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This picture contributed by Shirah Foy, who studied Russian in Odessa with SRAS in Summer 2011. See more of her pictures and experiences here: shirah-goes-again.blogspot.com/
Contributing Building - University of Notre Dame: Main and South Quadrangles Historic District - National Register of Historic Places
NRIS #78000053
Contributing Building - Downtown Douglas Historic District - National Register of Historic Places
NRIS #93000941
Gaoliang, road to Pianma, Yunnan Province, China, April 2007, contributed by © Philippe de Spoelberch
Contributing Building - Bloomington Central Business District - National Register of Historic Places
NRIS #85000363
Contributing Building - Winslow Commercial Historic District - National Register of Historic Places
NRIS #89000316
Built 1912-13
Go to Page 112 in the Internet Archive
Title: The encyclopædia of practical cookery : a complete dictionary of all pertaining to the art of cookery and table service ..., v.1
Creator: Garrett, Theodore Francis
Creator: Rawson, William A
Creator: University of Leeds. Library
Publisher: London : L. Upcott Gill
Sponsor: Jisc and Wellcome Library
Contributor: University of Leeds Library
Date: 1892
Vol: v.1
Language: eng
Description: This material has been provided by The University of Leeds Library. The original may be consulted at The University of Leeds Library
The University of Leeds Library
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Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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Contributing Building - Hambidge Center Historic District - National Register of Historic Places
NRIS #82000146
Mature oak trees contribute to the stabilization of the Bluffs and were carefully preserved.
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Contributing Building - Downtown Plant City Commercial District - National Register of Historic Places
NRIS #93000478
Contributing Building - Quincy Historic District - National Register of Historic Places
NRIS #78000942
Contributing Building - Seth Lore and Irwinton Historic District - National Register of Historic Places
NRIS #86001534
Built 1872
Style: Victorian
Contributing Building - Uptown Residential Historic District - National Register of Historic Places
NRIS #82002473
Contributing Building - Hahira Commercial Historic District - National Register of Historic Places
NRIS #RS100006746
In downtown Ambridge, Pennsylvania, on July 10th, 2020, buildings at 303, 305, 307, 309, and 311 Merchant Street (built 1908, 1908, 1908, 1913, and 1908, respectively), "contributing properties" in the Ambridge Commercial Historic District, 100005420 on the National Register of Historic Places, at the northwest corner of Merchant Street and 3rd Street, as viewed from the intersection of Merchant Street and Duss Avenue.
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Contributing Building - Monticello Historic District - National Register of Historic Places
NRIS #77000405
Style: Greek Revival
PC(USA)
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The cathedral and parish church of St. Peter and Paul , abbreviated to Klagenfurt Cathedral , in the municipality of Klagenfurt am Wörthersee , is the cathedral church of the diocese of Gurk-Klagenfurt and one of the Roman Catholic parish churches in the deanery of Klagenfurt-Stadt . The church was built in 1581 as a Protestant prayer house and was consecrated to the “Most Holy Trinity ” and is therefore the largest Protestant church built in Austria . Closed in 1600 during the Counter-Reformation , it was handed over to the Jesuits four years later , who rededicated it to Peter and Paul and looked after it until the order was dissolved in 1773 . In 1787, Bishop Franz Xaver von Salm-Reifferscheidt made the church a cathedral for the Gurk diocese . After the surrounding building complex, the “Jesuit Barracks”, was demolished in 1960, the now free-standing west side received a corresponding facade.
Historical background
Until Maximilian donated it to the Carinthian estates in 1518, Klagenfurt had long played a subordinate role within the princely cities, which was also reflected in the number of churches in the city at the time: there were only two churches here until the late 16th century , today's main parish church of St. Egid , then the vicariate of Maria Saal , and the Heiligengeist hospital church located outside the city walls . There was no monastery in Klagenfurt until the Counter-Reformation.
