Acne, the utmost common skin complaint in the United States., can be a basis of worry for every teen-age. And more, the rate of acne is growing in grownups, too.Acne is caused by impassable hair follicles and oil (sebaceous) glands of the skin, frequently caused by hormonal deviations. The word acne mentions to not only pimples on the face, but nodules, cysts, and blackheads as well. Some individuals get acne on other portions of their body too, such as the chest and back.

Sunburns happen when there is too much contact to ultraviolet (UV) sunlit from the sun or sunlamps. The skin goes red, sore, burning to the touch, and may even peel away. It's tough to see how much time is harmless in the sun, however, even with sunblock shield. Repetitive sunburns, particularly as a kid, can increase the danger for skin cancer later in life. Typically sunscreen needs to be reapplied every 2 hours, but you may just need to keep yourself out of the sun, too.

Lot of us have had contact dermatitis - when we touch things that progresses into a skin reaction. Contact dermatitis is a kind of eczema, and can come from plants, jewelry, latex gloves, and cleaners like bleach, shampoos and soaps. To stop contact dermatitis, avoid the thing when possible. To evade symptoms, antihistamines and colloidal oatmeal baths are frequently useful. If your doctor doubts you have contact dermatitis.

Anybody who has a kid knows about the mutual problem of diaper rash

A wet or soiled diaper wearing on too long can be cause of red sore bumps and rash in the diaper part, the bottoms, genitals, and skin bends.

Urine and stool can breakdown skin, and substances in a disposable diaper can melt out and cause the skin.

It's an unlucky fact, but your feet are prone to fungal contagions. Athletes’ foot can principal to extreme itching, soreness, and cracked skin on the feet and in among the toes. A kind of fungi called dermatophytes are normally found in warm, soggy areas like pool decks, bath stalls, and locker rooms.

Basal cell carcinoma (BCC) is the utmost common type of skin cancer in the United States. BCC raises in the upper basal cells of your skin but hardly extents and is treatable. You may be prone to BCCs if you use to spend lots of time in the sun or use a tanning bed habitually.

Hives are the aware swellings (raised, red, itchy areas) that can happen on the skin. Common reasons of hives include medicine, nutrition, and bug bites or wounds. Pursue urgent treatment if your hives cover a big area of your body, your throat or face area is swelling, or they causing you to breathing. Hives typically go away in 3 to 5 hours; though, in specific people hives may persevere for months or years. A drug used to give allergic asthma, omalizumab (Xolair injection), was permitted in 2014 to treat chronic urticaria in persons with no reply to antihistamines.

Read more:https://medium.com/@menaturals890/what-are-7-common-skin-problem-82ff73a365ab

An early French motor that managed to continue production through those dark years of World War II, and would later become the basis for what would arguably be Citroen's greatest car, the DS.

The Traction Avant, French for "front wheel drive", was designed by André Lefèbvre and Flaminio Bertoni in late 1933. While not the first production front wheel drive car (Alvis beat them to it with the 1928 FWD in the UK) it was the world's first front-wheel drive steel unitary body frame production car. Along with DKW's 1930s models, the Traction successfully pioneered front-wheel drive on the European mass car market.

The Traction Avant's structure was a welded unitary body/chassis. Most other cars of the era were based on a separate frame (chassis) onto which the non-structural body was built. Unitary construction results in a lighter vehicle, and is now used for virtually all car construction, although body-on-frame construction remains suitable for larger vehicles such as trucks. This method of construction was viewed with great suspicion in many quarters, with doubts about its strength. A type of crash test was conceived, taking the form of driving the car off a cliff, to illustrate its great inherent resilience.

The novel design made the car very low-slung relative to its contemporaries – the Traction Avant always possessed a unique look, which went from appearing rakish in 1934 to familiar and somewhat old fashioned by 1955. The suspension was very advanced for the car's era. The front wheels were independently sprung, using a torsion bar and wishbone suspension arrangement, where most contemporaries used live axle and cart-type leaf spring designs. The rear suspension was a simple steel beam axle and a Panhard rod, trailing arms and torsion bars attached to a 3-inch steel tube, which in turn was bolted to the main platform.

Since it was considerably lighter than conventional designs of the era, it was capable of 62 mph, and consumed fuel only at the rate of 28mpg, which even today is pretty good.

However, in 1939 France declared war with Germany and in 1940 the German Army invaded Northern France. The conflict drastically reduced the civilian sector's availability of raw materials, as well as petrol that was supplied to the occupying armed forces.

The Paris Motor Show scheduled for October 1939 was cancelled at short notice, but Citroën’s own planned announcements had involved the forthcoming 2CV model rather than any significant changes to the Traction. For the Traction, the last “normal” year in terms of production levels was 1939, and 8,120 of the 2910mm wheelbase 1628cc engined 7C models were produced. This tumbled to 1,133 in 1940, which was the first year when the plant suffered serious air-raid damage - on this occasion caused by a German attack - on 3 June 1940.

Production of the cars was suspended in June 1941, by when a further 154 had been produced in the six-month period just ended. The 7C would continue to appear in Citroën price-lists until March 1944, but production of this smaller engined “7CV” version of the Traction was not resumed after the war. For the more powerful 1911cc engined 11 B-light models, the equivalent figures were 27,473 units produced in 1939, 4,415 in 1940 and 2,032 for 1941, though for this model production in 1941 ended only in November 1941 so the figure for that year represents 11 months of production.

In 1945 production restarted only slowly: the 11 B-light reappeared very little changed from the 1941 cars except that headlight surrounds were now painted rather than finished in chrome. By the end of December 1945 the year’s production had reached 1,525. Currency depreciation was evident from the car’s listed price which had been 26,800 francs in January 1940, and had risen to 110,670 francs in October 1945. In 1945 the car was the only model available from Citroën, and as another sign of the times, customers not able to supply their own tires were charged an additional 9,455 francs for a set of five. In May 1946, reflecting an easing of the war-time tire shortage, the car could at last be purchased with tires at no extra cost, but by now the overall price of an 11 B-light had risen to 121,180 francs.

