Harrods is a British luxury department store located on Brompton Road in Knightsbridge, London, England. It is owned by Harrods Ltd, a company currently owned by the state of Qatar via its sovereign wealth fund, the Qatar Investment Authority. The Harrods brand also applies to other enterprises undertaken by the Harrods group of companies, including Harrods Estates, Harrods Aviation and Air Harrods. Recognised as one of the world's leading department stores, it is visited by 15 million people per year.

The store occupies a 5-acre (2 ha) site and has 330 departments covering 1.1 million sq ft (100,000 m2) of retail space. It is one of the largest and most famous department stores in the world.

The Harrods motto is Omnia Omnibus Ubique, which is Latin for "all things for all people, everywhere". Several of its departments, including the Seasonal Christmas department, jewellery departments and the Food Halls, are well known.

Harrods was also a founder of the International Association of Department Stores in 1928, which is still active today, and remained a member until 1935. Franck Chitham, Harrods' president at the time, was president of the Association in 1930.

History

In 1824, at the age of 25, Charles Henry Harrod established a business at 228 Borough High Street in Southwark. He ran this business, variously listed as a draper, mercer, and a haberdasher, until at least 1831. During 1825, the business was listed as 'Harrod and Wicking, Linen Drapers, Retail', but this partnership was dissolved at the end of that year. His first grocery business appears to be as 'Harrod & Co. Grocers' at 163 Upper Whitecross Street, Clerkenwell, E.C.1., in 1832.

In 1834, in London's East End, he established a wholesale grocery in Stepney at 4 Cable Street with a special interest in tea.[16] Attempting to capitalise on trade during the Great Exhibition of 1851 in nearby Hyde Park, in 1849 Harrod took over a small shop in the district of Brompton, on the site of the current store. Beginning in a single room employing two assistants and a messenger boy, Harrod's son Charles Digby Harrod built the business into a thriving retail operation selling medicines, perfumes, stationery, fruits and vegetables. Harrods rapidly expanded, acquired the adjoining buildings, and employed one hundred people by 1881.

However, the store's booming fortunes were reversed in early December 1883, when it burnt to the ground. Remarkably, Charles Harrod fulfilled all of his commitments to his customers to make Christmas deliveries that year—and made a record profit in the process. In short order, a new building was built on the same site, and soon Harrods extended credit for the first time to its best customers, among them Oscar Wilde, Lillie Langtry, Ellen Terry, Charlie Chaplin, Noël Coward, Gertrude Lawrence, Laurence Olivier and Vivien Leigh, Sigmund Freud, A. A. Milne, and many members of the British Royal Family. Beatrix Potter frequented the store from the age of 17. First published in 1902, her children's book, The Tale of Peter Rabbit, was soon on sale in Harrods, accompanied by the world's first licensed character, a Peter Rabbit soft toy (Peter and toys of other Potter characters appeared in Harrods catalogues from 1910). In 1921, Milne bought the 18-inch Alpha Farnell teddy bear from the store for his son Christopher Robin Milne who would name it Edward, then Winnie, becoming the basis for Winnie-the-Pooh. In December 1926, Agatha Christie, who visited Harrods as a girl, marvelled at the spectacle of the store's Christmas display. The store has also featured in fiction, for example Mr. Bean (played by Rowan Atkinson) visited Harrods to buy Christmas decorations in the 1992 Mr. Bean episode "Merry Christmas, Mr. Bean".

A chance meeting in London with businessman, Edgar Cohen, eventually led to Charles Harrod selling his interest in the store for £120,000 (equivalent to £14,110,759 in 2021) via a stock market flotation in 1889. The new company was called Harrod's Stores Limited. Sir Alfred James Newton became chairman and Richard Burbidge managing director. Financier William Mendel was appointed to the board in 1891 and he raised funding for many of the business expansion plans. Richard Burbidge was succeeded in 1917 by his son Woodman Burbidge and he in turn by his son Richard in 1935.

On 16 November 1898, Harrods debuted England's first "moving staircase" (escalator) in their Brompton Road stores; the device was actually a woven leather conveyor belt-like unit with a mahogany and "silver plate-glass" balustrade. Nervous customers were offered brandy at the top to revive them after their 'ordeal'.

The department store was acquired by House of Fraser in 1959, which in turn was purchased by the Fayed brothers in 1985.[28] In 1994, Harrods was moved out of the House of Fraser Group to remain a private company prior to the group's relisting on the London Stock Exchange.

Qatar Holdings ownership

Following denial that it was for sale, Harrods was sold to Qatar Holdings, the sovereign wealth fund of the State of Qatar in May 2010. A fortnight previously, chairman of Harrods since 1985, Mohamed Al-Fayed, had stated that "People approach us from Kuwait, Saudi Arabia, Qatar. Fair enough. But I put two fingers up to them. It is not for sale. This is not Marks and Spencer or Sainsbury's. It is a special place that gives people pleasure. There is only one Mecca."

The sale was concluded in the early hours of 8 May, when Qatari Prime Minister Hamad bin Jassim bin Jaber Al Thani came to London to finalise the deal, saying that the acquisition of Harrods would add "much value" to the investment portfolio of Qatar Holdings while his deputy, Hussain Ali Al-Abdulla, called it a "landmark transaction".[28] A spokesman for Mohamed Al-Fayed said "in reaching the decision to retire, [Fayed] wished to ensure that the legacy and traditions that he has built up in Harrods would be continued."

Al-Fayed later revealed in an interview that he decided to sell Harrods following the difficulty in getting his dividend approved by the trustee of the Harrods pension fund. Al-Fayed said "I'm here every day, I can't take my profit because I have to take a permission of those bloody idiots. I say is this right? Is this logic? Somebody like me? I run a business and I need to take the trustee's permission to take my profit." Al-Fayed was appointed honorary chairman of Harrods, a position he held for six months.

With the previously operating Disney Cafe and Disney Store, the Disney at Harrods partnership added the Bibbidi Bobbidi Boutique salon on 25 November 2013 to those stores.

Significant event timeline

Harrods Furniture Depository in Barnes, London

1824: Charles Henry Harrod (1799–1885) starts his first business as a draper, at 228, Borough High Street, Southwark, London.

1834: Charles Henry Harrod founds a wholesale grocery in Stepney, East London.

1849: Harrods moves to the Knightsbridge area of London, near Hyde Park.

1861: Harrods undergoes a transformation when it was taken over by Harrod's son, Charles Digby Harrod (1841–1905).

1883: On 6 December, fire guts the shop buildings, giving the family the opportunity to rebuild on a grander scale.

1889: Charles Digby Harrod retires, and Harrods shares are floated on the London Stock Exchange under the name Harrod's Stores Limited.

1905: Begun in 1894, the present building is completed to the design of architect Charles William Stephens.

1914: Harrods opened its first and only foreign branch in Buenos Aires, Argentina. It became independent of the British shop in the late 1940s, but continued to trade under the Harrods name, for many years the only Harrods outside Britain.

1914: Harrods buys the Regent Street department store Dickins & Jones.

1914: Harrods Furniture Depository built in Barnes, near Hammersmith Bridge.

1919: Harrods buys the Manchester department store, Kendals; it took on the Harrods name for a short time in the 1920s, but the name was changed back to Kendals following protests from staff and customers.

1920: Harrods buys London department store Swan & Edgar and Manchester retailer Walter Carter Ltd.

1923: Mah-Jongg, a lemur, was sold to Stephen Courtauld and Virginia Courtauld (née Peirano). Mah-Jongg lived with the Courtaulds for fifteen years, accompanying the couple on their travels and changes of residence, including Eltham Palace in the Royal Borough of Greenwich.

1928: Harrods buys London department store D H Evans.

1946: Harrods buys the Sheffield department store John Walsh.

1949: Harrods buys William Henderson & Co, a Liverpool department store.

1955: Harrods buys Birmingham department store Rackhams.

1959: The British department store holding company House of Fraser buys Harrods, fighting off competition from Debenhams and United Drapery Stores.

1969: Christian the lion was bought at Harrods by John Rendall and Anthony 'Ace' Bourke. The lion was set free in Kenya after reaching maturity.

1983: A terrorist attack by the Provisional IRA outside the Brompton store kills six people.

1985: The Fayed brothers buy House of Fraser, including Harrods Store, for £615 million.

1986: The small town of Otorohanga in New Zealand briefly changes its name to Harrodsville in response to legal threats made by Mohamed Al-Fayed against a person with the surname of Harrod, who had used the name "Harrod's" for his shop.

1990: A Harrods shop opens on board the RMS Queen Mary in Long Beach, California, which was then owned by the Walt Disney Company. Harrods gives right to Duty Free International for a licence to operate a Harrods Signature Shop at Toronto Pearson International Airport's Terminal 3 (closed shortly after)

1993: An IRA terrorist attack injures four people.

1994: The relationship between House of Fraser and Harrods is severed. Harrods remains under the ownership of the Fayed family, and House of Fraser is floated on the stock exchange.

1997: An English court issued an injunction to restrain the Buenos Aires Harrods store from trading under the Harrods name, but the House of Lords in 1998 dismissed Fayed's lawsuit.

1998: The store in Buenos Aires closed after racking up large amounts of debt, there had been offers to buy the store from Falabella, El Corte Inglés, Printemps and more but Atilio Gilbertoni the owner of Harrods in Buenos Aires did not accept the offers as he wanted to keep the controlling stake in the brand

2000: A Harrods shop opens on board the Queen Elizabeth 2, owned by the Cunard Line.

2006: The Harrods "102" shop opens opposite the main shop in Brompton Road; it features concessions like Krispy Kreme and Yo! Sushi, as well as florists, a herbalist, a masseur, and an oxygen spa. The store closed in 2013.

2006: Omar Fayed, Mohamed's youngest son, joins the Harrods board.

2008: Harrods opens at Heathrow Airport (Terminal 5).

2010: Fayed announces he has sold Harrods to the Qatar Investment Authority (QIA). It has been reported that the QIA paid £1.5 billion for the Knightsbridge store, in a deal signed in the early hours of 8 May 2010.

2010: Harrods looked at the possibility of expanding to China and opening a new shop in Shanghai. Michael Ward, managing director of Harrods, said, "There are other areas of the world where we could operate profitably." The number of Chinese shoppers visiting Harrods was increasing, and the average spent by a Chinese shopper was three times that of any other nationality.

2012: The figurative sculptures that once adorned the Harrods food hall are consigned for sale at West Middlesex Auction Rooms. The two Mermaids supporting a giant Clam and the Stag and Boar sheltering under an English Oak are purchased by Greaves & Thomas for inclusion in an elaborate fountain for Ryde, Isle of Wight.

2017: Harrods Bank, operating since 1893, is sold to Tandem and rebranded to Tandem Bank.

2020: After lockdowns and restriction during the covid pandemic, Harrods made a loss of £68 million in 2020, reduced staff numbers, paid no dividend to its owners and said that no dividend was likely for another two years, and faced a strike by dozens of restaurant workers.

Products and services

The Egyptian-style clothing department at Harrods

The shop's 330 departments offer a wide range of products and services. Products on offer include clothing for women, men, children and infants, electronics, jewellery, sporting gear, bridal trousseau, pet accessories, toys (including Christmas and signature teddy bears), food and drink, health and beauty items, packaged gifts, stationery, housewares, home appliances, furniture, and much more.

A representative sample of shop services includes 23 restaurants, serving everything from high tea to tapas to pub food to haute cuisine; a personal shopping-assistance programme known as "By Appointment"; a watch repair service; a tailor; a dispensing pharmacy; a beauty spa and salon; a barbers shop; Ella Jade Bathroom Planning and Design Service; private events planning and catering; food delivery; a wine steward; bespoke picnic hampers and gift boxes; bespoke cakes; bespoke fragrance formulations; and Bespoke Arcades machines.

Up to 300,000 customers visit the shop on peak days, comprising the highest proportion of customers from non-English speaking countries of any department store in London. More than five thousand staff from over fifty different countries work at Harrods.

In October 2009, Harrods Bank started selling gold bars and coins that customers could buy "off the shelf". The gold products ranged from 1 g to 12.5 kg, and could be purchased within Harrods Bank. They also offered storage services, as well as the ability to sell back gold to Harrods in the future.

Harrods used to provide paid "luggage room" services for storing luggage/ items; however, post COVID they stopped providing this service.

Royal warrants

Harrods was the holder of royal warrants from:

Queen Elizabeth II (Provisions and Household Goods)

Prince Philip, Duke of Edinburgh (Outfitters)

Charles, Prince of Wales (Outfitters and Saddlers)

Queen Elizabeth, the Queen Mother (China and Glass)

In August 2010, in a letter to The Daily Telegraph, chairman Mohamed Al-Fayed revealed that he had burnt Harrods royal warrants, after taking them down in 2000. Harrods had held the royal warrants since 1910. Describing the warrants as a "curse", Al-Fayed claimed that business had tripled since their removal. Prince Philip removed his warrant in January 2000, and the other warrants were removed from Harrods by Al-Fayed in December, pending their five-yearly review. Prince Philip had been banned from Harrods by Al-Fayed. Film of the burning of the warrants in 2009 was shown in the final scene of Unlawful Killing, a film funded by Al-Fayed and directed by Keith Allen.

Memorials

Since the deaths of Diana, Princess of Wales, and Dodi Fayed, Mohamed Al-Fayed's son, two memorials to the couple commissioned by Al-Fayed have been erected inside Harrods. The first, located at the base of the Egyptian Escalator, was unveiled on 12 April 1998, consisting of photographs of the two behind a pyramid-shaped display that holds a wine glass smudged with lipstick from Diana's last dinner as well as what is described as an engagement ring Dodi purchased the day before they died.

The second memorial, unveiled in 2005 and located by the escalator at door three is entitled Innocent Victims, a bronze statue of the two dancing on a beach beneath the wings of an albatross, a bird said to symbolise the "Holy Spirit". The sculpture was created by William Mitchell, a close friend of Al-Fayed and artistic design advisor to Harrods for 40 years. Al-Fayed said he wanted to keep the pair's "spirit alive" through the statue.

After the death of Michael Jackson, Al-Fayed announced that they had already been discussing plans to build a memorial statue. This was unveiled in April 2011 at the rear of Craven Cottage football ground (Fulham F.C.) but removed in September 2013 on the orders of new club owner Shahid Khan.

Dress code

In 1989, Harrods introduced a dress code for customers. The store turned away people whose dress is not in compliance with the code. Forbidden items include cycling shorts; high-cut shorts, Bermuda or beach shorts; swimwear; athletic singlets; flip flops or thong sandals; bare feet; bare midriff; or wearing dirty or unkempt clothing. Patrons found not in compliance with the code and barred from entry include pop star Kylie Minogue, Jason Donovan, Luke Goss, a Scout troop, a woman with a Mohican hair cut, and the entire first team from FC Shakhtar Donetsk who were wearing tracksuits.

As of 2023, Harrods takes the following position: "We do not have a specific dress code for entry into the store, including any of our restaurants. However, we do reserve the right to refuse entry to anyone who is not deemed to be appropriately dressed. Sportswear, including trainers, shorts, and tracksuits, are permitted across all areas of the store and restaurants."

Size

The store occupies a 5-acre (20,000 m2) site and has over one million square feet (90,000 m2) of selling space in over 330 departments making it the biggest department store in Europe. The UK's second-biggest shop, Selfridges, Oxford Street, is a little over half the size with 540,000 square feet (50,000 m2) of selling space. By comparison Europe's second-largest department store the KaDeWe in Berlin has a retail space of 650,000 square feet (60,000 m2).

Criticism

Harrods and Mohamed Al-Fayed were criticised for selling real animal fur, provoking regular protests organised outside Harrods. Harrods is the only department store in Britain that has continued to sell fur. Harrods was sharply criticised in 2004 by the Hindu community for marketing a line of feminine underwear (designed by Roberto Cavalli) which featured the images of Indian goddesses. The line was eventually withdrawn and formal apologies were made.

Harrods has been criticised by Guardian journalist Sali Hughes as "deeply sexist" for making female employees wear six kinds of makeup at all times without requiring this of male employees. Harrods was criticised by members of the Black community after the Daily Telegraph reported that Harrods staff told a black woman that she would not be employed unless she chemically straightened her hair, stating that her natural hair style was "unprofessional".

Harrods' restaurants and cafes included a 12.5% discretionary service charge on customers' bills, but failed to share the full proceeds with kitchen and service staff. Several employees joined the UVW union, which claimed that 483 affected employees were losing up to £5,000 each in tips every year. A surprise protest and roadblock organised by the union outside Harrods during the January sales of 2017 was followed by an announcement that "an improved tronc system" would give 100% of service charges to staff.

Litigation

In 1986, the town of Otorohanga, New Zealand, briefly changed its name to "Harrodsville". This was a protest in support of a restaurateur, Henry Harrod of Palmerston North, who was being forced to change the name of his restaurant following the threat of lawsuits from Mohamed Al Fayed, the then owner of Harrods department store. As a show of solidarity for Henry Harrod, and in anticipation of actions against other similar-sounding businesses, it was proposed that every business in Otorohanga change its name to "Harrods". With the support of the District Council, Otorohanga temporarily changed the town's name to Harrodsville. After being lampooned in the British tabloids, Al Fayed dropped the legal action and Harrodsville and its shops reverted to their former names. The town's response raised widespread media interest around the world, with the BBC World Service and newspapers in Greece, Saudi Arabia, Australia and Canada covering the story.

On 27 October 2008, in the case of Harrods Ltd v. Harrods Limousine Ltd, the Harrods store applied to the Company Names Tribunal under s.69(1)(b) Companies Act 2006 for a change of name of Harrods Limousine Ltd, which had been registered at Companies House since 14 November 2007. The application went un-defended by the respondent and the adjudicator ordered on 16 January 2009 that Harrods Limousine Ltd must change their name within one month. Additionally the respondent was ordered not to cause or permit any steps to be taken to register another company with an offending name which could interfere, due to its similarity, with the goodwill of the applicant. Finally, Harrods Limousine Ltd was ordered to pay Harrods' costs for the litigation.

Controversy

Asma al-Assad, the wife of the President of Syria, Bashar al-Assad, used an alias to shop at Harrods despite economic sanctions imposed by the European Union that froze funds belonging to her and her husband.

This old churchyard is known as St. John’s and it is located on Dublin Road. This was my first my second visit but the weather was still very bad and the light was poor.

The colour of the gravestones was different to what I normally see in Irish graveyards [orange/brown rather than grey/white ]

“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design

One of the 831 battery electric sanitation trucks owned and operated by Beijing Sanitation Group (BSG) seen washing the North 2nd Ring Road near Gulou (Drum Tower) Overpass.

This truck (license plate number A-BY310) is a type HLT5320GSSEV water truck manufactured by a Hualin-BYD, a joint-venture between Beijing Sanitation Group Environmental Equipment Co. Ltd (BEE)'s Hualin Special Vehicles Co. Ltd and BYD Motors. The BYD T10 series, type BYD5320GJBBEV2D 32-tonne (70,548 lbs) battery electric truck chassis carries the 17.5 cubic meters (4,623 gallons) water tank, 300 kPa (43.5 PSI) high-pressure nozzles, 30 m (98 ft.) range water cannon and other equipment developed by Hualin Special Vehicles.

This vehicle is one of the 103 units of this type ordered in November 2016, after a 2015 pilot program concluded with success.

This truck is equipped with a 324 kWh LiFePO4 (lithium iron phosphate, or LFP) battery pack and a pair of 150 kW traction motors. The rear tandem axle "bogie" as a whole is an assembly -- the traction motor, reduction gear and power take-off are integrated in one housing; the output of the traction assembly is directly geared to the differential, eliminating the transmission box and inter-axle differential. The tandem axles are sprung by a hybrid steel-air suspension.

Its nominal operating range is 260 km (162 mi.), presumably without equipment operating, and its standard recharge time is 5 hours.

One of the highlights of this truck is that the chassis equipment and vocational (upper-body) equipment share the same CAN-BUS system, thanks to the tight collaboration between the two manufacturers during development. It also features 360-degree camera system, fully digital instrument pack, and ALCOA polished wheels.

This truck is officially nicknamed "Blue Wind", referring to its artistically designed, blue-based livery with high-quality metallic paint.

Nicht weit von meiner Wohnung auf dem Gelände eines großen Audi - Händlers fand ich dieses einmal ganz anders künstlerisch gestaltete Automobil vom Typ Audi Q2. Quasi mein Beitrag zur Internationalen Automobil Ausstellung (IAA).

Not far from my apartment on the site of a large Audi dealer, I found this once differently artistically designed automobile of the type Audi Q2. Quasi my contribution to the International Motor Show (IAA).

Die Bilder von Abraham del Hel im Kreuzgang (1534 – 98) bieten ein anschauliches Beispiel für evangelisches Bildverständnis. Es sind Merkbilder mit belehrendem Charakter und grenzen sich damit ab von Bildern, die der Verehrung dienen.

In seiner „Allegorie der Erlösung“ von 1576 führt del Hel alle Stationen der Heilsgeschichte auf. Wie eine Bildergeschichte lassen sich die Szenen lesen, die zusätzlich noch mit Texten erklärt sind:

In der Mittelachse dominieren Gottvater mit der Weltenkugel und Christus das Geschehen. Der gekreuzigte Christus hat vor seinem Tod noch den Schächer erlöst. Unter dem Schächerkreuz stehen die Väter des Glaubens aus dem Alten Testament. Christus steigt mit dem Kreuzesstab aus dem Grab auf. Den Tod und den Teufel, der Adam und Eva - also die Menschen - in die Hölle treiben will, hat er überwunden.

www.st-anna-augsburg.de

The paintings by Abraham del Hel (1534 - 98) in the cloister offer a vivid example of Protestant pictorial understanding. They are memorial pictures with a teaching character and thus distinguish themselves from works of worship.

In his "Allegory of Salvation" of 1576, del Hel lists all the stages of the history of salvation. The scenes can be read like a picture story and are additionally explained with texts:

The central axis is dominated by God the Father with the globe and Christ. The crucified Christ redeemed the criminal before his death. The fathers of faith from the Old Testament stand under the thief's cross. Christ rises from the grave with the cross staff. He has overcome death and the devil, who wants to drive Adam and Eve - i.e. people - to hell.

www.st-anna-augsburg.de

Translated with www.DeepL.com/Translator (free version)

Im Kreuzgang befinden sich Gedenksteine und Grabplatten, die vom Spätmittelalter bis in die Zeit des Klassizismus reichen. Als man den Kreuzgang von 1961 bis 1967 renovierte, brachte man Grabplatten, die noch gut erhalten waren, in den Wänden an, um eine weitere Zerstörung zu verhindern. Die anderen beließ man auf dem Boden. Bei dieser Renovierung fand man im Südflügel des Ganges auch Reste spätmittelalterlicher gotischer Bemalungen.

Es handelt sich bei den Platten um Augsburger Patriziergrabstätten, deren künstlerische Gestaltung vor allem zwischen dem 15. und dem 18. Jahrhundert beeindruckend reichhaltig ist.

www.augsburgwiki.de/index.php/AugsburgWiki/SanktAnna

In the cloister there are memorial stones and tomb slabs dating from the late Middle Ages to the Neoclassical period. When the cloister was renovated between 1961 and 1967, gravestones, which were still in good condition, were placed in the walls to prevent further destruction. The others were left on the floor. During this renovation, remains of late medieval Gothic paintings were also found in the south wing of the corridor.

These slabss are Augsburg patrician gravestones, whose artistic design is impressively rich, especially between the 15th and 18th centuries.

www.augsburgwiki.de/index.php/AugsburgWiki/SanktAnna

Die Kirche wurde 1321 von Karmeliten erbaut . St. Anna vereinigt Baustile von der Gotik bis zum Klassizismus. Zwischen dem 7. und 20. Oktober 1518 wohnte Martin Luther in dem Kloster Sankt Anna. Am Rand eines Reichstages sollte sich Martin Luther einem Verhör durch den päpstlichen Legaten Kardinal Cajetan unterziehen. Weil es in Augsburg kein Kloster der Augustiner-Eremiten gab, zu denen Martin Luther damals noch zählte, lud ihn der Prior des Karmelitenklosters, Johannes Frosch, ein, bei ihm zu logieren. Die beiden Geistlichen kannten sich von der gemeinsamen Studienzeit in Erfurt. Schon im Sommer 1518 war in Rom der Ketzereiprozess über Martin Luther eröffnet worden, zu dem er auch vorgeladen war. Weil sich aber der Landesherr Luthers dafür einsetzte, brauchte sich Martin Luther nicht in Rom zu verantworten, sondern konnte nach Augsburg kommen, um sich dort den Befragungen zu stellen.

Kardinal Cajetan war bei den wichtigsten Parteigängern von Papst und Kaiser, den Fuggern, in der Maximilianstraße untergebracht. Dort fanden auch die Gespräche oder wenn man will Verhöre Martin Luthers am 12., 13. und 14. Oktober 1518 statt.

Leider brachten die Gespräche zwischen Martin Luther und Kardinal Cajetan kein Ergebnis. Und weil Martin Luther und seine Augsburger Parteigänger sich sorgten, dass es Martin Luther genauso wie Johannes Hus, der 100 Jahre früher als Ketzer verbrannt wurde, erginge, floh der Verhörte in der Nacht vom 20. auf den 21. Oktober 1518 heimlich aus Augsburg, wobei ihm seine Sympathisanten halfen.

Der Prior des Karmelitenklosters Johannes Frosch schloss sich später der Reformation an, trat 1523 von seinem Amt zurück und heiratete 1525. Zu Weihnachten des Jahres 1523 wurde in der Anna-Kirche die erste protestantische Liturgie gefeiert und das Abendmahl unter beiderlei Gestalt ausgeteilt. Der Bischof von Augsburg hatte dagegen keine Handhabe, weil die Klöster weder seiner noch der städtischen Jurisdiktion unterstanden. So konnte Johannes Frosch 1523 unter dem Schutz des Stadtrats auch eine evangelische Gottesdienstordnung einführen. Faktisch war durch die positive Haltung des Augsburger Bürgermeisters Ulrich Rehlinger und des Stadtrats damit die Reformation in Augsburg eingeführt.

Quelle: Wikipedia.de

The church was built in 1321 by Carmelites. St. Anna combines architectural styles from Gothic to Classicism. Between 7 and 20 October 1518 Martin Luther lived in the monastery of St. Anne. On the occasion of a Diet, Martin Luther was to be interrogated by the papal legate Cardinal Cajetan. Because there was no monastery of Augustinian hermits in Augsburg, to which Martin Luther still belonged at that time, the prior of the Carmelite monastery, Johannes Frosch, invited him to stay with him. The two clergymen knew each other from their time as students in Erfurt. In the summer of 1518, the heresy trial against Martin Luther had already been opened in Rome, and he was also summoned to attend. However, because Luther's sovereign was committed to the case, Martin Luther did not have to answer for his actions in Rome, but was allowed to come to Augsburg to face the questioning there.

Cardinal Cajetan was staying with the most important partisans of the Pope and Emperor, the Fuggers, in Maximilianstraße. This is also where the talks or, if you like, the interrogations of Martin Luther took place on 12, 13 and 14 October 1518.

Unfortunately, the talks between Martin Luther and Cardinal Cajetan did not yield any results. And because Martin Luther and his Augsburg partisans were worried that Martin Luther would suffer the same fate as Jan Hus, who had been burned as a heretic 100 years earlier, the interrogated man fled Augsburg secretly in the night from 20 to 21 October 1518, with the help of his sympathisers.

The prior of the Carmelite monastery, Johannes Frosch, later joined the Reformation, resigned from his office in 1523 and married in 1525. At Christmas 1523, the first Protestant liturgy was celebrated in the church of St. Anne, and the Lord's Supper was administered under both forms. The Bishop of Augsburg had no control over the monasteries because they were not under his or the city's jurisdiction. Thus, in 1523 Johannes Frosch was able to introduce a Protestant order of worship under the protection of the city council. In fact, the positive attitude of Augsburg's mayor Ulrich Rehlinger and the city council introduced the Reformation in Augsburg.

Source: Wikipedia.de

this shot belongs to Soltan Amir Ahmad public bath house in kashan. it is constructed in 16th century, the architecture and interior decoration of bath house is glorious with wonderful artistic design and details. it was open to the people till few decades ago.

I started the set with this bath house, but the other persian bath houses will be added to the set.

all shootings are done with low exposure time and hand held. the lightening condition was not suitable, but I am satisfied with the result not because of the images quality(that is not so good) but because of they remind me that how great artsts we have been and created wonderful masterpieces even in such a highly humid places.

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.

Gethsemane is a garden at the foot of the Mount of Olives in Jerusalem which is noted in both the Gospel of Matthew and Gospel of Mark. The name Gethsemane derives from Aramiac word for "oil press", as is most famous as the place where Jesus prayed and his disciples slept the night before Jesus' crucifixion.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

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...tone in tone - artistically designed - lines and curves - all in brown

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows above the sanctuary.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Gerbera Flowers shot at Home Studio with simple lighting setup

www.arteatsbakery.com the cherry blossoms are handmade from gum paste in varying pinks. the stems are chocolate brown. Art Eats Bakery

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St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.

The 7th Earl of Shaftesbury, who is depicted in this north ambulatory window, was born in 1801. He worked in parliament to try and improve conditions for the working classes. His ten hour bill limited working hours in the factories of the Nineteenth Century. He also fixed a minimum age for working children. He was a great reformer and Christian. He died in 1885.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows above the sanctuary.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

This old churchyard is known as St. John’s and it is located on Dublin Road. This was my first my second visit but the weather was still very bad and the light was poor.

The colour of the gravestones was different to what I normally see in Irish graveyards [orange/brown rather than grey/white ]

“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design

Still Life Photography of orange and green rug at Fotoshoot Studio with rug PS generative fill

GOA Architects has collaborated with designer Wang Yibo, Huang Wei Le and Zhu Xudong to design a landscape in a public space in Shanghai, China. This project has high artistic value which he designed as a place to hang out and play areas. Built in 2015, the project covers an area of 120.0... freshomedaily.com/?p=49832

#Artistic-Design, #China, #Landscapes, #Public-Space, #Shanghai

Artistic Design in Steel.

(Further pictures you can see by clicking on the link at the ende of page!)

The history of the sanctuary and parish Mariahilf

The beginnings of Mariahilf

Since the cemetery of Hofpfarre (Court Parish) St. Michael - it was too close to the Imperial Palace - in 1508 had to be abandoned due to an imperial command, a new location outside the city walls and the glacis - served as a military parade and defense area - was searched. Only in 1656 could a vineyard in Ried "Schoeff" at the black cross in front of the Widmertor - the present castle gate - to be purchased for the new cemetery.

This Ried "Schoeff" stretched from Widmertor on the slopes of the left bank of Vienna (very small river Wienfluss) to Penzing. Here flourished a famous and popular type of wine, "the Gumpendorfer".

The first cemetery chapel

Picture of grace. At the highest point of this hill a small wooden cemetery chapel was built, that together with the cemetery on 19 April in 1660 was consecrated by Bishop Philipp Friedrich von Breuner. The only decoration of this humble chapel was that of the Barnabitenmönch (monch of the Barnabites) Don Celestine Joanelli - see today's Joanelligasse - donated miraculous image "Mariahülf ", which soon became the destination of many pilgrims from Vienna and the surrounding area.

This representation of Mary is a replica of the miraculous image on Mariahilferberg near Passau, which again is a copy of the miraculous image in the parish church at Innsbruck. All three images, the story tells of miraculous powers. In many "miracle books" - partly till today in Mariahilfer library preserved - is reported about miraculous healings.

The pilgrimages became more and more intense and so the Barnabites were forced to build in the years 1668 and 1669 a stone chapel, including residential buildings for the priests.

In the second Turkish siege of Vienna in 1683, the buildings were destroyed, but the picture of grace in time could be brought to safety by the then sexton Eduard Lampel within the city walls.

The new church

Due to popular demand for the miraculous image, the many pilgrimages and the non-successful floor plan of the building was from 1711 according to the plans of Franziskus Jänckl - a student and construction supervisor of Lukas von Hildebrandt - the church, using part of the existing foundation walls, in its present form built. 1714 choral parts were rebuilt and the nave erected, in 1715 were the towers of the west front - facing the present Mariahilferstraße - ready in shell (2nd construction periode). In the 3rd construction periode 1721-1726 the towers were covered with copper and decorated the west facade with statues and reliefs of J. Jacob and Ignatius Gunst.

A drawing of Salamon Kleiner from 1724 shows the general impression at that time.

Church 1724

Pilgrimages to the holy image of Mariahilf

To get a feel for the intensity of the pilgrimage tradition at this time, some numbers from 1733: 97 692 people received the Holy Communion, 20,000 Holy Masses were celebrated this year in Mariahilf.

The Empress Maria Theresa made ​​a pilgrimage to Mariahilf to ask Our Lady for her intercession. The Chronicle reported that, during the three Masses, those she here attended sequentially, she a quarter hour lying on the ground here prayed and wept.

These and other notable historical documentations can be found until the middle of the 19th Century in the "Akta" of the parish Mariahilf, which can be looked-up in our library.

In the years 1805, 1809 and 1813 during the Napoleonic war took place enormous state processions with up to 90,000 participants to Mariahilf.

Many Viennese suburb and suburban communities pilgrimaged here every year for centuries to pray, to take their concerns to Mary and to obtain a plenary indulgence, under certain specified conditions. Some parishes in Vienna and Lower Austria come even today annually to the miraculous image "pilgrimaging".

In the years 1760 - 100th anniversary, 1860 - 200th anniversary of the mounting of the miraculous image, 1910 - 250 anniversary celebration and 1960 to the 300th recurrence of this event took place festivities lasting for days, the, as the chronicle reported, especially in the years 1760 and 1860 not only religious contents had but also secular celebrations were.

Ultimately led all these conditions and events to the consequence that until now the 6th District of Vienna is called Mariahilf and probably the largest shopping street in Vienna Mariahilferstraße.

The religious communities of Mariahilf

The Barnabitenorden (Barnabite Order) oversaw the parish, which in the meantime from 1722 was also the provost until 1920. From 1920-1923 diocesan priests worked here until church and parsonage were transferred to the Order of Salvatorianer. These were active here until 1997 and had to give up for lack of personnel and financial reasons this location. Subsequently transferred the Archdiocese of Vienna to the Polish Order of Michaelites the care of the parish and pilgrimage church.

Architectural and historic preservation measures in recent decades:

In 1960, on the occasion of the 300 year celebrations the partly wooden marble altars - this was quite usual in the Baroque period for cost reasons - new marbled , that is newly painted. In 1950/55 and 1982, the exterior facades of the church were renovated and restored, from 1986 to 1988 the interior of the church was also renovated and restored the frescoes on the ceilings and walls. Solid plaster damage, moister penetration of the masonry and the increasing pollution from the environment made in 2003 a renewed facade repair at the moment on the Western Front and the two church towers, including the statues and reliefs, urgently required to prevent an even greater extent of damage.

Another construction was 2008-2010, being renovated the remaining facade surfaces of the church (both long sides and south side) including sacristy tower and at the parsonage the roadside west facade and the narrow, southern front facing the courtyard. At the parsonage also an extensive roof renovation was necessary.

Church tower 2, church tower 1 Church Renovation 2010

The historic bell of the Mariahilferkirche - The Schuster Michel

Schuster Michel

After the shoemaker Johann Michael Sailler yet in the previous year had donated a large bell, he gave 1720 again fl 4,000 for a larger bell. This was in the imperial Arsenal by the imperial stucco founder Michael Leopold Heylil casted into tin bronze and weighed 4445 kg with a diameter of 193 cm. On the spot took, took Gottfried Bessel, abbot of Göttweig (Lower Austria), the consecration to the "Blessed Virgin Helper" (ad impositum phenomenon BV Auxiliatricis). It is designed with typical squat baroque style in heavy rib with wide flaring, heavy blow ring carried out and it resounds with massive, very dark basic tone a.

Artistic design of the surface: at the neck (upper edge), a narrow flower frieze, below it then again, broad, by decorative strips edged frieze with rose garlands, enclosed by double trimming elements, the inscription in Roman capitals:

GOSS ME IN LEOPOLD HALIL KAYSERLICHER STVCKGIESSER Wienn 1720 WIGT 7939 PF I AM TO HONOR GOD AND HUMAN SERVICES MANAGEMENT AND READY WHEN I AM (shall) the dead THE TOLL !

The sheath of the bells adorn four cartridges with inscriptions and images: the picture of grace Mariahilf, the Apostle Paul with the sword icon and the founders of the Regular Clerics of the St. Apostle Paul, farther a with an arrow pierced shoe, probably the arms of the founder.

The fourth cartridge contains the chronogram: AVS Dear Rich h MICaeLI Saller generosity Am I AVCH here gehenCket ("from dear rich bounty of the Lord Michael Sailer I 'm also here gehäncket (suspended)"), the capital letters of this inscription constitute the latin number sequence VLIICMICLILLIIIIICVCIC, giving as a result the year 1720.

Schuster Michel

That such a large bell was not so easy to ring by hand and in the course of time were necessary stabilization measures in the belfry, shows an entry in the parish chronicle of 1903: It...."was for the Great Bell "Schuster Michel" of the tower instead of the much more expensive wood helmet an iron belfry .....manufactured, by which the dangers at ringing should be eliminated because now only two men were required to ring the bell and also the vibrations of the whole tower are resolved. "Meant are probably iron bracings and reinforcements in the bell chamber, as the wooden belfry itself continued to remain preserved.

The replacement of the old wooden yoke through a Glockenjoches (bell yoke) of steel followed 1930. When the electrification took place is not documented.

The legend of the "miserly Schuster Michel" was created 1726-1731 and initially referred to a 1719 by the same donor donated, smaller Michael bell. Its defects, which coincided in terms of time with illness and death of the donor, and the in 1731 necessary recast gave this bell a mysterious reputation. As of 1731, hence the name "Michel Schuster" was transferred to the in 1720 also by Michael Sailler donated larger bell. The Michael Bell, however, was later referred to as "Saller-bell" or "Saillerin (Lady Sailler)".

Schuster Michel Schuster Michel

In the heyday (1st half of the 19th century) the Mariahilferkirche was equipped with a total of 8 bells. A detailed Läutordnung (toll regime) already should give the believers acoustically the time and type of worship. The Schuster Michel was rung on the eve before Sundays and public holidays. In the two world wars but in each case bells had to be delivered as war material. 1930 three new bells were still re-purchased, but 1941 the next war took its toll. It remained in the Mariahilferkirche only the historically valuable bell from 1720.

2011: New Patterns for Schuster Michel

Probably 1930, at the Schuster Michel the original wooden yoke was replaced by a steel yoke. These steel suspension proved now but not as convenient, because the ringing of the bell had to be done in a very high Läutwinkel (toll angle). Furthermore, the iron clapper from 1908 was too hard and proportioned wrong and could have hurt the bell. Since the antiquated electric drive, too, was very susceptible to disturbance, the Schuster Michel since Easter 2011 had to be silent.

In order to conserve the Schuster Michel as long as possible, the parish Mariahilf decided to had done some changes. With the renovation work the company Schauer und Sachs from Salzburg was commissioned: The steel yoke was again exchanged with an oak one (approximately 350 kg). As a result, the Läutwinkel (toll angle) could be reduced by 15%. A new round bale clapper, 180 kg, of special steel RSK 100, cast of the company Rosswag in Germany, was installed.

During a small devotion on 25 October 2011, the new clapper was blessed by Father Casimir, before it acceded to the applause of a small crowd of onlookers to the breezy trip to the height on its new location. The unilateral electrical drive has been replaced by an electronic drive with two motors. The screw connections at the belfry were tightened. So the Schuster Michel after a half year break on 28th October 2011 finally could resound again .

The costs for these bell remediations amount to € 20,218.38. Of which bears the parish Mariahilf € 6,803.01. The Federal Monuments Office has a grant of € 5.000, - promised, the rest is pumped in from the Archdiocese of Vienna .

Photos of the installation can be found here: in the photo gallery.

www.pfarremariahilf.at/mariahilf/index.php?mid=Kultur&amp...

I captured this scene while visiting Brussels, Belgium, with my iPhone 16 Pro Max. The kiosk is located at the Chinese pavilion - Museums of the Far East “ site…I love the artistic design. It's beautifully crafted...

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.

"Ecco Homo" are the Latin words for "Behold the Man" used by Pontius Pilate when he presented a scourged Jesus, bound and crowned with thorns, to a hostile crowd shortly before Jesus' crucifixion.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Gerbera Flowers shot at Home Studio with simple lighting setup

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows above the sanctuary.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the south ambulatory.

Bishop James Hannington, who is depicted in this south ambulatory window, was born in 1847. He was an English missionary to Zanzibar, and became the first Bishop of Eastern Equatorial Africa in 1885. He was murdered that same year by Ugandans whist leading a dangerous expedition to open up a shorter to route to Lake Victoria Nyanza.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.

Florence Nightingale, who is depicted in this north ambulatory window, was a highly educated woman, who is famous for improving sanitary conditions in military hospitals in the Crimea. She is commonly referred to as the "Lady with the Lamp" and she is most commonly associated with the Red Cross.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Comment:

Face: Very nice ghostly make up. I love the way she seems to have something in her eyes, like she's looking into the sky. Not many Barbie has a nice black hair. So this is a must for collector =]

Dress: Very lovely combination of all antique colours like teal, gold and black. Tiara is nicely designed decorated with clear brown jewels. I think tiara is one of the hi-light for this doll.

Box: Artistic design of the backgorund and the back of the box. I am not a fan of this type of window box (I love the cake box design). I may not take her out of the box, because it's not easy to unpack with this kind of box (I have experience with Couture Angel No.1). So let's keep her this way.

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.

Elizabeth Fry, who is depicted in this north ambulatory window, was born in 1780. She was an eminent philanthropist and was fundamental in prison reform in the Nineteenth Century. She was amongst the first people to insist that prisoners receive help as well as punishment, if they were to become good citizens. She campaigned tirelessly for education for female prisoners incarcerated at Newgate Prison.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

This old churchyard is known as St. John’s and it is located on Dublin Road. This was my first my second visit but the weather was still very bad and the light was poor.

The colour of the gravestones was different to what I normally see in Irish graveyards [orange/brown rather than grey/white ]

“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design

Frankfurt, Übernachtungsstätte Ostpark

A syrian artistic design on a wooden box which is normally a specialty of Damascus.

Photo. A Steven Chateauneuf Creation.

PLEASE do NOT post this image on other websites without my permission.

Art Eats Bakery

Greenville, SC, 29607

www.arteatsbakery.com

Phone: 864-201-4448

Email: sales@arteats.com

We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food Network Challenge audition video www.youtube.com/watch?v=qsEr3J5siTg

All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.

Please visit our website for more photos and information.

Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C. This cake can be done in square or other shapes and the colors can be changed the match your wedding.

We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com

All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order

The whole cake is covered in edible photos of the Bride and Groom and they are surrounded by sugar pearls. The boarders and topper are hand rolled fondant. This cake can be done in square or other shapes and the colors can be changed the match your wedding.

We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com

All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.

Saint Luke, who is depicted in this north ambulatory window, is depicted as a doctor because of the medical terms quoted in his gospel and acts. He accompanied Paul on his second missionary journey in 52AD.

This window is initialled by Christian Waller.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Art Eats Bakery www.arteatsbakery.com Art Eats Bakery

Greenville, SC, 29607

www.arteatsbakery.com

Phone: 864-201-4448

Email: sales@arteats.com

We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food network audition video www.youtube.com/watch?v=qsEr3J5siTg

All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.

Please visit our website for more photos and information.

Make your appointment today for a cake tasting and consultation. We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower, ect. should be celebrated in style.Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com

All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order. We want you to enjoy our desserts fresh baked.

Model:Kawaï Von Tierisch

Photo: Black Veil Photography

Clothes/accessories: Black Veil Couture

Copyright : ift.tt/2T3zwgF

Facebook : ift.tt/2XXFHGF

Instagram : @alexis.von.lelouch

(Further pictures you can see by clicking on the link at the ende of page!)

The history of the sanctuary and parish Mariahilf

The beginnings of Mariahilf

Since the cemetery of Hofpfarre (Court Parish) St. Michael - it was too close to the Imperial Palace - in 1508 had to be abandoned due to an imperial command, a new location outside the city walls and the glacis - served as a military parade and defense area - was searched. Only in 1656 could a vineyard in Ried "Schoeff" at the black cross in front of the Widmertor - the present castle gate - to be purchased for the new cemetery.

This Ried "Schoeff" stretched from Widmertor on the slopes of the left bank of Vienna (very small river Wienfluss) to Penzing. Here flourished a famous and popular type of wine, "the Gumpendorfer".

The first cemetery chapel

Picture of grace. At the highest point of this hill a small wooden cemetery chapel was built, that together with the cemetery on 19 April in 1660 was consecrated by Bishop Philipp Friedrich von Breuner. The only decoration of this humble chapel was that of the Barnabitenmönch (monch of the Barnabites) Don Celestine Joanelli - see today's Joanelligasse - donated miraculous image "Mariahülf ", which soon became the destination of many pilgrims from Vienna and the surrounding area.

This representation of Mary is a replica of the miraculous image on Mariahilferberg near Passau, which again is a copy of the miraculous image in the parish church at Innsbruck. All three images, the story tells of miraculous powers. In many "miracle books" - partly till today in Mariahilfer library preserved - is reported about miraculous healings.

The pilgrimages became more and more intense and so the Barnabites were forced to build in the years 1668 and 1669 a stone chapel, including residential buildings for the priests.

In the second Turkish siege of Vienna in 1683, the buildings were destroyed, but the picture of grace in time could be brought to safety by the then sexton Eduard Lampel within the city walls.

The new church

Due to popular demand for the miraculous image, the many pilgrimages and the non-successful floor plan of the building was from 1711 according to the plans of Franziskus Jänckl - a student and construction supervisor of Lukas von Hildebrandt - the church, using part of the existing foundation walls, in its present form built. 1714 choral parts were rebuilt and the nave erected, in 1715 were the towers of the west front - facing the present Mariahilferstraße - ready in shell (2nd construction periode). In the 3rd construction periode 1721-1726 the towers were covered with copper and decorated the west facade with statues and reliefs of J. Jacob and Ignatius Gunst.

A drawing of Salamon Kleiner from 1724 shows the general impression at that time.

Church 1724

Pilgrimages to the holy image of Mariahilf

To get a feel for the intensity of the pilgrimage tradition at this time, some numbers from 1733: 97 692 people received the Holy Communion, 20,000 Holy Masses were celebrated this year in Mariahilf.

The Empress Maria Theresa made ​​a pilgrimage to Mariahilf to ask Our Lady for her intercession. The Chronicle reported that, during the three Masses, those she here attended sequentially, she a quarter hour lying on the ground here prayed and wept.

These and other notable historical documentations can be found until the middle of the 19th Century in the "Akta" of the parish Mariahilf, which can be looked-up in our library.

In the years 1805, 1809 and 1813 during the Napoleonic war took place enormous state processions with up to 90,000 participants to Mariahilf.

Many Viennese suburb and suburban communities pilgrimaged here every year for centuries to pray, to take their concerns to Mary and to obtain a plenary indulgence, under certain specified conditions. Some parishes in Vienna and Lower Austria come even today annually to the miraculous image "pilgrimaging".

In the years 1760 - 100th anniversary, 1860 - 200th anniversary of the mounting of the miraculous image, 1910 - 250 anniversary celebration and 1960 to the 300th recurrence of this event took place festivities lasting for days, the, as the chronicle reported, especially in the years 1760 and 1860 not only religious contents had but also secular celebrations were.

Ultimately led all these conditions and events to the consequence that until now the 6th District of Vienna is called Mariahilf and probably the largest shopping street in Vienna Mariahilferstraße.

The religious communities of Mariahilf

The Barnabitenorden (Barnabite Order) oversaw the parish, which in the meantime from 1722 was also the provost until 1920. From 1920-1923 diocesan priests worked here until church and parsonage were transferred to the Order of Salvatorianer. These were active here until 1997 and had to give up for lack of personnel and financial reasons this location. Subsequently transferred the Archdiocese of Vienna to the Polish Order of Michaelites the care of the parish and pilgrimage church.

Architectural and historic preservation measures in recent decades:

In 1960, on the occasion of the 300 year celebrations the partly wooden marble altars - this was quite usual in the Baroque period for cost reasons - new marbled , that is newly painted. In 1950/55 and 1982, the exterior facades of the church were renovated and restored, from 1986 to 1988 the interior of the church was also renovated and restored the frescoes on the ceilings and walls. Solid plaster damage, moister penetration of the masonry and the increasing pollution from the environment made in 2003 a renewed facade repair at the moment on the Western Front and the two church towers, including the statues and reliefs, urgently required to prevent an even greater extent of damage.

Another construction was 2008-2010, being renovated the remaining facade surfaces of the church (both long sides and south side) including sacristy tower and at the parsonage the roadside west facade and the narrow, southern front facing the courtyard. At the parsonage also an extensive roof renovation was necessary.

Church tower 2, church tower 1 Church Renovation 2010

The historic bell of the Mariahilferkirche - The Schuster Michel

Schuster Michel

After the shoemaker Johann Michael Sailler yet in the previous year had donated a large bell, he gave 1720 again fl 4,000 for a larger bell. This was in the imperial Arsenal by the imperial stucco founder Michael Leopold Heylil casted into tin bronze and weighed 4445 kg with a diameter of 193 cm. On the spot took, took Gottfried Bessel, abbot of Göttweig (Lower Austria), the consecration to the "Blessed Virgin Helper" (ad impositum phenomenon BV Auxiliatricis). It is designed with typical squat baroque style in heavy rib with wide flaring, heavy blow ring carried out and it resounds with massive, very dark basic tone a.

Artistic design of the surface: at the neck (upper edge), a narrow flower frieze, below it then again, broad, by decorative strips edged frieze with rose garlands, enclosed by double trimming elements, the inscription in Roman capitals:

GOSS ME IN LEOPOLD HALIL KAYSERLICHER STVCKGIESSER Wienn 1720 WIGT 7939 PF I AM TO HONOR GOD AND HUMAN SERVICES MANAGEMENT AND READY WHEN I AM (shall) the dead THE TOLL !

The sheath of the bells adorn four cartridges with inscriptions and images: the picture of grace Mariahilf, the Apostle Paul with the sword icon and the founders of the Regular Clerics of the St. Apostle Paul, farther a with an arrow pierced shoe, probably the arms of the founder.

The fourth cartridge contains the chronogram: AVS Dear Rich h MICaeLI Saller generosity Am I AVCH here gehenCket ("from dear rich bounty of the Lord Michael Sailer I 'm also here gehäncket (suspended)"), the capital letters of this inscription constitute the latin number sequence VLIICMICLILLIIIIICVCIC, giving as a result the year 1720.

Schuster Michel

That such a large bell was not so easy to ring by hand and in the course of time were necessary stabilization measures in the belfry, shows an entry in the parish chronicle of 1903: It...."was for the Great Bell "Schuster Michel" of the tower instead of the much more expensive wood helmet an iron belfry .....manufactured, by which the dangers at ringing should be eliminated because now only two men were required to ring the bell and also the vibrations of the whole tower are resolved. "Meant are probably iron bracings and reinforcements in the bell chamber, as the wooden belfry itself continued to remain preserved.

The replacement of the old wooden yoke through a Glockenjoches (bell yoke) of steel followed 1930. When the electrification took place is not documented.

The legend of the "miserly Schuster Michel" was created 1726-1731 and initially referred to a 1719 by the same donor donated, smaller Michael bell. Its defects, which coincided in terms of time with illness and death of the donor, and the in 1731 necessary recast gave this bell a mysterious reputation. As of 1731, hence the name "Michel Schuster" was transferred to the in 1720 also by Michael Sailler donated larger bell. The Michael Bell, however, was later referred to as "Saller-bell" or "Saillerin (Lady Sailler)".

Schuster Michel Schuster Michel

In the heyday (1st half of the 19th century) the Mariahilferkirche was equipped with a total of 8 bells. A detailed Läutordnung (toll regime) already should give the believers acoustically the time and type of worship. The Schuster Michel was rung on the eve before Sundays and public holidays. In the two world wars but in each case bells had to be delivered as war material. 1930 three new bells were still re-purchased, but 1941 the next war took its toll. It remained in the Mariahilferkirche only the historically valuable bell from 1720.

2011: New Patterns for Schuster Michel

Probably 1930, at the Schuster Michel the original wooden yoke was replaced by a steel yoke. These steel suspension proved now but not as convenient, because the ringing of the bell had to be done in a very high Läutwinkel (toll angle). Furthermore, the iron clapper from 1908 was too hard and proportioned wrong and could have hurt the bell. Since the antiquated electric drive, too, was very susceptible to disturbance, the Schuster Michel since Easter 2011 had to be silent.

In order to conserve the Schuster Michel as long as possible, the parish Mariahilf decided to had done some changes. With the renovation work the company Schauer und Sachs from Salzburg was commissioned: The steel yoke was again exchanged with an oak one (approximately 350 kg). As a result, the Läutwinkel (toll angle) could be reduced by 15%. A new round bale clapper, 180 kg, of special steel RSK 100, cast of the company Rosswag in Germany, was installed.

During a small devotion on 25 October 2011, the new clapper was blessed by Father Casimir, before it acceded to the applause of a small crowd of onlookers to the breezy trip to the height on its new location. The unilateral electrical drive has been replaced by an electronic drive with two motors. The screw connections at the belfry were tightened. So the Schuster Michel after a half year break on 28th October 2011 finally could resound again .

The costs for these bell remediations amount to € 20,218.38. Of which bears the parish Mariahilf € 6,803.01. The Federal Monuments Office has a grant of € 5.000, - promised, the rest is pumped in from the Archdiocese of Vienna .

Photos of the installation can be found here: in the photo gallery.

www.pfarremariahilf.at/mariahilf/index.php?mid=Kultur&amp....

Ballroom tract

The Large Festival Hall during a concert of the Vienna Hofburg Orchestra (another picture you can see by clicking on the link at the end of page!)

The ballroom wing was built by Ludwig Baumann in the years 1910-23. It connects the New Castle with the Ceremonial hall tract and has the main side towards the Heroes' Square. It was originally planned as part of by Carl Hasenauer planned 1866 and by Gottfried Semper 1869 generously remodeled "Imperial Forum".

The Grand Ballroom is with approximately 1,000 m² the largest hall in the whole Hofburg. Although it was designed as a throne hall, it was never used as such: the interior construction ended in 1923, the artistic design remained incomplete. Three ceiling paintings by Alois Hans Schramm glorify the Habsburg rule. As motto served the slogan of Emperor Franz Joseph Viribus Unitis, with joined forces. In the lying below lunettes and octagon panels Eduard Veith and Viktor Stauffer have immortalized personalities of the Austrian history. In the ceiling paintings can be seen Maximilian I, Charles V, Ferdinand I, Rudolf II and Ferdinand II of Tyrol, in the side panels Leopold I, Charles VI, Prinz Eugen and the Polish king Jan III Sobieski.

Since 1958, the Festival Hall tract is used as a convention center of the Hofburg Congress Center & Redoutensäle Vienna. The Euro Vision Song Contest 1967 was held here. Since 1992, the OSCE keeps her an office for the event organization. 2005 the so-called "Kesselhaushof" was covered and converted into a conference hall. In addition to numerous other balls here since 1968 takes also place annually the controversial because of repeated participation of right-wing politicians Wiener corporation ball.

Festsaaltrakt

Der Große Festsaal während eines Konzerts des Wiener Hofburg Orchesters

Der Festsaaltrakt wurde von Ludwig Baumann in den Jahren 1910-23 errichtet. Er verbindet die Neue Burg mit dem Zeremoniensaaltrakt und hat die Hauptseite zum Heldenplatz. Es wurde ursprünglich als Teil des von Carl Hasenauer 1866 geplanten und von Gottfried Semper 1869 großzügig umgestalteten "Kaiserforums" geplant.

Der Große Festsaal ist mit rund 1.000 m² der größte Saal in der gesamten Hofburg. Er wurde zwar als Thronsaal konzipiert, aber nie als solcher verwendet: der Innenausbau endete 1923, die künstlerische Gestaltung blieb unvollständig. Drei Deckengemälde von Alois Hans Schramm verherrlichen die Herrschaft der Habsburger. Als Devise diente der Wahlspruch Kaiser Franz Josephs Viribus Unitis, mit vereinten Kräften. In den unterhalb liegenden Lunetten und Oktogonfeldern haben Eduard Veith und Viktor Stauffer Persönlichkeiten aus der österreichischen Geschichte verewigt. In den Deckengemälden erkennt man Maximilian I., Karl V., Ferdinand I., Rudolf II. und Ferdinand II. von Tirol, in den Seitenfeldern Leopold I., Karl VI., Prinz Eugen und den Polenkönig Jan III. Sobieski.

Seit 1958 wird der Festsaaltrakt als Kongresszentrum von der Hofburg Kongresszentrum & Redoutensäle Wien genutzt. Der Eurovision Song Contest 1967 wurde hier abgehalten. Seit 1992 unterhält hier die OSCE ein Büro für die Veranstaltungsorganisation. 2005 wurde der sogenannte "Kesselhaushof" überdacht und in einen Konferenzsaal umgewandelt. Neben zahlreichen anderen Bällen findet hier seit 1968 jährlich auch der wegen der wiederholten Teilnahme rechtsextremer Politiker umstrittene Wiener Korporationsball statt.

de.wikipedia.org/wiki/Hofburg#Festsaaltrakt

www.arteatsbakery.com Art Eats Bakery The three tier fondant cake has two round tiers and one hexagon tier with a monogram surrounded by sugar pearls. The black ribbon is not edible. Art Eats Bakery

Greenville, SC, 29607

www.arteatsbakery.com

Phone: 864-201-4448

Email: sales@arteats.com

We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food Network Challenge audition video www.youtube.com/watch?v=qsEr3J5siTg

All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.

Please visit our website for more photos and information.

Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C. This cake can be done in square or other shapes and the colors can be changed the match your wedding.

We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com

All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order

Polymer and Seed Bead Mosaic, 12" x 12" framed. 2015

see "detail view" www.flickr.com/photos/dembicer/24260955481

Collection of Rachel and Erick Fish

Fondant wedding cake with pink calla lillies, vases of sugar flowers and drapes. Art Eats Bakery

Greenville, SC, 29607

www.arteatsbakery.com

Phone: 864-201-4448

Email: sales@arteats.com

We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food network audition video www.youtube.com/watch?v=qsEr3J5siTg

All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.

Please visit our website for more photos and information.

Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C.

Art Eats Bakery www.arteatsbakery.com This cake can be done in square or other shapes and the colors can be changed the match your wedding.

We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, aniversary, new baby, shower, Groom's,ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com

Japanese Garden, Portland, OR

I always liked the fact that many of the Japanese gardens have been designed with harmony and balance in mind. No wonder that the designed symmetry of this garden created a natural balance in this picture. Fall foliage added a bit of color contrast. Overall it is very easy to create a good picture from an artistically designed space.

Please visit My Website

First Visit 9 MAY 2016

While wandering around the city of Kilkenny I managed to get locked into an area that I was exploring and it took me a long to find a way out but then I came across this old graveyard. It is known as St. John’s and it is located on Dublin Road. This was my first visit but as the weather was very bad I decide that it might to best to revisit the next morning.

“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design value of the site.”

Model:Kawaï Von Tierisch

Photo: Black Veil Photography

Clothes/accessories: Black Veil Couture

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St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows above the sanctuary.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Model:Kittycatlv

Photo: Black Veil Photography

Clothes/accessories: Black Veil Couture

Copyright : ift.tt/2T3zwgF

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St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.

This window is last of four stained glass windows that depict the events just prior to the Crucifixion of Jesus, the Crucifixion itself and the Resurrection of Jesus.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

One Thousand and One Nights (sometimes referred to as Arabian Nights) Arabian Nights is a two-part ballet written in 1979. The music of the ballet was written by Fikret Amirov, and the libretto was written by Magsud and Rustam Ibrahimbeyov based on the fairy tale " Arabian Nights”. The premiere of the ballet took place in 1979 at the Azerbaijan State Academic Opera and Ballet Theater.

Music, choreography, libretto and artistic design are in organic unity in the ballet written on the basis of Arabic tales. Captivating melodies, colorful harmonic language and orchestration, the alternation of sincere lyrical scenes with folk scenes and household scenes are the main features of the Arabian Nights ballet. One of the main highlights of the ballet is the use of the female voice in the timbre dramaturgy. At the beginning of the ballet, the women's chorus, which sounds against the background of the orchestra's gentle, charming flowing intonations, is sad, but reflects the belief in bright dreams and devotion.

"Arabian Nights" is a deep philosophical play. It is a hymn to woman, her love and wisdom. Expressing very complex and deep ideas through dance is the greatest achievement of the composer in this genre.

Introduction

Lento - Amore

The first act

No. 1 Duet of Shahriyar and Nurida: Andante

No. 2 Dance of the Archers: Sveltezza

No. 3 Variation of Shahriyar: Esaltato

No. 4 Nurida's monologue: Moderato ancioso

No. 5 Orgy: Presto-vivace

No. 6 Death of Shahriyar and Nurida: Andante moderato

No. 7 Shahriyar's monologue: Andante tragico

No. 8 Dance of the executioners: Andante duramente

No. 9 Shahriyar's Wrath: Allegro irato

No. 10 Executioners chasing women: Inferhale-Lamento

No. 11 Women's prayer and supplication: Adagio - pianto suplicare

No. 12 Shahriyar's fury: Allegro feroce

No. 13 Shahrizade: Allegretto grazioso

No. 14 Shahriyar and Shahrizade's duet: Lento-Amore

The second act

No. 15 Night: Lento-Goncitato

No. 16 First Tale: The Maiden, Sinbad the Sailor, and the Spirit Bird: Adagio limpido

No. 17 Dance of the executioners: Andante duramente

No. 18 Night: Lento-Concitato

No. 19 The second tale: Aladdin and the magic lamp: Allegretto brillante

I. The market of Baghdad

No. 20 Dance of the executioners: Andante duramente

No. 21 Night: Lento-Concitato

No. 23 Third Tale: Alibaba and the Forty Thieves: Allegro vivace

I. Persecution

II. Dance of the Coral: Andante splendidezza

No. 24 Shahriyar and executioners: Allegro elevato

I. Shahriyar in the world of fairy tales

No. 25 Duet of Shahriyar and Shahrizadeh: Adagio amoroso

No. 26 Archers: Sveltezza

No. 27 Shahrizade's monologue: Moderato con anima

No. 28 Shahrizade's feast: Allegretto festante

No. 29 Finale: Allegretto elevato

Artistic Design