Over the course of the 16th century, the teachings of Protestantism became increasingly popular in Inner Austria , both among the common population and among the estates. The Reformation reached Klagenfurt later than other cities; it was only in 1563 that Martin Knorr, pastor of Klagenfurt, read out “the first German mass or communion according to God's pure command and the Augsburg Confession” in St. Egid Church. Three years later, Knorr, along with other Carinthian pastors, signed a “Confession of Carinthian Predicants,” which effectively declared the new faith the official religion of the city. [2] The large number of immigrants from Württemberg and Saxony, among others, in the rapidly growing city in the second third of the 16th century also contributed to the fact that Klagenfurt's population was consistently Protestant as early as the 1570s.
After the estates had initiated the construction of the country house and a estate school (later the Europagymnasium ) in their new residence in 1574 , the city was faced with another important task to expand the urban infrastructure by 1580 at the latest, the construction of a community hospital , which was supposed to replace the dilapidated Heiligengeistspital. A representative church should be attached to this hospital because the existing parish church, today's Holy Spirit Church, had become too small and was also badly damaged after a fire in 1535 and the Vicariate Church of St. Egid was still under the Maria Saal dean.
At the request of the Klagenfurt magistrate, the Carinthian state parliament decided on December 10, 1580 to allocate a building site southeast of the old city center, as there was no longer enough space available in the previous city center for a new building. The construction work for the church and community hospital “von neyen grienen wosn” (from scratch) began at the beginning of 1581. The council citizen and later first mayor of Klagenfurt, Christoph Windisch, was responsible for the planning and construction of the hospital. The builder of the church is unknown, but is believed to be in the circle of Johann Anton Verda , which is also indicated by stylistic similarities to the Klagenfurt country house.
On April 28, 1591, the building was opened by city priest Bernhard Steiner as the city's estate and second Protestant preacher's church and consecrated to the "Most Holy Trinity " . At this point, neither the church nor the hospital were completely finished. The community hospital was used from 1593, and Windisch was still trying to raise funds for an organ for the church in 1597.
The Trinity Church was built as a simple, spacious hall building with a two-story gallery on three sides and can still be clearly seen in today's church. The original building is of architectural significance in that it is probably the oldest large pillar church in Austria. The interior was spacious and bright and, measuring about 20 by 20 and 18 meters high, it was almost cube-shaped. On the upper floor, arcades typical of Protestant churches had been installed towards the church interior , four on the long sides and three on the west side.
Little is known about the furnishings of the church during the Protestant era. Urban Paumgartner , who described the newly rebuilt city of Klagenfurt in an epic in 1605, mentions the pulpit supported by life-size figures, the altar with a picture of the Last Supper and the organ in the west gallery. As a later restoration revealed, the interior was completely decorated with colorful frescoes of tendrils and foliage, so it did not convey the simple and austere atmosphere typical of Protestant prayer houses.
On the outside of the church on the west side was the three-wing, initially one-story building of the hospital, which occupied approximately the area of today's cathedral square. A cemetery was created in the east of the church, today's rectory.
Reconstructions under the Jesuits
The Catholic Church initiated the Counter-Reformation as early as 1580 , but this initially had no immediate consequences in Carinthia. The situation only worsened when the Archduke Ferdinand of Inner Austria issued a decree on June 1, 1600, ordering the closure of all Protestant churches and schools in Carinthia and the expulsion of the teachers and schoolmasters. After the sovereign's order had no effect, Ferdinand sent a Reformation commission under the Seckau Bishop Martin Brenner to Carinthia to effect conversion locally. Klagenfurt was the last stop on this mission; the commission negotiated with the states from November 11th to 13th. Ultimately, the keys to the Trinity and Holy Spirit Church were handed over to the bishop and they were locked until further notice. [8th]
The church was given to the Jesuits in 1604 . The auxiliary bishop Karl von Grimming consecrated the church to the apostles Peter and Paul . The hospital building was raised by one floor to make room for a Jesuit school and the religious community itself. The hospital was housed in a building a few hundred meters away, and in 1663 a new community hospital church was added to it.