Construction of the car continued until 1953 when Citroen's new flagship motor, the DS, was launched, with many of the parts behind its world renowned and critically acclaimed suspension being derived from those pioneered on the Traction Avant. Today there are a fair number of these cars still on the go, thanks largely to their robust design and construction which is admirable even by modern standards. A running competition amongst Traction Avant fans occurs every 4 years, where owners ship their cars to an exotic location and then proceed to have a tour as part of the International Citroen Car Clubs Rally (ICCCR).

Is it possible to fall in love with a virtual mate? In Second Life, couples prove that theory on a regular basis. They do fall in love. Sometimes, it lasts and sometimes it doesn't.

Those that last are a remarkable group of couples. They are remarkable both in SL and RL where the divorce rate matches the break-ups in SL!

My partner, Xavier and I enjoy SL very much. We dance, we explore, we network, we chill, we love and we have a blast doing silly things.

So many places offer romantic areas such as ballrooms, chill zones and explorations. Here are some of our favorites...

Avilion Ballroom is a special favorite of mine. It's where I first danced with my first crush... and now I dance here with my partner. Recently, renovated, the Avilion offers a beautiful place to romance each other.

Phatland is another. More jazz music than Avilion, Phat's is a sophisticated club for couples. Beautifully built, we seem to frequent this place a lot.

Another great ballroom venue is Frank's Place. A lot of avies hang out here, so do prepare for a bit of lag. I suggest that you arrive early so that you can grab a spot on the dance floor.

A smaller club that we frequent regularly is the MMAC Jazz Link. Every week, DJ VJ Shojo spins an eclectic set of jazz and indie tunes. Very chill and very romantic little jazz club. Dash Renoir is the perfect host there.

Then there's the beautiful Ballroom">Palace, where grand is an understatement. We usually arrive to a nearly empty place dancing alone in our own world. Very romantic.

But, the most grand of all is a recent discovery. Tempura Island and Ballroom is the epitome of a lover's paradise. Grand and magnificent, the ballroom is done in gold gilt, with a beautiful ceiling and wall textures. The stairs leading to the ballroom and castle are simple but ever so opulent. This is an LM that I have sent to all my friends! LOL!

And we still frequent the clubs that offer a place for us. A place where we can be a couple without the drama that other places bring...

We hit Dorian Gray for DJ Barbs set and Xavier set off his JMD particle hud for a romantic interlude on the dance floor. So fun!

A big thanks to DJ Dint Talon for an awesome night over at IPR365 Milky Way Entertainment complex's K-Lounge. OMG, we had a blast! DJ Dint was spinning an incredible set of jungle, tribal, trance... you name it, he was spinning it! We stayed until the end!

We also went to Bogart's Cafe which is kinda a ballroom and kinda a lounge setting. You can dress in ballroom or cocktail dress there. We often go in between clubbing for a quick ballroom dance to lovely jazz music.

We usually stop off at Spanish DJ Sonar Halsey's Future Club. It is always psy heaven there! And BassLine Island for some hardcore tunes to get the blood pumping. Both are fun clubs for couples to hang at and dance.

And when we explore, we always seem to find the cutest places such as Midnight City for NBC's romantic dinner club, Rainbow Room Dining and the Italian pizza place that reminds me of North Beach in San Francisco!

The other night, Xavi took me to NOAA, the National Oceanic and Atmospheric Administration's build featuring an interactive floor of of the entire world's atmosphere! Wow! This from the US Department of Commerce!

And, when we chill at home we can be silly and set off our particles and dance or pull all our emotes and gestures for hours of silliness.

Couples in Second Life are just like couples in real life. They play, they love, they emote real emotions towards each other... and as best friends, they share the best of Second Life together.

BASIS DC’s Kristy Sundberg, coach, Jack Johnson, Mia Rothstein, George Turmail, Nate Petersen and Elizabeth Quinn of Washington, DC, pose for a team photo during the 2016 National Science Bowl competition, Thursday, April 28, 2016, in Washington, DC. (Photo by Jack Dempsey, U.S. Department of Energy, Office of Science)

Gottfried Helnwein (1948), The Murmur of the Innocents 39, 2012 (oil, acrylic on canvas), Albertina

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

www.wien-vienna.at/albertinabaugeschichte.php

Hier einmal eine Luftaufnahme von einer VW Basis. In der Gegend gibt es sehr viel Schnee. Leider wird die Gegend in der diese Basis liegt, von Google Earth nicht hochauflösend dargestellt, sonst hätte ich die Basis mit großer Wahrscheinlichkeit schon gefunden.

BASIS Ahwatukee’s Duyen Vo, coach, Ruben Favaro, assistant coach, Aryan Soman, Ankith Chunduru, Sri Swaminathan, David Wu and Arjun Modi of Phoenix, AZ, pose for a team photo during the 2016 National Science Bowl competition, Thursday, April 28, 2016, in Washington, DC. (Photo by Jack Dempsey, U.S. Department of Energy, Office of Science)

Basis for a film of the same title

Here it must be. Will they let me in to take a picture? Temporary basis of the Swiss Army in Buriet, Switzerland, Apr 28, 2008.

Volumetric 3D GeoSEIS model of distribution of cooper mineralization which has been predicted on the basis of the most informative characteristics of multispectral Landsat7ETM + image.

Using 4D GeoSEIS software for multifactor volumetric (structural-geodynamic, geophysical, geochemical and mineralogical) modeling we offer:

Multifactor volumetric structural-geodynamic models “4D GeoSEISM” with exact ranging and forecasting of mineral deposits, low-amplitude tectonics, geophysical anomalies and geologic properties of deep structures, using volumetric interpretation methods of multispectral satellite images for cost-effective geological prospecting.

During 15 years the great number of volumetric structural-geodynamic, geological, geophysical models of ore deposits (Fe-Ti, Cu, Au, Hg, Ni-Cu-Co) and oil-gas deposits (Namibia, Kalimantan, Urals, Ukraine, Timor, Uzbekistan) are created.

Integration of the mineralogical and geochemical data, geophysical maps and multispectral satellite images (Hyperion, ASTER, LANDSAT-7ETM and others) in multifactor volumetric structural-geodynamic models.

