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© I m a g e D a v e F o r b e s
Engagement 2,000+
Service Courtesy Visit to Greenock
Two Royal Navy P2000 Archer Class Patrol Craft.
P164 > HMS Explorer ( launched in 1986 )
P165 > HMS Example ( launched in 1985 )
Both on a tandem visit to Greenock
Sixteen of these craft were built by three yards , Vorper Thornycroft , Watercraft & Ailsa Shipyard at Troon. They are mostly all affiliated with British Universities as the Royal Navy Reserve Units. They are often utilised for the training of would-be Midshipmen whilst giving some students the experience of life and discipline onboard a ship at sea and hoping to be recruited into the Royal Navy Officer ranks.
Two of these craft are armed permanently with GPMG's as part of the Faslane Patrol Boat Squadron , HMS Tracker & HMS Raider
A great example of a long-term family owned business!
In fact, hamburgers are a little less fattening than fish-n-chips!
www.adelaidenow.com.au/messenger/east-hills/fishermans-ba...
Here is an example on an HDR Pano that I have done, a few people have inquired. For the most part it's straight forward an used default settings. I don't have the time to get too carried away on the computer processing the photo's. My standard mode of operation is to always use a tripod and always autobracket each shot. My Fuji S9000 limits autobracketing to 1 stop, the recommended for HDR is 2 stops, but it works pretty well regardless. If the scene I'm shooting can be added to by stitching then I'll also take overlapping shots to include all items of interest. In this cases the colorful clouds.
I then batch process the HDR photo's in the default settings depending on the Photomatix version "Contrast or details enhancer" and "Smooth or Tone Compressor". When that's completed I pick out the ones I overlapped and use Panoramic Factory or Autostitch to "stitch" them together. Again I usually don't spend to much time so If it doesn't work in the auto setting I don't usually worry about it.
I should use the same "Manual" camera settings to make sure the exposures are the same but I don't. I think the HDR process helps even things out.
Panorama Factory - I use it mainly for sunsets/clouds as seems to blend the exposures of the photos better. And there isn't the details to worry about. It also seems to saturate the colors just a bit. www.panoramafactory.com/index.html
AutoStitch - It's main advantage is that is more accurate on the stitching process and placement of objects. Although it doesn't blend the exposures as well. FREE program www.cs.ubc.ca/~mbrown/autostitch/autostitch.html
There is some info out there about how to correctly complete panoramic photo's, but I'm not there yet. I need a panoramic tripod head for one, to eliminate lens parallax, it has to do with moving the camera around a specific point.
Photomatix - www.hdrsoft.com/ You can find guides around that get pretty technical but I found that the default settings work pretty well. If I like the photo but feel it could be better I will sometimes play around with the settings and It isn't that difficult. For the most part I should be more aware of the photo's I'm taking, In the above example I should have taken some more overexposed photo's to bring out the grass better, but the software is forgiving. To do it correctly you should take photo's to cover the complete range of exposure levels present.
The biggest problem I have is sometimes the software has trouble lining things up and light/exposure levels don't blend well enough not to be visible.
Hope it helps whoever want's to try this. I found this combination seems to work for me.
Typical example of the quality (or lack of it !) in a 110 Film image.
Scanned with a Plustek Opticfilm 120 at 2650ppi,
downscaled to 2048 pixels width.
No Sharpening. No IR-Dust Reduction
Levels/Color corrections in PSE11
The Cathedral of Monreale is one of the greatest extant examples of Norman architecture in the world. It was begun in 1174 by William II, and in 1182 the church, dedicated to the Assumption of the Virgin Mary, was, by a bull of Pope Lucius III, elevated to the rank of a metropolitan cathedral. The church is a national monument of Italy and one of the most important attractions of Sicily.
The archiepiscopal palace and monastic buildings on the south side were of great size and magnificence, and were surrounded by a massive precinct wall, crowned at intervals by twelve towers. This has been mostly rebuilt, and but little now remains except ruins of some of the towers, a great part of the monks' dormitory and frater, and the splendid cloister, completed about 1200. The latter is well preserved, and is one of the finest Italian cloisters both for size and beauty of detail now extant. It is about 2200 m2, with pointed arches decorated with diaper work, supported on pairs of columns in white marble, 216 in all, which were alternately plain and decorated by bands of patterns in gold and colors, made of glass tesserae, arranged either spirally or vertically from end to end of each shaft. The marble capitals are each carved with foliage, biblical scenes and allegories, no two being alike. At one angle, a square pillared projection contains the marble fountain or monks' lavatorium, evidently the work of Muslim sculptors. The church's plan is a mixture of Eastern Rite and Roman Catholic arrangement. The nave is like an Italian basilica, while the large triple-apsed choir is like one of the early three-apsed churches, of which so many examples still exist in Syria and other Oriental countries. It is, in fact, like two quite different churches put together endwise. The basilican nave is wide, with narrow aisles. Monolithic columns of grey oriental granite (except one, which is of cipolin marble), on each side support eight pointed arches much stilted. The capitals of these (mainly Corinthian) are also of the classical period. There is no triforium, but a high clerestory with wide two-light windows, with simple tracery like those in the nave-aisles and throughout the church, which give sufficient light.
The other half, Eastern in two senses, is both wider and higher than the nave. It also is divided into a central space with two aisles, each of the divisions ending at the east with an apse. The roofs throughout are of open woodwork very low in pitch, constructionally plain, but richly decorated with color, now mostly restored. At the west end of the nave are two projecting towers, with a narthex (entrance) between them. A large open atrium, which once existed at the west, is now completely destroyed, having been replaced by a Renaissance portico by Giovanni Domenico and Fazio Gagini (1547–1569).
It is, however, the large extent (6,500 m2) of the impressive glass mosaics covering the interior which make this church so splendid. With the exception of a high dado, made of marble slabs with bands of mosaic between them, the whole interior surface of the walls, including soffits and jambs of all the arches, is covered with minute mosaic-pictures in bright colors on a gold ground. The mosaic pictures are arranged in tiers, divided by horizontal and vertical bands. In parts of the choir there are five of these tiers of subjects or single figures one above another. The half dome of the central apse has a colossal half-length figure of Christ, with a seated Virgin and Child below; the other apses have full-length figures of St Peter and St Paul. Inscriptions on each picture explain the subject or saint represented; these are in Latin, except some few which are in Greek. The subjects in the nave begin with scenes from the Book of Genesis, illustrating the Old Testament types of Christ and His scheme of redemption, with figures of those who prophesied and prepared for His coming. Around the lower tier and the choir are subjects from the New Testament, chiefly representing Christ's miracles and suffering, with apostles, evangelists and other saints. The design, execution and choice of subjects all appear to be of Byzantine origin, the subjects being selected from the Menologion of Basil II drawn up by the emperor Basil II in the 10th century.
The tomb of William I of Sicily (the founder's father), a magnificent porphyry sarcophagus contemporary with the church, under a marble pillared canopy, and the founder William II's tomb, erected in 1575, were both shattered by a fire, which in 1811 broke out in the choir, injuring some of the mosaics, and destroying all the fine walnut choir-fittings, the organs, and most of the choir roof. The tombs were rebuilt, and the whole of the injured part of the church restored a few years after the fire. The present organ, revised in 1967 by Ruffatti, has six manuals and 102 stops.
On the north of the choir are the tombs of Margaret of Navarre, wife of William I, and her two sons Roger and Henry, together with an urn containing the viscera of Saint Louis of France, who died in 1270. The pavement of the triple choir, though much restored, is a specimen of marble and porphyry mosaic in opus alexandrinum, with signs of Arab influence in its main lines. The mosaic pavement of the nave was completed in the 16th century, and has disks of porphyry and granite with marble bands intermingled with irregular lines.
Esta imagen pertenece a www.odisea2008.com
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Another wonderful example provided by Strasse Porsche Leeds, Here we have one of my absolute favourite 911s of all time. Although thought of as the fugly poor relation to other 911s, the 996 4s is in my opinion one of the best looking 911s ever made especially from the rear end.
This gorgeous 996 Carrera 4S Convertible on a late 2004 plate was probably one of the last of this model designation brought to the UK. The paint is the spectacular Cobalt Blue, as many of the 996s were silver or black its lovely to see the cars shape accentuated by such a lovely colour.
The Carrera 4s adopted the wide body of the 996 turbo with the rear section of the body is 60mm wider than the standard Carrera.
Other differences include 18-inch Turbo styled wheels and red light strip providing a visual link between the two rear lights. These detail modifications give the Carrera 4S a distinctly different, striking rear-end appearance.
This model has a 320 bhp 3.6-litre flat-six power unit and standard four-wheel drive. With this technology and the viscous multiple-plate clutch, the front wheels deliver a constant minimum of 5 per cent of the tractive force to the road, rising to as much as 40 per cent if more is needed.
With this in mind car accelerates from a standstill to 60 mph in 5.1 seconds and has a top speed of 174 mph.
All shot at Lowther Castle, Penrith, Cumbria at sunset.
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1.) This image is an example of texture because of the frost on the outside of the leaf. This photo also shows emphasis because it is focused on the leaf only.
2.) f/4.4 1/640 800
3.) Theme: Chilly in the Morning
4.) This is my favorite photo I took this semester. It resembles the change from fall to winter. The ISO is what made the image work the best; it captured a good amount of light to make it dramatic.
An example of a 'No Tickets' sticker issued to WMPTE drivers in the 1980s, for use when their Autofare ticket machines failed to issue tickets either due to mechanical failure, or simply running out tickets. Not the greatest idea, but when placed over the ticket issuing outlet, it stopped most of the passengers from continually saying to the driver 'There's no ticket'.
In a fine example of "You can't keep a good company down", here is Hearne's temporary new shop on the quayside in Waterford, in business exactly 3 weeks after a devastating fire on Friday, 2 April.
The Great Fire Salvage Sale was for 4 days only, and began on the day this photo was taken.
The boat behind Hearne's shop has been identified by ofarrl as the Portlairge, a steam dredger known around Waterford as the Mudboat:
"Built in 1907 by the Dublin Dockyard Co. she was the last working steamship in Ireland when she was retired in 1980."
Meanwhile Niall McAuley found the Portlairge at its new home in Saltmills, Co. Wexford.
Date: Friday, 23 April 1915
NLI Ref.: P_WP_2607
The Tomb of Shah Rukn-e-Alam is an important historical and cultural landmark located in Multan, Pakistan. It is the final resting place of the Sufi saint, Hazrat Sheikh Rukn-ud-Din Abul Fateh, who is also known as Shah Rukn-e-Alam.
The tomb is a masterpiece of Islamic architecture, with its large dome and intricate brickwork. It was built in the 14th century during the reign of Tughlaq dynasty and is considered to be one of the finest examples of Tughlaq architecture in South Asia.
The interior of the tomb is also beautifully decorated with colorful tiles, frescoes, and calligraphy. The tomb is surrounded by a courtyard and several smaller tombs, including those of the saint's family members.
The tomb is an important pilgrimage site for Muslims and attracts thousands of visitors each year, particularly during the annual Urs (death anniversary) celebrations of the saint, which are marked with elaborate processions and ceremonies.
In addition to its religious significance, the Tomb of Shah Rukn-e-Alam is also recognized as an important cultural and historical monument in Pakistan. It was declared a UNESCO World Heritage Site in 1993 and is considered to be one of the most important examples of Islamic architecture in the region.
Uma and Maheshvara, that is Shiva and his bride Parvati, are the paradigmatic husband and wife team of the Hindu pantheon. He is the lord of the universe, and in particular, of death and destruction. His trident is shown wrapped by a snake and ornamented with a skull. Through the power of his third eye and his meditation, Maheshvara sets entire worlds ablaze at the end of cosmic time cycles. Uma is the beautiful young daughter of the Himalayan mountains. Here they are shown in dalliance in his palace on Mount Kailasha.
The Pala Dynasty
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The Pāla Empire was one of the major middle kingdoms of India existed from 750-1174 CE. It was ruled by a Buddhist dynasty from Bengal in the eastern region of the Indian subcontinent, all the rulers bearing names ending with the suffix Pala (Modern Bengali: পাল pāl), which means protector. The Palas were often described by opponents as the Lords of Gauda. The Palas were followers of the Mahayana and Tantric schools of Buddhism. Gopala was the first ruler from the dynasty. He came to power in 750 in Gaur by a democratic election[citation needed]. This event is recognized as one of the first democratic elections in South Asia since the time of the Mahā Janapadas. He reigned from 750-770 and consolidated his position by extending his control over all of Bengal. The Buddhist dynasty lasted for four centuries (750-1120 CE) and ushered in a period of stability and prosperity in Bengal. They created many temples and works of art as well as supported the Universities of Nalanda and Vikramashila. Somapura Mahavihara built by Dharmapala is the greatest Buddhist Vihara in the Indian Subcontinent.
The empire reached its peak under Dharmapala and Devapala. Dharmapala extended the empire into the northern parts of the Indian Subcontinent. This triggered once again the power struggle for the control of the subcontinent. Devapala, successor of Dharmapala, expanded the empire to cover much of South Asia and beyond. His empire stretched from Assam and Utkala in the east, Kamboja (modern day Afghanistan) in the north-west and Deccan in the south. According to Pala copperplate inscription Devapala exterminated the Utkalas, conquered the Pragjyotisha (Assam), shattered the pride of the Huna, and humbled the lords of Pratiharas, Gurjara and the Dravidas.
The death of Devapala ended the period of ascendancy of the Pala Empire and several independent dynasties and kingdoms emerged during this time. However, Mahipala I rejuvenated the reign of the Palas. He recovered control over all of Bengal and expanded the empire. He survived the invasions of Rajendra Chola and the Chalukyas. After Mahipala I the Pala dynasty again saw its decline until Ramapala, the last great ruler of the dynasty, managed to retrieve the position of the dynasty to some extent. He crushed the Varendra rebellion and extended his empire farther to Kamarupa, Orissa and Northern India.
