View allAll Photos Tagged Error
METX 404, one of Metra's many MP36PH-3S locomotives, leads an outbound train through Elmwood Park, IL during a golden light rush hour.
Well, one learns by one's mistakes. This one dates from February 2012, when I'd been processing my own film for about six months. What happened was that I put the film reel on its spindle ...by feel, inside the dark bag of course... and it lodged in the groove for 127 film. Inside the tank, therefore, the reel was not resting on the bottom, but was part way up the spindle and not wholly immersed in the developer. This produced the light band at the bottom and the "melting" effect at the top, presumably caused by run-off from the sprocket holes after inversions. Though it was produced by an error, I think the appearance of the sky has a certain beauty, resulting as it does from the nature of the process. The plume of steam came from the Wissington sugar factory, though the factory itself is lost to view in the mist.
esta en entre el mac y el parque quinta normal. Este es un trabajo de cuchillo": el dúo lucho y quillo!
slurl.com/secondlife/Error/201/192/21
thanks to lem skall for this slurl & his stream
what a great build! by GutterBlood Spoonhammer
Descripción bibliográfica: Geographia Blaviana. - [Amsterdam : Juan Blaeu, 1659] . - [32], VI, 96 p., 34 f., h. 35a, 35b, 35c, 35d, 36-44 f., 34, [2], 36-40, [2], 43-70 [i. e. 75], [1] f., [20] p. de map., [9] f. de map., [4] f. pleg. de map., [2] f. de plan., [2] f. ge grab. : |bil. ; |cFol. marca major (57 cm.) . - En la dedicatoria a Felipe IV: "Presenta ... El Atlas Universal y Cosmographico de los orbes y terrestre ... Juan Blaeu" . - Título tomado del frontispicio. -- Privilegio fechado en 1659. -Errores de pag. - Sign.: [ ]1, *2, **3, ***-****2, a-e2, A-I2, K1, L-Z2, Aa-Dd2, 4[ ]2, Ee-Ff2, A-I2, K1, L2, M1, N-Y2, Z5, Aa-Dd2,
Ee1, A-D2, E-F1, G-I2, K-L1, M-O2, P1, Q-Z2, Aa-Bb2, Cc1, Dd3, Ff-Zz2, Aaa-Bbb2, [ ]. - Frontispicio grab. col. -- Incluye un total de 49 il. entre map., plan. i grab.
Materia: Atlas - Obras anteriores a 1800
Impresor: Blaeu, Joan, 1596-1673, imp.
Lugar de impresión: Holanda. Amsterdam
Localización: fama.us.es/record=b2058758~S5*spi
Vea la ilustración en su contexto
Visite también la exposición "Cartografía histórica en la Biblioteca de la Universidad de Sevilla" expobus.us.es/cartografia//
Schweiz / Wallis - Nordend (4.608 m) und Dufourspitze (4.634)
seen from Hotel Du Trift
gesehen Berggasthaus Trift
Nordend (meaning north end in German) is a northern peak of the Monte Rosa Massif. Nordend is the fourth highest peak of the massif, after the Dufourspitze (4,634 m), the Dunantspitze (4,632 m) and the Grenzgipfel (4,618 m).
(Wikipedia)
The Dufourspitze is the highest peak of Monte Rosa, an ice-covered mountain massif in the Alps. Dufourspitze is the highest mountain of both Switzerland and the Pennine Alps and is also the second-highest mountain of the Alps and Western Europe, after Mont Blanc. It is located between Switzerland (Canton of Valais) and Italy (Piedmont and Aosta Valley). The peak itself is located wholly in Switzerland.
Following a long series of attempts beginning in the early nineteenth century, Monte Rosa's summit, then still called Höchste Spitze (English: Highest Peak), was first reached on 1 August, the Swiss National celebration day, in 1855 from Zermatt by a party of eight climbers led by three guides: Matthäus and Johannes Zumtaugwald, Ulrich Lauener, Christopher and James Smyth, Charles Hudson, John Birkbeck and Edward Stephenson.
