The most magnificent of monumental buildings were built in Shakhrisabz in the time of the Temurids is Ak-Saray Palace. Its fantastic ruins can be seen from afar and make a deep impression. Amir Temur meant to make Shakhrisabz the second capital of his empire, no less sumptuous than Shakhrisabz. The construction of the palace was started in 1380 and lasted more than 25 years. It is known that architects and handicraftsmen from Khorezm, shortly before subjugated by Temur, took part in the construction of the palace. Several legends are connected with the history of this grandiose structure. As one of them says, some gold sand was put into the clay intended for making the first bricks for the royal structure.

The construction works were carried out on a ‘kingly scale’ indeed. The great ruler begrudged no money. His buildings were supposed to be the biggest and the very best in the world. It was not without purpose that on the portal of his palace there was made an inscription that says: “Those who doubt my power and munificence should look at my buildings” On the basis of descriptions made by Temur’s contemporaries, as well as archeological research materials, the scientists managed to reconstruct the layout and artistic design of the palace. Though “Ak-Saray” means “White Palace” in Uzbek, in the context of a name for a palace the word ‘white’ can be interpreted as “ noble, regal”. What amazes a visitor first is the magnitude of the building. The inner courtyard alone was 250 metres in length and 125 metres in width. The height of the main portal crowned with arched battlement, was 70 metres – the size of a 20-storey building. Corner towers were no less than 80 metres high whereas the entrance arch span exceeded 22 metres.

The palace took on several functions: it was the place for recreation and entertainment of the royal family, as well as administration building for running state affairs. On the axis of the courtyard there were domed quarters for holding sessions of divan – council of state. The smaller halls on both sides were used for sessions of royal advisers – tavajibeks and divanbeks. The palace also accommodated richly decorated and sumptuously finished premises for harem. In front of the harem premises there was laid out a shady garden with pools faced with patterned tiles. One of the pools was intended for holy fish. The pools were fed by the water flowing in the lead conduit from the nearby mountains.

The resplendent exterior decoration covering the walls and domes of the Ak-Saray palace still arouses admiration. Large scale geometrical ornamental patterns on its facades are made of dark and light blue glazed bricks. Glittering against the polished brick background they impart a particular picturesqueness and grandeur to the building. The portal niche is decorated with elegant mosaics and carved majolica as well as quotations from Koran executed in sulus script. The walls of the palace, as well as the palace square, were decorated with tiled mosaics presenting combination of blue, green, yellow, and red colours. The colossal corner tower was girdled by a dictum made in Kufic script: “Sultan is the shadow of Allah”. Among the decorative tiles one can find the inscription with the name of the craftsman Makhmud Yusuf Tebrizi and the date the decorative works were completed – 798 (1395).

At the end of the 16th century Shakhrisabz rebelled against the rule of Sheibanid dynasty. After the siege of the disobedient city, Abdullakhan II ordered to destroy Ak-Saray as well as other Timurid’s constructions. In the 1760s the ruins of Amir Temur’s palace were within the residential quarters of Shakhrisabz bek. At that time Ak-Saray portal decorated the inner courtyard of the residence with its throne hall and treasury. The territory of former royal gardens and pools was build up with so called Tashkari – backyard with premises for bodyguards, servants and sentry. By the eastern entrance to Ak-Saray palace there was arranged Gun Yard – tupkhona. Only huge abutments of portal arch have survived, yet until now these remains of the former splendeur symbolize the might of Amir Temur’s state.

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

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

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

(more pictures or information about the 11th district of Vienna Simmering you can see by clicking on the link at the end of page!)

Parish church in Kaiserebersdorf

The parish church Kaiserebersdorf - also Saint Peter and Saint Paul resp. pilgrimage church Maria at the tree called - is located at Münnichplatz. As early as 1192 a church with a private cemetery in Kaiserebersdorf in the papal Zehentverzeichnis (tithe catalogue) of the Vatican Library was mentioned. Over time, the church building by events such as floods and wars over and over again has been affected, the worst during the two Turkish sieges of Vienna in 1529 and in 1683.

Although the place at that time was far outside of Vienna, it was together with the church severely damaged, and the church was from 1692 in late baroque design completely reconstructed. 1696 also the tower finally could be restored. In 1747 the church building by the well-known archiepiscopal and imperial baroque architect Mathias Gerl (1712-1762), who came from the distinguished family of architects Gerl, was extended in its present form and expanded. 1766 the effigy of Mary at the tree, which attracts countless pilgrims and thus the church turns into a pilgrimage church, was mounted at the high altar.

The interior of the church shows a single-naved, barrel-vaulted nave. The late Baroque high altar is dominated by the miraculous image with the metal replica of the tree, the mighty figures of Peter and Paul (the holders of the church) refer to the patronal feast of the church. The side altars show late baroque images of the Anna selbdritt (Virgin and Child with Saint Anne) and Saint Florian. Beginning of the 70s a redesign according to the new requirements was made, which included a change in the sweep of steps in the altar area and the establishment of a mobile, simple wooden table as a people's altar as well as a simple lectern as ambos.

As part of an interior renovation of the church also the creation of a permanent and dignified sanctuary solution was carried out. The by architects Geiswinkler & Geiswinkler created and award-winning system distinguishes itself by its modern shape design and use of modern materials. The altar consists of a green-gray marble block, which is polished on the top and at the bottom is perceived as roughly hewn rock. The shape of the altar as a rock is reminiscent of Christ, the color green-gray is related to the design of the high altar and the smooth polished surface symbolizes the table around which gathers the community. Distinguishing features are numerous steel bars of burnished stainless steel, which in different thicknesses of a metal plate (also burnished stainless steel) in an irregular arrangement bear the marble refectory and penetrate it. Between the steel uprights floats another smaller roughly hewn rock, in which the reliquary capsule was set in during the altar consecration. The ambos consists of a metal loop of burnished stainless steel. The metal loop stands as a symbol of the scroll. At the beginning and end of the loop the Book of the Gospels can be placed for the purpose of lecturing and presenting. A special feature is the ease and elegance of the powerful design. Through the material, shape and form the ambos can represent its importance and with that it stands out without chumming up to the existing Baroque artistic design. The consecration of the altar took place in 2002 by Archbishop Christoph Schönborn.

The parish is also responsible for the care of the chapel of Our Lady Queen of Heaven in the prison of Vienna Simmering .

de.wikipedia.org/wiki/Simmering#Kirchen

Specks Hof ist ein Geschäftshaus mit der ältesten erhaltenen Ladenpassage in Leipzig. Die Anlage nahe der Nikolaikirche steht beispielhaft für Leipzigs Messe- und Handelshäuser, die Anfang des 20. Jahrhunderts erbaut wurden. Specks Hof ist ein Geschäftshaus mit der ältesten erhaltenen Ladenpassage in Leipzig. Die Anlage nahe der Nikolaikirche steht beispielhaft für Leipzigs Messe- und Handelshäuser, die Anfang des 20. Jahrhunderts erbaut wurden. Das Erdgeschoss des Gebäudes durchziehen tonnengewölbte Passagengänge, zum Teil noch mit geprägter Kupferdecke. Die Gänge werden durch drei glasbedachte Lichthöfe unterbrochen, die künstlerisch gestaltet wurden. Die Gänge werden durch drei glasbedachte Lichthöfe unterbrochen, die künstlerisch gestaltet wurden.

de.wikipedia.org/wiki/Specks_Hof

Specks Hof is a commercial building with the oldest surviving shopping arcade in Leipzig. The complex near St Nicholas' Church is an example of Leipzig's trade fair and commercial buildings built at the beginning of the 20th century. Specks Hof is a commercial building with the oldest surviving shopping arcade in Leipzig. The complex near St Nicholas' Church is exemplary of Leipzig's trade fair and commercial buildings, which were built at the beginning of the 20th century. The ground floor of the building is characterised by barrel-vaulted passageways, some of which still have embossed copper ceilings. The corridors are interrupted by three glass-roofed atriums, which were artistically designed.

de.wikipedia.org/wiki/Specks_Hof

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

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

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

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

www.st-anna-augsburg.de

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

www.st-anna-augsburg.de

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

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

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

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

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

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

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

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

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

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

Quelle: Wikipedia.de

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

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

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

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

Source: Wikipedia.de

This three tier neon pink and green birthday cake looks like a stack of presents. The beautiful bow and ribbons are sugar. Art Eats Bakery

Greenville, SC, 29607

www.arteatsbakery.com

Phone: 864-201-4448

Email: sales@arteats.com

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

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

Please visit our website for more photos and information.

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

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

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

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

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

Toronto has a multitude of natural ravines scattered throughout, most of them having cycling/exercise trails. Although they are not connected, cyclists can traverse the city by “hopping” from one ravine trail to another, using city streets and cemeteries to connect the ride.

We are currently hosting the 2015 Pan Am and Parapan Am Games (www.flickr.com/photos/jeffcbowen/18826947833/in/dateposted/) and today more than 7000 athletes and another 3000 coaches and support staff began moving into the Athlete’s Village near downtown. They come from North America, Central America, South America, and the Caribbean. As is the case with any city hosting a major event like this, a large sum of money (both public and private) has been spent to prepare the city, including housing, venues for the events, and various less-directly related infrastructure improvements which are getting a “boost” from the excitement.

One such project is the Pan Am Trail which is a project to improve the ravine trails I mentioned above and to connect some of them together with signage. Today my wife and I were cycling the trails in Toronto’s east end and were unexpectedly confronted by a group of young people working on a project in the ravine running through the University of Toronto Scarborough campus.

Surprised, we stopped biking and I approached a man loading up a van parked nearby and asked “Is this an art installation?” “It sure is” he said, “and this is one of the artists,” pointing to the woman you see above. Meet Zarish.

Zarish explained that the installation is one of several being placed along the Pan Am path system. It is titled “Fairgrounds” and as she explained, it is made up of four artistically designed kinetoscopes (en.wikipedia.org/wiki/Kinetoscope). The kinetoscope was a precursor of movies. A wheel with figures is spun and viewed through a slot to create the impression of motion. The kinetoscopes which Zairsh and her project colleagues (see comment group photo) had just finished installing are all themed with sporting events as part of the Pan Am celebrations. They were the winners of a design contest and, as was explained to me, they did the project as a democratic team, voting on all major decisions. Key to the team was the man I first approached, Joel, a contractor who carried the concept to its physical form. Zarish and her friends spoke with reverence about Joel, explaining that the project could not have happened without him. Joel, on the other hand, was quite modest in manner and gave the major credit to the artists.

Of course I couldn’t resist inviting Zarish to be part of my photo project even though I only had my cell phone with me on the bicycle and the area was harsh, open sunlight. She was happy to join in and posed for a few photos, including the group photo. Zarish is 25 and a graduate in Studio Art with a minor in City Studies – an ideal combination for such a project. Her collaborators, some still in university, were equally qualified for the project. I learned that Zarish came to Canada from her native Pakistan seven years ago to pursue her university education. I really liked her “artsy,” creative style and she was super friendly and proud of her group’s project. She told me that my wife and I were the first members of the public to see it as they had just put the finishing touches on the installation. Joel pointed out that we were in a place of honor to be first viewers – and we certainly felt that way.

Click here for more about the artists: harthouse.ca/pan-am-path-artists/

Click here for more about the project: harthouse.ca/pan-am-path/

Thank you Zarish for taking the time to chat and for participating in 100 Strangers. You are #844 in Round 9 of my project. It was a real treat to meet all of you and to be the initial audience for your great project. I’m sure many more will pass by and stop to admire and interact with “Fairgrounds.”

Find out more about the project and see pictures taken by the other photographers in our group at the 100 Strangers Flickr Group page.