The Pala Empire can be considered as the golden era of Bengal. Never had the Bengali people reached such height of power and glory to that extent. Palas were responsible for the introduction of Mahayana Buddhism in Tibet, Bhutan and Myanmar. The Palas had extensive trade as well as influence in south-east Asia. This can be seen in the sculptures and architectural style of the Sailendra Empire (present-day Malaya, Java, Sumatra). The Pala Empire eventually disintegrated in the 12th century weakened by attacks of the Sena dynasty followed by the invasion of Bakhtiyar Khilji's Muslim armies.
Pala Art & Architecture
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In India, during the rule of Palas, art and architecture witnessed a phenomenal development in the states of Bengal and Bihar. The matchless tradition of sculptural art had attained a new position under the reign of Palas. The exclusive development of Art and Architecture of Pala Dynasty demonstrated the emergence of "Pala School of Sculptural Art". The characteristic of art and architecture of that period included lot of local phenomena of the Bengali society. Consequently, the most distinctive achievements during the age of the Palas were in the field of art and sculptures.
Art and Architecture of Pala Dynasty furnished the accomplishment in the field of terracotta, sculpture and painting. One of the finest instances of architecture of the Pala period is a creation of Dhamapala, the Somapura Mahavihara at Paharpur. In addition to that several enormous structures of Vikramshila Vihar, Odantpuri Vihar, and Jagaddal Vihar proclaim to be the masterpieces of the Palas. The architectural style of the Pala Empire influenced the whole of the country and its neighbouring countries. Their approach was followed throughout south-eastern Asia, China, Japan, and Tibet.
The matchless examples of the Art and Architecture of Pala Dynasty find their significance in the museums in Bangladesh and West Bengal as the remarkable display. The museums play abode to the innumerable beautiful sculptures on Rajmahal black basalt stone. The sculptures beautifully carved in the Pala period demonstrate the mastery of Pala dynasty. The age saw an upsurge of perfect carving and Bronze sculptures. Furthermore, it has been recognized by the historians that the specimens of bronzes influenced the art in south-east Asian countries.
Art and Architecture of Pala Dynasty also involved the art of painting also excelled in that period. Though, no exact examples of paintings have been found of that period yet various illustrations of beautiful paintings of the Buddhist gods and goddesses, appearing in the Vajrayana and Tantrayana Buddhist manuscripts corroborate the subsistence of paintings in the Pala Empire. Moreover, with advanced stage of architectural expansion several Buddhist Viharas came originated. The plan of central shrine in the Buddhist Vihara evolved in Bengal during the Pala rule. Other instances demonstrating the brilliance of the art in the Pala period include the terracotta plaques. These plaques are used as the surface decoration of the walls and are recognised as unique creation of the Bengal artists.
Examples of Chinese ornament selected from objects in the South Kensington Museum and other collections (1867)
Please ignore the crappy photo and the baseplate, just built fast to show Mя. Soop an idea, fig for size comparison.
Artist Jack Merriott chose Loch Etive to depict the Western Highlands for a British Railways (Scottish Region) publicity poster. This example was one of 26 posters to feature in the 2011 Scottish Highlands Railway Poster Art Exhibition at Glenfinnan station.
Londoner Merriott (1901-68) was a traditional watercolourist, noted for using the medium in a fluid way. Initially, Greenwich-born Merriott worked as a shipping clerk, painting in his free time. Several pieces were exhibited in the Royal Academy. He became a professional artist in 1928. Merriott was vice-president of the Royal Institute of Painters in Watercolour. Versatile, he also worked in oils and pastels. In addition to commissions from British Railways, Merriott worked for the General Post Office, Sphere magazine and Blackie, publishers of the Beautiful Britain series of books.
© Bloomsbury Auctions
Note: I chose this photo, among the five that I uploaded to Flickr on the morning of Mar 30,2012, as my "photo of the day." I could not take my eyes off the giant sneakers the young woman was wearing. Unfortunately, the photo doesn't really show the rather bizarre tights that she was also wearing...
Note: this photo was published in an Mar 29, 2012 issue of Everyblock NYC zipcodes blog titled "10024."
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This is the continuation of a photo-project that I began in the summer of 2008 (which you can see in this Flickr set), and continued throughout 2009, 2010, and 2011 (as shown in this Flickr set, this Flickr set, and this Flickr set): a random collection of "interesting" people in a broad stretch of the Upper West Side of Manhattan -- between 72nd Street and 104th Street, especially along Broadway and Amsterdam Avenue. These are the people in my neighborhood, aka "peeps in the 'hood."
As I indicated when I first started this project nearly four years ago, I don't like to intrude on people's privacy, so I normally use a zoom telephoto lens in order to photograph them while they're still 50-100 feet away from me; but that means I have to continue focusing my attention on the people and activities half a block away, rather than on what's right in front of me. Sometimes I find an empty bench on a busy street corner, and just sit quietly for an hour, watching people hustling past on the other side of the street; they're almost always so busy listening to their iPod, or talking on their cellphone, or daydreaming about something, that they never look up and see me aiming my camera in their direction.
I've also learned that, in many cases, the opportunities for an interesting picture are very fleeting -- literally a matter of a couple of seconds, before the person(s) in question move on, turn away, or stop doing whatever was interesting. So I've learned to keep my camera switched on, and not worry so much about zooming in for a perfectly-framed picture ... after all, once the digital image is uploaded to my computer, it's pretty trivial to crop out the parts unrelated to the main subject. Indeed, some of my most interesting photos have been so-called "hip shots," where I don't even bother to raise the camera up to my eye; I just keep the zoom lens set to the maximum wide-angle aperture, point in the general direction of the subject, and take several shots. As long as I can keep the shutter speed fairly high (which sometimes requires a fairly high ISO setting), I can usually get some fairly crisp shots -- even if the subject is walking in one direction, and I'm walking in the other direction, while I'm snapping the photos.
With only a few exceptions, I've generally avoided photographing bums, drunks, crazies, and homeless people. There are plenty of them around, and they would certainly create some dramatic pictures; but they generally don't want to be photographed, and I don't want to feel like I'm taking advantage of them. There have been a few opportunities to take some "sympathetic" pictures of such people, which might inspire others to reach out and help them. This is one example, and here is another example.
The other thing I've noticed, while carrying on this project for the past four years, is that while there are lots of interesting people to photograph, there are far, far, far more people who are not so interesting. They're probably fine people, and they might even be more interesting than the ones I've photographed ... unfortunately, there was just nothing memorable about them. They're all part of this big, crowded city; but for better or worse, there are an awful lot that you won't see in these Flickr sets of mine...
New to Stagecoach Manchester, in 05/2011, this Enviro200 is one of four of the type to transfer north during early 2020 to join five older examples which transferred over in 2018 to eventually replace the last operational Dennis Darts at the Kendal depot. Painted in 'Lakes Connection' livery, it is seen here on layover at Windermere Railway Station, on 19/06/2022. It would later work Service 508 17:25 Windermere Railway Station to Penrith. © Peter Steel 2022.
This one confirmed everything. In most of my photographs I place digital artifacts to assist me identify my photographs. See the white dot near the cross insignia on the lower wing.
Another day, another E-Type, and this example is one of what many consider the better cars, being the stylish and flamboyant Series I fitted with the powerful and reliable 4.2L Straight Six engine!
One of the most revolutionary cars in all of motoring history, a car that has often been declared as the Space Shuttle in the Middle Ages! Beauty, style and performance all harnessed in one simple bodyshell. It can't be anything other than the Jaguar E-Type!
When it was launched in 1961, Britain was still very much an antiquated Victorian country, and transport was not much better. Steam Trains still had another 7 years to go and the most you could get out of the Motor Industry were flaky BMC products such as the humble Austin Cambridge and the Morris Minor. Unbeknownst to this very slow moving world of modesty, the entire picture was about to be turned on its head. In music, the Beatles rocked their way into everlasting legacy, the De Havilland Comet brought nations closer together, and Jaguar launched the E-Type, a car that set the motoring world ablaze!
Designed by Malcolm Sayer and powered by a 3.8L Straight Six engine, the Jaguar E-Type could now whisk people to 150mph, and with there being no speed limits back then, that was not too much of a stretch to imagine. You just had to look at it to see nothing but speed, everything about it was designed to go as fast as possible!
In spirit, the E-Type can trace its roots back to the race ready D-Type, also designed by Malcolm Sayer and notable for raking home victory after victory at Le Mans, being credited with being one of the most advanced sports cars of all time. A limited edition road going version, the XKSS, made the idea of a D-Type on the public highway possible, and parts developed in this often forgotten little gem helped to culminate in the final and superb E-Type.
On March 16th 1961, the E-Type was released upon the unsuspecting public at the Geneva Motor Show to an absolute roar of applause and acclaim. It made the front page of pretty much every newspaper in Europe, and orders absolutely rolled in by the thousand! The thing that made the E-Type so desirable was the fact that it was fun on a budget, a high performance 150mph capable machine for an affordable price of just £2,000, the equivalent of about £40,000 today. Now you may think that's a lot of money, but when you consider that a car of comparable beauty and performance was double that price, you'd know it was something truly special.
However, this proved to be a problem for the comparatively small company, who simply couldn't turn out the cars fast enough to supply the demand. Millions and Millions of Pounds worth of orders were being placed, with some owners even going so far as to place deposits at 10 to 15 Jaguar dealers hoping that one of them could give them a car! The biggest problem was trying to supply differing markets, especially if you were British because in order to appease the desperate American buyers, cars would be built in LHD for 6 month periods at a time, which meant if you were someone wishing to buy a car here in the UK, you'd be stuck for the best part of a year!
But it was obvious why, these cars were unrealistically fast! Tap the pedal and you'd be at 60mph in 7.1 seconds, press it further and you'd be over 100, and if you pressed it further, the bonnet would rise and with blood gushing from your eyes and every fibre of your body telling you to stop, you'd be hitting 150mph! That doesn't sound like much today considering the Aston Martins and Ferrari's we're so used to, but in 1961 this was absolutely unheard of.
Not that your E-Type would ever make 150mph because Jaguar had been a tad naughty. As it turns out the initial test cars that had been leant to the Press had been tuned to reach that golden 150, but the rest of the flock would barely go that fast. This was further compounded by a troublesome gearbox, hopeless brakes, cramped interior and uncomfortable seats. Jaguar's con had only been done to bless their car with the initial fame that would sell the production models, but in 1965 Jaguar chose to redress the issue by fitting the car with a much larger and much better 4.2L Straight Six engine.
But once the novelty had worn off the E-Type was starting to become maligned. Much like owning a topping Rolls Royce, seeing one being driven in the street opened the wounds of jealousy that continued to divide the social classes, and if you were very lucky you'd only get away with a disapproving look or a nasty name, if you weren't expect a brick, a can of paint or a rock to be hurtled in your direction! At the same time because so many cars had been built, the Second Hand market became saturated which meant that people could pick up early ones for a song, which removed the exclusivity that these vehicles had once commanded. Again, much like a Rolls Royce these owners only saw them as ways to get women to take off their clothes for you, and thus didn't exactly give them the love that such cars required.
However, this was before we got to the biggest problem of them all, America.
Actually I take it back, America can't be blamed for everything, in fact the stringent safety legislation and rules on car manufacturing can be credited to the increased safety of modern motor vehicles, the people to be blamed though are in fact the car manufacturers themselves for not being able to incorporate the compulsory safety features whilst still keeping the car stylish.
But still, throughout the 1960's the death of James Dean had resulted in a gradual increase in safety legislation on US Highways, and in order to have a market there, cars had to conform. The height of the headlights, the bumpers, the smoke emissions, the recess of the switches, all of these things were scrutinised and had to be taken into account by car builders. The E-Type became a shameful victim as its looks were compromised with changes to the lights, and body profile. To be honest the Series II was not that bad a car, still retaining much of its charm, especially when you compare it to 1971's Series III which was formulated by British Leyland. With the cabin looking like it had sunk, the lights being stretched and contorted, and sporting a massive 5.3L V12 engine. By this point many of the cars former buyers saw the E-Type as damaged beyond repair and thus sales began to tumble. British Leyland however had been planning to replace the car since the late 1960's, and after much deliberation its replacement, the Jaguar XJS, was launched in 1975, bringing an end to the increasingly hard to sell E-Type. Although very well performing, in terms of looks, the XJS was considered by many classic Jag fans to be absolute heresy, but would go on to have a much longer life that the E-Type, being built until 1996.
However, even before the last E-Type left the production line the originals were already being hailed as classical heroes. In total well over 70,000 of these cars had been sold, and a large number of them remain on the roads. During the late 70's and 80's the car continued to be a major pin-up, often ending up rather oddly, and to my mind a bit shamefully, in erotic films and porn movies (I sure hope they washed thoroughly afterwards). But when you look at the E-Type you can understand why, it is a seriously sexy looking car!
So iconic and so stylish were these cars that over the years many different replica models have also been made. Throughout the 1990's the company Eagle GB built the Eagle E-Type, brand new cars built to exactly the same specifications as the original Series I versions, whilst in 2011 the Eagle Speedster was produced, revising the bodyshape but attempting to maintain the charm of the original, and in 2014 several remaining chassis from the original production run that had been kept in storage are intended to be built into fully functioning cars.
The E-Type may have died a long time ago, but its reputation isn't letting up! :D
18 – John L & Mary A Matheson Residence. 2067 S Hobart Blvd. 1909, Robert L Rohrig, Builder: Los Angeles Planing Mill Company.
The Matheson Mansion is currently (2013) threatened by redevelopment. When West Adams Heights was included in the Harvard Heights HPOZ, this house was listed as a “Noncontributing Structure,” because it was assumed the façade had been remodeled far beyond its original intent. In fact, aside from new windows and some minor elevation changes it looks much as it did when built, according to neighborhood preservationists trying to save the structure. The house suffered a devastating fire in the upper floors, when the elderly resident left a space heater unattended. Even worse, the house is still spot zoned R4 (the designation for an apartment building). Even though the original fixtures and furniture have been sold at auction, as the family prepared for the sale of the house, the character of this impressive mansion still shows through. Windows of stained art glass remain in the back of the house, which are probably Judson Studio glass, as well as remnants of the original and extensive gardens, most-likely designed by an expert landscaper like A E Hanson. The smoke and water-damaged interior reveals a rich and well thought-out design of a master architect. Hopefully, a buyer with a preservation mindset can be found for this house. John L Matheson was a merchant in early Los Angeles, dealing in men’s and women’s clothing and furnishings from a shop at 301-303 South Broadway.