Naming
The peak is distinguished by the name Dufourspitze (in German, lit. Dufour Peak; French: Pointe Dufour, Italian: Punta Dufour). This replaced the former name Höchste Spitze (English: Highest Peak) that was indicated on the Swiss maps before the Federal Council, on January 28, 1863, decided to rename the mountain in honor of Guillaume-Henri Dufour. Dufour was a Swiss engineer, topographer, co-founder of the Red Cross and army general who led the Sonderbund campaign. This decision followed the completion of the Dufour Map, a series of military topographical maps created under the command of Dufour.
The point just 80 m (260 ft) east of the Dufourspitze and only 2 metres lower, the Dunantspitze, was renamed in 2014 in honor of Henry Dunant, the main founder of the Red Cross.
Elevation
The Dufourspitze of Monte Rosa is the most elevated point of Valais and Switzerland, although it is not the most prominent of the country, that distinction belonging to the Finsteraarhorn, nor the most isolated, that distinction belonging to Piz Bernina. The Swiss national map gives an elevation of 4,634.0 metres (15,203.4 ft) for the summit, which is 4,441 metres above Lake Maggiore, Switzerland's lowest point. The height difference between the summit and the plains of northern Italy, from where Monte Rosa is well visible, reaches over 4,500 metres (15,000 ft). Monte Rosa has a topographic prominence of 2,165 m (7,103 ft), the Great St Bernard Pass being the lowest col between it and the culminating point of the Alps. A 2000 survey, involving universities and the offices of cartography of Italy and Switzerland and part of the TOWER project (Top of the World Elevations Remeasurement), was made in order to record a more precise elevation for Monte Rosa. The result was 4,635.25 metres (15,207.5 ft) from the Italian side and 4,634.97 metres (15,206.6 ft) from the Swiss side, with a margin of error of 0.1 m. Monte Rosa succeeded the Finsteraarhorn as the highest summit of Switzerland in 1815, when Valais joined the Swiss Confederation.
Though the Mediterranean can hardly be visible from the summit of Monte Rosa because of intervening mountains, the view to the south extends to the Apennines, the mountains of Corsica and the Maritime Alps. On the north side the view extends to the Jura and further to the Vosges, the Swiss Plateau being mostly hidden by the high range of the Bernese Alps.
History
Monte Rosa could be seen from many places on the south side of the Alps and it had been mentioned in many travel diaries. At the end of the 15th century some outlines of the mountain may possibly have been painted by Leonardo da Vinci into the background of the Madonna of the Rocks or other pictures. Da Vinci explored the Italian side of the mountain and made some observations, though there is but scanty evidence that he had climbed even a minor summit in the neighbourhood. He was intrigued by the permanent snow lying on the mountain and the darkness of the sky above him, he wrote:
"The base of this mountain gives birth to the 4 rivers which flow in four different directions through the whole of Europe. And no mountain has its base at so great a height as this, which lifts itself above almost all the clouds; and snow seldom falls there, but only hail in the summer, when the clouds are highest. And this hail lies [unmelted] there, so that if it were not for the absorption of the rising and falling clouds, which does not happen more than twice in an age, an enormous mass of ice would be piled up there by the layers of hail, and in the middle of July I found it very considerable; and I saw the sky above me quite dark, and the sun as it fell on the mountain was far brighter here than in the plains below, because a smaller extent of atmosphere lay between the summit of the mountain and the sun."
At the end of the eighteenth century, the people of the Italian valleys believed that a lost valley existed, hidden away between the glaciers of the great chain. The discovery of the valley was due to Joseph Beck of Gressoney-Saint-Jean. He put together a party, including his brother Valentin, and the Gressoney mountain guides Sebastian Linty, Joseph Zumstein, Nicolas (Niklaus) Vincent, François Castel and Étienne Lisco. They set out on a Sunday of August 1778. They started from their sleeping places at midnight, and roped carefully. They had furnished themselves with climbing irons and alpenstocks. At the head of the glacier, they encountered a slope of rock devoid of snow, which they climbed.[10]
"It was twelve o'clock. Hardly had we got to the summit of the rock than we saw a grand-an amazing-spectacle. We sat down to contemplate at our leisure the lost valley, which seemed to us to be entirely covered with glaciers. We examined it carefully, but could not satisfy ourselves that it was the unknown valley, seeing that none of us had ever been in the Vallais."
