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Arik-Brauer-Haus, 6, Gumpendorfer Straße 134-136, Wallgasse 13
Das städtische Wohnhaus wurde, wie das Hundertwasserhaus, von einem bekannten Wiener Künstler, Arik Brauer, gestaltet. Die Planung führte im Auftrag der MA 19 (der städtischen Architekturabteilung) Peter Pelikan durch, der bereits mit Hundertwasser gearbeitet hatte. Das Modell wurde der Öffentlichkeit am 27. Jänner 1987 präsentiert, das Haus 1991 bis 1994 errichtet und im April 1994 von Bürgermeister Helmut Zilk eröffnet.
Das fünfstöckige Wohnhaus (33 Wohnungen, drei Geschäftslokale) besitzt einen Innenhof mit Teich und Kleintiergehege; es ist an der Fassade von zwei großen Fliesenbildern geschmückt, die Stiegenhausfenster sind in Hinterglasmalerei ausgeführt.
Das Haus befindet sich unweit der U-Bahn-Station Gumpendorfer Straße der Linie U6 und nahe dem Raimundtheater.
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.
Rizhskaya metro station of the large ring line of the Moscow metro (line 11/11A) is a three-vaulted, deep pylon
The decoration of the Rizhskaya metro station on the Moscow metro's Big Circle Line is made in high-tech style
The architectural and artistic design of the station was selected at an open international competition held from November 15, 2016 to June 16, 2017. On March 22, 2017, at a jury meeting, 3 finalist works were selected, and the winner was determined by voting by Muscovites on the Active Citizen portal. It was a project by the architectural bureau “Blank Architects”.
For several centuries, Riga Square played the role of “entrance gate to the city.” The architects used the idea of a “portal to the city” as the basis for the design of the station. The fundamental architectural element expressing the idea of a “gate” was the arch, which accentuates the entrance to the ground pavilion and is present as a repeating element in the design of the platform part. The walls are decorated with smooth gray concrete without unnecessary decorative elements. The laconic design does not look boring due to the brightly colored marble flooring and built-in floor lighting.
in my opinion, the design of the Rizhskaya metro station of the Bolshaya koltsevaya metro line (line 11/11 A) refers to the TV series Santa Barbara
from the Rizhskaya metro station of the large ring line of the Moscow metro (line 11/11A) you can transfer to the Rizhskaya metro station (6 lines of the Moscow metro)
exit to the city: to Prospekt Mira, Suschevsky Val street, to the Riga station, to ground transport stops
Kolam aka Rangoli is an artistic creation with rice flour that is made outside the front entrance of the house. It is usually done by the women folk of the house early in the morning, every day.
These designs are believed to produce positive cosmic forces which will improve the lot of people who dwell in the house. We can also interpret it in the modern context as a sign of welcome to all people who come to the house. They denote a prayer “ let there be happiness & cheerfulness when anybody steps into the house.” If there is an artistic design, nobody will dirty the place also ! It is supposed to prevent undesirable elements from entering the house.
Besides giving aesthetic beauty at the entrance, the kolam also provides a physical exercise for the women, early in the morning. The bending and drawing the kolam gives a good exercise to the waist and hips, thereby strengthening them and giving them flexibility.
The kolam is also supposed to honour, Lakshmi Devi, the Hindu Goddess of wealth & prosperity & to invite her blessings into the home. It is the best artistic outlet for a woman to start the day auspiciously.
Maharajas’ Express, India - World’s Leading Luxury Train
Welcome aboard the Maharajas' Express, bestowed the "World’s Leading Luxury Train"award at the World Travel Awards for two consecutive years in 2012 & 2013. The Maharajas’ Express has redefined the luxury travel experience by offering guests the opportunity to explore fabled destinations providing a glimpse of rich cultural heritage of Incredible India which will leave you with fond memories of this train journey to be cherished.
Maharajas' Express - The Finest Luxury Train
The Maharajas' Express, offers five aptly crafted itineraries to provide the train travelers an experience to make them feel no less than royalty, exploring the mystique of this incredible culture and more from the luxury and comfort of spacious cabins of the train. Out of the five exclusive itineraries promoted by Maharajas' Express train, three itineraries are of 8Days/7Nights viz. The Indian Splendour, The Heritage of India and The Indian Panoramapassing through the rich and panoramic landscape and showcasing the beauty of destinations like Jaipur, Ranthambore, Fatehpur Sikri, Agra, Gwalior, Khajuraho, Varanasi and Lucknow. The other two itineraries of 4Days/3Nights viz. Gems of India & Treasures of India introduce the travelers of this Indian Luxury Train to the wondrous circuit of 'Golden Triangle' consisting of Delhi-Agra-Ranthambore-Jaipur.
Maharajas Express allows the travelers to soak in and witness the magnificent landscapes consisting of palaces, forts & natural green fields from the artistically designed and professionally managed luxury train. Maharajas Express Rail journey also endows an opportunity to the tourists to unwind themselves while appreciating the beautiful cave paintings at Ajanta, palaces at shimmering Lake City of Udaipur, majestic fort at Jodhpur, fun filled sundowner on the sand dunes at Bikaner, sight of legendary tigers at Ranthambore and above all, one of the Seven Wonders of World 'The Taj Mahal'.
This Indian Luxury train recreates the lifestyle of a royal era. It is the best luxury train in Indiawith experiences unsurpassable and unforgettable. The various testimonials given by tourists onboard this rail journey justify it beyond doubt.
It's an outstanding effort from Indian Railways, to provide 5-Star hospitality to elite guests on wheels.
Click at Mylapore Kolam Festival,2016.
Kolam aka Rangoli is an artistic creation with rice flour that is made outside the front entrance of the house. It is usually done by the women folk of the house early in the morning, every day.
These designs are believed to produce positive cosmic forces which will improve the lot of people who dwell in the house. We can also interpret it in the modern context as a sign of welcome to all people who come to the house. They denote a prayer “ let there be happiness & cheerfulness when anybody steps into the house.” If there is an artistic design, nobody will dirty the place also ! It is supposed to prevent undesirable elements from entering the house.
Besides giving aesthetic beauty at the entrance, the kolam also provides a physical exercise for the women, early in the morning. The bending and drawing the kolam gives a good exercise to the waist and hips, thereby strengthening them and giving them flexibility.
The kolam is also supposed to honour, Lakshmi Devi, the Hindu Goddess of wealth & prosperity & to invite her blessings into the home. It is the best artistic outlet for a woman to start the day auspiciously.
Adelaide Railway Station
This grand landmark structure has greeted railway passengers arriving in the city for more than 80 years. The Adelaide Railway Station marks a period of transformation in the state’s railway system. It was a celebrated achievement at the time, but it was also mired in controversy.
In the early 1920s South Australia’s railway system was in a dismal state. The state government brought out Ohio-born William Alfred Webb from the United States to make improvements.
As the new Railway Commissioner, Webb made major changes. He built stronger bridges and bought bigger locomotives. He also decentralised railway administration, giving greater control to divisional superintendents. Within a few years, he had revolutionised the state’s railways.
Unfortunately, Webb did not foresee that automobiles would soon outpace rail.
Although mainly positive, Webb’s program and the building of the railway station came with a big price tag. The Railway Commissioner was heavily criticised and was the subject of debate in Parliament. His spending contributed to the near bankruptcy of the State Government by 1929. As the Great Depression set in, Webb returned to the US with a tarnished reputation. [Ref: Adelaide City Explorer]
THE RAILWAY STATION BUILDING
Foundation Stone Laying. Mr Gunn's Final Official Act
A noteworthy ceremony in the history of the State will take place at 11 am today, when the retiring Premier (Hon J Gunn) will lay the foundation stone of the new railway station at North Terrace.
Invitations for the occasion have been sent to members of the Ministry, members of both Houses of Parliament, and other representative citizens. It is also expected that the public generally will attend in large numbers. The Premier, who has authorized the whole of the detailed expenditure, in the work to date, and manifested a keen interest in its progress will, by this act, fittingly celebrate in a public way the termination of his position as Minister of Railways. The stone is to be set in the main portion of the facade, near the entrance to the ramp.
The building was begun at the end of last year, and it is expected to be completed by July, 1928. In addition to the usual railway facilities, accommodation will be provided for the whole of the clerical staff in Adelaide, numbering approximately 400. The frontage to North terrace is 225 ft and to a new roadway on the east, 390 ft. The whole construction is to be of reinforced concrete and steel frame, with brick cement walls. The height for the present will be of four floors with flat roof, and allowance has been made in the design for the addition of three extra floors at a future date. The floor area of the building is 303,000 super feet. The main passenger concourse is 370 ft by 41 ft by 40 ft high, covering 16 railheads. The main waiting hall is in the form of a Maltese cross, measuring 120 ft each way, with a concrete dome in the centre, 45 ft diameter, of a height of 70 ft above the floor level, supported by eight Ionic columns each 30 ft high, the four annexes each being 45 ft by 38 ft by 25 ft high. Country and suburban ticket halls each 100 ft by 25 ft by 25 ft high are arranged on the street level, with ramp and stair approaches to the passenger concourse, which is 18 ft 6 in below. The area of the parcels and luggage offices is approximately 30,000 super feet. In the construction of the building 2,250,000 bricks will be used, 20,000 cubic yards of concrete, and 1,200 tons of structural steel. The whole of the exterior elevations, the passenger concourse, the main waiting room, and ticket halls, will be finished with white cement and brown sand. All windows, doors, and office partitions throughout will be of steel: thus the whole building will be entirely fireproof. Immediately under the main waiting hall on the platform level will be a large, public dining room, 90 ft each way, adjoining which is to be a quick-lunch cafe, 70 ft by 36 ft. A hot water heating system is to be installed throughout, and the building will be replete with the most modern appliances, including a vacuum cleaning plant and tube system. The total cost is approximately £400,000.
The cloak room is the first office to have permanent quarters in the new building, and it is located on the extreme northeastern corner, and a start has already been made in the demolition of the old office near the assembly platform. The counters of the new quarters are polished hardwood, and the racks are convenient and commodious, the windows forming an artistic design in Flemish leadlight. The work on the station is being carried out departmentally, and 140 men are employed thereon. Up-to-date appliances are in use, including air compressors, concrete mixers, and other mechanical devices. At one period it was thought that work would be delayed, owing to the acceptance of the tender for steel girders being hung up. but it was kept going by the substitution of concrete piers, which incidentally, occupy more room. The acting chief engineer of railways (Mr C B Anderson) has the direct supervision of the undertaking, and the superintending officer (Mr J G Carson), who was formerly in charge of the construction of the new railway bridge over the River Murray at Murray Bridge, has charge of the outside work. The plans were drawn by Messrs Garlick & Jackman, architects, and the details for departmental purposes have been worked out by Mr A M Bonython (structural draftsman). [Ref: Register 24-8-1926]
New Railway Station
It has been decided by the Railway Department officials that there will be no official opening of the new Adelaide Station.
Following a previous announcement that a limited number would be asked to make an inspection of the premises, Mr W A Webb (Railways Commissioner) was besieged with applications for invitations. [Ref: News 16-7-1928]
NEW RAILWAY STATION
An inspection of. the new Railway Station offices in Adelaide will be made this morning by citizens who have been invited to do so by the Minister of Railways (Hon R LButler). [Ref: Register 30-7-1928]
WEIGH BABY AT THE ADELAIDE RAILWAY STATION
In many countries in the world at the present time there are Baby Health Centres at large railway depots where mothers, arriving in a strange city with babies, or waiting to catch a train can take their infants to be weighed and get advice on all matters pertaining to feeding and general care from a competent certified nurse.
Fully appreciating the value of the splendid work done at railway stations by Baby Welfare institutions, the Commissioner of Railways (Mr W A Webb) has placed a room in the new Adelaide railway station at the disposal of the Mothers' and Babies' Health Association, better known under the old title of School for Mothers.
This centre will be opened on Monday, 16 July. A trained nurse will be in attendance each week day from 9.30 am, 1 pm and from 2.0, 4.30 pm.
The large comfortable room that is to be the centre of the nurse’s activities has an entrance off the main waiting room on a level with North Terrace.
Numerous signs boards are being erected by the railway authorities to direct mothers to this room.
Take your baby to be weighed and seek the nurse's advice when next you are at the Adelaide station. [Ref: Bunyip (Gawler) 13-7-1928]
This oblique view was taken on the Aqueduct's western side, in the Plaza de Azoguejo, looking southeast.
There was a time in my life when I lived and traveled on landscapes replete with ancient Roman works. But nothing ever quite produced the visceral impact on me that the Segovia Aqueduct did.
From a practical standpoint, it was just built to be the most reliable means of supplying water to one of the empire's smaller and most far-flung outposts. And yet it's one of the Mediteranean world's most staggering demonstrations of civil engineering.
And, in terms of the shudder of astonishment it provides anyone still capable of wonder, it's a masterpiece of artistic design as well. The American poet Walt Whitman wrote, "All architecture is what you do to it when you look upon it." What I do to this miraculous bridge of stone is thank it for giving me a flush of pride in what our own murderous hominid species can actually do in a positive sense.
Of course most of the visual punch the Aqueduct delivers is due to its masonry. Giant ashlar blocks of Guadarrama Granite stand there, and have stood there for nineteen centuries, without any mortar holding them together.
The igneous intrusive rock on display here takes its name from the mountain range (Sierra de Quadarrama) that flanks Segovia to its east. The granite dates to the very late Carboniferous period (ca. 300 Ma), and comes from a mass of magma that was emplaced in the upper crust during the Variscan (Hercynian) Orogeny and the assembly of the supercontinent Pangaea.
I'll discuss the local bedrock geology and how the Roman engineers dealt with in photos to follow. But one last thing to note here: if you look closely, you'll see that many ashlar units have small but discernable circular holes in them. These indentations were where the massive blocks were held in pincerlike grips while they were hoisted into position by cranes. That's pretty fancy technology for a culture that had no electrical or steam power—just human and animal muscle aided by the clever use of rudimentary force-multiplying machines.
Oh. I lied. There's one more talking point, too. See the Seventies-era cars parked right along the foot of the Aqueduct's piers? That practice is no longer allowed—to preserve the structure from unnecessary traffic vibrations and from the direct effects of automotive exhaust.
To see the other photos and descriptions in this series, visit my Architectural Geology of Segovia album.
original work "Light pipes" from Rölli Ridanpää & Tero Laine
"Domus 360° - Four Homes" from Tarja Ervasti
Light Pipes depicts the urban landscape – the light and the interaction between people represent the city’s diverse opportunities. The interactive installation comprises copper pipes and valves that adjust the brightness of the lamps.
The installation is based on interaction: twelve viewers at a time can adjust the valves. By working together they can dim the city or make it shine in full brightness.
Light Pipes asks how individuals and communities can influence large entities. Who controls my city? Can we together influence the conditions in which we live?
In co-operation with: Tricton Customworks, Granlund Oy
Source: www.luxhelsinki.fi/en/installation/rolli-ridanpaa-tero-la...
For the first time in the history of Lux Helsinki all four sides of Helsinki Cathedral will become part of one light installation: Domus 360° – Four Homes can be experienced from all four directions, both near and far. The brightly illuminated dome will be visible from far away, while up close the installation can be admired from Senate Square, Unioninkatu, Kirkkokatu and the upper level of the cathedral. The installation is inspired by the idea of the home and the structures that people base their existence on – their spiritual homes.
Each side of the cathedral will have its own motif and style. The eastern side will present a family of three created out of light sculptures, the northern side will represent the natural elements, the western side will play with architectural forms, and the southern side will describe eternity and the themes of heaven and space. All four sides are connected by a common colour scheme reflecting the passing of the day from morning to night.
The overall experience created by the light installation is augmented by specially composed music. The installation runs non-stop in approximately seven-minute cycles.
Artistic design: Tarja Ervasti
Music: Willie Budsko
source : www.luxhelsinki.fi/en/installation/tarja-ervasti-domus-36...
The Marxistskaya metro station of the Moscow metro was opened on December 31, 1979. The Marxistskaya metro station is a three-span column of deep laying (60 meters)
artistic design
The arches of the station are supported by arcades of graceful columns extending upwards. The columns of the station hall and the entablatures are lined with red and pink marble, they have a characteristic longitudinal notch on the side of the platforms, which makes them appear double. The track walls are decorated with light marble in yellowish, cream and beige tones and black gabbro. Florentine mosaics made of narrow arrow-shaped strips of marble, mainly red and pink shades, follow this background. Above the aisles in the end walls there are panels of ideological content, made in the technique of Florentine mosaic (artist M. N. Alekseev).
On the gray granite carpet of the station, red eight-pointed carnation stars made of red granite between the columns and two eight-pointed stars made of granite of two different shades of red inscribed into each other along the axis of the distribution hall stand out vividly. The underground hall is illuminated by lamps representing spirals of vertically arranged fluorescent lamps, which symbolize one of the laws of Marxism — "spiral development". The staircase of the transition to the Tagansko-Krasnopresnenskaya line is decorated with grids in the form of sickles and hammers
Marxistskaya metro station is located in the center of Moscow in the Tagansky district of Moscow
from Marxistskaya station you can go to Taganskaya metro station (lines 5 and 7)
exit to the city: to Taganskaya Square on Marxitskaya Street
to the Taganka theater to the Zvezdochka shopping center
Squaring the Circle (The Story of Hipgnosis) | Official Red Band Trailer | Utopia
www.youtube.com/watch?v=-OYQNAk_krQ
During the 1960s and 70s some of the most innovative photography was appearing on vinyl album covers. Much of it was the responsibility of two men: Storm Thorgerson and Aubrey “Po” Powell. They met at Cambridge and took a liking to each other’s creativity immediately. They were friends of David Gilmour and Roger Waters and this led to a longstanding relationship with Pink Floyd. Floyd fans all know the sad story of Syd Barrett (an early member of the band whose mind was destroyed by LSD). Rumour has it that one day Syd paid a visit and scrawled the word “hipgnosis” on the wall.
Powell and Thorgerson had just started a business partnership in creative design and were looking for a name: Hipgnosis was just perfect. Hip for “cool”, gnosis for “knowledge”. Po Powell was the photographer and Storm the design genius. For more than a decade their partnership produced some of the most memorable images of the times for some of the greatest rock musicians: Floyd of course, Led Zeppelin, Paul McCartney, Peter Gabriel, 10CC and even the Sex Pistols.
In this day of Photoshopping with generative AI we don’t realise how good these design artists had to be. Everything was pieced together manually (think of those brilliant Terry Gilliam cartoons that featured in every episode of Monty Python’s Flying Circus – no CGI for 40 years – thank God). The advent of the CD marked the death knell for creative album covers and then with streaming the game was over completely.
The brilliant music educator and historian Rick Beato says that today very few people can name all the members of even the most popular bands because they do not have liner notes to read. But in the days of vinyl album covers you would not only know all the band, but the session musicians who played on the albums and a whole lot more. Albums were often themed and the artwork was built around that.
What are some of the most memorable album covers in modern music history? If I say Pink Floyd’s Dark Side of the Moon almost all of you will picture it instantly. How about the burning man on Wish You Were Here (the tribute to Syd Barrett)? Was there a more striking album cover than the children crawling up the Giant’s Causeway in Northern Ireland on Led Zeppelin’s Houses of the Holy? What about my personal favourite from Pink Floyd’s Animals of the old Battersea Power Station with a floating giant pink pig in the air? Or Paul McCartney’s Band on the Run with its group of celebrities as escaped criminals? All of these were created by Hipgnosis, and many many more.
So this full length documentary film by Dutchman Anton Corbijn is a glorious romp down memory lane, reminding us older folks of our youth, but bringing to the fore the creative work that has so easily been overlooked in this day when humans are progressively ceding their creative instincts to the machine. Yes, just another “brick in the wall” that we are building between ourselves and the true human soul.
If you want inspiration for your photography or artistic design, watch this film!
Mark Kermode reviews Squaring the Circle (The Story of Hipgnosis)
ABSTRACT PHOTO: Created from a photo of a wooden door and door frame on an angle. I took the original unedited photo two days ago on "February 15, 2025".
Adelaide Railway Station
This grand landmark structure has greeted railway passengers arriving in the city for more than 80 years. The Adelaide Railway Station marks a period of transformation in the state’s railway system. It was a celebrated achievement at the time, but it was also mired in controversy.
In the early 1920s South Australia’s railway system was in a dismal state. The state government brought out Ohio-born William Alfred Webb from the United States to make improvements.
As the new Railway Commissioner, Webb made major changes. He built stronger bridges and bought bigger locomotives. He also decentralised railway administration, giving greater control to divisional superintendents. Within a few years, he had revolutionised the state’s railways.
Unfortunately, Webb did not foresee that automobiles would soon outpace rail.
Although mainly positive, Webb’s program and the building of the railway station came with a big price tag. The Railway Commissioner was heavily criticised and was the subject of debate in Parliament. His spending contributed to the near bankruptcy of the State Government by 1929. As the Great Depression set in, Webb returned to the US with a tarnished reputation. [Ref: Adelaide City Explorer]
THE RAILWAY STATION BUILDING
Foundation Stone Laying. Mr Gunn's Final Official Act
A noteworthy ceremony in the history of the State will take place at 11 am today, when the retiring Premier (Hon J Gunn) will lay the foundation stone of the new railway station at North Terrace.
Invitations for the occasion have been sent to members of the Ministry, members of both Houses of Parliament, and other representative citizens. It is also expected that the public generally will attend in large numbers. The Premier, who has authorized the whole of the detailed expenditure, in the work to date, and manifested a keen interest in its progress will, by this act, fittingly celebrate in a public way the termination of his position as Minister of Railways. The stone is to be set in the main portion of the facade, near the entrance to the ramp.
The building was begun at the end of last year, and it is expected to be completed by July, 1928. In addition to the usual railway facilities, accommodation will be provided for the whole of the clerical staff in Adelaide, numbering approximately 400. The frontage to North terrace is 225 ft and to a new roadway on the east, 390 ft. The whole construction is to be of reinforced concrete and steel frame, with brick cement walls. The height for the present will be of four floors with flat roof, and allowance has been made in the design for the addition of three extra floors at a future date. The floor area of the building is 303,000 super feet. The main passenger concourse is 370 ft by 41 ft by 40 ft high, covering 16 railheads. The main waiting hall is in the form of a Maltese cross, measuring 120 ft each way, with a concrete dome in the centre, 45 ft diameter, of a height of 70 ft above the floor level, supported by eight Ionic columns each 30 ft high, the four annexes each being 45 ft by 38 ft by 25 ft high. Country and suburban ticket halls each 100 ft by 25 ft by 25 ft high are arranged on the street level, with ramp and stair approaches to the passenger concourse, which is 18 ft 6 in below. The area of the parcels and luggage offices is approximately 30,000 super feet. In the construction of the building 2,250,000 bricks will be used, 20,000 cubic yards of concrete, and 1,200 tons of structural steel. The whole of the exterior elevations, the passenger concourse, the main waiting room, and ticket halls, will be finished with white cement and brown sand. All windows, doors, and office partitions throughout will be of steel: thus the whole building will be entirely fireproof. Immediately under the main waiting hall on the platform level will be a large, public dining room, 90 ft each way, adjoining which is to be a quick-lunch cafe, 70 ft by 36 ft. A hot water heating system is to be installed throughout, and the building will be replete with the most modern appliances, including a vacuum cleaning plant and tube system. The total cost is approximately £400,000.
The cloak room is the first office to have permanent quarters in the new building, and it is located on the extreme northeastern corner, and a start has already been made in the demolition of the old office near the assembly platform. The counters of the new quarters are polished hardwood, and the racks are convenient and commodious, the windows forming an artistic design in Flemish leadlight. The work on the station is being carried out departmentally, and 140 men are employed thereon. Up-to-date appliances are in use, including air compressors, concrete mixers, and other mechanical devices. At one period it was thought that work would be delayed, owing to the acceptance of the tender for steel girders being hung up. but it was kept going by the substitution of concrete piers, which incidentally, occupy more room. The acting chief engineer of railways (Mr C B Anderson) has the direct supervision of the undertaking, and the superintending officer (Mr J G Carson), who was formerly in charge of the construction of the new railway bridge over the River Murray at Murray Bridge, has charge of the outside work. The plans were drawn by Messrs Garlick & Jackman, architects, and the details for departmental purposes have been worked out by Mr A M Bonython (structural draftsman). [Ref: Register 24-8-1926]
New Railway Station
It has been decided by the Railway Department officials that there will be no official opening of the new Adelaide Station.
Following a previous announcement that a limited number would be asked to make an inspection of the premises, Mr W A Webb (Railways Commissioner) was besieged with applications for invitations. [Ref: News 16-7-1928]
NEW RAILWAY STATION
An inspection of. the new Railway Station offices in Adelaide will be made this morning by citizens who have been invited to do so by the Minister of Railways (Hon R LButler). [Ref: Register 30-7-1928]
WEIGH BABY AT THE ADELAIDE RAILWAY STATION
In many countries in the world at the present time there are Baby Health Centres at large railway depots where mothers, arriving in a strange city with babies, or waiting to catch a train can take their infants to be weighed and get advice on all matters pertaining to feeding and general care from a competent certified nurse.
Fully appreciating the value of the splendid work done at railway stations by Baby Welfare institutions, the Commissioner of Railways (Mr W A Webb) has placed a room in the new Adelaide railway station at the disposal of the Mothers' and Babies' Health Association, better known under the old title of School for Mothers.
This centre will be opened on Monday, 16 July. A trained nurse will be in attendance each week day from 9.30 am, 1 pm and from 2.0, 4.30 pm.
The large comfortable room that is to be the centre of the nurse’s activities has an entrance off the main waiting room on a level with North Terrace.
Numerous signs boards are being erected by the railway authorities to direct mothers to this room.
Take your baby to be weighed and seek the nurse's advice when next you are at the Adelaide station. [Ref: Bunyip (Gawler) 13-7-1928]
Adelaide Railway Station
This grand landmark structure has greeted railway passengers arriving in the city for more than 80 years. The Adelaide Railway Station marks a period of transformation in the state’s railway system. It was a celebrated achievement at the time, but it was also mired in controversy.
In the early 1920s South Australia’s railway system was in a dismal state. The state government brought out Ohio-born William Alfred Webb from the United States to make improvements.
As the new Railway Commissioner, Webb made major changes. He built stronger bridges and bought bigger locomotives. He also decentralised railway administration, giving greater control to divisional superintendents. Within a few years, he had revolutionised the state’s railways.
Unfortunately, Webb did not foresee that automobiles would soon outpace rail.
Although mainly positive, Webb’s program and the building of the railway station came with a big price tag. The Railway Commissioner was heavily criticised and was the subject of debate in Parliament. His spending contributed to the near bankruptcy of the State Government by 1929. As the Great Depression set in, Webb returned to the US with a tarnished reputation. [Ref: Adelaide City Explorer]
THE RAILWAY STATION BUILDING
Foundation Stone Laying. Mr Gunn's Final Official Act
A noteworthy ceremony in the history of the State will take place at 11 am today, when the retiring Premier (Hon J Gunn) will lay the foundation stone of the new railway station at North Terrace.
Invitations for the occasion have been sent to members of the Ministry, members of both Houses of Parliament, and other representative citizens. It is also expected that the public generally will attend in large numbers. The Premier, who has authorized the whole of the detailed expenditure, in the work to date, and manifested a keen interest in its progress will, by this act, fittingly celebrate in a public way the termination of his position as Minister of Railways. The stone is to be set in the main portion of the facade, near the entrance to the ramp.
The building was begun at the end of last year, and it is expected to be completed by July, 1928. In addition to the usual railway facilities, accommodation will be provided for the whole of the clerical staff in Adelaide, numbering approximately 400. The frontage to North terrace is 225 ft and to a new roadway on the east, 390 ft. The whole construction is to be of reinforced concrete and steel frame, with brick cement walls. The height for the present will be of four floors with flat roof, and allowance has been made in the design for the addition of three extra floors at a future date. The floor area of the building is 303,000 super feet. The main passenger concourse is 370 ft by 41 ft by 40 ft high, covering 16 railheads. The main waiting hall is in the form of a Maltese cross, measuring 120 ft each way, with a concrete dome in the centre, 45 ft diameter, of a height of 70 ft above the floor level, supported by eight Ionic columns each 30 ft high, the four annexes each being 45 ft by 38 ft by 25 ft high. Country and suburban ticket halls each 100 ft by 25 ft by 25 ft high are arranged on the street level, with ramp and stair approaches to the passenger concourse, which is 18 ft 6 in below. The area of the parcels and luggage offices is approximately 30,000 super feet. In the construction of the building 2,250,000 bricks will be used, 20,000 cubic yards of concrete, and 1,200 tons of structural steel. The whole of the exterior elevations, the passenger concourse, the main waiting room, and ticket halls, will be finished with white cement and brown sand. All windows, doors, and office partitions throughout will be of steel: thus the whole building will be entirely fireproof. Immediately under the main waiting hall on the platform level will be a large, public dining room, 90 ft each way, adjoining which is to be a quick-lunch cafe, 70 ft by 36 ft. A hot water heating system is to be installed throughout, and the building will be replete with the most modern appliances, including a vacuum cleaning plant and tube system. The total cost is approximately £400,000.
The cloak room is the first office to have permanent quarters in the new building, and it is located on the extreme northeastern corner, and a start has already been made in the demolition of the old office near the assembly platform. The counters of the new quarters are polished hardwood, and the racks are convenient and commodious, the windows forming an artistic design in Flemish leadlight. The work on the station is being carried out departmentally, and 140 men are employed thereon. Up-to-date appliances are in use, including air compressors, concrete mixers, and other mechanical devices. At one period it was thought that work would be delayed, owing to the acceptance of the tender for steel girders being hung up. but it was kept going by the substitution of concrete piers, which incidentally, occupy more room. The acting chief engineer of railways (Mr C B Anderson) has the direct supervision of the undertaking, and the superintending officer (Mr J G Carson), who was formerly in charge of the construction of the new railway bridge over the River Murray at Murray Bridge, has charge of the outside work. The plans were drawn by Messrs Garlick & Jackman, architects, and the details for departmental purposes have been worked out by Mr A M Bonython (structural draftsman). [Ref: Register 24-8-1926]
New Railway Station
It has been decided by the Railway Department officials that there will be no official opening of the new Adelaide Station.
Following a previous announcement that a limited number would be asked to make an inspection of the premises, Mr W A Webb (Railways Commissioner) was besieged with applications for invitations. [Ref: News 16-7-1928]
NEW RAILWAY STATION
An inspection of. the new Railway Station offices in Adelaide will be made this morning by citizens who have been invited to do so by the Minister of Railways (Hon R LButler). [Ref: Register 30-7-1928]
WEIGH BABY AT THE ADELAIDE RAILWAY STATION
In many countries in the world at the present time there are Baby Health Centres at large railway depots where mothers, arriving in a strange city with babies, or waiting to catch a train can take their infants to be weighed and get advice on all matters pertaining to feeding and general care from a competent certified nurse.
Fully appreciating the value of the splendid work done at railway stations by Baby Welfare institutions, the Commissioner of Railways (Mr W A Webb) has placed a room in the new Adelaide railway station at the disposal of the Mothers' and Babies' Health Association, better known under the old title of School for Mothers.
This centre will be opened on Monday, 16 July. A trained nurse will be in attendance each week day from 9.30 am, 1 pm and from 2.0, 4.30 pm.
The large comfortable room that is to be the centre of the nurse’s activities has an entrance off the main waiting room on a level with North Terrace.
Numerous signs boards are being erected by the railway authorities to direct mothers to this room.
Take your baby to be weighed and seek the nurse's advice when next you are at the Adelaide station. [Ref: Bunyip (Gawler) 13-7-1928]
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.
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 third 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.
TfL for Lahdun and Da Yoof Centah have worked together to produce an Underground livery that represents a new demographic of Tube customers in Lahdun.
Inspired by the recent changes to the iBus system, this fresh livery rich in urban Lahdun themes is being trialed on the Central line's '92 stock.
With each car carrying a unique artistic design, the entire Undergound fleet is expected to be converted in 2020. An ambitious target, but TfL for Lahdun say it's realistic because the livery is applied using spray paint in the depot, while the staff aren't looking.
What do you think?
St. Mary's Church in Lübeck (German: Marienkirche, officially St. Marien zu Lübeck) was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city, and is situated at the highest point of the island that forms the old town of Lübeck. It is part of the UNESCO World Heritage Site of the old Hanseatic City of Lübeck.
St. Mary's epitomizes north German Brick Gothic and set the standard for about 70 other churches in the Baltic region, making it a building of enormous architectural significance. St Mary's Church embodied the towering style of French Gothic architecture style using north German brick. It has the tallest brick vault in the world, the height of the central nave being 38.5 metres.
It is built as a three-aisled basilica with side chapels, an ambulatory with radiating chapels, and vestibules like the arms of a transept. The westwork has a monumental two-tower façade. The height of the towers, including the weather vanes, is 124.95 metres and 124.75 metres, respectively.
St. Mary's is located in the Hanseatic merchants' quarter, which extends uphill from the warehouses on the River Trave to the church. As the main parish church of the citizens and the city council of Lübeck, it was built close to the town hall and the market.
HISTORY OF THE BUILDING
In 1150, Henry the Lion moved the Bishopric of Oldenburg to Lübeck and established a cathedral chapter. A wooden church was built in 1163, and starting in 1173/1174 this was replaced by a Romanesque brick church. At the beginning of the 13th century, however, it no longer met the expectations of the self-confident, ambitious, and affluent bourgeoisie, in terms of size and prestige. Romanesque sculptures from this period of the church's history are today exhibited at St. Anne's Museum in Lübeck
The design of the three-aisled basilica was based on the Gothic cathedrals in France and Flanders, which were built of natural stone. St. Mary's is the epitome of ecclesiastical Brick Gothic architecture and set the standard for many churches in the Baltic region, such as the St. Nicholas' Church in Stralsund and St. Nicholas in Wismar.
No one had ever before built a brick church this high and with a vaulted ceiling. The lateral thrust exerted by the vault is met by buttresses, making the enormous height possible. The motive for the Lübeck town council to embark on such an ambitious undertaking was the acrimonious relationship with the Bishopric of Lübeck. The church was built close to the Lübeck Town Hall and the market, and it dwarfed the nearby Romanesque Lübeck Cathedral, the church of the bishop established by Henry the Lion. It was meant as a symbol of the desire for freedom on the part of the Hanseatic traders and the secular authorities of the city, which had been granted the status of a free imperial city (Reichsfreiheit), making the city directly subordinate to the emperor, in 1226. It was also intended to underscore the pre-eminence of the city vis-à-vis the other cities of the Hanseatic League, which was being formed at about the same time (1356).
The Chapel of Indulgences (Briefkapelle) was added to the east of the south tower in 1310. It was both a vestibule and a chapel and, with its portal, was the church's second main entrance from the market. Probably originally dedicated to Saint Anne, the chapel received its current name during the Reformation, when paid scribes moved in. The chapel, which is 12 metres long, 8 metres deep, and 2 metres high, has a stellar vault ceiling and is considered a masterpiece of High Gothic architecture. It has often been compared to English Gothic Cathedral Architecture and the chapter house of Malbork Castle. Today the Chapel of Indulgences serves the community as a church during winter, with services from January to March.
In 1939 the town council built its own chapel, known as the Bürgermeisterkapelle (Burgomasters' Chapel), at the southeast corner of the ambulatory, the join being visible from the outside where there is a change from glazed to unglazed brick. It was in this chapel, from the large pew that still survives, that the newly elected council used to be installed. On the upper floor of the chapel is the treasury, where important documents of the city were kept. This part of the church is still in the possession of the town.
Before 1444, a chapel consisting of a single bay was added to the eastern end of the ambulatory, its five walls forming five eighths of an octagon. This was the last Gothic extension to the church. It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name Marientidenkapelle (Lady Chapel) or Sängerkapelle (Singers' Chapel).
In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.
DESTRUCTION AND RESTAURATION
In an air raid by 234 bombers of the British Royal Air Force on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and St. Peter's Church.
Among the artefacts destroyed was the famous Totentanzorgel (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck. Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the St. Mary Magdalene Church (de), which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like William Castelli (de) give an impression of what the interior looked like before the War.
The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich. Because of the destruction it suffered in World War II, St. Mary's Church is one of the Cross of Nails centres. A plaque on the wall warns of the futility of war.
The church was protected by a makeshift roof for the rest of the war, and the vaulted ceiling of the chancel was repaired. Reconstruction proper began in 1947, and was largely complete by 1959. In view of the previous damage by fire, the old wooden construction of the roof and spires was not replaced by a new wooden construction. All church spires in Lübeck were reconstructed using a special system involving lightweight concrete blocks underneath the copper roofing. The copper covering matched the original design and the concrete roof would avoid the possibility of a second fire. A glass window on the north side of the church commemorates the builder, Erich Trautsch (de), who invented this system.
In 1951, the 700th anniversary of the church was celebrated under the reconstructed roof; for the occasion, Chancellor Konrad Adenauer donated the new tenor bell, and the Memorial Chapel in the South Tower was inaugurated.
In the 1950s, there was a long debate about the design of the interior, not just the paintings (see below). The predominant view was that destruction had restored the essential, pure form. The redesign was intended to facilitate the dual function that St. Mary's had at that time, being both the diocesan church and the parish church. In the end, the church held a limited competition, inviting submissions from six architects, including Gerhard Langmaack (de) and Denis Boniver (de), the latter's design being largely accepted on 8 February 1958. At the meeting, the bishop, Heinrich Meyer (de), vehemently – and successfully – demanded the removal of the Fredenhagen altar (see below).
The redesign of the interior according to Boniver's plans was carried out in 1958–59. Since underfloor heating was being installed under a completely new floor, the remaining memorial slabs of Gotland limestone were removed and used to raise the level of the chancel. The chancel was separated from the ambulatory by whitewashed walls 3 metres high. The Fredenhagen altar was replaced by a plain altar base of muschelkalk limestone and a crucifix by Gerhard Marcks suspended from the transverse arch of the ceiling. The inauguration of the new chancel was on 20 December 1959.
At the same time, a treasure chamber was made for the Danzig Parament Treasure from St. Mary's Church in Danzig (now Gdańsk), which came to Lübeck after the War (removed in 1993), the Parament Treasure is now exhibited at St. Anne's Museum), and above that a large organ loft was built. The organ itself was not installed until 1968.
The gilded flèche, which extends 30 metres (98 ft) higher than the nave roof, was recreated from old designs and photographs in 1980.
LOTHAR MALSKAT AND THE FRESCOS
The heat of the blaze in 1942 dislodged large sections of plaster, revealing the original decorative paintings of the Middle Ages, some of which were documented by photograph during the Second World War. In 1948 the task of restoring these gothic frescos was given to Dietrich Fey. In what became the largest counterfeit art scandal after the Second World War, Fey hired local painter Lothar Malskat to assist with this task, and together they used the photographic documentation to restore and recreate a likeness to the original walls. Since no paintings of the clerestory of the chancel were available, Fey had Malskat invent one. Malskat "supplemented" the restorations with his own work in the style of the 14th century. The forgery was only cleared up after Malskat reported his deeds to the authorities in 1952, and he and Fey received prison sentences in 1954. The major fakes were later removed from the walls, on the instructions of the bishop.
Lothar Malskat played an important part in the novel The Rat by Günter Grass.
INTERIOR DECORATION
St. Mary's Church was generously endowed with donations from the city council, the guilds, families, and individuals. At the end of the Middle Ages it had 38 altars and 65 benefices. The following mediaeval artefacts remain:
A bronze baptismal font made by Hans Apengeter (de) (1337). Until 1942 it was at the west end of the church; it is now in the middle of the chancel. It holds 406 litres (89 imperial gallons), almost the same as a Hamburg or Bremen beer barrel, which holds 405 litres (89 imperial gallons).
Darsow Madonna from 1420, heavily damaged in 1942, restored from hundreds of individual pieces, put back in place again in 1989
Tabernacle from 1479, 9.5 metres high, made by Klaus Grude (de) using about 1000 individual bronze parts, some gilded, on the north wall of the chancel
Winged altarpiece by Christian Swarte (c. 1495) with Woman of the Apocalypse, now installed behind the main altar
Bronze burial slab by Bernt Notke for the Hutterock family (1505), in the Prayer Chapel (Gebetskapelle) in the north ambulatory
Of the rood screen destroyed in 1942 only an arch and the stone statues remain: Elizabeth with John the Baptist as a child, Virgin and Child with Saint Anne , the Archangel Gabriel and Mary (Annunciation), John the Evangelist and St. Dorothy.
In the ambulatory, sandstone reliefs (1515) from the atelier of Heinrich Brabender (de), with scenes from the Passion of Christ: to the north, the Washing of the Feet and the Last Supper; to the south, Christ in the garden of Gethsemane and his capture. The Last Supper relief includes a detail associated with Lübeck: a little mouse gnawing at the base of a rose bush. Touching it is supposed to mean that the person will never again return to Lübeck – or will have good luck, depending on the version of the superstition.
Remains of the original pews and the Antwerp altarpiece (de) (1518), in the Lady Chapel (Singers' Chapel)
John the Evangelist, a wooden statue by Henning von der Heide (c. 1505)
St. Anthony, a stone statue, donated in 1457 by the town councillor Hermann Sundesbeke (de), a member of the Brotherhood of St. Anthony
Remains of the original gothic pews in the Burgomasters' Chapel in the southern ambulatory
The Lamentation of Christ, one of the main works of the Nazarene Friedrich Overbeck, in the Prayer Chapel in the north ambulatory
The choir screens separating the choir from the ambulatory are recent reconstructions. The walls that had been built for this purpose in 1959 were removed in the 1990s. The brass bars of the choir screens were mostly still intact, but the wooden parts had been almost completely destroyed by fire in 1942. The oak crown and frame were reconstructed on the basis of what remained of the original construction.
ANTWERP ALTARPIECE
The impressive Antwerp altarpiece (de) in the Lady Chapel (Singers' Chapel) was created in 1518. It was donated for the chapel in 1522 by Johann Bone, a merchant from Geldern. After the chapel was converted into a confessional chapel in 1790, the altarpiece was moved around the church several times. During the Second World War, it was in the Chapel of Indulgences (Briefkapelle) and thus escaped destruction. The double-winged altarpiece depicts the life of the Virgin Mary in 26 painted and carved scenes.Before 1869, the wings of the predella, which depict the legends of the Holy Kinship were removed, sawn to make panel paintings, and sold. In 1869, two such paintings from the private collection of the mayor of Lübeck Karl Ludwig Roeck (de) were acquired for the collection in what is now St. Anne's Museum. Two more paintings from the outsides of the predella wings were acquired by the Kulturstiftung des Landes Schleswig-Holstein (de) (Cultural foundation of Schleswig-Holstein) and have been in St. Anne's Museum since 1988. Of the remaining paintings, two are in the Staatsgalerie Stuttgart and two are in a private collection in Stockholm.
MEMORIALS
In the renaissance and baroque periods, the church space contained so many memorials that it became like a hall of fame of the Lübeck gentry. Memorials in the main nave, allowed from 1693, had to be made of wood, for structural reasons, but those in the side naves could also be made of marble. Of the 84 memorials that were still extant in the 20th century, almost all of the wooden ones were destroyed by the air raid of 1942, but 17, mostly stone ones on the walls of the side naves survived, some heavily damaged. Since these were mostly baroque works, they were deliberately ignored in the first phase of reconstruction, restoration beginning in 1973. They give an impression of how richly St. Mary's church was once furnished. The oldest is that of Hermann von Dorne (de), a mayor who died in 1594, a heraldic design with mediaeval echoes. The memorial to Johann Füchting (de), a former councillor and Hanseatic merchant who died in 1637, is a Dutch work of the transitional period between the Renaissance and Baroque times by the sculptor Aris Claeszon (de) who worked in Amsterdam. After the phase of exuberant cartilage baroque, the examples of which were all destroyed by fire, Thomas Quellinus introduced a new type of memorial to Lübeck and created memorials in the dramatic style of Flemish High Baroque for
the councillor Hartwig von Stiten (de), made in 1699;
the councillor Adolf Brüning (de), made in 1706;
the mayor Jerome of Dorne (de) (who died in 1704) and
the mayor Anton Winckler (de) (1707),
the last one being the only one to remain undamaged. In the same year, the Lübeck sculptor Hans Freese created the memorial for councillor Gotthard Kerkring (de) (who had died in 1705), whose oval portrait is held by a winged figure of death. A well-preserved example of the memorials of the next generation is the one for Peter Hinrich Tesdorpf (de), a mayor who died in 1723.
The Sepulchral Chapel of the Tesdorpf family contains a bust by Gottfried Schadowof mayor Johann Matthaeus Tesdorpf (de), which the Council presented to him in 1823 on the occasion of his anniversary as a member of the Council, and which was installed here in 1835. Among the later memorials is also the gravestone of mayor Joachim Peters (de) by Landolin Ohmacht (c. 1795).
THE FREDENHAGEN ALTARPIECE
The main item from the Baroque period, an altar with an altarpiece 18 metres high, donated by the merchant Thomas Fredenhagen (de) and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, Heinrich Meyer (de), the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation.
Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ. The other remains of the altar and altarpiece are now stored over the vaulted ceiling between the towers. The debate as to whether it is possible and desirable to restore the altar as a major work of baroque art of European stature is ongoing.
STAINED GLAS
Except for a few remains, the air raid of 1942 destroyed all the windows, including the stained glass windows that Carl Julius Milde had installed at Saint Mary's after they were rescued from the St. Mary Magdalene Church (de) when the St. Mary Magdalene's Priory was demolished in the 19th century, and including the windows made by Professor Alexander Linnemann (de) from Frankfurt in the late 19th century. In the reconstruction, simple diamond-pane leaded windows were used, mostly just decorated with the coat of arms of the donor, though some windows had an artistic design.
The windows in the Singers' Chapel (Lady Chapel) depict the coat of arms of the Hanseatic towns of Bremen, Hamburg and Lübeck, and the lyrics of Buxtehude's Lübeck cantata, Schwinget euch himmelan (BuxWV 96).
The monumental west window, designed by Hans Gottfried von Stockhausen (de), depicts the Day of Judgment.
The window of the Memorial chapel (Gedenkkapelle) in the South Tower (which holds the destroyed bells), depicts coats of arms of towns, states and provinces of former eastern territories of Germany.
Both windows in the Danse Macabre Chapel (Totentanzkapelle), which were designed by Alfred Mahlau in 1955/1956 and made in the Berkentien stained glass atelier in Lübeck, adopt motifs from the Danse Macabre painting that was destroyed by fire in 1942. They replace the Kaiserfenster (Emperor's Window), which was donated by Kaiser Wilhelm II on the occasion of his visit to Lübeck in 1913. It was manufactured by the Munich court stained glass artist Karl de Bouché (de) and depicted the confirmation of the town privileges by Emperor Barbarossa.
In 1981–82, windows by Johannes Schreiter (de) were installed in the Chapel of Indulgences (Briefkapelle). Their ragged diamond pattern evokes not only the destruction of the church but also the torn nets of the Disciples (Luke 6).
In December 2002, the tympanum window was added above the north portal of the Danse Macabre Chapel after a design by Markus Lüpertz.
This window, like the windows by Johannes Schreiter in the Chapel of Indulgences (Briefkapelle), was manufactured and assembled by Derix Glass Studios in Taunusstein.
CHURCHYARD
Saint Mary's Churchyard (de), with its views of the north face of the Lübeck Town Hall (de ), the Kanzleigebäude (de), and the Marienwerkhaus (de) has the ambiance of a mediaeval town.
The architectural features include the subjects of Lübeck legends; a large block of granite to the right of the entrance was supposedly not left there by the builders but put there by the Devil.
To the north and west of the church, the courtyard is now an open space, mediaeval buildings having been removed. At the corner between Schüsselbuden (de) and Mengstraße (de) are the remaining stone foundations of the Maria am Stegel (de) Chapel (1415), which served as a bookshop before the Second World War. In the late 1950s, it was decided not to reconstruct it, and the remaining external walls of the ruins were cleared away. On Mengstraße, opposite the churchyard, is a building with facades from the 18th century: the clergy house known as die Wehde (de), which also gave its name to the courtyard that lies behind it, the Wehdehof.
The war memorial, created in 1929 by the sculptor Hermann Joachim Pagels (de) 1929 on behalf of the congregation of the church to commemorate their dead, is made of Swedish granite from Karlshamn. The inscription reads (in translation):
The congregation of St. Mary's
in memory of their dead
1914 1918
(to which was added after the Second World War)
and
1939 1945
MUSIC AT ST: MARY´S
Music played an important part in the life of St. Mary's as far back as the Middle Ages. The Lady Chapel (Singers' Chapel), for instance, had its own choir. After the Reformation and Johannes Bugenhagen's Church Order, the Lübeck Katharineum school choir provided the singing for religious services. In return the school received the income of the chapel's trust fund. Until 1802, the cantor was both a teacher at the school and responsible for the singing of the choir and the congregation. The organist, was responsible for the organ music and other instrumental music; he also had administrative and accounting responsibilities and was responsible for the upkeep of the building,.
MAIN ORGAN
St. Mary's is known to have had an organ in the 14th century, since the occupation "organist" is mentioned in a will from 1377. The old great organ was built in 1516–1518 under the direction of Martin Flor (de) on the west wall as a replacement for the great organ of 1396. It had 32 stops, 2 manuals and a pedalboard. This organ, "in all probability the first and only Gothic organ with a thirty-two-foot principal (deepest pipe, 11 metres long) in the western world of the time",[a] was repeatedly added to and re-built over the centuries. For instance, the organist and organ-builder Barthold Hering (de) (who died in 1555) carried out a number of repairs and additions; in 1560/1561 Jacob Scherer added a chest division with a third manual. From 1637 to 1641, Friederich Stellwagen carried out a number of modifications. Otto Diedrich Richborn (de) added three registers in 1704. In 1733, Konrad Büntung exchanged four registers, changed the arrangement of the manuals and added couplers. In 1758, his son, Christoph Julius Bünting (de) added a small swell division with three voices, the action being controllable from the breast division manual. By the beginning of the 19th century the organ had 3 manuals and a pedalboard, 57 registers and 4,684 pipes. In 1851, however, a completely new organ was installed – built by Johann Friedrich Schulze (de), in the spirit of the time, with four manuals, a pedalboard, and 80 voices, behind the historic organ case by Benedikt Dreyer, which was restored and added to by Carl Julius Milde. This great organ was destroyed in 1942 and was replaced in 1968 by what was then the largest mechanical-action organ in the world. It was built by Kemper & Son. It has 5 manuals and a pedalboard, 100 stops and 8,512 pipes; the longest are 11 metres (36 feet), the smallest is the size of a cigarette. The tracker action operates electrically and has free combinations; the stop tableau is duplicated.
Danse macabre organ (choir organ)
The Dance macabre organ (Totentanzorgel) was older than the old great organ. It was installed in 1477 on the east side of the north arm of the "transept" in the Danse Macabre Chapel (so named because of the Danse Macabre painting that hung there) and was used for the musical accompaniment of the requiem masses that were celebrated there. After the Church Reformation it was used for prayers and for Holy Communion services. In 1549 and 1558 Jakob Scherer added to the organ among other things, a chair organ (Rückpositiv), and in 1621 a chest division was added. Friedrich Stellwagen also carried out extensive repairs from 1653 to 1655. Thereafter, only minor changes were made. For this reason, this organ, together with the Arp Schnitger organ in St. James' Church in Hamburg and the Stellwagen Organ in St. James' Church (de) in Lübeck, attracted the interest of organ experts in connection with the Orgelbewegung. The disposition (de) of the organ was changed back to what it had been in the 17th century. But, like the Danse Macabre organ, this organ was also destroyed in 1942.
In 1955 the organ builders Kemper & Son restored the Danse Macabre organ in accordance with its 1937 dimensions, but now in the northern part of the ambulatory, in the direction of the raised choir. Its original place is now occupied by the astronomical clock. This post-War organ, which was very prone to malfunction, was replaced in 1986 by a new Danse Macabre organ, built by Führer Co. in Wilhelmshaven and positioned in the same place as its predecessor. It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach.
As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both
OTHER INSTRUMENTS
There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.
In the Chapel of Indulgences (Briefkapelle) there is a chamber organ originally from East Prussia. It has been in the chapel since 1948. It has a single manual and eight voices, with separate control of bass and descant parts. It was built by Johannes Schwarz in 1723 and from 1724 was the organ of the Schloßkapelle (Castle Chapel) of Dönhofstädt near Rastenburg (now Kętrzyn, Poland). From there it was acquired by Lübeck organ builder Karl Kemper in 1933. For a few years it was in the choir of St. Catherine's Church, Lübeck. Then, Walter Kraft brought it, as a temporary measure, to the Chapel of Indulgences at St. Mary's, this being the first part of the church to be ready for church services after the War. Today this organ provides the accompaniment for prayers as well as the Sunday services that are held in the Chapel of Indulgences from January to March.
ORGANISTS
Two 17th-century organists, especially, shaped the development of the musical tradition of St. Mary's: Franz Tunder from 1642 until his death in 1667, and his successor and son-in-law, Dieterich Buxtehude , from 1668 to 1707. Both were defining representatives of the north German organ school and were prominent both as organists and as composers. In 1705 Johann Sebastian Bach came to Lübeck to observe and learn from Buxtehude,[b] and Georg Friedrich Händel and Johann Mattheson had already been guests of Buxtehude in 1703. Since then, the position of organist at St. Mary's Church has been one of the most prestigious in Germany.
With their evening concerts, Tunder and Buxtehude were the first to introduce church concerts independent of religious services. Buxtehude developed a fixed format, with a series of five concerts on the two last Sundays of the Trinity period (i.e. the last two Sundays before Advent) and the second, third, and fourth Sunday in Advent. This very successful series of concerts was continued by Buxtehude's successors, Johann Christian Schieferdecker (1679–1732), Johann Paul Kunzen (de) (1696–1757), his son Adolf Karl Kunzen (de) (1720–1781) and Johann Wilhelm Cornelius von Königslöw.
For the evening concerts they each composed a series of Biblical oratorios, including Israels Abgötterey in der Wüsten [Israel's Idol Worship in the Desert] (1758), Absalon (1761) and Goliath (1762) by Adolf Kunzen and ''Die Rettung des Kindes Mose [The Finding of Baby Moses] and Der geborne Weltheiland [The Saviour of the World is born] (1788), Tod, Auferstehung and Gericht [Death, Resurrection and Judgment] (1790) , and Davids Klage am Hermon nach dem 42ten Psalm [David's Lament on Mount Hermon (Psalm 42)] (1793) by Königslöw.
Around 1810 this tradition ended for a time. Attitudes towards music and the Church had changed, and external circumstances (the occupation by Napoleon's troops and the resulting financial straits) made such expensive concerts impossible.
In the early 20th century it was the organist Walter Kraft (1905–1977) who tried to revive the tradition of the evening concerts, starting with an evening of Bach's organ music, followed by an annual programme of combined choral and organ works. In 1954 Kraft created the Lübecker Totentanz (Lübeck Danse Macabre) as a new type of evening concert.
The tradition of evening concerts continues today under the current organist (since 2009), Johannes Unger.
The Lübeck Boys Choir at St. Mary’s
THE LÜBECK BOYS CHOIR
has been at St. Mary’s since 1970. It was originally founded as the Lübecker Kantorei in 1948. The choir sings regularly at services on Sundays and religious festivals. The performance of the St John Passion on Good Friday has become a Lübeck tradition.
ST. MARY´S CHURCH TODAY
CONGREGATION
Since the establishment of Johannes Bugenhagen's Lutheran Church Order by the town council in 1531 St. Mary has been Protestant. Today it belongs to the North Elbian Evangelical Lutheran Church. Services are held on Sundays and Church festivals from 10 o'clock. From Mondays to Saturdays in the summer season and in Advent there is a short prayer service with organ music at noon (after the parade of the figures of the Astronomical Clock), which tourists and locals are invited to attend. Since 15 March 2010 there has been an admission charge of two euros for visitors.
ASTRONOMICAL CLOCK
The astronomical clock was built in 1561–1566. It used to stand in the ambulatory, behind the high altar but was completely destroyed in 1942. Only a clock dial that was replaced during a previous restoration remains, in St. Anne's Museum The new Astronomical Clock, which was installed on the East side of the Northern transept, in the Danse Macabre Chapel. It is the work of Paul Behrens, a Lübeck clockmaker, who planned it as his lifetime achievement from 1960 to 1967. He collected donations for it, made the clock, including all its parts, and maintained the clock until his death. The clock front is a simplified copy of the original. Calendar and planetary discs controlled by a complicated mechanical movement show the day and the month, the position of the sun and the moon, the signs of the zodiac (the thirteen astronomical signs, not the twelve astrological signs), the date of Easter, and the golden number.
At noon, the clock chimes and a procession of figures passes in front of the figure of Christ, who blesses each of them. The figures originally represented the prince-electors of the Holy Roman Empire; since the post-War reconstruction, they represent eight representatives of the peoples of the world.
CARILLON
After the War, a carillon with 36 bells was installed In the South Tower. Some of the bells came from St Catherine's Church in Danzig (now Gdańsk, Poland). On the hour and half-hour, choral melodies are played, alternating according to the season. Formerly the carillon was operated by a complicated electromechanical system of cylinders; the mechanism is now computer-controlled. At Christmas and Easter, the organist plays the clock chimes manually.
BELLS
The 11 historic bells of the church originally hung in the South Tower in a bell loft 60 metres high. An additional seven bells for sounding the time were made by Heinrich von Kampen (de) in 1508–1510 and installed in the flèche. During the fire in the air raid of 1942, the bells are reported to have rung again in the upwind before crashing to the ground. The remains of two bells, the oldest bell, the "Sunday bell" by Heinrich von Kampen (2,000 kg, diameter 1,710 mm, strike tone a0) and the tenor bell by Albert Benningk from 1668 (7,134 kg, diameter 2,170 mm, strike tone a0F#0), were preserved as a memorial in the former Schinkel Chapel, at the base of the South Tower The "Council and Children's Bell" made in 1650 by Anton Wiese (de), which used to be rung for the short prayer services before council meetings and for christenings, was given to Strecknitz Mental Home (de) in 1906 and was thus the only one of the historic bells to survive World War II. Today it hangs in the tower of what is now the University of Lübeck hospital.
The set of bells in the North Tower now consists of seven bells. It ranks among the largest and deepest-pitched of its kind in northern Germany. The three baroque bells originate from Danzig churches, (Gratia Dei and Dominicalis from St. John's (de) and Osanna from St. Mary's). After the Second World War, these bells from the "Hamburger bell cemetery" were hung in the tower as temporary replacement bells.
In 1951 the German Chancellor, Konrad Adenauer donated a new tenor bell. In 1985 three additional bells were made., completing the set. They have inscriptions referring to peace and reconciliation.
In 2005, the belfry was renovated. The steel bell frame from the reconstruction was replaced with a wooden one and the bells were hung directly on wooden yokes, so that the bells ring out with more brilliance.
This great peal is easily recognised because of the unusual disposition (intervals between the individual bells); the series of whole tone steps between bells 1–5 results in a distinctive sound with added vibrancy due to the tone of the historic bells.
DIMENSIONS
Total Length: 103 metres
Length of the middle nave: 70 metres
Vault height in the main nave: 38.5 metres
Vault height in the side naves: 20.7 metres
Height of the towers: 125 metres
Floor area: 3,300 square metres
WIKIPEDIA
- Unique model paying tribute to Peyo's Smurfs
- New and unregistered
- Manufactured in Europe
- Accommodates two adults plus luggage
- Up to 177 kilometres range
Bonhams : The Zoute Sale
Important Collectors' Motor Cars
The Zoute Grand Prix Gallery
Estimated : € 18.000 - 24.000
Sold for € 18.400
Zoute Grand Prix Car Week 2025
Knokke - Zoute
België - Belgium
October 2025
An urban icon signed by a master's hand - that of Peyo, creator of the beloved Smurfs - this is a brand new car offered by the importer of Microlino in Belgium . When Swiss engineering meets the graphic poetry of Belgian comics, the result is as surprising as it is exceptional: a Microlino fully customized in the spirit of Peyo's universe.
Inspired by the iconic microcars of the 1950s and first seen at the Geneva Motor Show in 2016, the Microlino embodies a modern and sustainable vision of urban mobility: compact, electric, elegant, and eco-conscious. Designed by Swiss company Micro Mobility Systems and exclusively distributed in Belgium by D'Ieteren, the Microlino stands out with its rounded silhouette, signature front-opening door, and a range of up to 228 kilometres depending on the battery. Manufactured in Europe with a steel chassis and aluminium body, this retro-designed city car - valued at €25,000 - offers a driving experience that is as unique as it is efficient. Available as either a light or heavy quadricycle, the Microlino can be charged with either a household or Type 2 connector. The 12.5kW (17hp) electric motor is mounted at the rear and there is a choice of batteries in three different capacities giving ranges of 91km, 177km, and 228km respectively. The Microlino seats two adults and has 230 litres of luggage space. Top speed is 90km/h.