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

The history of the sanctuary and parish Mariahilf

The beginnings of Mariahilf

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

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

The first cemetery chapel

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

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

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

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

The new church

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

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

Church 1724

Pilgrimages to the holy image of Mariahilf

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

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

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

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

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

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

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

The religious communities of Mariahilf

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

Architectural and historic preservation measures in recent decades:

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

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

Church tower 2, church tower 1 Church Renovation 2010

The historic bell of the Mariahilferkirche - The Schuster Michel

Schuster Michel

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

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

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

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

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

Schuster Michel

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

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

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

Schuster Michel Schuster Michel

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

2011: New Patterns for Schuster Michel

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

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

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

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

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

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

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

Saint James, who is depicted in this south ambulatory window, was the first to suffer martyrdom, being beheaded by King Agrippa in 44AD.

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

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

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

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

Unique patterns at the Paseo Arts Festival in Oklahoma City.

Crystallized is a sculpture project decorative lights hanging on a shoe boutique in New York City. The project was designed by Studio design SOFTLAB in 2015.

Original description by Designer

The crystalline structure we have created for Melissa’s NYC store is inspired by their Winter 2015 c... freshomedaily.com/?p=47958

#Artistic-Design, #Lighting, #New-York, #Sculpture, #SOFTLAB, #United-States-Of-America

The program that was published when this building was dedicated in 1912 included the following:

History of the NSGW Building

by Lewis F. Byington, Past Grand President

The new Native Sons’ Building, just completed and situated on the east side of Mason Street, between Geary and Post Streets, is unquestionably the best appointed and arranged fraternal building in California, and for the lodge and social purposes the most centrally located of any in San Francisco. It stands on the same block as the St. Francis Hotel and within a radius of two blocks are Union Square at the heart of the city, the Hotel Bellevue, the Stewart Hotel, the Olympic Club, the Bohemian Club, the Union League Club, and the Elks’ Club, the Columbia, Alcazar and Orpheum Theatres, and most of the leading hotels, clubs, restaurants, and places of amusement in San Francisco.

It is a “Class A,” steel frame structure, eight stories in height, with a beautiful and ornamented façade of granite, terra cotta and brick. Around the two main entrances to the building are placed medallions of distinguished men, who are thus honored and commemorated for their services in connection with the discovery and civilization of California. They are: Cabrillo, discoverer of California; Father Junipero Serra, civilizer and founder of missions; General John A. Sutter, typical pioneer; General John C. Fremont, U.S.A., the Pathfinder; Admiral John Drake Sloat, U.S.N., who raised the American flag at Monterey; James W. Marshall, the discoverer of gold; Peter Burnett, the first American governor of California; General M. G. Vallejo, typical Hispano-Californian; General A. M. Winn, Founder of the Order of the Native Sons of the Golden West.

Set in the front of the building at the height of the second story are six terra cotta panels, the work of Domingo Mora and his son, Joseph J. Mora, artistically designed and depicting important historical events, namely: “The Discovery of California”; “Civilization”; “The Raising of the Bear Flag”; “The Raising of the American Flag”; “The Pioneers”; “The Discovery of Gold.” The sculptured heads of grizzly bears, which mark the line of the third floor, have been designed as emblematic of California, while the sculptured phoenix, placed over the doorways, typifies San Francisco.

The phoenix was a wonderful bird, fabled to exist for 500 years, the only of its kind. It built a funeral pile of spices and aromatic gums, lighted the pile with the fanning of its wings, and was burned upon it, but from its ashes revived in the freshness of youth. It is the emblematic bird of San Francisco, adopted and placed upon its seal in early days after the city had been four times destroyed by fire. During a recent visit to Europe, Mr. James D. Phelan, the president of the Hall association, found in the Vatican at Rome the most ancient sculptured representation of the phoenix and which is attributed to the famous Greek sculptor Praxiteles. Mr. Phelan secured a splendid reproduction in marble of this work of art and presented it to the Hall Association, and it is now in the new building.

The building contains one of the largest and best-appointed assembly halls for dances, concerts and entertainments in California; also fourteen well-lighted, handsomely furnished, and artistically arranged lodge rooms; the offices of the Grand Secretary; Library and Reading Rooms. Over the main assembly hall is the largest steel truss ever built in California, and which supports the floors above. The eighth floor is arranged for club room purposes and is admirably designed for this object. The rooms are spacious, high and well lighted, both from above and from the front and sides. In the front an artistic loggia has been placed from which the city to the west may be viewed, while at the rear a pergola, over which vines will be twined, furnishes an artistic, sheltered, open-air places for the members to sit. The Grand Parlor has taken steps to secure all books, data and records bearing upon the history and development of California and these doubtless will be stored here. In time, an Historical Museum will also be maintained within the building.

In the main hall are twenty circular windows, which it has been decided to use for art glass portraits of twenty Native Sons and Native Daughters who have won distinction in the arts and sciences, literature and drama. The names of the following have so far been selected: Gertrude Atherton, literature; Sybil Sanderson, music; Mary Anderson, drama. Upon the walls of the upper floors will be hung portraits of the distinguished men and women, not natives of California, who have in this State won distinction in literature, science and the arts. The grandeur of the Yosemite and our mountains and lakes may also be depicted upon other windows and these features will add materially to the beauty of our building and will make it unique among the structures of the country. The building will stand as the home of the Order in the State, and as the noblest and most enduring monument to the perpetuity of the organization and for the advancement of its principles of Friendship, Loyalty and Charity.

The architects of the building are Righetti and Headman (E.H. Hildebrand, associate). The superintendant of construction was Mr. P.J. Walker and his foreman Mr. J.S. Fifield.

Since the destruction of the Native Sons’ Building by the fire of April 18, 1906, it has been the desire of the members to see erected in this city, and upon the lot where that building stood, a home for the fraternity, within which the local lodges may meet and where members from all over California may find an hospitable welcome amidst pleasant and comfortable surroundings. That desire has now been realized.

The Hall Association of the Native Sons of the Golden West was incorporated April 5, 1893, for the purpose of securing a site upon which to erect a home for the Order. The first Board of Directors selected was composed of the following members of the fraternity: John H. Grady, Henry Lundstedt, Dr. C.W. Decker, W.W. Shannon, T.E. Keough, George D. Clark, John T. Greany, John A. Steinbach, W.H. Miller, J.R. Kropp, Adolph Eberhart, Lewis F. Byington, T. C. Conmy, John H. Nelson, T.P. Leonard, Joseph B. Keenan, H..J. Seitz, G.H.S. Dryden, W. J. Wynn, W. E. Foley, Daniel Suter, C.H. Hobson, J.P. Donovan, R. Horber, C.H. Mass, J.W. Reinfeld, H.G.W. Dinkelspiel, Sol. Bloom, J.R. Howell, Louis Nonnenmann, H.E. Coffey, Jas. P. Sweeney, L.L. Dennery, L.M. Bannan, W.P. Johnson, and A.E. Holmes.

The Association purchased from the Congregation Ohabai Shalome, for $42,500, the lot located on the east side of Mason Street, sixty-eight feet and nine inches north of Geary Street, and having a frontage of sixty-eight feet and nine inches and a depth of one hundred and thirty-seven feet and six inches. One of the first synagogues erected in this city stood upon the lot.

Competitive plans for a lodge building were invited and those submitted by Mr. A.C. Lutgens were selected and the handsome five-story “Class C” building erected which stood until destroyed in the early morning of April 19, 1906, by the disastrous fire which then swept the city. It was erected at a cost of about $82,000, and contained a large assembly hall, the offices of the Grand Secretary, the Library and Reading Room and seven lodge rooms. The corner stone was laid on Washington’s birthday, 1895, and the building was dedicated February 9, 1896. Shortly after its completion, Irving M. Scott presented to the Hall Association a magnificent painting by William Keith, California’s greatest landscape artist. It depicted one of California’s fruitful valleys and was entitled “The Heritage of the Native Sons.” It was burned with the building.

When the Association concluded to rebuild upon the old site, it was determined to erect a “Class A” building in line with the spirit of progress which animated the citizens of the new San Francisco. The capital stock of the Association was, therefore, increased to $400,000 (50,000 shares of a par value of $8.00 each).

The corner stone of the new building was laid February 22, 1911. It is the old corner stone saved from the fire with a new stone covering it. Upon the old stone appears the inscription:

HALL OF

NATIVE SONS OF THE GOLDEN WEST

WASHINGTON’S BIRTHDAY

A.D. 1895”

And upon the stone above is carved:

BUILDING DESTROYED BY FIRE, APRIL 19, 1906

CORNER STONE RELAID FEBRURARY 22, 1911

“Program: Dedication of NSGW Building 1912”. Published by NSGW, San Francisco, Cal.

From Wikipedia.... the story of Tom Thomson....well celebrated in Owen Sound...for decades....but I was surprised to see these shop windows last week.... with recent art work...using water bottles and bottle caps....what would TOM think of this, I wonder ??

More info from my usual source, Wikipedia : You SHOULD read this !!!

That's what I think !

" Thomas John "Tom" Thomson (August 5, 1877 – July 8, 1917) was an influential Canadian artist of the early 20th century. He directly influenced a group of Canadian painters that would come to be known as the Group of Seven, and though he died before they formally formed, he is sometimes incorrectly credited as being a member of the group itself. Thomson died under mysterious circumstances, which added to his mystique.

Personal life

Tom Thomson was born near Claremont, Ontario to John and Margaret Thomson and grew up in Leith, near Owen Sound. In 1899, he entered a machine shop apprenticeship at an iron foundry owned by William Kennedy, a close friend of his father. He was fired from his apprenticeship by a foreman who complained of Thomson's habitual tardiness. Also in 1899 he volunteered to fight in the Second Boer War, but was turned down because of a medical condition. Thomson was reputed to have been refused entry into the Canadian Expeditionary Force for service in the First World War also. He served as a fire ranger in Algonquin Park during this time.

In 1901, he enrolled in a business college in Chatham, Ontario but dropped out eight months later to join his older brother, George Thomson, who was operating a business school in Seattle. There he met and had a brief summer romance with Alice Elinor Lambert. In 1904, he returned to Canada, and may have studied with William Cruikshank, 1905–1906. In 1907 Thomson joined Grip Ltd., an artistic design firm in Toronto, where many of the future members of the Group of Seven also worked.

Thomson first visited Algonquin Park in 1912. Thereafter he often traveled around Canada with his colleagues, especially to the wilderness of Ontario, which was to be a major source of inspiration for him. In 1912 he began working, along with other members of the Group of Seven, at Rous and Mann Press, but left the following year to work as an artist full-time. He first exhibited with the Ontario Society of Artists in 1913, and became a member in 1914 when the National Gallery of Canada purchased one of his paintings. He would continue to exhibit with the Ontario Society until his death.

For several years he shared a studio and living quarters with fellow artists, before taking up residence on Canoe Lake. Beginning in 1914 he worked intermittently as a fire fighter, ranger, and guide in Algonquin Park, but found that such work did not allow enough time for painting. During the next three years he produced many of his most famous works, including The Jack Pine, The West Wind and The Northern River.

Mysterious death

Thomson disappeared during a canoeing trip on Canoe Lake in Algonquin Park on July 8, 1917 and his body was discovered in the lake eight days later. The official cause of death was accidental drowning, but there are still questions about how he actually died. It was reported that there was fishing line wrapped around his leg and he had a head injury (which may have been post mortem).

It has also been speculated that he was murdered by a German-American neighbour, Martin Blecher, Jr., or that he fell on a fire grate during a drunken brawl with J. Shannon Fraser, owner of Canoe Lake's Mowat Lodge, over an old loan to Fraser for the purchase of canoes.

Thomson allegedly needed the money for a new suit to marry Winnifred Trainor, whose parents had a cottage at Canoe Lake. Rumours circulated following his drowning that she was pregnant with Thomson's child. Winnifred Trainor made a trip to Philadelphia with her mother the following winter and returned around Easter. She never spoke about her relationship with Thomson. A nephew, Terrance Trainor McCormick, an upper New York resident who inherited her estate, which included at least 13 small Thomson paintings and letters, said the letters confirm their engagement. McCormick has refused to produce the letters for scholarly investigation. Others believe that Thomson, who produced at least 63 landscape paintings that last spring, many of which he gave away or discarded, suffered severe depression and drowned himself.