The valley, in fact, was none other than the upper valley of Zermatt, and the pass, which these early explorers had reached, was the Lysjoch, where, to this day, the rock on which they rested bears the name that they gave it, the "Entdeckungsfels" (German: Rock of Discovery). Beck's party thus reached a height of 4,178 metres (13,707 ft), probably a record in the Alps at that times.
Count Morozzo of Turin was inspired by the view of Monte Rosa and in 1787 he tried to reach its summit from the east face. However he did not go very high, and the mountain looked much too inaccessible to encourage him to proceed further. He reached the place of the actual Marinelli hut, 1,500 m below the summit. The route on the east face was opened only in 1872. In 1789, following the recommendation of the Count, Horace-Bénédict de Saussure went to Macugnaga to explore the mountain. He climbed Pizzo Bianco, a 3215 m summit facing the mountain from the east and measured the altitude of Monte Rosa. He found a height of 2430 toises.
A first serious attempt was made in 1801 by a doctor of Alagna, Pietro Giordani. He reached alone a great height when climbing a 4,046 metres high point on the south-east ridge of the Vincent Pyramid, later named Giordanispétz or Punta Giordani in his honour. He arrived too late to proceed to the Vincent Pyramid summit and night drove him away. He had to sleep in a cleft of ice at about 14,000 feet. He wrote an account of his exploit: After an eloquent description of the view, he expresses his annoyance at the lack of scientific instruments, and the lateness of the hour which prevented him from ascending "Monte Rosa" itself.
The 4215 m Vincent Pyramid summit was eventually successfully climbed on 15 August 1819 by Johann Niklaus and Joseph Vincent from Gressoney, after whom the peak has been named. The brothers Vincent tried to reach the highest summit again the next year, together with Joseph Zumstein, and guides and porters. On August 1, 1820, they reached a 4,563 metres high secondary summit, later named Zumsteinspitze. The climb was dangerous, as the party had to traverse under threatening walls of ice; they also had great difficulties on descent, because the afternoon sun had melted the snow on the slopes. They used mules to carry their equipment as far as the snow-line. During the expedition they thought they had climbed the true highest peak, but when they reached the summit they found out it was only a subpeak of Monte Rosa. Zumstein was anxious to return later and reach the highest summit, but his desire did not materialize.
First ascents
The first approaches to the summit were made from the northern slopes over the Gorner glacier via the Silbersattel (4,510 m). This pass was first reached on August 12, 1847, by Matthias and Johann zum Taugwald (guides from Zermatt whose name is also written "Zumtaugwald"), Johann Brantschen and Joseph Moser guiding the French professors Victor Puisieux and Edouard Ordinaire.[ Precisely a year later (12 August 1848), Johann Madutz from Matt, Glarus, and Matthias Zumtaugwald guided the Swiss theologian de:Melchior Ulrich to the pass for an ascent of the highest summit. Ulrich had to give up, but the guides proceeded to climb to what they thought to be the Eastern summit of the Dufourspitze (Ostspitze, since 2014 Dunantspitze, 4632 m) and established a new altitude record in Switzerland. The descent over the same route was so tricky that Madutz at places had to lower down Zum Taugwald by rope. Three years later, on 22 August 1851, Johann Zumtaugwald returned, with Peter Taugwalder and Peter Inderbinen and the Swiss botanist brothers Adolf and Hermann Schlagintweit to repeat this ascent. They did not dare to traverse to the western summit, which the Schlagintweits estimated to be 7 meters higher. In 1891, W.A.B. Coolidge analyzed these ascents and concluded that both parties had reached the 4,618 m Grenzgipfel instead, which is a mere 50 meters to the east of Ostspitze. He transferred the honor of first climbing the Ostgipfel to Ulrich Lauener from Lauterbrunnen and the brothers Christopher, Edmund and James G. Smyth from Great Yarmouth, who reached the Ostspitze on September 1, 1854, from the Silbersattel. Some sources have the Zumtaugwald brothers also among this party. Zumtaugwald brothers returned twice more to the East summit, Johann and Matthias 10 days later (11 Sep 1854) with Edward Shirley Kennedy and Benedict Leir, and Matthias and Stephan later again with Edward Levi Ames. On these five occasions they never tried the difficult traverse to the western summit, also because the summits were both mapped as 4,638 m high at the time. Partially with the technical difficulty (UIAA III) of the route from Silbersattel in mind, many consider the Madutz and Zumtaugwald ascent in 1849 the true first ascent of Monta Rosa.