4D GeoSEIS software for computer processing of the ASTER and Landsat7ETM images have been used to create the volumetric structural-geodynamic models of the NW Namibia & SE Angola territory to discriminate the high potential concentration of mineral resources based on limited field data in order to aid exploration for new copper and titaniferous magnetite mineralization. The strategy adopted to facilitate this predictive modeling is to develop understanding and testing of a “4D GeoSEIS Model” through research. They allowed calculating the potential resources of commercially important concentration of copper and titaniferous magnetite ores. Several points of Fe-Ti-Cu mineralization predicted by the 4D GeoSEISM had been confirmed by field observations.

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* The results of structural-geodynamic modeling proved possibility of satellite maps creation (Landsat7ETM, ASTER, World View-2…) of low-amplitude tectonics with spatial resolution 1-20-30m/pix for horizontal lines, and 20 cm of fold’s amplitude. The spatial resolution of satellite models and maps on a concrete area exceeded the spatial resolution of mining works plan on the scale 1:5000.

* 3D GeoSEIS Tomography is invaluable for identifying geodynamic zones that may be potential areas for rock bursts, 3D fracture patterns, their density (number of cracks per unit volume) and outline zones of high permeability, shear zones and faults...

Seeking business partners for 3D-4D GeoSEIS Tomography modeling and Monitoring…

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* 6D GeoSEIS Tomography brings 3D scan visualization to a whole 6D volumetric animation level. Its 6D Space-time-based Technology extends the capabilities of volumetric modeling practices – allowing anyone, anywhere to see, explore and share (in real-time) 6D interactive views directly from traditional 3D Seismic, MRI, CT and ultrasound scans…

My Customers & Partners: Institute of Geological Sciences of NAS (National Academy of Sciences of Ukraine), Institute of Geotechnical Mechanics of NAS, Institute of Problems on Nature Management & Ecology of NAS, State Enterprise NIGRI (Mining-Ore Research Institute)...

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Shestopalov V.M., Bondarenko Ya.I., Zayonts I.O., Rudenko Yu.F., Bohuslavsky A.S. Complexation of Structural-Geodynamical and Hydrogeological Methods of Studying Areas to Reveal Geological Structural Perspectives for Deep Isolation of Radioactive Wastes. // Field Testing and Associated Modeling of Potential High-Level Nuclear Waste Geologic Disposal Sites // Berkeley, USA, 1998.

Kolotenko V.P. Bondarenko J.J. Spiritual and Moral aspects of Sustainable Development Theory // Man and City. Towards a Human and Sustainable Development // Napoli, Italy, 2000.

Bondarenko J.J., Risk analysis, synthesis and Spiritual Energy-Information Structure Modeling 'SEISM' to reveal environmental perspectives for isolation of radioactive and hazardous chemical wastes // ECO-INFORMA 2001 // Chicago, USA, 2001.

Bondarenko J. J., The Multifactor Predictive SEIS (GIS) Model of ecological, genetic and population health risk in connection with dangerous bio-geodynamical processes in geopathogenic hazard zones //ECO-INFORMA 2001// Chicago, USA, 2001.

Zayonts I.O., Bondarenko J.J., Slipchenko B., Lysychenko G.V., New approaches to the problem of geoecological risk for urbanized territories // ECO-INFORMA 2001 // Chicago, USA, 2001...

BASIS San Antonio Medical Center’s Lyle Koonce, coach, Anton Perera, Justin Cheung, Torda Bordas, Colin Perera and Abdurrahmaan Baghdadi of San Antonio, TX, pose for a team photo during the 2016 National Science Bowl competition, Thursday, April 28, 2016, in Washington, DC. (Photo by Jack Dempsey, U.S. Department of Energy, Office of Science)

Basis DC's Jack Johnson, center, and other middle school teams review the scoreboards during the 2016 National Science Bowl competition, Saturday, April 30, 2016, in Washington, DC. (Photo by Jack Dempsey, U.S. Department of Energy, Office of Science)

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

Basis schema voor 1 led flash. Het stuursignaal vertrekt vanuit de FPGA en gaat via de RS422 lijnen naar de eigenlijke stuur eenheid. Op verschillende plaatsen zijn de tijden opgenomen die in de voorgaande tekeningen weergegeven zijn. Zo kan men de vertragingen volgen van de signalen. De BP¨W34 is een photodiode om het licht te meten. De eigenlijke ledstroom wordt gemeten door de spanning te meten over R14 en R15. Samen zijn die 0.9 ohm. De ingestelde strool ligt tussen 1150 en 1200 mA per kanaal. In de echte versie zijn er 10 gelijke kanalen beschikbaar en ieder kanaal is afzonderlijk regelbaar. Zo kan de licht verdeling geregeld worden.

Update:

Tekening is aangepast met de kabel op de juiste plaats.

The US Navy had begun planning a replacement for the F-4 Phantom II in the fleet air defense role almost as soon as the latter entered service, but found itself ordered by then-Secretary of Defense Robert McNamara to use the USAF’s F-111A Aardvark tactical bomber as a basis. The subsequent F-111B was a failure in every fashion except for its AWG-9 fire control system, paired with the AIM-54 Phoenix very-long range missile. The F-111B was subsequently cancelled and the competition reopened for a new fighter, but Grumman had anticipated the cancellation and responded with a new design.

The subsequent F-14A Tomcat, last of the famous Grumman “Cat” series of US Navy fighters, first flew in December 1970 and was placed in production. It used the same variable-sweep wing concept of the F-111B and its AWG-9 system, but the Tomcat was much sleeker and lighter. The F-14 was provided with a plethora of weapons, including the Phoenix, long-range AIM-7 Sparrow, short-range AIM-9 Sidewinder, and an internal M61A1 Vulcan 20mm gatling cannon. This was due to the Vietnam experience, in which Navy F-4s found themselves badly in need of internal armament. The aircraft was also given the ability to carry bombs, but this would not be developed for another 20 years; despite its large size, it also proved itself an excellent dogfighter.