He was buried at Canoe Lake in Algonquin Park on July 17, 1917, without family members having seen the body. Under the direction of his older brother, George Thomson, the body was exhumed two days later and re-interred in the family plot beside the Leith Presbyterian Church on July 21. None of these theories are conclusive, and the wide range of speculation serves mostly to perpetuate Thomson's romantic legend."

Messina, located at the southern entrance of the Strait of Messina, was in the 8th century B.C. founded by Greek colonists. After the First Punic War, it became Roman and after the fall of the Roman Empire, the city was successively ruled by the Goths from 476, then by the Byzantine Empire in 535, by the Arabs in 842, and in 1061 by the Norman brothers Robert Guiscard and Roger Guiscard, later known as Roger I of Sicily. In 1189 Richard I ("The Lionheart") stopped in Messina on his way to the Holy Land and briefly occupied the city after a dispute over the dowry of his sister, who was married to King William II of Sicily (= William the Good). . . Because a tectonic fault zone, the Messina Fault, runs through the Strait of Messina, earthquakes are common here. The city had to be rebuilt again and again. The Second World War brought further destruction to Messina.

The Cathedral was originally erected in the 12th century. The building had to be almost entirely rebuilt in 1919–20, following the devastating 1908 earthquake, and again in 1943, after a fire triggered by Allied bombings. The original Norman structure can be recognized in the apsidal area. The façade has three late Gothic portals, the central of which probably dates back to the early 15th century.

The campanile of the cathedral holds the astronomical clock of Messina, constructed by the Ungerer Company of Strasbourg in 1933. The mechanism was designed by Frédéric Klinghammer, with the artistic design based on plans by Théodore Ungerer. Parts of the design are similar to the Strasbourg astronomical clock.

I have already uploaded a lot of photos previously taken in Sicily. Now I will add only a few. If you want to see more, follow this link:

www.ipernity.com/doc/323415/album/1238300

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Bauman patient and celebrity hair stylist, Martino Cartier, is seen before, 24 hours and 12 months after his FUE hair transplant procedure with Dr. Alan Bauman of Bauman Medical Group in Boca Raton Florida. Note from the crusting an scabbing at the transplanted hairline the artistic design and execution of the procedure. Scabs take about a week to flake off and the skin returns to normal. Hair growth begins at 6-12 weeks, is half-way grown at 6 months and fully grown in one year.

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

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

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

Ballroom tract

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

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

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

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

Festsaaltrakt

Der Große Festsaal während eines Konzerts des Wiener Hofburg Orchesters

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

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

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

de.wikipedia.org/wiki/Hofburg#Festsaaltrakt

IMAGINE (John Lennon)

Created for Mixmastser 67, Chef brillianthues.

CHEF brillianthues wants us to have fun creating a scrapbooking-style collage. Here are some examples of what she has in mind.

➤ Your background must be patterned or textured or both.

➤ The focus must be a woman or man in black and white.

➤ You must use text as an artistic design element.

➤ Include one or more flowers and/or birds and/or butterflies.

➤ NO facsimiles of people (mannequins, aliens, statues).

= = = = = = = = = =

Art Nouveau BG, Face, Texture & Pink Bird purchased from Renderosity.

Flowers & Peacock, from PngWing.

Eyes on pink flowers, from Dover.

Butterfly, Imagine Graphic & Eye purchased from DS.

Peacock feather, mine.

Design on the eyes is from a Galaxy, courtesy of NASA.

There's NO AI in this image!

= = = = = = = = = = = = =

© All rights reserved. This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying & recording without my written permission. Thanks.

~ Thank you for visiting my photostream, for the invites, faves, awards and kind words. It's all much appreciated. ~

=== Please note: The Art Nouveau BG was already this size, (longer than wider) and I chose not to change it in any way.

the total historic and artistic designed of a gas station way back then.!

"On the other hand, it is impossible for a cube to be written as a sum of two cubes or a fourth power to be written as a sum of two fourth powers or, in general, for any number which is a power greater than the second to be written as a sum of two like powers. I have a truly marvelous demonstration of this proposition which this margin is too narrow to contain." Fermat "Fermat's Last Theorem" by Harold Brown

This is a Jon Kuhn cube. It consists of glass pieces arranged as cubes inside this cube which triggered the Fermat's Last Theorem connection. It is on a revolving mirror base. The prismatic light reflection / refraction is mesmerizing. www.kuhnstudio.com/

This is also what I visualize a warp drive to look like. "Cap'n. I think he's a dilithium crystal short of a Warp Drive" Scotty to Captain Kirk on Al_hikesAZ

I have been interested in Fermat's Last Theorem since attending an NSF math camp in 1969 at NAU. I'm aware of Tom Stoppard's play Arcadia. The play among its many themes, addresses the fleeting nature of Arcadia (Paradise), and the impossibility of it's existence. Stoppard's play is dominated by the discussion of mathematical ideas, including Fermat's "tease"

After 350 years, Fermat's theorem was solved in 1994 by Princeton mathematician, Andrew Wiles. With Fermat's formula proven, what is left in modern mathematics?

Pinned to Jack Kerouac's wall to inspire his writing: "Art is the highest task and the proper metaphysical activity of this life. Nietzsche"

close-up

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

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

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

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

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

Kamehameha Day, celebrated on June 11, is a Hawaii state holiday celebrating King Kamehameha. It was established by royal decree on December 22, 1871 by King Kamehameha V as a national holiday. Kamehameha Day was created to honor the memory of Kamehameha, the king’s great grandfather, who united the Hawaiian Islands in 1810 and became Hawai‘i’s first king. The first celebration occurred on June 11, 1872.

"A floral parade is held annually at various locations throughout the state of Hawaii. On the island of Oahu, the parade runs from ʻIolani Palace in downtown Honolulu past Honolulu Harbor and the Prince Kūhiō Federal Building through Kakaʻako, Ala Moana and Waikīkī, ending at Kapiʻolani Park. June 11 is also the anniversary of the dedication of Kapiʻolani Park. The floral parade features local marching bands — including the Royal Hawaiian Band (the oldest municipal band in the United States) — and artistically designed floats using native flowers and plants. Many local companies enter floats for their employees.

A favorite floral parade feature is the traditional royal paʻu riders. They represent a royal court led by a queen on horseback, followed by princesses representing the eight major islands of Hawaiʻi and Molokini. Each princess is attended by paʻu ladies in waiting. Paʻu women are dressed in colorful and elegant 19th century riding gowns accented with lei and other floral arrangements." Wikipedia.

There is an annual Lei Draping ceremony

in which the Kamehameha Statue in front of Aliʻiolani Hale and ʻIolani Palace on King Street in downtown Honolulu is draped in long strands of lei.

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

This truck (license plate number A-BQ783) is a type HLT5120TXSEV wash and sweep vehicle manufactured by a Hualin-BYD, a joint-venture between Beijing Sanitation Group Environmental Equipment Co. Ltd (BEE)'s Hualin Special Vehicles Co. Ltd and BYD Motors. The BYD T7A series, type BYD5120TSLBEVD 11.86-tonne (26,147 lbs) battery electric truck chassis carries the wash and sweep equipment developed by Hualin Special Vehicles.

This vehicle is supposedly one of the 13 units of this type ordered in November 2016, after a 2015 pilot program concluded with success.

This truck is equipped with a 175 kWh LiFePO4 (lithium iron phosphate, or LFP) battery pack and a 110 kW traction motor. Its nominal operating range is 460 km (217 mi.), presumably without equipment operating, and its standard recharge time is 4.5 hours.

One of the highlights of this truck is that the chassis equipment and vocational (upper-body) equipment share the same CAN-BUS system, thanks to the tight collaboration between the two manufacturers during development.

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

Saló d'actes amb arrambador de Maragliano

Hospital de la Santa Creu i Sant Pau

Barcelona

The Narromine News & Trangie Advocate on Wednesday, October 19, 1927 reported on

TRANGIE’S GREAT DAY - OPENING OF MEMORIAL HALL - A fitting tribute to the Memory of Brave Men by Trangie and District residents. Impressive ceremonials - enthusiastic proceedings

The greatest day in the history of Trangie and district was Wednesday, October 12. On that day was consummated the ardent desire of those who did not forget the great service of the heroic men who heard and obeyed the call of Empire in the great Great World War; and made the Supreme Sacrifice to keep free and unfettered the great British Empire of which they were so proud. These heroes had given their all for the Empire they loved, and it was the desire of those for whom they had braved the ruthlessness of a cruel war, to raise a fitting memorial to their memory. For long a band of workers, who never for one moment forgot, worked in season and out to raise funds to effect this purpose. Trangie is only a small centre, but the people responded well to every call made upon them for this worthy cause. The residents gave donations, and those who could not afford large sums were to the fore in patronising efforts and making them successful. In this way slowly but surely the money was raised, and now the people have the satisfaction of seeing erected in the town one of the finest memorial halls of any country town in the State. They are to be complimented upon the success of their efforts, and the magnificent edifice stands as a fitting memorial to those whose deeds made the world ring with praise and admiration, and made Australia a nation amongst the great nations of the world.

Amongst the great workers on behalf of the movement to establish the memorial the name of Dr. MacLean must stand out prominently. This gentleman held the position of hon. secretary, and by tactful, energetic and persevering work his great aim has been splendidly accomplished. His was undoubtedly a labor of love, for no man could have accomplished this great work unless his whole hearted desire was in the job. His efforts were unsparing, and his energy untiring, and there is no man in Trangie district today who is more proud of the Soldiers’ Memorial Hall than Dr. MacLean. There are many others who gave valuable assistance, and did splendid and noble work, but it would be invidious to make comparisons, and everyone who did anything for the cause are to be heartily congratulated upon the magnificent result of their efforts. The ladies of the town and district played no unimportant part in the great movement, and they must be credited with their fair share of the success. From time to time we have kept in touch with the memorial movement and published the list of subscribers, and those responsible for efforts on behalf of the movement, therefore it is unnecessary to reiterate what we have already published to our readers.

THE HALL

The hall has been erected in Dandaloo Street, on a block of land donated by the Campbell Estate (Mr. J.J. Brown), and if of a most imposing character. Faithfully built of reinforced concrete, on a system evolved by Mr. Beale, the contractor, it is a direct acquisition to the architectural aspect of the town. The front entrance has two immense columns supporting a most presentable frontage design, part of which is the Australian Coat of Arms, presented by Mr. Beale. A spacious vestibule runs the whole length of the front of the building, with a cloak room on either side. An entrance is gained to the main hall through handsome double doors. The hall is 66 ft long by 34 ft wide, surmounted by a handsome ceiling of embossed fibrous plaster of classic and artistic design. The walls are of pure white, with a 6 ft. 10 in. dado of sage green. The floor has been specially laid down as a dancing surface, and is of well prepared cypress pine. The hall is liberally ventilated, and has eight windows on each side, which can be thrown open during the summer months. The lighting will be one of the charms of the main hall, and this will be brilliantly lit by eight indirect electric bulbs suspended at intervals on each side, with four flashlights to illuminate the stage. The stage will have a floor space of 17 ft by 25 ft, with a dressing room 8 ft x 9 ft on either side. The hall has four exit doors, and is certainly one of the best equipped and commodious in the far west. The acoustic properties of the hall are perfect, special attention having been given to this most important effect. The hall has been built faithfully to every detail and reflects great credit upon Mr. Beale, Jnr., who supervised the work from start to finish. In this he was ably assisted by Mr. J. Lazarus. We understand this is the first big job supervised by these young gentlemen, and it stands as a recommendation to their ability.