The first ascent of the western summit finally took place on August 1, 1855, by the above guides Matthias and Johann zum Taugwald and Ulrich Lauener and two of the Smyth brothers (James Greenville and Christopher). They were joined by the English gentlemen John Birkbeck, Charles Hudson and Edward Stephenson. Deeming the approach from the east summit unfeasible, the guides devised a route over the junction of the Monte Rosa and Grenz glaciers and over the west ridge directly to the west summit. Not two weeks later, on 13 August 1855, Johann and his brother Peter zum Taugwald guided eight more people, including Johann Jakob Weilenmann, to the summit over the same route.[ The west ridge route immediately became very popular and is still the normal route to the Dufourspitze.
The Irish physicist John Tyndall was guided to the summit in a group led by Ulrich Lauener in August 1858, but returned the next day (or week?) to make the first solo ascent of Dufourspitze on 17 August 1858, which he described in his account, Glaciers of the Alps.
"After breakfast I poured what remained of my tea into a small glass bottle, an ordinary demi-bouteille in fact; the waiter then provided me with a ham sandwich, and, with my scrip thus frugally furnished, I thought the heights of Monte Rosa might be won..."
After encountering a party of climbers guided by Lauener, Tyndall reached alone the summit:
"A world of clouds and mountains lay beneath me. Switzerland, with its pomp of summits, was clear and grand; Italy was also grand, but more than half obscured. Dark cumulus and dark crag vied in savagery, while at other places white snows and white clouds held equal rivalry. The scooped valleys of Monte Rosa itself were magnificent, all gleaming in the bright sunlight — tossed and torn at intervals, and sending from their rents and walls the magical blue of the ice."
Among mountain guides, the eastern wall had the reputation of being unconquerable. Ferdinand Imseng was convinced that the long snow couloir in the middle of the face could be ascended. He succeeded in convincing other climbers and, on 22 July 1872, Richard Pendlebury, William and Charles Taylor, Ferdinand Imseng, Gabriel Spechtenhauser and Giovanni Oberto began the ascent from Macugnaga. They were aware of the objective dangers of the wall but they decided to go as high as possible, without compromising their lives. After a bivouac on the actual Marinelli hut emplacement, they headed towards the Grenzsattel. Suddenly, when they arrived near the Grenzsattel, an avalanche started and rivers of snow began to flow everywhere around the climbers. They were able to reach the safe rocks of the Grenzgipfel just in time to save their lives. They finally reached the summit and descended to Riffelalp on the other side, concluding an 18-hour journey.
This ascent made Ferdinand Imseng a famous mountain guide. He lost his life in 1881 on the east wall during the third ascent with Damiano Marinelli and guide Battista Pedranzini. On 8 August, they were caught by an avalanche and brought 1,200 metres down. The accident was reported by a porter who survived. The couloir was then named Canalone Marinelli.
Other ascents
In 1889 Achille Ratti, who became later Pope Pius XI, made the first traverse from Macugnaga to Zermatt by the Zumsteinjoch. After climbing the Dufourspitze, he spent the night on the summit with his companions.
Visiting Zermatt in 1894, the young Winston Churchill insisted on an ascent of Monte Rosa rather than of the Matterhorn, not only because of its superior height but also because the guides' fee was substantially less.
More recently, on August 1 (which happens to be the Swiss National Day), 2005, the Swiss Minister of Treasure Joseph Deiss climbed the Dufourspitze. The expedition marked the 150th anniversary of the first ascent.
