View allAll Photos Tagged Contracting
After 8 years with yearly contract at the Ministry of Education, eventually tonight I got my OPEN ENDED contract...see my face!!!!
The era of the pastoralists in the Crystal Brook area was dominated by the Bowman family. This area appealed to pastoralists as the Rocky River (which rises beyond Laura) joins the Broughton River near where Crystal Brook now stands. The first run in the district, called the Crystal Brook run (560 square miles) was taken up by William Younghusband and Peter Ferguson in 1842. It included the site of present day Port Pirie. Younghusband and Ferguson decided to survey part of their run and establish a town in 1848. They sold some of the land (85 acres) to Emmanuel Solomon and Matthew Smith, who established Solomontown. Around 1850 the leasehold was “sold” to the Bowman brothers with 25,000 sheep, 3,400 cattle and 200 horses for £50,000! The partnership between the three Bowman brothers was dissolved in 1864 following the Surveyor General’s new evaluation of their leasehold. George Goyder raised the annual lease from £514 to £3,420. One Bowman brother left for Tasmania, one for Poltalloch on Lake Alexandrina and another for Campbell Park on Lake Albert. The last remaining brother had his Crystal Brook run resumed by the government for closer settlement in 1873. The original homestead with a fine slate roof is part of Bowman Park, a state Native Fauna Park, controlled by the government. Many station buildings from the pastoral era still exist in this park. .
Surveying of the land for agriculture began in 1873 with town blocks being sold at auction shortly after this and the Hundred of Crystal Brook being declared. The town grew phenomenally in the first few years. The railway from Port Pirie arrived in 1877 sealing a prosperous future of the town. It continued on to Gladstone and to Peterborough by 1880. Many public buildings were erected in the years between 1877 and 1880. The first two storey construction in the town was completed in 1875 for E.H. Hewett, a butcher. At one stage this became the town’s bakery and it still has a basement oven. Today it is the National Trust Museum. By the time of the 1881 census Crystal Brook had 496 residents, making it the 12th largest town in the areas north of Adelaide.
At the end of the Main Street (Bowman Street) is Adelaide Square. Like Adelaide, Crystal Brook is also surrounded by parklands, although these have been used for development in places. The railway line divided the town into two parts. Some of the notable or historic buildings in the main street are:
1.The Crystal Brook Hotel on the corner of Railway Terrace was erected in 1878. The upper floor was added in 1910. For some years it was known as Knapman’s Hotel.
2.One of the large department stores was Claridge’s. It eventually became a Eudunda Farmer’s Store.
3.The National Bank site from used from 1876 but is now a private residence. The last a bank to operate here was the Savings Bank of SA. The classical looking bank structure was opened in 1936 for the SA centenary celebrations. It became a Savings Bank of SA in 1943.
4.The Royal Hotel built in 1882 with the upper floor added between 1910 and 1920.
5.Crystal Brook Institute built in 1881. Note the rounded upper windows and door quoin with the rectangular lower windows. Made of local stone. The library service started in 1878 before the Institute built.
6.The Georgian style Elders stock and station agent building was built in the 1930s. It is now a private residence. Note the perfect symmetry and the tiny portico above the front door.
7.In Adelaide Square note the Methodist Church- opened in 1877 and still in use. The unsympathetic front porch was added in 1967. Adjacent to it is a fine Sunday School building which opened in 1912 with FOUR foundation stones laid by four different local ministers and identities.
The District Council of Crystal Brook was established in 1882 and by then the town had a number of town facilities. These included the Crystal Brook School which opened in 1877; the Methodist Church which opened in 1877; and the first Catholic Church which opened in 1879. (The present Catholic Church opened in 1924 when the old church became a Catholic School.)
Growth of the town was based on its industrial development and the employment opportunities this provided. The first blacksmith was started by John & Robert Forgan who had learnt their trades with James Martin of Gawler. Their Crystal Brook foundry and implement works began operations in 1878. In 1884 the business expanded following the death of Robert. John also opened a branch in Port Pirie in 1902. The firm was still operating in 1973 when the town centenary history was written. The first flour mill was built on the corner of Railway Terrace and Cunningham Street in 1880. The flour mill burnt down in 1905 but the chaff mill part of the operations continued until the 1920s when it too burnt down. It was replaced by a motor vehicle dealership and garage.
But the biggest employer in the town was the SA government. In 1885 construction of the Beetaloo Dam, upstream on the Rocky River commenced. The government based its headquarters for the construction team in Crystal Brook. Once this project was completed work began on the Bundaleer reservoir in 1898. This was connected to the Beetaloo system. All the engineers and other workers for water in the mid north were based in Crystal Brook. Next the Baroota Reservoir was started in 1921. The Engineering and Water Supply (E & WS) office has thus been in Crystal Brook since 1892. Since the 1950s Crystal Brook has been the regional head office for E & WS with over 100 employed in the department’s workshops and offices. They are still located on the edge of Adelaide Square. The Highways Department has also had regional headquarters in Crystal Brook since 1943. In the 1970s this department employed 110 people in Crystal Brook. The railways were the other major government employer in the town before the rail standardisation of 1970 which saw the old station complex demolished. Other employment options in the town have been the northern areas radio station which was established in 1932, and the town electricity supply which began providing a service in 1922. The government has also employed health workers at the town hospital since 1925. Today Crystal Brook has a population of 1,600.
Used for an article about a pension fund for freelancers: www.24oranges.nl/2014/05/17/a-pension-for-freelancers/
Photo by Branko Collin.
One of the last remaining buses in the fleet from when Go South Coast won the Unilink contract - 1091 was acquired from Accord with the takeover. After wearing a hybrid livery and then BlueStar colours, it is painted in Unilink livery and I believe is mainly allocated to the weekday U2 shorts to boost capacity.
It all started when the mortally wounded Arick Havoc of Avalon made a contract with The World...
"In return for my life after death... give me the strength to persevere in my course of action, let me keep breathing... One last breath... To find...
the Super Chalice."
(Coming soon. I just missed the dusk, sadly, the red sky was truly beautiful :/
There's always next time, and at the very least this is still a pretty picture with some nice little forshadowing. In fact, if you look real close you can see the character holding Chekhov's Gun. Speaking of weapons, those are placeholders, I'm bored of them but it's what I had on me :P)
Blue bendies on the Bath Road.
Two of the three Bristol City centre park and ride services were won under contract by Bristol Community Transport who obtained several former London Mercedes-Benz Citaro bendie buses to run them. At the time all three services carried a similar design of livery, with BCTs services carrying the green and blue version, with plain yellow Citaro bendies as back up. MCA18, carrying the blue Bath Road park and ride scheme, was seen in the Centre in April 2013. This was new as London General's MAL31 in June 2002.
There is a lot of work for any government concern done by private contractors nowadays. This process of part privatisation of public services was started during Labours tenure of No.10 during the “reign” of Mr Blair!
He was responsible for many retrograde policies, too many for me to start going on about here, but when it comes down to the NHS, the National Health Service, he introduced PPP, Public and Private Partnership to get more new hospitals and health establishments built.
Constructed by private finance then leased back to and operated by the NHS. The contacts were for very long periods, decades, and very costly rents. These locked the government organisations into exorbitant payments even when the building became redundant for some reason.
There are many empty buildings around the country that the government is still paying for and for many years to come.
Patient transport is one area that part-privatisation actually appears to be working in!
DSC_8837 - 13026 - BU14 ONX - Volvo B5LH/Wright Eclipse Gemini 3 - Stagecoach London - Westminster, Bridge Street 26/04/19
BOC Transhield was created in 1969 when the British Oxygen Company acquired GL Baker, a food distribution company with major contracts with Marks & Spencer Ltd, which used liquid nitrogen in chilled containers. With 1,100 employees, the new company operated from five strategically-located depots in Barnsley, Bristol, Cumbernauld, Faversham and Kirkby. The company continued to expand throughout the 1970s, 1980s and 1990s, with additional depots at Hemel Hempstead and Crewe, before rebranding as Gist Ltd in 2001. The company was a significant user of the Bedford TM with examples of both the narrow and wide cabbed versions (28-Feb-21).
All rights reserved. Not to be posted on Facebook or anywhere else without my prior written permission. Please follow the link below for additional information about my Flickr images:
www.flickr.com/photos/northernblue109/6046035749/in/set-7...
Dorsal view of the main crew living area (windows removed for clarity.) Fore to aft: swimming pool, comms array, sports stadium, greenhouse, medium drone docking.
Name: S.S. Bessemer
Registration Number: KCC-1894 (Kolter Construction Contract Number 1,894)
Affiliation: Kolter Mining, Refining, and Fuel.
Class Name: Bessemer class
Type: Deep Space Mining Operations Flagship
Commissioned: Circa late 2500’s, post recent major conflict
Specifications:
Length: 1,844 meters (184.4 studs, 58.1 inches, 4.83 feet, 147.5 cm model)
Width: 503 meters (50.3 studs, 15.8 inches, 40.2 cm model)
Height: 484 meters, 398 meters without dorsal comms array, (48.4 studs, 15.2 inches, 38.7 cm model)
Crew: 2,950 standard complement + capacity for crew families, as well as smaller guest quarters for up to 2,000 additional personnel to be moved to/from mining operations.
Armament: 1 super-heavy coaxial particle beam cannon, (primarily for asteroid mining, but also more than capable of defensive action,) 4 dual-mounted heavy particle cannon turrets, 8 dual-mounted medium particle cannon turrets, 2 coaxial fore medium particle cannons, 80 quad-mounted 80mm anti-fighter flak railgun turrets.
Defensive systems:
Hull: Super-heavy steel alloy hull with carbon nanotube/buckypaper composite layers as spall lining.
Armor plating: steel, titanium alloy, tungsten, ceramic, and carbon nanotube composite armor layers against asteroids/other space debris, kinetic weapons, kinetic spalling, particle, laser, and plasma fire. Thick composite armor provides excellent survivability, but with very high mass. Some battleships are less armored than this ship.
Bulkheads: Extensive titanium bulkhead support network.
Structural integrity field: High power system designed for significant cargo mass placing stress on the frame, or to withstand asteroid impacts to the hull.
Shielding: Internally housed high power adaptive particle field repulsing shielding system capable of surviving significant punishment. Some older battleships have less robust shielding.
Powerplant: 1 primary matter-antimatter reactor with extensive fuel reserves, 2 secondary fusion reactors with extensive fuel reserves. Multiple massive power capacitors. Extensive heatinks.
Propulsion: 1 massive primary fusion engine for sub-lightspeed travel, 1 internal FTL core capable of moderate FTL speed, long range travel, and 32 large reaction control thrusters for slow but dependable below light speed maneuvering.
Computer systems: Single supercomputer core with onboard Virtual Intelligence system.
Comms and Sensors: Local and FTL comms arrays. Radar, LIDAR, infrared, multi-spectral, and additional other local area sensors systems, along with extensive FTL sensors.
Additional Systems: High power artificial singularity for both artificial gravity generation and inertial dampening, allowing for 1G gravity even when hauling an entire cargo hold full of heavy-metal. 6 massive blast furnaces for refining metal ore, an enormous central cargo hold system, 4 fuel refining tanks, 4 massive fuel storage tanks, and an internal rail system for moving ore and personnel.
Embarked Craft: 2 Thunderbird class super-heavy cargo/personnel shuttles, 2 Hurricane class heavy cargo/personnel shuttles, 20 heavy mining drones, 24 medium mining drones, 2 gunships of variable class, 2 heavy fighter/bombers of variable class, potential for multiple additional light shuttles and fighters.
Background: After seeing both the devastation to outlying areas of space caused by the recent Great War, and the corruption within the Federal Defense Navy (working title) Admiralty, Captain David Courtland retired honorably from military service and went to helm his family’s generations old mining company, Kolter Mining, Refining, and Fuel; one of the largest mining companies in United Earth Federation space. (Working title.)
He wanted to take the company, already a reputable and successful business, in a new direction. That direction was the disputed, war-torn, no-man’s-waste-land of space known as The Divide, (working title) situated between the major powers of the galaxy. Life in The Divide was desperate, with little hope for the many people stranded in the ruins, poverty, and crime infested land. None of the major powers could intervene without starting another territorial war, and as such, pirates, gangs, and unscrupulous mega-corporations ruled supreme.
Courtland wanted to make a difference to this sorrowful place, and with trillions of credits and a Fortunes 1,000 company at his control, he had the means to at least begin; although even he lacked the ability to single-handedly remedy the myriad of woes The Divide faced.
David’s plan was simple, to move significant mining operations to The Divide, thus:
1: Creating new, safe, well-paying, good jobs for both an area and an industry that seldom offered such things.
2: Allowing for the placement of company security forces to deter pirate activity around major settlements.
3: Providing tax-free revenue to fund new schools, hospitals, food, water, shetler, and other charitable activities in The Divide.
But to do it, he required a new kind of mining vessel, as well as additional security forces. Thus he contacted Nelson Heavy Industries, who in turn partnered with AxonTech Interstellar Systems for some components, to place an order for a line of custom massive deep space mining operation flagships with enhanced combat capabilities and capable of operating in the remotest reaches of space for months or even years at a time. And so the Bessemer class was born.
The Bessemer class is unlike any mining vessel ever produced before it. Certainly significantly larger mining ships existed, but these were typically little more than unarmed, slow moving things with small engines; closer to a semi-mobile starbase than a combination frontier battleship/mining vessel. But Courtland required something unique. Something that could move faster, survive more punishment, and something that had teeth; not a fragile, barely moving thing that would only sit in safe areas of space. Courtland needed a mighty sheepdog in a world of sheep and wolves.
Bessemer class vessels are 1,844 meters long, and possess more armor, firepower, and shielding than many pre Great War battleship designs. Almost any pirate or local gang would be terrified of the sight of over a mile of steel and particle cannons; clad in Kolter white, green, and yellow.
But the Bessemer, and others of her class, are not merely warships masquerading as civilian craft. They are heavy mining machines that live up to their name; a steel producing process that revolutionized the industry of Earth some seven hundred years earlier. The Bessemer and her sister ships are capable of blasting metal-rich asteroids to bits with their coaxial mining particle beam cannon, and then having swarms of automated mining drones devour any valuable deposits within before unloading the materials into the Bessemer’s ore hold for the internal rail system to run any raw ore through her six corvette sized forges, and then having the refined metal shunted to her cavernous lower hold, while any waste material from the refining process is vented directly into space.
Ships of this class are outfitted with a sizable hangar, advanced sensor suite, extensive internal cargo bays, and large cargo pod clamps that allow it to act in the capacity of miner, defensive ship, operations command center, and even freighter and personnel carrier should usual shipping to outlying mining sites be disrupted.
But capable as they are, these are not the spartan mining vessels with unlivable working conditions that some shady companies have been known to operate. These space-faring cities of steel feature robust safety systems, spacious and comfortable crew quarters, multiple restaurants, multiple mess-halls, multiple shops for clothing, food, electronics, and other items, an arcade, multiple gyms with weights, various weight and cardio machines, martial arts areas, gymnastics equipment, along with a walking track, a small bowling alley, an olympic sized swimming pool, a multi-sport stadium, a greenhouse, hydroponics bays, a small stage/concert area, several computer labs, a library, a small movie theater, crew lounges and break areas, a salon/spa, a bar/club, chapels, classroom/daycare areas, office areas, as well as repair stations, enough dry and frozen storage to keep everyone fed for extended missions, advanced workshops, astrotography, laboratories, guest bunk-rooms, and a starbase grade medical center.
Not everyone is happy about Kolter Mining’s efforts, however. While Courtland founded the Kolter Foundation to aid those in need, he also lobbied for what came to be known as the Kolter Bill to be passed. Mining employees out in the colonies loved the added protections this afforded them. But the executives of Kolter’s rival mining companies operating out of Earth’s colony worlds quickly found themselves facing laws that favored the profits of Kolter and their already developed safety systems and excellent treatment of employees. What’s more, the Federal Defense Navy Admiralty have been continually frustrated that rather than helping to line their pockets as part of the military industrial complex, Courtland has been working tirelessly to reveal their corruption and hidden support of crime in outlying areas of space.
What’s more, there are even rumors that Courtland is now working with, and possibly even helping to fund, a mercenary vigilante unit out in The Divide known as the Phoenix Command Group, founded by Jonathan Scarlett, another former Federal Defense Navy Captain who ran afoul of the Admiralty.
The wealthy and corrupt among the Admiralty, military industrial complex, crime syndicates, and corrupt businesses running shady operations out in The Divide are deeply troubled by these rumors. But those who are now citizens of no nation, and who have known nothing but hopelessness and need for years, have a slight spark of hope rising like a Phoenix.
IRL info: This digital SHIP was made in Bricklink’s Studio software from September 11th to September 30th, 2021. I did not originally plan to participate in SHIPtember, but I couldn’t resist. It is 184 studs (58.1 inches) long, 50 studs wide, and 48 studs high. It is comprised of 23,470 pieces, which I believe makes it my highest piece-count SHIP to date, and means that the model itself has a mass of 973.502 ounces, or 60.843 pounds, or 27.597 kilograms, which most likely makes it my heaviest SHIP as well as my most piece intensive. (I really need to learn to build a little more hollow.) Note that it uses all real pieces/colors that are available for sale on Bricklink. (Albeit at a price that makes attempting to build it in physical bricks highly impractical.) It is 100% connected, and should be at least somewhat stable in real life. I would want to reinforce the fore-end with more Technic, and switch out the longest Lego Technic axle holding the engine for an aftermarket stainless steel version. I cannot guarantee that various sections built out from the main SNOT and Technic frame would be totally stable without slight redesign of a few bits. It would also require a hefty display stand of some kind.
The current pictures are WIP to show the completed status of the build itself. Better renders done by importing the Studio build into Mecabricks, replacing any pieces that fail to load or change position, and then exporting to Blender for higher quality rendering, and finally hopefully doing some cool backgrounds with GIMP, will hopefully follow before whatever October picture deadline is decided on. Please do not use these early pictures in the poster if time remains, as I hope to provide better ones. Thank you for reading this lengthy description. Have a cookie.
If this ship had a theme song, this magnificent piece by Clamavi De Profundis would be it: youtu.be/Xm96Cqu4Ils
This former Central SMT Leyland Leopard was once owned by an outfit I know little about, A+A of Leighton Buzzard. It is seen on contract work in Dunstable in October 1989.
Pentax MX/50mm
Kodachrome 64
Port closeup view of the hangar showing Hurricane class heavy shuttles and fighter/bomber.
Name: S.S. Bessemer
Registration Number: KCC-1894 (Kolter Construction Contract Number 1,894)
Affiliation: Kolter Mining, Refining, and Fuel.
Class Name: Bessemer class
Type: Deep Space Mining Operations Flagship
Commissioned: Circa late 2500’s, post recent major conflict
Specifications:
Length: 1,844 meters (184.4 studs, 58.1 inches, 4.83 feet, 147.5 cm model)
Width: 503 meters (50.3 studs, 15.8 inches, 40.2 cm model)
Height: 484 meters, 398 meters without dorsal comms array, (48.4 studs, 15.2 inches, 38.7 cm model)
Crew: 2,950 standard complement + capacity for crew families, as well as smaller guest quarters for up to 2,000 additional personnel to be moved to/from mining operations.
Armament: 1 super-heavy coaxial particle beam cannon, (primarily for asteroid mining, but also more than capable of defensive action,) 4 dual-mounted heavy particle cannon turrets, 8 dual-mounted medium particle cannon turrets, 2 coaxial fore medium particle cannons, 80 quad-mounted 80mm anti-fighter flak railgun turrets.
Defensive systems:
Hull: Super-heavy steel alloy hull with carbon nanotube/buckypaper composite layers as spall lining.
Armor plating: steel, titanium alloy, tungsten, ceramic, and carbon nanotube composite armor layers against asteroids/other space debris, kinetic weapons, kinetic spalling, particle, laser, and plasma fire. Thick composite armor provides excellent survivability, but with very high mass. Some battleships are less armored than this ship.
Bulkheads: Extensive titanium bulkhead support network.
Structural integrity field: High power system designed for significant cargo mass placing stress on the frame, or to withstand asteroid impacts to the hull.
Shielding: Internally housed high power adaptive particle field repulsing shielding system capable of surviving significant punishment. Some older battleships have less robust shielding.
Powerplant: 1 primary matter-antimatter reactor with extensive fuel reserves, 2 secondary fusion reactors with extensive fuel reserves. Multiple massive power capacitors. Extensive heatinks.
Propulsion: 1 massive primary fusion engine for sub-lightspeed travel, 1 internal FTL core capable of moderate FTL speed, long range travel, and 32 large reaction control thrusters for slow but dependable below light speed maneuvering.
Computer systems: Single supercomputer core with onboard Virtual Intelligence system.
Comms and Sensors: Local and FTL comms arrays. Radar, LIDAR, infrared, multi-spectral, and additional other local area sensors systems, along with extensive FTL sensors.
Additional Systems: High power artificial singularity for both artificial gravity generation and inertial dampening, allowing for 1G gravity even when hauling an entire cargo hold full of heavy-metal. 6 massive blast furnaces for refining metal ore, an enormous central cargo hold system, 4 fuel refining tanks, 4 massive fuel storage tanks, and an internal rail system for moving ore and personnel.
Embarked Craft: 2 Thunderbird class super-heavy cargo/personnel shuttles, 2 Hurricane class heavy cargo/personnel shuttles, 20 heavy mining drones, 24 medium mining drones, 2 gunships of variable class, 2 heavy fighter/bombers of variable class, potential for multiple additional light shuttles and fighters.
Background: After seeing both the devastation to outlying areas of space caused by the recent Great War, and the corruption within the Federal Defense Navy (working title) Admiralty, Captain David Courtland retired honorably from military service and went to helm his family’s generations old mining company, Kolter Mining, Refining, and Fuel; one of the largest mining companies in United Earth Federation space. (Working title.)
He wanted to take the company, already a reputable and successful business, in a new direction. That direction was the disputed, war-torn, no-man’s-waste-land of space known as The Divide, (working title) situated between the major powers of the galaxy. Life in The Divide was desperate, with little hope for the many people stranded in the ruins, poverty, and crime infested land. None of the major powers could intervene without starting another territorial war, and as such, pirates, gangs, and unscrupulous mega-corporations ruled supreme.
Courtland wanted to make a difference to this sorrowful place, and with trillions of credits and a Fortunes 1,000 company at his control, he had the means to at least begin; although even he lacked the ability to single-handedly remedy the myriad of woes The Divide faced.
David’s plan was simple, to move significant mining operations to The Divide, thus:
1: Creating new, safe, well-paying, good jobs for both an area and an industry that seldom offered such things.
2: Allowing for the placement of company security forces to deter pirate activity around major settlements.
3: Providing tax-free revenue to fund new schools, hospitals, food, water, shetler, and other charitable activities in The Divide.
But to do it, he required a new kind of mining vessel, as well as additional security forces. Thus he contacted Nelson Heavy Industries, who in turn partnered with AxonTech Interstellar Systems for some components, to place an order for a line of custom massive deep space mining operation flagships with enhanced combat capabilities and capable of operating in the remotest reaches of space for months or even years at a time. And so the Bessemer class was born.
The Bessemer class is unlike any mining vessel ever produced before it. Certainly significantly larger mining ships existed, but these were typically little more than unarmed, slow moving things with small engines; closer to a semi-mobile starbase than a combination frontier battleship/mining vessel. But Courtland required something unique. Something that could move faster, survive more punishment, and something that had teeth; not a fragile, barely moving thing that would only sit in safe areas of space. Courtland needed a mighty sheepdog in a world of sheep and wolves.
Bessemer class vessels are 1,844 meters long, and possess more armor, firepower, and shielding than many pre Great War battleship designs. Almost any pirate or local gang would be terrified of the sight of over a mile of steel and particle cannons; clad in Kolter white, green, and yellow.
But the Bessemer, and others of her class, are not merely warships masquerading as civilian craft. They are heavy mining machines that live up to their name; a steel producing process that revolutionized the industry of Earth some seven hundred years earlier. The Bessemer and her sister ships are capable of blasting metal-rich asteroids to bits with their coaxial mining particle beam cannon, and then having swarms of automated mining drones devour any valuable deposits within before unloading the materials into the Bessemer’s ore hold for the internal rail system to run any raw ore through her six corvette sized forges, and then having the refined metal shunted to her cavernous lower hold, while any waste material from the refining process is vented directly into space.
Ships of this class are outfitted with a sizable hangar, advanced sensor suite, extensive internal cargo bays, and large cargo pod clamps that allow it to act in the capacity of miner, defensive ship, operations command center, and even freighter and personnel carrier should usual shipping to outlying mining sites be disrupted.
But capable as they are, these are not the spartan mining vessels with unlivable working conditions that some shady companies have been known to operate. These space-faring cities of steel feature robust safety systems, spacious and comfortable crew quarters, multiple restaurants, multiple mess-halls, multiple shops for clothing, food, electronics, and other items, an arcade, multiple gyms with weights, various weight and cardio machines, martial arts areas, gymnastics equipment, along with a walking track, a small bowling alley, an olympic sized swimming pool, a multi-sport stadium, a greenhouse, hydroponics bays, a small stage/concert area, several computer labs, a library, a small movie theater, crew lounges and break areas, a salon/spa, a bar/club, chapels, classroom/daycare areas, office areas, as well as repair stations, enough dry and frozen storage to keep everyone fed for extended missions, advanced workshops, astrotography, laboratories, guest bunk-rooms, and a starbase grade medical center.
Not everyone is happy about Kolter Mining’s efforts, however. While Courtland founded the Kolter Foundation to aid those in need, he also lobbied for what came to be known as the Kolter Bill to be passed. Mining employees out in the colonies loved the added protections this afforded them. But the executives of Kolter’s rival mining companies operating out of Earth’s colony worlds quickly found themselves facing laws that favored the profits of Kolter and their already developed safety systems and excellent treatment of employees. What’s more, the Federal Defense Navy Admiralty have been continually frustrated that rather than helping to line their pockets as part of the military industrial complex, Courtland has been working tirelessly to reveal their corruption and hidden support of crime in outlying areas of space.
What’s more, there are even rumors that Courtland is now working with, and possibly even helping to fund, a mercenary vigilante unit out in The Divide known as the Phoenix Command Group, founded by Jonathan Scarlett, another former Federal Defense Navy Captain who ran afoul of the Admiralty.
The wealthy and corrupt among the Admiralty, military industrial complex, crime syndicates, and corrupt businesses running shady operations out in The Divide are deeply troubled by these rumors. But those who are now citizens of no nation, and who have known nothing but hopelessness and need for years, have a slight spark of hope rising like a Phoenix.
IRL info: This digital SHIP was made in Bricklink’s Studio software from September 11th to September 30th, 2021. I did not originally plan to participate in SHIPtember, but I couldn’t resist. It is 184 studs (58.1 inches) long, 50 studs wide, and 48 studs high. It is comprised of 23,470 pieces, which I believe makes it my highest piece-count SHIP to date, and means that the model itself has a mass of 973.502 ounces, or 60.843 pounds, or 27.597 kilograms, which most likely makes it my heaviest SHIP as well as my most piece intensive. (I really need to learn to build a little more hollow.) Note that it uses all real pieces/colors that are available for sale on Bricklink. (Albeit at a price that makes attempting to build it in physical bricks highly impractical.) It is 100% connected, and should be at least somewhat stable in real life. I would want to reinforce the fore-end with more Technic, and switch out the longest Lego Technic axle holding the engine for an aftermarket stainless steel version. I cannot guarantee that various sections built out from the main SNOT and Technic frame would be totally stable without slight redesign of a few bits. It would also require a hefty display stand of some kind.
The current pictures are WIP to show the completed status of the build itself. Better renders done by importing the Studio build into Mecabricks, replacing any pieces that fail to load or change position, and then exporting to Blender for higher quality rendering, and finally hopefully doing some cool backgrounds with GIMP, will hopefully follow before whatever October picture deadline is decided on. Please do not use these early pictures in the poster if time remains, as I hope to provide better ones. Thank you for reading this lengthy description. Have a cookie.
If this ship had a theme song, this magnificent piece by Clamavi De Profundis would be it: youtu.be/Xm96Cqu4Ils
DSC_8758 - LT429 - LTZ 1429 - Wrightbus New Routemaster - Go-Ahead London Central (Doing It For Renters - Moveabubble) - Westminster, Bridge Street 26/04/19
This plane has a private contractor out of Reno, NV., as the "Reno Flying Service".
No further info about this Piper PA-31T is available.
©FranksRails Photography, LLC.
Veit Stoss (also: Veit Stoß and Stuoss; Polish: Wit Stwosz; Latin: Vitus Stoss; before 1450 – about 20 September 1533) was a leading German sculptor, mostly working with wood, whose career covered the transition between the late Gothic and the Northern Renaissance. His style emphasized pathos and emotion, helped by his virtuoso carving of billowing drapery; it has been called "late Gothic Baroque". He had a large workshop, and in addition to his own works there are a number by pupils. He is best known for the altarpiece in St. Mary's Basilica in Kraków, Poland.
Life
According to the contracts and other official documents written in the fifteenth and sixteenth centuries, Stoss was born in a place pronounced as Horb or Horbn. Most researchers identify this place with Horb am Neckar near Stuttgart in Germany. However, there are artistic traces indicating that Stoss's early education could take place in the modern Switzerland. Moreover, his brother was certainly born in Aarau in northern Switzerland, which suggests that the artist's family lived in the region and that Stoss was rather born in the town of Horben, located 30 km southeast of Aarau. His exact date of birth is unknown though it must have been shortly before 1450. Nothing about his life is known for certain before 1473 when he moved to Nuremberg in Franconia and married Barbara Hertz. Their eldest son Andreas was born there before 1477, when Stoss moved to Kraków, the royal capital of Poland, where he was commissioned to produce the enormous polychrome wooden Altar of Veit Stoss (Ołtarz Wita Stwosza) at St Mary's Church in Kraków. His son Stanisław who was born in Kraków the next year was also a sculptor.
In Kraków
Veit lived and worked in Kraków for almost twenty years, from 1477–1496. His name is usually polonized as Wit Stwosz. The altar in Kraków was completed in 1489, and was the largest triptych of its time. Like Stoss' other large works, it required a large workshop including specialized painters and gilders. Other important works from Stoss' period in Poland were the tomb of Casimir IV in Wawel Cathedral, the marble tomb of Zbigniew Oleśnicki in Gniezno, and the altar of Saint Stanislaus. The Polish court was more aware of Italian styles than Nuremberg patrons of that time, and some of Stoss' Polish work used Renaissance classical ornament.
During World War II, on the order of Hans Frank – the Governor-General of that region of occupied Poland – the dismantled Altar was shipped to Nazi Germany around 1941. It was rediscovered in 1945 in Bavaria, hidden in the basement of the heavily bombed Nuremberg Castle. The High Altar underwent major restoration work in Poland and was put back in its place at the Basilica ten years later.
Nuremberg
In 1496, Stoss returned to Nuremberg with his wife and eight children. He reacquired his citizenship for three gulden and resumed his work there as a sculptor. Between 1500 and 1503 he carved an altar, now lost, for the parish church of Schwaz, Tyrol of the "Assumption of Mary". In 1503, he was arrested for forging the seal and signature of a fraudulent contractor and was sentenced to be branded on both of his cheeks and prohibited from leaving Nuremberg without the explicit permission of the city council. He was pardoned in 1506 by Emperor Maximilian and restored of his civil rights.
Despite the prohibition he went to Münnerstadt in 1504, to paint and gild the altarpiece that Tilman Riemenschneider had left in plain wood ten years earlier, presumably according to his contract (unlike Stoss, his workshop did not include painters and gilders). Leaving wood sculpture unpainted was a new taste at the time, and "perhaps the tastes of the city council were somewhat provincial." He also created the altar for Bamberg Cathedral and various other sculptures in Nuremberg, including the Annunciation and Tobias and the Angel. In 1506 he was arrested a second time. In 1507, Emperor Maximilian wrote a letter of pardon. The sole argument was made on the account of his genius. The council of the Imperial free city Nuremberg refused to give him a public notice. But Maximilian's intervention saved him from the dungeons and having his hands chopped off. He was able to resettle in Nuremberg from 1506, but was shunned by the council and received few large commissions from that time onwards. In 1512, the Emperor asked Stoss to help with the planning of his tomb monument, which was eventually placed in the Hofkirche, Innsbruck; it seems Stoss's attempts to cast in brass were unsuccessful.
During the period 1515–1520, Veit Stoss received a commission for sculptures by Raffaele Torrigiani, a rich Florentine merchant. In 1516 he made Tobias and the Angel (now in Germanisches Nationalmuseum, Nuremberg), and a statue of Saint Roch for the Basilica of Santissima Annunziata in Florence. This wooden statue represents the saint in a traditional way: in the garb of a pilgrim, lifting his tunic to demonstrate the plague sore in his thigh. Even Giorgio Vasari, who did not think much of artists north of the Alps, praised it in his Le Vite and called it "a miracle in wood", though misattributing it.
Veit Stoss was buried at St. Johannis cemetery in Nuremberg. His artistic legacy was continued by his son Stanisław.
In popular culture
Veit Stoss is featured in Judith Weir's opera, The Black Spider. He is one of the singing sculptors in Act 3 Scene 2 inside the Wawel Cathedral. He is shown chiseling at the tomb of King Casimir IV. There is a Polish book (1913) and film (1961) Historia żółtej ciżemki (The story of a yellow crakow) about Veit Stoss in Cracow.
Kraków, also seen spelled Cracow or absent Polish diacritics as Krakow, is the second-largest and one of the oldest cities in Poland. Situated on the Vistula River in Lesser Poland Voivodeship, the city dates back to the seventh century. Kraków was the official capital of Poland until 1596 and has traditionally been one of the leading centres of Polish academic, economic, cultural and artistic life. Cited as one of Europe's most beautiful cities, its Old Town with Wawel Royal Castle was declared a UNESCO World Heritage Site in 1978, one of the world's first sites granted the status.
The city has grown from a Stone Age settlement to Poland's second-most-important city. It began as a hamlet on Wawel Hill and was reported by Ibrahim ibn Yaqub, a 10th-century merchant from Córdoba, as a busy trading centre of Central Europe in 985. With the establishment of new universities and cultural venues at the emergence of the Second Polish Republic in 1918 and throughout the 20th century, Kraków reaffirmed its role as a major national academic and artistic centre. As of 2023, the city has a population of 804,237, with approximately 8 million additional people living within a 100 km (62 mi) radius of its main square.
After the invasion of Poland by Nazi Germany at the start of World War II, the newly defined Distrikt Krakau (Kraków District) became the capital of Germany's General Government. The Jewish population of the city was forced into a walled zone known as the Kraków Ghetto, from where they were sent to Nazi extermination camps such as the nearby Auschwitz, and Nazi concentration camps like Płaszów. However, the city was spared from destruction and major bombing.
In 1978, Karol Wojtyła, archbishop of Kraków, was elevated to the papacy as Pope John Paul II—the first non-Italian pope in 455 years. Also that year, UNESCO approved Kraków's entire Old Town and historic centre and the nearby Wieliczka Salt Mine as Poland's first World Heritage Sites. Kraków is classified as a global city with the ranking of "high sufficiency" by the Globalization and World Cities Research Network. Its extensive cultural heritage across the epochs of Gothic, Renaissance and Baroque architecture includes Wawel Cathedral and Wawel Royal Castle on the banks of the Vistula, St. Mary's Basilica, Saints Peter and Paul Church and the largest medieval market square in Europe, Rynek Główny. Kraków is home to Jagiellonian University, one of the oldest universities in the world and traditionally Poland's most reputable institution of higher learning. The city also hosts a number of institutions of national significance such as the National Museum, Kraków Opera, Juliusz Słowacki Theatre, National Stary Theatre and the Jagiellonian Library. The city is served by John Paul II International Airport, the country's second busiest airport and the most important international airport for the inhabitants of south-eastern Poland.
In 2000, Kraków was named European Capital of Culture. In 2013, Kraków was officially approved as a UNESCO City of Literature. The city hosted World Youth Day in 2016 and the European Games in 2023.
Kraków is one of the largest and oldest cities in Poland, with the urban population of 804,237 (June, 2023). Situated on the Vistula river (Polish: Wisła) in the Lesser Poland region, the city dates back to the 7th century. It was the capital of Poland from 1038 to 1596, the capital of the Grand Duchy of Kraków from 1846 to 1918, and the capital of Kraków Voivodeship from the 14th century to 1999. It is now the capital of the Lesser Poland Voivodeship.
Timeline of Kraków
Historical affiliations
Vistulans, pre X century
Duchy of Bohemia, X century–ca. 960
Duchy of Poland, ca. 960–1025
Kingdom of Poland, 1025–1031
Duchy of Poland, 1031–1320
∟ Seniorate Province, 1138–1227
Duchy of Kraków, 1227–1320
Kingdom of Poland, 1320–1569
Polish–Lithuanian Commonwealth, 1569–1795
Austrian Empire, 1795–1809
∟ Galicia
Duchy of Warsaw, 1809–1815
Free City of Cracow, 1815–1846
Austrian Empire, 1846–1867
Austria-Hungary, 1867–1918
∟ Grand Duchy of Kraków (subdivision of Galicia)
Republic of Poland, 1918–1939
General Government, 1939–1945 (part of German-occupied Europe)
Provisional Government of National Unity, 1945–1947
Polish People's Republic, 1947–1989
Poland, 1989–present
Early history
The earliest known settlement on the present site of Kraków was established on Wawel Hill, and dates back to the 4th century. Legend attributes the town's establishment to the mythical ruler Krakus, who built it above a cave occupied by a ravenous dragon, Smok Wawelski. Many knights unsuccessfully attempted to oust the dragon by force, but instead, Krakus fed it a poisoned lamb, which killed the dragon. The city was free to flourish. Dragon bones, most likely that of mammoth, are displayed at the entrance of the Wawel Cathedral. Before the Polish state had been formed, Kraków was the capital of the tribe of Vistulans, subjugated for a short period by Great Moravia. After Great Moravia was destroyed by the Hungarians, Kraków became part of the kingdom of Bohemia. The first appearance of the city's name in historical records dates back to 966, when a Sephardi Jewish traveller, Abraham ben Jacob, described Kraków as a notable commercial centre under the rule of the then duke of Bohemia (Boleslaus I the Cruel). He also mentioned the baptism of Prince Mieszko I and his status as the first historical ruler of Poland. Towards the end of his reign, Mieszko took Kraków from the Bohemians and incorporated it into the holdings of the Piast dynasty.
By the end of the 10th century, the city was a leading center of trade. Brick buildings were being constructed, including the Royal Wawel Castle with the Rotunda of Sts. Felix and Adauctus, Romanesque churches, a cathedral, and a basilica. Sometime after 1042, Casimir I the Restorer made Kraków the seat of the Polish government. In 1079 on a hillock in nearby Skałka, the Bishop of Kraków, Saint Stanislaus of Szczepanów, was slain by the order of the Polish king Bolesław II the Generous. In 1138, the Testament of Bolesław III Wrymouth came into effect upon his death. It divided Poland into five provinces, with Kraków named as the Seniorate Province, meant to be ruled by the eldest male member of the royal family as the High Duke. Infighting among brothers, however, caused the seniorate system to soon collapse, and a century-long struggle between Bolesław's descendants followed. The fragmentation of Poland lasted until 1320.
Kraków was almost entirely destroyed during the Mongol invasion of Poland in 1241, after the Polish attempt to repulse the invaders had been crushed in the Battle of Chmielnik. Kraków was rebuilt in 1257, in a form which was practically unaltered, and received self-government city rights from the king based on the Magdeburg Law, attracting mostly German-speaking burgers. In 1259, the city was again ravaged by the Mongols, 18 years after the first raid. A third attack, though unsuccessful, followed in 1287. The year 1311 saw the Rebellion of wójt Albert against Polish High Duke Władysław I. It involved the mostly German-speaking burghers of Kraków who, as a result, were massacred. In the aftermath, Kraków was gradually re-Polonized, and Polish burghers rose from a minority to a majority.
Further information: History of Poland in the Middle Ages
Medieval Kraków was surrounded by a 1.9 mile (3 km) defensive wall complete with 46 towers and seven main entrances leading through them (see St. Florian's Gate and Kraków Barbican). The fortifications were erected over the course of two centuries. The town defensive system appeared in Kraków after the city's location, i.e. in the second half of the 13th century (1257). This was when the construction of a uniform fortification line was commenced, but it seems the project could not be completed. Afterwards the walls, however, were extended and reinforced (a permit from Leszek Biały to encircle the city with high defensive walls was granted in 1285). Kraków rose to new prominence in 1364, when Casimir III of Poland founded the Cracow Academy, the second university in central Europe after the University of Prague. There had already been a cathedral school since 1150 functioning under the auspices of the city's bishop. The city continued to grow under the joint Lithuanian-Polish Jagiellon dynasty (1386–1572). As the capital of a powerful state, it became a flourishing center of science and the arts.
Kraków was a member of the Hanseatic League and many craftsmen settled there, established businesses and formed craftsmen's guilds. City Law, including guilds' depictions and descriptions, were recorded in the German language Balthasar Behem Codex. This codex is now featured at the Jagiellonian Library. By the end of the thirteenth century, Kraków had become a predominantly German city. In 1475 delegates of the elector George the Rich of Bavaria came to Kraków to negotiate the marriage of Princess Jadwiga of Poland (Hedwig in German), the daughter of King Casimir IV Jagiellon to George the Rich. Jadwiga traveled for two months to Landshut in Bavaria, where an elaborate marriage celebration, the Landshut Wedding took place. Around 1502 Kraków was already featured in the works of Albrecht Dürer as well as in those of Hartmann Schedel (Nuremberg Chronicle) and Georg Braun (Civitates orbis terrarum).
During the 15th century extremist clergymen advocated violence towards the Jews, who in a gradual process lost their positions. In 1469 Jews were expelled from their old settlement to Spiglarska Street. In 1485 Jewish elders were forced into a renunciation of trade in Kraków, which led many Jews to leave for Kazimierz that did not fall under the restrictions due to its status as a royal town. Following the 1494 fire in Kraków, a wave of anti-Jewish attacks took place. In 1495, King John I Albert expelled the Jews from the city walls of Kraków; they moved to Kazimierz (now a district of Kraków).
Renaissance
The Renaissance, whose influence originated in Italy, arrived in Kraków in the late 15th century, along with numerous Italian artists including Francesco Fiorentino, Bartolommeo Berrecci, Santi Gucci, Mateo Gucci, Bernardo Morando, and Giovanni Baptista di Quadro. The period, which elevated the intellectual pursuits, produced many outstanding artists and scientists such as Nicolaus Copernicus who studied at the local Academy. In 1468 the Italian humanist Filip Callimachus came to Kraków, where he worked as the teacher of the children of Casimir IV Jagiellon. In 1488 the imperial Poet Laureate and humanist Conrad Celtes founded the Sodalitas Litterarum Vistulana ("Literary Society on the Vistula"), a learned society based on the Roman Academies. In 1489, sculptor Veit Stoss (Wit Stwosz) of Nuremberg finished his work on the high altar of St. Mary's Church. He later made a marble sarcophagus for his benefactor Casimir IV Jagiellon. By 1500, Johann Haller had established a printing press in the city. Many works of the Renaissance movement were printed there during that time.
Art and architecture flourished under the watchful eye of King Sigismund I the Old, who ascended to the throne in 1507. He married Bona Sforza of a leading Milan family and using his new Italian connections began the major project (under Florentine architect Berrecci) of remaking the ancient residence of the Polish kings, the Wawel Castle, into a modern Renaissance palace. In 1520, Hans Behem made the largest church bell, named the Sigismund Bell after King Sigismund I. At the same time Hans Dürer, younger brother of Albrecht Dürer, was Sigismund's court painter. Around 1511 Hans von Kulmbach painted a series of panels for the Church of the Pauline Fathers at Skałka and the Church of St. Mary. Sigismund I also brought in Italian chefs who introduced Italian cuisine.
In 1558, a permanent postal connection between Kraków and Venice, the capitals of the Kingdom of Poland and the Republic of Venice respectively, was established and Poczta Polska was founded. In 1572, King Sigismund II died childless, and the throne passed briefly to Henry of Valois, then to Sigismund II's sister Anna Jagiellon and her husband Stephen Báthory, and then to Sigismund III of the Swedish House of Vasa. His reign changed Kraków dramatically, as he moved the government to Warsaw in 1596. A series of wars ensued between Sweden and Poland.
After the partitions of Poland
In the late 18th century, the Polish–Lithuanian Commonwealth was partitioned three times by its expansionist neighbors: Imperial Russia, the Austrian Empire, and the Kingdom of Prussia. After the first two partitions (1772 and 1793), Kraków was still part of the substantially reduced Polish nation. In 1794 Tadeusz Kościuszko initiated a revolt against the partitioning powers, the Kościuszko Uprising, in Kraków's market square. The Polish army, including many peasants, fought against the Russian and Prussian armies, but the larger forces ultimately put down the revolt. The Prussian army specifically took Kraków on 15 June 1794, and looted the Polish royal treasure kept at Wawel Castle. The stolen regalia, valued at 525,259 thalers, was secretly melted down in March 1809, while precious stones and pearls were appropriated in Berlin. Poland was partitioned for the third time in 1795, and Kraków became part of the Austrian province of Galicia.
When Napoleon Bonaparte of the French Empire captured part of what had once been Poland, he established the Duchy of Warsaw (1807) as an independent but subordinate state. West Galicia, including Kraków, was taken from the Austrian Empire and added to the Duchy of Warsaw in 1809 by the Treaty of Schönbrunn, which ended the War of the Fifth Coalition. The Congress of Vienna (1815) restored the partition of Poland, but gave Kraków partial independence as the Free City of Cracow.
The city again became the focus of a struggle for national sovereignty in 1846, during the Kraków Uprising. The uprising failed to spread outside the city to other Polish lands, and was put down. This resulted in the annexation of the city state to the Austrian Empire as the Grand Duchy of Cracow, once again part of the Galician lands of the empire.
In 1850 10% of the city was destroyed in the large fire.
After the Austro-Prussian War of 1866, Austria granted partial autonomy to Galicia, making Polish a language of government and establishing a provincial Diet. As this form of Austrian rule was more benevolent than that exercised by Russia and Prussia, Kraków became a Polish national symbol and a center of culture and art, known frequently as the "Polish Athens" (Polskie Ateny) or "Polish Mecca" to which Poles would flock to revere the symbols and monuments of Kraków's (and Poland's) great past. Several important commemorations took place in Kraków during the period from 1866–1914, including the 500th Anniversary of the Battle of Grunwald in 1910, in which world-renowned pianist Ignacy Paderewski unveiled a monument. Famous painters, poets and writers of this period, living and working in the city include Jan Matejko, Stanisław Ignacy Witkiewicz, Jan Kasprowicz, Juliusz Kossak, Wojciech Kossak, Stanisław Wyspiański and Stanisław Przybyszewski. The latter two were leaders of Polish modernism.
The Fin de siècle Kraków, even under the partitions, was famously the center of Polish national revival and culture, but the city was also becoming a modern metropolis during this period. In 1901 the city installed running water and witnessed the introduction of its first electric streetcars. (Warsaw's first electric streetcars came in 1907.) The most significant political and economic development of the first decade of the 20th century in Kraków was the creation of Greater Kraków (Wielki Kraków), the incorporation of the surrounding suburban communities into a single administrative unit. The incorporation was overseen by Juliusz Leo, the city's energetic mayor from 1904 to his death in 1918 (see also: the Mayors of Kraków).
Thanks to migration from the countryside and the fruits of incorporation from 1910 to 1915, Kraków's population doubled in just fifteen years, from approx. 91,000 to 183,000 in 1915. Russian troops besieged Kraków during the first winter of the First World War, and thousands of residents left the city for Moravia and other safer locales, generally returning in the spring and summer of 1915. During the war Polish Legions led by Józef Piłsudski set out to fight for the liberation of Poland, in alliance with Austrian and German troops. With the fall of Austro-Hungarian Empire, Poles liberated the city and it was included with the newly reborn Polish state (1918). Between the two World Wars Kraków was also a major Jewish cultural and religious center (see: Synagogues of Kraków), with the Zionist movement relatively strong among the city's Jewish population.
World War II
Poland was partitioned again at the onset of the Second World War. The Nazi German forces entered Kraków on September 6, 1939. The residents of the city were saved from German attack by the courageous Mayor Stanisław Klimecki who went to meet the invading Wehrmacht troops. He approached them with the call to stop shooting because the city was defenseless: "Feuer einstellen!" and offered himself as a hostage. He was killed by the Gestapo three years later in the Niepołomice Forest. The German Einsatzgruppen I and zbV entered the city to commit atrocities against Poles. On September 12, the Germans carried out a massacre of 10 Jews. On November 4, Kraków became the capital of the General Government, a colonial authority under the leadership of Hans Frank. The occupation took a heavy toll, particularly on the city's cultural heritage. On November 6, during the infamous Sonderaktion Krakau 184 professors and academics of the Jagiellonian University (including Rector Tadeusz Lehr-Spławiński among others) were arrested at the Collegium Novum during a meeting ordered by the Gestapo chief SS-Obersturmbannführer Bruno Müller. President of Kraków, Klimecki was apprehended at his home the same evening. After two weeks, they were sent to Sachsenhausen concentration camp, and in March 1940 further to Dachau. Those who survived were released only after international protest involving the Vatican. On November 9–10, during the Intelligenzaktion, the Germans carried out further mass arrests of 120 Poles, including teachers, students and judges. The Sicherheitspolizei took over the Montelupich Prison, which became one of the most infamous in German-occupied Poland. Many Poles arrested in Kraków, and various other places in the region, and even more distant cities such as Rzeszów and Przemyśl, were imprisoned there. Over 1,700 Polish prisoners were eventually massacred at Fort 49 of the Kraków Fortress and its adjacent forest, and deportations of Polish prisoners to concentration camps, incl. Ravensbrück and Auschwitz, were also carried out. The prison also contained a cell for kidnapped Polish children under the age of 10, with an average capacity of about 70 children, who were then sent to concentration camps and executed. From September to December 1939, the occupiers also operated a Dulag transit camp for Polish prisoners of war.
Many relics and monuments of national culture were looted and destroyed (yet again), including the bronze statue of Adam Mickiewicz stolen for scrap. The Jewish population was first ghettoized, and later murdered. Two major concentration camps near Kraków included Płaszów and the extermination camp of Auschwitz, to which many local Poles and Polish Jews were sent. Specific events surrounding the Jewish ghetto in Kraków and the nearby concentration camps were famously portrayed in the film Schindler's List, itself based on a book by Thomas Keneally entitled Schindler's Ark. The Polish Red Cross was also aware of over 2,000 Polish Jews from Kraków, who escaped from the Germans to Soviet-occupied eastern Poland, and then were deported by the Soviets to the USSR.
The Polish resistance movement was active in the city. Already in September 1939, the Organizacja Orła Białego resistance organization was founded. Kraków became the seat of one of the six main commands of the Union of Armed Struggle in occupied Poland (alongside Warsaw, Poznań, Toruń, Białystok and Lwów). A local branch of the Żegota underground Polish resistance organization was established to rescue Jews from the Holocaust.
The Germans operated several forced labour camps in the city, and in 1942–1944, they also operated the Stalag 369 prisoner-of-war camp for Dutch, Belgian and French POWs. In 1944, during and following the Warsaw Uprising, the Germans deported many captured Poles frow Warsaw to Kraków.
A common account popularized in the Soviet-controlled communist People's Republic of Poland, held that due to a rapid advance of the Soviet armies, Kraków allegedly escaped planned destruction during the German withdrawal. There are several different versions of that account. According to a version based on self-written Soviet statements, Marshal Ivan Konev claimed to have been informed by the Polish patriots of the German plan, and took an effort to preserve Kraków from destruction by ordering a lightning attack on the city while deliberately not cutting the Germans from the only withdrawal path, and by not aiding the attack with aviation and artillery. The credibility of those accounts has been questioned by Polish historian Andrzej Chwalba who finds no physical evidence of the German master plan for demolition and no written proof showing that Konev ordered the attack with the intention of preserving the city. He portrays Konev's strategy as ordinary – only accidentally resulting in little damage to Kraków – exaggerated later into a myth of "Konev, savior of Kraków" by Soviet propaganda. The Red Army entry into the city was accompanied by a wave of rapes of women and girls resulting in official protests.
Post-war period
After the war, the government of the People's Republic of Poland ordered the construction of the country's largest steel mill in the suburb of Nowa Huta. This was regarded by some as an attempt to diminish the influence of Kraków's intellectual and artistic heritage by industrialization of the city and by attracting to it the new working class. In the 1950s some Greeks, refugees of the Greek Civil War, settled in Nowa Huta.
The city is regarded by many to be the cultural capital of Poland. In 1978, UNESCO placed Kraków on the list of World Heritage Sites. In the same year, on October 16, 1978, Kraków's archbishop, Karol Wojtyła, was elevated to the papacy as John Paul II, the first non-Italian pope in 455 years.
Kraków's population has quadrupled since the end of World War II. After the collapse of the Soviet Empire and the subsequent joining of the European Union, Offshoring of IT work from other nations has become important to the economy of Kraków and Poland in general in recent years. The city is the key center for this kind of business activity. There are about 20 large multinational companies in Kraków, including centers serving IBM, General Electric, Motorola, and Sabre Holdings, along with British and German-based firms.
In recent history, Kraków has co-hosted various international sports competitions, including the 2016 European Men's Handball Championship, 2017 Men's European Volleyball Championship, 2021 Men's European Volleyball Championship and 2023 World Men's Handball Championship.
RELEASE DATE: 1983
MANUFACTURER: Original Appalachian Artwork
BODY TYPE: Stuffed; tag 1978, made in Cleveland, Georgia; 1983 green signature
HEAD MOLD: Soft sculpture
PERSONAL FUN FACT written by my sister: Baldwin Lance arrived as the most familiar of strangers. In July 2021, Shelly and I both contracted a bad case of CABBIE FEVER. We had become obsessed in all things Cabbage Patch. One of our earliest discussions surrounded soft sculptures--how I thought they looked odd, how most were "one of a kind", and, best of all, how they could be purchased at an exotic location called Babyland. Call me shallow--if I were ever able to travel, I wouldn't go to the pyramids, or the Eiffel tower, or even to Disney. No, I would want to go to Babyland--where Cabbies live and play. Where you can adopt them straight out of the patch. Anyway, I digress--the point is, we were ogling soft sculpture Cabbages online. In one of my earliest Mercari searches, I saw this little man. He was my Baby Otis--I took one look at the listing and I said, "That's MY baby!" I loved everything about him and thought he was the cutest thing I'd ever seen--back when I wasn't sure whether I loved softies or just thought they were interesting and weird. He was expensive--his original listing was for $300. Then, he got slashed to around $250, still untouchable. I thought, "Maybe if he sits around long enough, he'll get marked down to a price I can afford." I knew him then as "Baby Baldwin." When I went back to check up on him--see if he was still available, see if he was any cheaper, I typed in "Cabbage Patch Baldwin." I obsessed in him for months and "Cabbage Patch Baldwin" was one of my typical Mercari searches. However, he was still expensive and, after being cheated out of one Baby Otis and losing a bid on another, we became consumed with getting Otis. Even if Baldwin Lance (whose whole name I knew by then), had gotten marked down, we were afraid to spend money on another softie--it's an investment--for fear of finally finding a touchable Otis and not having the funds. It took us until the holiday season--November--to track Otis down. By then, between buying my Courtney doll's things for Christmas and, shortly after, getting Corinne and Gwynn Tan, we didn't have any spare dolly cash for an investment such as Baldwin. I hadn't looked at his price in eons--probably since the fall. I figured, if he HAD somehow gotten marked down to what I wanted to pay, someone else would've bought him. I don't think I typed him in after a point because I was so sure someone else would've scooped him up and I didn't want to deal with the heartbreak. He's not like Otis--he's the only "Baldwin Lance". However, I came down with a bad cold a little before Easter 2022. Shelly was bored and, of course, using the down time to shop. We'd been talking for months about, maybe, someday getting A Kid For All Seasons Morton. We loved that he was bald and came in a raincoat and, more importantly, we wanted a bigger softie for certain clothes. (Otis is a strange shape, probably because he's from the Nursery Edition.) Shelly, somehow, remembered this guy and typed in my old key words "Cabbage Patch Baldwin." And wouldn't you know? He was finally touchable AND had a make offer. Shelly had decided that he was cuter than Morton and that we should make an offer. It was one of those agonizing scenarios where the seller wanted to haggle over a small window (considering the cost of the item, five or ten bucks is fairly insubstantial). I wanted to cave and just buy him for full price--I was so close to finally having my dream Cabbie and I fantasized about them immediately accepting our offer. (It wasn't that much of a stretch--a few days later, we tried making an offer on Oscar and they took it within the hour, no haggling!) In the end, we got him for a very good deal and I was very happy. I was so happy about him that, while feeling like I was dying from that horrible cold, I would keep thinking, "Baldwin is coming! THE Baldwin." It was my mantra. We ordered him the Wednesday before Easter. Ordering something before a holiday weekend can be hit or miss--it took the seller several days to ship him. Plus, he came to us all the way from California. Therefore, Oscar, who we ordered on Easter day came two days before him! By the time Baldwin came, Oscar and I had become best friends--but it didn't change how thrilled I was to finally have "Baby Baldwin" in our home. It didn't matter that he wasn't the first Cabbie of his stature, or that he was the second softie to arrive in a week. No, he was still just as exciting--Baldwin, the Baldwin I've loved since around the time we got our first Cabbage Patch Kid, Baby Martin. In fact, I'm pretty sure I loved this guy even before we got Baby Martin--for some reason, I thought his name was "Baby Baldwin" and it made me push to christen our first doll "Baby" something. I think--it feels like a long time ago. I just know that this little man has been in my heart since July 2021 and it took him about nine months to join the family! I felt really bad for him actually--he'd been listed since June 2021, before I'd even discovered him. He was probably waiting for a home, sitting in someone's closet. (I was scared that the seller wouldn't be able to FIND him after so many months of him not selling.) I also strongly suspected, because normally people make a point of photographing the butt markings on soft sculptures to prove authenticity, that this little guy had NEVER been undressed. When he arrived, wrapped in saran wrap like a mummy, I knew I was right--his name tag was still tabbed into his pants with a factory tab. NEVER undressed, what a travesty. A doll who was intended to be adopted, loved, and pampered like a real baby (okay, let's be real--their intent is to make money off the dolls, but the "adopt me, love me" gimmick really works for me) was never played with or truly appreciated. Poor Baldwin! We didn't know a whole lot about him, especially since the seller didn't post any nude photos. Going off the color of his name tag, Shelly thought maybe he was made in 1987, just like me. However, it turns out he's from 1983! Before we even stripped him, we thought that was the case because Shelly looked at the tag for a date and that's the date (and, since he'd never been stripped, we knew the tag was his). His butt stamp still looks like new! Honestly, I didn't care what year he was (though I suspected he was from the 80s--he's got that look). I'd been in love with him so long that I didn't care if he was from 1983, 1978, 2000, 2005, or 2018. Any time in between--it didn't matter. I love him no matter what. I love his bulbous head--it's like Otis', much bigger than Oscar's. His nose is humped like Otis' too. I love how he's got green eyes like Raphie's--and that dimple! He is simply to die for! He is truly one of a kind--and he's finally found his forever home with me and Shelly!
Parmigianino (1503-1540), active in Parma, Rome and Bologna
Conversion of Paul the Apostle, about 1527/28
According to the story of the Apostles, Saul was suddenly illuminated by heavenly light on his way to Damascus, where he was to persecute Christians. Dazzled, he fell to the ground. Saul returned, had himself baptized, and became as Paul the passionate advocate of the new faith.
Parmigianino interprets the miracle of divine enlightenment as a highly dramatic event which, as ecstatic excitement, equally captures man and beast.
Parmigianino (1503-1540), tätig in Parma, Rom und Bologna
Paulussturz, um 1527/28
Wie die Apostelgeschichte berichtet, wurde Saulus auf dem Weg nach Damaskus, wo er Christen verfolgen sollte, plötzlich von himmlischem Licht umstrahlt. Geblendet stürzte er zu Boden. Saulus kehrte um, ließ sich taufen und wurde als Paulus zum glühenden Verfechter des neuen Glaubens.
Parmigianino deutet das Wunder göttlicher Erleuchtung als hochdramatisches Geschehen, das als ekstatische Erregung gleichermaßen Mensch und Tier erfasst.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Hercules contracted a terrible disease and journeyed to the oracle at Delphi, in hopes that the priestess there would advise him on how to cure himself. But Hercules was to be disappointed. When he questioned the Pythian priestess, she was unable to answer him in oracles. Hercules, outraged at priestesses unwillingness to help, began tearing the temple apart. When Hercules came upon the Delphic tripod, he started to make off with it, thinking that he would establish an oracle of his own.
Apollo, however, was not about to let Hercules carry off the prized tripod from his sacred site. He began to wrestle with Hercules over its possession.
The image shows the struggle for the tripod with Athena supporting Heracles.
Athenian red – figure Pelike
Attributed to The Berlin Painter by Beazley
500 – 490 BC
Rome, Villa Giulia, Museo Nazionale Etrusco
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
TK-Hotsauce: "So, if I finish the Jedi saga, I get a Handsome Reward??"
Yes, I proposed to TK-Hotsauce an offer he couldn't refuse. He agreed to finish out the Jedi saga with TC-Jedi, TC-Gangsta, and TC-Shocktrooper, Darth Vader, and the rest of the gang... However, he did make an alteration to the contract as he wants some creative control. He insisted that if he continues with the storyline, his lightsaber would be orange, he would get to be the one to defeat Sideous, and that his handsome reward be of the "spicy" variety.
I agreed to those terms.
twitter.com/keltruck/status/1467131435253477377
Used #EDaviesContracting #Scania 540S #SuppliedByKeltruck.
#LowerThornton #MilfordHaven #Pembrokeshire #Wales #SouthWales #Cymru | instagram.com/EurosWynDavies
👏 Dai Evans
For the best range of #ScaniaUsedTrucks visit used.keltruckscania.com.
➡️ linkedin.com/posts/david-evans-aa70171a5_a-massive-thanks...
The acquisition of the fleets of independent bus operators brought a large number of unlikely vehicles into the SYPTE fleet. 1099 is a Bedford SB5 with Duple Dominant coachwork new to the Reliance fleet of R. Store Ltd of Stainforth in 1976. It was allocated SYPTE no. 1099 and used on contract work for a year or so before withdrawal.
It would pass to Grayscroft of Mablethorpe early in 1981.
Kuroshitsuji II Shoot 2.0
Cosplayer: Gisella Guerrero as Ciel Phantomhive from Kuroshitsuji
Photography: Arturo Pozo
Edition: Arturo Pozo