The Jesuits first redesigned the interior in the Baroque style . As early as 1606, the previous niches on the north and south side wings were converted into chapels and six altars were set up in them. However, significant structural changes to the church only took place decades later, which was due on the one hand to a lack of funds and, on the other hand, to the fact that the Jesuits tried to avoid demonstrative actions in a city that was initially very hostile to them. [9] In 1661, a foundation from the Orsini-Rosenberg family was used to build the Franz Xavier Chapel, today's Lady Chapel, in the southern part. The wall in front of the original altar gave way to a spacious presbytery and in 1664 a crypt was created with 50 burial places and an altar dedicated to St. Bishop Valentine. The conversion of the originally polygonal priest's choir in the east of the building into a semicircular apse was completed in 1665. Gabriel Wittini began decorating the church with stucco in 1668 . All of the ceiling decorations, which dated back to the Protestant period, were covered over. Some of Wittini's work is still preserved today (on the west gallery and at the former entrance on the north side).
Between 1715 and 1720 the church received new altars, which fell victim to a major fire in 1723. This fire, which spread to the church from one of the neighboring houses, also destroyed a significant part of the furnishings and the roof. In addition to repairing the damage, the Jesuits completed the decoration of the church in the following years. Altars were built in the side chapels, the vaults of the choir and nave, the side chapels and the galleries were re-stuccoed from 1725 onwards, and finally the tower received a new helmet in the form of a double onion in 1729 . The redesign of the high altar was completed with the completion of the column-framed painting of the farewell of the two church patrons in 1752.
Elevation to a cathedral, use and renovations to date
After their order was abolished by Pope Clement XIV in 1773, the Jesuits had to leave Klagenfurt. An additional floor was added to the monastery building and from then on it was used as a barracks. This so-called “Jesuit barracks” existed until 1960 and briefly served as an internment camp during the defensive battle . The church, which until then had only been a branch of the parish of St. Egid , was elevated to a parish church in 1784. In 1787, the then bishop of the Gurk diocese , Franz Xaver von Salm , moved his residence from Strasbourg (or Pöckstein ) to Klagenfurt and elevated the church, initially provisionally and finally in 1793, to the cathedral of the Gurk bishops.
People's altar from 1990/91
During the French Wars, Klagenfurt was occupied three times (1797, 1805 and 1809). After the victory of the Napoleonic forces in 1809, the church building was converted into a flour and bread warehouse. The resulting damage could only be repaired in 1823 and 1824. And it was only a good hundred years later, in the years 1927 to 1929, that the cathedral underwent its next renovation under Prince-Bishop Adam Hefter and the cathedral priest Josef Maier. This renovation work also resulted in the color scheme of the interior in white, yellow and green, which existed until 1990.
During the Second World War the cathedral was damaged by bombs several times. The “Jesuit Barracks” was also badly hit and eventually demolished in the 1960s. The damage to the cathedral itself was only completely repaired during a comprehensive exterior renovation between 1974 and 1977. The west facade was redesigned based on a design by Ewald Kaplaner and is reminiscent of the appearance of the Klagenfurt country house . On the occasion of this, the cathedral square was also redesigned. During the last redesign of the interior in 1990 and 1991, it was decorated in the original colors of the 17th century and a new folk altar was finally consecrated.
Building description
The largely sober, 46 meter long and 20 meter wide exterior of the hall church is largely hidden from view by surrounding buildings. Only from the cathedral square is there a view of the west facade with the almost 70 meter high, six-story and slightly advanced vestibule tower, which is crowned with a double onion helmet and a lantern . A building was added on each side of the tower in 1973, which houses, among other things, the Diocesan Museum. The arcades on the ground floor, which were originally bricked up, now form the access area to the church. In the arcade there are four baroque sandstone figures [11] by the Venetian Francesco Robba, which originally stood on the Old Square as parts of the Johannes Nepomuk column. They represent the four patron saints of the plague, Saints Roch , Sebastian , Ursula and Johannes Nepomuk .
Until 1973, the main entrance to the church was on the north side; today this is used as a side entrance. A facade wall runs along the adjacent Lidmanskygasse, separating the entrance and the small inner courtyard in front of it from the street. There are four niches set into this wall in which there are sandstone figures by Josef Veiter (1819–1902): Next to the entrance on the left is the patron saint of Carinthia, St. Joseph , on the right the patron of the diocese, John the Baptist , further out the church patrons: on the left Peter, on the right Paul. Through a Renaissance-style portico built in 1879 you enter a courtyard in which there is a statue of St. Hemma , which was made by the Carinthian sculptor Herbert Unterberger , is installed.