The only real drawback to the Tomcat proved to be its powerplant, which it also shared with the F-111B: the Pratt and Whitney TF30. The TF30 was found to be prone to compressor stalls and explosions; more F-14s would be lost to engine problems than any other cause during its career, including combat. In addition to the aircraft produced for the US Navy, 79 of an order of 100 aircraft were delivered to Iran before the Islamic Revolution of 1979, mainly to end Soviet MiG-25 Foxbat overflights.

The Tomcat entered service in September 1974 The Tomcat’s first combat is conjectural: it is known that Iranian F-14s saw extensive service in the 1980-1988 Iran-Iraq War, and that Iranian Tomcats achieved a number of kills; the only F-14 ace was Iranian. The first American combat with the F-14 came in September 1981, when two F-14As shot down a pair of Libyan Su-22 Fitters over the Gulf of Sidra. The Tomcat would add another two kills to its record in 1987, two Libyan MiG-23s once more over the Gulf of Sidra.

The high losses due to problems with the TF30 (fully 84 Tomcats would be lost to this problem over the course of its career) led to the Navy ordering the F-14A+ variant during the war. The A+, redesignated F-14B in 1991, incorporated all wartime refits and most importantly, General Electric F110 turbofans. Among the wartime refits was the replacement of the early A’s simple undernose IR sensor with a TISEO long-range camera system, allowing the F-14’s pilot to identify targets visually beyond the range of unaided human eyesight.

The majority of F-14As were upgraded to B standard, along with 67 new-build aircraft. A mix of F-14As and Bs would see action during the First Gulf War, though only a single kill was scored by US Navy Tomcats; this was due mostly to Iraqi fighter pilots, experienced in fighting Tomcats, avoiding the aircraft. Subsequent to this conflict, the Navy ordered the definitive F-14D variant, with completely updated avionics and electronics, a combination IRST/TISEO sensor, replacement of the AWG-9 with the APG-71 radar, and a “glass” cockpit. Though the Navy had intended to upgrade the entire fleet to D standard, less than 50 F-14Ds ever entered service, due to the increasing age of the design.

Ironically, the US Navy’s Tomcat swan song came not as a fighter, but a bomber. To cover the retirement of the A-6 Intruder and A-7 Corsair II from the fleet, the F-14’s latent bomb capability was finally developed, allowing the “Bombcat” to carry precision guided weapons, and, after 2001, the GPS-guided JDAM series. By the time of the Afghanistan and Second Gulf Wars, the F-14 was already slated for replacement by the F/A-18E/F Super Hornet, and the Tomcat would be used mainly in the strike role, though TARPS reconnaissance sorties were also flown and, in the final cruise of the Tomcat, F-14Ds were also used in the FAC role. The much-loved F-14 Tomcat was finally retired from US Navy service in September 2006, ending 36 years of operations. The aircraft remains in service with the Iranian Revolutionary Air Force.

Since Dad had built the F-15 for Murphy High School's Class of 1964 25-year reunion, he built a F-14 for the 30-year reunion in 1994. This one was built specifically for the reunion organizer, Jack Sneed, and his wife Maureen. As such, the markings are entirely fictional! Once more Dad used the Israeli Air Force 133 Squadron's eagle-head marking for "Murph," while the blue and white stripe on the forward fuselage reflects the school colors. The 30 plane number is, of course, a reference to the reunion itself, and the "War Eagles" legend on the wing was the name of the school football team. Otherwise, the F-14 is accurate for a Tomcat of the time period, with overall gray colors; the full-color insignia were often used for commanders' aircraft. It carries a weapons load of two AIM-9L Sidewinders, two AIM-7M Sparrows, and two AIM-54 Phoenix. As far as I know, this model is still in the possession of Mr. Sneed.

Dieses Dorf, wo Porsche seine Basis hat, findet man auf keiner Karte.

Odder Brandstation har modtaget deres nye basisenhed. Den erstatter M9, som er flyttet til Uddannelsesafdelingen i Skejby.

Enheden er dog ikke endeligt overdraget til Odder Brandstation, bilen skal retur til Kolding efter den traditionelle nytårsparole, da der stadig mangler nogle tekniske detaljer.

Det vil også blive det første køretøj der får ny straffering fra Østjyllands Brandvæsen, når de relevante udvalg har godkendt en designlinje.

English:

Odder Fire Station has received their newest Primary Appliance. it replaces the old M9, as it was given to the fire academy in Skejby late last year.

The appliance will be transported back to Kolding for finalization following the traditional New Year parade and get-together, as it it is fully ready for service.

It will also be the first vehicle to receive the new livery for Østjyllands Fire Brigade, once the various committees and boards has approved a design manual.

Detaljer/Details:

Chassis: Scania P310 Crew Cab

Opbygger/Builder: Wiss & Falck

Lysbroer / Lightbars:: 2 Federal Signal Vama Mini Legends

LED's: Federal Signal Vama Microled Plus

LED - materielkasse for / equipment box, front: Federal Signal Vama Quadraflare Advance

Sirene/Siren: Federal Signal Vama AS-422 & Martin Horn

Videoer af udrykningskøretøjer / Videos of emergency vehicles :

www.youtube.com/channel/UCbdWgJedXOsz2pBBxPilZqw

In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.

de.wikipedia.org / wiki / Albertina_ (Vienna)

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

www.wien-vienna.at/albertinabaugeschichte.php

BASIS San Antonio Shavano's Sarthak Mohanty, Harshini Kundurthi, of San Antonio, TX, react to their air-powered craft moving during the Middle School Enrichment Activity at the 2019 National Science Bowl®, Saturday, April 27, 2019, in Washington, DC. Photo by Jack Dempsey, National Science Bowl®, Department of Energy, Office of Science

I was certain I had visited St Michael recently. But a search of my Flickr stream revealed nothing. So, the church was open on Tuesday, and as I was going to St Mary at HIll, it would be close by.

Indeed it was open, and empty of people. The first thing I noticed was the pale blue ceiling arcing high above, that and the glorious rose window in the east wall.

After a while the volunteers from Friends of City Churches arrived, and gave me so much literature and guidance; many thanks to them and others from their group that ensure city churches are open on a regular basis.

www.london-city-churches.org.uk/

------------------------------------------------

The rabbit-eared tower, with its echoes of St Mary Aldermary, is hemmed in by the busy 19th Century townscape of Cornhill. The church, apart from its tower, was destroyed in the Great Fire, but then rebuilt by the parish. The rebuilding is often credited to Wren, but as Simon Bradley points out there is no evidence that the workshop was involved. The old tower was then taken down and the parish proceeded to build a new one. It was completed to the design of Nicholas Hawksmoor in the 1720s. In the 1850s George Gilbert Scott came along, and St Michael received what was probably the biggest Victorianisation of any large City church. All the 17th Century furnishings were removed, the windows filled with Italian-style tracery and a porch was added facing into Cornhill. Most invasive of all, Scott filled the interior with polychromatic decoration in the style of the day, although Wayland Young notes that the devastating effect of Scott's work... was reduced in 1952 by the substitution of white and gold paint for his harsh polychrome. However, Scott's furnishings are all of the highest quality, and it is difficult to regret his impact. One great survival is the organ, originally of 1684 and generally considered one of the best in the City.

The splendid war memorial depicting the church's patron saint is by Richard Goulden. There is a sweet little garden out the back, and its rectangular shape with a path going around the outside might help to suggest to you what it once was, a cloister.

Simon Knott, December 2015

www.simonknott.co.uk/citychurches/048/church.htm

St Michael, Cornhill, is a medieval parish church in the City of London with pre-Norman Conquest parochial foundation. The medieval structure was lost in the Great Fire of London, and replaced by the present building, traditionally attributed to Sir Christopher Wren.[1][2] The upper parts of the tower are by Nicholas Hawksmoor.[3] The church was embellished by Sir George Gilbert Scott and Herbert Williams in the nineteenth century.

The church of St Michael was in existence by 1133. The patronage was in the possession of the Abbot and convent of Evesham until 1503, when it was settled on the Drapers Company. A new tower was built in 1421, possibly after a fire. John Stow described the church as "fair and beautiful, but since the surrender of their lands to Edward VI, greatly blemished by the building of four tenements on the north side thereof, in the place of a green church-yard". On the south side of the church was a churchyard with what Stow calls a "proper cloister", with lodgings for choristers, and a pulpit cross, at which sermons were preached. These were maintained by Sir John Rudstone, after whose death in 1530 the choir was dissolved and the cross fell into decay.[4]

There is a folk tale, dating from the early 16th-century, which tells of a team of bellringers who once saw 'an ugly shapen sight' appear as they were ringing the bells during a storm. They fell unconscious, but later discovered scratch marks in the masonry. For years afterwards these were pointed out as the 'Devil's clawmarks'.

The medieval church, except for the tower, was destroyed in the Great Fire of London in 1666, and the present building was begun in 1672.[1] The design is traditionally attributed to Sir Christopher Wren.[1][6] However, the authors of the Buildings of England guide to the City churches believe Wren's office had no involvement with the rebuilding of the body of the church, the parish having dealt directly with the builders.[2] The new church was 83 feet long and 67 feet wide, divided into nave and aisles by Doric columns, with a groined ceiling. There was an organ at the west end, and a reredos with paintings of Moses and Aaron at the east. The walls, George Godwin noted, did not form right-angles, indicating the re-use of the medieval foundations.[1]

The fifteenth-century tower, having proved unstable, was demolished in 1704 by order of the Archbishop.[3] A 130-foot high replacement was completed in 1721. In contrast to the main body of the church, it was built in a Gothic style, in imitation of that of Magdalene College, Cambridge.[1] Construction had begun in 1715, with money from the coal fund.[6] The designer of the lower stages was probably William Dickinson, working in Christopher Wren's office.[2] Funds proved inadequate, and work stopped in 1717 with the tower half completed. The tower was eventually completed in 1722[3] with the aid of a grant from the Commission for Building Fifty New Churches, the upper stages being to the designs of its surveyor, Nicholas Hawksmoor.[6] Containing elaborately panelled turrets, Hawksmoor's tower contains King's Chapel terminations in the pinnacles.[3] Repairs were made in 1751, 1775, and 1790, the last two of which were done under the survey of George Wyatt. In the 1790 repairs, the south aisle windows and the east window were made circular, as well as the addition of a new pulpit, desk, altar rail, east window glass, and 12 new brass branches.

In the late 1850s, the Drapers Company, motivated by legislation that would have forced them to hand certain funds over to the Ecclesiastical Commissioners if they were not spent on St Michael’s, decided to fund a lavish scheme of embellishment, and asked George Gilbert Scott to carry out the work.

Scott demolished a house that had stood against the tower, replacing it with an elaborate porch, built in the "Franco-Italian Gothic" style(1858–1860), facing Cornhill.[3][8] It is decorated with carving by John Birnie Philip, which includes a high-relief tympanum sculpture depicting "St Michael disputing with Satan".[9] Scott inserted Gothic tracery to the circular clerestory windows, and into the plain round-headed windows on the south side of the church. New side windows were created in the chancel, and an elaborate stone reredos, incorporating the paintings of Moses and Aaron by artist Robert Streater[3] from its predecessor, was constructed in an Italian Gothic style. A contemporary account of the work explained that this was appropriate since "the classical feeling which pervades the Italian school of Gothic art enabled the architect to bring the classical features of the building into harmony with the Gothic treatment which our present sympathies demand".[7] The chancel walls were lined with panels of coloured marble, up to the level of the top of the reredos columns, and richly painted above this point.[7] It was said that Scott "proposes to brighten all the roof with colour... and he fuses the vaulting into something transitional between Pointed and Italian. And he inserts tracery in all the round-headed windows, and the great ugly stable-like circles of the clerestory become roses under his plastic hand."[3]

Stained glass by Clayton and Bell was installed, with a representation of Christ in Glory in the large circular east window. Its splays were enriched with inlaid and carved marble, with four heads in high relief enclosed in medallions. The other windows contained a series of stained glass images illustrating the life of Christ, with the crucifixion at the west end.[7]

A further campaign of medievalising decoration was carried out in the late 1860s by Herbert Williams, who had worked with Scott on the earlier scheme. Williams built a three bay cloister-like passage, with plaster vaults, on the south side of the building, and in the body of the church added richly painted decoration to Wren's columns and capitals. The reredos was enriched with inlaid marble, and the chancel was given new white marble steps and a mosaic floor of Minton’s tesserae and tiles. In what the Building News described as a "startling novelty" a circular opening was cut in the vault of each aisle bay and filled with stained glass, and skylights installed above.[10]

Few original furnishings were retained in its Victorian re-imagining, but the 1672 font given by James Paul survived, although a new balustrade was added.

en.wikipedia.org/wiki/St_Michael,_Cornhill

The Church lies over the remains of the Basilica – the northern most part of the great Roman Forum built in the first century AD. It stands near to the site of a church founded by King Lucius in AD 179 - the oldest site of Christian worship in London. The name ‘Cornhill’ is first mentioned in the 12th century, the ‘hill’ indicating the rising ground on which St. Michael’s stands, and ‘corn’ being derived from the corn-market which was once held there.

The Church of St. Michael’s is known to have been in existence before the Norman Conquest, for it is recorded that in 1055 Alnothus the priest gave it to the abbot of Evesham. During the reign of King Henry VII (1485-1509), the patronage was transferred to the Drapers’ Company, which still has the gift of the living. Robert Fabyan, the author of the 'Chronicles of England and France', was buried at St. Michael's in 1513. King Henry VIII's physician, Robert Yaxley, was also buried at the Church in 1540.

The Church, with the exception of the tower, was completely destroyed in the Great Fire of 1666. The present Church was rebuilt by Sir Christopher Wren between 1669 and 1672. The interior, with its majestic Tuscan columns, was beautified and repaired in 1701 and again in 1790. Pre-Victorian features that remain in the Church today include 17th paintings of Moses and Aaron incorporated into the reredos, as well as a wooden sculpture of 'Pelican in her Piety' dating from 1775. The vestry retains its 17th century panelling, with a fine carved overmantel.

In 1716, the poet Thomas Gray, famous for his 'Elegy Written in a Country Churchyard', was born in a milliner's shop adjacent to St. Michael's and was baptised in the Church. The very font in which this occurred, dating from 1672, still remains. The tower was rebuilt in the ‘Gothick’ style between 1718 and 1722, the work being commenced by Wren and completed by Nicholas Hawksmoor. It houses a peal of 12 bells, all of which were originally cast by the Phelps Foundry of Whitechapel.

The interior was extensively remodelled in the High Victorian manner by Sir George Gilbert Scott between 1857 and 1860. Scott recalled that he ‘attempted by the use of early Basilican style to give a tone to the existing classic architecture’. As part of this scheme of reordering, the eminent woodcarver William Gibbs Rogers carved new pews and a pulpit and lectern (which earned him a prize in the Great Exhibition of 1851) for the Church. In addition, an ensemble of stained glass was made by the firm Clayton & Bell and a new porch, with a tympanum sculpture of St. Michael by John Birnie Philip, was added.

In 1906, the parishes of St. Peter le Poer and St. Benet Fink were united to St. Michael’s upon the demolition of the former church, the latter having been united to the former after its demolition in 1846; hence the practice of appointing six churchwardens, two for each parish. The Church was fortunate to escape serious damage in the Second World War. The interior was restored in 1960, with the roofs and the nave of the tower being renewed in 1975.

Detailed information concerning the Church's fine musical tradition can be found on the Music page. Famous organists of St. Michael's have included: Obadiah Shuttleworth (1723-1734): Composer and violinist who played at concerts organised by Thomas Britton ('the musical small coal man') in Clerkenwell and at the Swan Tavern in Cornhill. He was also organist at the Temple Church. William Boyce (1736-1768): One of the foremost English composers of the 18th century, he was also appointed Master of the King's Musick in 1755 and organist at the Chapel Royal in 1758. His eight symphonies, anthems and odes are well known.

Theodore Aylward (1769-1781): Composer who became Gresham Professor of Music in 1771, and organist of St. George's Chapel, Windsor, in 1788. He was involved in the organisation of both the Shakespeare Jubilee Procession of 1769 and the Handel Commemoration of 1784.

Richard John Samuel Stevens (1781-1810): Composer mainly of glees who succeeded Aylward as Gresham Professor of Music in 1801. He also served as organist at the Inner Temple and Charterhouse. His memoirs, which have been published in a modern edition, present a fascinating insight into the musical world of Stevens' time.

Richard Davidge Limpus (1849-1875): Founder of the [Royal] College of Organists, which was originally based at St. Michael's, in 1864. Some of the College's early fellowship and associateship examinations took place at the Church.

Harold Edwin Darke (1916-1966): Composer best known for his setting of 'In the Bleak Midwinter' and his Communion settings. He made famous a series of Monday lunchtime recitals that continues to the present day, and founded the St. Michael's singers in 1919. During the Second World War, he served as acting organist at King's College, Cambridge.

www.st-michaels.org.uk/history-NL.html

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A much coveting of my friend Dave's Think Tank shoulder bag, I found a very lightly used one over at the Fred Miranda Buy&Sell forums for a good price. Because I'm such a female when it comes to camera bags (I seem to lust over new bags on a weekly basis) it was decided that I needed something that would store a little more gear than my Crumpler 7 Million Dollar Hotel including my 12" G4 laptop when I needed it, but wanted something smaller than the giagantic beast that was the December Quarter but I wanted it to be more of a shoulder-bag in style, and, most importantly, I wanted something that looked low profile and didn't look like I was moving a bunch of photo equipment in it.

Whenever I saw Dave with his Urban Disguise, it make me want it even more. So I bought one.

This shoulder bag is swank. It kind of makes me forget all about my 7 Million Dollar Hotel, and I might just go head and sell the Crumpler to help make up for the cash I spent on this bag.

Firstly, this bag can hold a bunch of stuff. A lot of stuff. I have it set up so that it can hold my Canon 5D with or without a lens mounted in the center of the "camera" section, leaving me to put other lenses and etc. on each side.

