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El recorrido se realiza a lo largo de las calles de la Parte Vieja de Pamplona. Da comienzo en los corralillos de la cuesta de Santo Domingo, subiendo hasta la plaza Consistorial (plaza del Ayuntamiento) y girando por la calle Mercaderes, para acceder a la calle Estafeta que conduce finalmente por el tramo de Telefónica hasta el callejón que entra a la plaza de toros. El itinerario original terminaba en la plaza del Castillo, y ha variado a lo largo de la historia, siendo en 1856 la primera vez que discurrió por la calle Estafeta. La esquina entre Mercaderes y Estafeta es un lugar muy solicitado por los fotógrafos, y es en esta última calle donde se puede ver el tramo recto más largo de los encierros.
La manada traza el recorrido completo en unos cuatro minutos de media, a unos 25 km/h y está compuesta por seis toros y ocho cabestros, seguidos de unos mozos que hacen de pastores en caso de que los toros o los cabestros se queden rezagados. Los pastores van identificados con un brazalete, actualmente de color verde, y recientemente han adoptado una indumentaria de ese mismo color para diferenciarse claramente del resto de participantes en la carrera. Otros actores fundamentales en el encierro son los dobladores. Son 4 profesionales taurinos que portando un capote son los encargados, en caso de que se quede algún toro rezagado de la manada, conducirlo a punta de capote a los corrales procurando llevarlos en línea recta para que no cojan resabios que pudiera afectar a su lidia de la tarde. La ganadería de los toros cambia cada día, puesto que es la que lidia por la tarde. Participando por tanto 8 ganaderías a lo largo de los sanfermines.
es.wikipedia.org/wiki/Sanfermines
The route takes place along the streets of the Old Part of Pamplona. It starts at the corralillos of the slope of Santo Domingo, going up to the Plaza Consistorial (Town Hall Square) and turning onto Mercaderes Street, to access Estafeta Street, which finally leads through the Telefónica section to the alley that enters the bullring. The original itinerary ended at Plaza del Castillo, and has varied throughout history, being in 1856 the first time it ran along Estafeta Street. The corner between Mercaderes and Estafeta is a very popular spot for photographers, and it is in Estafeta Street where the longest straight stretch of the running of the bulls can be seen.
The herd traces the entire route in about four minutes on average, at about 25 km/h and is made up of six bulls and eight steers, followed by some young men who act as shepherds in case the bulls or the steers are left behind. The shepherds are identified with an armband, currently in green, and have recently adopted green clothing to clearly differentiate them from the rest of the participants in the race. Other fundamental actors in the running of the bulls are the dobladores. They are four professional bullfighters who, carrying a cape, are in charge of leading the bulls to the pens at the point of the cape in case they are left behind in the herd, trying to lead them in a straight line so that they do not catch any slips that could affect their fighting in the afternoon. The bulls' herd of bulls changes every day, since it is the one that fights in the afternoon. Therefore, there are 8 bull-breeders participating throughout the Sanfermines.
Translated with www.DeepL.com/Translator (free version)
La iglesia de San Saturnino, más comúnmente llamada de San Cernin (variante del occitano navarro Saint Sernin), es un edificio religioso católico en el Casco Viejo de la ciudad de Pamplona, Comunidad Foral de Navarra.
Las dos torres son de época medieval, llegando a alcanzar una altura de 55 m. Forman parte del trazado característico del perfil de Pamplona. En su época se utilizaron con funciones propias de una fortaleza defensiva y militar. Estuvieron almenadas hasta el siglo XVIII pero se suprimeron con las reformas barrocas realizadas en el templo.
La torre de la campana, al norte, marcaba con sus toques la vida de la ciudad. Antiguamente el toque de queda tras el cual se cerraban los portales de la muralla. En el invierno de 1874/75, durante el bloqueo carlista de Pamplona, sirvió de observatorio y puesto de señales. Luego, en fechas tan señaladas como los Sanfermines sirve de señal acústica para marcar el ritmo de la fiesta.
