The parish church of Burford, in the Cotswolds area of England, not only has a fascinating and absorbing churchyard, but also some interesting and eye-catching memorials inside.

This, for instance – an old plaque commemorating a gift to the poor from Ralph Willett in his will dated 28 March 1573:

'RALPH WILLET [sic] of Kingham Clerk Gave a Cow for ye Benefit of ye Poor which was afterwards Sold for £1 10s which Summ together with 10s added to it by ye Burgesses is Set out to Interest for ye Benefit of ye Poor.'

Willett left a cow to each of three almshouses in Burford, Chipping Norton and Stow on the Wold, for the relief of ‘the poor people there forever, provided that two or four honest men of each town will be bound to my Executors to maintain and keep the cows’.

And here, thanks to the meticulous work of the Oxfordshire Family History Society, is the original. For anyone interested in the development of the English language, this is fascinating:

‘I geve unto the three Almes houses that is the Almeshouse of Chepingnorton the Almes house of Burford and the Almes house of Stowe of the Wolde to everie of them a cowe to the mainten’nce of the poore people there for ever So that the honest men of everie towne twoe or fouer of them will be bounden to myne executours to mainteyne and kepe the said stoke to the relieve of the poore people there for ever.’

DIGITAL BUILD (not tested IRL)

This thing is like 10 ft wide. Built to scale with my Executor class and a number of my other ships.

I streamed almost the whole process on Twitch and will upload the vods to my YouTube. Built entirely within the month of September 2024.

Width: 362.2 Studs (114.1 In or 289.7 Cm)

Length: 81 Studs (25.5 In or 64.8 Cm)

Height: 23.3 Studs (7.3 In or 18.6 Cm)

Weight: 634.9 Oz or 17,998.6 G

Partscount: 21,259

Time Streamed: 107h:27m:20s+

mocpages.com/moc.php/324928

This Executor-Class Star Dreadnought was given out at the Star Wars Days 2015 by IdS in LEGOLAND Germany. The model was limited to 220 copies.

It was designed by me, based on a version of markus1984.

brick count 7312, 132cm long, 47cm wide.

{Credit}

- Top : [LOB] UNIVER SWEATSHIRT(Available @mainstore)

- Pant :Strunsh. Corum Jeans Shorts (Available @Mainstore)

- Candle : Heol Light Me Candle (Available @Harajuku Event)

Weapon : Trevor X Tanaka: [TNK x TRV] - EXECUTOR BLADE: FROSTBITE (Available @The Warehouse Event)

{Taxi}

-> Event :

- Harajuku Event : maps.secondlife.com/secondlife/Intimacy/119/65/2514

- The Warehouse Event : maps.secondlife.com/secondlife/Rotten/127/110/23

-> Mainstore :

- [LOB] : maps.secondlife.com/secondlife/Possession/62/33/25

- Strunsh : maps.secondlife.com/secondlife/Heartbreak/129/127/163

- Tanaka : maps.secondlife.com/secondlife/TOKYO%20ZERO/13/128/2500

{LINKTREE}

TREVOR - LINKTREE: linktr.ee/trevorios •

TANAKA - LINKTREE: linktr.ee/TANAKASL

Thank my sponsor for support my work :)

Building instructions and .ldr file available freely here. I strongly advise to have a look at it before doing anything.

Credits inside the building instructions. Enjoy!

Teylers Museum in Haarlem is genoemd naar Pieter Teyler van der Hulst (1702- 1778), een vermogende Haarlemse zijdefabrikant en bankier. Levend in de tijd van de Verlichting had hij grote belangstelling voor kunst en wetenschap. Vanuit de gedachte dat kennis de mensheid kon verrijken, legde hij op beide terreinen verzamelingen aan. In zijn testament bepaalde hij dat zijn vermogen moest worden ondergebracht in een stichting die onder meer de bevordering van kunst en wetenschap tot doel had.

De uitvoerders van Teylers testament besloten het eerste museum van Nederland te bouwen waarin voorwerpen van kunst en wetenschap verenigd zouden worden. De boeken dienden voor studie, de natuurkundige instrumenten werden gebruikt voor demonstraties, terwijl over de tekeningen werd gediscussieerd tijdens kunstbeschouwingen. Fossielen en mineralen speelden een rol bij de openbare lessen.

Achter Teylers woning in de Damstraat werd een ‘boek- en konstzael' gebouwd. Deze Ovale Zaal werd in 1784 opengesteld voor bezoekers en is sindsdien vrijwel onveranderd gebleven. Teylers Museum is hiermee het eerste museum van Nederland, dat vanaf 1784 onafgebroken voor het publiek is opengesteld en waar de collecties in hun authentieke samenhang te zien zijn. Het gebouwencomplex van Teylers Museum beslaat meer dan 200 jaar bouwgeschiedenis.

Bron: www.teylersmuseum.nl/nl/collectie/gebouw-en-geschiedenis/...

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Teylers Museum in Haarlem is named after Pieter Teyler van der Hulst (1702-1778), a wealthy Haarlem silk manufacturer and banker. Living during the time of the Enlightenment, he had a great interest in art and science. Based on the idea that knowledge could enrich humanity, he built collections in both areas. In his will he stipulated that his assets should be placed in a foundation whose aim, among other things, was to promote art and science.