Pocket wise, this sucker is loaded. Pockets, more pockets, and even more pockets!. And if that wasn't enough, it even has hidden pockets for top secret things. Its crazy!

Starting from the face side of the bag we have:

Flip over cover, which has a zippered pocket that opens and has single spaces for pens, business cards, etc. Plus it has a secret zippered compartment for top secret mission plans, anti-zombie government recipies, or other things you might not want to end up loosing (boarding passes, passport, etc). The secret compartment has a small red ribbon on the zipper to let you know its top secret. Shhhh.

After lifting the face cover, there are Two large collapsible pockets that are large and can house Pro-body cameras without a lens attached. Or, for me, it can hold speedlights, umbrella brackets, speedlight battery packs, etc. There is also another zippered compartment that has more individual slots for business cards, memory cards, pens, etc. And it also comes with a small tri-fold memory card wallet that attaches to a cord. Super cool!

Moving to the main body of the bag, we have the center section for the camera storage. This section is really the meat and potatoes of the bag and takes up the majority of the storage space. As you can see in the photo up above, just about all of the stuff I have laid out in front of the bag is sitting in this camera section. The camera body, the lenses, everything but the flash and battery pack are sitting inside this section. Plus, Think Tank stacks these bags with lots of velco walls and dividers. So many that I've got most of them in my closet because I just couldn't use them all. Very cool. With some of the velco walls, I use them as "covers" so I can cover the tops of the lenses and camera. When you open the bag, you can't see any of the gear, with the exception of what I put on top of that stuff. There is also a side pocket in there for magazines or whatever. Think Tank tossed in a great rain cover that slips over the bag, and I keep it in this little side pocket. Again, very cool.

Behind the camera compartment is a large padded and zippered section that holds up to a 17" laptop. My tiny little 12" powerbook is pretty tiny in there, so I used some of the velcro dividers to build the walls up and create a little "slot" that the powerbook slides into so it doesn't slide back and forth in the pocket.

Flipping the bag around to the back side, there is another large, flat zippered pocket that is perfect for magazines (or in my case a portfolio of my work, as seen in the photo). This bag also has a double zippered section that unzips on the top and bottom so that the bag will slide over the handles of a larger rolling camera bag. Think Tank even put a little foldover stopper on these zippers, so the don't accidentally open up while in transit. Coolness x2!! There is even a small clear window that holds even more business cards!! The coolness doesn't end!!!

The bag has a very comfortable shoulder strap, with very ample padding on it. It has very intense metal buckles that hook into metal loops on the bag. You can move the strap around however you like to make it rest more comfortably. The bag also has very comfy leather handle straps, that don't velcro together. I like this because I don't like to fumble with that interwrapping velcro stuff on handles. Too silly. I simply move the straps to the side and it allows me easy access.

The zippers on this bag feel meaty. Some bags I've owned in the past had zippers that felt like they would break or teeth could fall off any minute. I own bags where that has happened. This bag doesn't feel like that at all. These feel very meaty and large. Very impressive

Oh, also, there are flexible pockets on either side of the bag, big enough to hold more items like speedlights. I can easily hold a speedlight on each side if I needed to. Usually I just use one light on location, but I could easily carry a few more if it was necessary.

Here is a photo of the bag fully packed up.

Here is a photo of the bag loaded and zipped closed.

Here is the bag being worn as a shoulder bag, and also a photo of it being held by its leather handles.

This bag is pretty damn good. I've used it for a few location shoots so far, and it can hold everything I need except my light stand and my softbox. Think Tank also makes a backpack harness thing for this, so if I wanted to, I could attach the harness and wear it on my back. Wicked!

I strongly recommend this bag for someone looking for an alternative to the Walt Disney color-schemes of the Crumpler line, and for anyone looking for a exceptionally built, professional, low profile shoulder bag that will house everything you need for small location shoots.

Totally worth the money I spent on the bag. Comfy, roomy, and looks very slick when i wear it as well. Be warned that this bag can get pretty heavy when its fully loaded But, unlike the December Quarter I used to own, it isn't HUGE and doesn't SMASH into my hips or sides when I'm walking with it loaded.

Fantastic bag. Fantastic quality. Major kudos to Think Tank.

Sexual harassment and harassment on the basis of gender.

On the basis of style, the production of the Piraeus Apollo is usually set at approximately 520 B.C. or slightly later. If his simple frontal stance is to be expected in a sixth-century work, the marked inclination of the head in conjunction with the freely extended arms invites a certain contact with the viewer, an unusual feature for the kouros type. Throughout the Archaic period this freedom of movement is associated more with bronze statuettes than with marble sculptures of kouroi, and in this respect the artist of the Piraeus Apollo may have been influenced by small works in bronze and by the stylistic opportunities afforded by the ease of modeling instead of carving a work.

Considering the metalwork, we found the early bronzes cast solid, the originals being probably of wax, coated with a clay mantle to serve as mold. Early in the seventh century the model may be given a core of other material which can be worked out of the final cast, lightening it and saving bronze. The ultimate refinement is to make the core nearly the size of the desired figure, coat it with wax with finished detail to the required thickness of the bronze, then make the clay mantle, fixing it to the core with rods, melting out the wax, pouring in the bronze. This is the technique, still experimental, of the Piraeus kouros which yet encloses the iron skeleton on which the model was built. Its wrists and hands are solid and there is less use of inlay (as for the eyes, a practice well known in marble) than for most later, large bronzes on which a redder copper might be used for lips and nipples. Later too this “lost-wax” technique was refined with the use of piece molds.

It has been suggested that the Piraeus Apollo and the other statues found with it were brought as a group from a sanctuary on Delos to Piraeus in 88 B.C., and were in storage there when the port city was destroyed by Sulla two years later.

Sources

John Boardman, “Greek Sculpture – The Archaic Period, a Handbook”

Carol C. Mattusch, “Greek Bronze Statuary: From the Beginnings Through the 5th Century BC”

Bronze sculpture

Height 192 cm

High Archaic period

ca. 530 - 520 BC

From Delos [?]

Piraeus - Archaeological Museum

Virtue is the basis of life.