Huts and climbing routes
The Monte Rosa Hut (2,883 m) is the only mountain hut in the massif owned by the Swiss Alpine Club. It is situated on the Plattje, a rocky island between the Gorner and Grenz glaciers. It is accessible from Rotenboden, a station on the Gornergratbahn line. The hut was inaugurated in 1894 and rebuilt in 1940. In 2009, a new high technology mountain hut was inaugurated. The five-story crystal-shaped building is designed to obtain 90 per cent of its power needs from the sun and will be used as a research station.
The other huts are owned by the Italian Alpine Club, among them the Regina Margherita Hut located at 4,559 metres on the Signalkuppe. Inaugurated in 1893 and replaced in 1979, it is still the highest construction in Europe, and includes a laboratory and observatory.
Other huts owned by the Italian Alpine Club are the Marinelli Hut (3,036 m), used for the ascent of the east face, and the Bivacco Città di Gallarate (3,960 m), located near the summit of the Jägerhorn.
Normal route
The normal route to the summit begins at the Monte Rosa Hut. The normal route is mainly a glacier itinerary on the west slopes of Monte Rosa (Monte Rosa Glacier), with the final rocky west ridge to the summit. Although the itinerary itself is not difficult, it requires physical endurance and good acclimatization.
Marinelli couloir
The route starts from the Marinelli Hut and follows the steep Marinelli couloir on the east face. It is a long and dangerous route and has to be ascended very early in the morning on cold days in order to decrease the risk of avalanches.
Timeline
First ascent in 1855 (normal route).
First ascent on the eastern wall, via the Marinelli Couloir in 1872 (July 22) by Taylor, Pendlebury and Ferdinand Imseng (guide)
First ascent via the southern spur (Cresta Rey) by Eustace Hulton with guides Joseph Moser and Peter Rubi on 20 August 1874.
First ascent via the southeast ridge (today route from Margherita hut) by F. P. Barlow, G. W. Prothero with guides Antonio Carrel and Peter Taugwalder on 31 August 1874.
First winter ascent via the southern spur (Cresta Rey) by Vittorio Sella with guides Daniel Maquignaz and Joseph Maquignaz on 26 January 1884.
First winter ascent via the southeast ridge by Mario Piacenza, A. Curta, A. Lazier, O. Lazier on 18 January 1907.
First solo ascent of the east face by Angelo Taveggia in 1924.
First winter ascent of the east face in 1965 (February 5–6) by mountain guides Luciano Bettineschi, Felice Jacchini, Michele Pala and Lino Pironi.
In June 1969, the extreme skier Sylvain Saudan descended the entire Marinelli Couloir on the east face.
First solo winter ascent via the east face on February 4, 1991, by Walter Bernardi. Injured, he was rescued by helicopter on the descent near the Grenzsattel.
(Wikipedia)
Das Nordend ist ein 4608 m ü. M. hoher Nebengipfel der Dufourspitze im Massiv des Monte Rosa und liegt auf der Grenze zwischen Italien und der Schweiz. Es wurde erstmals am 26. August 1861 bestiegen. Das Nordend wird meistens von Zermatt her bzw. von der Station Rotenboden der Gornergratbahn aus über die Monte-Rosa-Hütte angegangen. Der Normalweg führt vom Silbersattel (4519 m ü. M.) über den Südgrat zum Gipfel.
(Wikipedia)
Die Dufourspitze (italienisch Punta Dufour, französisch Pointe Dufour, rätoromanisch Piz da Dufour) ist mit 4634 m ü. M. der höchste Gipfel in den Walliser Alpen und der Schweiz sowie des gesamten deutschen Sprachraums. Nach dem Mont Blanc mit 4805,59 m ü. M. ist der Monte Rosa mit der Dufourspitze als höchstem Gipfel der zweithöchste Berg der Alpen und Westeuropas.