The executors of Teyler's will decided to build the first museum in the Netherlands in which objects of art and science would be united. The books were for study, the physics instruments were used for demonstrations, while the drawings were discussed during art appreciation sessions. Fossils and minerals played a role in the public lessons.

A 'book and art hall' was built behind Teyler's house in Damstraat. This Oval Hall was opened to visitors in 1784 and has remained virtually unchanged since then. Teylers Museum is the first museum in the Netherlands that has been open to the public continuously since 1784 and where the collections can be seen in their authentic context. The building complex of Teylers Museum covers more than 200 years of construction history.

The Grade II* Listed Penny's Almshouses and Chapel which were founded in 1720 and built by the executors of William Penny's will, off Kings Street in Lancaster, Lancashire.

Two rows of six almshouses opposite each other, with a chapel at the west end and an arched entrance gateway at the east, all in sandstone, forming a courtyard. The houses are in a single storey, each with one bay, mullioned and transomed windows, and a gable with a ball finial. The chapel has a round-headed doorway, a bellcote, and a shaped gable with a ball finial.

William Penny, who lived 1646 - 1716, occupied various positions on the Town Council and was three times Mayor of Lancaster. When King Street was widened in the early 20th Century the two almshouses nearest the road were demolished, the screen wall rebuilt in its present position, the chapel shortened, and two new almshouses built next to the chapel.

Photo taken in Rome.

Former London Transport,now in Samuel Leghard colours,AEC Regent III,MXX232, is seen arriving at Sywell aerodrome for the BUSES Festival 2022.

Samuel Ledgard (1874–1952) was a Leeds entrepreneur who became a major West Yorkshire Independent bus operator. Following his death in 1952, his executors continued to operate the Samuel Ledgard bus company until 1967, when it was acquired by the West Yorkshire Road Car Company.

Building instructions and .ldr file available freely here. I strongly advise to have a look at it before doing anything.

Credits inside the building instructions. Enjoy!

The Fabyan Windmill is an authentic, working Dutch windmill dating from the 1850's and located in Geneva, Kane County, Illinois, just north of Batavia, Illinois. The five-story wooden smock mill with a stage, which stands 68 ft (21 m) tall, sits upon the onetime estate of Colonel George Fabyan, but is now part of the Kane County Forest Preserve District.

In 1979, the windmill was listed on the National Register of Historic Places. The following year, the windmill was selected to be on a U.S. postage stamp, as part of a series of five windmills in a stamp booklet called "Windmills USA."[2][3] It originally operated as a custom grinding mill.[2]

During the mid-19th century, the Fabyan Windmill was constructed by German craftsmen on a site in what is now Lombard, IL By the early 20th century, the windmill had fallen into a state of disrepair. In 1914, George Fabyan purchased it for approximately $8,000. He then had it moved to its present location in July 1915.

George Fabyan died in 1936, and his wife died two years later. The estate was then sold by the executors of the will to the Kane County Forest Preserve District for $70,500.

Just when you thought I was all about Lego custom cars I get my geek on with one of my fave Star Wars ships, the A-Wing Fighter! It comes complete with an opening canopy, rotating laser cannons and top notch detail all around. Its dubbed as the fastest one-man fighter on the Rebel Alliance fleet and apparently takes hair trigger reflexes and a touch of insanity to pilot. One of these little buggers single-handedly took down the Super Star Destroyer, Executor when it crashed into the bridge which in turn spun out of control and obliterated the second Death Star while it was still in construction. You can see this Lego creation as well as thousands of others at Brickcon08 at Seattle Center Exhibition Hall October 4th and 5th from 11am-3pm.

Ucero, Soria, Castilla y León, España.

Ucero es una villa y también un municipio de la provincia de Soria, partido judicial de Burgo de Osma, comunidad autónoma de Castilla y León, en España.

Dista 63,2 kilómetros de la capital y se encuentra a una altitud de 964 metros en la carretera que conduce de El Burgo de Osma a San Leonardo.

Junto con Herrera de Soria y Nafría de Ucero regenta un condominio conocido como Comunidad de Herrera de Soria, Nafría de Ucero y Ucero, con una extensión superficial de 384,84 hectáreas.

El señorío de Ucero perteneció en el siglo XIII a Juan García de Ucero, esposo de María de Meneses, y a la muerte de aquel, su esposa lo heredó y se lo entregó a la hija ilegítima que tuvo con el rey Sancho IV de Castilla, Violante Sánchez de Castilla.

Y en un documento emitido el 13 de noviembre de 1325 en Aviñón, el papa Juan XXII encomendó al arzobispo de Toledo, Juan de Aragón, que siguiera la causa o pleito que mantenían Violante Sánchez y el obispo de Osma, Juan Pérez de Ascarón, por la posesión del señorío de Ucero, que pertenecía legalmente a ella por la herencia de su madre y había sido ocupado y retenido ilegalmente por dicho obispo, según ella, desde que aquel lo compró el 23 de mayo de 1302 por 300.000 maravedís, y junto con otras propiedades, a los albaceas de Juan García de Villamayor, según consta en la escritura de venta publicada en el tomo II de las Memorias de Fernando IV de Castilla.​ Pero a pesar de lo anterior, Violante continuó considerándose propietaria del señorío y en 1327 lo donó, junto con el resto de sus posesiones, a la Orden de Santiago, a pesar de que el señorío de Ucero perteneció desde 1302 definitivamente a los obispos de Osma.​

En el Censo de 1879, ordenado por el Conde de Floridablanca,​ figuraba como villa cabecera del Partido de Ucero en la Intendencia de Soria, con jurisdicción de abadengo y bajo la autoridad del Alcalde Mayor de Señorío, nombrado por el Obispo de Osma. Contaba entonces con 232 habitantes.

A la caída del Antiguo Régimen la localidad de constituye en municipio constitucional en la región de Castilla la Vieja​ que en el censo de 1842 contaba con 38 hogares y 150 vecinos.

Ucero is a town and also a municipality in the province of Soria, judicial district of Burgo de Osma, autonomous community of Castilla y León, in Spain.

It is 63.2 kilometers from the capital and is located at an altitude of 964 meters on the road that leads from El Burgo de Osma to San Leonardo.

Together with Herrera de Soria and Nafría de Ucero he runs a condominium known as Comunidad de Herrera de Soria, Nafría de Ucero and Ucero, with a surface area of ​​384.84 hectares.

The lordship of Ucero belonged in the thirteenth century to Juan García de Ucero, husband of María de Meneses, and upon his death, his wife inherited it and gave it to the illegitimate daughter he had with King Sancho IV of Castile, Violante Sánchez of Castilla.

And in a document issued on November 13, 1325 in Avignon, Pope John XXII entrusted the Archbishop of Toledo, Juan de Aragón, to follow the cause or lawsuit maintained by Violante Sánchez and the Bishop of Osma, Juan Pérez de Ascarón, for the possession of the lordship of Ucero, which legally belonged to her by inheritance from her mother and had been illegally occupied and retained by said bishop, according to her, since he bought it on May 23, 1302 for 300,000 maravedís, and together with other properties, to the executors of Juan García de Villamayor, as recorded in the deed of sale published in Volume II of the Memoirs of Fernando IV of Castile. But despite the above, Violante continued to consider herself the owner of the manor and in 1327 He donated it, along with the rest of his possessions, to the Order of Santiago, despite the fact that the dominion of Ucero belonged definitively from 1302 to the bishops of Osma.

In the 1879 Census, ordered by the Count of Floridablanca, it appeared as the head town of the Ucero Party in the Municipality of Soria, with jurisdiction of abadengo and under the authority of the Mayor of Señorío, appointed by the Bishop of Osma. It then had 232 inhabitants.

At the fall of the Old Regime, the town of constitutes a constitutional municipality in the region of Castilla la Vieja, which in the 1842 census had 38 homes and 150 neighbors.

Just down from where I took the SSC shot of Southampton Water an old Abbey can be found through what looks like the entrance to a everyday house . In the hands of English Heritage it can be visited free of charge during set opening times .

Now the abbey looks in on itself, one of the most complete and certainly the most beautiful Cistercian monastery in southern England. It is free to wander into and it captures the heart and mind in an instant. Its more recent history is bound up with artists, poets and others of artistic bent as many have tried to capture its beauty. John Constable painted it, as did Francis Towne, George Keats was moved to write a poem about the ruins and so was William Sotheby who chose to write an ode at midnight, an allusion maybe to the ‘other worldly’aspect of the Abbey’s history. Just to imagine those people here observing and working is enough to send goose pumps.

Netley Abbey was founded by a small group of monks who were following the will of the Bishop of Winchester ,Peter de Roches. He died in 1238 but he had made plans for the foundation of an abbey at Netley that was to be a daughter abbey to the great Beaulieu Abbey in the New Forest.

After the death of Peter de Roches

Peter de Roches may have made plans for Netley Abbey but died before he could complete them or carry them out. It was left to his executors to put the final plans into place. Over the water of the River Itchen from the New Forest, Peter de Roches had found the perfect spot. He purchased lands around about from which they could derive an income and so it was that in June 1239, a colony of monks arrived from Beaulieu and thus began the existence of Netley Abbey.

The house was dedicated to the Blessed Virgin and Saint Edward the Confessor, as a result of this it was known as Edwardstowe. King Henry III, (Henry of Winchester), in whose reign the abbey was built, made several early donations to the house and by 1251 seems to have regarded himself its patron and founder. In fact the inscriptions at the base of the four great piers at the transept crossing, commemorate the construction of the abbey church by King Henry III. It reads; ‘Henry, by the grace of God, King of England’

The church is immense and towers above the viewer, with its roof on it must have been a beautiful structure, with the roof off it still is.

The early grounds of Netley Abbey went right down to the shoreline. Its gatehouse was situated close to the shoreline. It is interesting that King Henry VIII saw merit in its position and converted it into one of his southern shore forts and the house that is now Netley Castle was built in the C19th on these Tudor foundations.

Netley Abbey in the C14th

During the C13th the abbey prospered and the number of monks and lay -brothers increased. The abbey did not seem to raise itself to any great status however and by about 1328 the house was experiencing some financial difficulties and the community was forced to sell much of its property. This financial pressure may have come about because of its proximity to the coast. Mariners passing through could demand hospitality and care. The King himself and his household were also demanding of the abbey’s provisions including their livestock. The abbey site was also large and needed a great deal of upkeep. The Black Death of 1348 added to its woes and Netley Abbey became a poor and undistinguished Cistercian house. It seems that the impoverishment of the abbey can be largely attributed to its position on the south coast.

Netley Abbey and the Dissolution

At the time of Dissolution only seven monks remained at the abbey, incredible when you look at the abbey ruins and the annual net income was valued at £100. The house was dissolved with the smaller monasteries in 1536. Following the Dissolution, the site was granted to Sir William Paulet, he converted the monastery into a Tudor mansion. His work can be seen in the red brick that pokes through the structure here and there. The site was occupied by the Paulet family until the late C17th, when the property was sold to a Southampton builder called Taylor and it is with him that the ‘other worldly’ stories about the abbey seem to have originated. He intended to demolish the entire church but while supervising the demolition of the west end Taylor was crushed to death by the falling tracery of the west window. This was interpreted as a sign that the building should not be demolished and so thankfully, no more demolition took place and the property remained in private ownership until 1922 when it was given over to the Ministry of Works.

The Abbey as a tourist site

A brief walk around the ruins soon alerts you to the fact that Netley Abbey has attracted visitors for hundreds of years. One of them a painter from London who made the journey in 1839, 600 years after its founding, maybe inspired by the other great artists who felt drawn to capture the mood. The incredibly slender tracery of the windows perched so impossibly high and every corner hinting at the possibility of a monk turning it, adds to the feeling that here, in Netley Abbey time has stopped.

Taken from Hampshire History .

"No Disintegrations!" I present my interpretation of the classic scene from Empire Strikes Back, complete with lighting and non-slip design to hold books nicely. Instructions available here, rebrickable.com/users/IScreamClone/mocs/

When the Piccadilly line of London Underground was extended to the city's main airport at Heathrow on 16 December 1977 the platform design included the splendid mural panels by Tom Eckersley. They show the tail fin of Concorde, the joint Anglo-French aircraft operated by British Airways and Air France. They continued the tradition of platform artwork or symbols that was seen most obviously on the Victoria line from the late 1960s.

In c.2012 the station, then renamed as Heathrow Terminals 1, 2 & 3, was extensively refurbished and it became obvious to those of us involved in the scheme, that the existing panels would not match the colours of the new platform tiling. The artwork was therefore, with Eckersley's executors agreement, amended to show the same design but in different colourways. The original panels were donated to various museums and collections that included the National Museums of Scotland. I took this photograph of an object that I had significant involvement with in 2017 when I visited Edinburgh and found the mural on display in the Chambers St. Museum.

I've gotten many requests for midi-scale Executor instructions, which has now been (mostly) addressed by fellow flickr user davidkfraser who has built a nearly identical Super Star Destroyer in LDD:

Download LDD file (brickshelf)

This has started a discussion of the differences between his model and mine (particularly the interior A-frame), which has finally gotten me to pull the superstructure off my Executor and take some pictures for you guys. :D

-----------------

So here it is: my messy Technic A-frame. It is designed to be as thin as possible (keeping the ship from being too tall) and to allow me to build everything with studs-out, including the bottom. Unfortunately I don't have the angle quite right, which is why there is such a gap between the hull plates. I think I had the angle just right at one point, but then extended the length of the model (forcing me to adjust the A-frame) and the Technic math just doesn't quite work out. I may give davidkfraser's clips and plates A-frame a try, though I'm wary of disassembly any of this thing!

Hello to everyone again, Thank you all for your lovely words and thoughts it helped me, I still have a way to go to get through what my father requested of me as executor, and with my family turning on me, it has been a rather traumatic two weeks, I feel like I have actually lost all my remaining family, greed does funny things to people I have found out, unfortunately the hard way.

So bear with me, I have not been able to get to a computer for nearly three weeks, so I will endeavour to get to all your new photos ASAP. I have missed this family !

Get here a large view!

Mespelbrunn Castle is a medieval moated castle on the territory of the town of Mespelbrunn, between Frankfurt and Würzburg, built in a remote tributary valley of the Elsava valley, within the Spessart forest. One of the most visited water castles in Germany, it is frequently featured in tourist books.

The first precursor of Mespelbrunn Castle was a simple house. The owner was Hamann Echter, vizedom of Aschaffenburg, a title which means that he was the representant of the ruler the prince elector archbishop of Mainz Johann II of Nassau at the castle and town of Aschaffenburg. On May 1, 1412, the prince elector bestowed the „Place to the Espelborn" to Echter, who constructed a house without fortifications in the valley close to a pond. The Echter family originates from the Odenwald region. Their name presumably means "der die Acht vollstreckt", the executor of the ostracism. These times, the Spessart was a wild and unexploited virgin forest, used for hideout by bandits and Hussites, who spoiled the regions nearby. Therefore in 1427 Hamann Echter, the son of the first owner, began to rebuild his father's house to a fortified castle with walls, towers and a moat, therefore using the nearby pond.