The church is a spacious gallery hall. The nave has a barrel vault , the stitch caps lead to the windows with viewing shafts. There are arcades on three sides. On the north and south sides the pillar arcades are round arched, on the west side they are pointed arches, reminiscent of the late Gothic . On the ground floor, the arcades have become chapels through intermediate walls: four on each of the long walls and three on the western narrow side. Pilasters divide the nave into four bays , they support a projecting cornice that separates the wall from the vault. Walls and vaults have a rich, dense stucco decoration . The three-bay choir is elongated, barrel-vaulted and has a semicircular end.
Interior, seen from the entrance
If you enter the church through the main portal and the entrance vault, the powerful but closed-looking hall of the main nave opens up. On the long sides, the wall pillars on the upper floor, standing between baroque-looking round arches, transform into free supports that support the entablature via wall pilasters on which the longitudinal barrel with its stitch caps lies. Small, arched windows are built into these caps, allowing a little light to shine into the vault.
The 17.9 meter high interior has a strong east-west orientation - mainly due to the later addition of the presbytery . With a current total length of the church of 46 meters, the main nave (20 m) and the choir (19.5 m) divide the interior almost in half.
Ceiling and wall design
The stucco comes from different times. The vault of the penultimate two side chapels and the cross vaults of the west gallery have older, heavy stucco ( cartilage ornaments and curved framed cartouches ) from around 1660, which is attributed to Gabriel Wittini . In the side chapel on the north side, which today serves as a side exit, there is stucco made around 1669. Fields angularly framed by tendrils of leaves show the monogram of the Savior and the Mother of God. The west gallery has stucco made of heavy leaf tendrils and cartilage. Most of the stucco is lighter and more lively. It was built after the fire in 1723 by Kilian Pittner and Josef Marx Pittner between 1725 and 1727. The nave and choir vaults have delicate leaves interwoven to create an ornament, the galleries show latticework and delicate ribbon weaving.
The stucco decoration frames 23 fresco images on the vault and walls. They were painted over by Lexer in the 19th century and by August Veiter in the 20th century . The four frescoes on the choir walls with scenes from the lives of Peter and Paul were painted by Switbert Lobisser in 1928 and replaced baroque paintings. The transfiguration of Christ on Mount Tabor is depicted in the choir vault, the ascension of Christ and Mary is depicted in the nave vault, and the apostles are depicted in side medallions. The frescoes in the gallery vaults show various saints. These frescoes were destroyed by roof damage and were repainted by Veiter in 1927 and 1928.
Bishop's throne, 1930, designed by Karl Holey
The high altar is an 18 meter high column-pilaster structure made of wood with a canopy . The artificial marble columns are fluted in the lower area and, together with the pilasters , they support a massive entablature. Above this there is a second one that is curved like a volute . These side columns are crowned by large, golden angel statues. The angels hold a curtain to the side, revealing a view of an oval image of the Holy Trinity - also held by angels. Below this picture, between the columns, is the large altarpiece, created by Daniel Gran in 1752: it shows the farewell of Peter and Paul, the two church patrons. Angels in the clouds above the scene hold the attributes of the two saints and martyrs' wreaths. A woman floats in the clouds above as an allegory of the church. The tabernacle is high and slender, the structure resembles a columned tempietto and carries a crucifix. The dome-like roof of the tabernacle has a putto on each side , and in the middle is the book with seven seals and the eye of God surrounded by rays . Below the miniature temple hall is the actual tabernacle, on the doors of which there are reliefs of the four evangelists . To the side of the tabernacle there are pedestals with reliefs of the bronze serpent and Abraham's sacrifice , which serve as supports for vases. At the very outside there is a mannerist angel in an adoring posture.
The choir stalls on the south side and the bishop's throne on the north side date from 1930 and were designed by Karl Holey . The coat of arms of the Gurk bishops is located under the canopy. The ambo and people's altar were made from Hungarian marble by Carinthian Wolfgang Stracke in 1990 and 1991 .
