Liking the darker reds, this will make a find stand-in for the otherwise older dinky Bloodthirster from the 90's (80's?).

 

100% Games Workshop components, and alarmingly easy to accomplish.

 

Details on how it was built and painted can be found at my blog: battle-brothers.blogspot.com

Sukhoi Superjet 100 Certification Program is progressing towards completion

 

Sukhoi Superjet 100 certification campaign is successfully progressing towards completion. All major certification flight programs are accomplished. The prototypes have gained 2245 flight hours in 948 flights.

 

On October 28 the aircraft 95003 returned from Iceland after a month testing for operation in side winds, having fully confirmed its compliance with certification requirements at side wind speed up to 15m/sec. Keflavík International Airport is situated at the Atlantic coast of Iceland. Its runways are built at 90 degrees angle each other, so when the wind follows the direction of one runway, it causes side wind at another one bringing the possibility tο conduct test landings іn side wind, nο matter whісh direction thе wind blows. Because of its unique wind conditions, Keflavik Airport is widely used for side wind testing by the European and American manufacturer. Keflavik has been used for side winds testing by A380 and B787.

 

Along with side winds testing program, the aircraft has successfully performed a series of testing for CATII landing, which is enough to get the Type Certification. Preparation to CATIIIA testing is in progress.

 

In Zhukovsky Flight Test Center SCAC engineers successfully completed air stairs and cargo compartment equipment testing.

 

“We’ve already gone through the most challenging testing certification programs. As per our estimations our team has already covered 90% of the overall certification testing scope. Now we are finalizing avionics safety failure testing, EMC, HIRF with emergency evacuation testing to follow”, - said Igor Vinogradov, SVP Certification.

Victory Artistic Gold Box series by G.J. Hayter, Bournemouth.

No guide illustration.

About 800 pieces.

24 x 18 in.

Pre-1970.

 

The finished article. Not the most exciting image, which is probably why I was able to acquire it for a very reasonable price, but all the same an enjoyable project. The pieces were in remarkably good condition.

 

By zooming in it should be possible to see the figurals (whimsies).

Under Cons. Construction startedApril 1, 2013 Estimated completion in 2019. Mile High Tower (working name) 1609 m Computer rendering released on 2 August 2011 Kingdom Tower

 

Under Cons. Murjan Tower 1 1022

 

Under Cons. Burj Mubarak al-Kabir Mubarak Tower Madinat al-Hareer (Arabic: مدينة الحرير‎, meaning "City of Silk")1001 m

  

Under Cons. Nakheel Tower 1000 The proposed tower would have been 1,400 m was stopped and the project has been put on hold

 

Under Cons. Russia Tower 612m Construction began in September 2007, and was planned to be completed in 2012 Interfax reported on 21 November 2008 that construction on the tower was to be halted

 

Under Cons. Incheon Tower 610m Construction started with groundbreaking on 20 June 2008.[6] If completed on schedule in 2015, the building will become the tallest twin towers in the world .

 

Under Cons. Chicago Spire 609 see also

At a hearing on March 11, 2014,

  

Makkah Clock Royal Tower Hotel 577

StatusComplete

TypeMixed use:

Hotel, Residential

LocationMecca, Saudi Arabia

  

Under Cons. China 117 Tower 570

Construction began in 2008, and the building was scheduled to be completed in 2014, becoming the second tallest building in China.

 

Under Cons. Millennium Tower World Business Center 560 The building was expected to be completed in 2013 but the project was cancelled

 

Under Cons. Lotte Super Tower 556 metres Construction started2009

Estimated completion2015

 

Under Cons. Doha Convention Center Tower 552

Construction started2009

Estimated completion2015

 

Under Cons. Freedom Tower - One World Trade Center 541

 

Under Cons. Pentominium 516

Construction started2008

Estimated completion2014

  

Under Cons. Burj Al Alam 510 By the end of 2013, the project had been officially cancelled

 

Under Cons. Busan Lotte Tower 510 Construction started9 March 2009

Estimated completion2020

  

1 Burj Khalifa Tower 828

 

2 Taipei 101 508

 

3 Shanghai Financial Center 492

 

4 Petronas Tower 1 452

 

5 Petronas Tower 2 452

 

6 Sears Tower 442

 

7 Jin Mao Building 421

 

8 International Finance Center 412

 

9 Citic Plaza 391

 

10 Shun Hing Square 384

From the inside, you get a better perspective of the inside of the Veterans Drive tunnel under construction in SeaTac, WA as part of the SR 509 Completion Project.

 

This section of the tunnel will carry two lanes of eastbound traffic under I-5. Southbound I-5 drivers who exit to SR 516 will have the option to turn left about half-way down the ramp and use the tunnel to continue east to Military Road South.

 

The SR 509 Completion Project is part of WSDOT's Puget Sound Gateway Program which completes critical missing links in Washington's highway and freight network.

 

MARSYAS/MYSELF

MYSELF Diptych, Detail

 

Below is a transcription of the handwritten text on the detail pictured above:

 

Art

Desire—Creativity—Release

 

"To embrace absence. To cradle and enfold the freedom and purity of immolation. To distill all need into the heavy metal of desire. To need no allies. To know that there are no allies. To know. To find sustenance in the ashes. To set corms into the ashes and bring forth all that which is no longer there. This is not despair. From this place springs the emptying of self after the purging of ambition. From this place springs Art. I have pitched my tent in this verdant wasteland of contradiction and set no value on any other place. From this vast horizontal, only the horizon defines me. A speck of desire on a polished orb. I hold in amputated hands the future of the future and have dedicated my life to the poverty of self-awareness. I am not afraid. I want nothing. I have no regrets. Let me speak for Art. Let me speak as Art. Am I not qualified? I have destroyed the audience and created silence. For myself, I have created the silence. Silence, then, will be my audience. As Art creates silence, Art speaks for silence. I speak for myself. Am I not qualified? I speak to the silence. Listen. I have established the eternal present. It is on this scale are all illusions weighed. I judge nothing. I am the shifting paradox of possibility. Nothing more. I am now. Nothing more...but there is a caveat: I am of human invention. Like nature, I am. Like rocks and rivers and the passing of days, I am. I exist when perceived. I impose my existence when engaged. Through perception, I confound the conception of time. Through engagement, I re-create myself within the living Now. I am more ancient than the caves of Lascaux and when perceived, I confront human consciousness with the power of Isness. I have no past. Like nature, I am. But within the caveat of human invention, I am born of desire. Though I am the most enduring of human enterprise, my purpose is unclear. Let me speak to this. Some would claim that I exist to illustrate the passage of time thus supporting the invention of history. But history has to do with memory and the cataloguing of events, a neatly arranged rationale of cause and affect, one influence on another through linear time. But this is not my purpose. Because I exist, like nature, in the eternal now, I belie such definition. To impose such limitations on my purpose is to confine me to the cage of intellect. If one accepts this definition, it is he who lives inside the cage, not I, though I concede a certain compassion for this usage as it enables the blind a kind of vision. But I am made of fiercer stuff. Compassion is not my purpose. My purpose is to destroy illusion. Linearity is my enemy and because I exist always in the now, to impose linearity upon me is to pervert my purpose. I am created when perceived. Being born of desire, I mirror the desire of the perceiver. Together we confirm the eternal now. There is no history, only the encapsulated instant of recognition. Only the birth of silence. Only the transforming re-creation of the creator. A duet and a paen to the purging light. I am the by-product of the creator’s desire to create himself. Having himself been created through the purging light of re-creation, his pursuit of the light causes my potential for creation. How simple it seems. What obvious and unquestionable truth. As light feeds the eye and sound the ear, odor the nose, friction the touch and taste the tongue, the now is created and sustained. So, too, is Art. Because I am created by the perceiver, my creation is sporadic and serendipitous. I am of the moment. I am in the now. As long as my materiality exists, my potential for conversion exists, from noun to verb, objectivity to response. Artifact to Art. Those who would force me into linearity turn actions into events and anchor my identity within the reflective mirror of history. They fear me. They fear what they cannot see. They fear what they cannot feel. They fear what they cannot control. They fear chaos. But I, too, have a protocol. Because it alters and redefines their position does not preclude their viability. It simply means that they serve me rather than I them. This is not chaos. It requires only the acceptance of a more humble role. Simply put, the protocol for my Isness is thus: The artist creates himself. The culture-maker creates metaphor. And the perceiver creates Art. Obviously, the recognition of this shift in roles requires an almost total restructuring of the cultural gestalt. I flourish and propagate within the eternal feminine. Masculine entelechy is a hostile and barren landscape. It would nullify my purpose. In this arid desert of the intellect, my sensuality is veiled in sand. I am contained and controlled, bourkhaed in masculine fear. To restrict and confine my purpose to the identity of the artist is to re-enforce linearity, history, knowledge, and illusion. For the one who makes me, I am but a by-product of self-creation. Hermaphroditically conceived within the artifacts of desire, I exist solely for the purpose of connection. He who makes me is not she who creates me. Art is conceived within the womb of perception. I exist when I am created without prejudice, cultural correctness, or linear logic. As for taste, good and bad have nothing to do with my inception. Moral judgment serves group identity. These strictures cannot constrain my birthright. I exist where I am perceived. There is no such thing as good or bad art; there is only Art and I am created by the perceiver. All else is artifact. Whenever and wherever I am perceived, Art exists. The fusion that occurs between making and creating forces my becoming and reinforces the eternal now. This fusion is the peak of human experience: Being without metaphor, simile, or trope. As with physical orgasm, the orgasm of aesthetic response is not filtered through the intellect. The experience defines itself through a tautology of sensation. How would one define an orgasm? It simply is. Though procreation is its purpose, procreation is not its definition. This is true also of aesthetic orgasm. Though cultural enhancement is its practicality, the sensation of response is indefinable. Orgasm is the ultimate reality. It is wordless and transcends all boundaries. Its communication is total, a connection so intense that ones existence is confirmed. Some speak of me in terms of spirit; the response I invoke, a religious catharsis. I think not. Religiosity distorts my purpose, and spirit separates me from my totality. Appreciation is another facet of response, as is beauty, as is seduction. I am a gestalt of many metaphors. No one characteristic defines me. I am defined by the indefinable. Totality. When I occur, when Art occurs, it is with the violence of disconnection and the sublimity of connection. In the moment of my creation, the armor of the intellect is pierced with the turgescent light of recognition and my creator is filled with my maker’s desire for self-creation. Because I am a gestalt of many metaphors, by examination and deletion, metaphor by metaphor, I shall define my purpose. Through distillation, I might define my purpose. Because I am all of these and no one of these, my totality is indefinable, unexplainable. My outline can be etched by describing what I am in part and through deconstruction that which presses out may be released. In the orgasm of my inception, the perceiver is disconnected from the linear masculine and enveloped within the spherical feminine. This episode, this moment, this lifetime is my birth. Art is realized within the bourn of the creator. The variables of causation for orgasmic perception are infinite, chaotic, and serendipitous. Like the artifacts that induce the sensation, connection occurs when connection occurs, without judgment or foreplay. Two basics exist for my creation: attraction and seduction...Art can happen to anyone with any artifact at any time. There is no such thing as good or bad Art; there is, however, such a thing as profound or mediocre orgasm. Only the perceiver can distinguish the experience. Whether the orgasm is sexual or aesthetic, it occurs within the bourn. It belongs to the perceiver and no other. It lies beyond the reach and control of the culture-maker’s protocol of intimidation. Culture is my enemy. For it to exist, it must defeat my purpose. For a culture to exist, it must establish its identity on the necklace of linear time. This beaded processing of artifacts and events called history would place one of myriad metaphors above all others as my defining gestalt. That art as evidence defines me is a perversion of my purpose. It would use me as decoration rather than the defining force of human Isness. It is my entirety that defines my purpose and that entirety is revealed with the bourn of the perceiver. That Art is a reflection of its time is as much a truism as Art History is an oxymoron. This propagandizing of a single metaphor as my defining purpose is the ultimate confusion of artifact with Art. Most of my metaphors tie me to concepts of culture and group identities. Two do not. That Art is beauty and that Art is truth may pit the perceiver against the active and pervasive cultural metaphor of the perceiver’s time and require a degree of courage and a desire for self-creation through the orgasm of response with its residual euphoric sense of enlightenment. I have brought perceivers to their knees and tears to their eyes. I have no peer in terms of emotional power and epiphanic response. My ability to split the individual from the numbing complacency of the group can be cataclysmic. My potential to induce the insurrection of solitude is extreme. Of all my metaphors, Art is beauty and Art is truth are linked in controversy. They tend to provoke heated and emotional intellectual criticisms and commentaries on idealism, romanticism, ignorance, taste, sophistication, naivete, sophism, empiricism, fascism, egalitarianism, aesthetics, history, historicism, elitism, and on and on and on. These two metaphors are the intellectual battlefield on which the war between culture and Art is fought. It is a conflict that cannot, will not, and must not be resolved, for it is through this conflict that humankind’s evolution transpires: individual enlightenment vs. cultural control, freedom vs. repression, individual courage vs. group fear. Life vs. death. Art is entertainment is the metaphor whose dominance most contorts and ridicules my purpose. It perverts human endeavor and diverts the search for being. It requires audience, gratification, and applause thus embedding my determination in linear time. It is a crippling, procrustean enabler of social control. This metaphor, with its sibling, Art is money, reduces my significance within the cultural gestalt to product, and my maker, a comedian on the stage of trivialities. These metaphors breed nihility without the blandishments of hope. Their fertility is cancerous eating away the potential for joy and replacing it with the immediacy of amusement. And though pleasure is often a part of me, it is subsidiary to my purpose. Culture is my enemy because it selects a single metaphor from my pantheon of metaphors to define my significance within its gestalted singularity in linear time. It manipulates me to control individual response and maintain the status quo. That Art is entertainment and that Art is money are metaphors of a fearful culture, stagnant and repressive, hostile to excellence. These metaphors, if taken as my primary distinction, condemn my artifacts to flaccid mediocrity. This is not a judgment against the majority; rather, it is a complaint for the minority which seeks neither to be entertained nor to buy and sell art. Their desire leads toward challenge rather than pacification and materialism. They are forced to seek me outside the paradigm of the culture of entertainment. This most self-creating segment of culture is driven into the linear past to create the eternal now. Branded as elitists, these futurists secure my furtherance. The most avid culture-makers force the artifacts of first appearance as their definitions of my being. Newness, however, does not define me; it reflects, rather, their own ambitions. Art is created by the perceiver regardless of cultural imperative. The culture-maker has no purchase in this transaction. Nor does history. The shoulds and shouldn’ts of cultural propriety are the shoulds and shouldn’ts of cultural identity. Exactly that. To be culturally correct has to do with the ordering of the group, not with the creation of Art. The perceiver may or may not create Art from the acceptable artifacts of the culture. If the perceiver cannot, Art will be created outside of that culture’s prerogatives. I exist when and where I am created. No authority can prejudice my becoming. My essence is amoral. Because aesthetic orgasm is my purpose, I do not qualify the means of attainment whether by attraction and consent or rape. Seduction or surprise, my inception is irrepressible. I occur within the being of the perceiver and my only recordation lies within the perceiver’s bourn. My only history is aesthetic memory. Cultural and artifactual history lie within the purview of the intellect. Further deconstruction of my gestalt would be the metaphor Art is communication: what the perceiver reads into me, what he is told to read into me, and what is discussed about me. It is through communication that the hierarchy of the culture is established, promoted and maintained. Constructed on military, traditionally proven protocols of control, words used like cattle-prods direct and channel large segments of the cognoscenti into an oligarchy of historical distinction. This oligarchy is dependent on an elite group of culture-makers which has jockeyed itself into positions of authority through education, political wisdom, and brilliance of intellect, qualities which have nothing whatever to do with my creation. How tribal the human condition! How masculine the fierce competition for advancement and retainment of control, rank, and command. The ordering of culture is controlled from the top down. With military pragmatism, the ordering of culture-making proceeds from the upper ranks of the culturally elite and descends through the various levels of worth, wealth and sycophantism. Through response, curiosity, education, intimidation, and imposition, culture-makers initiate, propagate and maintain cultural correctness through the various structures of communication. The artists of any culture are not necessarily culture-makers; all induce aesthetic orgasm and thus the creation of Art. Through communication, culture-makers create history. Through silence, perceivers create Art. Happily, for the evolving human condition, we are not mutually exclusive. As cultures invent and record the repetitions of linear time through the alphabets of history, I await discovery by the perceiver within the artifacts of silence. Words do not enhance my perception. Alphabets of communication obscure my purpose, bits and pieces, shards of descriptive analyses opaque my seduction. Aesthetic orgasm does not occur within the mind; it occurs unexpected and unexplained within the fertile bourn of the perceiver. My inception can be neither induced nor denied by instruction or imperative. Acculturation is my enemy. It muddies and opaques my transparency of purpose. Noise. Business. Confusion. I am recorded within the wisdom of myth rather than the knowledge of history. Transformed by the tongues of silence into the nodding recognition of self, I await my perceivers. I am discovered where I am found. Without qualification or judgment, I mark their journeys. As history records the alphabet of repeat, Myth affords the epiphanies of evolvement. Myths are connections within the eternal now for the self’s process of becoming. They transport my significance. My most expedient and perplexing metaphor is: Art is what artists make. This truism absolves the culture-maker from the advancement of aestheticism to the promotion of artists. Celebrity becomes product and its creation becomes culture. On the beaded necklace of linear time, this metaphor is of little moment. Its artifacts are created and sustained by contrivance: Culture-makers create culture-makers who create history. The perceiver, the artist who creates me, re-creates my maker in the eternal now. Through this creation-re-creation, one sees what the other seeks. This is my purpose. This is Art.

 

Subsequent to the completion of STUDIO SECTION 2002-2005, Marsyas/Myself, the artist created another studio section, STUDIO SECTION 2005-2007, The Seven Deadly Sins and Three Diptychs from The Winter Notebooks. On Pages 7 and 8 of The Winter Notebooks he reprised MARSYAS/MYSELF in retrospect visual and verbal consideration and wrote the following excerpt about it:

 

"Marsyas/Myself was completed in 2005 and entered into the permanent collection of the Crocker Art Museum in November of that same year. My three year involvement with this studio section was epiphanic and liberating, the separation nearly complete. However, the song of the artist, the skin of Marsyas, hangs heavy and will not be silenced. It lingers still, as Myself lingers still, and will not be silenced. As long as artists create artifacts and as long as viewers persist in creating Art from these artifacts, the myth of Marsyas is the truth of the artist; his life, his pain, his ecstasy, and his fate. By subjection of myself as a particular artist in equation with the corpus of Marsyas, an attempt was made to recast the drama of art into an anti-fascisttic and non-authoritarian process; a complete reassignment of roles wherein the viewer becomes the sole creator of Art and all else is cultural rhetoric. It was also an attempt by this artist at total honesty. As we know virtually nothing about Marsyas, it was my intention to reveal everything about Myself even to the extent of confessional boredom. All information has been made available to the viewer. Setting the plight of Marsyas in his challenge of Apollo within the context of a contemporary sculptor’s studio establishes the parallel of the cautionary myth with all artists who would gamble their lives on a rigged contest. There is no drama greater than the artist’s struggle with his own mortality. The transmutation of mortal desire into material artifact into immortal response is the distinguishing principal of humanity and it is the artist who personifies this principal in its sublime purity. No challenge is greater, no reality more intense. Marsyas is the artist’s myth and it is to this myth all artists conform…."

  

STUDIO SECTION 2002-2005, Marsyas/Myself is a multi-part installation work that requires a space approximately 40' x 40' for exhibition in its entirety. It consists of free-standing sculptures, and large panels hanging on the walls and a combination of these and evenly divided into two metaphorical dimensions: "Marsyas" and "Myself."

 

Collection:

Crocker Art Museum

Sacramento, California

After completion this is what the amidships radiator looked like inside - note the re-use of single seats alongside the new "box" where the exit doorway used to be.

 

20031101(DSCF0265)THX181S-interior2400

Built in 1991 and closed only 10 years later. Glass block windows were smashed out over time and replaced with cinder block....

 

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

 

Located on the PRR's Connecting Railway, this station replaced an earlier one known as Germantown Junction. Established in the early 1870's, Germantown served as a stop on the Connecting Railway, serving the neighborhoods and industries in the area. By the 1890's, after the completion of the Delair bridge, and the continuing growth of the area, Germantown Junction was woefully inadequate.

 

P.R.R. president, George P Roberts had plans put in place for a replacement facility designed by architect Theophilus P. Chandler Jr. Chandler designed the main building in the so-called Châteauesque style. Behind the terra-cotta clad structure containing the ticket offices and waiting rooms, a tunnel would stretch under the tracks accessing two platforms. Construction started in 1896, however the death of Roderts along with the Panic of 1896 caused work to be put on hold. Work finally resumed in 1900 under company president Alexander Cassatt, who considered this station as part of a massive capital expenditure that also involved the building of Penn Station in New York City and Union Station in Washington DC.

 

Upon opening in 1901, the new Germantown Junction served as the Philadelphia stop for service linking New York to Harrisburg and the west, as well as the Philadelphia Terminal for express service to New York (Broadway Limited and the American) As crowds continued to overwhelm the station, a renovation was carried out in 1912 by architect William Cookman to replace the two side platforms with island platforms that could serve two trains each. Major modifications were carried out to the main building as well with the basement opened up and expanded to form a new entrance level. Upon completion in 1915, the remodeled station was renamed North Philadelphia. With the completion of the Broad Street Subway in 1928, a passageway was constructed underground to link it's North Philadelphia station to the P.R.R. station as well as the Reading's North Broad Station nearby. Here passengers were able to travel to Center City, or the neighborhoods north, further taking pressure off Broad Street Station (eventually replaced by 30th Street/Suburban Stations)

 

After World War II, North Philadelphia Station and the surrounding neighborhoods suffered from the loss of industries, "white flight" to the suburbs as well as increased reliance on private cars. Despite a major renovation carried out in 1955, traffic continued to decline and the number of trains stopping there began to drop. Following a fire in 1976, now owner Amtrak undertook repairs that involved bricking off the windows among other things.

 

Amtrak built a new ticket office in 1991 situated at the north of the platform underpass, and a series of renovations were done throughout the decade. Platforms were rebuilt and elevators to allow disabled access were added. A developer transformed the main station house into retail space serving as the centerpiece of a new community shopping center. A new Pathmark Supermarket was added as part of the project giving people in the impoverished neighborhood access to basic groceries.

 

It would seem that all the efforts had gone to waste however. Amtrak closed the North Philadelphia ticket office in 2001. Although Amtrak and Septa trains still stop here, conditions deteriorated to a point where it seemed that station was flat-out abandoned. Platform windows were smashed and never fixed, while the elevators were decommissioned permanently because the vandalism had become so severe. Parking lots surrounding the station now sit virtually unused except as a dumping ground. A severe blow was dealt to the neighborhood in 2015, when the Pathmark store closed as part of parent company A&P's bankruptcy, returning the area to a "food desert".

 

Hope could be on the horizon however as an ambitious proposal has been unveiled calling for residential and commercial space on the former parking lots and refurbishment of a nearby abandoned factory. If pulled off, this project could easily serve as a catalyst in bringing one of the worst areas in Philadelphia back to it's former glory....

meanwhile in the workshop the line's polish usa type 0-6-0t nears completion

All Saints, Gazeley, Suffolk

 

All Saints at Gazeley, near Newmarket, was the first church that I visited after an international team of scientists conclusively proved that God did not exist. Thus begins the original article about Gazeley parish church that I wrote for the Suffolk Churches site, back in May 2003. At that stage, I had visited more than 600 Suffolk churches, and the site was moving towards a kind of completion. The entries were becoming longer and tending more towards the philosophical. The acquisition of a digital camera meant that I could already see I would need to do the whole lot again, but that would be in the future. For now, I had Norfolk in my sights, and there was an end-of-term feel to what I was writing about Suffolk. I am afraid that All Saints, Gazeley, took the full brunt of it.

 

The article generated a fair amount of correspondence, as you may imagine. It was discussed on BBC Radio Suffolk. I was questioned rather cautiously about it by someone in the Diocese.

 

The parish themselves took it rather well. To be honest, I had caught them at a low ebb, and they welcomed the publicity. I had also visited them immediately before a time of great change, when heads had fallen, but loins were about to be girded, and the Church of England was stirring itself again in that lovely village. One of the advantages of visiting every parish church in East Anglia is that you also get to see every parish, of course, and I soon fell in love with these sleepy, fat villages along the Cambridgeshire border. I would move there tomorrow, quite happily.

 

However, the article still makes the point I was originally trying to make, and the contrast between then and now shows this special place in a light it thoroughly deserves, for this is one of East Anglia's loveliest churches, and deserves all the visitors it can get. Anyway, I thought so then, and I certainly think so now.

 

Here is what I wrote in 2003: 'All Saints at Gazeley, near Newmarket, was the first church that I visited after an international team of scientists conclusively proved that God did not exist. I was intrigued to know how a wealthy, reasonably large Suffolk village would respond to this challenge. What would they do with their church? I had a theory. I suspected that the old church buildings would continue to find a community use. Small groups of people would still congregate on a Sunday mornings to sing comforting songs and feel good about each other. The churches would still be used by secular couples wanting a fancy wedding, and the local villagers would still want to be buried in the graveyard. But the building would no longer have a Christian use.

 

It was with some dismay, however, that I arrived in Gazeley to discover that the rot had already set in. The first sign of this was the way in which the large windows facing onto the road had holes the size of small rocks in them. This was disturbing, especially because the east window at Gazeley is one of the most remarkable Decorated windows in East Anglia. The head of the window consists of two elegant overlapping trefoils, but there is no head to the arch, the head itself having cusps. You can see it in the left hand column; Cautley thought it was unique.

 

I went and tried the door, but of course it was locked. Ever since the announcement of God's non-existence, heads have dropped in the Anglican community, and many of them no longer have the will to welcome strangers and visitors. I went next door to the Rectory. I knocked on the door, rang the bell. Nobody came. Perhaps the Rector had fled town. I had tried phoning several numbers I had taken from the Diocesan website, but nobody had answered. There were keyholders listed in the church porch, but no phone numbers. Gazeley is a fairly large village, and we didn't have a street map, but by driving around (sorry about the carbon monoxide, folks) we tracked some of the houses down. Several cars were on the driveways outside (as I said, this is a wealthy village) but nobody came to the door. Perhaps they had given up in despair. I felt Gazeley's strange torpor beginning to settle on me like snow.

 

We found the house where the last address was supposed to be. I went to the side door, and eventually someone answered. "Yes?" he was very curt, so I don't know who he was expecting. I, however, was a model of charm and good manners, and explained my mission to see inside Gazeley church, and that I understood he was a keyholder, a churchwarden in fact. His wife came to the kitchen door behind him, to see who it was. I could smell cooking, and I assumed that they were both about to eat, the time being 5pm on a Saturday.

 

"The church is locked", he said. I agreed that this was the case, and wondered if access was possible. "It was open earlier today, you should have come then", he observed. I concurred that it would have been better, but that we had been visiting other churches, and had only just arrived in Gazeley. He thought for a second. "I'll have to come with you." The man checked that the twenty minutes I had suggested would not deprive him of his tea, and walked with me up to the church. On the way, the man explained how he and his wife had spent the day preparing the church for the harvest festival. I made a mental note that this was another event that had survived the death of God, as would Christmas probably.

 

We walked across the wide open graveyard, and I looked up at the great ship of Gazeley church. There is no doubt which county you are in; here, the complete rebuilding of the nave with clerestory and aisles was at the start of the 16th century, and as at Blythburgh they didn't get around to rebuilding the tower before the Protestant Reformation intervened. The huge chancel had been built on the eve of the Black Death, and has similarities with the one at Mildenhall. Perhaps a rebuilding was planned, but it never happened. The tower was largely reconstructed in the 19th century.

 

To my surprise, he took us not to either south or north porch, but to the great west door. This led us beneath the tower and behind the organ, and we stepped into darkness. Daylight was fading, but here it must be always gloomy, among the broom cupboards and stacks of junk. The churchwarden found the light switches, and we walked around the organ into the body of the church.

 

Back in the days when God still existed, I had been to Gazeley church before. It had been a bright, cold February morning in 1999, and I was cycling from Newmarket to Ipswich. I'd arrived in Gazeley to find the church open, and had thought it lovely. There was a delicate balance between respect for the medieval and the demands of the modern liturgy. It felt at once a house of prayer and a spiritual touchstone to the long generations. However, the slight crimp in all this was that, at the time, the regular Sunday congregation of Gazeley church had been reduced to single figures. The same was true of neighbouring Kentford. The Rector may not have been to blame; he was very energetic in in his pastoral activities in the village, and people still turned up for the big occasions. But I wondered what effect all this had had, and asked the churchwarden.

 

He was very candid. He told me that they had had a terrible time of it. The electoral roll had fallen to just three people, and this is not a small village. Nobody wanted to come to church any more. He had lived in the village for years, and had seen all this happen. It was only in the last year or so that he felt the church had been turned around by the new Rector (the one I had suspected of leaving town). Now, there were more than twenty of them, and they felt like a proper community again, he said.

 

I found this interesting. The previous Rector had been a Forward in Faith-supporting Anglo-catholic, and such a tradition was not terribly popular with the suits at Diocesan House. The new Rector had moved the church back towards the mainstream.

 

I looked around the vast open nave. All Saints is one of the biggest churches in the west of the county, and it must take a good five hundred people to make it feel full. I tried to imagine what it must have been like here, just three in the congregation.

 

The warden and his wife had tried hard to decorate the church for the harvest festival, and it looked particularly lovely towards the east. The greenery on the tombchest and piscina was very well done. But inevitably the fruit and vegetables were sparse, and there was no disguising the general air of shabbiness and decay underneath the decoration. I felt a bit sorry for the churchwarden, for he had stuck with the place through thick and thin, and clearly loved it. The chancel and central eastern part of the nave were clean and tidy, but all around were the encroaching shadows, and here lurked the dust and dirt.

 

The higher you looked, the filthier it became. The clerestory windows were coated in grime, and the lower parts cloaked in decades of cobwebs. The medieval cross beams are still in place, but the Victorian roof above is leaky, and areas of damp showed above the high arcades. It seemed unlikely that all this could have happened in the short time since the Geneva declaration of 2007 announced all faith in a Supreme Being to be 'utterly null and void'. Mortlock had commented on the poor condition of the royal arms as long ago as 1988. Could it be that they were in this state when this building was still in use for Christian worship?

 

Having seen the stone holes in the windows, I was mightily relieved that the Victorians had reset the medieval glass up in the clerestory. This seems a curious thing to have done, since it defeats the purpose of a clerestory, but if they had not done so then we might have lost it. The glass matches the tracery in the north aisle windows, so that is probably where they came from. I had seen them on my previous visit, but could not remember where they were, and when I asked the keyholder he did not seem aware that the church had any medieval glass. Eventually I found it. There are angels, three Saints and some shields, most of which are heraldic but two show the instruments of the passion and the Holy Trinity. I would not be surprised to learn that some of the shields are 19th century, but the figures are all original late 15th or early 16th century. The Saints are an unidentified Bishop, the hacksaw-wielding St Faith and one of my favourites, St Apollonia. She it was who was invoked by medieval people against toothache.

 

It struck me as I gazed up that many parish churches had much less to lose than Gazeley. At one time, these places were vibrant hubs of spiritual communities, but now they would be left to wither and die. Some would become houses of course, but Gazeley's church is much too big. Some might be kept as examples of our redundant belief systems, but here at Gazeley there would be too much to tidy up and sort out. So All Saints at Gazeley must be considered merely as a treasure house. Here, then, is a guide to why it must survive the 2007 Geneva Declaration.

 

Firstly, the chancel. Here, the space created by the clearing of clutter makes it at once mysterious and beautiful. Above, the early 16th century waggon roof is Suffolk's best of its kind. Mortlock points out the little angels bearing scrolls, the wheat ears and the vine sprays, and the surviving traces of colour. The low side window on the south side still has its hinges, for here it was that updraught to the rood would have sent the candles flickering in the mystical church of the 14th century. On the south side of the sanctuary is an exquisitely carved arched recess, that doesn't appear to have ever had a door, and may have been a very rare purpose-built Easter sepulchre at the time of the 1330s rebuilding. Opposite is a huge and stunningly beautiful piscina, and beside it are sedilia that end in an arm rest carved in the shape of a beast. It is one of the most significant Decorated moments in Suffolk.

 

On the floor of the chancel there is a tiny, perfect chalice brass, one of only two surviving in Suffolk. The other is at Rendham. Not far away is the indent of another chalice brass - or perhaps it was for the same one, and the brass has been moved for some reason. There are two chalice indents at Westhall, but nowhere else in Suffolk. Chalice brasses were popular memorials for Priests in the 15th and early 16th centuries, and thus were fair game for reformers. Heigham memorials of the late 16th century are on the walls. Back in the south aisle there is a splendid tombchest in Purbeck marble. It has lost its brasses, but the indents show us where they were, as do other indents in the aisle floors. Some heraldic brass shields survive, and show that Heighams were buried here. Brass inscriptions survive in the nave and the chancel, dating from the late 16th and early 17th centuries.

 

Piled up and decrepit in the south west corner are some extraordinary 14th century benches with pierced tracery backs. Some of them appear to spell out words, Mortlock thought one might say Salaman Sayet. The block of benches to the north appear to have been made using sections of the 15th century rood loft. Further north, the early 17th century benches may appear crude, but were almost certainly the work of the village carpenter.

 

The 14th century font is a stunning example of the tracery pattern series that appeared in the decades before the Black Death. They may have been intended to spread ideas at that time of great artistic and intellectual flowering before it was so cruelly snatched away. The cover is 17th century.

 

The place is absolutely glorious, but few people seem to know about it, and fewer seem to care. If it had been clean, tidy and open, Simon Jenkins England's Thousand Best Churches would not have been able to resist it. Should the survival of such a treasure store depend upon the existence of God or the continued practice of the Christian faith? Or might there be other reasons to keep this extraordinary building in something like its present integrity? It needs thousands spent on it, hundreds of thousands, but is this something that we as a nation or culture should consider worth doing? Will it be sufficient to photograph it all and then let it fall, or do we need to rescue this building before it is too late?

 

Increasingly, it seemed to me that what the parish needed was not condemnation for the state the building was in, but encouragement to put it right. I pointed out several of the features outlined above, but I think the poor man was beginning to register quite what a task he had on his hands, so I fell quiet. I did reassure him that the building really was the responsibility of us all, and not just the Church of England; it was the heart and touchstone of the whole village, and not just of his faith community.

 

We'd been there for nearly an hour. I took pity, and offered to lock up and return the key to his house. He thought about it for a moment. I guessed he was weighing up whether or not he trusted us to make the church secure, but he just said "you don't need to bring the key back, it's a yale lock. Just let yourself out, and let the door close behind you." And he said goodbye and went home - rather more thoughtfully, I fear, than he had left it.

 

It was dark. I put out the lights, and stood for a moment in the wide gloom, in the infinite stillness. I listened to the sound of my own breathing. I knew this was the most endangered building I had visited so far on my travels. But I'm determined we won't lose it.'

 

And that was that. At the end of the original article, I had pointed out that the 2007 Geneva Declaration on the non-existence of God was, of course, entirely fictitious. This was partly to reassure the good people of Gazeley, but also to save confusing any excitable Dawkinsites. Gazeley church was, after all, still in use for Christian worship. I also pointed out that the rest of the article was completely true as things had stood in May 2003. However, over the next few months I received a number of e-mails from people in the parish telling me how the church was being taken to task, tidied up, cleaned out, and, even more important, made accessible. Coming back in May 2008 I was delighted to discover than both the south and north doors were now open, and I stepped out of the sunlight into an interior which positively shouted its welcome to pilgrims and strangers. Perhaps it helped that it was such a beautiful day, for the interior was full of light falling across ancient stone and woodwork. Everything shone with love and care. Quite frankly, it lifted the heart. Perhaps the most moving sight was of the brightly coloured children's table and chairs, which have been given pride of place at the east end of the south aisle, rather than being tucked away under the tower or behind the font. Having once almost lost its congregation altogether, the community at Gazeley now puts its children's corner in a prominent position, where everyone can see it.

 

The wide open space of the chancel was still one of the loveliest interiors I knew in Suffolk, but now it had something else, a feeling of hope. Great things had happened here. I mentioned it afterwards to a Catholic Priest friend of mine, and he said he hoped I knew I'd seen the power of the Holy Spirit at work. And perhaps that is so. Certainly, the energy and imagination of the people here have been fired by something. I wanted to find someone to ask about it, to find out how things stood now. But there was no one, and so the building spoke for them.

 

Back outside in the graveyard, the dog daisies clustered and waved their sun-kissed faces in the light breeze. The ancient building must have known many late-May days like this over the centuries, but think of all the changes that it has known inside! The general buffeting of the winds of history still leaves room for local squalls and lightning strikes. All Saints has known these, but for now a blessed calm reigns here. Long may it remain so.

Haus Tietz, former Japanese Embassy Object ID: 40845

Schottenring 10

Inner City. This in 1870/71 by Carl Tietz in strict historical forms of the New Viennese Renaissance built palace-like house with ionic pillar balcony portal presents in all floors significant ceiling furnishings (stucco work by Johann Hutterites, Josef Pokorny and Franz Schoenthaler, oil paintings by August Eisenmenger and Karl Geiger.)

de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...

Prehistory

From 13th Century on a wall surrounded the city. After the first Turkish siege of 1529 and the Thirty Years' War (1618-1648), this fortification was further expanded and strengthened. In addition, outside the fortifications a glacis, a strip of meadow, was created that can not be obstructed and the defense impeding growth is not allowed. The strip with construction ban was originally 95 meters wide and has been extended till 1683 to 450 meters width. The with projecting gun terraces - so-called bastions - equipped city walls proved during the second Turkish siege in 1683 very much, but then lost in importance and were from the late 18th Century outdated military technology.

Therefore, Emperor Joseph II from 1770 let add pedestrian walkways and driveways on the glacis, lanterns set up in 1776 and since 1781 about 3,000 alley trees plant. The glacis was now an open-air workshop for artisans, stalls were set up. 1809, the castle bastion was blown up by Napoleon's troops, in 1820 the outer castle gate in this area erected, which served the representation.

After the revolution of 1848, the city walls and outlying forts were also standing the urban development of the rapidly growing metropolis in the way: Because 1850, the suburbs were incorporated as districts II to VIII (from 1861 II -IX), so that the fortifications constituted a noticeable obstacle to traffic. The park-like Glacis, with its refreshment pavilions, however, was widely appreciated as a recreational area.

Demolition of the city wall and laying ot the ring road

On 20 December 1857 took Emperor Franz Joseph I. the decision to "abandon the ramparts and fortifications of the inner city, like the ditches around the same" and he ordered the construction of a boulevard at this point. In his "Most High Handwritten Letter" to Interior Minister Alexander von Bach, which begins with the oft-quoted words, "It is my will" and on 25 December was published in full on page 1 of the official "Wiener Zeitung", the Emperor decreed the exact size and use of the area newly acquired and announced a design competition. In March 1858 began at the Rotenturmtor by the Danube Canal the demolition work that was completed only in 1874. By the summer of 1858 85 projects for the basic plan of the ring road had been received.

The new road was planned as a representation Boulevard; therefore for the load carts has been provided a parallel "load road". This traffic control exists until today. The originally different names bearing load road is now known as a two line, the from the tram operation borrowed name referred to the herein till 1980 running tram lines E2, G2 and H2 and is since then the between Karlsplatz and Alserstraße under the street passing subway line U2.

After conflicts of competence between the government and the city council in 1858 the city expansion fund was created, who belonged to the Aerar, managed by the Government Treasury. In 1859 it received the order to take over the project, sold the by the demolition of the city walls and the elimination of the defense become vacant land to private investors, which financed with it the representational buildings of the state. Only the New Town Hall, as it was called until 1960, was planned by the city administration. Because the city went empty-handed away with this large-scale real estate operation, it represented with even greater determination the partial preservation of the existing recreation areas. Up to the present, there are comparatively large green areas with City Park, Castle Garden, Public Garden, City Hall Park and Sigmund Freud Park along the ring road.

The expansion of the Stubenring stood for a long time the Franz Josef Barracks in the way, that with the north of the old city situated Rossauer Barracks should control the city center. Construction began in 1854 and was completed in 1857, the same year the emperor chose the conveyance of the fortifications. The Aspern Bridge as a connection from the Stubenring to the Leopoldstadt, the 2nd District, was indeed already opened in 1864, but not until 1900/1901, the barracks were demolished. On its former area standing the until 1913 built quarter around the former Imperial Post Office Savings Bank (built from 1904 to 1906, later extended), 1909/1910, the Urania was put as completion of ring road next to the Aspernbrücke, only in 1913 vis-à-vis the Post Office Savings Bank the new imperial War Office opened and the Stubenring with this completed.

The ring road was on 1 May 1865 by Emperor Franz Joseph I inaugurated in the presence of Empress Elisabeth, many Archdukes, ministers and representatives of the City of Vienna, Mayor Andreas Zelinka at the top. The ceremony took place in front of the castle gate outside the castle ring, in the subsequent voyage of the guests of honor for the royal table in the Prater, more than 100 carriages have been involved. At the time of the opening of the road (today's name) Stubenring, Burgring, Dr.-Karl -Renner-Ring, Universitätsring (former Dr.Karl-Lueger-Ring) and Scots ring (Schottenring) were still largely undeveloped. From the wool line (Wollzeile) to Babenbergerstraße, however, builders of aristocracy and bourgeoisie had already many "stately" homes built.

Buildings

Along the ring road numerous public and private buildings were erected. Aristocrats and other wealthy individuals who hastened to build representative Palais (Ringstraßenpalais).

One of the first buildings was the Heinrichhof (historical spelling without s) of the brick manufacturer Heinrich von Drasche-Wartinberg, who, lately damaged by war, stood till 1954 opposite the Opera House.

Noteworthy are most of all the K.K. Court Opera (now the State Opera ) in the Neo-Renaissance style by August Sicard von Sicardsburg and Eduard van der Null, the Parliament in neo-Attic style (a reference to the altathenische (pertaining to ancient Athens) democracy) and the Palais Epstein of Theophil von Hansen, the then New Town Hall in the Flemish Gothic style by Friedrich von Schmidt , the Burgtheater by Karl von Hasenauer and Gottfried Semper and the new university building by Heinrich von Ferstel . The Votive Church is the only religious building in neo-Gothic style (by Heinrich von Ferstel), which was founded in 1853 on the occasion of the deliverance of the Emperor Franz Joseph of assassination and for decades was under construction.

Cross to the ring road should be built before the historic Hofburg, the imperial residence, the monumental imperial forum to demonstrate the power of the Austro-Hungarian monarchy, the project remained a torso. Was built up to the First World War within the ring road, the Neue Hofburg, in which now the Austrian National Library, the Ethnographic Museum, the collection of ancient musical instruments, the Ephesus Museum and the Collection of Arms and Armory are housed. Other parts of the realized Imperial Forum are outside the ring road, the Kunsthistorisches Museum (Art History Museum) and the Natural History Museum.

According to the original opposite the New Hofburg should have been built a symmetric wing to the older parts of the Hofburg, which ought to connect with the Natural History Museum. Thus, the Heldenplatz and the Maria-Theresien-Platz would have been part of the from the ring road through archways between the museums and the new parts of the Hofburg crossed Imperial Monumental Forum. This plan came to a halt for lack of money, furthermore was at the beginning of the First World War not even the interior of the "New Castle" completed. The changed political situation after 1918 made ​​the project obsolete.

The completion of the representative construction activity on the ring was not until 1913 with the finalisation of the Imperial War Department achieved, as the Ringstrassen style had become a bit unfashionable, as the about at the same time by Otto Wagner in Art Nouveau style built facing Post Office Savings Bank shows.

The biggest disaster of the ring road was the fire at the Ring Theatre in 1881, which claimed hundreds of lives. In lieu of the theater was built the Sühnhaus (expiation house), which in turn was destroyed in the Second World War and was offering space for the new construction of the Vienna Police Headquarters (Schottenring 7-9) to replace the existing as well destroyed police headquarters (Scots ring 11).

de.wikipedia.org/wiki/Wiener_Ringstra%C3%9Fe

Votivkirche (9, Rooseveltplatz, the provost parish church "To the Divine Savior").

History

Archduke Ferdinand Max after the rescue of his brother Franz Joseph I (assassination attempt of Johann Libenyi on 18 February 1853), suggested by an appeal the construction of a memory church, which was built from 1856 to 1879 according to the plans of Heinrich Ferstel (who at the beginning of construction was only 28 years old) together with the parsonage behind it in the style of French cathedral gothic of the 13th century on the Glacis in front of the (gate) Schottentor. Since the Glacis had not yet been released for development, the church had to be erected on the outer edge of this one and thus a few years later it stood distant from the Ring Road. Around the construction of the church there were a number of unrealized projects: the planned in a semicircular shape University of Vienna behind the church respectively a Hall of Fame (Viennese Acropolis, realized in the Arsenal) and the Tegetthoff monument in front of the church.

The site was definitively established on 25th October 1855; on 24th of April, 1856, the foundation stone was laid by Cardinal Archbishop Rauscher (commemorative plaque); on 18th of August, 1868, the completion of the tower was celebrated. The consecration was carried out by Cardinal Archbishop Kutschker on the occasion of the silver wedding of the Imperial couple on April 24, 1879 (commemorative plaque). The Votivkirche was in the monarchy (catholic) garrison church for Vienna (imperial decision of 1862). Here, too, all military funerals commenced. The Votivkirche is one of the most outstanding examples of historic architecture.

Roosevelt square - Votivkirche, around 1900

Exterior

Double tower facade with three figures portals and window rose.

Main portal

Main portal with rich figural decoration by Johannes Benk (Christ-King statue in the midst of the apostles, surrounded by models from the Old Covenant [Abel, Noe, Melchizedek, Isaak, Samson, Aaron, Moses]; in the gable above the Holy Trinity (by Josef Gasser), on the side four evangelists and Austro-Hungarian provincial patrons (Koloman [Lower Austria], Vigilius (South Tyrol), Aegius [Carinthia], Josef [Steiermark], Leopold [Lower Austria], Wenzel (Bohemia), Spiridion (Dalmatia), Michael (Galicia), Georg (Krain), Rochus (Croatia), St. Nicholas of Bari (Veneto), Ladislaus (Transylvania), Justus (Trieste), Hedwig (Silesia), Ruprecht (Salzburg), Johannes Nepomuk (Bohemia) by Franz Melnitzky and Peter Kastlunger) above the rosette "Coronation of Mary" by Gasser.

Side portal

Reliefs of Gasser ( "Annunciation of Mary" [below it the four prophets Jeremiah, Isaiah, David and Micah by Anton Schmidgruber], "Resurrection of Christ" (below it St Francis, Elisabeth and Sophie von Kastlunger).

Entrance portals

The entrance portals into the transept are devoted to God the Father and the Holy Spirit. There are eight prophets, or church fathers, on the arcade arrows. The church received a new roof of Eternit-plates in 1967.

Interior

Three-aisled, ribbed vaulted basilica, with four flat side chapels on each side; three-aisled transept; choir with 7/12 closing; chapel ambulatory and apse chapel. The wall and ceiling paintings stem from Joseph von Führich, A. von Wörndle, Carl Jobst and Josef Matyáš Trenkwald. On the vault of the central nave, the Christ's Family Tree by Franz Jobst and Carl Jobst. The organ (1874-1878) by E. F. Walcker & Co. (Ludwigsburg) is the only mechanical work of this size (3,762 pipes) in Europe (Anton Bruckner has also played here).

The glass paintings of the church windows, to which Trenkwald had supplied the designs, were destroyed during the Second World War and replaced by figural windows (mostly by designs by Christine Feldmann, with the exception of the "emperor window" which was renewed according to old pattern, thus in the replacement windows there are also topics that fall into the time after church building).

High altar

High altar of white marble with six Egyptian alabaster columns with figural ornamentation by Gasser, Robert Streschnak and Ferdinand Laufberger (cardinal virtues in the vault of the canopy), portrait of Mary, that was a gift from Pope Pius IX in the middle of the (constantly locked) chapel ambulatory.

Marienaltar (once the Antwerp altar)

Here stood the Antwerp altar (the most important work of the Flemish carving art of the 15th century, since 1996 for security reasons as a loan in the cathedral and diocesan museum).

The theme of the church window is the history of Christ's suffering.

"Emperor window"

Window of the city of Vienna "Emperor window"

The window was donated by the municipality of Vienna in 1877 and renewed by the latter after the Second World War.

Bishop's Chapel

The altar is dedicated to the Divine Heart of Jesus; grave of the Auxiliary Bishop Godfried Marschall (he was the first church minister).

Church windows: Bishops of Austrian church history.

Altar of the Mother of God of Guadelupe.

Church window: History of the worship of the Virgin of Guadelupe.

Winged altar

The altar made of cedar wood from Lebanon, shows Mary's engagement with St. Joseph, the proclamation with closed wings.

Church window: History of the worship of the Marienbild of Mariazell.

Barbara candle (Artillery Memorial).

Church window: History of Mary's image by Maria Pötsch.

Monument to the members of the executive who have fallen.

Church window: History of the wonderful glass window of Absam (Tyrol).

Church window: Rudolf I

Church window: Ferdinand II

Gothic chapel shrine

Holy grave for the last days of Holy Week.

Church window: 23rd Eucharistic Congress in Vienna (1912).

Church window: death in the National Socialist concentration camp Mauthausen.

Baptismal chapel

Baptismal stone of Egyptian marble; tumba by Niklas Graf Salms (Salm tomb).

Church windows: Major Austrian missionaries.

Pulpit

Pulpit of marble; On the gold mosaic of the parapet, the four church fathers and the teaching Savior; at the foot of the pulpit the bust of Ferstel by Viktor Tilgner.

Monument to the Austrian Kaiserschützen Regiments, church Window: Representatives of the Austrian Social Reform (draft by Hans Schweiger).

Cross altar

Church window: left John of God (defense of Vienna against the Turks 1529), right Franz Jägerstätter.

 

Votivkirche (9, Rooseveltplatz; Propsteipfarrkirche „Zum göttlichen Heiland").

Geschichte

Erzherzog Ferdinand Max regte nach der Errettung seines Bruders Franz Joseph I. (Attentat von Johann Libenyi am 18. Februar 1853) durch einen Aufruf den Bau einer Gedächtniskirche an, die 1856-1879 nach den Plänen von Heinrich Ferstel (der bei Baubeginn erst 28 Jahre alt war) samt dem dahinterstehenden Pfarrhaus im Stil französischer Kathedralgotik des 13. Jahrhunderts auf dem Glacis vor dem Schottentor erbaut wurde. Da das Glacis damals noch nicht zur Verbauung freigegeben war, musste die Kirche am äußeren Rand desselben errichtet werden und stand damit einige Jahre später fern der Ringstraße. Rund um den Bau der Kirche gab es eine Reihe unrealisierter Projekte: die halbkreisförmig hinter der Kirche geplante Universität Wien beziehungsweise eine Ruhmeshalle (Wiener Akropolis; realisiert im Arsenal) und das Tegetthoffdenkmal vor der Kirche.

Das Areal wurde am 25. Oktober 1855 definitiv festgelegt, am 24. April 1856 fand die Grundsteinlegung durch Kardinal-Erzbischof Rauscher statt (Gedenktafel), am 18. August 1868 feierte man die Turmvollendung. Die Weihe nahm Kardinal-Erzbischof Kutschker anlässlich der Silberhochzeit des Kaiserpaars am 24. April 1879 vor (Gedenktafel). Die Votivkirche war in der Monarchie (katholisch) Garnisonskirche für Wien (kaiserlicher Entschluss von 1862). Hier nahmen auch alle militärischen Leichenbegängnisse ihren Ausgang. Die Votivkirche ist eines der hervorragendsten Beispiele historisierender Architektur.

Rooseveltplatz – Votivkirche, um 1900

Äußeres

Doppelturmfassade mit drei Figurenportalen und Fensterrose.

Hauptportal

Hauptportal mit reichem figuralem Schmuck von Johannes Benk (Christ-König-Statue inmitten der Apostel, umgeben von Vorbildern aus dem Alten Bund [Abel, Noe, Melchisedech, Isaak, Samson, Aaron, Moses); im Giebel darüber Heilige Dreifaltigkeit (von Josef Gasser), seitlich vier Evangelisten und österreichisch-ungarische Landespatrone (Koloman [Niederösterreich], Vigilius [Südtirol], Ägydius [Kärnten], Josef [Steiermark], Leopold [Niederösterreich], Wenzel [Böhmen], Spiridion [Dalmatien], Michael [Galizien], Georg [Krain], Rochus [Kroatien], Nikolaus von Bari [Venetien], Ladislaus [Siebenbürgen], Justus [Triest], Hedwig [Schlesien], Ruprecht [Salzburg], Johannes Nepomuk [Böhmen]) von Franz Melnitzky und Peter Kastlunger), über der Rosette „Krönung Mariens" von Gasser.

Seitenportale

Reliefs von Gasser („Verkündigung Mariens" [darunter die vier Propheten Jeremias, Isaias, David und Michäas von Anton Schmidgruber ], „Auferstehung Christi" [darunter Namenspatrone der kaiserlichen Familie: Franziskus, Elisabeth und Sophie von Kastlunger]).

Eingangsportale

Die Eingangsportale ins Querschiff sind Gott Vater und dem Heiligen Geist gewidmet. An den Arkadenpfeilern befinden sich acht Propheten beziehungsweise Kirchenväter. Die Kirche erhielt 1967 ein neues Dach aus Eternitplatten.

Inneres

Dreischiffige, kreuzrippengewölbte Basilika, beiderseits vier flache Seitenkapellen; dreischiffiges Querschiff; Chor mit 7/12-Schluss; Kapellenumgang und Kapellenkranz. Die Wand- und Deckengemälde stammen von Joseph von Führich, A. von Wörndle, Carl Jobst und Josef Matyáš Trenkwald. Am Deckengewölbe des Mittelschiffs Stammbaum Christi von Franz Jobst und Carl Jobst. Die Orgel (1874-1878) von E. F. Walcker & Co. (Ludwigsburg) ist das einzige mechanische Werk dieser Größe (3.762 Pfeifen) in Europa (auch Anton Bruckner hat hier gespielt).

Die Glasgemälde der Kirchenfenster, zu denen Trenkwald die Entwürfe geliefert hatte, wurden während des Zweiten Weltkriegs vernichtet und (mit Ausnahme des nach alter Vorlage erneuerten „Kaiserfensters") durch Figuralfenster (zumeist nach Entwürfen von Christine Feldmann) ersetzt (daher finden sich bei den Ersatzfenstern auch Themen, die in die Zeit nach dem Kirchenbau fallen).

Hochaltar

Hochaltar aus weißem Marmor mit sechs ägyptischen Alabastersäulen mit figuralem Schmuck von Gasser, Robert Streschnak und Ferdinand Laufberger (Kardinaltugenden im Gewölbe des Baldachins), Bildnis der Maria, das ein Geschenk von Papst Pius IX. war, in der Mitte des (ständig gesperrten) Kapellenumgangs.

Marienaltar (einst Antwerpener Altar)

Hier stand der Antwerpener Altar (bedeutendstes Werk der flämischen Schnitzkunst des 15. Jahrhunderts; seit 1996 aus Sicherheitsgründen als Leihgabe im Dom- und Diözesanmuseum).

Thema des Kirchenfensters ist die Leidensgeschichte Christi.

„Kaiser-Fenster"

Fenster der Stadt Wien („Kaiser-Fenster"). Das Fenster wurde 1877 von der Gemeinde Wien gespendet und von dieser nach dem Zweiten Weltkrieg erneuert.

Bischofskapelle

Der Altar ist dem Göttlichen Herzen Jesu gewidmet; Grabstätte des Weihbischofs Godfried Marschall (er war der erste Propst der Kirche).

Kirchenfenster: Bischöfe der österreichischen Kirchengeschichte.

Altar der Gottesmutter von Guadelupe.

Kirchenfenster: Geschichte der Verehrung des Marienbilds von Guadelupe.

Flügelaltar

Der aus Zedernholz vom Libanon geschaffene Altar zeigt die Verlobung Mariens mit dem heiligen Josef, bei geschlossenen Flügeln die Verkündigung.

Kirchenfenster: Geschichte der Verehrung des Marienbilds von Mariazell.

Barbarakerze (Artilleristen-Gedächtnisstätte).

Kirchenfenster: Geschichte des Marienbilds von Maria Pötsch.

Denkmal für die im Dienst gefallenen Angehörigen der Exekutive.

Kirchenfenster: Geschichte des wunderbaren Glasfensters von Absam (Tirol).

Kirchenfenster: Rudolf I.

Kirchenfenster: Ferdinand II.

Gotischer Kapellenschrein

Heiliges Grab für die letzten Tage der Karwoche.

Kirchenfenster: 23. Eucharistischer Kongress in Wien (1912).

Kirchenfenster: Todesstiege im nationalsozialistischen Konzentrationslager Mauthausen.

Taufkapelle

Taufstein aus ägyptischen Marmor; Hochgrab von Niklas Graf Salms (Salmgrabmal).

Kirchenfenster: Bedeutende österreichische Missionare.

Kanzel

Kanzel aus Marmor; auf dem Goldmosaik der Brüstung die vier Kirchenväter und der lehrende Heiland; am Kanzelfuß Büste Ferstels von Viktor Tilgner.

Denkmal für die österreichische Kaiserschützen-Regimenter, Kirchenfenster: Vertreter der österreichischen Sozialreform (Entwurf von Hans Schweiger).

Kreuzaltar

Kreuz-Altar.

Kirchenfenster: links Johannes von Gott (Verteidigung Wiens gegen die Türken 1529), rechts Franz Jägerstätter.

www.wien.gv.at/wiki/index.php/Votivkirche

Top Seeds in Full Swing on Day One of ASP4-Star Protest Vendee Pro

 

La Sauzaie(Thursday, April 21, 2011) –The opening day of the Protest Vendee Pro an Association of Surfing Professionals (ASP) sanctioned event saw the Top Seeds step into top gear as Round One and six heats of Round Two were held in rippable 3-4ft peaks at the main event site of La Sauzaie.

 

The huge Easter weekend tides forced a break to proceedings after the completion of Round One early this morning to allow for the afternoon push of the incoming tide. Surfers took full advantage of the clean high-performance conditions and pushed the level of surfing to its limits.

 

Two-time and defending Protest Vendee Pro Champion Joan Duru (Ondres, FRA) 22, advanced through to Round Three with a solid performance in his first appearance at this year’s Protest Vendee Pro. Duru got off the mark in the opening minutes of his 25-minute clash with a series of power-house backhand turns on a clean peak to claim a 7.17 out of 10 and lead the heat from start to finish.

 

“It’s good to start off the heat with a seven because after you can control the heat a little better. The tide is coming in now so it is a lot better than this morning for sure but the sets were changing. One would come in from the left and then another from the right so we had to move to find the good ones but I enjoyed myself out there and it was a good call to wait for this afternoon.”

 

Duru faced a stacked opening encounter that included current Asp European Champion and good friend Marc Lacomare (Hossegor, FRA) 19, who failed to make his entry on time and surfed from the first Round of competition, as well as young Portuguese promise Vasco Ribeiro and Australian Perth Standlick. However it was Lacomare who had the better of the consistent sets pushing in to overcome a late charge from Standlick and the always dangerous Ribeiro.

 

“Mark (Lacomare) forgot to do his entry,” explained Duru. “He got through this morning and we had the heat together which was different in the second round for us. It was a tough heat but because I got a good start it made it easier and in the end we both got through.”

 

Brent Dorrington (Gold Coast, AUS) 24, fresh from last week’s victory in Scotland, kept his form rolling with a mix of powerful carves and vertical turns to claim the highest single wave score a 7.67 out of 10 and win the heat ahead of young up-and-coming Portuguese junior Filipe Jervis.

 

Jervis 20, who led early in the heat, opened his account with a solid 6.67, led early and kept his head to find his back-up score and a pass into the next Round along with Dorrington.

 

“When I looked at the heat list the first time,” began Jervis. “I saw I was up against Brent Dorrington who just won the 6-Star in Scotland and the other guys are also good surfers I knew I had to focus on my surfing and catch the good waves and it happened.”

 

“I went looking for the lefts out there because it is my stronger surfing and I found two not too bad waves and I got through. This wave with the high tide is such a good wave and you can choose between the left and the right so I hope tomorrow there are going to be good waves and I am stoked to be in the next round.”

 

Chris Friend (Sunshine Coast, AUS) 20, relied on a combination of strong forehand smashes and flowing carves to amass a combined two-wave heat total of 14.70 out of 20 to advance in his debut heat at the Protest Vendee Pro.

 

“I surprised myself actually because I went out thinking to get a couple of scores and build on that but I got out there and the waves were fun with good sections and a lot of scoring potencial.”

 

Friend suffered a serious ankle injury late last year and has only started to make a slow come back to the top level of competitive surfing this season. A first timer to Vendee the young natural footer was surprised at the changes in conditions with the tides and the true ambiance of the French way of life.

 

“I have never been in this part of France before and the town is so beautiful that I am just amazed at it. It is crazy how tidal it is on this break. I was planning on riding a 5’6” because how small it looked when I first came down to look at it. Then the tide came in and before you know it there are 3ft waves out there so it is a lot different from the waves we get at home for sure.”

 

Gordan Fontaine (Brittany, FRA) 21, rose to the occasion performing turns and carves in the critical sections of the La Sauzaie peak to secure a heat total of 14.17 and hopes to shrug off his nerves and go on to make a result in the Protest Vendee Pro.

 

“Usually I go into my second heat and I am sometimes not sure if I should be here or not so I will try and go with no pressure this time and try and surf as I did in this first heat.”

 

“I have been coming here for a few years and the French Cup events,” continued Fontaine. “I have been competing on this wave for a long time and I usually get good scores in my heats but in the free-surfs I don’t seem to get any waves so I hope I get the waves in my next heat.”

 

The Protest Vendee Pro, stop nº2 on the Asp Europe Men’s Series, offers surfers valuable ranking points on both the Asp Europe Men’s Series and the Asp World rankings.

 

The Protest Vendee Pro is scheduled from April 21-25, 2011. For more information, and all upcoming results, photos, video highlights, press releases and LIVE webcast log-on to www.aspeurope.com

 

Remaining Protest Vendee Pro Round Two Match-ups

Heat 7: Adrien Toyon (REU), Demitri Ouvre (FRA), Nicholas Squires (AUS), Jayce Robinson (GBR)

Heat 8: Abdel El Harim (MAR), Frederico Morais (PRT), Lars Musschoot (BEL), Alain Riou (PYF)

Heat 9: Lincoln Taylor (AUS), Robertson Goncalves (PRT), Jules Thomet (FRA), Tim Boal (FRA)

Heat 10: Romain Laulhe (FRA), Christophe Allary (REU), Borja Agote (EUK), Hugo Debosc (REU)

Heat 11: Marlon Lipke (DEU), Alexander El Naib (DEU), Tom Cloarec (FRA), Pierre-Valentin Laborde (FRA)

Heat 12: Nic von Rupp (DEU), Adrien Valero (FRA), Vincent Primal (FRA), Nelson Cloarec (FRA)

Heat 13: Mickey Picon (FRA), Yannick de Jager (NDL), Dane Anderson (USA), Leonardo Neves (BRA)

Heat 14: Patrick Beven (FRA), Justin Mujica (PRT), Gregory Pastusiak (FRA), Yassine Ramdini (MAR)

Heat 15: Eneko Acero (EUK), Robertson Goncalves (PRT), Luis Eyre (GBR), Charles Martin (GLP)

Heat 16: Chris Salisbury (AUS), Igor Munian (EUK), Joao Guedes (PRT), Jose Ferreira (PRT)

 

Protest Vendee Pro Round Two Results

Heat 1: Joan Duru (FRA) 13.67, Marc Lacomare (FRA) 11.84, Perth Standlick (AUS) 9.76, Vasco Ribeiro (PRT) 7.07

Heat 2: Txaber Trojaola (EUK) 10.67, Frederic Robin (REU) 9.60, Benoit Potier (FRA) 4.90, Paul Tesson (FRA) 4.17

Heat 3: Gordan Fontaine (FRA) 14.17, Vincent Duvignac (FRA) 9.50, Tristan Guilbaud (FRA) 6.77, Oli Adams (GBR) 4.00

Heat 4: Chris Friend (AUS) 14.70, Hugo Savalli (REU) 9.06, Freddie Meadows (SWE) 7.73, Michael Bailey (USA) 5.87

Heat 5: Brent Dorrington (AUS) 13.50, Filipe Jervis (PRT) 10.67, Romain Cloitre (FRA) 8.73, Anderson Santos (BRA) 7.13

Heat 6: Jatyr Berasaluce (EUK) 10.40, Norman Landa (EUK) 8.17, Ethan Egiguren (EUK), Gregoire Sylvain (FRA) 4.90

 

Protest Vendee Pro Round One Results

Heat 1: Marc Lacomare (FRA) 8.17, Benoit Potier (FRA) 5.57, Emilien Lojou (FRA) 3.97

Heat 2: Oli Adams (GBR) 11.54, Freddie Meadows (SWE) 9.10, Joackim Petersen Guichard (NOR) 9.00, Kevin Lestrade (FRA) 3.73

Heat 3: Brent Dorrington (AUS) 8.63, Ethan Egiguren (EUK) 5.83, Othmane Choufani (MAR) 4.83

Heat 4: Jayce Robinson (GBR) 10.60, Alain Riou (PYF) 10.37, William Aliotti (FRA) 8.43, John Magrath (GBR) 6.03

Heat 5: Tim Boal (FRA) 13.27, Hugo Debosc (REU) 9.33, Pierre Rollet (FRA) 7.23

Heat 6: Pierre-Valentin Laborde (FRA) 8.26, Nelson Cloarec (FRA) 6.17, Harry Timson (GBR) 5.43

Heat 7: Leonardo Neves (BRA) 10.84, Yassine Ramdini (MAR) 6.43, Stuart Campbell (GBR) 6.33

Heat 8: Charles Martin (GLP) 9.17, Jose Ferreira (PRT) 7.13, Luca Petersen Guichard (NOR) 6.50, Didier Pitier (FRA) 5.10

 

Photo Aquashot / ASPEurope.com

To celebrate the completion of the telescope portion of the James Webb Space Telescope (as well as completion of NASA Goddard's test program on the telescope), NASA Goddard employees were invited to come see the telescope up close.

 

In the afternoon, project member spoke to NASA employees about the project. Present was astronomer Dr. Nancy Roman, the first woman to hold an executive position at NASA, she was key to the creation of the Hubble Space Telescope.

 

Credit: NASA/Jolearra Tshiteya

 

a href="http://www.nasa.gov/audience/formedia/features/MP_Photo_Guidelines.html" rel="nofollow">NASA Image Use Policy

 

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Orange contrast lane striping is clearly visible in this aerial photo of a work zone in Fife.

 

The contrast striping was added in this area where both directions of I-5 have been shifted to the right to make room for the work area in the median. Crews are building new bridges as part of the Puget Sound Gateway Program's SR 167 Completion Project. Shifting lanes can leave behind "ghost stripes" that can occasionally make it difficult to clearly see current striping. In addition, many people still drive through fast through work zones, endangering themselves, others and crew. This pilot project will help determine whether orange striping is an effective tool to increase work zone awareness and safety.

 

Washington is only the fifth state to experiment with orange contrast lane striping. We're gathering information about speeds, collisions, work zone intrusions and whether drivers more consistently maintain their lane. The orange lane striping will remain in place through fall 2023.

 

The information we gather will be submitted to the Federal Highway Administration in 2024 to help it determine if orange striping is something that can be used more often across the nation.

This large-scale manuscript contains the first eight Old Testament books, Genesis through Ruth. The date of completion is given, February 2, 1507. The illumination of the Creation within a cosmographic scheme is based in part on the woodcut illustrations of Creation in the 1483 Koberger Bible, and the 1493 Nuremberg Chronicle by the same printer. Large historiated initials mark the beginning of each book. This large format form of the bible was revived in the low countries and Rhineland in the mid fifteenth century, and later in the century they were being made in south east Germany and Bohemia. The style of the miniatures in this manuscript is typical of upper Austrian miniature painting of the later fifteenth century.

 

To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

 

A train used for testing heads north to 69th (view from 79th Street).

 

At four months in and with just a month to go before the completion of the historic Red Line South Reconstruction project and the reopening of service to 95th, we've begun conducting tests on the south end of the route.

 

These photos show signal testing and verification between the 95th/Dan Ryan terminal station and the 79th station, though testing continued through 63rd. Testing will ultimately occur across the entire route in the coming days and weeks.

 

You may be wondering: What's a "test train" and why run them?

 

After a railroad construction project, we and other railroads typically perform rigorous testing and verification work to ensure everything from track geometry to electrical components work just as they should. Test trains will be used not just to verify layout and clearances, but also thoroughly test the function and reliability of signal systems, switches, power delivery and more.

 

Testing on a project this large is done over the course of weeks.

 

As we near project completion, you may see more and more test trains performing various tasks up to and including what'll almost look like full service on the line. This extensive testing is all a part of making sure that, on opening day, you'll have fast, safe, frequent and reliable service to enjoy.

 

Thanks for your patience while we move into this home stretch on the project and prepare bring great service back to this important part of the 'L' system!

 

redlinesouth.com

At the completion of his 1964 All America Season at Cal, Craig Morton held virtually every school record for passing. His then-record 36 touchdown passes, achieved in three seasons and in schedules shorter by one or two games, survived for 25 years after his graduation. In 1964, he won the Pop Warner Award as the most valuable player on the West Coast and was made a first round selection by the Dallas Cowboys in the NFL Draft. He played 18 seasons of pro football for the Cowboys, the New York Giants and the Denver Broncos and was the first quarterback to start for two different teams in the Super Bowl—for Dallas in 1970 and Denver in 1977. Altogether, he played in 11 post season games. At age 38, in his penultimate year as a pro, he still was able to pass for more than 3000 yards and for 21 He was inducted into the Bay Area Sports Hall of Fame in 2009, and his plaque can be found at SFO Gate 80.

 

The Bay Area Sports Hall of Fame, started in 1979 by the San Francisco Chamber of Commerce’s Sports Committee and former president of the San Francisco 49ers, Lou Spadia, honors the Bay Area’s athletic legends. The first Enshrinement Banquet was held in 1980 and honored Bay Area sports legends Joe DiMaggio, Willie Mays, Hank Luisetti, Ernie Nevers and Bill Russell. Each enshrinee receives a bronze plaque of their likeness which is displayed at the banquet and featured in the United Airlines terminal at SFO International Airport before being moved to a permanent location near the stadium, university, golf club, or school they were involved with in the Bay Area.

 

San Francisco International Airport (IATA: SFO, ICAO: KSFO, FAA LID: SFO), located 13 miles south of downtown San Francisco in unincorporated San Mateo County, offers non-stop links with more than 30 international points on 25 international carriers. The Bay Area's largest airport connects non-stop with more than 65 cities in the U.S. on 20 domestic airlines. The airport originally opened on May 7, 1927 as Mills field Municipal Aiport and was renamed San Francisco Municipal Airport in 1931, witht he Municipal replaced by International in 1955.

 

SFO was voted “North America’s Best Airport” in 2008 by passengers for its outstanding customer service and amenities.

 

In 2007, the San Francisco International Airport was ranked #121 on the AIA 150 America's Favorite Architecture list.

Ready for Sundays Cheshire run. Yet again my lads have done another cracking job on this one.

No visit to York would be complete without a walk around the City Walls. At 3.4 kilometres long, the beautifully preserved walls are the longest medieval town walls in England. About 2.5 million people walk along all or part of the City walls each year, enjoying some amazing views. The completion of the entire circuit will take approximately 2 hours. There are five main bars or gateways, one Victorian gateway, one postern (a small gateway) and 45 towers.

 

York City Walls

The city or ‘bar’ walls of York are the most complete example of medieval city walls still standing in England today. Beneath the medieval stonework lie the remains of earlier walls dating as far back as the Roman period.

 

The Roman walls survived into the 9th century when, in AD 866, York was invaded by the Danish Vikings. The Vikings buried the existing Roman wall under an earth bank and topped with a palisade – a tall fence of pointed wooden stakes.

 

The wooden palisade was replaced in the 13th and 14th centuries with the stone wall we see today.

 

The medieval city walls originally included 4 main gates or ‘bars’ (Bootham Bar, Monk Bar, Walmgate Bar and Micklegate Bar), 6 postern or secondary gates and 44 intermediate towers. The defensive perimeter stretched over 2 miles encompassing the medieval city and castle.

 

By the late 18th century, however, the walls were no longer required as defences for the city and had fallen into disrepair. In 1800, the Corporation of York applied for an Act of Parliament to demolish them. In addition to the poor condition of the walls at the time, the narrow gateways of the bars were inconvenient and the walls themselves hindered the city’s expansion.

 

Many other cities, including London, were removing their outdated, medieval city walls at this time. In York, however, the city officials met with fierce and influential opposition and by the mid-nineteenth century the Corporation had been forced to back down.

 

Unfortunately, the call for preservation came too late for some parts of the walls – the barbicans at all but one of the gateways (Walmgate Bar) had been torn down along with 3 postern gates, 5 towers and 300 yards of the wall itself.

 

Since the mid-nineteenth century the walls have been restored and maintained for public access, including the planting of spring flowers on the old Viking embankment. Today the walls are a Scheduled Ancient Monument and a Grade 1 listed building.

 

Bootham Bar

There has been a gateway here for nearly 2000 years - Bootham Bar is on the site of one of the four main entrances to the Roman fortress.

The existing structure is not Roman but it has been around for quite a while. The archway itself dates from the 11th century and the rest of the structure is largely from the 14th century. In 1501 a door knocker was installed as Scots were required to knock first and seek permission from the Lord Mayor to enter the city.

The bar was damaged during the siege of York in 1644. Like Micklegate Bar, it was sometimes used to display the heads of traitors, the heads of three rebels opposing Charles II’s restoration were placed here in 1663.

Bootham Bar was the last of the gates to lose its barbican, demolished in 1835.

 

Fishergate Bar

1315AD - 1487AD

Fishergate Bar is one of six gateways in the city walls. It faces South towards Selby. Nearby used to be the large flooded area known as the King’s Fishpond.

‘Barram Fishergate’ is the first documented reference to the bar, in 1315. A central stone above the archway reveals the date of the current bar. It contains the York coat of arms and an inscription which reads:

‘A.doi m.cccc.lxxx.vii Sr Willm Tod knight mayre this wal was mayd in his days lx yadys’

This tells us that sixty yards of the wall, including the bar, was built in 1487 under Sir William Tod, mayor of York.

But just two years later, in 1489, Fishergate Bar suffered considerable damage in the Yorkshire peasants’ revolt against Henry VII. The rebels burned the gates of the bar after murdering the Earl of Northumberland. The gateway was bricked up soon after and wasn’t re-opened until 1834, to give better access for the cattle market.

 

Micklegate Bar

Micklegate Bar was the most important of York’s four main medieval gateways and the focus for grand events. The name comes from 'Micklelith', meaning great street.

It was the main entrance to the city for anyone arriving from the South. At least half a dozen reigning monarchs have passed through this gate and by tradition they stop here to ask the Lord Mayor's permission to enter the city.

The lower section of the bar dates from the 12th century, the top two storeys from the 14th. The building was inhabited from 1196. Like the other main gates, Micklegate Bar originally had a barbican built on the front, in this case demolished in 1826.

For centuries the severed heads of rebels and traitors were displayed above the gate, the many victims include Sir Henry Purcey (Hotspur) in 1403 and Richard, Duke of York in 1460. The last of the severed heads was removed in 1754.

 

Monk Bar

Monk Bar is the largest and most ornate of the bars, it dates from the early 14th century. It was a self-contained fortress, with each floor capable of being defended. On the front of the bar is an arch supporting a gallery, including 'murder-holes' through which missiles and boiling water could be rained down upon attackers.

Monk Bar has the city’s only working portcullis, in use until 1970. Like the other main gateways, Monk Bar originally had a barbican on the front. This was demolished in 1825.

The rooms above the gateway have had various uses over the years, including as a home and as a jail for rebellious Catholics in the 16th century.

 

The Red Tower

1490AD - 1491AD

The Red Tower, built in 1490, forms the only brick section of York’s famous city walls. Because it was built of brick its construction did not sit well with the local stone masons. So much so that it was the cause of dispute, and even murder.

The masons who worked on the majority of York’s walls and buildings were unhappy about the employment of tilers to build the Red Tower; their unhappiness led to them attempting to sabotage the building of the tower. The tilers had to ask for protection from the city council to stop the masons from threatening them and breaking their tools.

This protection made little difference, however. In 1491, the tiler John Patrik was murdered. Two leading masons, William Hindley and Christopher Homer, were charged with the murder but quickly acquitted.

The first recorded use of the name “The Red Tower” was in 1511, presumably in reference to its red brick colour rather than its bloody past.

Despite forming an important and unique part of the city walls, the Red Tower fell quickly into disrepair. It had to be repaired multiple times, notably in 1541 and 1545, and was in ruins by 1736. It was roughly restored in 1800 and became known as ‘Brimstone House’ – probably a reference to its former use as a manufactory for gunpowder. It has two storeys, and a garderobe. The way that the tower appears now is thanks to G F Jones’ restorations in 1857-8.

 

Walmgate Bar

Walmgate Bar is the most complete of the four main medieval gateways to the city, it is the only bar to retain its barbican, portcullis and inner doors.

Its oldest part is a 12th century stone archway, the walled barbican at the front dates from the 14th century, the wooden gates from the 15th century and the timber-framed building on the inside from the 16th century.

It was burned by rebels in 1489 and battered by cannon during the siege of 1644.

 

Baile Hill

William the Conqueror ordered two castles to be built in York, one on either side of the River Ouse.

They formed a defensive system in response to the recent violent unrest.

'York Castle' was later reinforced and eventually rebuilt in stone and so now appears much more substantial. But originally both castles were of a similar size and layout.

Baile Hill is the name given to all that remains of York's other castle. It was the man-made mound, or motte, of the castle.

Excavations in 1979 revealed remains of timber buildings and a strong fence at the summit of the mound, together with a staircase up one side. The surrounding bailey was defended by a bank of earth built on top of the original Roman city wall.

 

Barker Tower

This river-side tower was built in the 14th century. It was positioned at the boundary of the medieval city-centre and, in conjunction with Lendal Tower on the opposite bank, was used to control river traffic entering the city. A great iron chain was stretched across the river between the two towers and boatmen had to pay a toll to cross it. The chain also served as a defence for the city. As early as 1380 Thomas Smyth was named as the tower’s ‘keeper of the chain’.

For boats coming downstream it would be the second toll in quick succession; St Mary's Abbey had its own tower and toll collection system a little further up the river.

 

Barker tower was leased for long periods to various ferrymen (and at least one woman) who ran passengers across the Ouse until Lendal Bridge was built in 1863. The ferry ran 'in summer and winter, fair weather and foul, Sundays and weekdays'.

 

The ferry was put out of business when Lendal Bridge opened in 1863. The tower has had plenty of other uses over the years, including as a mortuary for a brief time in the 19th century.

 

15.12.2018 8th plenary meeting of the CMP (upon completion of CMA plenary)

The horizon was lit with a 360 degree sunset, as the sun is still blacked out overhead.

"IF WE COULD PUT SURVEILLANCE INTO A PACKAGE, we would send it to you."

 

subvertising campaign inspired byhttps://berlinvsamazon.com/

to draw attention to four specific Amazon practices: exploitation of workers, mass surveillance by data tracking, tax evasion and gentrification. Amazon avoids paying tax in the countries that it operates by being registered offshore and Berlin has recently seen a series of protests against the construction of Amazon Tower, which will be the highest building in Berlin by it’s completion in 2023. The designs of those posters were planned together with different groups of data activists including Tracking Exposed tracking.exposed/ and also thanks to HackMeeting, the italian gathering of hackLabs hackmeeting.org/

All designs are free of copyright in freedownload stealthisposter.org/

installed in Berlin all around Kreuzberg, Hermannplatz, Warschauer straße by StayCyborg a new born collective of data activists for the hijacking of new technologies and the reappropriation of the futures.

 

/// Design by Hogre & Doublewhy ///

Des Moines, Iowa-based artist Gary Keenan moved nearer to completion on his bear carving in front of Wingo Hall at the University of Central Arkansas on Thursday. The large carving, done with a myriad of chainsaws, will be receiving a coat of stain to make its coloring closer to that of an actual bear.

Built in 1928-1930, this Art Deco-style building was designed by Graham, Anderson, Probst and White for Marshall Field and Company, and is known as Merchandise Mart, housing multiple retail and wholesale operations on the former site of a train yard, with the massive structure occupying an entire city block. The building consists of a bulky and boxy eighteen-story block, with a tower in the center of the facade facing the Chicago River extending beyond the primary roofline of the building an additional seven stories, making the building 25 stories and 340 feet (103 meters) tall. The building consolidated thirteen wholesale warehouses, and was the largest building in the world by floor area when it opened in 1930, holding the distinction until the completion of the Pentagon in Arlington, Virginia in 1943. The building was built with a concrete and steel structure, being built utilizing methods and materials previously reserved for larger infrastructure projects like hydroelectric dams. The building was purchased in the mid-1940s by the Kennedy family of Boston, whom owned it for over half a century, and utilized the proceeds from their ownership of the building to build their wealth and fund their political ambitions. In 1998, the building was sold by the Kennedy family to the Vornado Realty Trust.

 

The building features multiple octagonal towers, with a large tower in the center of the facade facing the Chicago River that features the tallest portion of the building, and smaller towers at the corners of the building and ends of the rooftop penthouse, which are topped with octagonal copper hipped roofs, and feature setbacks as they rise, increasing in frequency towards the top of the towers. The building’s facade is relatively vertical up to the fifteenth floor, with setbacks of the facade of the main block at the sixteenth and eighteenth floors, and similar setbacks of the corner towers, as well as the nineteenth floor of each tower. The building’s limestone facade is broken up by vertical window bays with one-over-one windows, with copper spandrel panels between windows on the fourth through fourteenth floors and sixteenth and seventeenth floors, as well as decorative pilasters, belt coursing, and sculptures. The base of the building’s facade features tall storefronts that have spandrel panels and are separated by fluted pilasters, and are as wide as two window bays on the upper floors. The window bays at the top of the building feature chamfered corners, with the building being crowned with decorative trim atop the parapets that enclose the large low-slope roof of the building, and trim around the base of the copper hipped roof on the towers. The building’s main entrance, at the base of the largest tower and facing the Chicago River, is recessed at the rear of a portico, and features a tall curtain wall above three revolving doors, with two lower alcoves to either side. The building’s main tower once featured 56 terra cotta busts depicting Native American chiefs, commemorating the site’s early heritage as a trading center, which were removed in a renovation in 1961. Inside, the building features approximately 7 miles of corridors, with a lobby featuring a high ceiling, fluted rectilinear marble columns, a terrazzo floor, decorative murals around the base of the ceiling, marble cladding on the walls with granite base, bronze Art Deco-style elevator doors, large showrooms for furniture and interior design firms, office space, and multiple restaurants. The building’s major common areas generally maintain their original character, with the showrooms having been modernized and adapted to different tenant needs over time.

 

The building has continued to adapt to new tenants over time, with a modern annex building known as 350 North Orleans, or the Chicago Apparel Center, being built on the block to the west in 1977, designed by the notable firm of Skidmore, Owings and Merrill, which is connected to the original building by an enclosed walkway over the street built in 1988 and designed by Helmut Jahn. The building underwent a major renovation in the 1980s that updated and modernized various building systems, and between 1989 and 1991, saw the restoration and rehabilitation of the facade and major interior common areas under the direction of the firm Beyer Blinder Belle. The building also has its own transit stop of the Chicago Transit Authority L, presently served by the Brown and Purple lines, one of only two commercial properties to have their own stop on the rapid transit system, with the building having housed the main offices of the Chicago Transit Authority from 1947 until 2004. The management of the building in recent decades has implemented many green energy and sustainable practices into the operations of the building, achieving the LEED existing buildings Silver certification in 2007. The building continues to house retail, wholesale, and office space, today still being one of the largest buildings in central Chicago.

A Corporate Social Responsibility (CSR) Initiative with Ricoh Innovations Pvt. Ltd in Bangalore by www.trinitycarefoundation.com/csr for a Government High School.

 

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Three of the model homes in the new Cobblestone subdivision are nearing completion, at least on the exterior. The roofs are in place on two of them. I took this photo from near the main entrance on McIntosh Road in Sarasota.

 

I suspect that the electric power lines are temporary. Most new subdivisions have underground electric service.

Completions team looking at Willow Building (C) aka Lewis Building.

Bullocks Wilshire was first just going to be a new branch for the downtown Bullock's Department Store. It quickly transformed into the most high-end department store in Los Angeles and ultimately became its own high-end chain. Death came knocking in the late 1980s when department store shares turned into junk bonds. Bullocks Wilshire was ultimately acquired by Macy's (pre-Federated) and changed into I. Magnin (which also ultimately died). This store closed in 1993. It was acquired by the Southwestern Law School in 1994. In one of the greatest adaptive reuses in department store history it was transformed into classrooms, office space, and a library. All keeping the original details and ornament. Here's to Southwestern!!

 

The store was designed by John and Donald Parkinson (they designed most of the architecturally significant buildings in the city); it was completed in 1929. The tower tops out at 241 f eet.

 

The building is not truly open to architectural tourists but if you're nice enough they don't mind you going in to see the more public spaces. (And I got a coffee cup with an image of the department store!!).

 

On the National Register #78000685.

Congrats to Richard Williams, Norman Clarke & Dave Coggins!

Obelisk commemorating the completion of the Newkirk Viaduct (Grays Ferry Bridge). See description of the set for the full engraved text.

 

The east (primary) face of the obelisk:

 

PHILADELPHIA WILMINGTON AND BALTIMORE RAILROAD

COMPANY

 

President

MATTHEW NEWKIRK

 

Vice President

JACOB J COHEN JR

 

Directors

 

Philadelphia Baltimore Matthew Newkirk JJ Cohen Jr John Hemphill Chas F Mayer John Connel John McKim Jr Wm 0 Lewis James Swan Wilmington WA Patterson James Canby Delaware James Price Thomas Smith David C Wilson Chester James A Bayard Solicitor William Chandler Samuel Edwards

  

Secretary JAMES WILSON WALLACE WILLIAM P BROBSON Ass t Treasurer ALLAN THOMSON AUBRY H SMITH Ass't

Bro. Nathan Hachey was initiated, and advanced to the honourary Degree of a Mark Master Mason by Phoenix Chapter No. 34, Cookstown, ON.

 

Lapis reprobatus caput anguli[the] stone [which was] rejected [has become] the head[stone] of the corner [Acts 4:11]

 

en.m.wikipedia.org/wiki/Order_of_Mark_Master_Masons

 

Probably the most beautiful symbol of Freemasonry is that of the Keystone!

 

It does not appear in the symbolism of the Lodge, but is reserved for those degrees dealing with the Chapter and, its symbolism, where it is found in all but one of the degrees of that system. The reason for its absence in lodge symbolism is that the lodge deals with preparation for eternal life, whereas the Chapter deals with the completion.

 

Keystone Symbol - The Keystone is the symbol of completion.

 

For all practical purposes the Keystone is the last stone placed in the arch, and as such represents completion. The placing of the Keystone in the symbolic arch of the Chapter, represents the completion of the individual Temple which each craftsman is erecting.

 

True, the Temple material was destroyed, but it was only the symbol of the Spiritual Temple which can never be destroyed. Royal Arch Masonry efforts are towards building spiritual Temples and its ceremonies, its legends, and its teachings, while beautiful in themselves, are there for the sole purpose of teaching great spiritual truths.

 

Our spiritual Temple can be completed only by death, the great leveller, but if that Temple be built by plumb line, by level, and by square, we are taught that its foundations shall never crumble nor decay, and that when we have reached “that bourne from which no traveller returns” we may enjoy the fruits of our labours here on earth throughout the endless eons of time.

 

And we may add again, the Keystone, the emblem of completion, is the outstanding symbol of Masonic teaching!

 

Cookstown Masonic Temple.

 

THE WAGES OF AN ENTERED APPRENTICE - June 09, 1958

 

PRESENTED TO: PORT ARTHUR LODGE A.F. & A.M. No. 499 BY HORNEPAYNE LODGE A.F. & A.M. No. 636

THUNDER BAY, ONTARIO.

 

THE WAGES OF AN ENTERED APPRENTICE

 

The catechisms of the Craft and the conventional lecture on the Tracing Board of the Second Degree, all of which speak with that authority that belongs to age, tell us that the wages of an Entered Apprentice are Corn, Wine and Oil. Sometimes it is added that he received Corn for food, Wine for nourishment, and Oil for comfort. The broad difference that was thought to be set up between the Apprentice and the Fellowcraft apparently was that the Fellowcraft was paid in coin while the apprentice was paid in kind. I fear it would be difficult to produce any authority for this, and probably the distinction between the liaisons of the two degrees is the invention of some imaginative brother who may have got the hint from a practise that was not uncommon among early operatives. Two or three centuries ago the conditions of labour were laid down as firmly as they are today by our powerful trade unions. A master could not employ more than a certain very limited number of apprentices - often the number was restricted to one - and these apprentices were taken bound to serve their masters for a period of seven years. Not infrequently, alike in mason and other trades, the apprentice went into residence with his master and during the early years of his apprenticeship received no remuneration except board and lodging. Only when he became a journeyman, or Fellowcraft, and was free from the master who had taught him his business, was he entitled to wages in the form of cash. If, as it is possible, some elaborator of Freemasonry, got the hint here as to the remuneration of an apprentice one can easily understand that commonplace language such as “board and lodging” would not appeal to him, and that he would seek to ornament the matter with just such combination of words as “Corn, Wine and Oil.”

 

One of the traditions of the craft, dearly beloved by uncritical Freemasons, says that the whole number of workmen engaged on the Temple at Jerusalem amounted to 217,281 persons, and that of these 80,000 were Fellowcraft and 30,000 were Entered Apprentices - the latter of whom were arranged into one hundred lodges with three hundred members in each. This immense multitude was paid weekly on the sixth day of the week; and one tradition solemnly asserts that the 80,000 Fellowcraft toiled up the Winding Stair to the Inner Chamber to receive their wages. Mackey tells us in this “Lexicon” that the Fellowcraft “were paid in corn, wine and oil”, and the authors of “The Reflected Rays of Light upon Freemasonry” adopting the same view say “What could be more absurd than to believe that eighty thousand craftsmen had to ascend such a stair, to the narrow precincts of the Middle Chamber to receive their wages in Corn, Wine and Oil? “It is very evident that Mackey and the authors of “Reflected Rays” have misread the Lecture on the Second Tracing Board. It was the Entered Apprentice who received the corn, wine and oil and wherever he got it, he did not receive it in the Inner Chamber. To gain access to that apartment a workmen required the pass-grip and pass-word of a Fellowcraft, and it is obvious that no Entered Apprentice could have possessed these.

 

One may pause here for a moment to remark that according to another tradition, all the workers of every degree were paid in current coin. The total wage bill is alleged to have amounted to about £140,000,000 sterling, and it was distributed among the craftsmen on a progressive scale which was quite obviously adjusted on the principle of the more honour the more pay. At the one end of the industrial line stood the humble Entered Apprentices who received one shekel, or about 2s 3d of English money (.50) per day, while at the other end, was the Super-Excellent Mason who received 81 shekels per day, equal to about £9 2s 3d sterling (One Masonic author very generously described this as “only a fanciful speculation of some of our ancient brethren, “and we may return, therefore, to our Corn, Wine and Oil.

 

If I am right in my theory that the wages of an Entered Apprentice in Speculative Freemasonry were suggested by the board and lodging which were the reward of the operative youth while learning t his trade, I think it is clear that the person who fixed to Wages of the Speculative A found his material in the Volume of the Sacred Law. We read in the Second Chapter of the Second Book of Chronicles that when Solomon appealed to the King of Tyre for assistance in building the Temple, he said, “Behold, I will give to thy servants, the hewers that cut timber twenty thousand measures of beaten wheat, and twenty thousand measures of barley, and twenty thousand baths of wine, and twenty thousand baths of oil.” The offer of Solomon was accepted by the King of Tyre who replied “now, therefore, the wheat, and the barley, the oil and the wine, which my lord hath spoken of, let him send unto his servants; and we will cut wood out of Lebanon as much as thou shalt need.” The account preserved. In the 5th Chapter of the first book of Kings, indicates that the gifts were made annually to Hiram’s work people, but there is a discrepancy as to the amount. In 1st Kings the Wines is omitted, and the oil is set down as “twenty measures” equal to about 1340 gallons, whereas the 20,000 baths of 2nd Chronicles were more than ten times as much, being the equivalent of about 165,000 gallons.

 

Old Sheckels:

www.flickr.com/photos/21728045@N08/31064028256/in/datepos...

 

www.flickr.com/photos/dynamosquito/5723176457/in/photolis...

 

THE WAGES OF A FELLOW CRAFT MASON

 

From The Grand Lodge Of Texas

 

During the second section of the Fellow Craft Degree, the new initiate is presented with the wages of a Fellow Craft Mason. He is told the reward for the Freemason who has observed the moral and divine law and not wasted his time in idleness or vice is to be corn, wine and oil. Such wages were indeed true in ancient days when corn, wine and oil represented wealth and were used for money. The Fellow Craft Mason received these wages, not in a literal sense, but symbolically.

 

In ancient days, "corn" was not what we think of as corn today. Instead it was a grain, such as wheat or barley, which was called corn. Thus, an ear of grain (corn) represents plenty. It is also a symbol of nourishment.

 

Wine is mentioned in Psalms 104 as something "that gladdens the heart of man" and, as such, can symbolize health and refreshment of body and spirit. On another level, wine can represent the completed and perfected human life. Wine starts as an inferior juice when newly pressed from the grape, representing youth or immaturity. But with time and through fermentation, it can become a completed product, wine. Wine represents the maturity of mind and spirit we should strive to obtain in our relationship with God, while the fermentation process symbolizes the struggles of life we encounter in developing that relationship.

 

The oil is olive oil, which was a necessity in ancient times as it served multiple purposes. It was used in the preparation of food, served as a medicine both internally and externally, and provided a source of light in the ancient oil lamps. In this view, oil can represent nourishment, health, and peace. As a food item, oil symbolizes nourishment for our physical bodies but also the moral development we as Freemasons should be striving to obtain. As a medicine or remedy, it represents physical health and the spiritual health (or joy) we obtain in our relationship to God. As a source of light, oil represents the physical and spiritual peace we obtain by overcoming the vices of life.

 

Taken as a whole, the corn, wine and oil represent both the physical and spiritual nourishment, refreshment and joy the Freemason receives for living an industrious life devoted to the service of God and his fellowman. The faithful Fellow Craft Mason is assured that his wages, his reward, shall not be just sufficient but plentiful to supply all of his physical, moral, and spiritual needs. He will have health of body, mind, and soul. He will enjoy peace in this life, in the hour of death, and in the life to come.

 

The Grand Lodge of Scotland

 

MASTER'S WAGES

 

It is rewarding to know that we as Freemasons can answer the

question as to what induced us to become Master Masons, and one answer, of course, is to receive Master's Wages.

 

Our Operative Brethren received their Master's Wages in coin of the realm. Speculatives content themselves with intangible wages, and occasionally some are hard pressed to explain to the wondering initiate just what, in this practical age, a "Master's Wages" really are.

 

The wages of a Master may be classified under two heads: first,

those inalienable rights which every Freemason enjoys as a result of payment of fees, initiation and the payment of annual dues to his Lodge; second, those more precious privileges which are his if he will but stretch out his hand to take.

 

The first right of which any initiate is conscious is that of

passing the Tyler and attending his Lodge, instead of being

conducted through the West Gate as a preliminary step to initiation. For a time this right of mingling with his new brethren is so engrossing that he looks no further for his Master's Wages.

 

Later he learns that he has also the right of visitation in other

Lodges, even though it is a "right" hedged about with restrictions. He must be in good standing to exercise it.

 

Generally this right of visiting other Lodges is a very real part of

what may be termed his concrete Master's Wages, and many are the Freemasons who find in it a cure for loneliness in strange places; who think of the opportunity to find a welcome and friends, where otherwise they would be alone, as wages of substantial character.

 

The opportunities to see and hear the beautiful ceremonies of

Freemasonry, to take from them again and again a new thought, are wages not to be lightly received. For him with the open ears and the inquiring mind, the degrees lead to a new world, since familiarity with ritual provides the key by which he may read an endless stream of books about Freemasonry.

 

"Master's Wages" are paid in acquaintance. Unless a newly made Master Mason is so shy and retiring that he seeks the farthest corner of his Lodge-room, there to sit shrinking into himself, inevitably he will become acquainted with many men of many minds, always an interesting addition to the joy of life. What he does with his acquaintances is another story, but at least wages are there, waiting for him. No honest man becomes a Freemason thinking to ask the Craft for relief. Yet the consciousness that poor is the Lodge and sodden the hearts of the brethren thereof from which relief will not be forthcoming if the need is bitter, is wages from which much comfort may be taken.

 

Freemasonry is not, per se, a relief organisation It does not exist merely for the purpose of dispensing charity. Nor has it great funds with which to work its gentle ministrations to the poor.

 

Fees are modest; dues often are too small, rather than too large. Yet, for the Brother down and out, who has no fuel for the fire, no food for his hungry children, whom sudden disaster threatens, the strong arm of the fraternity stretches forth to push back the danger. The cold are warmed, the hungry fed, the naked clothed, the jobless given work, the discouraged heartened. "Master's Wages" surely far greater than the effort put forth to earn them.

 

Freemasonry is strong in defence of the helpless. The widow and the orphan need ask but once to receive her bounty. All Brethren hope to support their own, provide for their loved ones, but misfortune comes to the just and the unjust alike. To be one of a world-wide Brotherhood on which widow and child may call is of untold comfort, "Master's Wages" more precious than coin of gold.

 

Finally, it is the right of Mason's burial. At home or abroad a

Freemason, known to desire it, is followed to his last home by

sorrowing Brethren who lay him away under the apron of the Craft and the sprig of Acacia of immortal hope. This, too, is "Wages of a Master".

 

"Pay the Craft their Wages, if any be due."

 

To some the practical wages mentioned are the important payments for a Freemason's work. To others, the more tangible but none the less beloved opportunities to give, rather than to get, are the "Master's Wages" which count the most.

 

Great among these is the Craft's opportunity for service. The world is full of chances to do for others, and no man need apply to a Masonic Lodge only because he wants a chance to "do unto others as he would that others do unto him". But Freemasonry offers peculiar opportunities to unusual talents which are not always found in the profane world.

 

There is always something to do in a Lodge. There are always

committees to be served and committee work is usually thankless work. He who cannot find his payment in his satisfaction of a task well done will receive no "Master's Wages" for his labours on Lodge committees.

 

There are Brethren to be taught. Learning all the "work" is a man's task, not to be accomplished in a hurry. Yet it is worth the doing, and in instructing officers and candidates many a Mason has found a quiet joy which is "Master's Wages" pressed down and running over.

 

Service leads to the possibility of appointment or election to the

line of officers. There is little use to speak of the "Master's

Wages" this opportunity pays, because only those who have occupied the Oriental Chair know what they are. The outer evidence of the experience may be told, but the inner spiritual experience is untellable because the words have not been invented. But Past

Masters know! To them is issued a special coinage of "Master's

Wages" which only a Worshipful Master may earn. Ask any of them if they were not well paid for the labour.

 

If practical "Master's Wages" are acquaintance in Lodge, the

enjoyment of fellowship, merged into friendship, is the same payment in a larger form, Difficult to describe, the sense of being one of a group, the solidarity of the circle which is the Lodge, provides a satisfaction and pleasure impossible to describe as it is clearly to be felt. It is interesting to meet many men of many walks of life;

 

it is heart-warming continually to meet the same group, always with the same feeling of equality. High and low, rich and poor, merchant and farmer, banker and fisherman, doctor and ditch-digger, meet on the level, and find it happy - "Master's Wages", value untranslatable into money.

 

Finally - and best - is the making of many friends. Thousands of

Brethren count their nearest and dearest friends on the rolls of the Lodge they love and serve. The Mystic Tie makes for friendship. It attracts man to man and often draws together "those who might otherwise have remained at a perpetual distance". The teachings of brotherly love, relief and truth; of temperance, fortitude, prudence and justice; the inculcation of patriotism and love of country, we everyday experience in a Masonic Lodge. When men speak freely those thoughts which, in the world without, they keep silent, friendships are formed. Count gain for work well done in what coin seems most valuable; the dearest of the intangibles which come to any Master Mason are those Masonic friendships of which there are no greater "Master's Wages".

 

Map: www.flickr.com/photos/internetarchivebookimages/147770369...

 

Portable Masonic Wages - Phoenix Masonry

 

A portable leather case of corn, wine and oil is symbolic of the wages paid to a Fellow Craft Mason as he makes his way or "passes" through the middle chamber. The "corn, wine, and oil are emblematical of nourishment, refreshment and joy and teach us this important lesson... that we should be ever-ready to nourish the needy, refresh the destitute, and pour the oil of joy in the hearts of the afflicted."

 

The corn in the Masonic rituals is a synonym of grain or wheat. In ancient rituals was used as an emblem of the Greek goddess

Demeter, or of the Roman Cybelis. Both female figures were conceived as appearances of the Mother Earth. In Greek pottery someone can see that in festivities in honour of Demeter the priests and the faithful were crowned with ears of wheat. This symbolized the fertility of the earth, which with the grain gives the bread to the mankind. Thus was corn or grain according to this symbolism the personification of the idea of plenty, abundance, and due to the divine intervention promised fertility.

 

Following the same religious beliefs was wine the symbol of Greek God Dionysos. By drinking the wine the Dionysiac priests and initiated participants to the Bacchical mysteries were able to come to the psychic condition of "methexis" - a condition of holy madness -, so they could play the drama of ritual death and rebirth of Dionysos. The wine helped them to loose their identity and come as divine actors to a psychological situation, under which they understood hidden truths and the divine allegory by using their feelings and insights rather than their intellect. The wine was seen

as a symbol of joy, exaltation ,and as a mean towards the initiation through the emotion and the instinct, by acting in Bacchical rituals, after having eliminated the logic.

 

The oil was, as an extract of the olive fruit, a reward of the

Greek goddess of knowledge Athena - Pallas, who had as emblem, among others, the olive-tree. One of the principal uses of oil was to bring the light in homes, so it was seen in its more esoterical significance as a symbol of spiritual Enlightenment, in other words as a symbol of the eternal lantern of divine knowledge. In the same meaning was the oil a symbol of peace through Enlightenment. Plants of the olive tree were given as a reward to the winners of the Olympic games, during which every war must be breached. Thus Athena brought to

the faithful with the present of oil the reward of hidden knowledge, enlightenment and peace.

 

In the Biblical symbolism the three products possessed a similar meaning and significance to this of the Greco-roman world. King Solomon gave corn, wine and oil to the builders of the Temple as a reward for their labors. The ear of corn together with the flood of water personifies in the Hebrew word Shibboleth the abundance and wealth. The wine was seen as an element of consecration and a divine refreshment. The Hebrews anointed their Kings, Prophets and High Priests with oil mixed with other spices, because the oil was the major element of the ceremony, which was leading towards the path of the divine initiation.

 

In the Christian symbolism the corn refers to the bread and this

last one makes someone remember of the body of Jesus Christ in the Eucharist, as well as the wine refers to the blood of him. The oil symbolizes the Baptism. The three substances are the most significant of the Christian initiation. In Christian Masonic

degrees these three rewards of the Mason bring with them the

remembrance of the Holy Passion and the promise of the Resurrection.

 

According to all above mentioned symbolical languages the Mason receives as a reward for his labors in the Lodge the present of grain, because he fertilized himself and all other Masons by working in the building of himself and the building of the Temple. He receives the wine to remember that through his emotion and instinct conquered the hidden knowledge by playing in the rituals the passions of God his symbolical murder and his eternal rebirth. Thirdly, he receives the oil to remember that he achieved at the end of the road the spiritual enlightenment, the baptism, and his inner peace as a reflection of the eternal peace of God.

 

Mark Master Degree - Its Ritual and Antiquity

 

R. E. Trebilcock

 

RITUAL OF THE MARK MASTER DEGREE

 

The degree of Mark Master has continued with as few changes as any Masonic degree of which we have knowledge. It is impossible for anyone to specify accurately what the ritual consisted of previous to 1797, but in that year, Thomas Smith Webb issued the first complete Masonic Monitor which included the Capitular degrees.

 

We have before us, as we write, this first edition of Webb; in it he says of the degree:

 

The first section explains the manner of convocating and opening a Master Mark Lodge. It teaches the duties of the respective officers, and recapitulates the mystic ceremony of introducing a candidate. In this section is exemplified the regularity and good order that was observed by the craftsmen on Mount Libanus, and in the plains and quarries of Zeredathah, and ends with a beautiful display of the manner by which one of the principal events took place.

 

In the second section, the Master Mark Mason is particularly instructed in the history of this degree, and the increased obligation he is under to stretch forth his assisting hand to the relief of an indigent and worthy brother.

 

The distinguishing marks and characteristics are also explained and illustrated in this section. In the course of the lecture the following texts of Scripture are recited, viz.:

 

Then follow five quotations taken from Psalms, Matthew, Mark, Luke, and Acts all having to do with the "stone which the builders rejected." In many jurisdictions this has been changed by using quotations which are not so monotonous, since references are made throughout the degree to the same passages.

 

The Charge which follows is identical with that in use to this day; the Parable of the Vineyard occupied an important place; and the Mark Master Song, as now used, was printed in full.

 

The degree of Mark Master in 1797 is that of 1964!

 

THE SCRIPTURE USED IN MARK DEGREE

 

Quotations from the Scriptures appear very prominently throughout the ritual of the Mark Master degree, beginning with the opening and appearing also in the closing ceremonies.

 

These include extracts from I Peter, Ezekiel, Isaiah, Revelations, Matthew and Proverbs. In a few instances not all of the verse has been used, to enable it to fit into the ritual ceremony. A few changes are necessary so as to be inoffensive to any religious belief.

 

An instance of this appears in the opening ceremonies as taken from I Peter:

 

Wherefore, laying aside all malice, and all guile, and hypocrisies, and envies, and all evil speakings; if so be ye have tasted that the Lord is gracious; to whom coming, as unto a living stone, disallowed indeed of men, but chosen of God, and precious; ye also as lively (changed to "living") stones, be ye built up a spiritual house (change to "are built up, etc.), an holy priesthood, to offer up spiritual sacrifices acceptable to God by Jesus Christ. ("by Jesus Christ" stricken out to make acceptable to Hebrew and Moslem.)

 

Verse 3 is omitted entirely, having no connection with the ritual. Instead of continuing to quote from Peter, the next section jumps over to Isaiah 28:16:

 

Therefore thus saith the Lord God (changed to "Wherefore, also it is contained in the Scripture")

 

Behold, I lay in Zion for a foundation a stone, a tried stone, a precious cornerstone, a sure foundation; he that believeth shall not make haste to pass it over. ("to pass it over" is stricken out in the ritual.)

 

And there are changes made in verse 7 of I Peter, 2:

 

Unto you therefore which believe he is precious (ritual reads "it is an honor") but unto them which be disobedient (ritual says "and even to them which be disobedient,"), the stone which the builders disallowed, the same is made the head of the comer.

 

And jumping to verses 15-17 of the same chapter, we read:

 

For so is the will of God (the ritual says "Brethren, this is the will of God"), that with well doing, ye may put to silence ("may" is left out of the ritual), the ignorance of foolish men: as free, and not using your liberty for a cloke (spelled cloak in ritual), of maliciousness, but as the servants of God. Honour all men. Love the brotherhood. Fear God. Honour the King. (The ritual says: "Honor all men; love the brotherhood; fear God.")

 

The Scripture of the perambulations is taken from Ezekiel 44, verses 1, 2, 3, and 5, and there is no change in the ritual from that of the Scripture. These passages refer to the vision of Ezekiel, to understand which we must refer to Ezekiel 40 v. 2-3:

 

In the visions of God brought he me into the land of Israel, and set me upon a very high mountain ... and he brought me thither, and behold, there was a man whose appearance was like the appearance of brass ... and he stood in the gate (of the City of Jerusalem).

 

The "man" thereupon conducted him about the Temple giving information and instruction to Ezekiel, when, finally,

 

He brought me back the way of the gate of the outward sanctuary which looketh toward the east; and it was shut.

 

Then follows verses 2, 3, and 5, omitting 4, which has no connection.

 

We encounter in the ritual, the following:

 

what you give, give freely, for the Lord loves a cheerful giver.

 

The passage is taken from II Corinthians 9:7:

 

Every man according as he purposeth in his heart, so let him give; not grudgingly, or of necessity: for God loveth a cheerful giver.

 

A passage from Ezekiel is twice used in the ritual (Ezekiel 44:5), where Ezekiel is told to listen carefully to all that has been said; this applies equally to the instruction being given the candidate:

 

Mark well, and behold with thine eyes, and hear with thine ears, all that I say unto thee concerning all the ordinances of the house of the Lord, and all the laws thereof, and mark well the entering in of the house with every going forth of the sanctuary.

 

In the Revelation of St. John the Divine appears a passage of importance to the Mark Master. It is in Revelation 2:17, and refers to the message to the churches:

 

To him that overcometh will I give to eat of the hidden manna, and will give him a white stone, and in the stone a new name written, which no man knoweth saving he hath received it.

 

The white stone with the name written thereon is one of the principal pieces of furniture of a Mark Master lodge and its traditions and symbolism are carefully explained to each candidate. Not only did the "white stone" convey the name, but it was also the stone found necessary in completing the temple. Just so is the name essential for completing the spiritual temple.

 

And finally, we come to the beautiful parable of the vineyard, quoted exactly from Matthew 20:1-16. The quotation follows a conversation between Jesus and Peter, his disciple. The discussion is on the matter of everlasting life and the parable is used to impress upon Peter that whosoever seeks eternal life shall find it whether that search begins in youth, in manhood, or in age when one comes in "at the eleventh hour," "receiving as much as they who have borne the burden of the day."

 

How appropriately it is introduced into the Mark Master degree, only those who receive it, and study it, may know.

 

The closing passage of scripture is taken from Proverbs 3:1, and carries on the story of eternal life by calling attention to those things necessary to attain it.

 

Read it:

 

Forget not God's law; but let thine heart keep his commandments; for length of days, and long life, and peace, shall they add to thee.

 

Let not mercy and truth forsake thee; bind them about thy neck; write them upon the table of thine heart: so shalt thou find favor and good understanding in the sight of God and man.

 

And what a fine theme on which to close a Masonic degree!

 

A MARK MASTER'S WORKING TOOLS

 

Why were the chisel and mallet chosen as the working tools of a Mark Master? What particular relationship do these tools have with the degree of Mark Master?

 

First, let us see what we are told about these implements:

 

The Mallet morally teaches us to correct irregularities, and to reduce man to a proper level; so that, by quiet deportment, he may, in the school of discipline, learn to be content.

 

What the Mallet is to the workmen, enlightened reason is to the passions; it curbs ambition, depresses envy, moderates anger, and encourages good dispositions; whence arises among good Freemasons, that comely order, Which nothing earthly gives, or can destroy; The soul's calm sunshine, and the heartfelt joy.

 

The Chisel morally demonstrates the advantages of discipline and education. The mind, like the diamond in its original state, is rude and unpolished; but as the effect of the Chisel on the external coat soon presents to view the latent beauties of the diamond, so education discovers the latent virtues of the mind, and draws them forth to range the large field of matter and space, to display the summit of human knowledge, our duty to God and to man.

 

A progressive study of Masonic working tools will show both a practical and a symbolic use of these instruments; this is the teaching of Freemasonry, and how well we absorb this teaching will decide how good a Freemason we are.

 

In the first place, their practical purpose is explained in the Mark Master lecture; but the candidate is not told that with these tools he can communicate with another brother, for it is with these instruments that he makes the Masonic cipher alphabet. It is with these instruments that he can place his individual mark upon each piece of work which he may complete for the building of the temple. And here for the first time he is taught individual responsibility. Heretofore he has been working for the combined interest of the human family; now he is taught that he has an individual responsibility, and that each piece of work which he presents has a distinct personal value; that his work must be square and true and that those who inspect will: through his mark, be able to detect imperfect work, or work presented by imposters.

 

But most important is the thought that each of us must perfect our own lives; that it is in our power to build a substantial structure or an imperfect one. Our lives are like blocks of stone which the sculptor, by striking off bits here and there, may form into a beautiful work of art, the value of which depends solely on the vision of the artist himself. The Chisel and Mallet are his instruments for producing his masterpiece. So, does the Mark Master, using his Chisel and Mallet as spiritual instruments, perfect his character by striking off all those vices and irregularities which mar a life, and reveal a perfect character, the finest gift one can offer to the Great Overseer.

 

In the lodge we are taught the value of each stone that goes into the temple, materially and spiritually. In the chapter we are taught that we are the architects of our own lives and that it is within our power to say whether that life be good or bad.

 

How important to us, as Freemasons, are the teachings of the Chisel and the Mallet which give us an insight into our duties and our possibilities!

 

THE ANTIQUITY OF THE MARK

 

William J. Hughan, the most famous of the English Masonic historians says of the Mark degree:

 

The antiquity of Mark Masonry cannot be doubted. Operatively considered and even speculatively, it has enjoyed special prominence for centuries; records of the custom being followed by speculative brethren, according to existing records, dating back to 1600, in which year, on the 8th day of June, "Ye principal warden and chief master of maisons, Wm. Schaw, master of work to ye Kingis Maistie", met members of the Lodge of Edinburgh (Now No. 1) at Holyrood House, at which meeting the Laird of Auchinleck was present, and attested the minutes of the assembly by his Mark, as did the operatives, in accordance with the Schaw Statutes of December 28, 1598, which provided "That the day of reassauying (receiving) of said fellow of craft or master be ord'lie buikit and his name and Mark insert in the said buik."

 

Another minute book of the same lodge contains a list of members in 1767, setting out after each name the date on which the member received the degree of R.A. The earliest date given is 1745.

 

Turning to America, we find a reference in a minute book of a lodge in Virginia of the degree being conferred in 1753.

 

Castells in his book "Organization of the Royal Arch Chapter Two Centuries Ago" says, in his opening chapter, that

 

"The question of the fons et origo of our Supreme Degree is a problem; but we claim that we have solved it, for we have shown in previous works that the Royal Arch is only a dilution of Kabbalism."

 

Let us see on what this claim is founded. He admits in his preface that he had only at his disposal "a few scraps of information, which are like the tiny bits of a jigsaw puzzle, most difficult to combine into a pictorial design," but he believes he has put them together in the right order. But do the scraps of information justify the conclusion at which he has arrived?

 

The Kabbala was a secret science of the Jewish Rabbis for the interpretation of the hidden meaning of the scriptures, claimed to be handed down by oral tradition.

 

In his chapter on the Kabbalistic Degrees, the author refers to an ancient work known as the Sepher-ha-Zohar, a book that appeared in Spain in the thirteenth century. The copies of this book (there are two or three still in existence) were in the manuscript of a professional copyist, who apparently had an earlier copy in his possession.

 

The subject matter is undoubtedly considerably older than the 13th century, but probably had been handed down by tradition and reduced to writing only in then comparatively recent times. It professes to be the work of one Simeon bin Jochai who lived in the first century A.D.

 

Speaking of the first word with which we of the R.A. are familiar, Simeon says,

 

"Now come and see the mystery of the Word. There are Three Degrees (in the word) and each Degree, exists by itself, and although the Three constitute One, they are closely united into One, and are inseparable from each other."

 

Simeon was discussing the word, and had explained that there were three ways of writing it:

 

The simple four-lettered word, without points;

The same four letters with certain vowels, taken from another sacred word;

The same with the vowel points of still another sacred word.

From this Castells infers "that the unwritten word of Kabbalism. consisted of three particles, or syllables, each one being capable of standing by itself; and as it had a meaning of its own, it could be considered either singly or separately. The three syllables, however, formed one word, and were actually united and inseparable. This answers exactly to the Word which the R.A. Companions know of."

 

So far we may, perhaps, agree with Castells, but he goes further, and claims that "The statement of the Zohar implies that each part of the Sacred Word was communicated and shared piecemeal by the three who bore sway among the old time companions, and this was done by them as they passed successively from chair to chair, until the climax was reached when the whole Word became known."

 

He submits, therefore, that the passage refers to the Second Word with which we are familiar "which was the Masonic Word" of the seventeenth century.

 

I would like to be able to agree with Castells in this last deduction, but I am afraid he has built too much on very slender premises.

 

Be that as it may, he proves nothing. The first Word (except as to its correct pronunciation) is known to all the world, and has so been known for many centuries, so the possession of it by the R.A. does not indicate that it came from the Kabbalists. As to the second word, Castells' claim that it was possessed by the Kabbalists is entirely without foundation.

 

Further, there is more in our traditions than the knowledge of a word — the tradition as to the finding of what was lost. Even Castells does not suggest that the Kabbalists had a tradition of a loss of something important and its subsequent discovery. If it could be shown that they had, then the conclusion that our Order was a descendant of Kabbalism would be almost irrefutable.

 

Castells says

 

"the analysis of Kabbalism … leaves no room for doubt … Kabbalism in this country (England) degenerated and gave rise to Freemasonry…. Our views have now been before Masonic students for some years, and if there be any fallacy in them, let those who can disprove them."

 

The fallacy is obvious. He has based his views on insufficient data; the "tiny bits" of his "jigsaw puzzle" are too few and too small to warrant the picture he has built out of them.

 

No, we can trace the Royal Arch back with certainty to a few years before 1744 (say 1740), and the place, England. It is probably very much older, but there we must leave it. Some day, perhaps, some old manuscript may turn up which will give it still greater antiquity, but it is not likely.

Completion of existing 495NB demo – Contractors completing demolition of the existing I-495 northbound bridge.

 

Brig. Gen. Kenneth Moore, United States Army Africa Deputy Commander and Col. Elhadji Babacar Faye, Deputy Chief of Army Staff talk after the completion of the opening ceremony of Exercise Western Accord, June 16. Exercise Western Accord is a U.S. Africa Command sponsored, and USARAF-hosted annual joint training partnership exercise between the United States, the Economic Community of West African States and partner nations. The exercise, held in Senegal this year, is designed to increase interoperability between military forces and ensure the common ability to conduct peace operations throughout western Africa. (U.S. Army Africa photo by Staff Sgt. Donna Davis)

 

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History of organ Redoute

General Information

History as a multipurpose facility Reduty Publicly construction begins in 1901, when the city of Bratislava as one of the cultural centers of Austria-Hungarian Empire Teresian bought the former granary, built on the banks of the Danube in 1773 on the orders of Maria Theresa. After the demolition of the city granary built in the years 1913-1919 multifunctional building in neo-baroque style with elements of Rococo and Art Nouveau. The name itself implies Redoute object of linguistic terms for interpretation in French ("Redoute"- Ball, prom or dance hall, etc.) Public multipurpose building. This was originally the seat of several associations, trade as well as cultural organizations and served on a large scale public capital Bratislava on musical events, dance parties and performances and to provide similar services.

The seat of the Slovak Philharmonic has become Redoute up to the beginning of the 50th years for the period of post-war Czechoslovak Republic. The focus of its activities, the provision of general and particular cultural services to the public concentrating varied Concerts. This house featured artists (male) and artists (female) from Slovakia but also many foreign guests from all over the world. At that time (in 1956) was to Slovak Philharmonic concert hall organ built and placed under the window in the facade of the building facing the street Medená. It is about a 85 štvormanuálový registering body Rieger-Kloss. Organ is electro pneumatic traktúry and one sliding game table. The factory was built by the authority located in Krnov in the current Czech Republic. Its current condition is marked by particular problems of quality materials available in the post-war market of Czechoslovak Republic in the mid 50s. Apart from the fact that the architecture (design) of this monumental musical instrument became not only a symbol of the object Reduty but also the Slovak Philharmonic.

After the Velvet Revolution, the object Reduty gradually transformed to fit the multifunctional cultural facility with a rich European musical tradition and at the same time it was decided the reconstruction and completion of the building

Current Status

History of organ Redoute

+ Organ in the Concert Hall of the Slovak Philharmonic was built in 1956 by Ing. Veverku. vyrobený, made ​​by organ Krnov, Czechoslovakia;

+ Characteristics of organ type - Rieger-Kloss Organ Opus 3210; technical design consists of the following parts - 4 manuals and pedal, 84 registers sounding, about 6,000 pipes, electrical traktúra, bowling tube, and moving game table;

+ Appearance organ (ie prospectus, ie its front part is called fancy face organ) adapt its constructor works of art of the concert hall SF)

+ A successful (visual) art solution fits into the interior of the concert hall and accepting some creative themes linked to the overall interior decoration,

+ Adaptation of the technical solutions addressing the visual, the sound of the organ was very inconvenient, many pipes are deaf - and has broken above a disproportionately large - length, which is due to the technical structures and organs due to inadequate acoustics solution;

2 Current status and review of existing organs

· Current state of the organ is difficult for artistic production incapacitated, is permanently faulty and can not be efficiently modified or rebuilt,

· Internal structure has only a minimal amount of material and the addition of a smaller pipework is not applicable construction elsewhere,

· The historically - art website does not constitute the organ of no value,

· Its hilarious appearance - art rendition of the facade of the organ (its face), may be the subject of consideration in the design of new creative solutions to future body;

3 Description of the disposition of the existing organ in the Concert Hall of the Slovak Philharmonic

Switch (Absteller):

1 switch drum

2 The switch 16 ' Man. + 32 ' Ped.

3 Reed switch registers of

I. manual:

4 Principal 16'

5 Burdon 16'

6 Principal 8'

7 Hollow Flute 8'

8 Viola da gamba 8'

9 Octave 4'

10th Recorder Flute 4'

11th Supe roktáva 2'

12th Transverse flute 2'

13th Whistle sparkling 4x 4'

14th Mixture 8 -10X 1 1/3 - 4'

15th Trumpet 16'

16th Trumpet 8'

17th I / II

18th III / II

19th IV / II

II. Manual:

20th Kvintadéna 8'

21, Cover 8'

22, Principal 4'

23 Roh night 4'

24th Glucanase 2 2/ 3'

25th Octave 2'

26th 2 flute flat'

27th Superkvinta 1 1/ 3'

28th Superoktáva 1'

29th Mixture 6 - 8x 1' - 4'

30th Crooked horn 8'

31 String shelf 4'

32 III / I

33 IV / I

34th I tremolo

Switch (absteller):

35th Hand switch registers

36th Switch connectors from the Register

37th Sub switch (couplings)

38th Super switch (couplings)

39th Mixtur switch

40th Pedal switch

III. manual:

41 Pommer indoor 16'

42 Principal 8'

43 Dome Flute 8'

44th Salicional 8'

45th Cover Musick 8'

46th Vox coelestis 1 - 2x 8 + 8'

47th Octave 4'

48th Flute pipe 4'

49th Violina 4'

50th Fifth covered 2 2/3'

51 Kvintadecima 2'

52 2 flute forest'

53 Seskvialtera - 2 2/3' + 1 3/ 5'

54th Mixture 7 - 9x 1 1/3 - 4'

55th Dulcimer - 3 8/9 ' - 1 1/ 3'

56th Field Trumpet 8'

57th Vox humana 8'

58th Klarina 4'

59th Harp 8'

60th IV / III

61st III tremolo

IV. manual:

62 Roh Kamzíková 8'

63 Roh night indoor 8'

64th Fluttering flute 1 - 2 8' + 8'

65th Principal 4'

66th Flute radius 4'

67th Fifth pipe 2 2/3'

68th Octave 2'

69 Tonus Fabri 2 + 1'

70th Terciová Flute 1 3/ 5'

71 Flute Kvintová 1 1/3'

72 Swiss fife 1'

73 Mixture Nono's 8/9' - 2 2/5'

74th AKUTOL 4x 1/2' - 4'

75th Cimbál terciový 3x 1 /4 - 2'

76th Rankettregál 16'

77th Dulcian 8'

78th Shawm 4'

79th Bells big G - works

Pedal

80th Plinth 32'

81st Double Bass 32' + 16'

82 Principálbas 16'

83 Apertabas 16'

84th Subbas 16'

85th Burdonbas 16'

86th Fifth Big 10 2/3'

87th Octavebas 8'

88th Hollow Flute 8'

89th Kvintadéna pipe 8'

90th Cover 8'

91st Naza covered 5 1/3'

92nd Chorálbas 4'

93rd Pointed Flute 4'

94th Cink 2 + 1'

95th Pipe effervescent 4x 5 1/ 3'

96th Mixture 7-9 x 2-4'

97th Kontrapozón 32'

98th Dulcian 16'

99th Požoň 16'

100th Trumpet 8'

101 Klarina 4'

102 I / P

103 II / P

104th III / P

105th IV / P

4 available combinations

Rollers

III. and IV. in impoundments

Electric traktúry

Man C - c5 (manuals)

Before C - g1 (pedal)

4 Inadequate design parameters of the existing functional organ from a technical point of view

· Occupy too much space - for the system design,

· Pipe section realized the sound of difficult material (zinc) and hardly tunable material (lack priezvučnosť prospectus is inappropriate resonance, etc.),

· Many pipes are broken, have only a decorative function,

· Poor artistic appearance of the body organ pipes - inappropriate striebrenkový coat;

· Middle balkónovitý projection bodies (positive) is inappropriate, interferes with musical productions, in the future it will be necessary to imbed into the sides of the level, but to lose plasticity breakdown; prospectus shift back by 1 m;

www.filharmonia.sk/index.php?page=organ-history

37 students cross the stage in the Celebration of Completion as they receive their degrees' from Baldwin Wallace University in the John Patrick Theatre at the Kleist Center for Art & Drama.

DCIM\100MEDIA\DJI_0553.JPG

Desert View Watchtower Level 3 murals after completion of conservation work, October5, 2017

 

Grand Canyon National Park is working with area tribes and art experts to restore the Fred Kabotie murals and The rock art images, painted by Fred Geary, which have been damaged by water. The first phase of the project is being funded through a grant from American Express obtained by Grand Canyon Association.This grant will help with the evaluation, documentation and testing process that is a critical component of all historic preservation projects. The park intends to preserve the murals while remaining true to Mary Colter’s design. Over the next year, a conservation specialist will analyze and restore the murals with the help of students participating in an intern training program.

 

On January 1, 2015, the Watchtower was purchased from the concessionaire managing it and designated a National Park Service building. NPS plans to return the Watchtower to its intended purpose, as a tribute to the Native American tribes who have cultural ties to Grand Canyon. The park is moving forward with plans to restore the tower to reflect Mary Colter’s original vision for the building.Visitors first enter through the large, open Kiva Room. Until recently, this room was filled to capacity with a large gift shop. The gift shop has since been removed from the rotunda and reduced to a much smaller footprint. The new Grand Canyon Association Park Store fits into the original space Colter envisioned for a gift shop: a corner off to the side of the rotunda. All the proceeds support the park.

 

Originally the Watchtower was designed as a space where visitors could see Native American craft demonstrations by weavers and basket makers. The park will bring Native American artists back into the space to share tribal traditions, dances, songs, skills, art and oral histories with the public. The park is also considering turning the old Desert View visitor center into a Native American cultural center.The transformation of the Watchtower back to its original intent is already proving to be a dramatic experience for visitors and park staff. NPS Photo/M.Quinn

We started using the new kitchen today, although we haven't moved everything into it yet. The last paint went on the walls (around the windows) last night, and all the drawers are in. We are still waiting for hinges for the cabinet doors, but that's about it.

A devotee(carrying a kaavadi) walks towards the cave temple during Thaipusam

2014 - Amber after receiving her certificate for completing the 3rd grade.

We held a ceremony to recognize the first cohort to complete our Nuclear Regulator Apprenticeship Network program. They are working as inspectors, technical reviewers, risk analysts, and program and project managers. To complete the program and land a permanent position, they successfully completed a significant number of technical training courses, seminars and assignments, finish a group project and complete several hands-on apprenticeships – including some at NRC-licensed nuclear facilities.

 

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just got the hood for my Non-Ai 50mm Nikkor-S

 

50mm f/1.8 D