Only the "Bergfried", the round tower is a reminiscent of that time. The following generations changed the defense structures to a representative manor-house, mainly build in the style of Renaissance. Today's appearance primary is the result of rebuildings, made between 1551 and 1569 by Peter Echter of Mespelbrunn and his wife Gertraud of Adelsheim.

Most famous member of the family was Julius Echter, prince bishop of Würzburg, who founded the Juliusspital, a hospital in Würzburg in 1576 and the university of Würzburg in 1583.

In 1648, the last member of the family, Maria Ottilia, Echterin of Mespelbrunn, married Philipp Ludwig, of Ingelheim, member of a family of barons, later arose to counts of Ingelheim. By permission of the emperor the name of the Echter family was saved, because they were allowed to merge their names to Counts of Ingelheim called Echter of and to Mespelbrunn.

From Wikipedia, the free encyclopedia

The Fabyan Windmill is an authentic, working Dutch windmill dating from the 1850's and located in Geneva, Kane County, Illinois, just north of Batavia, Illinois. The five-story wooden smock mill with a stage, which stands 68 ft (21 m) tall, sits upon the onetime estate of Colonel George Fabyan, but is now part of the Kane County Forest Preserve District.

In 1979, the windmill was listed on the National Register of Historic Places. The following year, the windmill was selected to be on a U.S. postage stamp, as part of a series of five windmills in a stamp booklet called "Windmills USA."[2][3] It originally operated as a custom grinding mill.[2]

During the mid-19th century, the Fabyan Windmill was constructed by German craftsmen on a site in what is now Lombard, IL By the early 20th century, the windmill had fallen into a state of disrepair. In 1914, George Fabyan purchased it for approximately $8,000. He then had it moved to its present location in July 1915.

George Fabyan died in 1936, and his wife died two years later. The estate was then sold by the executors of the will to the Kane County Forest Preserve District for $70,500.

brick count 7312

brick count 7312, 132cm long, 47cm wide.

Standards for vehicles are Dk. Bley and Black, with silver caution striping and Dk Tan Highlights.

Minifig standards are as seen above, Tan arms for pilots and vehicle operators, black and Dk. Bley for soldiers.

VTOL WIP will be posted tomorrow.

(there is always a progress and this Executor have new version again...)

Description in english below.

More photos on my page.

Plus de photos sur ma page.

Le super destroyer à l’arrière plan est la pour représenter le Poing d’Acier, le vaisseau Amiral de l’amiral Zsinj, et conçut par cereal eating builder lien vers sa création : www.flickr.com/photos/66888731@N04/49932727888/in/datepos...

Ce modèle de tie fut uniquement utilisé par les pilotes de l’Amiral Zsinj.

Parlons du gars. Si Timothy Zhan s’est inspiré de Sherlock Holmes pour le grand Amiral Zahn, je suspecte fortement l’auteur responsable de la création de Zsinj (Aaron Alston ?) de s’être inspiré d’Hercule Poirot. Petit, moustachu et ventripotent, adepte du ridicule pour être sous-estimé, et redoutablement intelligent et cultivé. Moi ça me fait furieusement penser à Hercule Poirot.

Bref, Zsinj a peut-être été responsable du design du Tie Raptor. Objectivement, c’est le design de Tie le plus logique que je connaisse. Mieux armé que le Tie classique (4 blasters, 2 lances missiles) il est plus rapide (entre le Tie classique et l’interceptor) et tout aussi maniable. Autre point fort du Raptor : La disposition et la taille de ses ailes, donnent un meilleur champ de vision au pilote, tout en offrant une cible plus petite à l’adversaire. De plus certains modèles furent équipés d’un boulier, mais pas d’Hyperdrive cependant.

Si la forme en x des ailes peut rappeler les X-wing, celles-ci ne sont cependant pas mobiles contrairement au X-wing.

Concernant le moc proprement dit. J’ai un peu galéré. Ce qui passe sur le logiciel studio, ne passe pas nécessairement irl. La boule centrale dut facile à faire, mais les ailes étaient trop en pression contre la courbure du cockpit, j’ai du modifier mes plan initiaux.

Question solidité : Pas terrible…

Cela tient en place, mais il ne faut pas trop remuer l’engin sous peine de voir les ailes se décrocher.

The Executor-class Star Dreadnought in the background is there to represent the Iron Fist, the flagship of Admiral Zsinj, and is designed by "cereal eating builder" link to its creation: www.flickr.com/photos/66888731@N04/49932727888/in/datepos...

This Tie only used by Admiral Zsinj's pilots.

Let's talk about the guy. If Timothy Zhan was inspired by Sherlock Holmes for the great Admiral Zahn, I strongly suspect that the author responsible for the creation of Zsinj (Aaron Alston?) was inspired by Hercule Poirot. Short, mustachioed and a little fat, adept at ridicule to be underestimated, and fearfully intelligent and cultured. It makes me furiously think of Hercule Poirot.