Side chapels
In contrast to the wooden high altar, the side altars were made of marble between 1725 and 1727 . They are similar to each other, look alike in pairs and are attributed to Lukas Misli 's workshop in Laibach . The two easternmost altars consist of eleven types of marble, come from the workshop of the Venetian Francesco Robba and carry statues made of alabaster-like marble. The altars have curved and smooth columns and pilasters. The northern Lady Chapel, which now functions as a baptismal chapel, has the Mother of God with child as an altarpiece. The top has a group of figures with the Annunciation to Mary, the side statues show Aaron and Mirjam , and on the outside there is a putto on volutes. The chapel is closed by a wrought iron grille, which dates from around 1750 and shows echoes of the Rococo . The southern Christ Chapel has a picture of Ignatius by Paul Troger from 1726. The white marble statues to the side of the picture represent the two Jesuit saints Ignatius and Franz Xavier . The top shows the Holy Trinity with a putto carrying the globe .
The two altars to the west are simpler and have only a pair of smooth columns and pilasters growing out of volutes on the outside. Its decoration consists of early baroque, heavy fruit hangings, which can also be found at the front of the canteens . The north-side St. Anne's Chapel shows Mother Anna with the young Mary in the altarpiece . The top is a pair of putti between vases of flame. In the St. Joseph's Chapel on the south side there is a votive altar from the St. Joseph's Brotherhood from the 19th century. The altarpiece with the Death of Saint Joseph by August Veiter (1902) was removed during the last renovation in 1990 and 1991.
The niche next to the west does not have an altar on the north side, as this is where the former main entrance and today's side entrance are located. On the south side, the altar, unlike all the others, is pillarless. The altarpiece shows St. Aloysius . The oval picture above shows the Immaculata , the side statues by Franz Rottmann represent St. Aloysius and St. Stanislaus Kostka .
The chapel furthest away from the main altar is the Rosalia Chapel on the north side. Its altar has fluted columns with leaning pilasters. The cafeteria is similar to a sarcophagus , with pedestals bearing volutes standing diagonally next to it. A putto kneels on each of them. The altarpiece shows St. Rosalia , the essay the statue of St. Sebastian . On the south side is the Barbara Chapel with an altar that corresponds to that of the Rosalia Chapel: The altarpiece shows the beheading of St. Barbara .
Through the Aloysius Chapel you can reach today's sacrament chapel, which was built in 1660 and 1661. The original altarpiece with St. Franz Xaver was replaced by a copy of the Madonna of Altötting in the 20th century . The altar made of stucco marble bears the figure of St. on the left side. Andreas , on the right St. Wolfgang , the patron saint of the founder, Wolfgang Andreas Graf Orsini-Rosenberg . In the side wall niches there are six wooden statues depicting Jesuit missionaries. Altar and niche statues are attributed to Christoph Rudolph.
Below the sacrament chapel is the bishop's crypt, in which the former bishops Adam Hefter , Joseph Köstner and Valentin Wiery are buried. There is also the canon's crypt, where Stanislaus Cegovnik is buried.
Pulpit, detail: Evangelist Matthew with the human head (1726)
The pulpit from 1726 is on the south side at the entrance to the choir. It is made of marbled wood and is richly decorated with gilded ornaments. The figures are shown in white poliment , but were originally painted in color. The basket of the pulpit has a cranked cornice on which the four evangelists sit: from left to right John with the eagle, Mark with the lion, Matthew with the human head and Luke with the bull. Between them there are cartouches on the parapet that show the IHS symbol between two putti. On the back wall there is a curtain held by two putti with a cartouche showing a relief of the Good Shepherd held by two angels. The sound cover depicts a gilded, rising cloud and is crowned by the risen Christ in a halo. Christ's left hand lies on the globe, the right is raised in blessing. At the bottom of the sound cover there are female allegories of the three divine virtues : love with an inflamed heart, faith with the cross and hope with the anchor. The pulpit is attributed to Christoph Rudolph .