THE SUPPER ROOM

No ball room is replete without a supper room. When the hall was nearing completion, and it was decided that a big ball would be one of the festivities of the opening ceremonials, it was noticed that a supper room, kitchen and servery were necessary. There was no time to prepare plans, call for tenders, etc. This did not dismay the committee of the Soldiers’ Memorial Hall. A working bee was organised and a splendid response was made. They set to work with a will, and soon there sprang into existence a very presentable structure 80 ft x 30 ft, and capable of seating 300 diners, and lighted with numerous electric bulbs. A kitchen 30 ft x 13 ft was also provided, and to complete the job a servery was erected to provide a means of transferring the eatables from the kitchen to the tables. The whole of this was effected by voluntary labor, and it was grand to see Rev. Jock Smith, A.K. Butter, Senr, and several others wielding the long handled shovels making concrete. There was no 44 hours a week, no go slow policy for these chaps. They tore into their work from the word “go,” and did it well. Their work in connection with the supper room would be sufficient reference to gain them employment with any builder or contractor who is desirous of getting the services of good, honest toilers. Those who assisted in this work are deserving of every praise, and it only demonstrates what can be done when energetic men are at the head of affairs and when they are performing the work as a duty they owe to their pals. We forgot to mention a commodious sitting-out room, which was also the work of the working bee, and which had been tastefully decorated by the ladies.

THE HONOR ROLL

The roll of honor containing the names of all the brave lads of the district who gave their services, and some of them their lives for their King and Empire, and which for some time has held a proud position in the School of Arts, occupies a prominent position in the vestibule of the new hall.

THE DAY

Wednesday broke cloudy, and fears were entertained that the day would not pass over without a downpour of rain. Fortunately, weather conditions did not in any way spoil the opening ceremony. Brigadier-General Cox arrived by the mail, and was met at the station by members of the Memorial Committee. Large numbers of district residents and visitors kept arriving in town until after the lunch hour, when the largest crowd ever seen in Trangie had assembled. About 2.45 p.m. a procession was formed up in Goan Street opposite the residence of Dr. MacLean, headed by a company of Light Horsemen in charge of Lieut. G. Richardson, and accompanied by Brigadier General Cox, and the members of the committee, followed by a large number of cars. This proceeded along Narromine Street to Dandaloo Street to the hall. Arrived in front of the hall the Light Horse Troop formed a guard of honor, and the Brigadier-General was conducted to a dais erected just outside the entrance to the hall. The pupils of the Public and Convent Schools were massed in front of the hall, and under the baton of Mr. Williams (headmaster of the Public School) sang the National Anthem. At this time a very large concourse of people had assembled, and it was readily assumed that when the hall was declared open it would be used to its utmost capacity, and that many would not be able to gain admission. The whole of the arrangements were in the capable hands of Dr. MacLean (Hon. Secretary), and everything was carried out without a hitch.

THE OPENING AND DEDICATION SPEECH

After singing of the National Anthem, Councillor W.N. Lane, President of the Soliders’ Memorial Committee, introduced Brigadier-General Cox, and on behalf of the committee, asked him to dedicate the hall to the memory of the men who gave their lives for their country, and to officially open the hall to the public.

Just as the distinguished visitor mounted the dais rain threatened to such an extent that it was deemed advisable to open the hall and conduct the ceremonials under cover.

Brigadier-General Cox then opened the front door of the hall and declared the hall open. The large gathering thronged into the hall and soon filled the auditorium to overflowing.

Councillor Lane, Chairman of the Hall Committee, briefly introduced Brigadier-General Cox, who said that he appreciated the great honor done him by asking him to come to Trangie and perform the ceremony of opening the magnificent building which had been erected to the memory of the brave district lads who had fought and fell in the Great World War. He apologised for Sir Neville Howse, who was at Freemantle to meet Mr. Amery, British Secretary for States and Dominions, who was on a visit to Australia. He also apologised for Mr. Thorby, M.L.A., who had an important appointment at Dubbo. He congratulated the residents of Trangie and district upon the erection of such a handsome memorial. He was pleased to see that the Honor Roll had been placed in such a conspicuous place at the main entrance to the hall. He suggested that the names be engraved in marble or some imperishable substance, so that the children of future generations would be kept in mind of the heroes whose memory they were that day immortalising. Australian soldiers were the only volunteer troops in the world who went to war, and that was to be expected because they were the descendants of the most venturesome people the world every produced. The pioneers of the Australian Continent were people who knew no fear. They blazed the track of civilisation in the wilds of Australia, and it could only be expected that they would prove worthy of the name earned by their parents, and be as brave and venturesome as they had been. Those who were fit and did not go to the war earned his disapproval. Australia was one of the greatest countries on the face of the earth, and was well worth fighting for, and the fit and well man who would not fight and defend such a country was one whom none of the young ladies present should think of marrying. (Laughter). Australia was the best country in the world; her people the cleanest, and her sons and daughters the bravest. The Australians left their homes and parents to suffer the greatest hardships a human being could endure to keep the country free for their children. The Australian soldier had proved himself the bravest the world had ever known. The hardest tests were imposed upon him during the war, and it was credited to the Australians wherever they got a foothold they maintained their position, and it required a far larger enemy force to dislodge them. He spoke eulogistically of the great interest William Morris Hughes had shown in the Australian soldier. Whatever he was asked to do for the men he did it as far as it was possible. The people of Australia had stuck to their boys while they were at the front, and had been good to them when they returned home. The speaker exhorted the returned men to take an interest in the affairs of State. They had done well in the affairs of the Empire in war time, and in peace time they should prove equally as capable to assist in ruling the country. Australia was the only country in the world which had never had a shot fire in anger over its lands. It should be Australia’s motto while keeping clear of war to be always prepared for war. He believed in the principle that if the other fellow wanted fight to go out and fight, but never allow him into your home to smash up things. The British Empire was the freest combination of nations in the world, and could hold her own successfully against all the other nations. If Amercia and Britain held together and worked together the peace of the world was safe in their keeping. He said that Australia was the happiest and most prosperous of the countries of the world. It was a country full of possibilities, with a great future presenting itself. There was no poverty in Australia, and of the large number of bright and happy children in the hall he was sure there was not one who would not leave the hall and go home to a good meal and a comfortable bed. He asked the children to always remember the wonderful record and deeds of the Soldiers of Australia. They were not all angels by any means, but they made a name for their country and saved it for future generations to live happily in and at peace. He thanked the committee for doing him the great honor of performing this most important ceremony, and congratulated the people of Trangie and district upon the magnificent memorial to the brave men of the district. He hoped many happy evenings would be spent within the walls, and that those taking part would remember the great object for which it was erected. He declared the hall officially opened amidst rounds of applause.

The school children then sang “Advance Australia Fair.”

The Chairman then called upon Dr. Maclean to read the Honor Roll, and in doing so he made the following remarks: This hall has been erected by the people of this district as an expression of the pride they feel for the men who left here at their country’s call. It will be a perpetual reminder to this and future generations that Trangie lads went forth to fight for their country, and that the following gave their lives for their land:-

S. AndersonC. Lindsay

J. BirchS. Organ

J. CampbellB. Perrottet

A. CameronW.T. Papworth

C. ColemanF. Richards

J. DoyleM. Ryan

N. FloodR. Ryan

W.H. FoatJ. Rutherford

F. GeorgeJ. Small

J. HopeA. Samuels

C. Le QuesneD. Samuels

W. Newson

The spirit that moved these men to go forth is beautifully expressed by Elgar’s lovely song “Land of Hope and Glory,” which Mrs. Stones will sing for you directly. While she is singing it I would ask you to think of the pride and love of country that moved these lads to leave here to fight for their land and homes, prepared if need be to lay down their lives for their country. The Honor Roll also bears the names of the following -

A. M. AdamsC. Hoff

B. AveryG. Hando

K. BodyW.H. Ivens

A.K. ButterJ. Kernaghan

B. ButterR.A. Kearney

J. ButterM. Kenny

W. BowenR. Keith

F. BrennanW.G. Lincoln, D.C.M.

M. BodyJ. Lake

A. BatesL. Lovell

K. BatesE. Lindsay

G. BrownJ. Leek

R. ButcherineW. Leek

J. BullR.A. Leahy

H. BartierM. Lynch

A.G. BaileyW. McGuinness

M. BaileyJ. McCarthy

J. BurnsB. McKay

F. BrocklehurstG. McKay

W.R. BrownB. McLaren

L. BradfordJ. McLeod

H. BaggeF. McLeod

S. BlanningL. Mackinnon

C. BrownF.R. Massie

F. BurnsB. Mercer

W. BergL. Monoghan

F. BodleyL. Minchin

T. BaldwinP. Muller

J.P. BlancheN. Nelson

C. CameronA. Nelson

L. CameronT. Noonan

A.B. ComminsH. Parkhurst

P. CornellE. Perrottet

D.B. CampbellT. Porton

S.D.O. CrawfordL. Pearman

A. CrowR. Price

D. CroninM. Quigley

W. CheadleW.L. Riley

C. CheadleJ.J. Renshall

W. CheadleG.B. Richardson

A. ClarkE.F. Richardson

W. ClarkK. Richardson

C. CliftonA. Robertson

J. CliffordG. Robinson

D. CampbellH. Reece

R. DaltonJ. Russ

W. DoyleR.T. Slingsby, M.M.

H. DraperM. Stoneman

N. DockerV. Sullivan

B. DeversonF. Sharpe

C. DentE. Sharpe

J. DunnA. Smart

M. EganC. Smart

P. EganF. Starr

J. EganF. Samuels

R. EganT. Sullivan

R. EmmettC. Street

F. EllisH. Stokes

A. FordH. Ship

A. ForrestR.G. Stewart

E.J. FinlayW. Simpson

G. FolleyA.H. Tierney

J. Flood E.True

A. GrahamS. True

R. GrahamT.Walker

F. G. Garvia J. Wilson

R. Gardiner J. E.Wilson

J. GoffinA. Wilson

T. GooleyR. Wilson

R. GilliganG. Wilson

W. GibsonD. Wilkins

Wilfred GibsonF. Wilkins

C. GloverR.Waters

C. HarrisonL. V.Woods

W. HinchyE. Wallace

E. HeaneR. Warman

Mrs. S. Stones was in splendid voice, and gave a very fine rendering of “Land of Hope and Glory,” which well deserved the hearty applause which greeted her effort.

Rev. Keith D. Norman, B.A. (Anglican), heartily congratulated the Soldiers’ Memorial Committee upon the magnificent structure which had been erected to the memory of Trangie’s brave sons. To the younger generation this should be a reminder and a voice to make them cognisant of the fact that Australia’s soldiers had played a prominent part and performed wonderful feats during the Great World War. The crowning feature of their great sacrifice was that so many gave up their lives so that posterity would be free from future wars. War was a hideous and most unchristian thing, and after all the suffering and loss of life it was appalling to find that in England through the causes of war 1,000,000 people were out of work. In spite of the League of Nations there were at the present time rumours of yet another war with all its attendant horrors, sufferings and degradations. He (the speaker) did not believe in war. When our brave lads went to the other side of the world it was because they thought this would be the last war. It was pathetically sad to hear another war even mentioned, especially after the great sacrifice of human life in the late war. There were, unfortunately, fanatical people in the world today who were sowing the seeds of war amongst the nations. If another occurred it would be much more calamitous in its effects than even the Great War against Germany. It should be inculcated in the rising generation a horror of the terrors of war, and war memorials should be the means of showing what were the terrible consequences of a brutal war. He hoped and prayed there would never be another war. There was altogether too much materialism, and too little of a spiritual character in the world to-day. The people were not imbued with the spirit of Christianity as they should be. We should all pray to God to bless the Empire and save its people from the horrors of war. There appeared to be a desire for war in certain quarters, and he prayed to God that the world would never engage in another war. (Applause).

Rev. John Smith (Presbyterian) said that the building of the hall had set the seal of the people’s admiration upon the brave men who had left home and country to fight for King and Empire. The acts of these men had handed down to the children of the generation a deep debt which called for gratitude to the men who had gone and fought for the country they loved. These brave men had found that they were wanted to fight for and preserve what they enjoyed for the people of the present, and the future. These were the actions of men valiant and true, and should never be lost sight of by those who came after them. This memorial hall should always speak to us of what they gave to maintain our freedom and our homes. They should be looked upon as the saviours of our great Empire.

Rev. A. McCallum (Dubbo) was the next speaker. He was pleased to be present to join with the people of Trangie in offering this grand memorial to her brave sons. He was pleased to see that they had introduced a bit of Scotch into the proceedings. (Laughter). This day would surely mean a revival of the Anzac spirit, and would bring back to their minds and glorious deeds of those who fought and fell. No person could read the Honor Roll without realising the price paid to keep Australia and the Empire free. On behalf of the Dubbo folk he heartily congratulated the residents of Trangie and district on the erection of such a splendid memorial to their departed sons. The folk of Dubbo wished to celebrate with them the opening of this grand hall. He desired to publicly thank Dr. Maclean for a great service that gentleman had rendered to him, and which resulted in the saving of an arm to the speaker. The Trangie Memorial Hall must be looked upon by the children as a bequest from their elders, and they should see that it was maintained as a memorial to the men who made history for their country. Not only did these men give their all for Australia, but they fought and died to keep the Empire unfettered and free. (Applause).

Mr. A.K. Butter, junr., (President of the R.S. and S. I. League), on behalf of the returned soldiers of the district, thanked the people of Trangie and district for the splendid memorial to their fallen comrades. The hall had been erected in loving memory of men who fell, and he assured the citizens that the returned soldiers would guard it faithfully. On behalf of the returned men of the district he accepted it as a memorial to the men who did their duty and obeyed their country’s call. (Loud Applause).

Mr. W. Kingston (Dubbo) then sounded “The Last Post.”

Mr. T.M. Scott, President of the Timbrebongie Shire Council, said he was pleased to be present on “Trangie’s Day” to honor the men who had helped to keep the grand old flag triumphant. They could never express too much gratitude to the men who went forth to suffer awful horrors, and in many cases lost their lives in our cause. People in this age did not appear to realise the freedom the grand old flag stood for. Men had come to our shores who had been kicked out of their own countries, and were carrying on a system of pernicious propaganda, which was not in the best interests of the freedom and peace of our people. It was the duty of our returned men to combat this curse. We should be careful not to let slip what had been gained at such enormous cost. Our watchword should be “For God, King and Country,” and all would be well. He congratulated the residents of Trangie and district on the magnificent memorial they had erected to the brave sons of the district. (Loud Applause).

AN APPEAL AND RESPONSE

Mr. A.K. Butter, senr., Chairman of the Building Committee, then made an appeal for donations to the building fund. He pointed out that it was the desire of the committee to hand over the hall to returned soldiers free of debt. They had organised until they had placed in the town a fitting memorial to the boys who fought for them. A sum of over £800 was required to make the hall out of debt. The committee had to provide a supper room, and Mr. Sid Austin, of “Wambiana,” had come to their rescue, and placed £500 free of interest to their credit at the bank. Now, they did not want to loaf upon the generosity of Mr. Austin. There were many in the district who had not contributed to the memorial. He felt sure the response would be a satisfactory one.

Donations were announced from all parts of the hall, and in a very short space of time a sum of nearly £100 has been subscribed.

Mr. E.F. Brennan proposed a vote of thanks to the architect (Mr. J.R. Macdonald, Dubbo) and the contractor (Mr. E. Beale), and congratulated these gentlemen upon the excellent service they had rendered to the committee, and the faithful manner in which the work had been carried out.

Mr. J.B. Macdonald thanked the assemblage for their hearty expressions of the manner in which the erection of the hall had been carried out. He congratulated the residents upon their enterprise in erecting such a handsome memorial as a loving tribute to Trangie’s heroic sons.

This closed the opening ceremony.

THE BALL

Mr. F.H. Hayles had charge of the arrangements for the ball, which was held in the new hall at night, and was a most unique success. Nothing was left undone to make the first great function held in the new hall a fitting termination to the epoch-making opening functions of the afternoon. Mr. Hayles had the assistance of a large band of lady and gentleman assistants, and to the latter may be given the credit of the getting in order of the supper room, the preparation of the hall, and other necessary work; but to the ladies fell the great task of the principal work of decorating the hall and supper room, and the providing of a supper sufficient for the needs of such a large crowd as turned up to take part in the first public ball held in the Trangie Soldiers’ Memorial Hall. In this they excelled, and the ball room on Wednesday equalled in glittering and dazzling magnificence many of the functions at the Ambassadors or other leading ball rooms of the city.

The hall was tastefully and artistically decorated with greenery and bunting, and the stage had received a special preparation. Along and in front of the footlights decorations of choice flowers were arranged, while the stage itself was furnished to equal that of a really first class drawing room.

The sitting out room was provided with special accommodation for the tired dancers, or those who preferred the comfort of a restful and comfortable interlude between dances. Here also was displayed the decorative art of the ladies responsible for its pleasing effect. But it was in the supper room that the great work had been accomplished. The decorations were bewitchingly entrancing, and reflected the greatest credit upon those responsible. It was a scene once seen never to be forgotten. Along the full length of the supper room was suspended a very nice creation of colored paper streamers, and the walls were embellished with bunting, greenery and flowers. The tables were laid in rows along the full length of the supper room, and fairly groaned with the good things provided. The tables were also beautifully decorated with Iceland Poppies, and clusters of handsome flowers. The whole gave a most pleasing effect. It would be invidious to select anyone for special mention where all worked so well for the success of the ball.

The attendance of dancers was very large, and the floor was taxed to its utmost capacity. Everything went as happily as the proverbial wedding bell, and those who attended from all parts of the west were loud in praise of the management, which all voted to be as near perfect as possible.

Excellent music was provided by Owens’ Orchestra (Orange) which left nothing to be desired.

The lighting of the hall, sitting out and supper rooms was a feature of the hall, and was in the capable hands of Mr. Fred Taylor.

The following are a few of the dresses worn at the ball. We are unable to publish a full list:-

Mrs. Morgan - red and pink crepe de chene and silver bugle head trimming, black and steel scarf

Mrs. C.E. Gordon - back georgette, jet and fur trimming, covered with beautiful mauve shawl

Mrs. B.W. Williams - Nattie blue georgette

Mrs. A. Moore - black taffeta, silver lace

Mrs. A. Williams - black and white charmante beaded

Mrs. C.W. Gordon - Powder blue crepe de chene

Mrs. W.R. Fraser - Mauve crepe de chene

Miss Minnie Smith - Pale pink georgette, gold bead trimmed, blue posy

Miss Molly Walter - green velvet garment, with lace to match

Miss Rawson - black, with chantilly lace

Mrs. Goldsmith - black taffeta and lace, relieved with cerise

Miss I. Coffee (debut) - Mauve crepe de chene and silver trimmings

Mrs. Wellsmore - black crepe de chene, beaded trimmings

Miss Isabel Gibbs (Manly) - White taffeta, with silver lace skirt

Miss Elrington - Cyclima georgette

Mrs. G.L. Bowen - Pale blue georgette, beaded trimmings

Miss Isabel Wild (Warren) - mauve beaded georgette

Miss N. Caldwell (Young) - Shell pink georgette, silver trimmings

Miss Betty Masling - black georgette, trimmed with gold sequin

Mrs. I. Yeo - Mauve lame, and silver mauve shawl

Miss McLaughlin (Nyngan) - green beaded georgette

Mrs. M.B. Richardson - fringed almond crepe de chene

Mrs. D. Barclay - black georgette

Mrs. C.F. Watt - black taffeta

Mrs. D. Coffee - black crepe de chene, velvet trimmings

Miss McLennan - black taffeta

Miss Oates (Narromine) - Pervenche blue taffeta

Miss Lane - floral velvet and gold spray

Miss Jean Lindsay - pink taffeta

Mrs. W.H. Foster (Narromine) - Bois de rose, bead trimmings

Mrs. Alf Taylor - black and silver

Mrs. Les Quigley - black embroidered georgette and red rose

Miss M. Perry - black georgette, trimmed with velvet rose and diamante

Mrs. W. Coleman - black crepe de chene

Mrs. R. Montgomery - black crepe de chene, trimmed with white georgette, vest

Mrs. G. Herbert - grey silk morocain guipure lace and trimmings

Mrs. R.H. George - Cyclemen crepe de chene, gold trimmings

Mrs. Jack Eddie - black georgette touched with red

Miss C. Kierath (Narromine) - cherry georgette over silver tissue and family pearls

Miss B. Beard - pale green georgette, cream lace trimming, also pearl accordeon pleated skirt

Mrs. J.M. Brennan - black silk morocain

Mrs. H. Yeo - Navy crepe de chene and violets

Miss Millicent Heins - floral taffeta and georgette, with cream hand painted shawl

Mrs. C. Hilder - black satin, red posy

Mrs. D. Rochester - white crepe de chene silver lace

Mrs. A. Smith (Kainga, Warren) - cherry georgette and sequin trimmings

Mrs. G. Gordon - Mauve crepe de chene

Mrs. Hilyard (Nyngan) - silver lame and amber fringe, with Eastern shawl

Miss Eddie - pale green shot taffeta, silver trimmings, and hand made silver roses.

Miss Richards (Manly) - Jade embossed georgette

Mrs G.B. Richardson - blue silk taffeta, draped with silver lace

Miss M. Rochester (Nyngan) - pale pink crepe de chene, with hand made trimmings

Mrs. V.J. Smith - black georgette

Mrs. D. Kilby - beaded georgette

Mrs. Elwyn Forrest - black crepe de chene, red and gold trimmings

Mrs. J.P. Carlin - Salmon georgette and silver lame

Miss Gwen Smith - floral moracain

Miss Lindsay - black crepe de chene

Mrs. J.H. Gordon (Hillside) - figured crepe de chene

Mrs. Stanley Price - black crepe de chene

Mrs. F. Forrest - fawn morocain

Mrs. Frank Mason - white georgette, pink trimmings

Mrs. Coady - black beaded georgette, posy to tone

Miss L. Goldsmith - green satin, silver trimmings

Miss M. Walkom - Alice blue crepe de chene, overdress silver lace, pink posy

Mrs. A.E. Owens - rose satin, blue trimmings

Miss A. McLaughlin (Nyngan) - black georgette and beads

Mrs. A.A. McVicar - grey morocain

Mrs. Gordon Byrne (Dubbo) - mauve georgette, trimmed with silver

A juvenile ball was held on Thursday night, where there was a large attendance, and again the management was perfect, and everyone enjoyed themselves thoroughly.

DONATIONS

The following donations were handed into the fund:-

A.H. Richardson, W. Ferguson, J.T. Horrigan, G. Russ, A. Russ, S.L. Bowen - £25 each; E. Purseglove, W.D. McIntyre, L.J. Perry, F.H. Hayles, W.V. Gibbs, D. Barclay, A. Foreman, M.C. Cameron, T. Ford, G. Gibson, J.B. Macdonald (Dubbo), J.J. Brown, E.I. Body - £10 each; C. Forrest, G. Gordon, P. Simons, P. Ferrari, Mrs. Barry, R.V. Eason - £5/5/- each; G. Richardson, senr., Mrs. T. Lincoln, Mrs. H.A. Morgan, E.G. Kilby, Les Bartier, C. Gordon, Mrs. John Quigley, Mr. C. Hilder, Mrs. E.F. Brennan, C. Wellsmore, Fred Taylor, Stan Richardson, T.M. Scott, Mrs. C. Richardson, T. Walker (Warren), C.W. Wilson, T. Lincoln, N.C. McLeod, E. Stoneman, Bert Montgomery, Milton Quigley, Allan Richardson, Mrs. Bartier, senr., Trangie Jockey Club, Alick Johnston, Moodie Bros., W. Swift, J. Hamblin, F. Hirsch, M. Quigley, A.W. Johnston, A.J. Craig, Mrs. A.J. Craig, E.P. Trebeck, S. Whittaker, M.H. Harvey, A. Griffin - £5 each; Mr. and Mrs. M.H. Kelly - £4/4/-; J. Edwards, T. Lincoln, junr., A.B. Shapcott - £2/2/- each; H. Baker, T. Herring, Mrs. G. Gandy, Mrs. Coleman, J.H. Atkins, E. Sheridan, Mrs. M.H. Kelly - £2 each; A.E. George, Mrs. Buckleton, Mrs. S. Allan, Jack Lincoln, Bruce Wilkinson, J. Carlin, T. Baldwin, A. McLaughlin (Nyngan) - £1/1/- each; M. Campbell, J. Gordon, Mrs. F.A. MacKenzie, Jim Bell, J. Healy, R.H. George, Mrs. H. Healy, Mrs. A. Haigh, J. Bowen, Mrs. Jim Gordon, J.T. Lindsay, Mrs. C. Kilby, Vin Barry, Mrs. C. Perrottet, Mrs. Brown, Mr. Beard - £1 each; Bundemar and Methalibah syndicate £3/0/6.