West Adams Heights
“Nowadays we scarcely notice the high stone gates which mark the entrances on Hobart, Harvard, and Oxford streets, south of Washington Boulevard. For one thing, the traffic is too heavy, too swift; and then, again, the gates have been obscured by intrusions of shops and stores. At the base of the stone pillars appears the inscription “West Adams Heights.” There was a time when these entranceways were formidable and haughty, for they marked the ways to one of the first elite residential areas in Los Angeles. . . In the unplanned early-day chaos of Los Angeles, West Adams Heights was obviously something very special, an island in an ocean of bungalows—approachable, but withdrawn and reclusive—one of the few surviving examples of planned urban elegance of the turn of the century.”
- Carey McWilliams, “The Evolution of Sugar Hill,” Script, March, 1949: 30.
Today West Adams Heights is still obviously something special. The past sixty years, however, have not been kind. In 1963 the Santa Monica Freeway cut through the heart of West Adams Heights, dividing the neighborhood, obscuring its continuity. In the 1970’s the city paved over the red brick streets and removed the ornate street lighting. After the neighborhood’s zoning was changed to a higher density, overzealous developers claimed several mansions for apartment buildings. Despite these challenges, however, “The Heights,” as the area was once known, has managed to regain some of its former elegance.
The West Adams Heights tract was laid out in 1902, in what was then a wheat field on the western edge of town. Although the freeway now creates an artificial barrier, the original neighborhood boundaries were Adams Boulevard, La Salle Ave, Washington Boulevard, and Western Avenue. Costly improvements were integrated into the development, such as 75-food wide boulevards (which were some of the first contoured streets not to follow the city grid), lots elevated from the sidewalk, ornate street lighting, and large granite monuments with red-brass electroliers at the entrance to every street. These upgrades increased the lot values, which helped ensure the tract would be an enclave for the elite.
One early real estate ad characterized the neighborhood stating: “West Adams Heights needs no introduction to the public: it is already recognized as being far superior to any other tract. Its high and slightly location, its beautiful view of the city and mountains make t a property unequaled by any other in the city.”
The early residents’ were required to sign a detailed restrictive covenant. This hand-written document required property owners to build a “first-class residence,” of at least two stories, costing no less than two-thousand dollars (at a time when a respectable home could be built for a quarter of that amount, including the land), and built no less than thirty-five feet from the property’s primary boundary. Common in early twentieth century, another clause excluded residents from selling or leasing their properties to non-Caucasians.
By the mid 1930’s, however, most of the restrictions had expired. Between 1938 and 1945 many prominent African-Americans began to make “The Heights” their home. According to Carey McWilliams, West Adams Heights became known “Far and wide as the famous Sugar Hill section of Los Angeles,” and enjoyed a clear preeminence over Washington’s smart Le Droit Park, St. Louis’s Enright Street, West Philadelphia, Chicago’s Westchester, and Harlem’s fabulous Sugar Hill.
West Adams Heights, now also known as Sugar Hill, played a major role in the Civil Rights movement in Los Angeles. In 1938 Norman Houston, president of the Golden State Mutual Life Insurance Company, and an African-American, purchased a home at 2211 South Hobart Boulevard. Legal Action from eight homeowners quickly ensued. During that period, other prominent African-Americans began to make Sugar Hill their home – including actress Hattie McDaniels, dentists John and Vada Summerville, actress Louise Beavers, band leader Johnny Otis, and performers Pearl Baily and Ethel Waters, and many more. On December 6, 1945, the “Sugar Hill Cases” were heard before Judge Thurmond Clark, in LA Superior Court. He made history by become the first judge in America to use the 14th Amendment to disallow the enforcement of covenant race restrictions. The Los Angeles Sentinel quoted Judge Clark: “This court is of the opinion that it is time that [African-Americans] are accorded, without reservations and evasions, the full rights guaranteed them under the 14th Amendment.” Gradually, over the last century people of nearly ever background have made historic West Adams their home.
The northern end of West Adams Heights is now protected as part of the Harvard Heights Historic Preservation Overlay Zone (HPOZ). The Historic West Adams area of Los Angeles (which includes West Adams Heights) boasts the highest concentration of turn-of-the-century homes west of the Mississippi, as well as the highest concentration of National Historic Landmarks, National Register of Historic Places, National Historic Districts, State Historic Landmarks, Los Angeles Cultural-Historic Monuments, and Historic Preservation Overlay Zones in the city. The entirety of West Adams Heights should be nominated as a National Register Historic District, for the quality of homes, the prominence of the architects, notoriety of the people who lived in the neighborhood, and the role it played in civil rights.
Perhaps a quote adapted from a fireplace mantle in the Frederick Rindge mansion best symbolizes the optimism which exists in West Adams: “California Shall be Ours as Long as the Stars Remain.”
The palanquin is a class of wheelless vehicles, a type of human-powered transport, for the transport of persons. Examples of litter vehicles include lectica (ancient Rome), kiệu [轎] (Vietnam), sedan chair (Britain), litera (Spain), palanquin (France, India, Ghana), jiao (China), liteira (Portugal), wo (วอ, Chinese style known as kiao เกี้ยว) (Thailand), gama (Korea), koshi, ren and kago [駕籠] (Japan) and tahtırevan (Turkey).
Smaller litters may take the form of open chairs or beds carried by two or more carriers, some being enclosed for protection from the elements. Larger litters, for example those of the Chinese emperors, may resemble small rooms upon a platform borne upon the shoulders of a dozen or more people. To most efficiently carry a litter, porters will attempt to transfer the load to their shoulders, either by placing the carrying poles upon their shoulders, or the use of a yoke to transfer the load from the carrying poles to the shoulder.
DEFINITIONS
A simple litter, often called a king carrier, consists of a sling attached along its length to poles or stretched inside a frame. The poles or frame are carried by porters in front and behind. Such simple litters are common on battlefields and emergency situations, where terrain prohibits wheeled vehicles from carrying away the dead and wounded.
Litters can also be created by the expedient of the lashing of poles to a chair. Such litters, consisting of a simple cane chair with maybe an umbrella to ward off the elements and two stout bamboo poles, may still be found in Chinese mountain resorts such as the Huangshan Mountains to carry tourists along scenic paths and to viewing positions inaccessible by other means of transport.
A more luxurious version consists of a bed or couch, sometimes enclosed by curtains, for the passenger or passengers to lie on. These are carried by at least two porters in equal numbers in front and behind, using wooden rails that pass through brackets on the sides of the couch. The largest and heaviest types would be carried by draught animals.
Another form, commonly called a sedan chair, consists of a chair or windowed cabin suitable for a single occupant, also carried by at least two porters in front and behind, using wooden rails that pass through brackets on the sides of the chair. These porters were known in London as "chairmen". These have been very rare since the 19th century, but such enclosed portable litters have been used as an elite form of transport for centuries, especially in cultures where women are kept secluded.
Sedan chairs, in use until the 19th century, were accompanied at night by link-boys who carried torches. Where possible, the link boys escorted the fares to the chairmen, the passengers then being delivered to the door of their lodgings. Several houses in Bath, Somerset, England still have the link extinguishers on the exteriors, shaped like outsized candle snuffers. In the 1970s, entrepreneur and Bathwick resident, John Cuningham, revived the sedan chair service business for a brief amount of time.
ANTIQUITY
In pharaonic Egypt and many oriental realms such as China, the ruler and divinities (in the form of an idol) were often transported in a litter in public, frequently in procession, as during state ceremonial or religious festivals.
The ancient Hebrews fashioned the Ark of the Covenant to resemble and function as a litter for the ten commandments and presence of God.
In Ancient Rome, a litter called lectica or "sella" often carried members of the imperial family, as well as other dignitaries and other members of the rich elite, when not mounted on horseback.
The habit must have proven quite persistent, for the Third Council of Braga in 675 AD saw the need to order that bishops, when carrying the relics of martyrs in procession, must walk to the church, and not be carried in a chair, or litter, by deacons clothed in white.
In the Catholic Church, Popes were carried the same way in Sedia gestatoria, which was replaced later by the Popemobile.
IN ASIA
CHINA
In Han China the elite travelled in light bamboo seats supported on a carrier's back like a backpack. In the Northern Wei Dynasty and the Northern and Southern Song Dynasties, wooden carriages on poles appear in painted landscape scrolls.
A commoner used a wooden or bamboo civil litter (Chinese: 民轎; pinyin: min2 jiao4), while the mandarin class used an official litter (Chinese: 官轎; pinyin: guan1 jiao4) enclosed in silk curtains.
The chair with perhaps the greatest importance was the bridal chair. A traditional bride is carried to her wedding ceremony by a "shoulder carriage" (Chinese: 肩輿; pinyin: jiān yú), usually hired. These were lacquered in an auspicious shade of red, richly ornamented and gilded, and were equipped with red silk curtains to screen the bride from onlookers.
Sedan chairs were once the only public conveyance in Hong Kong, filling the role of cabs. Chair stands were found at all hotels, wharves, and major crossroads. Public chairs were licensed, and charged according to tariffs which would be displayed inside. Private chairs were an important marker of a person's status. Civil officers' status was denoted by the number of bearers attached to his chair. Before Hong Kong's Peak Tram went into service in 1888, wealthy residents of The Peak were carried on sedan chairs by coolies up the steep paths to their residence including Sir Richard MacDonnell's (former Governor of Hong Kong) summer home, where they could take advantage of the cooler climate. Since 1975 an annual sedan chair race has been held to benefit the Matilda International Hospital and commemorate the practice of earlier days.
KOREA
In Korea, royalty and aristocrats were carried in wooden litters called gama. Gamas were primarily used by royalty and government officials. There were six types of gama, each assigned to different government official rankings. In traditional weddings, the bride and groom are carried to the ceremony in separate gamas. Because of the difficulties posed by the mountainous terrain of the Korean peninsula and the lack of paved roads, gamas were preferred over wheeled vehicles.
JAPAN
As the population of Japan increased, less and less land was available as grazing for the upkeep of horses. With the availability of horses restricted to martial uses, human powered transport became more important and prevalent.
Kago (Kanji: 駕籠, Hiragana: かご) were often used in Japan to transport the non-samurai citizen. Norimono were used by the warrior class and nobility, most famously during the Tokugawa period when regional samurai were required to spend a part of the year in Edo (Tokyo) with their families, resulting in yearly migrations of the rich and powerful (Sankin-kōtai) to and from the capital along the central backbone road of Japan.
Somewhat similar in appearance to kago are the portable shrines that are used to carry the "god-body" (goshintai), the central totemic core normally found in the most sacred area of Shinto Shrines, on a tour to and from a shrine during some religious festivals.
THAILAND
In Thailand, the royalty were also carried in wooden litters called wo ("พระวอ" Phra Wo, literally, "Royal Sedan") for large ceremonies. Wos were elaborately decorated litters that were delicately carved and colored by gold leaves. Stained glass is also used to decorate the litters. Presently, Royal Wos and carriages are only used for royal ceremonies in Thailand. They are exhibited in the Bangkok National Museum.
INDONESIA
In traditional Javanese society, the generic palanquin or joli was a wicker chair with a canopy, attached to two poles, and borne on men's shoulders, and was available for hire to any paying customer. As a status marker, gilded throne-like palanquins, or jempana, were originally reserved solely for royalty, and later co-opted by the Dutch, as a status marker: the more elaborate the palanquin, the higher the status of the owner. The joli was transported either by hired help, by nobles' peasants, or by slaves.
Historically, the palanquin of a Javanese king (raja), prince (pangeran), lord (raden mas) or other noble (bangsawan) was known as a jempana; a more throne-like version was called a pangkem. It was always part of a large military procession, with a yellow (the Javanese colour for royalty) square canopy. The ceremonial parasol (payung) was held above the palanquin, which was carried by a bearer behind and flanked by the most loyal bodyguards, usually about 12 men, with pikes, sabres, lances, muskets, keris and a variety of disguised blades. In contrast, the canopy of the Sumatran palanquin was oval-shaped and draped in white cloth; this was reflective of greater cultural permeation by Islam. Occasionally, a weapon or heirloom, such as an important keris or tombak, was given its own palanquin. In Hindu culture in Bali today, the tradition of using palanquins for auspicious statues, weapons or heirlooms continues, for funerals especially; in more elaborate rituals, a palanquin is used to bear the body, and is subsequently cremated along with the departed.
INDIA
A palanquin, also known as palkhi, is a covered sedan chair (or litter) carried on four poles. It derives from the Sanskrit word for a bed or couch, pa:lanka.
Palanquins are mentioned in literature as early as the Ramayana (c. 250BC).
Palanquins began to fall out of use after rickshaws (on wheels, more practical) were introduced in the 1930s.
The doli (also transliterated from Hindi as dhooly or dhoolie) is a cot or frame, suspended by the four corners from a bamboo pole. Two or four men would carry it. In the time of the British in India, dhooly-bearers were used to carry the wounded from the battlefield and transport them.
Today in numerous areas of India including at the Hindu pilgrimage site of Amarnath Temple in Kashmir, palanquins can be hired to carry the customer up steep hills.
IN AFRICA
GHANA
In Southern Ghana the Akan and the Ga-Dangme carry their chiefs and kings in palanquins when they appear in their state durbars. When used in such occasions these palanquins may be seen as a substitutes of a state coach in Europe or a horse used in Northern Ghana. The chiefs of the Ga (mantsemei) in the Greater Accra Region (Ghana) use also figurative palanquins which are built after a chief's family symbol or totem. But these day the figurative palanquins are very seldom used. They are related with the figurative coffins which have become very popular among the Ga in the last 50 years. Since these figurative coffins were shown 1989 in the exhibition "Les magicians de la terre" in the Centre Pompidou in Paris they were shown in many art museums around the world.