Apotheosis of John Nepomuk
On the north wall opposite the pulpit is the apotheosis of St. John Nepomuk . The work of art was donated by the Carinthian estates in 1727. The design comes from Josef Ferdinand Fromiller . The work was carried out in 1736, probably by Christoph Rudolph. On the left of the base there is the allegory of the Duchy of Carinthia, above her a putto carrying a cross, next to her a putto with the Carinthian coat of arms . On the right is a female figure, the allegory of the Golden Age , above her a putto who drops gold pieces from a cornucopia onto the coat of arms. Symbols of transience are the weapons with shields and death, depicted as a skeleton. Above, in heavenly glory, is Saint Nepomuk, kneeling on clouds in front of a halo of rays. Chubby putti dance around him.
Bells
Five bells hang in the tower , with the smallest bell acting as a solo death bell. They were cast on the night of April 17th to 18th, 1951 by the Oberascher bell foundry from Salzburg and consecrated and raised on April 29th.
Organs
There are two organs in Klagenfurt Cathedral: the main organ in the gallery, and (from 2015) a choir organ in the choir room.
Main organ
The organ of Klagenfurt Cathedral is located on the second gallery. It was built in 1986 by the Swiss workshop Mathis Orgelbau and has 45 stops on three manuals and a pedal . The housing is in the baroque style and consists of the main work, flanking towers and the Rückpositiv on the gallery parapet. The instrument was cleaned in 2008.
Choir organ
The Rieger Orgelbau company from Schwarzach in Vorarlberg built a new choir organ in the cathedral in spring 2016 , which is called the “Marienorgel”. The organ consecration took place on April 30, 2016. The new instrument has a total of 35 registers on two manuals and a pedal and is particularly suitable for romantic and contemporary music (originally 31 registers were planned) . The pipe work is housed in the niches behind the oratory windows on the north and south sides of the chancel. The gaming table is placed at ground level south of the altar.
Burial sites
Former cemetery
There was once a cemetery to the east of the cathedral, of which there are no longer any traces. The area is partly used as a parking lot, but parish celebrations also take place there.
Crypts
There are two crypts inside the cathedral church:
Bishop's Crypt
This is located under the Franz Xavier Chapel. Buried here are:
Valentin Wiery (born February 12, 1813 in St. Marein near Wolfsberg ; † December 29, 1880 in Klagenfurt)
Adam Hefter (born December 6, 1871 in Stetten near Prien am Chiemsee ; † January 9, 1970 there)
Joseph Köstner (born March 9, 1906 in Klagenfurt; † January 1, 1982 there)
Canon's Crypt
Buried in the canon's crypt are:
Stanislaus Cegovnik (* 1926; † July 11, 2009)
Karl-Heinz Frankl (born December 12, 1938 in Zwettl ; † December 28, 2019 in Klagenfurt)
22 Artists contributed to Seven Collections for the Refugee Rights Day Art Exhibit in Toronto - April 2008.
The youth artists of this exhibit have been forced to leave their homes in Turkey, Pakistan, and Mexico. They have been in Canada from three months to five years. Most of them are still waiting for a final decision to know if they will be staying, if Canada will permit a “new beginning.”
Each of these emerging artists have grappled with a Personal Information Form or the difficult questions of an immigration officer, “But how can you prove to me that you are gay?” This process is especially vulnerable for queer youth refugee claimants. This exhibit is a way to give these youth a voice that is not solicited in an immigration office or on a Personal Information Form.
Contributing Building - Senoia Historic District - National Register of Historic Places
NRIS #89000149
Contributing Building - East End Historic District - National Register of Historic Places
NRIS #05000427
Credit: Salzburg Global Seminar/Ela Grieshaber
October 11 to 16, 2014
One of the fundamental responsibilities of higher education is to provide open and equal opportunities for students to learn, succeed, and positively contribute to their local, national, and global societies. Great strides are being made in increasing educational access, retention completion, and success, yet there is still work to be done particularly for students from disadvantaged or marginalized groups. Unprecedented shifts in migration patterns are causing demographic changes around the world. Additionally, governments, societies, and higher education institutions are increasingly recognizing the need and responsibility to create legal and institutional frameworks for providing more and better opportunities for people from historically marginalized groups to gain access and achieve success at the university level.