La torre del reloj, al sur y más baja, cuya existencia se remonta al siglo XVI, ha sido la referencia horaria durante mucho tiempo de Pamplona. El primer reloj que tuvo lo instaló Martín de Lumbier en 1499. En 1795, el maestro relojero Martín de Ibarra hizo uno nuevo al mismo tiempo que se colocaba el nuevo remate de la torre coronado por el popular «gallico» de San Cernin. Hoy día, cada mañana de encierro anuncia puntual su inicio a las 8:00.
es.wikipedia.org/wiki/Iglesia_de_San_Saturnino_(Pamplona)
The church of San Saturnino, more commonly called San Cernin (variant of the Navarrese Occitan Saint Sernin), is a Catholic religious building in the Old Quarter of the city of Pamplona, Navarre.
The two towers are from the medieval period, reaching a height of 55 m. They are part of the characteristic layout of the Pamplona skyline. In their time they were used for defensive and military functions. They were crenellated until the 18th century but were removed with the Baroque reforms carried out on the church.
The bell tower, to the north, marked the life of the city with its tolls. Formerly the curfew after which the gates of the wall were closed. In the winter of 1874/75, during the Carlist blockade of Pamplona, it served as an observatory and signal post. Later, on dates as important as the Sanfermines, it serves as an acoustic signal to mark the rhythm of the fiesta.
The clock tower, to the south and lower, whose existence dates back to the sixteenth century, has been the time reference for a long time in Pamplona. The first clock was installed by Martín de Lumbier in 1499. In 1795, the master clockmaker Martín de Ibarra made a new one at the same time that the new top of the tower crowned by the popular "gallico" of San Cernin was placed. Today, every morning of the running of the bulls announces its punctual start at 8:00
Translated with www.DeepL.com/Translator (free version)
(Photo: © Zippo Zimmermann, www.designladen.com – unauthorized use prohibited)
Built 1748 by Friedrich Joachim Stengel
Steel pavilion 1989 by Gottfried Böhm
Saarbrücken Castle
Saarbrücken Castle is a Baroque Château in Saarbrücken, the capital of Saarland. It is located in the district of Alt-Saarbrücken on the left bank of the Saar. Earlier, a medieval castle and a Renaissance castle stood on the same site.
History
Middle ages
Historical sources from the year 999 report the existence of an imperial Castell Sarabruca.[1] In 1009, it is named as Veste Sarebrugka.[1] A document from 1065 mentions that Duke Frederick of Lower Lorraine received the castle as a fief from the King. Later, Emperor Henry IV gave the castle to Frederick's brother, Count Adalbero III of Luxembourg, who was Bishop of Metz.
In 1168, the castle was destroyed by Count Symon, on the orders of Emperor Frederick I. Later archives mention a Castel and Bourg on 2 July 1277.[1]
A deed from 1485 reports that Count John II .... in 1459, because of the war, began to fortify and guard the two cities.[2] In 1463, John added a bulwark and a drawbridge across the moat that separated the castle from the city.[3]
16th century
Johann Andreae, the chronicler of the Counts of Nassau-Saarbrücken, reports that Count Philip IV built a summer residence in Saarbrücken and provides a sketch of appearance of the medieval castle. It had a trapezoid-shaped inner court, surrounded by buildings of different widths. There was a tower on the western side. The bailey on the Saar side was enclosed on the northwest and southeast by buildings.[4] The summer house had been designed by architect Christmann Stromeyer from the Electorate of the Palatinate and stood on the southeastern edge of the cliffSommerhaus, stand auf dem südöstlichen Vorsprung des Saarfelsens .[5] The castle was surrounded in the north-east by the Saar Rocks and the river Saar, on the east by a ditch and on the south and southwest by the bulwark and a moat. The entrance was the drawbridge opposite the large tower. At the southern end of the garden was a red tower[6] and at the northern corner a small round tower.[4]
17th century
Drawings by Hienrich Höers provide a reliable and authentic image of the topography of the palace complex in the 17th century.[7] It shows a four-winged structure inside a curtain wall with differently shaped bastions. Defensive structures including towers, walls, gatehouses and trenches followed the topography of the Saar rock. The rampart was strengthened with triangular corner bastions. In October 1983, excavations next to the road in the valley, performed while preparing the foundations of a technical annex, unearthed a part of these extensive fortifications in several different layers. A bastion and parts of the southwestern rampart were included in the design of the new annex, and can be visited today.
The trapezoidal main courtyard was surrounded by four wings. Three of these were joined at right angles. The main square was surrounded by buildings of equal width. The three-storey building could be accessed from spiral staircases in the stair towers at the corners of the inner courtyard. The framework was completed at the south side by four superimposed arcades. The forecourt on the Saar side was bounded on the northwest by the Botzheim building, named after the chief forester who resided there in 1728.[8] To the northeast, it was bounded by a small single-storey cross-wing, and to then north by the castle wall. In front of the summer house on the southeastern rock was a garden house.
