy. I suggest the work be done 9 months from today.

Sergeant Christian: I think six months is quite sufficient. The work is urgent.

Mr. Kelly: The work is urgent now, evidently it was not for the last five years.

After further discussion the Bench ordered that the work be all completed in 8 months.”

Part of the verandah has been removed from this hotel, although when it went is not known.

Amazingly after 104 years there is still a barber shop located in a shop at this hotel.

The following people have held the license of this hotel -

12. 4.1899John Garret Lawler13. 4.1934C. Matthews

11. 4.1900Alfred Moston20. 4.1936Mrs. M. Matthews/H.J. King

12. 4.1901David Fitch22. 7.1942L. Thompson

11. 4.1904George Bell21. 6.1943W.J. Powell

12. 4.1905David Fitch15.11.1943M.A.Moran

11. 3.1910Alfred J. Collins22. 6.1956N.P. Robertson

28.11.1911Thomas S. Green30. 8.1963Mrs. J.V. Farlow

11. 4.1918Alfred G. Samuels22. 8.1969M.A. Betah

1. 1.1920Francis B. Colley22. 4.1971M.G. Hoare

25. 9.1922Joseph M. Golding22. 3.1972J.D. Rothery

20. 5.1929J. Walker

4. 9.1933L. Gobette

 

David Fitch was the son in law of Alfred Moston. He was also a councillor and Mayor of the Municipal Council. Mr. George Bell also served time as the Mayor, and Mr. Golding was a Municipal councillor.

 

Source: New South Wales Heritage Register.

Bethel, NY (Woodstock site),Richie Havens Memorial, Olympus E-M5, M Zuiko 45mm, f1.8 lens

 

Thank you for visiting. Your comments and faves are truly appreciated-

 

copyright: © 2013 Garry Velletri. All rights reserved. Please do not use this image, or any images from my photostream without my permission.

 

www.garryvelletri.com

The history of the Austrian Museum of Applied Arts/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.

1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .

1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.

1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .

1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director .

1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag finishes his Directorate .

1932 / Richard Ernst is the new director .

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the Directorate Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as the new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.

1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director .

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as Director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria

1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .

2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.

2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.

2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.

www.mak.at/das_mak/geschichte

Annette Tombaugh, daughter of American astronomer Clyde Tombaugh who discovered Pluto in 1930, applauds as members of the New Horizons team announce that they are naming an area on Pluto after her father during a media briefing, Wednesday, July 15, 2015 at the Johns Hopkins University Applied Physics Laboratory (APL), Laurel, Maryland. Photo Credit: (NASA/Bill Ingalls)

Another set from Roag and Landon. This is the first set (of my knowledge) to have the over the neck design. It works great, but I think it was a tiny bit to long. This set it meant to be applied on a light bley fig, but I ran out and just had to try it on red. The light blue camo patches were lost, but everything else shows decently. The balaclava isn't part of the set. Any feedback is appreciated and if you fav a comment would be nice.

Applied this glorious texture by virtually supine

Happy Mother's day to all mothers out there and have a fabulous weekend…

Some years ago, we were staying with friends in Rapperswil-Jona on Lake Zurich when Swiss National Day rolled around. After a farm visit, we went for a walk in the countryside. We might be only 40km from Zurich, but the walkways around Lake Zurich have a very bucolic feel.

 

Our lake-side walk takes us past the University of Applied Sciences Rapperswil Campus (Fachhochschule Ostschweiz Campus RJ), where some beautiful, large sculptures rise out of the gardens of grass and sunflowers.

 

For the story, please visit: www.ursulasweeklywanders.com/travel/swiss-apples-and-nati...

Date and Time of capture: 4/8/2024 from about 2 to about 5 pm EDT.

 

Location: Washington D.C.

 

Gear: Seestar S50 "smart telescope" equipped with a Seestar-supplied solar filter. Cavix LP-64 camera leveler interposed between the Seestar and a tripod.

 

This single panel view shows a chronological sequence of some of the eclipsed images from my still shots of the partial solar eclipse of 8 April 2024 from Washington DC.

 

The original still images were edited in Adobe Lightroom Classic (LR) as follows:

 

Applied the same 1:1 aspect ratio crop to the selected images.

 

After masking the background, I pushed the Blacks slider in LR's Basic Panel all the way to the left (i.e. -100) to get the same black background for each image.

 

Finally, using LR's Print module I created a chronological arrangement of the above edited images.

Item # 75017

Danced All Night

The Nu. Fantasy™ Collection

2015 IFDC Convention Exclusive

Limited Edition Size of 500 Dolls

Suggested Retail Price: $175.00 + Shipping

IFDC / IT Direct Exclusive

 

Doll Tech Specs:

 

Head Sculpt: Giselle Diefendorf

Body Type: Nu. Face 2.0

Quick Switch Feature: No

Skin Tone: FR White

Hair Color: Brunette

Eyelashes: Yes, Hand Applied

Freshly waxed cotton jackets using NIKWAX cotton wax spray. Left jacket, Belstaff Trophy, jacket i'm wearing Primark, right jacket Barbour E316 Trooper. Once applied the jackets come up like new. Belstaff jacket about 3 years old, Primark jacket about 7 year old and the Barbour well over 10 years old. . .

So I decided to take an older shot I had of the Tower of Americas downtown in San Antonio and apply the same Quadtone technique I did to my SP today. I also made 2 background copy layers and changed one to overlay & lowered opacity, then the other to hard light and lowered opacity.

 

I love the results :) See below for the original shot!

 

TOTW extra :D

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte