Executed photos on Flickr

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Clone Troopers & Airborne Troopers: Utapau

A l'origine, les Histoires du Christ comprenaient huit panneaux surmontés d’une frise portant leurs titres. Elles commençaient par la Nativité exécutée par Le Pérugin sur le mur de l'autel mais l'œuvre fut détruite pour faire place au Jugement Dernier de Michel-Ange. Aujourd'hui, les épisodes de la Vie du Christ partent donc du Baptême (Matthieu 3,13-17; Marc 1,9-11; Luc 3,21-22; Jean 1,29-34), suivi des Tentations du Christ (Matthieu 4,1-11; Marc 1,12; Luc 4,1-13) et de la Purification du lépreux (Matthieu 8,1-4; Marc 1,40-45; Luc 5,12-16). Le troisième panneau présente au premier plan la Vocation des premiers apôtres Pierre et André, et en toile de fond l'appel de Jean et de Jacques (Matthieu 4,18-22; Marc 1,16-20; Luc 5,1-11). La fresque suivante illustre le Sermon sur la montagne (Matthieu chapitres 5-7; Luc 6,12-49) et la guérison du lépreux (Matthieu 8,1-4; Marc 1,40-45; Luc 5,12-16). Le cinquième panneau montre la Remise des clefs (Matthieu 16,13-20), c'est-à-dire la transmission de pouvoirs du Christ à Pierre, son vicaire, ainsi que les épisodes relatifs au paiement de taxes et à (Matthieu 17,24-27) la Tentative de lapidation du Christ (Jean 8,31-59; 10,31-39) dans le fond. La série de ce mur se conclut par la Cène (Matthieu 26,17-29; Marc 14,12-25; Luc 22,7-23; Jean 13, 21-30) où on voit, au-delà des fenêtres, trois épisodes de la Passion: La prière au jardin des oliviers (Matthieu 26,36-46; Marc 14,32-42; Luc 22,39-46), L'arrestation de Jésus (Matthieu 26,47-56; Marc 14,43-52; Luc 22,47-53; Jean 18,1-11), La Crucifixion (Matthieu 27,32-50; Marc 15,22-39; Luc 23,33-46; Jean 19,17-30). Le cycle se conclut par la Résurrection du Christ (Matthieu 28,1-8) sur la paroi d'entrée. A chaque panneau des histoires correspond une tenture en trompe l'œil située au-dessous avec les entreprises de Sixte IV. La série de Papes longeait les murs de la Chapelle à partir du mur de fond de l'autel, avec le Christ au centre, le premier pape Saint Pierre puis Saint Lin et Saint Clet. Ils disparurent tous les quatre en 1536 quand Michel-Ange, sur commande de Paul III, peint sur cette paroi le Jugement Dernier. Les Papes sont disposés deux par deux dans des niches de part et d'autre des fenêtres. Ils ne se suivent pas sur un seul mur mais en alternance avec le mur d'en face. Les auteurs de la série sont les mêmes artistes qui ont peint les cycles de la vie de Moïse et du Christ, c'est-à-dire Pietro Perugino, Sandro Botticelli, Cosimo Rosselli et Domenico Ghirlandaio. Les divers personnages sont représentés dans des attitudes légèrement différentes, généralement debout, de trois quarts, portant un livre ou un rouleau ou bien donnant leur bénédiction. Dans les lunettes et les panneaux de voûte Michel-Ange a représenté les Ancêtres du Christ, précurseurs de sa venue et donc de la Rédemption. Saint Matthieu en dresse la liste au début de son Evangile (Matthieu 1,1-17) reportant à partir de Abraham quarante noms d'ancêtres du Christ (se différenciant de la version de l'évangéliste Luc qui, partant de Adam, cite 75 familles). Cette œuvre ne vise pas à présenter des images historiques mais plutôt une illustration symbolique de l'humanité saisie dans diverses attitudes et surtout son édification en familles. Malgré de nombreuses tentatives de relier les noms des plaques aux personnages représentés, il est encore difficile à ce jour de les identifier avec certitude.

Url : mv.vatican.va/5_FR/pages/CSN/CSN_Nord.html

When Flat-heads were king -- DSC00336 by Lance Nix

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A well executed 1932 3-window coupe done old school with the Flathead V-8 and 3 2's..

As seen at the 2014 Port Orford Classic Car Show in Curry County, Oregon.

che-corpse by sheltercrow

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When Che Guevara was executed in La Higuera, one CIA operative was present--a Cuban-American operative named Félix Rodríguez. Rodríguez, who used the codename "Félix Ramos" in Bolivia and posed as a Bolivian military officer, was secretly debriefed on his role by the CIA's office of the Inspector General in June, 1975. (At the time, he was identified as Benton H. Mizones; the name of the second operative, Gustavo Villoldo, is deleted in the document in the spaces marked [ 06 ].) Rodríguez recounts the details of his mission to Bolivia, where the CIA sent him and Villoldo to assist in the capture of Guevara and destruction of his guerrilla band. Rodríguez and Villoldo became part of a CIA task force in Bolivia that included the case officer for the operation, "Jim", another Cuban American, Mario Osiris Riveron, and two agents in charge of communications in Santa Clara. Rodríguez emerged as the most important member of the group; after a lengthy interrogation of one captured guerrilla, he was instrumental in focusing the efforts of the 2nd Ranger Battalion on the Vallegrande region, where he believed Guevara's rebels were operating. Although he apparently was under CIA instructions to "do everything possible to keep him alive," Rodríguez claims to have transmitted the order to execute Guevara from the Bolivian High Command to the soldiers at La Higueras--he also directed them not to shoot Guevara in the face so that his wounds would appear to be combat-related--and personally informed Che that he would be killed. After the execution, Rodríguez took Che's Rolex watch. He accompanied Guevara’s body back to Vallegrande, where Villoldo “took charge of the remains.”

I got this photo from www.gwu.edu/~nsarchiv/index.html The National Security Archive and used it in a blog.

Well Executed Contrast by Michael Dunham

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126 West 18th Street Stable by Emilio Guerra

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Chelsea, Manhattan, New York City, New York, United States

The stable building at 126 West 18th Street is one of nine remaining brick-fronted stables from an original row of thirteen erected in 1864-66. The only survivor of the three initial stables in the group, the design of which formed the model for the rest of the row, No. 126 was erected for Elisha Brooks in 1864.

Executed in a round-arched utilitarian style related to the German Rundbcaenstil, it still features a mix of Romanesque and Renaissance Revival details. No. 126 West 18th Street has a tripartite triumphal arch composition which focuses on a central bifurcated Renaissance arch at the second story. The building has had several notable owners, among them the socially prominent banker Archibald Gracie King.

As a component of one of the two uniformly designed mid-nineteenth-century private carriage house groups remaining in Manhattan, it is a rare survivor. These stable rows reflect a period in the city's developmental history when private carriage houses began to be erected some blocks away from their owners' homes, on streets devoted almost exclusively to private stables and commercial liveries.

An early manifestation of this trend, which became common practice during the late-nineteenth and early-twentieth centuries, the West 18th Street row was one of the most extensive of the period and contained unusually large and handsomely decorated stables.

The Tonnele Estate and the Development of the Private Stables on West 18th Street

Once part of the eighteenth-century farm of Peter Warren, the lots on the south side of West 18th Street between Sixth Avenue and the old Warren Road to the west were acquired by John Tonnele around 1817. Senior partner in the firm of Tonnele & Hall, the country's leading dealer in wool, Tonnele had extensive real estate holdings in Manhattan including large tracts on

Sixth Avenue, 14th and 15th, and 17th and 18th Streets.2 In his will of 1846, Tonnele divided his real estate among his family, giving them the option of selling the property and investing the proceeds in trust for their heirs.

A total of thirty-two lots on West 17th and 18th Streets were left to his daughter Susan G. Hall. In March of 1863, she and the executors of the estate, her husband Valentine G. Hall and his brother George Hall, began selling her lots which were then occupied by snail dwellings and wood shanties.

As the area was semi-industrial in character, with a brewery located on the north side of 18th Street and the Weber piano factory occupying the northeast corner of Seventh Avenue and 17th Street, the Halls must have regarded the lots as unsuitable for first-class residential or commercial development.

However, the lots' proximity to the fashionable Fifth Avenue residential district north of Union Square must have made them seem ideal for private stables and apparently they were offered for sale as such. By 1867, all the former Tonnele Estate lots on 17th and 18th Streets were occupied by private stables with restrictive covenants on the properties prohibiting their conversion to factories or commercial livery stables.

Stables were a necessity during the period when private urban transportation was limited to horses and carriages. While the majority of New Yorkers rented or boarded their horses in large commercial stables, the very wealthy maintained private stables.

Traditionally, these were located directly behind their owners' houses, sometimes facing onto the less desirable street front of a through-the-block lot. By the mid-nineteenth century/ carriage-house rows developed to serve a few of the city's most exclusive streets. Remnants of these stable rows survive at 127 and 129 East 19th Street, originally part of a group of stables serving the houses on Gramercy Park South and Irving Place, and at 57 Great Jones Street, the sole survivor of a long row of stables which once backed onto the mansions on the north side of Bond Street between Broadway and Lafayette Street.

Around 1860, carriage houses began to be erected a few blocks from their owners' homes, on convenient but less fashionable streets, where land costs were lower and where the noises and smells associated with stables would not mar the character of a residential neighborhood.

Eventually a number of streets in Manhattan were devoted almost exclusively to private and livery stables. These included East 35th and East 36th Streets between Lexington and Third Avenues , East 73rd Street between Lexington and Third Avenues , and West 58th Street between Broadway and Seventh Avenue .

The twenty-nine stables erected on the former Tonnele Estate in the 1860s, extending from 121 to 143 West 17th Street and from 112 to 146 West 18th Street, were an early example of this type of development and together formed one of the most extensive groups of private stables built in Manhattan in the 1860s.

It should be noted that throughout the 1860s, most of the private carriage houses on these "stable streets" were commissioned on an individual basis and that speculatively-built rows were a rarity. Perhaps the most extensive speculative development was Sniff en Court, a group of ten private carriage houses on a blind alley off East 36th Street, erected in 1864 for four investors by local builder John Sniff in, and subsequently sold to wealthy residents of Murray Hill.

Although uniform in design, the row from 122 to 146 West 18th Street was created through a combination of small-scale speculative development and individual commissions.

In May and June of 1864, Elisha Brooks, a partner in the successful Brooks Brothers clothing firm, purchased the lots from 122 to 126 West 18th Street and had three identical stables erected on the site.

Brooks, who lived on East 16th Street near Fifth Avenue, retained the stable at 122 West 18th Street for his own use.

The newly completed stables at 124 and 126 West 18th Street were sold in October of 1864; 124 West 18th Street was purchased by Elisha's brother John, a partner in the Brooks firm who lived on Fifth Avenue, and No. 126 was sold to Thomas Vyse, Jr., a wealthy strawgoods importer who lived at 20 West 17th Street.

As work was proceeding on the Brooks stables, Susan Hall and her children agreed to use part of the proceeds from the sale of the lots on 18th Street to build a stable at 128 West 18th Street which would be retained for the family's use.

In mid-September, Valentine Hall entered into an agreement with Elisha Brooks to use the western wall of No. 126 as a party wall for the new stable at 128 West 18th Street. Though commissioned by a different client, this stable was identical in plan and design to the recently completed Brooks stables.

By 1866, the nine remaining lots extending from 130 to 146 West 18th Street had been sold. Their new owners also had stables erected which followed the articulation established by the Brooks stables, creating a uniform row of thirteen stables.

This would suggest that Brooks had made the plans for his stables available to the other owners and/or that the same builder or architect was commissioned for all thirteen buildings. The result was one of the most extensive stable rows in the city, containing unusually large and handsomely decorated buildings whose owners included a number of New York's wealthiest and most prominent citizens, among them Samuel F.B. Morse who was the original owner of the stable at 144 West 18th Street .

The most notable of the subsequent owners at 126 West 18th Street was Archibald Gracie King , who purchased the stable from Thomas Vyse, Jr. in May of 1866.

A resident of East 19th Street near Gramercy Park, King was senior partner in the firm of James G. King's Sons, a leading bank dealing primarily in foreign exchange. The grandson of both the great eighteenth-century merchant Archibald Gracie and the Federalist statesman Pufus King, King enjoyed a secure position in New York society. King seems to have kept several carriages for the use of his family.

His daughter, Mrs. John King Van Rensselaer, recalled that she created something of a scandal when she drove unescorted past the august Union Club in "the first pony phaeton on Fifth Avenue."

The Design of the 126 West 18th Street Stable

The stable at 126 West 18th Street is characteristic of contemporary carriage house design as adapted to a narrow urban lot. Typically, the stable would have been divided into two major ground-floor spaces — a front room for carriages and a rear room with stalls for horses.

The front portion of the second floor would have contained quarters for the coachman or groom, while the rear would have been used as a hayloft. Windows were restricted to the front of the building to spare neighbors the sights and smells associated with horses, but two large skylights provided additional light to the second-floor rooms.

The facade is designed in a round-arched utilitarian style derived from the German Rundbocrenstil . The Rundbogenstil evolved in Germany in the 1820s among a group of progressive architects who sought to create a synthesis of classical and medieval architecture by drawing on historic precedents in the round-arched Byzantine, Romanesque, and Renaissance styles.

Transmitted to this country through the immigration of German and Central European architects in the 1840s, as well as through architectural publications, the Rundbocrenstil tended to be conflated with other mid-nineteenth century round-arched styles such as the Romanesque and Renaissance Revivals.

Among the major American examples of the round-arched style are Charles Blesch and Leopold Eidlitz's St. George's Church on Stuyvesant Square at 16th Street, Alexander Saeltzer's Astor Library , at 425 lafayette Street, and Thomas Tefft's Union Depot, Providence, R.I. .

The style is reflected in the design of the stable at 126 West 18th Street by the choice of materials , an emphasis on flat wall surfaces, and a clear definition of architectural elements.

The meshing of classical and medieval motifs is apparent in the composition, which recalls both a Roman triumphal arch and the elevation of a medieval nave arcade, and in the incorporation of such details as the Renaissance-inspired cornice and diamond-pointed keystones and the Romanesque-inspired arcades and rusticated bands.

The facade's chief feature is a large central arch with a pair of inscribed arches and a bull's-eye tympanum. This motif, which was thought by nineteenth-century theorists to have originated in northern Italy during the Romanesque period and was widely used during the Renaissance, became a hallmark of the nineteenth-century round-arched styles, both here and in Germany.

Interestingly, the only other remaining group of mid-nineteenth century carriage houses in Manhattan, located at Sniff en Court, was also designed in the round-arched style and featured a triumphal arch composition with arched windows and doors flanking a central two-story arch. At 18th Street, the stables are larger and more elaborate in design.

In addition to its ties to the round-arched style, the design of the 126 West 18 th Street stable is distinguished by its skillful super impos it ion of recessed and projected planes. The double-height arcade, carried on slender projected piers, is on a forward plane, while the wall membrane with its door and window openings is recessed. A series of horizontal moldings break forward over the piers to unite the two planes.

The moldings at the arches' imposts at the second story form the capitals for two pilaster orders . In addition to their function in this individual design, the repeated use of horizontal elements and the alternation of large and small arches are important elements in creating a strong sense of rhythm and harmony within the row.

Description

The two-story stable structure at 126 West 18th Street has a frontage of twenty-two feet on West 18th Street, and has been extended from its original depth of eighty-one feet to occupy the entire length of its ninety-two-foot-deep lot. Its painted brick and stone facade is designed in a round-arched style that incorporates Romanesque and Renaissance details.

The facade is organized in a tripartite triumphal arch composition that focuses on a double-width center bay. At the ground story, the bays are articulated by projected piers. Originally, the wide center bay contained a pair of wood carriage doors, the eastern bay an arched entrance, and the western bay an arched window; the arches were ornamented by diamond-pointed keystones and stone bards ran across the facade at the sill, watertable, impost, and cornice lines.

Today, the eastern bay of the ground story remains relatively intact, although the corner pier was re faced when the adjacent building at 122-24 West 18th Street was erected, and the door and transom are replacements. The center and west bay were joined in 1945 when the vehicle entrance was enlarged.

The wood folding doors were installed at that time, and the metal roll-down gates appear to be relatively new. The cornice that separates the two stories seems to have been removed and stuccoed when the driveway entrance was enlarged.

Aside from the refaced eastern corner pier, the second story remains virtually intact. Here the piers carry an arcade in which the center arch is both wider and taller than the flanking arches. The arches are set-off by stone keystones and stone sills beneath the windows.

Stone bands, which break forward over the piers at the impost line of the arches, form the capitals for two pilaster orders — a major order articulating the arcade and a minor order framing the windows.

A small pilaster bisects the center bay into a pair of arched windows which are topped by a molded wood surround that features a central bull's-eye. The windows retain their original molded wood frames but the original four-over-four double-hung sash have been replaced. The building is crowned by a simple molded brick entablature.

Subsequent History

In the 1870s and 1880s, the neighborhood to the east of the stables on 18th Street, which had once been exclusively residential, became the heart of New York's chief shopping district as the retail trade expanded along Broadway, Sixth Avenue, and 14th and 23rd Streets.

Several of the original owners of the stables on 18th Street responded to the change in the character of the neighborhood by moving uptown or to the suburbs. At least two of the stables were sold to neighboring businesses.

Other owners retained their stables as investments, property values on Sixth Avenue having skyrocketed with the opening of such department stores as B. Altman's at 19th Street and Hugh O'Neill's near 20th Street , and the completion of the Sixth Avenue Elevated Railway in 1878.

Archibald Gracie King retained ownership of 126 West 18th Street until 1883, when he moved to Weehawken, New Jersey. The stable was then purchased by David and John P. Duncan of John Duncan's Sons, a wine and food importing firm located on Union Square.

It is not known whether the Duncans used the stable for their business or purchased it as an investment, though it undoubtedly would have been leased after the Duncan firm moved downtown to Park Place in the late 1880s. In 1904, the Duncans' heirs sold the building, which was still being used as a stable, to the Security Safety Elevator Company.

The building was altered to accommodate manufacturing and a tower for testing elevators was constructed on the roof. In 1923, the Otis Elevator Company purchased the building, retaining it for only five years before selling it to William H. Awe, Inc. in 1928. That company used the building as a garage and warehouse until 1945, when the second floor was remodeled for office use. The original carriage entrance was enlarged at that time.

Today, the 126 West 18th Street stable building is a component of one of the two remaining mid-nineteenth century carriage house groups in Manhattan. While the ground story has been partially altered, the second story is largely intact and distinguishes the building as a notable example of the round-arched style as applied to a utilitarian building type.

- From the 1990 NYCLPC Landmark Designation Report

ARBOUR HILL CEMETERY [RESTING PLACE OF 14 EXECUTED 1916 RISING LEADERS]-115430 by William Murphy

Arbour Hill is an inner city area of Dublin, on the Northside of the River Liffey, in the Dublin 7 postal district. Arbour Hill, the road of the same name, runs west from Blackhall Place in Stoneybatter, and separates Collins Barracks, now part of the National Museum of Ireland, to the south from Arbour Hill Prison to the north, whose graveyard includes the burial plot of the signatories of the Easter Proclamation that began the 1916 Rising.

The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.

The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.

The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.

A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans Association house and memorial garden.

We and the Creeping clown... by HoryMa HoryMa

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The photo is executed in technics «LightGraphic» or «The painting of light» - is the drawing by light embodied on a matrix of the camera in one click of a shutter .

The sketches very often executed in such a way further are drawn in the graphic editor as it would be on a canvas a brush. Plug-ins and filters are not used.

www.horyma.ru/forum/viewtopic.php?f=3&t=113

and here www.horyma.ru/forum/viewtopic.php?f=3&t=39

Short story: www.horyma.ru/forum/viewtopic.php?f=30&t=1912

Excuse, the text while only in Russian.

£1.2million Worth of Counterfeit Items Seized - Operation Vulcan by Greater Manchester Police

Operation Vulcan executed their latest warrant yesterday (3 May 2023) at a property on Great Ducie Street in Cheetham Hill.

The warrant was carried out after intelligence came to light suggesting the property - a large distribution warehouse - was being used to supply a network of counterfeit stores throughout Cheetham Hill.

The number of items seized have an estimated worth of £1.2million pounds.

The enterprise was so vast officers made use of a conveyor belt to speed up the transfer of seized items into waiting vehicles.

Over the last 6 months through relentless policing and support from dedicated partners, Operation Vulcan has turned the tide against the criminals. The support of partners has been integral to Operation Vulcan and that was on full display yesterday (3 May 2023) with over 15 departments, teams, organisations and partner representatives in attendance - including from Greater Manchester Fire and Rescue Service, Intellectual Property Office, Trading Standards, Brand Experts and Border Force.

GMFRS also raised concerns about the safety of the building, which led to it being issued it with a prohibition order.

Inspector Andy Torkington said: "The network of counterfeit stores in Cheetham Hill might seem chaotic and disorganised but this is far from the truth. The latest warrant demonstrates that these stores are well funded and well supplied and it's big business for organised crime groups who have been operating out of the area.

"This warrant is an opportunity to make a huge dent in the supply chain by cutting off the head of the supply snake. I hope it sends a message to any remaining counterfeit stores in the area who persist in trading to pack up now or face the consequences.

"Operation Vulcan is here to stay and we will continue making it unsustainable for criminal businesses to exist here and will work shoulder-to-shoulder with our partners to re-build the area into a thriving community where people feel safe.”

Neil Fairlamb, Strategic Director of Neighbourhoods for Manchester City Council said: "The work that has taken place throughout Operation Vulcan has shown the scope and scale of the counterfeit industry. It is huge enterprise, one which has had an incredibly negative impact on our communities. By striking a blow against this criminal supply chain we will succeed in forcing these traders out for good."

The Intellectual Property Office’s Deputy Director of Intelligence and Law Enforcement, Marcus Evans said: The Intellectual Property Office’s Deputy Director of Intelligence and Law Enforcement, Marcus Evans said: “Criminal networks are seeking to exploit consumers and communities for their own financial gain through the trade in illegal counterfeits – with absolutely no regard for the quality or safety of the items being sold, which are often dangerous and defective. Such items can cause genuine harm to the people who buy and use them, as well as those workers often exploited during their production.

“As well as helping to sustain serious and organised crime, the sale of counterfeit goods has been estimated to contribute to over 80,000 job loses each year in the UK by diverting funds away from legitimate traders and into the hands of criminals. We are pleased to support the ongoing activity by Greater Manchester Police to clamp down on this illegal activity and help protect the public, as we continue to work with partners across in industry, local government, and law enforcement to help empower consumers and raise awareness of the damage these goods cause.”

Flash fired by hot shoe on 7D by Hugh Letheren

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This is an unbroken sequence of WDK executed shots of a falling drop, demonstrating why it is advisable not to use a wireless hot shoe flash to fire your flashguns for the 7D - the shutter lag is variable - maybe due to some internal processing in the camera. For some other cameras, this does not seem to be a problem!

Ford Mustang + trailer 2 by thesam1984_1

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Still looks off though excellently executed

Shalbourne, St Michael. des. Karl Parsons by Andrew Loutit

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Shalbourne, St Michael (Wilts) St Luke & Virgin Mary

This window was executed by Henry Haig in 1995 to a design by Karl Parsons. Parsons moved in 1929 to Shalbourne from Northwood in Middlesex . I precis from Peter Cormack's introduction to his Karl Parsons exhibition in 1987 (which, sadly, I missed). It may be surprising that he moved to the small village in Wiltshire since it had no electricity supply at the time, so he constructed a kiln in nearby Hungerford and the unfired glass was transported there by his daughter Margaret in a 'Trojan' car (purchased for £8!). Apparently the kiln used so much of Hungerford's limited electric supply that the town was frequently plunged into darkness so he was forced to work only in the early morning! Sadly, however, his health was failing owing to a stroke (he was in his 40's) so his output from Shalbourne was limited, and he eventually teamed up with his friend in Putney, Edward Woore, who completed the commissions after Parsons died. I don't know the history of this particular design, if anybody can shed light, I would be grateful.

Detail of Men in The Breadline by George Segal on East Wall in First Part of Room on Second Term (1937-1941): The New Deal from West by Alec Frazier

The central focus of FDR’s second term was developing and executing the New Deal to bring the country out of economic turmoil. In this room, there are three scenes depicting the state of American citizens in the United States during the Great Depression. In front of you, a bread line is shown, representing the poverty and desperation of the working class during the Great Depression. Inscribed above the sculptures is the following quote from FDR’s second inaugural address: “I see one-third of a nation ill-housed, ill-clad, ill-nourished.”

The urban companions to the rural couple are represented by a five-man portion of an urban breadline shuffling its way alongside a brick building. These lines, which formed outside food kitchens offering bread, soup, or groceries, often extended for many city blocks.

George Segal

George Segal was born in the Bronx, New York City, in 1924. His parents had immigrated from eastern Europe. George exhibited an interest in art early and won honors for his work while still in high school. George was raised in New Jersey, where his family settled, and he helped his parents with their chicken-raising business throughout his teens. Later, he took over the farm and still lives there with his wife Helen. Today, the old chicken coops house his art studio.

Everyday life and everyday happenings form the basis of George Segal’s sculptures. His pieces are cast directly from live models, mostly friends and relatives. George’s method of sculpting is unique. It depends heavily on real-life events and people said within environments which he constructs from real elements and furnishings. Segal’s work is therefore figurative but it does not romanticize or idealize the people whom he casts.

As the critic Phyllis Tuckman explains in the book, George Segal: Recent Painted Sculpture, “Segal’s figures radiate an aura of the familiar. They look like the kind of people with whom you come in daily contact…. These slices of life’s scenarios belie or masked other aspects of this haunting art.” Segal’s environments express more than what is visible on the surface. They dig deeply and say much about the universal elements of life through their focus on simple tasks.

It was for these reasons that George Segal was chosen to work within the themes of the Memorial. George has strong feelings and deep empathy for the Roosevelt era. He quickly selected three everyday images that were descriptive of the essence of the Depression years in our country, which had such a deep influence on the character and quality of our culture. Within these depictions the message is one of inherent individual dignity in the face of overwhelming odds.

George Segal developed his very personal casting technique in the early 1960s. He starts by dipping cloth bandages in wet plaster and then applying them directly to a body or to an object. He spends time working with his models before casting, describing the gestures he is trying to achieve and choreographing the positioning of their bodies in space within the constructed environment. Artist and model work together to finalize the pose before wrapping begins. Once the format has been fixed, the bandages are fitted around the various parts of the body. Hardening takes only minutes and then the bandages are removed by splitting them into sections. Later, they are reassembled to form the final figures or, as was the case for figures in the Memorial, they become molds for the final bronze sculptures.

How to Make a Toliet Paper Tornado by marc horowitz

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This is something I stumbled upon by accident while waiting for a phone call. It is very easy to execute and brings one much pleasure. All you need is a ceiling fan and a roll of toilet paper. I would suggest that you have hardwood or concrete floors, but I think short carpet would work too.

Here is the easy-to-follow 10-step process for creating a TP Tornado for yourself:

1) Grab a roll of 2-ply toilet paper, open it up (if wrapped).

2) Unravel about three or four feet of the TP.

3) Give it a throw up in the air so it goes over TWO of the fan blades (if it goes over just one blade, gently pull it off and try again). This the most crucial step.

4) Once you have the TP roll over the TWO fan blades, then unroll the rest of it. You can throw it around a bit more if it brings you pleasure. Whatever you do, don’t break the stream - REMEMBER ONE SOLID STRIP OF TP!

5) Once all of the TP is unrolled on the floor, remove the cardboard roll, and make sure the toilet paper isn’t too tangled up.

6) Start the ceiling fan on medium to medium high speed and watch the fun began!

7) As the toilet paper twists up like a tornado, help it ravel up a bit by feeding it some of the toilet paper on the floor.

8) Once the TP tornado has sucked up almost all of the TP, turn off the fan.

9) Run back to the tornado. As the fan slows down, gently lift up the main TP twist (as pictured) to alleviate some of the stress at the top. Do this until the fan stops completely.

10) Slowly release your grip and step back to enjoy your personal TP Tornado!!

Show your friends and loved ones. Take a picture and send it to me. I’d love to post a collection of TP tornados from around the world.

Yeah yeah, the tornado is technically up side down but who really cares?

SPANISH:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Aquí está el fácil a sigue 10 proceso del paso para crear un Tornado de TP para usted mismo:

1) Ase un rollo de 2 enrollan El papel del lavabo, lo abre arriba (si envuelto).

2) Desenreda acerca de tres o cuatro pies del TP.

3) Le Da un tiro arriba en el aire tan repasa DOS De las hojas de ventilador (si repasa sólo un hoja, suavemente lo tira de y de la prueba otra vez). Este el paso más crucial.

4) Una vez usted tiene el rollo de TP sobre el DOS Las hojas del ventilador, entonces desenrollan el resto de lo. Usted lo puede tirar alrededor de un poco más si le trae placer. ¡Cualquier usted hace, no rompe la corriente - RECUERDA UNA TIRA SOLIDA DE TP!

5) una vez todo el TP se desenrolla en el piso, quita el rollo de cardboard, y se cerciora el papel de lavabo no es demasiado enredado arriba.

6) ¡Empieza el ventilador de techo en el medio a la alta velocidad del medio y mira la diversión empezó!

7) Como las torsiones de papel de lavabo arriba quiere un tornado, lo ayuda enreda arriba un poco alimentándolo parte del papel de lavabo en el piso.

8) una vez el tornado de TP ha chupado arriba casi todo el TP, la vuelta del ventilador.

9) Corre espalda al tornado. Cuando el ventilador va más despacio, suavemente ascensor arriba la torsión principal de TP (se imaginó como) a la parte del alleviate del énfasis por encima. Haga esto hasta el ventilador para completamente.

10) ¡libera Lentamente su espalda del puño y el paso para gozar su Tornado personal de TP!

Muestre a sus amigos y adorar. Tome un retrato y me lo manda a mí. Adoraría anunciar una colección de tornados de TP de alrededor del mundo.

¿Sí sí, el tornado es técnicamente arriba lado hacia abajo pero quién cuida realmente?

ISIL terror chief executed by rival al-Nusra Front by salafi takfiri

Al-Nusra terror group says it executed leader of rival ISIL terror group

Qiu yu qiu feng [“Autumn rain, autumn wind”: memorial for the executed revolutionary Qiu Jin] by Special Collections at Johns Hopkins University

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Huang, Min (editor). Qiu yu qiu feng [“Autumn rain, autumn wind”: memorial for the executed revolutionary Qiu Jin]. [Shanghai]: Jung cun shu ju; Hong wen shu ju, 1907. Single volume, measuring 7.25 x 5 inches: [4], 75, [1]. Original printed wrappers, stitched as issued, ornamental border stamped in purple on upper wrapper. Half-title printed on green paper. Portrait of suffragist, poet, and radical Qiu Jin in Japanese dress, wielding a sword, following the table of contents. Name written in ink and 1922 “paid” stamp of a San Francisco Chinese grocer on lower wrapper.

[MS-0857] Johns Hopkins University Women's Suffrage Collection

aspace.library.jhu.edu/repositories/3/resources/1433

The digital copies found on the Sheridan Libraries website, digital repositories, and social media are intended for personal, educational, research, and/or non-commercial purposes, unless otherwise noted. They may be used freely for private study, educational presentations, and non-commercial websites, blogs, and social media. Please visit our Rights and Reproductions page for complete terms and details: www.library.jhu.edu/policies/rights-and-reproductions/

Okamejei cf powelli caught during the Ecosystem Survey in Myanmar 2015 by EAF-Nansen Programme

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In November 2013 the first survey after more than 30 years was executed by the R/V Dr. Fridtjof Nansen.

Myanmar is probably among the countries in Southeast Asia with the most intact marine environment, but our findings in 2013 indicate that fish stocks have been reduced and fish communities changed structure since the surveys in 1980. This has serious consequences for the availability of fish for food, jobs and income for coastal population in Myanmar.

Based on the findings the Department of Fisheries in Myanmar asked FAO and CDCF to conduct a follow-up study to confirm the results and also to identify any seasonality in the ecosystem. This survey will be conducted from April 28 to June 2 this year. We will repeat the survey made in 2013 and try to verify results. In addition, we will map the biodiversity and the marine environment. Among the participants there is Merete Kvalsund that will provide a glimpse of work and life on board. The work is part of the EAF-Nansen Project.

Photo credits IMR, Bergen, Norway

IMG_2113 by Alec Frazier

Studiolo from the Ducal Palace in Gubbio

•Designer: Designed by Francesco di Giorgio Martini (Italian, Siena 1439-1501 Siena)

•Maker: Executed under the supervision of Francesco di Giorgio Martini (Italian, Siena 1439-1501 Siena)

•Maker: Executed in the workshop of Giuliano da Maiano (Italian, Maiano 1432-1490 Naples)

•Maker: and Benedetto da Maiano (Italian, Maiano 1442-1497 Florence)

•Date: ca. 1478-1782

•Culture: Italian, Gubbio

•Medium: Walnut, beech, rosewood, oak and fruitwoods in walnut base

•Dimensions:

oHeight: 15 ft. 10 15/16 in. (485 cm)

oWidth: 16 ft. 11 15/16 in. (518 cm)

oDepth: 12 ft. 7 3/16 in. (384 cm)

•Classification: Woodwork

•Credit Line: Rogers Fund, 1939

•Accession Number: 39.153

On view at The Met Fifth Avenue in Gallery 501.

This detail is from a study, (or studiolo), intended for meditation and study. Its walls are carried out in a wood-inlay technique known as intarsia. The latticework doors of the cabinets, shown open or partly closed, indicate the contemporary interest in linear perspective. The cabinets display objects reflecting Duke Federico’s wide-ranging artistic and scientific interests, and the depictions of books recall his extensive library. Emblems of the Montefeltro are also represented. This room may have been designed by Francesco di Giorgio (1439-1502) and was executed by Giuliano da Majano (1432-1490). A similar room, in situ, was made for the duke’s palace at Urbino.

Signatures, Inscriptions, and Markings

•Inscription:

oLatin inscription in elegiac couplets in frieze: ASPICIS AETERNOS VENERANDAE MATRIS ALUMNOS // DOCTRINA EXCELSOS INGENIOQUE VIROS // UT NUDA CERVICE CADANT ANTE //.. // .. GENU // IUSTITIAM PIETAS VINCIT REVERENDA NEC ULLUM // POENITET ALTRICI SUCCUBUISSE SUAE.

oTranslation: (“You see the eternal nurselings of the venerable mother // Men pre-eminent in learning and genius, // How they fall with bared neck before // …… // ………………………………………………knee. // Honored loyalty prevails over justice, and no one // Repents having yielded to his foster mother.”)

Provenance

Duke Federico da Montefeltr, Palazzo Ducale, Gubbio, Italy (ca. 1479-1482); Prince Filippo Massimo Lancellotti, Frascati (from 1874); Lancelotti family, Frascati (until 1937; sold to Adolph Loewi, Venice); [Adolph Loewi, Venice (1937-1939; sold to MMA)]

Timeline of Art History

•Essays

oCollecting for the Kunstkammer

oDomestic Art in Renaissance Italy

oRenaissance Organs

•Timelines

oFlorence and Central Italy, 1400-1600 A.D.

MetPublications

oVermeer and the Delft School

oPeriod Rooms in The Metropolitan Museum of Art

oPainting Words, Sculpting Language: Creative Writing Activities at The Metropolitan Museum of Art

oOne Met. Many Worlds.

oMusical Instruments: Highlights of The Metropolitan Museum of Art

oThe Metropolitan Museum of Art. Vol. 4, The Renaissance in Italy and Spain

oThe Metropolitan Museum of Art Guide (Spanish)

oThe Metropolitan Museum of Art Guide (Russian)

oThe Metropolitan Museum of Art Guide (Portuguese)

oThe Metropolitan Museum of Art Guide (Korean)

oThe Metropolitan Museum of Art Guide (Japanese)

oThe Metropolitan Museum of Art Guide (Italian)

oThe Metropolitan Museum of Art Guide (German)

oThe Metropolitan Museum of Art Guide (French)

oThe Metropolitan Museum of Art Guide (Chinese)

oThe Metropolitan Museum of Art Guide (Arabic)

oThe Metropolitan Museum of Art Guide

oMasterpieces of The Metropolitan Museum of Art

o“The Liberal Arts Studiolo from the Ducal Palace at Gubbio”: The Metropolitan Museum of Art Bulletin, v. 53, no. 4 (Spring, 1996)

oGuide to The Metropolitan Museum of Art

oThe Gubbio Studiolo and Its Conservation. Vol. 2, Italian Renaissance Intarsia and the Conservation of the Gubbio Studiolo

oThe Gubbio Studiolo and Its Conservation. Vol. 1, Federico da Montefeltro’s Palace at Gubbio and Its Studiolo

o“Carpaccio’s Young Knight in a Landscape: Christian Champion and Guardian of Liberty”: Metropolitan Museum Journal, v. 18 (1983)

oThe Artist Project: What Artists See When They Look At Art

oThe Artist Project

oThe Art of Renaissance Europe: A Resource for Educators

oThe Art of Chivalry: European Arms and Armor from The Metropolitan Museum of Art

oArt and Love in Renaissance Italy

Wien, 1. Bezirk (the art of very renowned palace and museum buildings in the core of downtown Vienna), Palais Erzherzog-Albrecht (Albertina), Albertinaplatz/Hanuschgasse by Alfred Lex

"Mein Wandelweg führt über Abgründe"/"My Wandering Path Leads over Abysses", 27. April 1912

Bleistift, Aquarell und Deckfarben

Pencil, watercolor and gouache

Albertina

Quite different from the other watercolors executed in the prison in Neulengbach (Lower Austria) is the last work: a still life with three oranges on a colorfu patterned blanket. It is the only one for which a prelimary sketch - from the previous day, on the reverse of the sheet - is known to exist.

This still life differs radically from the transparent, wet-in-wet watercolors, not only thematically, but also technically: a heavy gouache with an inscription that does not really tie in with the motif: "My wandering path leads over abysses." The coloring was obviously added later, after the artist's release from prison, when Schiele was back in his own studio and had access to his gouache paints.

Völlig anders als alle andere im Gefängnis von Neulengbach gefertigten Aquarelle stellt sich das Schlusswerk dar: ein Stillleben-Arrangement von drei Orangen auf einer bunt gemusterten Decke, das einzige Werk, zu dem eine Vorzeichnung - vom Vortrag auf der Rückseite - erhalten ist.

Das Stillleben unterscheidet sich nicht nur thematisch, sondern auch technisch radikal von den transparenten, Nass-in-Nass gearbeiteten Aquarellen, eine farblich schwere Gouache, deren Beschriftung nicht zum Bildmotiv passen will: "Mein Wandelweg führt über Abgründe". Die Kolorierung ist offensichtlich später, nach Schieles Entlassung aus dem Gefängnis entstanden, im eigenen Atelier, wo dem Künstler wieder seine Gouache-Farben zur Verfügung standen.

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

www.wien-vienna.at/albertinabaugeschichte.php

Fish tile by Ann Wynn Reeves by robmcrorie

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Masterful, Ann's great design executed with a perfectly rich red glaze by her husband Kenneth Clark, Blank tile dated 1972.

If you are interested in this sort of thing, perhaps the Tiles & Architectural Ceramics Society is up your street - take a look at tilesoc.org.uk/tacs/

Executed well by Laurence's Pictures

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ANAKONDA 16: Lithuanian-Polish-Ukrainian Brigade recovers area of operation by Ministry of Defense of Ukraine

LUBLIN, Poland — LITPOLUKRBRIG moved to the next scenario stage executing ANAKONDA 16 training plan and held Civil-Military Cooperation Operations while affiliated units conducted clearance of buildings and deactivated improvised explosive devices and mines.

Thus, Lithuanian-Polish-Ukrainian Brigade Commander Brigadier General Adam Joks and the Deputy Colonel Volodymyr Yudanov accompanied with Chief S-9 section Major Tomasz Pędzik met a Governor of a fictional province and discussed requirements to recover the part of the country affected by terror. During the long and challenging chat the meeting participants came to a common point of view.

“Such events bring an outstanding opportunity to exercise personal diplomatic standards. We were supposed to carefully listen to the local official, express our readiness to help, but simultaneously be aware of political trades in the area of operation and take into account that we cannot be involved in the political speculation or other, so called, games. We did our best to offer meaningful help to the local population but to be reasonable with available resources,” Colonel Volodymyr Yudanov talked about the CIMIC meeting.

Meanwhile, combined Polish-Ukrainian unit entered the designated area of recovery and secured the area. The soldiers checked out the buildings in order to ensure no adversary followers remain in the town. Demining specialists searched for improvised explosive devices still threating civilians and military patrols.

“The main intent of the crisis-response operation is not just to suppress adversary but also to recover the area and mitigate suffering of the local population. For this reason, we exercised and examined the Multinational Brigade means of securing civilians and cooperation with them. Thus, I want to underline, that ANAKONDA 16 allows us to exercise a wide spectrum of LITPOLUKRBRIG functions and receive easy adaptable to any operation training. Also, it integrates Lithuanian-Polish-Ukrainian Brigade in the global operational environment, establishes mutual trust and understanding between the involved armies,” concluded Brigadier General Adam Joks.

“Анаконда-2016”: ЛИТПОЛУКРБРИГ налагоджує життя цивільного населення в районі проведення операції

Литовсько-Польсько-Українська бригада перейшла до наступного кроку виконання операції за сценарієм навчання “Анаконда-2016”. Зокрема, військовослужбовці провели заходи цивільно-військового співробітництва, зачистили будівлі населеного пукнту та розмінували саморобні вибухові пристрої.

Командир ЛИТПОЛУКРБРИГ бригадний генерал Адам Йокс, його заступник полковник Володимир Юданов разом з начальником секції С-9 майором Томашем Пенджіком провели робочу зустріч з місцевим губернатором під час якої вони обговорили аспекти відновлення регіону, що постраджав від діяльності незаконних збройних формувань. Протягом тривалої розмови учасники дійшли спільної думки.

— Такі навчальні події допомагають нам підготуватися дипломатично вирішувати складні ситуації. Ми уважно вислухали представника місцевої влади, висловили готовність допомагати, але водночас врахували особливості відносин між політичними течіями регіону. Ми не можемо бути втягнутими в якісь політичні конфлікти чи, так звані, ігри. Тому, оцінюючи власні сили і засоби, ми запропонували таку допомогу, яку зможемо надати – не більше, і не менше, — розповів про зустріч в рамках цивільно-військового співробітництва полковник Володимир Юданов.

Тим часом, польсько-український підрозділ прибув у визначений населений пункт і взяв його під охорону. Військові з двох країн перевірили будівлі з метою пересвідчитися, що прихильників ворога в містечку не залишилося. А сапери знешкодили закладені саморобні вибухові пристрої та міни, що загрожували цивільному населенню та військовим патрулям.

— Основне зусилля операцій з підтримки миру не тільки зменшити діяльність сил противника, а й мінімізувати страждання місцевого населення. З цією метою ми перевірили засоби багатонаціональної бригади щодо роботи з цивільним населенням і забезпечення їх безпеки. Також, я хочу наголосити, що “Анаконда-2016” дозволяє нам перевірити роботу широкого спектру сил і засобів ЛИТПОЛУКРБРИГ і отримати підготовку, що легко адаптовується до умов будь-яких майбутніх місій. Також, навчання інтегровує Литовсько-Польсько-Україську бригаду в міжнародне середовище виконання операцій, встановлює засади взаємної довіри і порозуміння між країнами-учасниками, — додав на завершення бригадний генерал Адам Йокс.

Фото: Олександр Гайн

The vizier dissuades the king of Bahilistan from executing the dervish who asks for his daughter’s hand in marriage, from a Tuti-nama (Tales of a Parrot): Seventh Night - 1962.279.44.b_web by bella bonvechio

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The vizier dissuades the king of Bahilistan from executing the dervish who asks for his daughter’s hand in marriage, from a Tuti-nama (Tales of a Parrot): Seventh Night, made around the 16th century in India, Mughal, is a colorful painting from the Reign of Akbar. It is a part of a set at the Cleveland Museum of Art, though it is no longer on view. It is made from gun tempera, ink, and gold on paper. This image is in the public domain. clevelandart.org/art/1962.279.44.b

ギロチン Guillotine by go7o

IMG_2123 by Alec Frazier

Studiolo from the Ducal Palace in Gubbio

•Designer: Designed by Francesco di Giorgio Martini (Italian, Siena 1439-1501 Siena)

•Maker: Executed under the supervision of Francesco di Giorgio Martini (Italian, Siena 1439-1501 Siena)

•Maker: Executed in the workshop of Giuliano da Maiano (Italian, Maiano 1432-1490 Naples)

•Maker: and Benedetto da Maiano (Italian, Maiano 1442-1497 Florence)

•Date: ca. 1478-1782

•Culture: Italian, Gubbio

•Medium: Walnut, beech, rosewood, oak and fruitwoods in walnut base

•Dimensions:

oHeight: 15 ft. 10 15/16 in. (485 cm)

oWidth: 16 ft. 11 15/16 in. (518 cm)

oDepth: 12 ft. 7 3/16 in. (384 cm)

•Classification: Woodwork

•Credit Line: Rogers Fund, 1939

•Accession Number: 39.153

On view at The Met Fifth Avenue in Gallery 501.

This detail is from a study, (or studiolo), intended for meditation and study. Its walls are carried out in a wood-inlay technique known as intarsia. The latticework doors of the cabinets, shown open or partly closed, indicate the contemporary interest in linear perspective. The cabinets display objects reflecting Duke Federico’s wide-ranging artistic and scientific interests, and the depictions of books recall his extensive library. Emblems of the Montefeltro are also represented. This room may have been designed by Francesco di Giorgio (1439-1502) and was executed by Giuliano da Majano (1432-1490). A similar room, in situ, was made for the duke’s palace at Urbino.

Signatures, Inscriptions, and Markings

•Inscription:

oLatin inscription in elegiac couplets in frieze: ASPICIS AETERNOS VENERANDAE MATRIS ALUMNOS // DOCTRINA EXCELSOS INGENIOQUE VIROS // UT NUDA CERVICE CADANT ANTE //.. // .. GENU // IUSTITIAM PIETAS VINCIT REVERENDA NEC ULLUM // POENITET ALTRICI SUCCUBUISSE SUAE.

oTranslation: (“You see the eternal nurselings of the venerable mother // Men pre-eminent in learning and genius, // How they fall with bared neck before // …… // ………………………………………………knee. // Honored loyalty prevails over justice, and no one // Repents having yielded to his foster mother.”)

Provenance

Duke Federico da Montefeltr, Palazzo Ducale, Gubbio, Italy (ca. 1479-1482); Prince Filippo Massimo Lancellotti, Frascati (from 1874); Lancelotti family, Frascati (until 1937; sold to Adolph Loewi, Venice); [Adolph Loewi, Venice (1937-1939; sold to MMA)]

Timeline of Art History

•Essays

oCollecting for the Kunstkammer

oDomestic Art in Renaissance Italy

oRenaissance Organs

•Timelines

oFlorence and Central Italy, 1400-1600 A.D.

MetPublications

oVermeer and the Delft School

oPeriod Rooms in The Metropolitan Museum of Art

oPainting Words, Sculpting Language: Creative Writing Activities at The Metropolitan Museum of Art

oOne Met. Many Worlds.

oMusical Instruments: Highlights of The Metropolitan Museum of Art

oThe Metropolitan Museum of Art. Vol. 4, The Renaissance in Italy and Spain

oThe Metropolitan Museum of Art Guide (Spanish)

oThe Metropolitan Museum of Art Guide (Russian)

oThe Metropolitan Museum of Art Guide (Portuguese)

oThe Metropolitan Museum of Art Guide (Korean)

oThe Metropolitan Museum of Art Guide (Japanese)

oThe Metropolitan Museum of Art Guide (Italian)

oThe Metropolitan Museum of Art Guide (German)

oThe Metropolitan Museum of Art Guide (French)

oThe Metropolitan Museum of Art Guide (Chinese)

oThe Metropolitan Museum of Art Guide (Arabic)

oThe Metropolitan Museum of Art Guide

oMasterpieces of The Metropolitan Museum of Art

o“The Liberal Arts Studiolo from the Ducal Palace at Gubbio”: The Metropolitan Museum of Art Bulletin, v. 53, no. 4 (Spring, 1996)

oGuide to The Metropolitan Museum of Art

oThe Gubbio Studiolo and Its Conservation. Vol. 2, Italian Renaissance Intarsia and the Conservation of the Gubbio Studiolo

oThe Gubbio Studiolo and Its Conservation. Vol. 1, Federico da Montefeltro’s Palace at Gubbio and Its Studiolo

o“Carpaccio’s Young Knight in a Landscape: Christian Champion and Guardian of Liberty”: Metropolitan Museum Journal, v. 18 (1983)

oThe Artist Project: What Artists See When They Look At Art

oThe Artist Project

oThe Art of Renaissance Europe: A Resource for Educators

oThe Art of Chivalry: European Arms and Armor from The Metropolitan Museum of Art

oArt and Love in Renaissance Italy

Wien, 9. Bezirk, Palais Liechtenstein, Palacio de Liechtenstein, Liechtenstein Palace, Palazzo di Liechtenstein, le Palais de Liechtenstein (Barock), (Schlosspark - castle park, parc du château, jardines del palacio, giardino del palazzo) by Alfred Lex

The Liechtenstein Garden Palace is a Baroque palace at the Fürstengasse in the 9th District of Vienna, Alsergrund . Between the palace, where the Liechtenstein Museum was until the end of 2011, and executed as Belvedere summer palace on the Alserbachstraße is a park. Since early 2012, the Liechtenstein Garden Palace is a place for events. Part of the private art collection of the Prince of Liechtenstein is still in the gallery rooms of the palace. In 2010 was started to call the palace, to avoid future confusion, officially the Garden Palace, since 2013 the city has renovated the Palais Liechtenstein (Stadtpalais) in Vienna's old town and then also equipped with a part of the Liechtenstein art collection.

Building

Design for the Liechtenstein Garden Palace, Johann Bernhard Fischer von Erlach in 1687/1688

Canaletto: View of Palais Liechtenstein

1687 bought Prince Johann Adam Andreas von Liechtenstein a garden with adjoining meadows of Count Weikhard von Auersperg in the Rossau. In the southern part of the property the prince had built a palace and in the north part he founded a brewery and a manorial, from which developed the suburb Lichtental. For the construction of the palace Johann Adam Andreas organised 1688 a competition, in the inter alia participating, the young Johann Bernhard Fischer von Erlach. Meanwhile, a little functional, " permeable " project was rejected by the prince but, after all, instead he was allowed to built a garden in the Belvedere Alserbachstraße 14, which , however, was canceled in 1872.

The competition was won by Domenico Egidio Rossi, but was replaced in 1692 by Domenico Martinelli. The execution of the stonework had been given the royal Hofsteinmetzmeister (master stonemason) Martin Mitschke. He was delivered by the Masters of Kaisersteinbruch Ambrose Ferrethi , Giovanni Battista Passerini and Martin Trumler large pillars, columns and pedestal made from stone Emperor (Kaiserstein). Begin of the contract was the fourth July 1689 , the total cost was around 50,000 guilders.

For contracts from the years 1693 and 1701 undertook the Salzburg master stonemason John and Joseph Pernegger owner for 4,060 guilders the steps of the great grand staircase from Lienbacher (Adnet = red) to supply marble monolith of 4.65 meters. From the Master Nicolaus Wendlinger from Hallein came the Stiegenbalustraden (stair balustrades) for 1,000 guilders.

A palazzo was built in a mix of city and country in the Roman-style villa. The structure is clear and the construction very blocky with a stressed central risalite, what served the conservative tastes of the Prince very much. According to the procedure of the architectural treatise by Johann Adam Andreas ' father, Karl Eusebius, the palace was designed with three floors and 13 windows axis on the main front and seven windows axis on the lateral front. Together with the stems it forms a courtyard .

Sala terrene of the Palais

1700 the shell was completed. In 1702, the Salzburg master stonemason and Georg Andreas Doppler took over 7,005 guilders for the manufacture of door frame made of white marble of Salzburg, 1708 was the delivery of the fireplaces in marble hall for 1,577 guilders. For the painted decoration was originally the Bolognese Marcantonio Franceschini hired, from him are some of the painted ceilings on the first floor. Since he to slow to the prince, Antonio Belucci was hired from Venice, who envisioned the rest of the floor. The ceiling painting in the Great Hall, the Hercules Hall but got Andrea Pozzo . Pozzo in 1708 confirmed the sum of 7,500 florins which he had received since 1704 for the ceiling fresco in the Marble Hall in installments. As these artists died ( Pozzo) or declined to Italy, the Prince now had no painter left for the ground floor.

After a long search finally Michael Rottmayr was hired for the painting of the ground floor - originally a temporary solution, because the prince was of the opinion that only Italian artist buon gusto d'invenzione had. Since Rottmayr was not involved in the original planning, his paintings not quite fit with the stucco. Rottmayr 1708 confirmed the receipt of 7,500 guilders for his fresco work.

Giovanni Giuliani, who designed the sculptural decoration in the window roofing of the main facade, undertook in 1705 to provide sixteen stone vases of Zogelsdorfer stone. From September 1704 to August 1705 Santino Bussi stuccoed the ground floor of the vault of the hall and received a fee of 1,000 florins and twenty buckets of wine. 1706 Bussi adorned the two staircases, the Marble Hall, the Gallery Hall and the remaining six halls of the main projectile with its stucco work for 2,200 florins and twenty buckets of wine. Giuliani received in 1709 for his Kaminbekrönungen (fireplace crowning) of the great room and the vases 1,128 guilders.

Garden

Liechtenstein Palace from the garden

The new summer palace of Henry of Ferstel from the garden

The garden was created in the mind of a classic baroque garden. The vases and statues were carried out according to the plans of Giuseppe Mazza from the local Giovanni Giuliani. In 1820 the garden has been remodeled according to plans of Joseph Kornhäusel in the Classical sense. In the Fürstengasse was opposite the Palais, the Orangerie, built 1700s.

Use as a museum

Already from 1805 to 1938, the palace was housing the family collection of the house of Liechtenstein, which was also open for public viewing, the collection was then transferred to the Principality of Liechtenstein, which remained neutral during the war and was not bombed. In the 1960s and 1970s, the so-called Building Centre was housed in the palace as a tenant, a permanent exhibition for builders of single-family houses and similar buildings. From 26 April 1979 rented the since 1962 housed in the so-called 20er Haus Museum of the 20th Century , a federal museum, the palace as a new main house, the 20er Haus was continued as a branch . Since the start of operations at the Palais, the collection called itself Museum of Modern Art (since 1991 Museum of Modern Art Ludwig Foundation ), the MUMOK in 2001 moved to the newly built museum district.

From 29 March 2004 till the end of 2011 in the Palace was the Liechtenstein Museum, whose collection includes paintings and sculptures from five centuries. The collection is considered one of the largest and most valuable private art collections in the world, whose main base in Vaduz (Liechtenstein) is . As the palace, so too the collection is owned by the Prince of Liechtenstein Foundation .

On 15 November 2011 it was announced that the regular museum operating in the Garden Palace was stopped due to short of original expectations, visiting numbers remaining lower as calculated, with January 2012. The Liechtenstein City Palace museum will also not offer regular operations. Exhibited works of art would then (in the city palace from 2013) only during the "Long Night of the Museums", for registered groups and during leased events being visitable. The name of the Liechtenstein Museum will no longer be used.

de.wikipedia.org/wiki/Palais_Liechtenstein_(F%C3%BCrstengasse)

NY - Albany: Empire State Plaza - Cathedral Evening by Wally Gobetz

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The Cathedral Evening was executed in 1972 by Ronald Bladen. The 10-foot, 3-inch by 29-foot, 3-inch b 24-foot, 8-1/2-inch Cor-Ten steel sculpture was part of a collection amassed in the late 1960s and early 1970s, under the direction of New York's governor Nelson A. Rockefeller.

The Governor Nelson A. Rockefeller Empire State Plaza, commonly known as simply the Empire State Plaza or The South Mall, is a complex of government buildings bordered by Madison Avenue and State Street, Swan Street and Eagle Street. Built between 1965 and 1978, it covers 98 acres and houses 11,000 state employees in ten buildings. Conceived by former Governor Nelson Rockefeller in 1959 during a visit from Princess Beatrix of The Netherlands, the plaza is the largest state capital complex of unified architectural conception in the United States. The Plaza has been sharply criticized over the years for its size, cost and design.

Abstract Panel by Aidan McRae Thomson

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Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.

Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.

It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.

The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).

The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.

Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.

Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.

However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).

The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.

The cathedral is generally open to visitors most days. For more see below:-

www.coventrycathedral.org.uk/

SUTRA GURGAON (INDIAN OCEAN) by Shivangi Sinha

Sutra The Gastropub : A Bon Vivant’s delight

Sutra Gastropub which hosted a wonderful event with Signature Expressions and the cult band Indian Ocean this week has already become a very significant part of the party scene in Gurgaon’s Cyber Hub. The restaurant offers soups, salads, a wide variety of starters and serves cuisines like Indian, Italian, Moroccan, American and European.

I like the menu; it has hearty, trustworthy dishes that the chefs have managed to execute well. The well being of the flourishing, diverse and experimental food tradition in India rests in the hands of such restaurants.

Jhul e kabab @ SutraSpeaking of the well-written, hunger-inducing, gutsy menu, we read it and immediately knew what we wanted. Such a musical night with iconic singers and musicians called for a lot of finger food and signature cocktails. We ordered a “Manhattan” with Signature’s best whiskey, “Mustard Fish Tikka”, “Seekh-e-khas” and “Jujeh Kebabs”.

Alfresco dining, iconic music, and an extremely cosy restaurant, is all that we needed after a long hard day at work. The restaurant is well planned and spacious. There is dark-wood furniture. There are two bars with bar stools for people who wish to sit there and drink the bartenders interesting cocktail concoctions; they also have a wine rack. Indian ocean sutra

On a weekday (Wednesday), the place is bustling with people; I wasn’t at all surprised, most restaurants at Cyber Hub are thriving, every day is good business, weekends are especially brilliant.

IMG_2425And then the food starts to arrive and it’s clear everything is going to be great. The food is fresh, the drinks are well balanced and the staff is courteous. Check. Check. Check. The restaurant checks all the right boxes for me. For main course I got a thin crust “Chicken Pizza”. I expected it to be heavy but it turned out to be surprisingly light. It was an utterly guilt-free pizza with extremely coordinated ingredients.

Most evenings and weekends are special for the restaurant because they organise fun-filled events for their patrons. Anoop, who manages the place, and it feels very much like a one-man operation, clearly knows how to make customers feel at home.

There are chunky burgers with chicken and lamb; the meat is tender, well cooked and extremely delicious. This multi-cuisine restaurant does a mouth-watering molten brownie cake, chocolate tiramisu and some really interesting cheesecake to finish.

Sutra seems to be doing a great job because the evening was a raving success and went absolutely glitch free.

XOXO

Shivangi

(Shivangi Reviews)

Contact: shivangireviews@gmail.com

Find me on Facebook, search "Shivangi Reviews"

Published on: Live in Style by Shivangi Sinha

Winter's Gibbet by Sandra

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A Grim Tale:

In 1791 William Winter, Jane and Eleanor Clark were executed at the Westgate, Newcastle upon Tyne for the murder of Margaret Crozier. She was an old lady living alone miles from anywhere, making her an easy target for the traveller Winter and the Clark girls, a pair of tinkers, who accompanied him to rob and murder the old lady. They were soon caught and paid the price for their crime.

Following the execution the bodies were disposed of in different ways: the females dispatched to the surgeon's hall for dissection whilst the body of William Winter was hung in chains on the gibbet, which was within sight of the scene of his crime. His body was left to rot on the gibbet.

Later, a full wooden effigy took the place of Winter but now only the head remains.

Wien, 1. Bezirk, Stephansdom, la chiesa di Santo Stefano, la Catedral de San Esteban de Viena, La Cathédrale Saint-Étienne, St. Stephen's Cathedral, Vienna, Katedra św. Szczepana w Wiedniu (Stephansplatz) by Alfred Lex

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Klinkicht, Gerhard, * 1915, † 14.03.2000 Bavaria, Wehrmacht Captain. A commemorative plaque on St. Stephen's Cathedral (side of the gate Singertor) recalls that in April 1945 Klinkicht refused to execute the order to bombard the cathedral.

Klinkicht, Gerhard, * 1915, † 14.03.2000 Bayern, Wehrmachtshauptmann. Eine Gedenktafel am Stephansdom (Seite des Singertors) hält in Erinnerung, dass sich Klinkicht im April 1945 geweigert hatte, den Befehl zur Beschießung des Doms auszuführen.

Fire in St. Stephen's Cathedral: eyewitnesses cried in the face of devastation.

Despite great need after the war, the landmark of Austria was rebuilt within seven years.

04th April 2015

What happened in the heart of Vienna 70 years ago brought tears to many horrified residents. On 12 April 1945, the Pummerin, the largest bell of St. Stephen's Cathedral, fell as a result of a roof fire in the tower hall and broke to pieces. The following day, a collapsing retaining wall pierced through the vault of the southern side choir, the penetrating the cathedral fire destroyed the choir stalls and choir organ, the Imperial oratory and the rood screen cross. St. Stephen's Cathedral offered a pitiful image of senseless destruction, almost at the end of that terrible time when the Viennese asked after each bombing anxiously: "Is Steffl still standing?"

100 grenades for the cathedral

Already on April 10, the cathedral was to be razed to the ground. In retaliation for hoisting a white flag on St. Stephen's Cathedral, the dome must be reduced to rubble and ash with a fiery blast of a hundred shells. Such was the insane command of the commander of an SS Artillery Division in the already lost battle for Vienna against the Red Army.

The Wehrmacht Captain Gerhard Klinkicht, from Celle near Hanover, read the written order to his soldiers and tore the note in front of them with the words: "No, this order will not be executed."

What the SS failed to do, settled looters the day after. The most important witness of the events from April 11 to 13, became Domkurat (cathedral curate) Lothar Kodeischka (1905-1994), who, as the sacristan director of St. Stephen, was practically on the spot throughout these days. When Waffen-SS and Red Army confronted each other on the Danube Canal on April 11, according to Kodeischka a report had appeared that SS units were making a counter-attack over the Augarten Bridge. Parts of the Soviet artillery were then withdrawn from Saint Stephen's square. For hours, the central area of the city center was without occupying forces. This was helped by gangs of raiders who set fire to the afflicted shops.

As a stone witness to the imperishable, the cathedral had defied all adversity for over 800 years, survived the conflagrations, siege of the Turks and the French wars, but in the last weeks of the Second World War St. Stephen was no longer spared the rage of annihilation. Contemporary witness Karl Strobl in those days observed "an old Viennese lady who wept over the burning cathedral".

The stunned spectators of destruction were joined, according to press reports, by a man in baggy trousers and a shabby hat, who incidentally remarked, "Well, we'll just have to rebuild him (the dome)." It was Cardinal Theodor Innitzer. Only a few weeks later, on May 15, 1945, the Viennese archbishop proclaimed to the faithful of his diocese: "Helping our cathedral, St. Stephen's Cathedral, to regain its original beauty is an affair of the heart of all Catholics, a duty of honor for all."

April 1945

In April 1945, not only St. Stephen's Cathedral burned. We did some research for you this month.

April 6: The tallest wooden structure of all time, the 190 meter high wooden tower (short-wave transmitter) of the transmitter Mühlacker, is blown up by the SS.

April 12: Following the death of President Franklin D. Roosevelt, Harry S. Truman is sworn in as the 33rd US President.

April 13: Vienna Operation: Soviet troops conquer Vienna.

April 25: Björn Ulvaeus, Swedish singer, member of the ABBA group, is born.

April 27: The provisional government Renner proclaims the Austrian declaration of independence.

April 30: The Red Army hoists the Soviet flag on the Reichstag building. Adolf Hitler, the dictator of the Third Reich, commits suicide with Eva Braun.

Brand im Stephansdom: Augenzeugen weinten angesichts der Verwüstung.

Trotz großer Not nach dem Krieg wurde das Wahrzeichen Österreichs binnen sieben Jahren wieder aufgebaut.

04. April 2015

Was vor 70 Jahren im Herzen Wiens passierte, trieb vielen entsetzten Bewohnern die Tränen in die Augen. Am 12. April 1945 stürzte die Pummerin, die größte Glocke des Stephansdoms, als Folge eines Dachbrandes in die Turmhalle herab und zerbrach. Tags darauf durchschlug eine einbrechende Stützmauer das Gewölbe des südlichen Seitenchors, das in den Dom eindringende Feuer zerstörte Chorgestühl und Chororgel, Kaiseroratorium und Lettnerkreuz. Der Stephansdom bot ein erbarmungswürdiges Bild sinnloser Zerstörung, und das fast am Ende jener Schreckenszeit, in der die Wiener nach jedem Bombenangriff bang fragten: "Steht der Steffl noch?"

100 Granaten für den Dom

Bereits am 10. April sollte der Dom dem Erdboden gleichgemacht werden. Als Vergeltung für das Hissen einer weißen Fahne auf dem Stephansdom ist der Dom mit einem Feuerschlag von 100 Granaten in Schutt und Asche zu legen. So lautete der wahnwitzige Befehl des Kommandanten einer SS-Artillerieabteilung im schon verlorenen Kampf um Wien gegen die Rote Armee.

Der aus Celle bei Hannover stammende Wehrmachtshauptmann Gerhard Klinkicht las die schriftlich übermittelte Anordnung seinen Soldaten vor und zerriss den Zettel vor aller Augen mit den Worten: "Nein, dieser Befehl wird nicht ausgeführt."

Was der SS nicht gelang, besorgten einen Tag später Plünderer: Zum wichtigsten Zeugen der Geschehnisse vom 11. bis 13. April wurde Domkurat Lothar Kodeischka (1905–1994), der als Sakristeidirektor von St. Stephan in diesen Tagen praktisch durchgehend an Ort und Stelle war. Als am 11. April Waffen-SS und Rote Armee einander am Donaukanal gegenüberstanden, war laut Kodeischka die Nachricht aufgetaucht, SS-Einheiten würden einen Gegenstoß über die Augartenbrücke unternehmen. Teile der sowjetischen Artillerie wurden daraufhin vom Stephansplatz abgezogen. Für Stunden sei der zentrale Bereich der Innenstadt ohne Besatzung gewesen. Dies nützten Banden von Plünderern, die Feuer in den heimgesuchten Geschäften legten.

Als steinerner Zeuge des Unvergänglichen hatte der Dom über 800 Jahre hinweg "allen Widrigkeiten getrotzt, hatte Feuersbrünste, Türkenbelagerungen und Franzosenkriege überstanden. Doch in den letzten Wochen des Zweiten Weltkrieges blieb auch St. Stephan nicht mehr verschont vor der Wut der Vernichtung. Zeitzeuge Karl Strobl beobachtete damals "eine alte Wienerin, die über den brennenden Dom weinte".

Zu den fassungslosen Betrachtern der Zerstörung gesellte sich laut Presseberichten ein Mann in ausgebeulten Hosen und mit abgeschabtem Hut, der so nebenbei bemerkte: "Na, wir werden ihn (den Dom) halt wieder aufbauen müssen." Es handelte sich um Kardinal Theodor Innitzer. Nur wenige Wochen danach, am 15. Mai 1945, ließ der Wiener Erzbischof an die Gläubigen seiner Diözese verlautbaren: "Unsere Kathedrale, den Stephansdom, wieder in seiner ursprünglichen Schönheit erstehen zu helfen, ist eine Herzenssache aller Katholiken, eine Ehrenpflicht aller."

April 1945

Im April 1945 brannte nicht nur der Stephansdom. Wir haben für Sie recherchiert wa noch in diesem Monat geschah.

6. April: Das höchste Holzbauwerk aller Zeiten, der 190 Meter hohe Holzsendeturm des Senders Mühlacker, wird von der SS gesprengt.

12. April: Nach dem Tod von Präsident Franklin D. Roosevelt wird Harry S. Truman als 33. Präsident der USA vereidigt.

13. April: Wiener Operation: Sowjetischen Truppen erobern Wien.

25. April: Björn Ulvaeus, schwedischer Sänger, Mitglied der Gruppe ABBA, kommt zur Welt.

27. April: Von der provisorischen Regierung Renner wird die österreichische Unabhängigkeitserklärung proklamiert.

30. April: Die Rote Armee hisst die sowjetische Fahne auf dem Reichstagsgebäude. Adolf Hitler, der Diktator des Dritten Reiches, begeht mit Eva Braun Selbstmord.

www.nachrichten.at/nachrichten/150jahre/ooenachrichten/Vo...

1973 Tamaha TA125 For Sale by Steve Munro

A beautifully executed restoration of this this little 'giant killer' 125 (24BHP @ 12,500RPM). This machine came to the current owner from a collector in Florida and has very liitle time on it since the restoration. Frame # 400-999259, engine # AS3-990259.

Pretty, rare and competent machine.

More at www.vintagemotorcyclesforsale.ca

"Execute Order 66" by Garrett Salter

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Nebelhorn cable car - Nebelhornbahn by richard.von.lenzano@googlemail.de

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Nebelhorn cable car - Nebelhornbahn

The Nebelhorn cable car is executed in three sections cableway to the Nebelhorn, a mountain in the Allgäu Alps. On well 5.7 kilometers in length, it overcomes a height difference of about 1400 meters. It was built in 1928-1930 and 1977 and renewed in 1991 and is operated by the listed Nebelhorn cable car AG. Major shareholders of Nebelhorn cable car AG, Bayerische lifts mbH (a subsidiary of Lechwerke AG, Augsburg; share 26.86%), the Kleinwalsertaler Mountain Railroad, Inc. (26.01%) and the market town of Oberstdorf (25.21%

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Die Nebelhornbahn ist eine in drei Sektionen ausgeführte Luftseilbahn auf das Nebelhorn, einem Berggipfel in den Allgäuer Alpen. Auf gut 5,7 Kilometern Länge überwindet sie eine Höhendifferenz von etwa 1400 Metern. Sie wurde zwischen 1928 und 1930 errichtet und 1977 bzw. 1991 erneuert und wird von der börsennotierten Nebelhornbahn AG betrieben. Hauptaktionäre der Nebelhornbahn AG sind die Bayerische Bergbahnen Beteiligungsgesellschaft mbH (eine Tochter der Lechwerke AG, Augsburg; Anteil 26,86 % ), die Kleinwalsertaler Bergbahn AG (26,01 %) und die Marktgemeinde Oberstdorf (25,21 %)

- wikipedia -

violation of copyright will be

prosecuted

illegales downloaden meiner Bilder wird

automatisch strafrechtlich verfolgt

Richard von Lenzano

Operation Heamus by Greater Manchester Police

Three people have been arrested after early morning warrants were executed in Manchester.

Earlier this morning (Friday 29 November 2019), officers executed warrants at two addresses in Cheetham Hill and made three arrests in relation to an ongoing firearms investigation.

The action comes after GMP launched a dedicated operation – codenamed Heamus - earlier in the month. The operation is set to tackle a dispute between two local crime groups, following a series of firearms discharges which have taken place since the beginning of September 2019.

Superintendent Rebecca Boyce, of GMP’s City of Manchester division, said: “Following this morning’s direct action, we have three people in custody and I would like to thank those officers who have worked extremely hard as part of this ongoing operation and who are committed to keeping the people of Cheetham Hill safe.

“Whilst we believe that these incidents have been targeted, we understand and appreciate how concerned local residents may be and as a result of this have set up this dedicated operation. We want to reassure those who feel affected that we are doing all that we can and stress that we are treating these incidents as an absolute priority.

“This is a complex investigation, which brings its own challenges and whilst we have made arrests, we are continuing to appeal for the public’s help. We believe that answers lie within the community and would urge anyone with information to get in touch. Whether you want to speak to us directly, or whether you’d prefer to talk to Crimestoppers anonymously, please do so if you think you can assist our enquiries with even the smallest piece of information.

“We will continue to work closely with partners in order to disrupt this kind of activity and I hope that this morning’s action demonstrates that are working hard in order to prevent any further incidents and protect those in our communities.

“This type of criminal behaviour is reckless and dangerous- it will not be tolerated on our streets.”

Anyone with information should call 0161 856 1146, quoting incident number 2348 of 18/11/19. Reports can also be made anonymously to the independent charity Crimestoppers on 0800 555 111.

La fontaine des Trois Grâces et l'Opéra Comédie by Jean-Phi92

En juin 1770, les édiles montpelliérains prennent la décision d'élever une fontaine place de la Canourgue. L'effet de cette décision n'est pas immédiat puisqu'il faut attendre trois ans avant que le sculpteur Étienne Dantoine, ou d'Antoine, soit choisi.

L'œuvre est exécutée dans l'atelier du statuaire situé rue des Étuves. Elle est taillée dans un bloc de marbre de Carrare.

En 1776, l'ensemble du groupe — Grâces et putti dont certains jouent avec une tortue — est achevé et le travail officiellement « reçu ». Le monument n'est cependant pas installé. Un profond différend oppose en effet l'artiste à la municipalité qui invoque le non-respect des engagements quant au poids et à la qualité du marbre. Elle reproche aussi une mauvaise exécution de l'œuvre.

Lors du procès qui s'ensuit, les experts déclarent le groupe sculpté « digne de compliments » et le tribunal contraint la municipalité à régler à Dantoine le solde de son dû1.

C'est seulement en 1797, vingt-et-un ans après son achèvement, que le groupe des Trois Grâces reçoit enfin un emplacement, non place de la Canourgue comme prévu, mais place de la Comédie2. Il restera désormais à cet endroit, sur un socle de marbre blanc provenant du piédestal de la statue de Louis XIV abattue en 1792.

En fonction des nombreux, successifs et divers réaménagements de la place, la fontaine effectuera ultérieurement quelques déplacements subreptices.

En 1842, la vasque fissurée est réparée par le marbrier Hortoles. En 1893, la réfection du perron du théâtre amène à déplacer la fontaine de quelques mètres. Le sculpteur Auguste Baussan assure ce travail et dessine, pour servir d'écrin aux Trois Grâces, un grand refuge en forme d'œuf au centre de la place3.

En 1976, d'importants travaux de voirie ont pour conséquence un nouveau déplacement. En 1989, enfin, le délabrement de la sculpture dû à la pollution atmosphérique entraîne son enlèvement. Elle est remplacée par un moulage en résine.

C'est en janvier 2003 que la fontaine des Trois Grâces connaît son ultime transformation. Entièrement rénovée, elle présente désormais deux bassins superposés, des margelles de pierre avec rampe métal, des ruissellements et des jets croisés. La nuit, un éclairage bleu signale au passant ce monument historique classé, soulignant sa margelle, ses angelots et son caniveau extérieur.

La vasque d'origine, datée de 17974, a trouvé refuge au domaine de Vissec, situé près de l'abbaye de Valmagne.