ANGOLA
From at least the 15th century until the 19th century, litters of varying types known as tipoye were used in the Kingdom of Kongo as a mode of transportation for the elites. Seat-style litters with a single pole along the back of the chair carried by two men (usually slaves) were topped with an umbrella. Lounge-style litters in the shape of a bed were used to move one to two people with porter at each corner. Due to the tropical climate, horse were not native to the area nor could they survive very ong once introduced by the Portuguese. Human portage was the only mode of transportation in the region and became highly adept with missionary accounts claiming the litter transporters could move at speeds 'as fast as post horses at the gallop'.
IN THE WEST
EUROPE
Portuguese and Spanish navigators and colonistics encountered litters of various sorts in India, Mexico, and Peru. They were imported into Spain and spread into France and then Britain. All the names for these devices are ultimately derived from the root sed- in Latin sedere, "sit," which gave rise to seda ("seat") and its diminutive sedula ("little seat"), the latter of which was contracted to sella, the traditional Latin name for a carried chair.The carried chair met instant success in Europe, whose city streets were often a literal mess of mud and refuse: Where cities and towns did not enjoy the presence of sewage systems left over from Imperial Roman days, it was common to empty chamber pots and discard kitchen refuse from windows down into the adjacent streets. Affluent and well-to-do citizens often found it hazardous and impractical to negotiate those avenues, and sedan chairs allowed them to remain prim and spotless while the carrying valets had to contend with the mud and the filth.In Europe, Henry VIII of England was carried around in a sedan chair — it took four strong chairmen to carry him towards the end of his life — but the expression "sedan chair" was not used in print until 1615. It does not seem to take its name from the city of Sedan. Trevor Fawcett notes (see link) that British travellers Fynes Moryson (in 1594) and John Evelyn (in 1644-5) remarked on the seggioli of Naples and Genoa, which were chairs for public hire slung from poles and carried on the shoulders of two porters.From the mid-17th century, visitors taking the waters at Bath would be conveyed in a chair enclosed in baize curtains, especially if they had taken a heated bath and were going straight to bed to sweat. The curtains kept off a possibly fatal draft. These were not the proper sedan chairs "to carry the better sort of people in visits, or if sick or infirmed" (Celia Fiennes). In the 17th and 18th centuries, the chairs stood in the main hall of a well-appointed city residence, where a lady could enter and be carried to her destination without setting foot in a filthy street. The neoclassical sedan chair made for Queen Charlotte remains at Buckingham Palace.
By the mid-17th century, sedans for hire were a common mode of transportation. In London, "chairs" were available for hire in 1634, each assigned a number and the chairmen licensed because the operation was a monopoly of a courtier of Charles I. Sedan chairs could pass in streets too narrow for a carriage and were meant to alleviate the crush of coaches in London streets, an early instance of traffic congestion. A similar system was later used in Scotland. In 1738, a fare system was established for Scottish sedans, and the regulations covering chairmen in Bath are reminiscent of the modern Taxi Commission's rules. A trip within a city cost six pence and a day's rental was four shillings. A sedan was even used as an ambulance in Scotland's Royal Infirmary.
Chairmen moved at a good clip. In Bath they had the right-of-way and pedestrians hearing "By your leave" behind them knew to flatten themselves against walls or railings as the chairmen hustled through. There were often disastrous accidents, upset chairs, and broken glass-paned windows.
Sedan chairs were also used by the wealthy in the cities of colonial America. Benjamin Franklin used a sedan chair late in the 18th century.
COLONIAL PRACTICE
In various colonies, litters of various types were maintained under native traditions, but often adopted by the white colonials as a new ruling and/or socio-economic elite, either for practical reasons (often comfortable modern transport was unavailable, e.g. for lack of decent roads) and/or as a status symbol. During the 17-18th centuries, palanquins (see above) were very popular among European traders in Bengal, so much so that in 1758 an order was issued prohibiting their purchase by certain lower-ranking employees.
THE END OF A TRADITION
In Great Britain, in the early 19th century, the public sedan chair began to fall out of use, perhaps because streets were better paved or perhaps because of the rise of the more comfortable, companionable and affordable hackney carriage. In Glasgow, the decline of the sedan chair is illustrated by licensing records which show twenty-seven sedan chairs in 1800, eighteen in 1817, and ten in 1828. During that same period the number of registered hackney carriages in Glasgow rose to one hundred and fifty.
THE TRAVELING SILLA OF LATIN AMERICA
A similar but simpler palanquin was used by the elite in parts of 18th- and 19th-century Latin America. Often simply called a silla (Spanish for seat or chair), it consisted of a simple wooden chair with an attached tumpline. The occupant sat in the chair, which was then affixed to the back of a single porter, with the tumpline supported by his head. The occupant thus faced backwards during travel. This style of palanquin was probably due to the steep terrain and rough or narrow roads unsuitable to European-style sedan chairs. Travellers by silla usually employed a number of porters, who would alternate carrying the occupant.
A chair borne on the back of a porter, almost identical to the silla, is used in the mountains of China for ferrying older tourists and visitors up and down the mountain paths. One of these mountains where the silla is still used is the Huangshan Mountains of Anhui province in Eastern China.
WIKIPEDIA
Nikon D500 - an informal ISO Test, both JPEG and NEF (RAW).
JPEG images make use of Auto 1 White Balance, High ISO NR-Normal and Long Exposure NR-On.
Example Images from Nikon D500 Experience.
Setup your Menus and Custom Settings, for various shooting situations, with help from my Nikon D500 Setup Guide Spreadsheet:
blog.dojoklo.com/2016/05/24/nikon-d500-setup-guide-spread...
(further information and pictures are available by clicking on the link at the end of page!)
Cathedral of St. Pölten
The Cathedral of St. Pölten
Apse
The Cathedral of St. Pölten (also cathedral of the Assumption) is a cathedral and since 1785 the cathedral of the Diocese of St. Pölten. Until the dissolution of the Augustinian Canons monastery of St. Pölten in 1784 it was the abbey church. The building appears despite well-preserved late Roman core a baroque building.
History
General view of the monastery of St. Pölten from 1653, still with the now demolished Parish Church on Cathedral Square
Predecessors
The origins of today's monastery of St. Pölten (St. Hippolytus) and thus of the cathedral date back to the period around the year 790. During this time it is said that the brothers Adalbert and Otakar from the Tegernsee monastery founded a daughter house in St. Pölten. The Benedictines also brought the Hippolyt relics to St. Pölten, from which the modern name of the city is derived. Since 828 the monastery was in possession of the diocese of Passau. The from there outgoing missionary activity can be supposed in the Great Moravian Empire, the church on Pöltenberg in Znojmo is suspected to have been founded from there.
With the invasion of the Magyars around the year 907, the monastery was almost completely destroyed. Only after the Battle of Lechfeld in 955 it was rebuilt. The first written mention of the monastery is found in 976 in a charter of Emperor Otto II for Bishop Pilgrim of Passau. Under Bishop Altmann of Passau it was in 1081 converted into an Augustinian Canons monastery and from then on it bore the patronage of St. Peter, in the 12th Century the high altar was the SS. Stephen and Hippolytus consecrated.
Today's church
Around 1150, a three-aisled church without transept church with twin towers was built as West plant (Westwerk), which was, however, already generously rebuilt 1267-1280 after a fire. This church was consecrated in 1228 by Bishop Gebhard in honor of the Virgin Mary ascension into heaven (the Assumption) that Patotrozinium that the Cathedral till today carries. In 1512 there was a devastating fire in the city, thereafter the North Tower was demolished and never rebuilt.
Today's figure of the cathedral emerged in the 17th Century. After a fire in 1621 the present diocese building was designed in the early Baroque. The last high point in the history of construction experienced the former convent under provost Johann Michel Führer. He was thrilled by the high baroque splendor of neighboring residences as Melk Abbey and found in the in the city living Jacob Prandtauer a like-minded partner. The planned reconstruction should expand the diocese building to a second floor and the exterior view of the church should become a three-tower ensemble (similar to the Seitenstetten monastery) with the existing tower at its center. This plan was not fully implemented, mainly because Führer burned the candle at both ends and the monastery was nearly bankrupt when he resigned in 1739. In addition to the spacious redesigning of the entire interior, especially by Daniel Gran and Bartolomeo Altomonte, only the tower was raised and fitted with a new dome.
1784, the monastery was abandoned by Joseph II . On 28 January in the following year the building became diocesan seat (cathedral) of the newly established Diocese of Sankt Pölten on the basis of the by Pius VI. adopted papal bull Inter plurimas.
In 1873 the reverend Josef Kinzl founded the Catholic patriotic folk and Preßverein (press association) for Lower Austria, publishing the St. Pölten messenger. Hence the NÖN (Niederösterreichische Nachrichten - news of Lower Austria) and the Lower Austrian Pressehaus have developed.
Architecture
The Choir of the Cathedral of St. Pölten
"As little as the viewer is expecting when he is looking at the outside of this cathedral, so surprising is the entry in the same, because objects appear to meet him from all sides, which deserve special attention, but probably at the same time arouse the wish that more light might brighten these masterpieces, God's temple somewhat economically illuminating".
- Representation of Erzherzogthums (Archduchy) Austria under the Ens (River Enns), 1835
The exterior
The floor plan of the exterior facade still consists largely from the around 1150 constructed building. Originally built as a three-aisled church without transept with twin towers as Westwerk, it was between 1267-1280 generously rebuilt in late Romanesque style after a fire.
The cathedral is directly connected to the diocese building, on the north side the church closes at the cloister. Despite the high degree of conservation of the late Romanesque building structure, is the construction baroque dominated by the mighty south tower with its double onion dome and the dome lanterns on the south aisle. From the late Romanesque building, the apse and the south façade have been preserved.
With exception of the two lower floors of the south tower, both towers have a Eckquaderung (corner block). At the west facade is main portal of the cathedral located with skylights and a broken pediment attachment. On both sides of the portal at the level of the second floor each is a statue of a saint: Hippolytus left, right, Augustine.
The interior
The interior of the church by Jakob Prandtauer, Joseph Munggenast, Daniel Gran and Bartolomeo Altomonte was baroquised. The ceiling frescoes designed partly Thomas Friedrich Gedon.
Organ
The organ is a work of Swiss company Metzler organ building from 1973 with 36 stops on three manuals and pedal. The prospectus stems from the original organ from the year 1722, built by Johann Ignaz Egedacher.
Bell
The cathedral has an almost complete peal from the Baroque period, cast in 1696 by Mathias Prininger from Krems. Only the bell 3 went lost through the bell deliveries in World War I and had to be re-acquired after two world wars.
No. Name nominal weight
(kg) diameter
(cm) casting year caster
1 Immaculataglocke a0 +2 4318 189 1696 Mathias Prininger
2 Zwölferin (ringing at twelve o'clock) cis1 +0 2223 151 1696 Mathias Prininger
3 Bishop anniversary bell e1 +2 1066 120 1955 Josef Pfundner
4/4 or Poor soul bell a1 +0516 93 1696 Mathias Prininger
5 Food bell cis2 +0264 73 1696 Mathias Prininger
There are also two other small bells that do not belong to the actual bells.
History of the City St. Pölten
In order to present concise history of the Lower Austrian capital is in the shop of the city museum a richly illustrated full version on CD-ROM.
Tip
On the occasion of the commemoration of the pogroms of November 1938, the Institute for Jewish History of Austria its virtual Memorbuch (Memory book) for the destroyed St. Pölten Jewish community since 10th November 2012 is putting online.
Prehistory
The time from which there is no written record is named after the main materials used for tools and weapons: Stone Age, Bronze Age, Iron Age. Using the latest technologies, archaeologists from archaeological finds and aerial photographs can trace a fairly detailed picture of life at that time. Especially for the time from the settling down of the People (New Stone Age), now practicing agriculture and animal husbandry, in the territory of St. Pölten lively settlement activity can be proved. In particular, cemeteries are important for the research, because the dead were laid in the grave everyday objects and jewelry, the forms of burial changing over time - which in turn gives the archeology valuable clues for the temporal determination. At the same time, prehistory of Sankt Pölten would not be half as good documented without the construction of the expressway S33 and other large buildings, where millions of cubic meters of earth were moved - under the watchful eyes of the Federal Monuments Office!
A final primeval chapter characterized the Celts, who settled about 450 BC our area and in addition to a new culture and religion also brought with them the potter's wheel. The kingdom of Noricum influenced till the penetration of the Romans the development in our area.
Roman period, migrations
The Romans conquered in 15 BC the Celtic Empire and established hereinafter the Roman province of Noricum. Borders were protected by military camp (forts), in the hinterland emerged civilian cities, almost all systematically laid out according to the same plan. The civil and commercial city Aelium Cetium, as St. Pölten was called (city law 121/122), consisted in the 4th Century already of heated stone houses, trade and craft originated thriving urban life, before the Romans in the first third of the 5th Century retreated to Italy.
The subsequent period went down as the Migration Period in official historiography, for which the settlement of the Sankt Pöltner downtown can not be proved. Cemeteries witness the residence of the Lombards in our area, later it was the Avars, extending their empire to the Enns.
The recent archaeological excavations on the Cathedral Square 2010/2011, in fact, the previous knowledge of St.Pölten colonization not have turned upside down but enriched by many details, whose full analysis and publication are expected in the near future.
Middle Ages
With the submission of the Avars by Charlemagne around 800 AD Christianity was gaining a foothold, the Bavarian Benedictine monastery of Tegernsee establishing a daughter house here - as founder are mentioned the brothers Adalbert and Ottokar - equipped with the relics of St. Hippolytus. The name St. Ypolit over the centuries should turn into Sankt Pölten. After the Hungarian wars and the resettlement of the monastery as Canons Regular of St. Augustine under the influence of Passau St. Pölten received mid-11th Century market rights.
In the second half of the 20th century historians stated that records in which the rights of citizens were held were to be qualified as Town Charters. Vienna is indeed already in 1137 as a city ("civitas") mentioned in a document, but the oldest Viennese city charter dates only from the year 1221, while the Bishop of Passau, Konrad, already in 1159 the St. Pöltnern secured:
A St. Pöltner citizen who has to answer to the court, has the right to make use of an "advocate".
He must not be forced to rid himself of the accusation by a judgment of God.
A St. Pöltner citizen may be convicted only by statements of fellow citizens, not by strangers.
From the 13th Century exercised a city judge appointed by the lord of the city the high and low jurisdiction as chairman of the council meetings and the Municipal Court, Inner and Outer Council supported him during the finding of justice. Venue for the public verdict was the in the 13th Century created new marketplace, the "Broad Market", now the town hall square. Originally square-shaped, it was only later to a rectangle reduced. Around it arose the market district, which together with the monastery district, the wood district and the Ledererviertel (quarter of the leather goods manufacturer) was protected by a double city wall.
The dependence of St. Pölten of the bishop of Passau is shown in the municipal coat of arms and the city seal. Based on the emblem of the heraldic animal of the Lord of the city, so the Bishop of Passau, it shows an upright standing wolf holding a crosier in its paw.
Modern Times
In the course of the armed conflict between the Emperor Frederick III . and King Matthias of Hungary pledged the Bishop of Passau the town on the Hungarian king. From 1485 stood Lower Austria as a whole under Hungarian rule. The most important document of this period is the awarding of the city coat of arms by King Matthias Corvinus in the year 1487. After the death of the opponents 1490 and 1493 could Frederick's son Maximilian reconquer Lower Austria. He considered St. Pölten as spoils of war and had no intention of returning it to the diocese of Passau. The city government has often been leased subsequently, for instance, to the family Wellenstein, and later to the families Trautson and Auersperg.
That St. Pölten now was a princely city, found its expression in the coat of arms letter of the King Ferdinand I. from 1538: From now on, the wolf had no crosier anymore, and the from the viewer's point of view left half showed the reverse Austrian shield, so silver-red-silver.
To the 16th Century also goes back the construction of St. Pöltner City Hall. The 1503 by judge and council acquired house was subsequently expanded, rebuilt, extended and provided with a tower.
A for the urban history research important picture, painted in 1623, has captured scenes of the peasant uprising of 1597, but also allows a view to the city and lets the viewer read some of the details of the then state of construction. The economic inconveniences of that time were only exacerbated by the Thirty Years War, at the end of which a fifth of the houses were uninhabited and the citizenry was impoverished.
Baroque
After the successful defense against the Turks in 1683, the economy started to recover and a significant building boom began. Lower Austria turned into the land of the baroque abbeys and monasteries, as it is familiar to us today.
In St. Pölten, the change of the cityscape is closely connected to the Baroque architect Jakob Prandtauer. In addition to the Baroquisation of the interior of the cathedral, a number of buildings in St. Pölten go to his account, so the reconstruction of the castle Ochsenburg, the erection of the Schwaighof and of the core building of the Institute of the Blessed Virgin Mary (Englische Fräuleins - English Maidens) - from 1706 the seat of the first school order of St.Pölten - as well as of several bourgeois houses.
Joseph Munggenast, nephew and co-worker of Prandtauer, completed the Baroquisation of the cathedral, he baroquised the facade of the town hall (1727) and numerous bourgeois houses and designed a bridge over the Traisen which existed until 1907. In the decoration of the church buildings were throughout Tyroleans collaborating, which Jakob Prandtauer had brought along from his homeland (Tyrol) to St. Pölten, for example, Paul Troger and Peter Widerin.
Maria Theresa and her son Joseph II: Their reforms in the city of the 18th Century also left a significant mark. School foundings as a result of compulsory education, the dissolution of the monasteries and hereinafter - from 1785 - the new role of St. Pölten as a bishop's seat are consequences of their policies.
1785 was also the year of a fundamental alteration of the old Council Constitution: The city judge was replaced by one magistrate consisting of five persons, at the head was a mayor. For the first mayor the painter Josef Hackl was chosen.
The 19th century
Despite the Napoleonic Wars - St. Pölten in 1805 and 1809 was occupied by the French - and despite the state bankruptcy of 1811, increased the number of businesses constantly, although the economic importance of the city for the time being did not go beyond the near vicinity.
Against the background of monitoring by the state secret police, which prevented any political commitment between the Congress of Vienna and the 1848 revolution, the citizens withdrew into private life. Sense of family, fostering of domestic music, prominent salon societies in which even a Franz Schubert socialized, or the construction of the city theater were visible signs of this attitude.
The economic upswing of the city did not begin until after the revolution of the year 1848. A prerequisite for this was the construction of the Empress Elisabeth Western Railway, moving Vienna, Linz, soon Salzburg, too, in a reachable distance. The city walls were pulled down, St. Pölten could unfold. The convenient traffic situation favored factory start-ups, and so arose a lace factory, a revolver factory, a soap factory or, for example, as a precursor of a future large-scale enterprise, the braid, ribbon and Strickgarnerzeugung (knitting yarn production) of Matthias Salcher in Harland.
In other areas, too, the Gründerzeit (years of rapid industrial expansion in Germany - and Austria) in Sankt Pölten was honouring its name: The city got schools, a hospital, gas lanterns, canalization, hot springs and summer bath.
The 20th century
At the beginning of the 20th Century the city experienced another burst of development, initiated by the construction of the power station in 1903, because electricity was the prerequisite for the settlement of large companies. In particular, the companies Voith and Glanzstoff and the main workshop of the Federal Railways attracted many workers. New Traisen bridge, tram, Mariazell Railway and other infrastructure buildings were erected; St. Pölten obtained a synagogue. The Art Nouveau made it repeatedly into the urban architecture - just think of the Olbrich House - and inspired also the painting, as exponents worth to be mentioned are Ernst Stöhr or Ferdinand Andri.
What the outbreak of the First World War in broad outlines meant for the monarchy, on a smaller scale also St. Pölten has felt. The city was heavily impacted by the deployment of army units, a POW camp, a military hospital and a sick bay. Industrial enterprises were partly converted into war production, partly closed. Unemployment, housing emergency and food shortages long after the war still were felt painfully.
The 1919 to mayor elected Social Democrat Hubert Schnofl after the war tried to raise the standard of living of the people by improving the social welfare and health care. The founding of a housing cooperative (Wohnungsgenossenschaft), the construction of the water line and the establishment of new factories were further attempts to stimulate the stiffening economy whose descent could not be stopped until 1932.
After the National Socialist regime had stirred false hopes and plunged the world into war, St. Pölten was no longer the city as it has been before. Not only the ten devastating bombings of the last year of the war had left its marks, also the restrictive persecution of Jews and political dissidents had torn holes in the structure of the population. Ten years of Russian occupation subsequently did the rest to traumatize the population, but at this time arose from the ruins a more modern St. Pölten, with the new Traisen bridge, district heating, schools.
This trend continued, an era of recovery and modernization made the economic miracle palpable. Already in 1972 was - even if largely as a result of incorporations - exceeded the 50.000-inhabitant-limit.
Elevation to capital status (capital of Lower Austria), 10 July 1986: No other event in this dimension could have become the booster detonation of an up to now ongoing development thrust. Since then in a big way new residential and commercial areas were opened up, built infrastructure constructions, schools and universities brought into being to enrich the educational landscape. East of the Old Town arose the governmental and cultural district, and the list of architects wears sonorous names such as Ernst Hoffmann (NÖ (Lower Austria) Landhaus; Klangturm), Klaus Kada (Festspielhaus), Hans Hollein (Shedhalle and Lower Austrian Provincial Museum), Karin Bily, Paul Katzberger and Michael Loudon ( NÖ State Library and NÖ State Archive).
European Diploma, European flag, badge of honor, Europe Price: Between 1996 and 2001, received St. Pölten numerous appreciations of its EU commitment - as a sort of recognition of the Council of Europe for the dissemination of the EU-idea through international town twinnings, a major Europe exhibition or, for example, the establishment and chair of the "Network of European medium-sized cities".
On the way into the 21st century
Just now happened and already history: What the St. Pöltnern as just experienced sticks in their minds, travelers and newcomers within a short time should be told. The theater and the hospital handing over to the province of Lower Austria, a new mayor always on the go, who was able to earn since 2004 already numerous laurels (Tags: polytechnic, downtown enhancement, building lease scheme, bus concept) - all the recent changes are just now condensed into spoken and written language in order to make, from now on, the history of the young provincial capital in the 3rd millennium nachlesbar (checkable).
de.wikipedia.org/wiki/Dom_zu_St._P%C3%B6lten
www.st-poelten.gv.at/Content.Node/freizeit-kultur/kultur/...
Steve Nash Foundation presents the SHOWDOWN in DOWNTOWN photos by RonSombilonGallery.com
Sponsored by Coast Capital Savings and BC Hydro PowerSmart
Showdown in Downtown is a collaboration of sponsors, local non-profits, sports superstars who educate and empower new energy for community action, the Street Festival brings together private and public resources to show off all we can do together.
About the Steve Nash Foundation
About the Foundation
Formed in 2001, given U.S. charitable status in 2004, and Canadian charitable status in 2007, the Steve Nash Foundation is a private foundation dedicated to assisting underserved children in their health, personal development, education and enjoyment of life. Like its NBA MVP founder, the Foundation is fast becoming a leader in assists . . . to a slightly shorter population.
Through our own initiatives, and through grants to public service and nonprofit entities in British Columbia, the Foundation aims to grow health in kids by funding projects that provide direct services to children affected by poverty, illness, abuse, or neglect, and create opportunity for education, health, and empowerment. We love the opportunity to get involved in the good work being done by child-focused ngo’s in our home province.
The Foundation also seeks to afford thoughtful solutions to community needs through our own projects to address critical health and education needs. The Foundation focuses its resources on underserved populations of children in British Columbia, Arizona, and the country of Paraguay. Equipping a neonatal intensive care ward in Asuncion to provide basic necessities for infants and their families, developing an early childhood education center of excellence to bring best practices to young kids that don’t always enjoy that access in Arizona, and uniting civic outreach, corporate and social service organizations to show kids how to get involved in their communities are examples of the daily work of the Foundation’s small but dedicated staff. Stemming from our first ever Steve Nash Foundation Charity Classic, held in Toronto, Ontario, in 2005, the Foundation is also working closely with the City to establish an all-access, all-kids after-school center there to build hope through hoops for kids.
While our work focuses exclusively on child welfare, we believe that corporations must share responsibility for the well-being of our communities. The Foundation employs and encourages environmentally-friendly office practices, and offers grantees assistance in developing their own recycling and energy conservation programs (check out our Green Leaf here). We also like to highlight the important work of other individuals and organizations, using our website links to increase their exposure, and contribute to their efforts. Further, we are proud to be working with young people that excel in their chosen fields, from whom we welcome energetic leadership and fresh voices.
The Steve Nash Foundation. Growing health in kids.
For more info, visit
SteveNash.org/about-the-foundation/
.
Nelson-Atkins Museum of Art
Kansas-City, Missouri
United States
Name of the backdrop panel painting:
Nome da pintura no painel de fundo:
"Paradise of Tejraprabha Buddha"
About the painting (Descrição da obra traduzida do inglês ao português logo abaixo):
Measuring over 23-feet high and 48-feet wide, the Museum’s monumental Chinese wall painting, Paradise of Tejraprabha Buddha, is one of the few surviving examples from the Yuan Dynasty (1279-1368), a period of great accomplishment for Chinese mural painting.
The wall was made in one piece for the temple, but it was cut into 47 sections to ship the painting out of China. The Nelson-Atkins acquired the mural in 1932. The 47 pieces were strengthened with plaster and steel before it was attached to the Museum’s wall in 1933.
Originally, this painting was the center of spiritual rituals in a Buddhist monastery in Shanxi province called the Monastery of Expansive Victory.
In the mural, Buddha is surrounded by a group of attendants. In the center of the wall is Tejraprabha, whose name literally means “blazing light.” This Buddha’s spiritual enlightenment becomes more impressive when we realize that the figures surrounding him represent celestial bodies, including the sun, moon and five planets of traditional Chinese astronomy.
Bright colors dominate the center of the mural, with dark colors used extensively around the outer edges. The artists purposefully painted in this manner to create the illusion that the entire assembly is illuminated by light radiating from the central Buddha.
Descrição da pintura em painel intitulada "Paraído do Buda Tejraprabha" (Tejraprabha = ipsis verbis "luz resplandecente", sendo que existem diferentes manifestações do Buda no budismo) da Dinastia Yuan, de 1279-1368, ou seja um pouco mais recente do que a estátua instalada em sua frente:
Medindo mais de 23-pés de altura e 48-pés de largura (mais sobre a unidade de medida "pé" aqui ), a monumental pintura do museu "Paradise of Tejraprabha Buddha" é um dos poucos exemplos existentes da Dinastia Yuan / Yuan Dynasty (1279-1368), um período de grandes feitos na produção de pinturas em murais na China.
A parede foi produzida como uma só peça para o templo, mas foi cortada em 47 seções para o seu transporte para fora da China. O museu Nelson-Atkins comprou o mural 1932. Os 47 pedaços foram reforçados com reboco de gesso e aço antes de ser afixado na parede do museu em 1933.
Originalmente esta pintura era o centro dos rituais espirituais em um mosteiro budista na província de Shanxi chamado "Monastery of Expansive Victory" / "Mosteiro de Vitória Expansiva".
Neste mural Buda se encontra rodeado por seus pagens. No centro da parede está Tejraprabha, cujo nome literalmente traduzido significa “luz resplandecente”. Esta iluminação espiritual de Buda se torna mais impressionante quando nos damos conta que as figuras que o rodeiam representam corpos celestiais: O sol, a lua, e os cinco planetas que tradicionalmente fazem parte da astronomia chinesa.
Cores brilhantes dominam o centro do mural, com cores escuras utilizadas extensivamente nas bordas exteriores. Os/as artistas compuseram a pintura desta maneira de propósito para criar a ilusão de que a montagem como um todo está sendo iluminada por luz que irradia do Buda ao centro.
Ver também:
Kuan Yin - The compationate rebel by Nitin Kumar (2005) (Texto em inglês)
As 100 formas de Kannon manifestadas no Japão (Texto em inglês)
This is an example of how to find your most interesting pictures for B Stahls new group Post Your Most Interesting Pictures
Quinceañera (pronounced: [kinseaˈɲeɾa]/[k̟ĩn̺s̺e̞äˈɲe̞ɾä]; feminine form of "fifteen-year-old"), also called fiesta de quince años, fiesta de quinceañera, quince años or simply quince, is a celebration of a girl's fifteenth birthday in parts of Latin America and elsewhere in communities of people from Latin America. This birthday is celebrated differently from any other as it marks the transition from childhood to young womanhood.[1] Latin myths and tradition tell about how girls were prepared to be married by the age of fifteen or become nuns. In the years prior to their fifteenth birthdays, girls were taught to cook, weave, and about child rearing by the elder women in their communities in preparation for their lives as married women.[2] The celebrations today vary significantly across countries; celebrations in some countries, for example, have taken on more religious overtones than in others.
In Brazil, a Portuguese-speaking country, the same celebration is called festa de debutantes, baile de debutantes or festa de quinze anos. In the French Caribbean and French Guiana, it is called fête des quinze ans. It is comparable to the debutante formerly common amongst the upper-class in the United Kingdom and the United States.
for more:
en.wikipedia.org/wiki/Quincea%C3%B1era
Contents
[hide] 1 In specific countries 1.1 Argentina, Peru, Paraguay, Bolivia and Uruguay 1.1.1 Ceremony of the 15 Candles
1.2 Brazil
1.3 Cuba
1.4 Dominican Republic
1.5 Ecuador, Venezuela and Colombia
1.6 French Guiana and French Caribbean
1.7 Mexico
1.8 Traditions from other hispanic countries
2 Quinceañera's new tradition
3 See also
4 References
5 External links
In specific countries[edit]
Argentina, Peru, Paraguay, Bolivia and Uruguay[edit]
In Argentina, Peru, Paraguay, and Uruguay[citation needed] the celebration (which is never referred to as a quinceañera but as a fiesta de quince) begins with the arrival of the teenager accompanied by her father, the girl wearing an elaborate, elegant dress she has chosen according to her preferences in colors and style, but still maintaining with the traditional dress. The location, if indoors, commonly has its entrance specially adorned for the occasion. The father and daughter make their entry through this front-door entrance, while music plays and friends and relatives customarily give flowers (usually roses) to the father. After this, the ceremony of the waltz begins, in which the girl first dances with her father—or the father figure—who then passes her on to her friends and relatives. Normally, the ball is divided into segments between which various food dishes are served in order to allow the guests—who are usually close family members and friends—to mingle and enjoy the celebration. The following order of events represents a typical program:
1.Entrance, which is usually accompanied by slow songs
2.Waltz
3.Entree
4.First period of dancing
5.Main meal course
6.Second period of dancing
7.Dessert and video playback of the recorded birthday with her friends
8.15-candle ceremony (optional)
9.Third period of dancing
10.Toast, cake cutting, and a ritual where each female friend/relative pulls a ribbon out of a bunch. The ribbons all have charms on the ends except for one which has a ring.
11.Last period of dancing
Ceremony of the 15 Candles[edit]
In this ceremony, the birthday girl hands a candle to each of fifteen people she considers were most influential in her life during her fifteen years. It is often accompanied by a speech, usually dedicated to each of the people that are given candles. This ceremony is also known as the Tree of Life. The 15 candles symbolize the 15 years the girl has "left behind". Each of the candles represents a special memory, a moment shared with any person who is invited to join the ritual. This is to give gratitude to these 15 people she will tell how they helped her.
Brazil[edit]
In Brazil the celebration is called festa de debutantes, baile de debutantes or festa de quinze anos. The following order of events represents a typical program:
1.Entrance
2.Mass (optional)
3.First period of dancing (usually to international music)
4.Ceremony with videos about the girl's life with friends' greeting
5.A dance with men from her family and one boy (either her boyfriend or her best friend)
6.Second period of dancing (usually to national music)
7.Cake cutting
8.Third period of dancing
Cuba[edit]
In Cuba, the party may include a choreographed group dance, in which 14 couples waltz around the quinceañera, who is accompanied by one of the main dancers, a boy of her choice, her boyfriend or friends of rights.[vague] The choreography often includes four or six dancers or escorts called experts, who are allowed to dance around the quinceañera. They are usually inexperienced dancers whose function is to highlight the central couple. The male dancers are also allowed to wear tuxedos in different colors.
Fifteenth birthday celebrations were very popular in Cuba until the late 1970s. This practice partly entered Cuba via Spain, but the greatest influence was the French.[citation needed] The wealthy families who could afford to rent expensive dining rooms in private clubs or hotels of four and five stars were the real precursors of quinceañeras, which they called quinces. These celebrations usually took place in the house of the girl or the more spacious house of a relative.
Dominican Republic[edit]
This celebration is very traditional and common. It begins with a Mass in the Catholic Church to receive the blessing of God and give thanks for another year of life. At the birthday party, the birthday girl makes her entrance to the place of the party accompanied by 14 additional pairs of guests, which together with the teenager's own are 15 pairs of people total. Usually, the quinceañera wears a bright color dress. Ladies wear long dresses and gentlemen wear suits and ties, which are often brightly colored, but never to overshadow the birthday girl's dress, which is the focal point of the celebration. Almost immediately the quinceañera birthday girl dances the waltz with her partner who usually waltzes in the middle and passes her to the hands of her father to finish the waltz.
It is customary for the quinceañera girl and her escorts to perform several choreographed dances, which may include rhythms like merengue, pop, or salsa. A buffet and drinks are usually served. As the party favors or memories are given to the guests, an album is signed by invited guests to record their presence at the party. One of the main attractions in the Dominican Republic is the traditional cake of fifteen years, which is usually of immense size and beauty, decorated with colorful designs. The cake is cut shortly after the dancing. Traditionally an artist or band participates in the celebration to bring it to life and give a musical touch.
A Nicaraguan girl celebrating her quince años. In Nicaragua, only the girl, and never the celebration itself, is referred to as quinceañera.
Ecuador, Venezuela and Colombia[edit]
In Ecuador, the quince starts with the arrival of the teenager, accompanied by her father, who is then received by her mother and other relatives and friends. Then father and daughter dance a waltz and other tunes.[3] The quinceañera birthday girl will dance with her brothers (if any) and their uncles and godparents. Then she performs the paso doble and the waltz with all members of the procession (then optional dances to other music, such as merengue or pop). For this occasion the teenager wears an evening dress in light colors or pastels, is dressed and made up slightly, and usually places a tiara in her hair and jewels on her neck and hands. All the guests dress in formal attire, including the teenager's peers.
After the original dance, the choreography begins with a setup by the teenager and her friends. After that, the festival begins with music from live bands, some famous artists, DJs, food, drink, and at one late point of the night a "crazy hour" is carried out, in which the attendants wear masks or funny wigs and make noise with whistles and rattles while fast-tempo music is played. It is optional to make some surprise dance performed by the quinceañera birthday girl (alone or accompanied), and also a dance that will give away her friends, cousins, and others. [4]
French Guiana and French Caribbean[edit]
In French Guiana and the French Caribbean the celebration is known as fête des quinze ans.
Mexico[edit]
File:Mexican Quinceanera.theora.ogvPlay media
A Mexican quinceañera celebration
Quinceañera with "chambelanes"
In Mexico the quinceañera is adorned with elegant jewelry and makeup. Traditionally, this would be the first time she would wear makeup, but this is no longer the case. The quinceañera is also expected to wear a formal evening dress, traditionally a long, elegant ball gown chosen by the girl and most often, her mother, according to her color and style of favor.[5]
In the Mexican tradition, when the teenager is Catholic, the quinceañera celebration begins with a thanksgiving mass.[5] She arrives at the celebration accompanied by her parents, godparents and court of honor. The court of honor is a group of her chosen peers consisting of paired-off girls and boys, respectively known as damas (dames) and chambelanes (chamberlains). Typically, the court consists of pairs ranging from seven to fifthteen damas and chambelanes. At this religious mass, a rosary, or sometimes a necklace with a locket or pendant depicting Mexico's patron saint, the Virgin of Guadalupe, is presented to the teenager by her godparents, the necklace having been previously blessed by the church clergy. She is also awarded a tiara, which serves as a reminder that to her loved ones, especially her immediate family, the quinceañera will always be a princess. Some also see it as denoting that she is a "princess" before God and the world. After this, the girl may leave her bouquet of flowers on the altar for the Virgin Mary.[5]
After the thanksgiving mass, guests gather for a reception where the remaining celebratory events meant to honor the quinceañera will take place, including the rendering of gifts. This reception may be held at the quinceañera's home, at venues (such as dining halls, banquet halls, or casinos), or in some cases, in more public places, similar to a block party. During the reception, the birthday girl usually dances a traditional waltz with her father to a song chosen by both that speaks about the occasion and their relationship. Then her father passes her over to the "chambelán de honor", who is her chosen escort, and afterwards continues the dance with the rest of her court of honor.[5] Often this section of the celebration is previously practiced and/or choreographed, often weeks in advance, sometimes even with months of anticipation.[5] The basic reception consists of six major parts[6] with dances taking place while a traditional Mexican meal is served:
1.The formal entry - A grand entrance made by the Quinceañera once most guests have been seated.
2.The formal toast - An optional but usually featured part of the reception, generally initiated by the parents or godparents of the birthday girl.
3.The first dance - Usually a waltz where the girl dances, starting with her father.
4.The family dance - Usually a waltz involving just the immediate relatives, the "chambelanes", godparents and the closest friends of the girl.
5.The preferred song - Any modern song particularly enjoyed by the Quinceañera is played and danced.
6.The general dance - Also usually a waltz, where everyone dances to a musical waltz tune.
Traditionally, Mexican girls could not dance in public until they turned fifteen, except at school dances or at family events. So the waltz with her "chambelanes" is choreographed and elaborate to celebrate what was meant to be the quinceañera's first public dance.
Some families may choose to add a ceremonial components to the celebration, depending on local customs. Among them are the ceremony of the Change of Shoes, in which a family member presents the quinceañera with her first pair of high heel shoes; the Crowning ceremony, in which a close relative vests her with a crown on her head; and ceremonia de la ultima muñeca (literally "ceremony of the last doll"), during which her father presents her with a doll usually wearing a dress similar to the quinceañera herself. The ceremony of the last doll is based on a Maya tradition and is related to the birthday girl's receipt and renouncement of the doll as she grows into womanhood. Likewise, the ceremony of the change of shoes symbolizes the girl's maturity.[5]
Once all symbolic gestures have taken place, the dinner is commenced. At this point, the celebration reaches its peak; contracted musical groups begin playing music, keeping the guests entertained. The music is played while the guests dine, chat, mingle, and dance. The next morning the family and closest friends may also attend a special breakfast, especially if they are staying with the family. Sometimes what is known as a recalentado (re-warming) takes place in which any food not consumed during the event of the night before is warmed again for a brunch type event.[7]
Traditions from other hispanic countries[edit]
Another tradition[where?] is to have 14 ladies (sometimes 7), and 14 escorts (sometimes 7) as a court.[citation needed] The escorts hold flowers (usually roses) and the ladies carry candles. As the quinceañera dances the waltz with her father she blows out one candle, then picks up one rose. This continues until all candles have been blown out and all roses have been picked up. The 14 candles blown out represent her 14 years of age. When the time comes to cut the cake the quinceañera will blow out her last candle thus completing her 15 wishes. The flowers are given to her mother. An English quinceañera waltz song especially made for the father and daughter dance is "Sure As The Wind" - www.youtube.com/watch?v=Yw520MtDw28 .
Quinceañera's new tradition[edit]
Nowadays, many young girls create their own Quinceañera celebrations. Whereas traditional dresses were formal and usually white or pink only, dress designs are now more detailed.[8] Also, instead of having the traditional seven damas and seven chambelanes, the Quinceañera now also has the choice to pick all damas or all chambelanes. Traditionally, girls were not allowed to dance in public until turning fifteen, but this taboo has also receded significantly. The ceremony of the Changing of the Shoes has also been modified. Instead of wearing slippers before ceremonially exchanging them for high heels, a girl may decide to wear shoes compatible with the color and style of her dress instead of donning the traditional slippers.
This is a photograph from the first running of the Trim AC Bewley's 10 Mile Road Race which was held on Sunday 1st February 2015 at 12:00 in Trim, Co. Meath, Ireland. This race also incorporated the 2015 Meath 10 Mile Road Championships. For the first staging of this event this was an incredible success with almost 800 runners, joggers and walkers talking to the start line. The weather was perfect for running despite the bitter cold temperatures with air temperature of 4C recorded at the start. Some beautiful Spring sunshine helped brighten the day and the roads were clear and dry for racing.
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The race started on the Trim Athboy Road (the R154) and headed towards the town before making a left turn onto the Trim Dunderry road. The one mile mark comes just after a Y-junction which the race joins back to before the final 600 meters to the finish. Heading north to Dunderry the route takes a left in the middle of the village and heads west for 2 miles on the Dunderry Athboy road. At the next major junction the race takes another left turning south towards Trim town again. One of the only significant hills/drags of the course happens at around the 6.5 mile marker. Miles 7 - 9 are ran on winding roads with nice hedgerows and shelter from any breeze. During these miles you will begin to see the spire of Trim church in the distance. At the Y-Junction from mile one you have 600 meters to go with a final right turn into the industrial estate and the finish line.
The success of today's race is not an accident. Trim AC, and their army of volunteers and help from other Meath athletic clubs, put in huge work to make this race a success.
Today's race adds significantly to Trim AC's reputation for top quality organisation of race events. The 10 mile road race today follows on from the Braveheart 5KM Trail Race which is held annually in June around the beautiful and historical fields of Porchfields and Trim Castle. Today's race could be the begining of one of the region's largest and most popular 10 mile road races.