The following are additional donations - J. Edwards (C.P. Selling and Co.) £2/2/-; Mr. and Mrs. Jas Gordon £2/2/-; Geo. Mack £30; E.C. Stoneman £3/3/-; C. Kearney £10; J. Manning £1/1/-; N. Tipping £3; Rev. J. Smith £1; Ern Quigley £5; T. Fidock £5; K.G. Mackinnon £5/5/-. It is expected that £850 will be netted from the opening, and that will practically clear the hall of all debts. The ball and juvenile will nett about £230 to £250.

The greatest response to the appeal made by Mr. Butter will result in the fencing and furnishing of the hall, and it is anticipated that the hall will be handed over to the returned soldiers without a penny of debt upon it. This is a magnificent result, and redounds to the credit of the Memorial Hall Committee and the good people of Trangie and district.

Some idea of the great attendance at the ball can be gleaned from the fact that no less than 632 diners were catered for, and each and everyone had ample and sufficient for all their needs. There was no shortage of refreshments for the exceptionally large crowd which attended the juvenile on the second night. The ladies of Trangie undoubtedly established a record in catering and they are deserving of the highest praise and commendation for the great work they performed in this connection.

The beautiful main doors were built by the late Karl Schumaker, father in law of local builder Kevin Harrison. The Hall has received much loving attention from Bill Sissian both in paper work and maintenance in his role as secretary of the hall. One large repair job was carried out by Bill using New Work Opportunities workers to repaint the building and carry out general repairs in 1995.

Source: New South Wales Heritage Register.

Specks Hof ist ein Geschäftshaus mit der ältesten erhaltenen Ladenpassage in Leipzig. Die Anlage nahe der Nikolaikirche steht beispielhaft für Leipzigs Messe- und Handelshäuser, die Anfang des 20. Jahrhunderts erbaut wurden. Specks Hof ist ein Geschäftshaus mit der ältesten erhaltenen Ladenpassage in Leipzig. Die Anlage nahe der Nikolaikirche steht beispielhaft für Leipzigs Messe- und Handelshäuser, die Anfang des 20. Jahrhunderts erbaut wurden. Das Erdgeschoss des Gebäudes durchziehen tonnengewölbte Passagengänge, zum Teil noch mit geprägter Kupferdecke. Die Gänge werden durch drei glasbedachte Lichthöfe unterbrochen, die künstlerisch gestaltet wurden. Die Gänge werden durch drei glasbedachte Lichthöfe unterbrochen, die künstlerisch gestaltet wurden.

de.wikipedia.org/wiki/Specks_Hof

Specks Hof is a commercial building with the oldest surviving shopping arcade in Leipzig. The complex near St Nicholas' Church is an example of Leipzig's trade fair and commercial buildings built at the beginning of the 20th century. Specks Hof is a commercial building with the oldest surviving shopping arcade in Leipzig. The complex near St Nicholas' Church is exemplary of Leipzig's trade fair and commercial buildings, which were built at the beginning of the 20th century. The ground floor of the building is characterised by barrel-vaulted passageways, some of which still have embossed copper ceilings. The corridors are interrupted by three glass-roofed atriums, which were artistically designed.

de.wikipedia.org/wiki/Specks_Hof

"Birch Bark Abstract" by Patti Deters. This is a close-up of a knotty section of bark on a birch tree. The detail of the peeling bark adds to the rough natural texture of the abstract look, with the saturated colors bringing out the pink and green pastel hues. Vertical photograph with artistic design appeal. If you like this image, I invite you to please share or see my main image gallery (without watermark) at patti-deters.pixels.com

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.

Kamehameha Day, celebrated on June 11, is a Hawaii state holiday celebrating King Kamehameha. It was established by royal decree on December 22, 1871 by King Kamehameha V as a national holiday. Kamehameha Day was created to honor the memory of Kamehameha, the king’s great grandfather, who united the Hawaiian Islands in 1810 and became Hawai‘i’s first king. The first celebration occurred on June 11, 1872.

"A floral parade is held annually at various locations throughout the state of Hawaii. On the island of Oahu, the parade runs from ʻIolani Palace in downtown Honolulu past Honolulu Harbor and the Prince Kūhiō Federal Building through Kakaʻako, Ala Moana and Waikīkī, ending at Kapiʻolani Park. June 11 is also the anniversary of the dedication of Kapiʻolani Park. The floral parade features local marching bands — including the Royal Hawaiian Band (the oldest municipal band in the United States) — and artistically designed floats using native flowers and plants. Many local companies enter floats for their employees.

A favorite floral parade feature is the traditional royal paʻu riders. They represent a royal court led by a queen on horseback, followed by princesses representing the eight major islands of Hawaiʻi and Molokini. Each princess is attended by paʻu ladies in waiting. Paʻu women are dressed in colorful and elegant 19th century riding gowns accented with lei and other floral arrangements." Wikipedia.

There is an annual Lei Draping ceremony

in which the Kamehameha Statue in front of Aliʻiolani Hale and ʻIolani Palace on King Street in downtown Honolulu is draped in long strands of lei.

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

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

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

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

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

Ironworks at Keystone Indianapolis Welcoming G Michael Salon

Indianapolis salon relocating to premier property on the North side

INDIANAPOLIS (Sept. 24, 2015) – Ironworks at Keystone, Indianapolis’ premier living and retail property, is welcoming one of Indianapolis’ top-rated hair salons, G Michael Salon, to its esteemed list of retail tenants. The salon is expected to open in early 2016.

The award-winning salon has served clients in the Central Indiana region, including Carmel, Fishers, Noblesville, Westfield, Indianapolis, Greenwood and Zionsville, for more than seven years. The highly educated and well-trained stylists focus on providing customers an unforgettable experience by offering a variety of services and using leading products. The Artistic Design Team of 11 stylists specializes in creating current customized looks that complement guests' lifestyles. To do so, the team takes face shape, skin tone, eye color, overall lifestyle, and the time and commitment to achieve the style on an everyday basis into consideration.

“We fell in love with the Ironworks property for our salon because it is centrally located for our existing and future clients, as well as the industrial architecture and design of it,” said Greg Lee, owner of G Michael Salon. “The luxury residential and retail lifestyle at Ironworks perfectly encompasses the G Michael Salon brand, so it’s a win-win.”

G Michael Salon specializes in all hair types, hair extensions, hair color and correction, ombre color, precision hair-cutting, conditioning treatments, blowouts, bridal hairstyles, facial waxing services and more. They also proudly promote and use the J Beverly Hills organically-infused product line, Wella Professional Hair Color product line, Hot Tot Haircare, as well as select products from Joico and Kenra.

The salon has formerly been a recipient of the following awards from The Indy Channel A-List Awards: BEST Hair Salon, BEST Hair Color and BEST Waxing. They’re also regularly featured in salon industry publications, including Sophisticate’s Hairstyle Guide.

“We’re focused on providing Indianapolens a place where they can truly live, work, and play. G Michael Salon brings us closer to achieve this goal,” said Rob Gerbitz, president and CEO for Hendricks Commercial Properties, developer of Ironworks. “The addition of G Michael Salon to our Ironworks family is a perfect fit and we’re excited to see their business rapidly expand with us.”

G Michael Salon is open six days a week. Hours of operation are 9 a.m. – 7 p.m. Monday through Friday, and 8:30 a.m. – 5:30 p.m. on Saturday.

The salon joins a growing and diverse list of retail offerings at the property as only approximately 3,500 retail square footage remains available at Ironworks. Other retail tenants include Profyle Boutique, Vogue Nail Spa, Scottrade, Sangiovese Ristorante, Ruth’s Chris Steak House and B Spot Burgers.

Located at 86th St. and N. Keystone Ave., Ironworks at Keystone is an award-winning 5-story mixed-use development with nearly 36,000 square feet of shopping and fine dining on the first floor. Creative and chic residential apartments compliment the retailers and neighborhood.

To learn more about Ironworks at Keystone, visit www.ironworksindy.com. You can also find more information on Facebook and Twitter.

For more information about G Michael Salon, visit gmichaelsalon.com/. You can also find more information and occasional special offers on Facebook, Twitter, Instagram and more.

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About Ironworks at Keystone

Ironworks at Keystone, owned by Hendricks Commercial Properties, is a distinct 5-story development that brings even more quality and character to the already prestigious Keystone neighborhood. Ironworks at Keystone features nearly 36,000 square feet of fine dining and shopping, 120 modern residential apartments, and immediate access to The Fashion Mall, Whole Foods, the Keystone offices and the Monon Trail. Live, work and play in perfect balance at a place designed to embody convenience and comfort with endless possibilities.

About G Michael Salon

Voted the best hair salon in Indianapolis, G Michael Salon has been featured on FOX 59, involved with numerous make overs, showcased in current hair trends in North Magazine, and featured as an exclusive salon in the best-selling Hair Salon Magazine, Sophisticate’s Hairstyle Guide. The G Michael Salon artistic design team has some of the most sought after hair designers in Indianapolis. G Michael Salon always has the honor of placing in top awards from the Indy Channel A-List for Best Hair Salon, Best Hair Color, and Best Waxing.

PRESS CONTACT:

Michelle Bower (Dittoe Public Relations for Ironworks) – 317.202.2280 X 11 or michelle@dittoepr.com

While visiting and walking around Honfleur, France, I captured this scene with my iPhone 16 Pro Max. I love the architectural and artistic design at the entrance to this church. It is very detailed and quite extraordinary. We may never see this type of work again...

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

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

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

Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft or filling. (Weft is an old English word meaning "that which is woven"; compare leave and left.[a]) The method in which these threads are inter-woven affects the characteristics of the cloth. Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band which meets this definition of cloth (warp threads with a weft thread winding between) can also be made using other methods, including tablet weaving, back strap loom, or other techniques without looms.

The way the warp and filling threads interlace with each other is called the weave. The majority of woven products are created with one of three basic weaves: plain weave, satin weave, or twill. Woven cloth can be plain (in one colour or a simple pattern), or can be woven in decorative or artistic design.

PROCESS AND TERMINOLOGY

In general, weaving involves using a loom to interlace two sets of threads at right angles to each other: the warp which runs longitudinally and the weft (older woof) that crosses it. One warp thread is called an end and one weft thread is called a pick. The warp threads are held taut and in parallel to each other, typically in a loom. There are many types of looms.

Weaving can be summarized as a repetition of these three actions, also called the primary motion of the loom.

Shedding: where the warp threads (ends) are separated by raising or lowering heald frames (heddles) to form a clear space where the pick can pass

Picking: where the weft or pick is propelled across the loom by hand, an air-jet, a rapier or a shuttle.

Beating-up or battening: where the weft is pushed up against the fell of the cloth by the reed.

The warp is divided into two overlapping groups, or lines (most often adjacent threads belonging to the opposite group) that run in two planes, one above another, so the shuttle can be passed between them in a straight motion. Then, the upper group is lowered by the loom mechanism, and the lower group is raised (shedding), allowing to pass the shuttle in the opposite direction, also in a straight motion. Repeating these actions form a fabric mesh but without beating-up, the final distance between the adjacent wefts would be irregular and far too large.