Lage
Der Berggipfel gehört zum Monte-Rosa-Massiv auf der Grenze zu Italien. Die Bergspitze liegt rund 160 m von der Staatsgrenze entfernt auf Schweizer Gebiet. Das gesamte Bergmassiv wird üblicherweise als italienisch-schweizerischer Grenzberg angesehen, sodass die Rolle des höchsten Berges, der ganz auf Schweizer Gebiet liegt, dem Dom (ebenfalls in den Walliser Alpen) zukommt.
Geschichte
Namensgebung
Die Dufourspitze erhielt ihren heutigen Namen im Jahre 1863 auf Beschluss des Schweizerischen Bundesrates. Die Umbenennung erfolgte zu Ehren des Schweizer Generals und Kartografen Guillaume Henri Dufour (1787–1875). Er war Herausgeber des ersten exakten Landkartenwerkes der Schweiz, der nach ihm benannten Dufourkarte.
Auf der Dufourkarte wurde sie 1862 als Höchste Spitze bezeichnet.
In der Schweiz hiess dieser Gipfel ursprünglich Gornerhorn (= starker oder grosser Berg). In der Literatur wird vertreten, dass teilweise auch die Auffassung bestanden habe, dass der Name Gornerhorn das gesamte Bergmassiv bezeichnet habe. Gegen diese These wurde aber eingewandt, dass «ein ganzer ausgedehnter Gebirgsstock kaum als einfaches Horn bezeichnet worden» wäre. Der Name Gornerhorn stammt von den Walsern. Auch der Name Schwärzehorn war vormals geläufig.
In Italien wurde der Gipfel La più alta cima (= Hohe Spitze oder Hochspitz) und auch Rosa Bianca genannt.
Besteigung
Die Erstbesteigung fand am 1. August 1855 durch eine von Charles Hudson geleitete Seilschaft statt. Weitere Teilnehmer der Seilschaft waren John Birkbeck, Edward J. W. Stephenson und die Brüder Christopher und James G. Smyth. Die Bergführer Johannes und Matthäus Zumtaugwald aus Zermatt und Ulrich Lauener aus Lauterbrunnen bahnten den Engländern den Weg. Charles Hudson stürzte zehn Jahre später bei der Erstbesteigung des Matterhorns während des Abstiegs zu Tode. Die zweite Besteigung fand ebenfalls noch im Jahr 1855 statt.
Routen
Die klassische Route über die Ostflanke wurde erstmals 1872 von den Engländern Richard und William Pendlebury und Charles Taylor, dem Schweizer Ferdinand Imseng, dem Österreicher Gabriel Spechtenhauser und dem Italiener Giovanni Oberto begangen.
Ausgangspunkt für eine Besteigung der Dufourspitze von der Schweizer Seite über den Normalweg ist die Monte-Rosa-Hütte (2883 m ü. M.).
(Wikipedia)
made in budapest, hungary - terror háza
gear: Canon EOS 300D, Canon EFS 18-55 f3.5
photo, post-processing: me
--- do not use my work without written permission, thank you ---
Center fielder Gabi Robles got charged with the error when she collided with RF Kelly Ryono. This gave Iowa two runs, which meant that Illinois' two runs in the 7th tied the game instead of producing a walk-off victory. Iowa won in 9.
A diesel and a Stream Engine will not fit onto the turntable together.
A Shunting error.
Embarrassing when you have around 40 people watching from all sides.
A large O Gauge layout at York (UK) Model Railway Show 2016.
Part of the 27 road Laramie Shed (USA) is modelled with good detail and superb slow speed running of the models.
Y bucas provocarme, sabes hacerlo bien
Tu peor error fue herirme y no matarme de una vez...
Afilo mis caricias, el filo esta en tu piel
Tu peor error fue herirme y no matarme de una vez...
Veneno es Antídoto(s.o.s) - Division Minuscula(8)
My Flickr account has broken twice!
1. I can no longer favorite other people's works
2. I can't follow other people
3. I can't add my photos to a group
4. I can't comment others photo
first time, I have no idea why my flickr broken
But when it broke the second time (Now), I find cause from me, But not sure
My last activity was after posting two comments. and including word [Stud.io]
[Stud.io] is LEGO digital program's name, and name has include dot
Is there a possibility to judge it as URL and spam due to the included dot?