Are there more photographs from this race? This photograph is part of a larger set of photographs from the Trim AC 10 Mile Road Race 2015. They are available on our Flickr photostream in the album set here www.flickr.com/photos/peterm7/sets/72157650166189770
Trim 10 Mile 2015 Event Page on Facebook: www.facebook.com/events/1519629891656513/?fref=ts (may require Facebook logon)
Trim Athletic Club on Twitter twitter.com/trimathletic
Trim Athletic Club Internet Homepage www.trimac.ie/
GPS Trace of the 10 Mile Route 2015 www.mapmyrun.com/routes/fullscreen/590734250/
Boards.ie Athletics Forum Discussion Thread: www.boards.ie/vbulletin/showthread.php?t=2057321634
Precision Timing Results from the Trim 10 Mile 2015: www.precisiontiming.net/result.aspx?v=2381
Sponsors: Bewley's 1840: bewleys.com/
Read about Bewley's company on Wikipedia: en.wikipedia.org/wiki/Bewley%27s
Trim Athletic Club on Facebook: www.facebook.com/trimathleticclub?fref=ts (may require Facebook logon)
Google Streetview - St. Loman's Hall Registration and Refreshments www.google.ie/maps/place/St+Loman%27s+St,+Trim,+Co.+Meath...
Our photographs from the Trim AC Braveheart 5KM 2014 www.flickr.com/photos/peterm7/sets/72157645195984413/
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I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
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(further pictures and information you can see by clicking on the link at the end of page!)
Palais Ephrussi
1, University Ring 14
Architect Theophil Hansen 1873
Family:
Address: Franzensring to Universitätsring
Progenitor Ephrussi-Sephardic Greek from Russia
Family tree - family vault at the Central Cemetery
Ignaz leaves the palace built on the ring
Viktor is arrested by the Nazis
The hare with amber eyes
Palais:
A small but fine Heinrichshof - Förstersche group
The neighbor: Palais Lieben
Piano nobile in inconspicuous 1 floor
Interior of Hitler's Professor
Location: Story of the Schottentor
From Franzensring to Universitätsring
The Ephrussi family name is relatively unknown in Vienna.
The Palais Ephrussi, so the building at the ring road, however, many Viennese is familiar, was there but housed the administration of Casinos Austria from 1969 to 2009 housed. The company inscription 'decorates' still the facade.
Today, the property is home of a law firm, led by the President of the Bar Association Gerhard Benn-Ibler.
Students across the university is probably more known McDonald, who has rented the ground floor of the adjacent house.
At that time the palace was at Franzensring. It began at the Parliament and reached to the university. In 1934 one part of it was renamed in Dr. Karl Lueger-Ring. This remained so until 2012. Now it's called University Ring.
The other part even had a more eventfull naming:
1934 Dr. Ignaz Seipel-Ring
1940 Josef Bürckel-Ring
1945 Dr. Ignaz Seipel-Ring
1949 Parliament-Ring
1956 Dr. Karl Renner Ring
Palais Ephrussi, opposite the University
Progenitor Ephrussi - Sephardic Greek from Russia
Ephrussi sounds strange and a bit exotic. One does not really know how to write the word, if you have not seen it before. Hardly anyone suspects that the ancestor of the dynasty, Charles Joachim (1792 - 1864), from Odessa in Russia was - and yet less that this was a Sephardic Greek.
He built a business empire, beginning with grain exports from Ukraine, then investing in the construction of infrastructure: bridges, railways, port facilities. And this, of course, also included the establishment of a bank - with offices in Paris and Vienna.
Offices in Paris - Vienna - Odessa
Pedigree
1. generation
Charles Joachim (1792 - 1864)
2. generation
Ignaz (1829 - 1899)
Leon (1826 - 1878)
3. generation
Viktor (1860 - 1945)
Charles (1849 - 1905)
4. generation
Elisabeth Waal (1899 - 2001)
Ignaz Ephrussi 'Iggie' (1906 - 2011)
5. generation
Victor de Waal
6. generation
Edmund de Waal (1964 - )
Son Ignaz has built the palace
Son Ignaz (1829 - 1899) took over in 1860 the financial transactions in Vienna, his brother Leonid (1826 - 1878) went to Paris and became 'Leon'
As the progenitor Charles died, he was laid to rest in the family vault Ephrussi at the Central Cemetery, not far from the gate 1
(There were later also Ignaz and his wife Emilie, born Porges 1836-1900, buried.)
Ephrussi family vault at the Central Cemetery, Gate 1
Son Ignaz was now head of the Viennese house and reputable in society. He was knighted by the emperor, bestowed him in 1871 with the Order of the Iron Crown, Third Class - although Ignaz throughout his life remained Russian citizen.
Economically he experienced a further upswing, founded more stores, also in London. It is said that the Ephrussi were the second richest banking family after the Rothschilds.
Therefore Ignaz could afford it to take on one of the most successful Ringstrasse architects, Theophil Hansen, 1869 for the construction of his palace. This one had a year earlier started with the construction of the Palais Epstein.
Apart from that Hansen had by his Athens stays good contacts with the Greek society of Vienna and came so to orders such as the Palais Sina am Hohen Markt or the Greek Orthodox Church at the meat market (Fleischmarkt).
Hansen Memorial, Parliament (detail)
Netsuke figurines come in the family
Around the time of the Palais building acquired Ignaz' extremely art-loving cousin Charles (1849 - 1905), who could afford to live as a bohemian and did not have to work, a collection of small carved Japanese figures, netsuke. Those were used in the attachment of kimono belts and were made of ivory, jade or horn.
As heritage (Note: according to other sources, as a gift ) within the family this exotic extravaganza came to Vienna's Palais, where Ignaz resided with family.
Son Victor is arrested by Nazis
In the family Ephrussi it came again to an alteration of generations: Viktor (1860-1945) took over the house. He was with Emilie, called 'Emmy', a born Schey, married.
The marriage was not happy, allegedly, in a manner of speaking the bride was in love with another man. Nevertheless, rapidly three children were born, almost 20 years later, another son - the father was at this time, however, almost certainly Emmys lover (but it was not talked about it).
The family survived reasonably sound an safe to the end of the monarchy, the first World War and the interwar period. But in 1938 came the Nazis, arrested the nearly 80-year-old Viktor in his palace and looted his valuables .
Viktor von Ephrussi
Against the Gestapo violence there were no means, only stratagems: Viktor's maid Anna scurried over and over again among the henchmen.
She succeeded every time to hide some of the small netsuke figurines under her apron, which she then hid in her room.
And she did not say a word to any of them. Not even the stately family.
Viktor was arrested, interrogated in the Hotel Metropol at Morzinplatz and forced to renounce all of his possessions in order to obtain an exit permit.
For his wife Emmy finally all of this became too much. She swallowed an increased dose of heart medications and died.
The Hotel Metropol as an interrogation center
The hare with amber eyes
Viktor was able to flee to England, where he died shortly before the end of the war. His daughter Elizabeth married into the Dutch family de Waal.
She returned in 1945 after the war to Vienna. In the meantime offices of the U. S. Army had moved Into the palais. Vienna should now remain occupied for ten years. Some of the old furnitures were still there. And Anna, the maid.
She handed out Elizabeth the netsuke figures which she could hide then. 264 by the number. A courageous woman. And no one knows her last name. Nobody has asked her for it.
Elizabeth's grandson Edmund has written the story of six generations in the book 'The Hare with the Amber Eyes'. A bestseller: sold 200 000 times.
The Bestseller
Netsuke Figures (Bid: Asian shop Bräunerstraße)
The war-damaged palace was in 1950 returned to the family. Meanwhile impoverished, it had to sell it for only $ 30 000. Were deferred only a few tapestries and books. For the compulsory expropriation of the bank a compensation of $ 5,000 was paid out - with the commitment that they would make no further claims .
As the palace changed hands in 2009, a sum of about 30 million euros has been rumored.
A small but fine Heinrichshof
The Palais Ephrussi extends on the ring road side over nine window axes, on the Schottengasse eight window axes.
The building is a scaled down version of the Heinrichshof which Hansen 1861-63 had built for the brick Baron Heinrich Drasche opposite the Court Opera (destroyed in 1945).
Heinrichshof, 1863
Palais Ephrussi on the left, then the Förstersche group
Theophil Hansen renounced of an accentuation of the center in favor of monumental tower-like corner projections giving the impression that the building stands free. The corner risalit was a characteristic of the baroque palace architecture (example: Schloss Belvedere). It was Hansen's innovative idea to incorporate this motif into the housing. In the business office at the corner of Schottengasse moved in the large, as well furnished by Hansen Café Hembsch.
University (left), Förstersche group (middle), Café Landtmann (right)
Hansen worked very closely with the architects of the adjacent building groups, which also had familial backgrounds: He was with Sophie, sister of Emil Foerster (1838 -1909) married. The brother took over the design on the ring road side, Carl Tietz on the back side at the Palais Lieben. In the literature, this complex of buildings of aesthetic and formal unity went down in history as the 'Förstersche group'.
Unfortunately, the part of the building complex (No. 10, to Mölkerbastei) was severely damaged by bombing in World War II and replaced by a new building.
Palais Ephrussi with caryatids, next to # 12
University Ring No. 10: New in 1966, Carl Appel
The neighbor: Palais Lieben
View Schottengasse:
Left Palais Lieben (8 window axes), right Palais Ephrussi (8 window axes)
One is inclined to attribute the Palais Ephrussi the entire complex. But on the side Schottengasse it includes only the first eight window axes.
If you look closely you can clearly see this on the basis of the color difference of the facade and the gilded, or not gilded balcony lattices.
Ephrussis' immediate neighbors were at the corner Schottengasse/Mölkerbastei the Lieben family, on the ring road side the Iron Baron Mayr-Melnhof (No. 12), No. 10 owned Theresa Blum (destroyed in 1945).
Corner Mölkerbastei/Schottengasse
Piano nobile in inconspicuous 1st floor
Italian flair with plenty of balconies
University Ring (above), Schottengasse (right)
The palace is through ledges horizontally divided into three zones ( base, 'piano nobile', Attica), nevertheless dominates the vertical order: pilasters embrace the second and third floor and the optical impression is further extended by the Terrakottakaryatiden (Terracotta caryatides) that carry the woodwork.
The entire attic floor lies something set back and is circumscribed by a gilded tendrils grid (the thus created balcony room provides surely a nice residential feeling, moreover, perhaps with a view to the Vienna Woods.)
The color scheme of the facade is particularly eye-catching and gives an Italian flair: red brick color with yellow stucco.
Hansen accentuates with the Palais Ephrussi in the first floor the main entrance and the sides with columns, wearing balconies. The shape of the balusters will be taken up later in the opposite University.
The lower floors were rusticated in the neo-Renaissance style, the appear massive and simple.
On the first floor, above the balcony, were the apartment of the landlord and the representative rooms - and not, as one might suspect, a floor above.
Terracotta Jewelry: The head of Mercury protrudes from the Arkanthusblättern (arcanthus leaves) of the capital. Fruit garlands adorn the tower walls between the pilaster capitals.
Detail balcony lattices
Interior of Hitler's Professor
Entrance hall
Transversely embedded courtyard with a glass roof
1 bedroom
2 Damensalon (ladie's salon)
3 dance lounge (including main entrance)
4 reception room
5 smoking-room, billiard room
6 Dining Room
(Note: In the Palais no tours are possible, only the reception area on the ground floor can be visited during business hours.)
Floor plan main floor
Ignaz Ritter von Ephrussi expressly wished from the architect to his main floor a separate staircase, which must not beeing used by any other house party. For the tenants were to build three floors with a convenient main and kitchen stair. On the ground floor a stable for four horses was provided. There are two basement levels.
For the interior design none other than Christian Griepenkerl was taken that equipped the main floor with painting cycles.
Later this one will Adolf Hitler refuse admission to the Academy of Arts because of "insufficient sample drawings".
The ceiling paintings in the Palais show Greek Zeus adventures and Jewish themes (images from the Book of Esther). In other respects, too, it was made sure that nothing was lacking: precious wood floors, expensive fireplaces, elegant marble - and a lot of gold. Inside and outside.
In sunlight, the balcony lattices shine far into the distance. No other Ringstraßenpalais (ring road palais) afforded this beauty .
Terracotta decorations, detail (Mercury)
Location - history from Schottentor
View before 1900 with still intact Gehtor (walking gate) of the Schottentor (gate).
Tor - Tower - Residential House
In the Middle Ages the Babenberg Jasomirgott took Irish-Scottish monks to Vienna. They founded on the ancient Roman road (traffic artery) leading to the west a convent and a school. The name Schottenviertel became customary.
The Schottentor was a part of the fortification. Mentioned it is for the first time in 1276, from 1291 on it was called the Schottenburgtor (Scottish castle gate), later only Schottentor.
The above the gate situated tower was extended in 1418, 1716 were converted into a house gate and tower, which belonged 1775-95 to the couple Eva and Anton Prohaska and 1812 to Protomedicus Edward Guldner von Lobes.
1839 has been demolished.
Old Schottentor Schottenkloster (monastery) 1683
Already in 1656 had been built a new (outer) gate in front of the old Schottentor. 1840 it was replaced by a neoclassical building, similar to the exterior castle gate.
However, as so inconvenient The five passages at Schottentor proved that the new gate soon, " the 5 follies " was the nickname . Supposedly, have been held to narrow the driving gates. And for pedestrians , it was a zig- zag course .
The new Schottentor was already 20 years after its establishment , in 1862 , demolished, only a Gehtor has been preserved until 1900. Then they demolished the remaining groups together with four houses of Mölkerbastei .
The term Schottentor found today on any street sign, only the metro station at the University bears the name - much to the chagrin of some Vienna tourists from the next station - can be misleading - Scots ring.