The secondary motion of the loom are the:

Let off Motion: where the warp is let off the warp beam at a regulated speed to make the filling even and of the required design

Take up Motion: Takes up the woven fabric in a regulated manner so that the density of filling is maintained

The tertiary motions of the loom are the stop motions: to stop the loom in the event of a thread break. The two main stop motions are the

warp stop motion

weft stop motion

The principal parts of a loom are the frame, the warp-beam or weavers beam, the cloth-roll (apron bar), the heddles, and their mounting, the reed. The warp-beam is a wooden or metal cylinder on the back of the loom on which the warp is delivered. The threads of the warp extend in parallel order from the warp-beam to the front of the loom where they are attached to the cloth-roll. Each thread or group of threads of the warp passes through an opening (eye) in a heddle. The warp threads are separated by the heddles into two or more groups, each controlled and automatically drawn up and down by the motion of the heddles. In the case of small patterns the movement of the heddles is controlled by "cams" which move up the heddles by means of a frame called a harness; in larger patterns the heddles are controlled by a dobby mechanism, where the healds are raised according to pegs inserted into a revolving drum. Where a complex design is required, the healds are raised by harness cords attached to a Jacquard machine. Every time the harness (the heddles) moves up or down, an opening (shed) is made between the threads of warp, through which the pick is inserted. Traditionally the weft thread is inserted by a shuttle.

On a conventional loom, the weft thread is carried on a pirn, in a shuttle that passes through the shed. A handloom weaver could propel the shuttle by throwing it from side to side with the aid of a picking stick. The "picking" on a power loom is done by rapidly hitting the shuttle from each side using an overpick or underpick mechanism controlled by cams 80–250 times a minute. When a pirn is depleted, it is ejected from the shuttle and replaced with the next pirn held in a battery attached to the loom. Multiple shuttle boxes allow more than one shuttle to be used. Each can carry a different colour which allows banding across the loom.

The rapier-type weaving machines do not have shuttles, they propel the weft by means of small grippers or rapiers that pick up the filling thread and carry it halfway across the loom where another rapier picks it up and pulls it the rest of the way. Some carry the filling yarns across the loom at rates in excess of 2,000 metres per minute. Manufacturers such as Picanol have reduced the mechanical adjustments to a minimum, and control all the functions through a computer with a graphical user interface. Other types use compressed air to insert the pick. They are all fast, versatile and quiet.

The warp is sized in a starch mixture for smoother running. The loom warped (loomed or dressed) by passing the sized warp threads through two or more heddles attached to harnesses. The power weavers loom is warped by separate workers. Most looms used for industrial purposes have a machine that ties new warps threads to the waste of previously used warps threads, while still on the loom, then an operator rolls the old and new threads back on the warp beam. The harnesses are controlled by cams, dobbies or a Jacquard head.

The raising and lowering sequence of warp threads in various sequences gives rise to many possible weave structures:

plain weave: plain, and hopsacks, poplin, taffeta, poult-de-soie, pibiones and grosgrain.

twill weave: these are described by weft float followed by warp float, arranged to give diagonal pattern. 2/1 twill, 3/3 twill, 1/2 twill. These are softer fabrics than plain weaves.

satin weave: satins and sateens,

complex computer-generated interlacings.

pile fabrics : such as velvets and velveteens

Both warp and weft can be visible in the final product. By spacing the warp more closely, it can completely cover the weft that binds it, giving a warp faced textile such as repp weave. Conversely, if the warp is spread out, the weft can slide down and completely cover the warp, giving a weft faced textile, such as a tapestry or a Kilim rug. There are a variety of loom styles for hand weaving and tapestry.

HISTORY

There are some indications that weaving was already known in the Paleolithic era, as early as 27,000 years ago. An indistinct textile impression has been found at the Dolní Věstonice site. According to the find, the weavers of Upper Palaeolithic were manufacturing a variety of cordage types, produced plaited basketry and sophisticated twined and plain woven cloth. The artifacts include imprints in clay and burned remnants of cloth.

The oldest known textiles found in the Americas are remnants of six finely woven textiles and cordage found in Guitarrero Cave, Peru. The weavings, made from plant fibres, are dated between 10100 and 9080 BCE.

MIDDLE EAST AND AFRICA

The earliest known Neolithic textile production in the Old World is supported by a 2013 find of a piece of cloth woven from hemp, in burial F. 7121 at the Çatalhöyük site suggested to be from around 7000 B.C. Further finds come from the advanced civilisation preserved in the pile dwellings in Switzerland. Another extant fragment from the Neolithic was found in Fayum, at a site dated to about 5000 BCE. This fragment is woven at about 12 threads by 9 threads per cm in a plain weave. Flax was the predominant fibre in Egypt at this time (3600 BCE) and continued popularity in the Nile Valley, though wool became the primary fibre used in other cultures around 2000 BCE. Weaving was known in all the great civilisations, but no clear line of causality has been established. Early looms required two people to create the shed and one person to pass through the filling. Early looms wove a fixed length of cloth, but later ones allowed warp to be wound out as the fell progressed. The weavers were often children or slaves. Weaving became simpler when the warp was sized.

THE AMERICAS

The Indigenous people of the Americas wove textiles of cotton throughout tropical and subtropical America and in the South American Andes of wool from camelids, primarily domesticated llamas and alpacas. Cotton and the camelids were both domesticated by about 4,000 BCE. American weavers are "credited with independently inventing nearly every non-mechanized technique known today."

In the Inca Empire of the Andes, women did most of the weaving using backstrap looms to make small pieces of cloth and vertical frame and single-heddle looms for larger pieces. Andean textile weavings were of practical, symbolic, religious, and ceremonial importance and used as currency, tribute, and as a determinant of social class and rank. Sixteenth-century Spanish colonists were impressed by both the quality and quantity of textiles produced by the Inca Empire. Some of the techniques and designs are still in use in the 21st century.

The oldest-known weavings in North America come from the Windover Archaeological Site in Florida. Dating from 4900 to 6500 B.C. and made from plant fibres, the Windover hunter-gatherers produced "finely crafted" twined and plain weave textiles.

EAST ASIA

The weaving of silk from silkworm cocoons has been known in China since about 3500 BCE. Silk that was intricately woven and dyed, showing a well developed craft, has been found in a Chinese tomb dating back to 2700 BCE.

Silk weaving in China was an intricate process that was very involved. Men and women, usually from the same family, had their own roles in the weaving process. The actual work of weaving was done by both men and women. Women were often weavers since it was a way they could contribute to the household income while staying at home. Women would usually weave simpler designs within the household while men would be in charge of the weaving of more intricate and complex pieces of clothing. The process of sericulture and weaving emphasized the idea that men and women should work together instead of women being subordinate to men. Weaving became an integral part of Chinese women's social identity. Several rituals and myths were associated with the promotion of silk weaving, especially as a symbol of female power. Weaving contributed to the balance between men and women's economic contributions and had many economic benefits.

There were many paths into the occupation of weaver. Women usually married into the occupation, belonged to a family of weavers and or lived in a location that had ample weather conditions that allowed for the process of silk weaving. Weavers usually belonged to the peasant class. Silk weaving became a specialized job requiring specific technology and equipment that was completed domestically within households. Although most of the silk weaving was done within the confines of the home and family, there were some specialized workshops that hired skilled silk weavers as well. These workshops took care of the weaving process, although the raising of the silkworms and reeling of the silk remained work for peasant families. The silk that was woven in workshops rather than homes were of higher quality, since the workshop could afford to hire the best weavers. These weavers were usually men who operated more complicated looms, such as the wooden draw-loom. This created a competitive market of silk weavers.

The quality and ease of the weaving process depended on the silk that was produced by the silk worms. The easiest silk to work with came from breeds of silk worms that spun their cocoons so that it could be unwound in one long strand. The reeling, or unwinding of silk worm cocoons is started by placing the cocoons in boiling water in order to break apart the silk filaments as well as kill the silk worm pupae. Women would then find the end of the strands of silk by sticking their hand into the boiling water. Usually this task was done by women of ages eight to twelve, while the more complex jobs were given to older women. They would then create a silk thread, which could vary in thickness and strength from the unwound cocoons.

After the reeling of the silk, the silk would be dyed before the weaving process began. There were many different looms and tools for weaving. For high quality and intricate designs, a wooden draw-loom or pattern loom was used. This loom would require two or three weavers and was usually operated by men. There were also other smaller looms, such as the waist loom, that could be operated by a single woman and were usually used domestically.

Sericulture and silk weaving spread to Korea by 200 BCE, to Khotan by 50 CE, and to Japan by about 300 CE.

The pit-treadle loom may have originated in India though most authorities establish the invention in China. Pedals were added to operate heddles. By the Middle Ages such devices also appeared in Persia, Sudan, Egypt and possibly the Arabian Peninsula, where "the operator sat with his feet in a pit below a fairly low-slung loom." In 700 CE, horizontal looms and vertical looms could be found in many parts of Asia, Africa and Europe. In Africa, the rich dressed in cotton while the poorer wore wool. By the 12th century it had come to Europe either from the Byzantium or Moorish Spain where the mechanism was raised higher above the ground on a more substantial frame.

SOUTHEAST ASIA

In the Philippines, numerous pre-colonial weaving traditions exist among different ethnic groups. They used various plant fibers, mainly abacá or banana, but also including tree cotton, buri palm (locally known as buntal) and other palms, various grasses (like amumuting and tikog), and barkcloth. The oldest evidence of weaving traditions are Neolithic stone tools used for preparing barkcloth found in archeological sites in Sagung Cave of southern Palawan and Arku Cave of Peñablanca, Cagayan. The latter has been dated to around 1255–605 BCE.

MEDIEVAL EUROPE

The predominant fibre was wool, followed by linen and nettlecloth for the lower classes. Cotton was introduced to Sicily and Spain in the 9th century. When Sicily was captured by the Normans, they took the technology to Northern Italy and then the rest of Europe. Silk fabric production was reintroduced towards the end of this period and the more sophisticated silk weaving techniques were applied to the other staples.

The weaver worked at home and marketed his cloth at fairs. Warp-weighted looms were commonplace in Europe before the introduction of horizontal looms in the 10th and 11th centuries. Weaving became an urban craft and to regulate their trade, craftsmen applied to establish a guild. These initially were merchant guilds, but developed into separate trade guilds for each skill. The cloth merchant who was a member of a city's weavers guild was allowed to sell cloth; he acted as a middleman between the tradesmen weavers and the purchaser. The trade guilds controlled quality and the training needed before an artisan could call himself a weaver.

By the 13th century, an organisational change took place, and a system of putting out was introduced. The cloth merchant purchased the wool and provided it to the weaver, who sold his produce back to the merchant. The merchant controlled the rates of pay and economically dominated the cloth industry. The merchants' prosperity is reflected in the wool towns of eastern England; Norwich, Bury St Edmunds and Lavenham being good examples. Wool was a political issue. The supply of thread has always limited the output of a weaver. About that time, the spindle method of spinning was replaced by the great wheel and soon after the treadle-driven spinning wheel. The loom remained the same but with the increased volume of thread it could be operated continuously.

The 14th century saw considerable flux in population. The 13th century had been a period of relative peace; Europe became overpopulated. Poor weather led to a series of poor harvests and starvation. There was great loss of life in the Hundred Years War. Then in 1346, Europe was struck with the Black Death and the population was reduced by up to a half. Arable land was labour-intensive and sufficient workers no longer could be found. Land prices dropped, and land was sold and put to sheep pasture. Traders from Florence and Bruges bought the wool, then sheep-owning landlords started to weave wool outside the jurisdiction of the city and trade guilds. The weavers started by working in their own homes then production was moved into purpose-built buildings. The working hours and the amount of work were regulated. The putting-out system had been replaced by a factory system.

The migration of the Huguenot Weavers, Calvinists fleeing from religious persecution in mainland Europe, to Britain around the time of 1685 challenged the English weavers of cotton, woollen and worsted cloth, who subsequently learned the Huguenots' superior techniques.