From South Africa’s “Historically Disadvantaged Institutions,” to Brazil’s “Law of Social Quotas,” and a long tradition of “Minority Serving Institutions” in the United States, just to name a few, higher education institutions committed to providing educational opportunities for local communities marginalized along ethnic, racial, religious or other lines can be found on every continent. What’s more, in light of shifting demographics and the growing focus on educational opportunity and access, increasing numbers of colleges and universities will be serving students from marginalized groups. For too long, institutions serving students at the margins have operated in a vacuum, failing to collaborate across institutional types and across nations. This Salzburg session will bring together leaders from institutions serving marginalized populations with policy makers and researchers to develop a platform for finding solutions to these institutions’ common challenges and capitalizing on their strengths.
This program is being designed and implemented in partnership with the recently launched Center for Minority Serving Institutions at the University of Pennsylvania’s Graduate School of Education and with Educational Testing Service. From 2010 to 2012, Salzburg Global and Educational Testing Service collaborated on a series of sessions on “Optimizing Talent: Closing Educational and Social Mobility Gaps Worldwide.”
Contributing Building - Cairo Commercial Historic District - National Register of Historic Places
NRIS #94000525
Contributing Building - Monument Square Historic District - National Register of Historic Places
NRIS #84002512
Style: Romanesque Revival
Artist Patrick Mafoe contributed illustrations to the new Samoan Studies Instittue publication "Samoa Anamua (Ancient Samoa)". It's a coloring book for youngsters which also teaches them about how Samoans traditionally lived solely off nature, from which they were able to get everything they needed.
Yea it's the Manufacturers’ National Bank Building in Racine. The building is said here to have a "skeleton" from 1869, and to have undergone at least two major remodelings, including a façade (at the right) from 1919; and is said here to be from 1887. So I guess we can't easily figure out what year(s) this/these particular brick wall(s) is/are from.
The openness of the parking lot makes the building easy to see. Is that your 2005 Dodge Grand Caravan SXT.
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In downtown Racine, Wisconsin, on April 25th, 2021, the Manufacturers’ National Bank Building (a "contributing property" in the Old Main Street Historic District, 87000491 on the National Register of Historic Places) at the northwest corner of Main Street (Wisconsin Highway 32) and 5th Street.
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Getty Thesaurus of Geographic Names terms:
• Racine (7014308)
• Racine (county) (1002815)
Art & Architecture Thesaurus terms:
• banks (buildings) (300005214)
• brick (clay material) (300010463)
• historic buildings (300008063)
• historic districts (300000737)
• minivans (300429159)
• office buildings (300007043)
• paint (coating) (300015029)
• parking lots (300007826)
• peeling (300054127)
• remodeling (300135427)
• spring (season) (300133097)
• weathering (300054115)
• white (color) (300129784)
Wikidata items:
• 25 April 2021 (Q69306031)
• 2000s in transport (Q97717311)
• 2005 in transport (Q10127178)
• April 25 (Q2531)
• April 2021 (Q61313052)
• contributing property (Q76321820)
• Dodge Caravan (Q2095648)
• Milwaukee-Racine-Waukesha, WI Combined Statistical Area (Q110495108)
• National Register of Historic Places (Q3719)
• Old Main Street Historic District (Q7084439)
• Treaty of Chicago (1833) (Q87256769)
• Wisconsin Highway 32 (Q841056)
Library of Congress Subject Headings:
• Office buildings—Wisconsin (sh85094178)
Small archictectural details which generally go unnoticed contribute to the "feel" of a building in ways which are disproportionate to their physical size. This is a "rustic" ventilator made out of slates, built into the walls of the servants' wing of The Plas, Llansteffan.
By kind permission of Mr Wyn Jones.
Uploaded with the Flock Browser
IMMIGRANTS CONTRIBUTE: AMERICA, WE SING BACK! community event at the All Souls Unitarian Church at 1500 Harvard Street, NW, Washington DC on Saturday afternoon, 28 September 2013 by Elvert Barnes Photography
Performances
George "G." Yamazawa Jr. (Japan)
Follow DC Office of Human Rights / IMMIGRANTS CONTRIBUTE: AMERICA, WE SING BACK! facebook event page at www.facebook.com/events/530488973690958/
The Chicago Avenue Pumping Station is an historic district contributing property in the Old Chicago Water Tower District landmark district. It is located on Michigan Avenue along the Magnificent Mile shopping district in the Near North Side community area of Chicago, Illinois. It is on the east side of Michigan Avenue opposite the Chicago Water Tower.
en.wikipedia.org/wiki/Chicago_Avenue_Pumping_Station
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
DustWatch Volunteers - Greg and Lorraine Ayson. Contributing to vital dust storm and wind erosion research in Australia for over 10 years.
Dr John Leys, leader of the DustWatch program at the Office of Environment and Heritage (OEH) who manage and partly fund the program, said DustWatch is the first citizen science wind erosion project of its kind.
“The program relies heavily on the ongoing support of its 44 volunteers. Most of the 39 monitoring stations across the state are set up in extremely remote locations and we could not operate without the dedicated volunteers who collect data during dust events and maintain instruments on a monthly basis,” Mr Leys said.
To get involved or learn more about DustWatch visit: www.environment.nsw.gov.au/dustwatch
Contributing Building - Apalachicola Historic District - National Register of Historic Places
NRIS #80000951
The log building was built by Civilian Conservation Corps (CCC) enrollees in 1935 in the Service area of Scenic State Park. Like all CCC built structures in the Public Use Area of the park, the rectangular structure in the Service Area exhibits familiar traits of Rustic style construction, most notable the saddle-notched corners with projecting logs at alternating depths, terminating in chiseled ends. The Rustic style was often employed by the National Park Service who oversaw construction of facilities at state and National Parks where CCC enrollees worked.
The building was divided into a wood storage room and an ice house. The ice storage room was lined with insulating material.
The cabin is in the Scenic State Park CCC/Rustic Style Historic Resources- Service Area, listed on the National Register of Historic Places, and is a contributing structure. (Source: National Register of Historic Place Registration Form No. 92000595)
Contributing Building - Downtown Sylva Historic District - National Register of Historic Places
NRIS #14000545
Contributing Building - Chaires Community Historic District - National Register of Historic Places
NRIS #00001502
IMMIGRANTS CONTRIBUTE: AMERICA, WE SING BACK! community event at the All Souls Unitarian Church at 1500 Harvard Street, NW, Washington DC on Saturday afternoon, 28 September 2013 by Elvert Barnes Photography
Performances
Quique Aviles (El Salvador)
www.facebook.com/quique.aviles
Follow DC Office of Human Rights / IMMIGRANTS CONTRIBUTE: AMERICA, WE SING BACK! facebook event page at www.facebook.com/events/530488973690958/
Credit: Salzburg Global Seminar/Ela Grieshaber
October 11 to 16, 2014
One of the fundamental responsibilities of higher education is to provide open and equal opportunities for students to learn, succeed, and positively contribute to their local, national, and global societies. Great strides are being made in increasing educational access, retention completion, and success, yet there is still work to be done particularly for students from disadvantaged or marginalized groups. Unprecedented shifts in migration patterns are causing demographic changes around the world. Additionally, governments, societies, and higher education institutions are increasingly recognizing the need and responsibility to create legal and institutional frameworks for providing more and better opportunities for people from historically marginalized groups to gain access and achieve success at the university level.
From South Africa’s “Historically Disadvantaged Institutions,” to Brazil’s “Law of Social Quotas,” and a long tradition of “Minority Serving Institutions” in the United States, just to name a few, higher education institutions committed to providing educational opportunities for local communities marginalized along ethnic, racial, religious or other lines can be found on every continent. What’s more, in light of shifting demographics and the growing focus on educational opportunity and access, increasing numbers of colleges and universities will be serving students from marginalized groups. For too long, institutions serving students at the margins have operated in a vacuum, failing to collaborate across institutional types and across nations. This Salzburg session will bring together leaders from institutions serving marginalized populations with policy makers and researchers to develop a platform for finding solutions to these institutions’ common challenges and capitalizing on their strengths.
This program is being designed and implemented in partnership with the recently launched Center for Minority Serving Institutions at the University of Pennsylvania’s Graduate School of Education and with Educational Testing Service. From 2010 to 2012, Salzburg Global and Educational Testing Service collaborated on a series of sessions on “Optimizing Talent: Closing Educational and Social Mobility Gaps Worldwide.”