For this exclusive edition, the Microlino becomes a canvas for the timeless universe of Peyo. This unique model pays tribute to the Smurfs through an artistic design blending humour, tenderness, and nostalgia. A true one-of-a-kind work of art on wheels, it symbolizes the meeting point between popular imagination and technological innovation.
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Adelaide Railway Station
This grand landmark structure has greeted railway passengers arriving in the city for more than 80 years. The Adelaide Railway Station marks a period of transformation in the state’s railway system. It was a celebrated achievement at the time, but it was also mired in controversy.
In the early 1920s South Australia’s railway system was in a dismal state. The state government brought out Ohio-born William Alfred Webb from the United States to make improvements.
As the new Railway Commissioner, Webb made major changes. He built stronger bridges and bought bigger locomotives. He also decentralised railway administration, giving greater control to divisional superintendents. Within a few years, he had revolutionised the state’s railways.
Unfortunately, Webb did not foresee that automobiles would soon outpace rail.
Although mainly positive, Webb’s program and the building of the railway station came with a big price tag. The Railway Commissioner was heavily criticised and was the subject of debate in Parliament. His spending contributed to the near bankruptcy of the State Government by 1929. As the Great Depression set in, Webb returned to the US with a tarnished reputation. [Ref: Adelaide City Explorer]
THE RAILWAY STATION BUILDING
Foundation Stone Laying. Mr Gunn's Final Official Act
A noteworthy ceremony in the history of the State will take place at 11 am today, when the retiring Premier (Hon J Gunn) will lay the foundation stone of the new railway station at North Terrace.
Invitations for the occasion have been sent to members of the Ministry, members of both Houses of Parliament, and other representative citizens. It is also expected that the public generally will attend in large numbers. The Premier, who has authorized the whole of the detailed expenditure, in the work to date, and manifested a keen interest in its progress will, by this act, fittingly celebrate in a public way the termination of his position as Minister of Railways. The stone is to be set in the main portion of the facade, near the entrance to the ramp.
The building was begun at the end of last year, and it is expected to be completed by July, 1928. In addition to the usual railway facilities, accommodation will be provided for the whole of the clerical staff in Adelaide, numbering approximately 400. The frontage to North terrace is 225 ft and to a new roadway on the east, 390 ft. The whole construction is to be of reinforced concrete and steel frame, with brick cement walls. The height for the present will be of four floors with flat roof, and allowance has been made in the design for the addition of three extra floors at a future date. The floor area of the building is 303,000 super feet. The main passenger concourse is 370 ft by 41 ft by 40 ft high, covering 16 railheads. The main waiting hall is in the form of a Maltese cross, measuring 120 ft each way, with a concrete dome in the centre, 45 ft diameter, of a height of 70 ft above the floor level, supported by eight Ionic columns each 30 ft high, the four annexes each being 45 ft by 38 ft by 25 ft high. Country and suburban ticket halls each 100 ft by 25 ft by 25 ft high are arranged on the street level, with ramp and stair approaches to the passenger concourse, which is 18 ft 6 in below. The area of the parcels and luggage offices is approximately 30,000 super feet. In the construction of the building 2,250,000 bricks will be used, 20,000 cubic yards of concrete, and 1,200 tons of structural steel. The whole of the exterior elevations, the passenger concourse, the main waiting room, and ticket halls, will be finished with white cement and brown sand. All windows, doors, and office partitions throughout will be of steel: thus the whole building will be entirely fireproof. Immediately under the main waiting hall on the platform level will be a large, public dining room, 90 ft each way, adjoining which is to be a quick-lunch cafe, 70 ft by 36 ft. A hot water heating system is to be installed throughout, and the building will be replete with the most modern appliances, including a vacuum cleaning plant and tube system. The total cost is approximately £400,000.
The cloak room is the first office to have permanent quarters in the new building, and it is located on the extreme northeastern corner, and a start has already been made in the demolition of the old office near the assembly platform. The counters of the new quarters are polished hardwood, and the racks are convenient and commodious, the windows forming an artistic design in Flemish leadlight. The work on the station is being carried out departmentally, and 140 men are employed thereon. Up-to-date appliances are in use, including air compressors, concrete mixers, and other mechanical devices. At one period it was thought that work would be delayed, owing to the acceptance of the tender for steel girders being hung up. but it was kept going by the substitution of concrete piers, which incidentally, occupy more room. The acting chief engineer of railways (Mr C B Anderson) has the direct supervision of the undertaking, and the superintending officer (Mr J G Carson), who was formerly in charge of the construction of the new railway bridge over the River Murray at Murray Bridge, has charge of the outside work. The plans were drawn by Messrs Garlick & Jackman, architects, and the details for departmental purposes have been worked out by Mr A M Bonython (structural draftsman). [Ref: Register 24-8-1926]
New Railway Station
It has been decided by the Railway Department officials that there will be no official opening of the new Adelaide Station.
Following a previous announcement that a limited number would be asked to make an inspection of the premises, Mr W A Webb (Railways Commissioner) was besieged with applications for invitations. [Ref: News 16-7-1928]
NEW RAILWAY STATION
An inspection of. the new Railway Station offices in Adelaide will be made this morning by citizens who have been invited to do so by the Minister of Railways (Hon R LButler). [Ref: Register 30-7-1928]
WEIGH BABY AT THE ADELAIDE RAILWAY STATION
In many countries in the world at the present time there are Baby Health Centres at large railway depots where mothers, arriving in a strange city with babies, or waiting to catch a train can take their infants to be weighed and get advice on all matters pertaining to feeding and general care from a competent certified nurse.
Fully appreciating the value of the splendid work done at railway stations by Baby Welfare institutions, the Commissioner of Railways (Mr W A Webb) has placed a room in the new Adelaide railway station at the disposal of the Mothers' and Babies' Health Association, better known under the old title of School for Mothers.
This centre will be opened on Monday, 16 July. A trained nurse will be in attendance each week day from 9.30 am, 1 pm and from 2.0, 4.30 pm.
The large comfortable room that is to be the centre of the nurse’s activities has an entrance off the main waiting room on a level with North Terrace.
Numerous signs boards are being erected by the railway authorities to direct mothers to this room.
Take your baby to be weighed and seek the nurse's advice when next you are at the Adelaide station. [Ref: Bunyip (Gawler) 13-7-1928]
Speinshart is one of the monasteries founded in the 12th century that were so important for the development of the Upper Palatinate.
The diverse Baroque richness of the monastery church is also beautifully expressed in the richly decorated arcantus carvings of the pews.
The artistic design of the seat bolsters, with their cherubs, birds, and flowers amidst the arcantus leaves, is particularly magnificent and brings much joy to admiring the Baroque carving.
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).
Filigree (also less commonly spelled filagree, and formerly written filigrann or filigrene) is a delicate kind of jewellery metalwork, usually of gold and silver, made with tiny beads or twisted threads, or both in combination, soldered together or to the surface of an object of the same metal and arranged in artistic motifs. It often suggests lace and remains popular in Indian and other Asian metalwork. It was popular as well in Italian and French metalwork from 1660 to the late 19th century. It should not be confused with ajoure jewellery work, the ajoure technique consisting of drilling holes in objects made of sheet metal.
The English word filigree is shortened from the earlier use of filigreen which derives from Latin "filum" meaning thread and "granum" grain, in the sense of small bead. The Latin words gave filigrana in Italian which itself became filigrane in 17th-century French
History
Though filigree has become a special branch of jewellery in modern times, it was historically part of the ordinary work of the jeweler. Indeed, all the jewelry of the Etruscans and Greeks (other than that intended for the grave, and therefore of an unsubstantial character) was made by soldering together and so building up the gold rather than by chiselling or engraving the material.
Ancient work
Archaeological finds in ancient Mesopotamia indicate that filigree was incorporated into jewelry since 3,000 BC. Specific to the city of Midyat in Mardin Province in upper Mesopotamia, a form of filigree using silver and gold wires, known as "telkari", was developed in the 15th Century. To this day, expert craftsmen in this region continue to produce fine pieces of telkari.
The Egyptian jewelers employed wire, both to lay down on a background and to plait or otherwise arranged jour. But, with the exception of chains, it cannot be said that filigree work was much practiced by them. Their strength lay rather in their cloisonné work and their molded ornaments. Many examples, however, remain of round plaited gold chains of fine wire, such as those that are still made by the filigree workers of India, and known as trichinopoly chains. From some of these are hung smaller chains of finer wire with minute fishes and other pendants fastened to them.
In ornaments derived from Phoenician sites, such as Cyprus and Sardinia, patterns of gold wire are laid down with great delicacy on a gold ground, but the art was advanced to its highest perfection in the Greek and Etruscan filigree of the 6th to the 3rd centuries BC. A number of earrings and other personal ornaments found in central Italy are preserved in the Louvre and in the British Museum. Almost all of them are made of filigree work. Some earrings are in the form of flowers of geometric design, bordered by one or more rims each made up of minute volutes of gold wire, and this kind of ornament is varied by slight differences in the way of disposing the number or arrangement of the volutes. But the feathers and petals of modern Italian filigree are not seen in these ancient designs. Instances occur, but only rarely, in which filigree devices in wire are self-supporting and not applied to metal plates.
The museum of the Hermitage at Saint Petersburg contains an amazingly rich collection of Scythian jewelry from the tombs of the Crimea. Many bracelets and necklaces in that collection are made of twisted wire, some in as many as seven rows of plaiting, with clasps in the shape of heads of animals of beaten work. Others are strings of large beads of gold, decorated with volutes, knots and other patterns of wire soldered over the surfaces. In the British Museum a sceptre, probably that of a Greek priestess, is covered with plaited and netted gold wipe, finished with a sort of Corinthian capital and a boss of green glass
Asia
It is probable that in India and various parts of central Asia filigree has been worked from the most remote period without any change in the designs. Whether the Asiatic jewellers were influenced by the Greeks who settled on that continent, or merely trained under traditions held in common with them, it is certain that the Indian filigree workers retain the same patterns as those of the ancient Greeks and work them in the same way, down to the present day. Wandering workmen are given so much gold, coined or rough, which is weighed, heated in a pan of charcoal, beaten into wire, and then worked in the courtyard or verandah of the employer's house according to the designs of the artist, who weighs the complete work on restoring it and is paid at a specified rate for his labour. Very fine grains or beads and spines of gold, scarcely thicker than coarse hair, projecting from plates of gold are methods of ornamentation still used.
Cuttack, of the eastern Indian state Odisha, features traditional filigree work. It known as tarakasi in the Oriya language and most filigree work revolves around images of deities. Due to lack of patronage and modern design ideas, it is a dying art. Also noted is silver filigree of Karimnagar in Telangana state.
Threaded silver works date back to 3000 BC in the Near East. The cities of Mardin and Beypazari in Turkey are famous for its many workshops and stores in traditional historic bazaars.
Medieval Europe
Passing to later times, there are in many collections of medieval jewel work reliquaries, covers for Gospel books, etc., made either in Constantinople from the 6th to the 12th centuries, or in monasteries in Europe, in which studied and imitated Byzantine goldsmiths' work. These objects, besides being enriched with precious stones, polished, but not cut into facets, and with enamels, are often decorated with filigree. Large surfaces of gold are sometimes covered with scrolls of filigree soldered on, and corner pieces of the borders of book covers, or the panels of reliquaries, are frequently made up of complicated pieces of plaited work alternating with spaces encrusted with enamel. Byzantine filigree work occasionally has small stones set amongst the curves or knots. Examples of such decoration can be seen in the Victoria and Albert, and British Museums. Examples include the Cross of Lothair in Aachen.
In the north of Europe, the Saxons, Britons and Celts were from an early period skillful in several kinds of goldsmiths' work. Admirable examples of filigree patterns laid down in wire on gold, from Anglo-Saxon tombs, may be seen in the British Museum, notably a brooch from Dover, and a sword-hilt from Cumberland. The Staffordshire Hoard of Anglo-Saxon gold and silver (estimated 700 CE) discovered in a field in Staffordshire, England, on 5 July 2009 contains numerous examples of very fine filigree described by archaeologist Kevin Leahy as "incredible".
Irish filigree work of the Insular period is more thoughtful in design and more extremely varied in pattern. The Royal Irish Academy in Dublin contains a number of reliquaries and personal jewels, of which filigree is the general and most remarkable ornament. The Tara brooch has been copied and imitated, and the shape and decoration of it are well known. Instead of fine curls or volutes of gold thread, the Irish filigree is varied by numerous designs by which one thread can be traced through curious knots and complications, which, disposed over large surfaces, balance one another, but always with special varieties and arrangements difficult to trace with the eye. The long thread appears and disappears without breach of continuity, the two ends generally worked into the head and the tail of a serpent or a monster.