In short, Zsinj may have been responsible for the design of the Tie Raptor. Objectively, it's the most logical Tie design I know. Better armed than the classic Tie (4 blasters, 2 missiles launchers) it is faster (between the classic Tie and the interceptor) and just as easy to handle. Another strong point of the Raptor : The layout and the size of its wings, give a better field of vision to the pilot, while offering a smaller target to the opponent. In addition, some models were equipped with an shield, but no Hyperdrive however.

If the x-shape of the wings can remind the X-wing, they are not mobile unlike the X-wing.

Concerning the moc itself. I had a little trouble. What goes on the studio software, does not necessarily go well irl. The center ball was easy to make, but the wings were too much pressure against the cockpit curvature, I had to modify my initial plan.

Concerning the moc Solidity : Not so good...

This holds in place, but you shouldn't shake the gear too much or the wings will fall.

Originally dating to around 1320, the building is important because it has most of its original features; successive owners effected relatively few changes to the main structure, after the completion of the quadrangle with a new chapel in the 16th century. Pevsner described it as "the most complete small medieval manor house in the county", and it remains an example that shows how such houses would have looked in the Middle Ages. Unlike most courtyard houses of its type, which have had a range demolished, so that the house looks outward, Nicholas Cooper observes that Ightham Mote wholly surrounds its courtyard and looks inward, into it, offering little information externally.[9] The construction is of "Kentish ragstone and dull red brick,"[10] the buildings of the courtyard having originally been built of timber and subsequently rebuilt in stone.[11]

The moat of Ightham Mote

The house has more than 70 rooms, all arranged around a central courtyard, "the confines circumscribed by the moat."[10] The house is surrounded on all sides by a square moat, crossed by three bridges. The earliest surviving evidence is for a house of the early 14th century, with the great hall, to which were attached, at the high, or dais end, the chapel, crypt and two solars. The courtyard was completely enclosed by increments on its restricted moated site, and the battlemented tower was constructed in the 15th century. Very little of the 14th century survives on the exterior behind rebuilding and refacing of the 15th and 16th centuries.

The structures include unusual and distinctive elements, such as the porter's squint, a narrow slit in the wall designed to enable a gatekeeper to examine a visitor's credentials before opening the gate. An open loggia with a fifteenth-century gallery above, connects the main accommodations with the gatehouse range. The courtyard contains a large, 19th century dog kennel.[12] The house contains two chapels; the New Chapel, of c.1520, having a barrel roof decorated with Tudor roses. [13] Parts of the interior were remodelled by Richard Norman Shaw.[14] wikipedia

16th century-late 19th century

The house remained in the Selby family for nearly 300 years.[3] Sir William was succeeded by his nephew, also Sir William, who is notable for handing over the keys of Berwick-upon-Tweed to James I on his way south to succeed to the throne.[4] He married Dorothy Bonham of West Malling but had no children. The Selbys continued until the mid-19th century when the line faltered with Elizabeth Selby, the widow of a Thomas who disinherited his only son.[5] During her reclusive tenure, Joseph Nash drew the house for his multi-volume illustrated history Mansions of England in the Olden Time, published in the 1840s.[6] The house passed to a cousin, Prideaux John Selby, a distinguished naturalist, sportsman and scientist. On his death in 1867, he left Ightham Mote to a daughter, Mrs Lewis Marianne Bigge. Her second husband, Robert Luard, changed his name to Luard-Selby. Ightham Mote was rented-out in 1887 to American Railroad magnate William Jackson Palmer and his family. For three years Ightham Mote became a centre for the artists and writers of the Aesthetic Movement with visitors including John Singer Sargent, Henry James, and Ellen Terry. When Mrs Bigge died in 1889, the executors of her son Charles Selby-Bigge, a Shropshire land agent, put the house up for sale in July 1889.[6]

Late 19th century-21st century

The Mote was purchased by Thomas Colyer-Fergusson.[6] He and his wife brought up their six children at the Mote. In 1890-1891, he carried out much repair and restoration, which allowed the survival of the house after centuries of neglect.[7] Ightham Mote was opened to the public one afternoon a week in the early 20th century.[7]

Sir Thomas Colyer-Fergusson's third son, Riversdale, died aged 21 in 1917 in the Third Battle of Ypres, and won a posthumous Victoria Cross. A wooden cross in the New Chapel is in his memory. The oldest brother, Max, was killed at the age of 49 in a bombing raid on an army driving school near Tidworth in 1940 during World War II. One of the three daughters, Mary (called Polly) married Walter Monckton.

On Sir Thomas's death in 1951, the property and the baronetcy passed to Max's son, James. The high costs of upkeep and repair of the house led him to sell the house and auction most of the contents. The sale took place in October 1951 and lasted three days. It was suggested that the house be demolished to harvest the lead on the roofs, or that it be divided into flats. Three local men purchased the house: William Durling, John Goodwin and John Baldock. They paid £5,500 for the freehold, in the hope of being able to secure the future of the house.[8]

In 1953, Ightham Mote was purchased by Charles Henry Robinson, an American of Portland, Maine, United States. He had known the property when stationed nearby during the Second World War. He lived there for only fourteen weeks a year for tax reasons. He made many urgent repairs, and partly refurnished the house with 17th-century English pieces. In 1965, he announced that he would give Ightham Mote and its contents to the National Trust. He died in 1985 and his ashes were immured just outside the crypt. The National Trust took possession in that year.[8]

In 1989, the National Trust began an ambitious conservation project that involved dismantling much of the building and recording its construction methods before rebuilding it. During this process, the effects of centuries of ageing, weathering, and the destructive effect of the deathwatch beetle were highlighted. The project ended in 2004 after revealing numerous examples of structural and ornamental features which had been covered up by later additions.[1]

brick count 7312, 132cm long, 47cm wide.

More information here about how I took this photo.

Building instructions and .ldr file available freely here. I strongly advise to have a look at it before doing anything.

Credits inside the building instructions. Enjoy!

Minor design changes may occur during the life of the MOC. When implemented, I make a new post in the album as soon as the building instructions are updated and available (the .zip file will indicate the date of the revision)

brick count 7312, 132cm long, 47cm wide.

Hughenden Manor, Hughenden, Buckinghamshire, England, is a Victorian mansion, with earlier origins, that served as the country house of the Prime Minister, Benjamin Disraeli, 1st Earl of Beaconsfield. It is now owned by the National Trust and open to the public. It sits on the brow of the hill to the west of the main A4128 road that links Hughenden to High Wycombe.

History

The manor of Hughenden is first recorded in 1086, as part of Queen Edith's lands, and held by William, son of Oger the Bishop of Bayeux, and was assessed for tax at 10 hides. After his forfeiture, the lands were held by the Crown, until King Henry I of England gave the lands to his chamberlain and treasurer, Geoffrey de Clinton.[1] Clinton, whose main home was in Kenilworth, Warwickshire, had the lands tenanted by Geoffrey de Sancto Roerio, who resultantly changed his surname to the Anglicised Hughenden.[1] After passing through that family, with successive Kings having to confirm the gift of the lands, the manor returned to the Crown in the 14th century.[1] In 1539, the Crown granted the manor and lands to Sir Robert Dormer, and it passed through his family until 1737 when it was sold by the 4th Earl of Chesterfield to Charles Savage.[1]

After passing through his extended family following a series of deaths and resultant devises by will, by 1816 the manor and lands were owned by John Norris, a distinguished antiquary and scholar.[1] Isaac D'Israeli, the father of Benjamin Disraeli, Prime Minister of the United Kingdom (1868 and 1874–1880, and Earl of Beaconsfield 1876), had for some time rented the nearby Bradenham Manor and, following Norris's death in 1845, bought the manor and lands from his executors in 1847.[1] The purchase was supported with the help of a loan of £25,000 (equivalent to almost £1,500,000 today) from Lord Henry Bentinck and Lord Titchfield. This was because at the time, as Disraeli was the leader of the Conservative Party, "it was essential to represent a county," and county members had to be landowners.[2] Taking ownership of the manor on the death of his father in 1848, Disraeli and his wife Mary Anne, alternated between Hughenden and several homes in London.

Une petite fantaisie d'après une retouche photo de l'Executor sur son étagère... retouche au niveau ventral (sommaire) et intégration dans un fond étoilé.

Marley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner: Ebenezer Scrooge, signed it; and Scrooge and Marley were business partners for I don’t know how many years. Scrooge was his sole executor, his sole administrator, his sole assign, his sole residuary legatee, his sole friend, and sole mourner. And even Scrooge was not so dreadfully cut up by the sad event, but that he was an excellent man of business on the very day of the funeral, and solemnised it with an undoubted bargain. There is no doubt it, old Jacob Marley was as dead as a door-nail. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate.

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 2013, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.

Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her ​​royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble ​​between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater at the end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.

The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.

1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.

Directorate Claus Peymann 1986-1999

Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.

In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.

Directorate Klaus Bachler 1999-2009

Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."

The Burgtheater on the Mozart Year 2006

Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.

Directorate Matthias Hartmann since 2009

From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .

Since 2014, Karin Bergmann is the commander in chief.

The present Prince Consort Hotel, a three-storeyed masonry building, was erected in 1887 - 1888 for Brisbane publican John Daniel Heal.

It was the second Prince Consort Hotel to occupy the site. The first was built circa 1863 and leased by Heal. In 1879 Heal purchased the hotel and by 1887 he had acquired several adjoining subdivisions as well. The old building was demolished and its larger replacement took twelve months to build.

The new Prince Consort Hotel was designed by architect Richard Gailey, who called tenders in mid-1887.

It was erected by contractor William Ferguson at a cost of £9400, and was completed in August 1888. Ferguson died before the hotel was finished, but the contract was completed by his executors.

Its construction in the 1880s reflected the general building boom in Queensland which accompanied a period of unprecedented economic growth. During the second half of the 1880s, Valley residents witnessed the construction of four large hotels all designed by architect Richard Gailey. The Wickham (1885), the Empire (1887), the Jubilee (1887) and the Prince Consort contained extensive accommodation and were located on prominent sites. Gailey also designed the Regatta Hotel at Toowong in 1886.

When completed, the new Prince Consort boasted one of the largest bars in Brisbane, three parlours, a large dining room, billiard room, kitchen, cellar, six bathrooms and twenty-eight bedrooms. Four large shops were also built on the ground floor.