Transition to the 18th century
The castle was destroyed by imperial troops on 16 May 1677.[9] It was restored around 1696 by architect Josef C. Motte, nicknamed la Bonté, on the orders of Countess Eleonore Clara of Hohenlohe-Gleichen, the widow of Count Gustav Adolph and her son Louis Crato. The wing adjacent to the road to St. Arnual Rauschen Thal (today's Talstraße) was, according to reconstruction plans that have been preserved, carried out à la mode.[10] The courtyard was opened to the garden on the south side and bordered by a single-storey arcade hallway. The garden was extended beyond the castle wall and far into the valley as a terraced French formal garden. A sepia drawing, made after 1710, probably by Anton Kohl, shows the castle and the market square.[11] It shows the ground plan of the restored castle. A low arcade tract replaces the earlier east wing. The west wing was a Bergfried, which had been built during the reign of the Hohenstaufens.
During sewer repairs in August 1977, a three-metre thick wall was discovered that had been part of the main tower of the Renaissance castle. In March 1989, during the redevelopment of the Palace Square, the staircase was removed and the foundations of the tower were fully excavated. This rectangular, five-storey clock tower — the fifth storey had been added in 1613 — towered over the castle's four wings and was topped with a dome with dormer windows and a roof lantern. The octagonal stair towers at the four corners of the courtyard were also covered with domes.
18th century
After Frederick Louis of Nassau-Saarbrücken died without issue in 1728, Nassau-Saarbrücken fell back to the Nassau-Usingen branch of the House of Nassau. In 1735, Princess Charlotte Amalie, née Countess of Nassau-Dillenburg, the widow of Prince William Henry divided the possessions of the Walram line of Nassau among her sons. Charles, the elder son, was given the territories on the right bank of the Rhine; his younger brother William Henry received the territories on the left bank. When William Henry came of age in 1741, he commissioned[12] the architect Friedrich Joachim Stengel from Zerbst to write a report on the structural condition of the Saarbrücken Castle. Stengel had studied architecture at the Royal Academy of Arts in Berlin from 1708 to 1712 and had been appointed court architect in Usingen in 1733. On 26 January 1739, he proposed a design for the reconstruction of the castle. The new design did away with any defensive functions and reflected recent changes in the accepted princely lifestyle and provided a more open attitude, free access to outer courtyards and garden and a more comfortable, more splendid and refined interior. He expanded this to a comprehensive plan for central Saarbrücken, with individual buildings and groups of buildings, including a spacious square in front of the castle, a city hall, a palace for the hereditary prince Louis and the Ludwigsplatz ("Louis square"), a square connecting the Protestant Ludwigskirche ("Louis Church"), the Peace Church, and yet another palace. The city plan followed the principles of geometry and symmetry from a references axis (point de vue). The new princely palace was planned on the site of the old castle on the Saar, with residential and administrative buildings dominating the cityscape. Space for the new palace was created by slighting the old castle walls, filling in the moat and diverting the river Saar. The staggered terraces on the slope towards the Saar were expanded to create space for the new, larger Baroque garden. The new palace, a three-wing structure open to the city, with residential, representative and administrative functions, was completed in 1748. Many architects, engineers and construction workers had been hired for this project.
The palace complex was based on a square floor plan. The corps de logis dominated the complex by its roof, which towered above the other buildings. Two equally long wings were attached to the corps de logis and the central pavillon, surrounding the cour d'honneur and thereby creating an additional living space. The four corners of this horseshoe shape were emphasized with pavilions reminiscent of the defensive towers of the earlier castle. The main courtyard and the central pavilion sat on the axis of symmetry of the complex. In the earlier castle, the main courtyard had been separated from the city by a mihgty donjon. In the 18th-century castle, however, the fourth side of the square was open to the city. A balustrade with busts delineated this side of the courtyard and provided an entrance on the axis of symmetry. On the other side of the main building, the axis of symmetry formed the axis of symmetrical garden, with symmetrical stairs descending to the valley. The forecourt was separated from the city by a wrought-iron fence with two octagonal guard houses. The entrance to the forecourt was through a gate that stood on the same axis as the main entrance of the corps de logis.