INDUSTRIAL REVOLUTION

Before the Industrial Revolution, weaving was a manual craft and wool was the principal staple. In the great wool districts a form of factory system had been introduced but in the uplands weavers worked from home on a putting-out system. The wooden looms of that time might be broad or narrow; broad looms were those too wide for the weaver to pass the shuttle through the shed, so that the weaver needed an expensive assistant (often an apprentice). This ceased to be necessary after John Kay invented the flying shuttle in 1733. The shuttle and the picking stick sped up the process of weaving. There was thus a shortage of thread or a surplus of weaving capacity. The opening of the Bridgewater Canal in June 1761 allowed cotton to be brought into Manchester, an area rich in fast flowing streams that could be used to power machinery. Spinning was the first to be mechanised (spinning jenny, spinning mule), and this led to limitless thread for the weaver.

Edmund Cartwright first proposed building a weaving machine that would function similar to recently developed cotton-spinning mills in 1784, drawing scorn from critics who said the weaving process was too nuanced to automate. He built a factory at Doncaster and obtained a series of patents between 1785 and 1792. In 1788, his brother Major John Cartwight built Revolution Mill at Retford (named for the centenary of the Glorious Revolution). In 1791, he licensed his loom to the Grimshaw brothers of Manchester, but their Knott Mill burnt down the following year (possibly a case of arson). Edmund Cartwight was granted a reward of £10,000 by Parliament for his efforts in 1809. However, success in power-weaving also required improvements by others, including H. Horrocks of Stockport. Only during the two decades after about 1805, did power-weaving take hold. At that time there were 250,000 hand weavers in the UK. Textile manufacture was one of the leading sectors in the British Industrial Revolution, but weaving was a comparatively late sector to be mechanised. The loom became semi-automatic in 1842 with Kenworthy and Bulloughs Lancashire Loom. The various innovations took weaving from a home-based artisan activity (labour-intensive and man-powered) to steam driven factories process. A large metal manufacturing industry grew to produce the looms, firms such as Howard & Bullough of Accrington, and Tweedales and Smalley and Platt Brothers. Most power weaving took place in weaving sheds, in small towns circling Greater Manchester away from the cotton spinning area. The earlier combination mills where spinning and weaving took place in adjacent buildings became rarer. Wool and worsted weaving took place in West Yorkshire and particular Bradford, here there were large factories such as Lister's or Drummond's, where all the processes took place. Both men and women with weaving skills emigrated, and took the knowledge to their new homes in New England, to places like Pawtucket and Lowell.

Woven 'grey cloth' was then sent to the finishers where it was bleached, dyed and printed. Natural dyes were originally used, with synthetic dyes coming in the second half of the 19th century. The need for these chemicals was an important factor in the development of the chemical industry.

The invention in France of the Jacquard loom in about 1803, enabled complicated patterned cloths to be woven, by using punched cards to determine which threads of coloured yarn should appear on the upper side of the cloth. The jacquard allowed individual control of each warp thread, row by row without repeating, so very complex patterns were suddenly feasible. Samples exist showing calligraphy, and woven copies of engravings. Jacquards could be attached to handlooms or powerlooms.

THE ROLE OF WEAVER

A distinction can be made between the role and lifestyle and status of a handloom weaver, and that of the powerloom weaver and craft weaver. The perceived threat of the power loom led to disquiet and industrial unrest. Well known protests movements such as the Luddites and the Chartists had hand loom weavers amongst their leaders. In the early 19th century power weaving became viable. Richard Guest in 1823 made a comparison of the productivity of power and hand loom weavers:

A very good Hand Weaver, a man twenty-five or thirty years of age, will weave two pieces of nine-eighths shirting per week, each twenty-four yards long, and containing one hundred and five shoots of weft in an inch, the reed of the cloth being a forty-four, Bolton count, and the warp and weft forty hanks to the pound, A Steam Loom Weaver, fifteen years of age, will in the same time weave seven similar pieces.

He then speculates about the wider economics of using powerloom weavers:

...it may very safely be said, that the work done in a Steam Factory containing two hundred Looms, would, if done by hand Weavers, find employment and support for a population of more than two thousand persons.

HAND LOOM WEAVERS

Hand loom weaving was done by both sexes but men outnumbered women partially due to the strength needed to batten. They worked from home sometimes in a well lit attic room. The women of the house would spin the thread they needed, and attend to finishing. Later women took to weaving, they obtained their thread from the spinning mill, and working as outworkers on a piecework contract. Over time competition from the power looms drove down the piece rate and they existed in increasing poverty.

POWER LOOM WEAVERS

Power loom workers were usually girls and young women. They had the security of fixed hours, and except in times of hardship, such as in the cotton famine, regular income. They were paid a wage and a piece work bonus. Even when working in a combined mill, weavers stuck together and enjoyed a tight-knit community. The women usually minded the four machines and kept the looms oiled and clean. They were assisted by 'little tenters', children on a fixed wage who ran errands and did small tasks. They learnt the job of the weaver by watching. Often they would be half timers, carrying a green card which teacher and overlookers would sign to say they had turned up at the mill in the morning and in the afternoon at the school. At fourteen or so they come full-time into the mill, and started by sharing looms with an experienced worker where it was important to learn quickly as they would both be on piece work. Serious problems with the loom were left to the tackler to sort out. He would inevitably be a man, as were usually the overlookers. The mill had its health and safety issues, there was a reason why the women tied their hair back with scarves. Inhaling cotton dust caused lung problems, and the noise was causing total hearing loss. Weavers would mee-maw as normal conversation was impossible. Weavers used to 'kiss the shuttle', that is, suck thread though the eye of the shuttle. This left a foul taste in the mouth due to the oil, which was also carcinogenic.

CRAFT WEAVERS

Arts and Crafts was an international design philosophy that originated in England and flourished between 1860 and 1910 (especially the second half of that period), continuing its influence until the 1930s. Instigated by the artist and writer William Morris (1834–1896) during the 1860s and inspired by the writings of John Ruskin (1819–1900), it had its earliest and most complete development in the British Isles[ but spread to Europe and North America. It was largely a reaction against mechanisation and the philosophy advocated of traditional craftsmanship using simple forms and often medieval, romantic or folk styles of decoration. Hand weaving was highly regard and taken up as a decorative art.

BAUHAUS WEAVING WORKSHOP

In the 1920s the weaving workshop of the Bauhaus design school in Germany aimed to raise weaving, previously seen as a craft, to a fine art, and also to investigate the industrial requirements of modern weaving and fabrics. Under the direction of Gunta Stölzl, the workshop experimented with unorthodox materials, including cellophane, fiberglass, and metal. From expressionist tapestries to the development of soundproofing and light-reflective fabric, the workshop’s innovative approach instigated a modernist theory of weaving. Former Bauhaus student and teacher Anni Albers published the seminal 20th-century text On Weaving in 1965. Other notables from the Bauhaus weaving workshop include Otti Berger, Margaretha Reichardt, and Benita Otte.

OTHER CULTURES

WEAVING IN THE AMERICAN COLONIES (1500-1800)

Colonial America relied heavily on Great Britain for manufactured goods of all kinds. British policy was to encourage the production of raw materials in colonies and discourage manufacturing. The Wool Act 1699 restricted the export of colonial wool. As a result, many people wove cloth from locally produced fibres. The colonists also used wool, cotton and flax (linen) for weaving, though hemp could be made into serviceable canvas and heavy cloth. They could get one cotton crop each year; until the invention of the cotton gin it was a labour-intensive process to separate the seeds from the fibres.

A plain weave was preferred as the added skill and time required to make more complex weaves kept them from common use. Sometimes designs were woven into the fabric but most were added after weaving using wood block prints or embroidery.

AMERIC'AN SOUTHWEST

Textile weaving, using cotton dyed with pigments, was a dominant craft among pre-contact tribes of the American southwest, including various Pueblo peoples, the Zuni, and the Ute tribes. The first Spaniards to visit the region wrote about seeing Navajo blankets. With the introduction of Navajo-Churro sheep, the resulting woolen products have become very well known. By the 18th century the Navajo had begun to import yarn with their favorite color, Bayeta red. Using an upright loom, the Navajos wove blankets worn as garments and then rugs after the 1880s for trade. Navajo traded for commercial wool, such as Germantown, imported from Pennsylvania.[citation needed] Under the influence of European-American settlers at trading posts, Navajos created new and distinct styles, including "Two Gray Hills" (predominantly black and white, with traditional patterns), "Teec Nos Pos" (colorful, with very extensive patterns), "Ganado" (founded by Don Lorenzo Hubbell), red dominated patterns with black and white, "Crystal" (founded by J. B. Moore), Oriental and Persian styles (almost always with natural dyes), "Wide Ruins," "Chinlee," banded geometric patterns, "Klagetoh," diamond type patterns, "Red Mesa" and bold diamond patterns. Many of these patterns exhibit a fourfold symmetry, which is thought to embody traditional ideas about harmony, or hózhó.

AMAZON CULTURES

Among the indigenous people of the Amazon basin densely woven palm-bast mosquito netting, or tents, were utilized by the Panoans, Tupinambá, Western Tucano, Yameo, Záparoans, and perhaps by the indigenous peoples of the central Huallaga River basin (Steward 1963:520). Aguaje palm-bast (Mauritia flexuosa, Mauritia minor, or swamp palm) and the frond spears of the Chambira palm (Astrocaryum chambira, A.munbaca, A.tucuma, also known as Cumare or Tucum) have been used for centuries by the Urarina of the Peruvian Amazon to make cordage, net-bags hammocks, and to weave fabric. Among the Urarina, the production of woven palm-fiber goods is imbued with varying degrees of an aesthetic attitude, which draws its authentication from referencing the Urarina's primordial past. Urarina mythology attests to the centrality of weaving and its role in engendering Urarina society. The post-diluvial creation myth accords women's weaving knowledge a pivotal role in Urarina social reproduction. Even though palm-fiber cloth is regularly removed from circulation through mortuary rites, Urarina palm-fiber wealth is neither completely inalienable, nor fungible since it is a fundamental medium for the expression of labor and exchange. The circulation of palm-fiber wealth stabilizes a host of social relationships, ranging from marriage and fictive kinship (compadrazco, spiritual compeership) to perpetuating relationships with the deceased.

COMPUTER SCIENCE

The Nvidia Parallel Thread Execution ISA derives some terminology (specifically the term Warp to refer to a group of concurrent processing threads) from historical weaving traditions.

WIKIPEDIA

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

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

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

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

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

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

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

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

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

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

Quelle: Wikipedia.de

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

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

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

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

Source: Wikipedia.de

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).

This old churchyard is known as St. John’s and it is located on Dublin Road. I visited this graveyard exactly a year ago but the weather was still very bad and the light was poor.

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

The graveyard is very open and there many signs of anti-social behaviour but on balance I would guess that much of the decline and decay of the graves is natural rather than as a result of vandalism. In some cases the collapse of gravestones and monuments may be as a result of poor workmanship or poor quality materials. I suppose the dead are not in a position to complain.

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

Two tier music themed birthday cake with notes and staffs in black royal icing. The trumpet and french horn are hand sculpted in sugar paste and painted in edible brass. Art Eats Bakery

Greenville, SC, 29607

www.arteatsbakery.com

Phone: 864-201-4448

Email: sales@arteats.com

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

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

Please visit our website for more photos and information.

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

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

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

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).

Created for DU Challenge, March 2024 - Queen.

(Chosen for The Crazy Geniuses, Public group cover photo.) Thank you!!

Butterfly and wings with thanks, from Denice.

2 BGs, purchased from Renderosity.

Painting and Metal Moon with light, my photos.

There's NO AI in this image!

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© All rights reserved. This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying & recording without my written permission. Thanks.

~ Thank you for visiting my photostream, for the invites, faves, awards and kind words. It's all much appreciated. ~

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

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

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

www.st-anna-augsburg.de

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

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

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

www.st-anna-augsburg.de

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

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

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

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

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

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

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

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

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

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

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

Quelle: Wikipedia.de

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

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

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

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

Source: Wikipedia.de

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

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

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

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

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

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

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

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

Gerbera Flowers shot at Home Studio with simple lighting setup