Running the whole length of the first floor facade was a reception area, known as the Club Room, divided by a folding partition into two rooms. It was a regular meeting venue for local Valley groups such as lodges.

In 1935 the hotel underwent alterations and additions, the architect was J P Donoghue and the contractor J Corbett. The hotel's curved, post-supported awning was probably replaced with the flat cantilevered awning at this time.

Source: Queensland Heritage Register.

Tommy Oliver has been brain washed into becoming Rita Repulsa's mighty executor.

With his Dragon Dagger he can summon The Dragon Zord.

On the off chance I peg it from swine flu - the cat inherits my comic book collection. It should keep her in whiskas (or maybe even Iams) for the rest of her days. Now, who will be executor of my estate? Bueller? Bueller?

1973 BMW 3.0 CSL.

No DVLA records.

Anglia Car Auctions, King's Lynn -

"MoT Jun 2019

Chassis number: 2285253

Offered on behalf of the executors. This UK market example was rebuilt over a ten year period by the late owner, a serial BMW collector and great friend of ours, and was converted to left‑hand drive, we believe, for use at his holiday home. Close friendships with key figures within BMW Motorsport, facilitated the purchase of many genuine 'Batmobile' parts, and, with the necessity of trouble free motoring in sunnier climes, an M30 3.5 litre engine, connected to a dog leg ZF five speed gearbox has been utilised. Not one for the purist, but a great driving, and looking, example of one of Munich's greats. A V5 needs to be applied for by the new owner. It comes without documentation. The MoT history print‑out covers from 2014 to current. Odometer records 66,590 miles."

Sold for £78,440 including premium.

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► Instructions for the model available on thecreatorrmocs.com

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Recreate the iconic bounty hunter briefing with my new LEGO® brick diorama featuring a cutout of the Super Star Destroyer Executor’s command bridge as shown in Star Wars: The Empire Strikes Back.

Features one crew pit with printed control consoles and seats for 3x minifigures, a side viewport, and more. The model includes a total of 1175 pieces. An all-black frame makes for a premium display.

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Visit me on Instagram

www.mecabricks.com/ru/models/PKbjQ149jdG

Dionysos's discovery of Ariadne on Naxos [3rd-4th C AD] - Syria - Kyoto, Japan, Miho Museum - wm; Kimon Berlin

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Surrounded by a running wave pattern that may allude to the island setting of the story, the main scene is framed on each side by a long, rectangular border with a central figural vignette. To the sides of the vignettes are three-dimensionally rendered meanders. In the corners are figural busts. From the orientation of the main panel, the vignettes above and below it, and the busts, the best vantage point for viewing the composition was from the bottom of the central composition. The two vignettes on the sides are oriented so that the bottom of their scenes is turned outward from the central panel. The vignette at the top, in which the central figure is a replacement, shows three men in a canopied boat, perhaps on the Nile or Orontes River. The scene to the right, also heavily restored, features a shepherd, his right leg covered by a himation. He sits on a rocky outcrop, playing his panpipe as a pair of horned cattle search for grass. Along the bottom is an offering scene, in which a veiled woman extends a pair of lighted torches toward a man who is about to slit the throat of an animal before a fire. The sacrifice takes place in front of a temple-like structure with a pedimented facade that sits on a three-tiered platform. On the left side is another bucolic scene, of a shepherd sitting on the ground as a pair of goats graze nearby.

Three of the figures in the corners wear wreaths that identify them as members of Dionysos's retinue. In the upper left corner is Bakche, who personifies the frenzied female followers of Dionysos. In the upper right is Pan the half-goat, half-human son of Hermes, a god of pastures, whose bestial abandon is characterized here by his wildly askew hair. In the bottom right corner is a bust of Lyde, who wears gold fibulae, or pins, at her shoulders. In the lower left is Thiasos, who personifies the entire group of maenads, thyiads, satyrs and silenoi that Dionysos's retinue comprises. The setting of the central panel in a hilly landscape; the smaller outdoor scenes, three of them among hills; and the presence of the rustic deity Pan may allude to the pastoral setting of Dionysiac revels, where delirious maenads were often pursued by lustful satyrs, or to the countryside of the Syrian province the mosaic came from, which was largely farmland.

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Inscribed between Ariadne and Satyros is >Pamphilos Agroikos Ergasato< “Pamphilos made this [image of] Agroikos”, making this one of the rare instances in which a mosaic was signed. Based on the choice of syntax and the conventional nature of the scene, it has been suggested that this inscription, which also appears on another mosaic, identifies the executor of the mosaic rather than the author of the design. It has been further argued that the use of the adjectival noun, Agroikos, and the likeness of the similarly inscribed mosaic to another known to have come from Antioch, in which Dionysos is labeled Agros, may well indicate a common source for the works.

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Credits :

Dura : Hairstyles , Hairspieces

TREVOR / TANAKA : EXECUTOR BLADE (my weapon)

TREVOR / TANAKA - MORI SCYTHE ( Denji Weapon)

TVR LM : maps.secondlife.com/secondlife/ALEGRIA/59/128/630

TNK : maps.secondlife.com/secondlife/TOKYO%20ZERO/225/46/3305