Does anyone have experience like me? Other websites also
I want to know
Thank you!
Место отправки - Ковров - maps.google.com/?q=56.3667,41.3333&z=16 от rrr_error оригинал - www.instagram.com/p/BFZlCN7GcVI/
Sevilla, 2018
#ERROR_407: Aquelas fotos que achei que iam ficar de um jeito, mas... bem, ficaram de outro, desfocadas, tremidas, fora do enquadramento, deram errado, mas mesmo assim gosto delas.
Follow me on:
Instagram: www.instagram.com/yuribittar/ or @yuribittar
Facebook: www.facebook.com/yuribittarfoto/
And know my website: www.yuribittar.com/
#error_yb #fotografiaderua #fotoderua #fotografiacallejera #lisboa #lisbon #tripyurieclelma2018
Marc Chagall, 1887-1985, Mutterschaft/Motherhood, 1914
Albertina - Sammlung Batliner
In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.
de.wikipedia.org / wiki / Albertina_ (Vienna)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
this is the first legitimate release from luke silas as knife city. he makes loud dance music using game boys, and loves to play it live for you. buy him a drink if you go to a show. plz&thx! °•.˛♥˛.•°
Cover art by Rosa Menkman
A classic model from the 1960s - top speed of around 115 mph and fitted with automatic transmission.
The location of this photo appears to be outside the Crescent Theatre in Sheepcote St, Birmingham. The play - see poster - is 'The Imaginary Invalid' a comedy in three acts by Molière. Given the comedy of errors of British Leyland perhaps appropriate in hindsight!
From a 1968 promotional book published by the British Leyland Motor Corporation. Fascinating tour of what the UK lost when this company went bust. But also shows how the organisation contained the seeds of its own destruction - too many different brands, models, activities etc
إِنَّ الصَّفَا وَالْمَرْوَةَ مِن شَعَآئِرِ اللّهِ فَمَنْ حَجَّ الْبَيْتَ أَوِ اعْتَمَرَ فَلاَ جُنَاحَ عَلَيْهِ أَن يَطَّوَّفَ بِهِمَا وَمَن تَطَوَّعَ خَيْراً فَإِنَّ اللّهَ شَاكِرٌ عَلِيمٌ.
The knolls of Safa and Marwah are among the rites decreed by GOD. Anyone who observes Hajj or `Umrah commits no error by traversing the distance between them. If one volunteers more righteous works, then GOD is Appreciative, Omniscient.
[al-Baqarah 2:189]
Tomorrow I'm leaving to do Hajj (Pilgrimage) .... Wish me the best and forgive me for any misconceptions ....!
غدا بأذن الله سوف اذهب لأداء فريضه الحج .... حللوني يا جماعه الخير
==========================
This photo was taken during my last visit to Abu Dhabi 2010 and was a participant in SPECIAL THEMES CIRCUIT - Austria 2010 and accepted with straight A's
Location: Shiekh Zayed Grand Mosque
City: Abu Dhabi - Al.Maqta
Country: UAE
Check our NEW update on our website
Mobile: +965 66 383 666
E-Mail: N_Studio@Live.Com
------------------------------------------------------
Gear: NIKON D3X
Flash: No flash
closeup of iPLUS kiosk ASP error message (outside Tate Modern, Bankside, London, UK)
back to full screen
This is my most viewed photo. (The full screen view is second).
I've always wanted to take pictures of crashed public computers as I have seen so many of them, but didn't have a digital camera. Now that I do, I hope I get just as many chances to capture them.
+2 nei commenti.
"Credo davvero che ci siano cose che nessuno riesce a vedere prima che vengano fotografate."
- Diane Arbus
Queste foto l'ho fatte quando ho seguito gli sposi, a luglio :3 c'era questa casetta bellissima! *W*
| © Non utilizzare la foto senza il mio consenso.|
|Si accettano critiche, non insulti. Si migliora sempre, soprattutto dai proprio errori.|