The basic plan of the three wings was a rectangle of 65.45 x 61.34 metres. The Corps de Logis had a length of 65.45 metres with 15 window bays: three in the central pavilion and three in each of the reserves and the corner pavilions. It was 18.26 metres deep and in this direction, it was divided by four windows.
The length of the wings was 43.08 metres. Each had ten axes: seven in the reserves and three in the pavilions at the end. In accordance with 18th-century customs, the wings were named from the point of view of the corps de logis: the wing nearest the Saar was called the right wing; the wing next to the Talstraße was called the left wing. The four pavilions were named after their compass points: northwest, southwest, northeast and southeast pavilion. The northwest and southwest pavilion each had three windows on their 14.98 metre long sides, and four windows on the 15.84 metre long sides. This geometric arrangement was supported by the symmetrical arrangement of the two main stairwells on the inner walls of the reserves in the corps de logis. The wings could also be accessed from two auxiliary staircases on the inner wall between the reserves in the wings and the northwest and southwest pavilions.
Access to the interior of the castle was from the courtyard through three main portals on the central pavilion. Another four entrances were located in the first window axis of the reserves of the wings. The corps de logis were accessed via two representative main stairs on the left and right of the central courtyard pavilion. These were in the reserves and were designed symmetrically. From the courtyard one entered the Grand Vestibule via a three-level stairs. Between the stairs and the garden was the Sala terrena. A ceremonial path led from the portal across the courtyard to the Corps de Logis. From the entrance hall, the main staircase (French: Escalier d'Honneur) led to the audience chambers of the princely family in the piano nobile, and from there to the mezzanine to the sumptuously furnished Grand Salon. The suite of the prince was in the piano nobile of the right wing of the palace, the princess's suite was of the left.
The civil administration and government archives were housed in the Rez-de-Chaussee of the right wing; the left wing housed the administration of the regiment William Henry maintained on behalf of the King of France. The storage rooms were in the basement and could be accessed from the courtyard via a door in front of the stables and a side staircase.
The palace remained the cultural and administrative centre of the principality for almost 50 years.
19th century
After the baroque palace was partially destroyed by fire in 1793 in the turmoil of the French Revolution. In 1810, the palace was reconstructed to house eight middle-class families. Architect Johann Adam Knipper rebuilt the heavily damaged north wing on top of the preserved baroque vaults. He demolished the central pavilion in the Corps de Logis and the mezzanine floor. A lithograph of 1812 shows the free passage where the central pavilion had been. The ground and first floors of the castle were divided into three floors and equipped with a new roof. In 1872, the owner of the adjacent part of the castle, the iron works magnate Karl Ferdinand Stumm, commissioned architect Hugo Dihm to build a new hall to fill the gap left by the demolition of the central pavilion. The new hall, however, was rather smaller than the baroque central pavilion.
20th century
Between 1908 and 1920, the district of Saarbrücken gradually acquired the apartments, in order to use the building as the seat of district government. In 1938, a Neo-Baroque façade and a grand open-air staircase to the Cour d'honneur were added to the central building. The western wing was partially destroyed during World War II and rebuilt in 1947 and 1948.
By 1969, the structural condition of the castle had deteriorated massively. Safety regulations mandated that the south wing be locked up immediately. Several plans were proposed for the reconstruction of the castle. Ideas ranged from reconstructing Stengel's baroque palace to completely demolishing the building. In 1981, the district of Saarbrücken decided to renovate the building and replace the central pavilion. Construction lasted from 1982 to 1989. The hall built by Dihm was torn down and replaced by a steel skeleton pavilion designed by the architect Gottfried Böhm, of the same size as the former baroque pavilion.[13][14] Dihm's neo-baroque façade was retained, and the space between this façade and the new building was converted into a grand entrance hall. The hip roofs of the corner pavilions were replaced by gable roofs, similar to those on the baroque palace.
Current use
The Saarbrücken castle now serves as the administrative headquarters of the District of Saarbrücken.
The exhibition rooms of the Historical Museum Saar are housed in the vaulted cellar and a new annex. Casemates were uncovered during extensive excavations between 2003 and 2007. These can now be visited as part of the museum.
From Wikipedia: en.wikipedia.org/wiki/Saarbrücken_Castle
Existence and Inexistence
2013.7.12
在這裡
同時也不在這裡
人的溫度與稀薄
在溺斃之前還有機會水母漂嗎？
2013.7.14
Existence and Inexistence
2013.7.12
快快結束腦袋
快快去水母漂。(合十)
其實我已經忘了我一開始是要說什麼了。
(常常這樣不意外)
2013.7.15
It takes a bee 10,000,000 trips to collect enough nectar to make 1 pound of honey ~Sue Monk Kidd
It is not just about their beauty and inspiring hard work, bees are also essential for human existence. Bee Image from my garden 2020.
This has nothing to do with the remnants of the retail British banks but owes it's existence to my imagination.
Do not look at the garden of existence like a stranger
It is a thing worth looking at, look at it repeatedly
You have come into the world like a spark, beware
Lest your ephemeral life may end suddenly, beware
Granted that I am not worthy of your Sight
You should look at my zeal, and look at my perseverance
If your eyes have been opened by the longing for Sight
Look for the foot prints of the Beloved in every lane
What angels recite is your exalted name
Your threshold is exalted, your munificence is general
The stars are stable by the attraction of your Love
Your system is like the system of the sun
گلزار ہست و بود نہ بيگانہ وار ديکھ
ہے ديکھنے کي چيز اسے بار بار ديکھ
آيا ہے تو جہاں ميں مثال شرار ديکھ
دم دے نہ جائے ہستي ناپائدار ديکھ
مانا کہ تيري ديد کے قابل نہيں ہوں ميں
تو ميرا شوق ديکھ، مرا انتظار ديکھ
کھولي ہيں ذوق ديد نے آنکھيں تري اگر
ہر رہ گزر ميں نقش کف پائے يار ديکھ
Elegy I
Who, if I cried out, would hear me among the angels'
hierarchies? and even if one of them suddenly
pressed me against his heart, I would perish
in the embrace of his stronger existence.
For beauty is nothing but the beginning of terror
which we are barely able to endure and are awed
because it serenely disdains to annihilate us.
Each single angel is terrifying.
And so I force myself, swallow and hold back
the surging call of my dark sobbing.
Oh, to whom can we turn for help?
Not angels, not humans;
and even the knowing animals are aware that we feel
little secure and at home in our interpreted world.
There remains perhaps some tree on a hillside
daily for us to see; yesterday's street remains for us
stayed, moved in with us and showed no signs of leaving.
Oh, and the night, the night, when the wind
full of cosmic space invades our frightened faces.
Whom would it not remain for -that longed-after,
gently disenchanting night, painfully there for the
solitary heart to achieve? Is it easier for lovers?
Don't you know yet ? Fling out of your arms the
emptiness into the spaces we breath -perhaps the birds
will feel the expanded air in their more ferven flight.
Yes, the springtime were in need of you. Often a star
waited for you to espy it and sense its light.
A wave rolled toward you out of the distant past,
or as you walked below an open window,
a violin gave itself to your hearing.
All this was trust. But could you manage it?
Were you not always distraught by expectation,
as if all this were announcing the arrival
of a beloved? (Where would you find a place
to hide her, with all your great strange thoughts
coming and going and often staying for the night.)
When longing overcomes you, sing of women in love;
for their famous passion is far from immortal enough.
Those whom you almost envy, the abandoned and
desolate ones, whom you found so much more loving
than those gratified. Begin ever new again
the praise you cannot attain; remember:
the hero lives on and survives; even his downfall
was for him only a pretext for achieving
his final birth. But nature, exhausted, takes lovers
back into itself, as if such creative forces could never be
achieved a second time.
Have you thought of Gaspara Stampa sufficiently:
that any girl abandoned by her lover may feel
from that far intenser example of loving:
"Ah, might I become like her!" Should not their oldest
sufferings finally become more fruitful for us?
Is it not time that lovingly we freed ourselves
from the beloved and, quivering, endured:
as the arrow endures the bow-string's tension,
and in this tense release becomes more than itself.
For staying is nowhere.
Voices, voices. Listen my heart, as only saints
have listened: until the gigantic call lifted them
clear off the ground. Yet they went on, impossibly,
kneeling, completely unawares: so intense was
their listening. Not that you could endure
the voice of God -far from it! But listen
to the voice of the wind and the ceaseless message
that forms itself out of silence. They sweep
toward you now from those who died young.
Whenever they entered a church in Rome or Naples,
did not their fate quietly speak to you as recently
as the tablet did in Santa Maria Formosa?