Old Schottentor to 1839
Schottentor , plan 1799
▲
New Schottentor 1840
View Schottengasse with Schottentor ( direction Votive Church ) , circa 1840
View Schottentor - outside, around 1840
View Schottentor - outside, around 1840
Outside, around 1840
Outside, around 1840
▲
New ablation Schottentor 1862
left: Palais Ephrussi
1875 - 1920 : Maximilian Course ( Emperor Maximilian of Mexico, initiated the building of the Votive Church )
1920 - 1934 : Liberty Square
1934 - 1938 : Dollfußplatz
1938 - 1945 : Hermann Goering place
1945 - 1946 : Liberty Square
1946 - Roosevelt Square ( with Sigmund Freud Park )
After the 2nd World War I circulated the following joke in Vienna: A visitor from the provinces asks in a Viennese tram :
" What is the name of the place over there? " "That is the Town Hall Square , formerly Adolf- Hitler-Platz . " A little further asks the visitors again :
" And what is there in the building? " "This is the Parliament , formerly County House . " Again, the tram runs a piece .
" And what is this place?" "This is the Stalin Square , formerly Schwarzenberg Platz . " The visitor gets out and says goodbye with the words:
"Goodbye , formerly Heil Hitler . "
View after 1900
▲
external link : Image Indoors on f1.online
Link :
Alphonse Thorsch
A banker was almost as rich as Rothschild - the extinction
Tomb of Thorsch family , Central Cemetery , Gate 1
▲
sources:
Dehio S 336 , Czeike , Archives Publishing
Viennese palace , W. Kraus, P. Müller, Blanck stone Verlag, 1991
The Ringstrasse , a European architectural idea , Barbara Dmytrasz , Amalthea Verlag, 2008
Vienna in old postcards, Czeike , 1989
Vienna pictures from the youth of our Emperor , Gerlach, 80 born FJ
The Press : The Ephrussi family scattered to the winds
The Standard : Prison of gold
Example 3. A woman dreamed she climbed a mountain. In waking life she was finding it hard to meet her goals.
Quinceañera (pronounced: [kinseaˈɲeɾa]/[k̟ĩn̺s̺e̞äˈɲe̞ɾä]; feminine form of "fifteen-year-old"), also called fiesta de quince años, fiesta de quinceañera, quince años or simply quince, is a celebration of a girl's fifteenth birthday in parts of Latin America and elsewhere in communities of people from Latin America. This birthday is celebrated differently from any other as it marks the transition from childhood to young womanhood.[1] Latin myths and tradition tell about how girls were prepared to be married by the age of fifteen or become nuns. In the years prior to their fifteenth birthdays, girls were taught to cook, weave, and about child rearing by the elder women in their communities in preparation for their lives as married women.[2] The celebrations today vary significantly across countries; celebrations in some countries, for example, have taken on more religious overtones than in others.
In Brazil, a Portuguese-speaking country, the same celebration is called festa de debutantes, baile de debutantes or festa de quinze anos. In the French Caribbean and French Guiana, it is called fête des quinze ans. It is comparable to the debutante formerly common amongst the upper-class in the United Kingdom and the United States.
for more:
en.wikipedia.org/wiki/Quincea%C3%B1era
Contents
[hide] 1 In specific countries 1.1 Argentina, Peru, Paraguay, Bolivia and Uruguay 1.1.1 Ceremony of the 15 Candles
1.2 Brazil
1.3 Cuba
1.4 Dominican Republic
1.5 Ecuador, Venezuela and Colombia
1.6 French Guiana and French Caribbean
1.7 Mexico
1.8 Traditions from other hispanic countries
2 Quinceañera's new tradition
3 See also
4 References
5 External links
In specific countries[edit]
Argentina, Peru, Paraguay, Bolivia and Uruguay[edit]
In Argentina, Peru, Paraguay, and Uruguay[citation needed] the celebration (which is never referred to as a quinceañera but as a fiesta de quince) begins with the arrival of the teenager accompanied by her father, the girl wearing an elaborate, elegant dress she has chosen according to her preferences in colors and style, but still maintaining with the traditional dress. The location, if indoors, commonly has its entrance specially adorned for the occasion. The father and daughter make their entry through this front-door entrance, while music plays and friends and relatives customarily give flowers (usually roses) to the father. After this, the ceremony of the waltz begins, in which the girl first dances with her father—or the father figure—who then passes her on to her friends and relatives. Normally, the ball is divided into segments between which various food dishes are served in order to allow the guests—who are usually close family members and friends—to mingle and enjoy the celebration. The following order of events represents a typical program:
1.Entrance, which is usually accompanied by slow songs
2.Waltz
3.Entree
4.First period of dancing
5.Main meal course
6.Second period of dancing
7.Dessert and video playback of the recorded birthday with her friends
8.15-candle ceremony (optional)
9.Third period of dancing
10.Toast, cake cutting, and a ritual where each female friend/relative pulls a ribbon out of a bunch. The ribbons all have charms on the ends except for one which has a ring.
11.Last period of dancing
Ceremony of the 15 Candles[edit]
In this ceremony, the birthday girl hands a candle to each of fifteen people she considers were most influential in her life during her fifteen years. It is often accompanied by a speech, usually dedicated to each of the people that are given candles. This ceremony is also known as the Tree of Life. The 15 candles symbolize the 15 years the girl has "left behind". Each of the candles represents a special memory, a moment shared with any person who is invited to join the ritual. This is to give gratitude to these 15 people she will tell how they helped her.
Brazil[edit]
In Brazil the celebration is called festa de debutantes, baile de debutantes or festa de quinze anos. The following order of events represents a typical program:
1.Entrance
2.Mass (optional)
3.First period of dancing (usually to international music)
4.Ceremony with videos about the girl's life with friends' greeting
5.A dance with men from her family and one boy (either her boyfriend or her best friend)
6.Second period of dancing (usually to national music)
7.Cake cutting
8.Third period of dancing
Cuba[edit]
In Cuba, the party may include a choreographed group dance, in which 14 couples waltz around the quinceañera, who is accompanied by one of the main dancers, a boy of her choice, her boyfriend or friends of rights.[vague] The choreography often includes four or six dancers or escorts called experts, who are allowed to dance around the quinceañera. They are usually inexperienced dancers whose function is to highlight the central couple. The male dancers are also allowed to wear tuxedos in different colors.
Fifteenth birthday celebrations were very popular in Cuba until the late 1970s. This practice partly entered Cuba via Spain, but the greatest influence was the French.[citation needed] The wealthy families who could afford to rent expensive dining rooms in private clubs or hotels of four and five stars were the real precursors of quinceañeras, which they called quinces. These celebrations usually took place in the house of the girl or the more spacious house of a relative.
Dominican Republic[edit]
This celebration is very traditional and common. It begins with a Mass in the Catholic Church to receive the blessing of God and give thanks for another year of life. At the birthday party, the birthday girl makes her entrance to the place of the party accompanied by 14 additional pairs of guests, which together with the teenager's own are 15 pairs of people total. Usually, the quinceañera wears a bright color dress. Ladies wear long dresses and gentlemen wear suits and ties, which are often brightly colored, but never to overshadow the birthday girl's dress, which is the focal point of the celebration. Almost immediately the quinceañera birthday girl dances the waltz with her partner who usually waltzes in the middle and passes her to the hands of her father to finish the waltz.
It is customary for the quinceañera girl and her escorts to perform several choreographed dances, which may include rhythms like merengue, pop, or salsa. A buffet and drinks are usually served. As the party favors or memories are given to the guests, an album is signed by invited guests to record their presence at the party. One of the main attractions in the Dominican Republic is the traditional cake of fifteen years, which is usually of immense size and beauty, decorated with colorful designs. The cake is cut shortly after the dancing. Traditionally an artist or band participates in the celebration to bring it to life and give a musical touch.
A Nicaraguan girl celebrating her quince años. In Nicaragua, only the girl, and never the celebration itself, is referred to as quinceañera.
Ecuador, Venezuela and Colombia[edit]
In Ecuador, the quince starts with the arrival of the teenager, accompanied by her father, who is then received by her mother and other relatives and friends. Then father and daughter dance a waltz and other tunes.[3] The quinceañera birthday girl will dance with her brothers (if any) and their uncles and godparents. Then she performs the paso doble and the waltz with all members of the procession (then optional dances to other music, such as merengue or pop). For this occasion the teenager wears an evening dress in light colors or pastels, is dressed and made up slightly, and usually places a tiara in her hair and jewels on her neck and hands. All the guests dress in formal attire, including the teenager's peers.
After the original dance, the choreography begins with a setup by the teenager and her friends. After that, the festival begins with music from live bands, some famous artists, DJs, food, drink, and at one late point of the night a "crazy hour" is carried out, in which the attendants wear masks or funny wigs and make noise with whistles and rattles while fast-tempo music is played. It is optional to make some surprise dance performed by the quinceañera birthday girl (alone or accompanied), and also a dance that will give away her friends, cousins, and others. [4]
French Guiana and French Caribbean[edit]
In French Guiana and the French Caribbean the celebration is known as fête des quinze ans.
Mexico[edit]
File:Mexican Quinceanera.theora.ogvPlay media
A Mexican quinceañera celebration
Quinceañera with "chambelanes"
In Mexico the quinceañera is adorned with elegant jewelry and makeup. Traditionally, this would be the first time she would wear makeup, but this is no longer the case. The quinceañera is also expected to wear a formal evening dress, traditionally a long, elegant ball gown chosen by the girl and most often, her mother, according to her color and style of favor.[5]
In the Mexican tradition, when the teenager is Catholic, the quinceañera celebration begins with a thanksgiving mass.[5] She arrives at the celebration accompanied by her parents, godparents and court of honor. The court of honor is a group of her chosen peers consisting of paired-off girls and boys, respectively known as damas (dames) and chambelanes (chamberlains). Typically, the court consists of pairs ranging from seven to fifthteen damas and chambelanes. At this religious mass, a rosary, or sometimes a necklace with a locket or pendant depicting Mexico's patron saint, the Virgin of Guadalupe, is presented to the teenager by her godparents, the necklace having been previously blessed by the church clergy. She is also awarded a tiara, which serves as a reminder that to her loved ones, especially her immediate family, the quinceañera will always be a princess. Some also see it as denoting that she is a "princess" before God and the world. After this, the girl may leave her bouquet of flowers on the altar for the Virgin Mary.[5]
After the thanksgiving mass, guests gather for a reception where the remaining celebratory events meant to honor the quinceañera will take place, including the rendering of gifts. This reception may be held at the quinceañera's home, at venues (such as dining halls, banquet halls, or casinos), or in some cases, in more public places, similar to a block party. During the reception, the birthday girl usually dances a traditional waltz with her father to a song chosen by both that speaks about the occasion and their relationship. Then her father passes her over to the "chambelán de honor", who is her chosen escort, and afterwards continues the dance with the rest of her court of honor.[5] Often this section of the celebration is previously practiced and/or choreographed, often weeks in advance, sometimes even with months of anticipation.[5] The basic reception consists of six major parts[6] with dances taking place while a traditional Mexican meal is served:
1.The formal entry - A grand entrance made by the Quinceañera once most guests have been seated.
2.The formal toast - An optional but usually featured part of the reception, generally initiated by the parents or godparents of the birthday girl.
3.The first dance - Usually a waltz where the girl dances, starting with her father.
4.The family dance - Usually a waltz involving just the immediate relatives, the "chambelanes", godparents and the closest friends of the girl.
5.The preferred song - Any modern song particularly enjoyed by the Quinceañera is played and danced.
6.The general dance - Also usually a waltz, where everyone dances to a musical waltz tune.
Traditionally, Mexican girls could not dance in public until they turned fifteen, except at school dances or at family events. So the waltz with her "chambelanes" is choreographed and elaborate to celebrate what was meant to be the quinceañera's first public dance.
Some families may choose to add a ceremonial components to the celebration, depending on local customs. Among them are the ceremony of the Change of Shoes, in which a family member presents the quinceañera with her first pair of high heel shoes; the Crowning ceremony, in which a close relative vests her with a crown on her head; and ceremonia de la ultima muñeca (literally "ceremony of the last doll"), during which her father presents her with a doll usually wearing a dress similar to the quinceañera herself. The ceremony of the last doll is based on a Maya tradition and is related to the birthday girl's receipt and renouncement of the doll as she grows into womanhood. Likewise, the ceremony of the change of shoes symbolizes the girl's maturity.[5]
Once all symbolic gestures have taken place, the dinner is commenced. At this point, the celebration reaches its peak; contracted musical groups begin playing music, keeping the guests entertained. The music is played while the guests dine, chat, mingle, and dance. The next morning the family and closest friends may also attend a special breakfast, especially if they are staying with the family. Sometimes what is known as a recalentado (re-warming) takes place in which any food not consumed during the event of the night before is warmed again for a brunch type event.[7]
Traditions from other hispanic countries[edit]
Another tradition[where?] is to have 14 ladies (sometimes 7), and 14 escorts (sometimes 7) as a court.[citation needed] The escorts hold flowers (usually roses) and the ladies carry candles. As the quinceañera dances the waltz with her father she blows out one candle, then picks up one rose. This continues until all candles have been blown out and all roses have been picked up. The 14 candles blown out represent her 14 years of age. When the time comes to cut the cake the quinceañera will blow out her last candle thus completing her 15 wishes. The flowers are given to her mother. An English quinceañera waltz song especially made for the father and daughter dance is "Sure As The Wind" - www.youtube.com/watch?v=Yw520MtDw28 .
Quinceañera's new tradition[edit]
Nowadays, many young girls create their own Quinceañera celebrations. Whereas traditional dresses were formal and usually white or pink only, dress designs are now more detailed.[8] Also, instead of having the traditional seven damas and seven chambelanes, the Quinceañera now also has the choice to pick all damas or all chambelanes. Traditionally, girls were not allowed to dance in public until turning fifteen, but this taboo has also receded significantly. The ceremony of the Changing of the Shoes has also been modified. Instead of wearing slippers before ceremonially exchanging them for high heels, a girl may decide to wear shoes compatible with the color and style of her dress instead of donning the traditional slippers.