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The Albertina

The architectural history of the Palais

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

www.wien-vienna.at/albertinabaugeschichte.php

Antikensammlung – Staatliche Museen zu Berlin im Pergamonmuseum,

Museumsinsel Berlin

New pics form an old model.

This is one of (in the meantime...) four major kit conversions - or better: kit-bashings - I did on the basis of 1:100 Bandai Gerwalk Valkyries and leftover pieces from other 1:100 scale Valkyries in Battroid mode, plus material from the junkyard.

These "Super Valkyries" carry rocket boosters for non-atmospherical use, so-called FAST packages ("Fuel And Sensor Trays"). Parts for these packages were included in some Arii/Bandai kits. There is a vintage 1:100 Imai kit of a Super Valkyries in Fighter Mode, but it is really crappy and calls for lots of improvements. Therefore I decided to build my own model from scratch. At the time of making, I just had vague visuals as reference, so some details on this model (it's 15 years old, I guess, even the internet was just nerd stuff at that time!) are not 100% accurate ;)

Legs were completely re-built through kitbashing, they are modified pieces from a Gerwalk Valkyrie combined with lower legs from a transformable 1:100 scale kit. The folded arms between the legs are completely improvised, too, made from two lower arm halves and tailored to fit the gap between the bulky new legs.

The big RMS-1 missiles under the wings were made from scratch. These are modified 1.000 lbs. bombs in 1:72 scale from old Matchbox kits, their rear fin arrangement is a simple piece of flexible plastic straw that fits perfectly.

The color scheme was inspired by a VF-1 side profile drawing in the soruce book "This is animation, Special: MACROSS PLUS" - an overall deep blue machine, with a white radar nose and dark grey FAST packs. The look resembles US Navy fighters from the 50ies - and as simple as it is, it looks gorgeous on a VF-1!

I just did not use the authentic blue (FS 15042), which was a bit too murky at the kit's small scale and too greenish for my personal taste. So I rather settled for Humbrol's 15 "Midnight Blue".

The FAST pieces were painted in Humbrol 184 ("Stock Freight Grey"), a very dark tone.

Markings came from the scrap box, the dragon emblem of the fictional SVF-406 fighter squadron (stationed on ARMD-03 in Earth orbit) are insignia of US Marines' VMA-324 attack fighter squadron, which flew A-4 Skyhawks.

Now THIS is my kinda holiday lawn ornament!

Fantasy of Lights, Vasona Lake Park, Los Gatos, California

If we ever had a soft spot in our hearts for any of the little gangbangers we dealt with on a daily basis, it was for him: Jesus Lucio, known on the street as "Snap." We always thought he'd been given that name because of the unique configuration of his nose and chin, which are both quite prominent, and curve in towards each other to create the profile of a mean old snapping turtle. Now, I wonder if there might have been another reason for that name.

We got a kick out of that goofy kid, in part because he looks and acts so much like "Dopey." He must have been 13 when we first ran into him, back in '92 or '93. As a member of the Bishops, we can always find him on his corner at 18th and Paulina.

The Bishops are closely allied with the Latin Counts at that time, and both are part of the "People" coalition, and oppose all gangs that identify themselves as "Folks." Just in Pilsen, that means the Bishops are in a chronic state of war with the Satan Disciples, 21 Boys, the Ambrose, LaRaza, the Allport Lovers, and the Party People. In other words, just about everybody else. But, alliances and rivalries are not chiseled in stone, and just because you are the enemy of my enemy, doesn't necessarily mean that you are my friend. Just ask the Ambrose: they are at war with everybody.

In spite of his looks and young age, we suspect that Snap is not quite as innocent as he would like us to believe. His accounts of various gun-battles between the Bishops and their enemies are very coherent and rich in detail, more like the observations of a seasoned war-correspondent.

Cesar Urquieta is a few months older than Snap, and runs with the Allport Lovers, right around the time when they decide to ally themselves with LaRaza. He's a scrawny little kid, probably no more than 90 pounds soaking wet, and he's very light complected, which is why they call him "White Boy." He's a quiet kid, and keeps to himself, while Snap's gregarious, always clowning around.

Cesar attends school at 19th & Throop, well within friendly territory. Yet, for some reason, the Chicago Board of Education decides to transfer him to a school at 19th & Paulina, in the heart of the Bishops' turf. Cesar's mother pleads with the bureaucrats to reconsider, but they refuse. In their view, what possible harm could there be in transferring a student to a school that's only 3 or 4 blocks from his home? As Cesar's mother tries to explain, in neighborhoods like Pilsen, a move of only one block can be a de facto death sentence.

Later on, other Bishops tell us it wasn't solely a "gang thing," it was personal as well, something from the past, a gril perhaps?

All we know for sure, is that Snap follows Cesar after school, all the way to the corner grocery store at 19th & Throop, where Cesar can reasonably expect to be safe. That kind of intrusion by any rival gangbanger should have set off alarm bells all over the territory controlled by LaRaza. Instead, Snap calls out Cesar's name, and empties a whole clip of 9mm ammo into Cesar's scrawny little body at point-blank range.

I see the coverage of the shooting on the 4 o'clock news, as I'm getting dressed for work. We are all stunned, not by the nature or the ferocity of the crime, but simply because it is Snap who is identified as the shooter.

He is arrested almost immediately, tried as an adult, and convicted. He'll probably have gray hair when he gets out, if ever.

For us, this is a reminder that, just because certain gangbangers are casual and relaxed in their dealings with the police, doesn't mean they'll be equally rational in their dealings with others. It's almost like they've been pre-programmed to shift into "terminator mode" in certain situations, when they encounter rival gang members. I'm sure they can turn on us as well, if the right set of circumstances present themselves.

* * * * * * * * *

The photo above shows the plaza at 18th and Paulina where Snap used to hang out. The same buildings were all there back then, but now they are home to the "Resurrection Project" which has transformed Pilsen with it's murals against gang violence, while celebrating the rich culture and heritage of Mexico.

The Bishops are still there, although their presence is not evident during daylight hours. Thus far, they are the only gang in Pilsen that routinely tags the murals on their puny little turf with their gang graffiti.