The reliquary containing the "Bell of Saint Patrick" is covered with knotted work in many varieties. A two-handled chalice, called the "Ardagh Chalice" found near Limerick in 1868, is ornamented with work of this kind of extraordinary fineness. Twelve plaques on a band round the body of the vase, plaques on each handle and round the foot of the vase have a series of different designs of characteristic patterns, in fine filigree wire work wrought on the front of the repoussé ground.
Much of the medieval jewel work all over Europe down to the 15th century, on reliquaries, crosses, croziers, and other ecclesiastical goldsmiths' work, is set off with bosses and borders of filigree. Filigree work in silver was practised by the Moors of Spain during the Middle Ages with great skill, and was introduced by them and established all over the Iberian Peninsula, hence it was carried to the Spanish colonies in America. The Portuguese filigree work of the 17th and 18th centuries is of extraordinary complexity, and silver filigree jewelry of delicate and artistic design is still made in considerable quantities throughout the country.
The manufacture spread over the Balearic Islands, and among the populations that border the Mediterranean. It is still made all over Italy, and in Portugal, Malta, Macedonia, Albania, the Ionian Islands and many other parts of Greece. That of the Greeks is sometimes on a large scale, with several thicknesses of wires alternating with larger and smaller bosses and beads, sometimes set with turquoises, and mounted on convex plates, making rich ornamental headpieces, belts, and breast ornaments. Filigree silver buttons of wire-work and small bosses are worn by the peasants in most of the countries that produce this kind of jewelry.
Silver filigree brooches and buttons are also made in Denmark, Norway, and Sweden. Little chains and pendants are added to much of this northern work.
Some very curious filigree work was brought to Great Britain from Abyssinia after the Battle of Magdala: armguards, slippers, and cups, some of which are now in the Victoria and Albert Museum. They are made of thin plates of silver, over which the wirework is soldered. The filigree is subdivided by narrow borders of simple pattern, and the intervening spaces are made up of many patterns, some with grains set at intervals.
Methods of fabrication and uses
The art may be said to consist in curling, twisting and plaiting fine pliable threads of metal, and uniting them at their points of contact with each other, and with the ground, by means of flux such as borax, by the help of the blowpipe. When granulated motifs are desired, small beads are made traditionally by using precious metal wire or fine sheet to start with, which is cut up in small pieces mixed with flux and placed in the small holes of a pitted block of charcoal (or any other suitable refractory material) and are then melted with a blowpipe (or today with a blowtorch), after which the bits of wire curl up and take a natural spherical like shape to end up in minuscule grains which slightly differ one from the other.[9][10] Small grains or beads of the same metals are often set in the eyes of volutes, on the junctions, or at intervals at which they will set off the wirework effectively. The more delicate work is generally protected by framework of stouter wire.
Brooches, crosses, earrings, buttons and other personal ornaments of modern filigree are generally surrounded and subdivided by bands of square or flat metal, giving consistency to the filling up, which would not otherwise keep its proper shape.
Filigree jewelry design, and its twisting and soldering techniques, have an application in other metal-work such as wrought iron hanging wall brackets and silertoned doors.
Granulated work
A few words must be added as to the granulated work. Such decoration consists of minute beads, globules of gold, soldered to form patterns on a metal surface. Granulation was employed by Mesopotamian craftsmen. Sumerians are thought to be the first to practice this technique of metalwork. Its use is rare in Egypt. It occurs in Cyprus at an early period, as for instance on a gold pendant in the British Museum from Enkomi in Cyprus (10th century BC). The pendant is in the form of a pomegranate, and has upon it a pattern of triangles, formed by more than 3,000 minute globules separately soldered on. It also occurs on ornaments of the 7th century BC from Camirus in Rhodes. But these globules are large, compared with those found on Etruscan jewelry. Fortunato Pio Castellani, who had made the antique jewelry of the Etruscans and Greeks his special study, with the intention of reproducing the ancient models, found it for a long time impossible to revive this particular process of delicate soldering. He overcame the difficulty at last, by the discovery of a traditional school of craftsmen at Sant'Angelo in Vado, by whose help his well-known reproductions were completed. (Wikipedia)
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TWELVE :: MARABEL SET ::
Head over to Uber to grab our new PBR-enabled Marabel set! With the latest updates and changes in Second Life, we've been testing out PBR textures, and we hope you love them as much as we do. Make sure to set up your environment probes for the full experience!
Console: 7 LI
Armchair: 7 LI
Clutter:1-5 LI
Wall Art: 25 LI
Rug:1 LI
Available @ UBER!!!
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Discover the epitome of modern luxury with our ultra-modern fireplace, blending marble and plaster for a stunning minimalist aesthetic. Its sharp edges and artistic design elevate any space, with five material options to customize your perfect ambiance. Redefine sophistication and warmth in your home with our exquisite fireplace today!
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Art Eats Bakery
Greenville, SC, 29607
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, 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
Photography: Fraser Nelson
Artistic Design: Ashley Jephcott
Make-up: Adam Lum
Hair: Darby Nelson
Model: Michelle Hadbavny
Adelaide Railway Station
This grand landmark structure has greeted railway passengers arriving in the city for more than 80 years. The Adelaide Railway Station marks a period of transformation in the state’s railway system. It was a celebrated achievement at the time, but it was also mired in controversy.
In the early 1920s South Australia’s railway system was in a dismal state. The state government brought out Ohio-born William Alfred Webb from the United States to make improvements.
As the new Railway Commissioner, Webb made major changes. He built stronger bridges and bought bigger locomotives. He also decentralised railway administration, giving greater control to divisional superintendents. Within a few years, he had revolutionised the state’s railways.
Unfortunately, Webb did not foresee that automobiles would soon outpace rail.
Although mainly positive, Webb’s program and the building of the railway station came with a big price tag. The Railway Commissioner was heavily criticised and was the subject of debate in Parliament. His spending contributed to the near bankruptcy of the State Government by 1929. As the Great Depression set in, Webb returned to the US with a tarnished reputation. [Ref: Adelaide City Explorer]
THE RAILWAY STATION BUILDING
Foundation Stone Laying. Mr Gunn's Final Official Act
A noteworthy ceremony in the history of the State will take place at 11 am today, when the retiring Premier (Hon J Gunn) will lay the foundation stone of the new railway station at North Terrace.
Invitations for the occasion have been sent to members of the Ministry, members of both Houses of Parliament, and other representative citizens. It is also expected that the public generally will attend in large numbers. The Premier, who has authorized the whole of the detailed expenditure, in the work to date, and manifested a keen interest in its progress will, by this act, fittingly celebrate in a public way the termination of his position as Minister of Railways. The stone is to be set in the main portion of the facade, near the entrance to the ramp.
The building was begun at the end of last year, and it is expected to be completed by July, 1928. In addition to the usual railway facilities, accommodation will be provided for the whole of the clerical staff in Adelaide, numbering approximately 400. The frontage to North terrace is 225 ft and to a new roadway on the east, 390 ft. The whole construction is to be of reinforced concrete and steel frame, with brick cement walls. The height for the present will be of four floors with flat roof, and allowance has been made in the design for the addition of three extra floors at a future date. The floor area of the building is 303,000 super feet. The main passenger concourse is 370 ft by 41 ft by 40 ft high, covering 16 railheads. The main waiting hall is in the form of a Maltese cross, measuring 120 ft each way, with a concrete dome in the centre, 45 ft diameter, of a height of 70 ft above the floor level, supported by eight Ionic columns each 30 ft high, the four annexes each being 45 ft by 38 ft by 25 ft high. Country and suburban ticket halls each 100 ft by 25 ft by 25 ft high are arranged on the street level, with ramp and stair approaches to the passenger concourse, which is 18 ft 6 in below. The area of the parcels and luggage offices is approximately 30,000 super feet. In the construction of the building 2,250,000 bricks will be used, 20,000 cubic yards of concrete, and 1,200 tons of structural steel. The whole of the exterior elevations, the passenger concourse, the main waiting room, and ticket halls, will be finished with white cement and brown sand. All windows, doors, and office partitions throughout will be of steel: thus the whole building will be entirely fireproof. Immediately under the main waiting hall on the platform level will be a large, public dining room, 90 ft each way, adjoining which is to be a quick-lunch cafe, 70 ft by 36 ft. A hot water heating system is to be installed throughout, and the building will be replete with the most modern appliances, including a vacuum cleaning plant and tube system. The total cost is approximately £400,000.
The cloak room is the first office to have permanent quarters in the new building, and it is located on the extreme northeastern corner, and a start has already been made in the demolition of the old office near the assembly platform. The counters of the new quarters are polished hardwood, and the racks are convenient and commodious, the windows forming an artistic design in Flemish leadlight. The work on the station is being carried out departmentally, and 140 men are employed thereon. Up-to-date appliances are in use, including air compressors, concrete mixers, and other mechanical devices. At one period it was thought that work would be delayed, owing to the acceptance of the tender for steel girders being hung up. but it was kept going by the substitution of concrete piers, which incidentally, occupy more room. The acting chief engineer of railways (Mr C B Anderson) has the direct supervision of the undertaking, and the superintending officer (Mr J G Carson), who was formerly in charge of the construction of the new railway bridge over the River Murray at Murray Bridge, has charge of the outside work. The plans were drawn by Messrs Garlick & Jackman, architects, and the details for departmental purposes have been worked out by Mr A M Bonython (structural draftsman). [Ref: Register 24-8-1926]
New Railway Station
It has been decided by the Railway Department officials that there will be no official opening of the new Adelaide Station.
Following a previous announcement that a limited number would be asked to make an inspection of the premises, Mr W A Webb (Railways Commissioner) was besieged with applications for invitations. [Ref: News 16-7-1928]
NEW RAILWAY STATION
An inspection of. the new Railway Station offices in Adelaide will be made this morning by citizens who have been invited to do so by the Minister of Railways (Hon R LButler). [Ref: Register 30-7-1928]
WEIGH BABY AT THE ADELAIDE RAILWAY STATION
In many countries in the world at the present time there are Baby Health Centres at large railway depots where mothers, arriving in a strange city with babies, or waiting to catch a train can take their infants to be weighed and get advice on all matters pertaining to feeding and general care from a competent certified nurse.
Fully appreciating the value of the splendid work done at railway stations by Baby Welfare institutions, the Commissioner of Railways (Mr W A Webb) has placed a room in the new Adelaide railway station at the disposal of the Mothers' and Babies' Health Association, better known under the old title of School for Mothers.
This centre will be opened on Monday, 16 July. A trained nurse will be in attendance each week day from 9.30 am, 1 pm and from 2.0, 4.30 pm.
The large comfortable room that is to be the centre of the nurse’s activities has an entrance off the main waiting room on a level with North Terrace.
Numerous signs boards are being erected by the railway authorities to direct mothers to this room.
Take your baby to be weighed and seek the nurse's advice when next you are at the Adelaide station. [Ref: Bunyip (Gawler) 13-7-1928]
Adelaide Railway Station
This grand landmark structure has greeted railway passengers arriving in the city for more than 80 years. The Adelaide Railway Station marks a period of transformation in the state’s railway system. It was a celebrated achievement at the time, but it was also mired in controversy.
In the early 1920s South Australia’s railway system was in a dismal state. The state government brought out Ohio-born William Alfred Webb from the United States to make improvements.
As the new Railway Commissioner, Webb made major changes. He built stronger bridges and bought bigger locomotives. He also decentralised railway administration, giving greater control to divisional superintendents. Within a few years, he had revolutionised the state’s railways.
Unfortunately, Webb did not foresee that automobiles would soon outpace rail.
Although mainly positive, Webb’s program and the building of the railway station came with a big price tag. The Railway Commissioner was heavily criticised and was the subject of debate in Parliament. His spending contributed to the near bankruptcy of the State Government by 1929. As the Great Depression set in, Webb returned to the US with a tarnished reputation. [Ref: Adelaide City Explorer]
THE RAILWAY STATION BUILDING
Foundation Stone Laying. Mr Gunn's Final Official Act
A noteworthy ceremony in the history of the State will take place at 11 am today, when the retiring Premier (Hon J Gunn) will lay the foundation stone of the new railway station at North Terrace.
Invitations for the occasion have been sent to members of the Ministry, members of both Houses of Parliament, and other representative citizens. It is also expected that the public generally will attend in large numbers. The Premier, who has authorized the whole of the detailed expenditure, in the work to date, and manifested a keen interest in its progress will, by this act, fittingly celebrate in a public way the termination of his position as Minister of Railways. The stone is to be set in the main portion of the facade, near the entrance to the ramp.
The building was begun at the end of last year, and it is expected to be completed by July, 1928. In addition to the usual railway facilities, accommodation will be provided for the whole of the clerical staff in Adelaide, numbering approximately 400. The frontage to North terrace is 225 ft and to a new roadway on the east, 390 ft. The whole construction is to be of reinforced concrete and steel frame, with brick cement walls. The height for the present will be of four floors with flat roof, and allowance has been made in the design for the addition of three extra floors at a future date. The floor area of the building is 303,000 super feet. The main passenger concourse is 370 ft by 41 ft by 40 ft high, covering 16 railheads. The main waiting hall is in the form of a Maltese cross, measuring 120 ft each way, with a concrete dome in the centre, 45 ft diameter, of a height of 70 ft above the floor level, supported by eight Ionic columns each 30 ft high, the four annexes each being 45 ft by 38 ft by 25 ft high. Country and suburban ticket halls each 100 ft by 25 ft by 25 ft high are arranged on the street level, with ramp and stair approaches to the passenger concourse, which is 18 ft 6 in below. The area of the parcels and luggage offices is approximately 30,000 super feet. In the construction of the building 2,250,000 bricks will be used, 20,000 cubic yards of concrete, and 1,200 tons of structural steel. The whole of the exterior elevations, the passenger concourse, the main waiting room, and ticket halls, will be finished with white cement and brown sand. All windows, doors, and office partitions throughout will be of steel: thus the whole building will be entirely fireproof. Immediately under the main waiting hall on the platform level will be a large, public dining room, 90 ft each way, adjoining which is to be a quick-lunch cafe, 70 ft by 36 ft. A hot water heating system is to be installed throughout, and the building will be replete with the most modern appliances, including a vacuum cleaning plant and tube system. The total cost is approximately £400,000.
The cloak room is the first office to have permanent quarters in the new building, and it is located on the extreme northeastern corner, and a start has already been made in the demolition of the old office near the assembly platform. The counters of the new quarters are polished hardwood, and the racks are convenient and commodious, the windows forming an artistic design in Flemish leadlight. The work on the station is being carried out departmentally, and 140 men are employed thereon. Up-to-date appliances are in use, including air compressors, concrete mixers, and other mechanical devices. At one period it was thought that work would be delayed, owing to the acceptance of the tender for steel girders being hung up. but it was kept going by the substitution of concrete piers, which incidentally, occupy more room. The acting chief engineer of railways (Mr C B Anderson) has the direct supervision of the undertaking, and the superintending officer (Mr J G Carson), who was formerly in charge of the construction of the new railway bridge over the River Murray at Murray Bridge, has charge of the outside work. The plans were drawn by Messrs Garlick & Jackman, architects, and the details for departmental purposes have been worked out by Mr A M Bonython (structural draftsman). [Ref: Register 24-8-1926]
New Railway Station
It has been decided by the Railway Department officials that there will be no official opening of the new Adelaide Station.
Following a previous announcement that a limited number would be asked to make an inspection of the premises, Mr W A Webb (Railways Commissioner) was besieged with applications for invitations. [Ref: News 16-7-1928]
NEW RAILWAY STATION
An inspection of. the new Railway Station offices in Adelaide will be made this morning by citizens who have been invited to do so by the Minister of Railways (Hon R LButler). [Ref: Register 30-7-1928]
WEIGH BABY AT THE ADELAIDE RAILWAY STATION
In many countries in the world at the present time there are Baby Health Centres at large railway depots where mothers, arriving in a strange city with babies, or waiting to catch a train can take their infants to be weighed and get advice on all matters pertaining to feeding and general care from a competent certified nurse.
Fully appreciating the value of the splendid work done at railway stations by Baby Welfare institutions, the Commissioner of Railways (Mr W A Webb) has placed a room in the new Adelaide railway station at the disposal of the Mothers' and Babies' Health Association, better known under the old title of School for Mothers.
This centre will be opened on Monday, 16 July. A trained nurse will be in attendance each week day from 9.30 am, 1 pm and from 2.0, 4.30 pm.
The large comfortable room that is to be the centre of the nurse’s activities has an entrance off the main waiting room on a level with North Terrace.
Numerous signs boards are being erected by the railway authorities to direct mothers to this room.
Take your baby to be weighed and seek the nurse's advice when next you are at the Adelaide station. [Ref: Bunyip (Gawler) 13-7-1928]
Arik-Brauer-Haus, 6, Gumpendorfer Straße 134-136, Wallgasse 13
Das städtische Wohnhaus wurde, wie das Hundertwasserhaus, von einem bekannten Wiener Künstler, Arik Brauer, gestaltet. Die Planung führte im Auftrag der MA 19 (der städtischen Architekturabteilung) Peter Pelikan durch, der bereits mit Hundertwasser gearbeitet hatte. Das Modell wurde der Öffentlichkeit am 27. Jänner 1987 präsentiert, das Haus 1991 bis 1994 errichtet und im April 1994 von Bürgermeister Helmut Zilk eröffnet.
Das fünfstöckige Wohnhaus (33 Wohnungen, drei Geschäftslokale) besitzt einen Innenhof mit Teich und Kleintiergehege; es ist an der Fassade von zwei großen Fliesenbildern geschmückt, die Stiegenhausfenster sind in Hinterglasmalerei ausgeführt.
Das Haus befindet sich unweit der U-Bahn-Station Gumpendorfer Straße der Linie U6 und nahe dem Raimundtheater.
Belvedere Castle
Upper Belvedere, 2011
(further pictures you can see by clicking on the link at the end of page!)
Lower Belvedere, 2010
Vienna's most famous castles system, the Upper Belvedere and Lower Belvedere Palace, the city owes the former champion in the fight against the Ottomans, Prince Eugene of Savoy. This one had for himself the of two castles (Lower Belvedere, Upper Belvedere Palace ) consisting and with a park and other side attractions equipped estate as a summer residence in the style of Versailles built. Within ten years (1714-1723/24) Lukas von Hildebrandt built his biggest project, which is one of the most beautiful Baroque works in the world.
After the death of Prince Eugene, who remained unmarried, his whole estate passed to his sister Victoria, who sold it low priced to the imperial court in 1752. So the estate 1894-1914 served as a residential area for the heir to the throne, Franz Ferdinand, dying in the attack in Sarajevo with his wife in 1914. Even Chancellor Kurt Schuschnigg lived from 1934-1938 in the Upper Belvedere Castle. 1955 the plant became the scene of a major political event, the foreign ministers of France, Britain, Soviet Union, United States and Austria signing the treaty for independence in the Marble Hall of the Upper Belvedere. Today, in the formerly as a residential complex and representation residences used palaces are especially exhibitions of Austrian artists located.
Lower Belvedere Palace
The 1716 finished Lower Belvedere Palace looks in comparison to its opposite counterpart quite modest, though the castle has a rich interior decoration in the Baroque style. So forms the center of the mainly single-storey building the two-story marble hall, which with golden ornaments and painted mock architecture (Gaetano Fanti) was decorated. The famous frescoes by Martino Altomonte (1914) in the Marble Hall show the original owner of the castle Prince Eugene as he receives his hat and stick - alike Apollo on clouds dormant. In addition, invites the Golden Room, with its mirrors, the golden paneling as well as paintings of personalized continents, elements and seasons to marvel. This space, especially the interior, was once part of the city palace of the Türkenbesiegers (vanquisher of the Turks) before anything was transferred in 1770 to the Lower Castle. In addition to the Marble Hall and the Golden Room convince the other rooms in their equipment and artistic design. In the former bedchamber visitors can admire the relief of Raphael Donner and in the Marble Gallery stucco decorations by Santino Bussi with life-size mythological niche figures by Domenico Parodi. The Hall of Grotesques also could be interesting for art lovers: On one hand, the grotesque paintings by Jonas Drentwett can be viewed, which are intended to represent the Prince in his functions as a warlord and patron of the Arts. On the other hand, attracts the ceiling fresco depicting the four seasons as well as the design of the corners of the room with the four elements everyone's attention.
Upper Belvedere Palace
The representation castle of the former Prinz- Eugen-estate served primarily of the joyful coming together for lavish celebrations or enjoyment of many art treasures. It was completed in 1724 and is, due to its richly decorated façade, considered as the more marvelous of the two castles. The mentioned enjoyment of art is already visible at the richly decorated facade and is continued in the design of the castle rooms. Four powerful atlases of Mattielli in the Sala terrene carry the vault of the room and the white stucco decorations by Santino Bussi are continued in the hallway under the theme of the prince virtues. The two-story marble hall is here - as well as in the Lower Belvedere Palace - the center of the building. The ceiling painting "Allegory of Glory " by Carlo Innocenzo Carlone symbolizes the eternal glory of the prince in the midst of princely virtues. The Apollo-Aura-Fresco ("victory of light over darkness") in the garden room, too, also by Carlo Innocenzo Carlone, heroises Prince Eugene as a bringer of light and Türkenbesieger (defeater of the Ottomans). The frescoes in two other Ostsälen (east halls) are continuing the topic, yet these have been created by Ciacomo del Pò. Other images of high quality, thematically but biblically oriented can be found in the chapel and in the south-east tower of the castle. Here is on one hand, the dome image "God the Father" (Carlo Carlone ) to mention, as well as the altarpiece "Resurrection of Christ" (Solimena). "In the Gold Room in the Northwest Tower arised Canelettos famous view of Vienna from 1760".
Garden
Between the Upper and Lower Belvedere Palace is the beautifully landscaped garden. This one was layed out by the Parisian garden architect Dominique Girard. The axially landscaped terrace garden with symmetrical staircases, however, goes back to a concept of Hildebrandt. This construction permits from the front terrace of the Upper Belvedere a beautiful view over the sloping gardens to the towers of Vienna and the mountain ranges of the Vienna Woods behind them. The upper lawn area designed Girard in accordance with French geometries with cascades, stairs and water features, as well as laterally limited hedges and avenues. Once adorned numerous sculptures the garden grounds, too. Those have been distributed thematically and according to the altitude. So were found on the lower garden level sculptures which should symbolize the four elements. In the central region was the Parnassus represented and on the higher garden level have been found sculptures to Olympus. However, hereof have been preserved only a few sculptures, including eight muses and the symbolic figures of the Prince of Hercules and Apollo in the lower ground floor. Furthermore, two sphinx figures are standing as stone guards in front of the garden side main entrance of the upper Belvedere.
The garden also includes a botanical garden and an Alpine garden. In the former, the personal physician of Maria Theresia Gerard van Swietjens grew various medicinal herbs. Today, the Botanic Garden is owned by the University of Vienna. In contrast, the Alpine Garden was founded in the Schönbrunn Palace in 1803 by the Archdukes Johann, Rainer and Anton and 1865 moved to the Belvedere gardens. In this oldest alpine garden in Europe today can be visited the historic Alpine Plants collection of federal gardens. The there cultivated 4,000 plant species encompass in addition to numerous rare alpine plants also a rhododendron and a bonsai collection.
On the way from one to the other castle you get not only to a number of commercial buildings in the palace complex but also to the Menagerie and the famous Orangery, which served during the lifetime of Prince Eugene as heated winter garden for the orange trees.
Exhibitions and collections
The palace complex for several decades already no longer serves as a residential area for rulers or politicians. Instead, most of the spaces, especially in the Upper Belvedere Palace, are being returned to their original functions. They serve today primarily for presentation and admiration of many valuable art treasures. So can be found in the individual buildings different, always changing exhibitions such as the current on the topic of "gold". This exhibition could be visited until 17th June 2012. In addition, the Austrian Gallery Belvedere has numerous collections of different art directions. So are included in the stock collections to the Middle Ages, Baroque, Classicism, Expressionism and Impressionism as well as works of Art Nouveau, postwar and contemporary art. Particularly noteworthy at this point are the collection of Messerschmidt with his character heads, of Ferdinand Georg Waldmüller, of Gustav Klimt, of Egon Schiele and of Oskar Kokoschka.
www.belvedere.at/de/ausstellungen/aktuelle-ausstellungen
wienwiki.wienerzeitung.at/WIENWIKI/Schloss_Belvedere