What do they want of me? to quietly remove
the appearance of suffered injustice that,
at times, hinders a little their spirits from
freely proceeding onward.
Of course, it is strange to inhabit the earth no longer,
to no longer use skills on had barely time to acquire;
not to observe roses and other things that promised
so much in terms of a human future, no longer
to be what one was in infinitely anxious hands;
to even discard one's own name as easily as a child
abandons a broken toy.
Strange, not to desire to continue wishing one's wishes.
Strange to notice all that was related, fluttering
so loosely in space. And being dead is hard work
and full of retrieving before one can gradually feel a
trace of eternity. -Yes, but the liviing make
the mistake of drawing too sharp a distinction.
Angels (they say) are often unable to distinguish
between moving among the living or the dead.
The eternal torrent whirls all ages along with it,
through both realms forever, and their voices are lost in
its thunderous roar.
In the end the early departed have no longer
need of us. One is gently weaned from things
of this world as a child outgrows the need
of its mother's breast. But we who have need
of those great mysteries, we for whom grief is
so often the source of spiritual growth,
could we exist without them?
Is the legend vain that tells of music's beginning
in the midst of the mourning for Linos?
the daring first sounds of song piercing
the barren numbness, and how in that stunned space
an almost godlike youth suddenly left forever,
and the emptiness felt for the first time
those harmonious vibrations which now enrapture
and comfort and help us.
Rainer Maria Rilke
Sakharibazar, Old Dhaka, 2011
Normal people with extraordinary lifestyles
Along with smile and the gloomy, here life has its own rhyme, has its own colour.
Time passed by, humanity changed along with its history...
But these people remained here tolerating the hardest truth of existences
..........its their story of extraordinary existences.
Sakharibazar, Old Dhaka. A very interesting place for all of us to visit. Culture and customs of old Dhaka are the tribute to the ancient history of Bangladesh. Peoples still living in 100 years old building from generations after generations. With the reflection of their religious beauty Old Dhaka attracts peoples from here and abroad.
Shakhari Bazaar is one of the oldest mohallas (a traditional neighbourhood) in Puran Dhaka (Old Dhaka), located near the intersection of Islampur Road and Nawabpur Road;the two main arteries of the old city and only a block away from the Buriganga River. Shakhari Bazaar stretches along a narrow lane, lined with thin slices of richly decorated brick buildings, built during the late Mughal or Colonial period. Despite rampant modifications, accretion, extension over time, even redevelopment, many still bear the testimony of a rich tradition.
Shakhari Bazaar is the manifestation of the irrational policies, lack of adequate development control rules and distorted legal framework, all of which have left their indelible mark on this precious little mohalla that shares a long history of more than 400 years with Dhaka city itself.The history of Shakhari Bazaar goes back to the pre-Mughal days if not earlier. The first mention of Puran Dhaka can be found in the writings of Mirza Nathan, the general turned historian, who traveled with Subahdar Islam Khan. He mentioned Puran Dhaka, as the area between Dholai Khal and Buriganga river covering Shakhari Bazaar, Tanti Bazaar, Bangla Bazaar, Lakhsmi Bazaar, Bangla Bazaar, Kamar Nagar, Sutar Nagar, Goala Nagar, etc. Each mohalla belonged to separate communities depending on their craft and trade. The influences of the Mughal vocabulary in the planning of the spaces are literally evident in the use of Persian names to identify different spaces..
Yesterday (June 30, 2021), was truly the end of an era in northern New Jersey. For the entirety of my life, The Fireplace was a constant fixture. It was a restaurant in Paramus, NJ. It was the local burger joint, but they didn't just do burgers. Not fast food, but not diner food. The decor was very outdated and kitschy, but that was part of the allure. It never changed. Very little about this place had changed since the 1950s. The restaurant had been in existence for 65 years. And, I guess, like most things, everyone just assumed it would always be there....just like it always had.
Until, it wasn't. A few months ago, there were rumors on FB that they were going to go out of business. Another business victim of COVID. But the owners put everyone's fears to rest. And then, late at night on July 29th, they put up a new message saying that their last day would be "tomorrow". Open until 4pm. I was fortunate enough to be off for the summer, so I decided I wanted one last Fireplace meal. And I wanted pictures. I was not alone. I got there and found a HUGE line. The whole community had come out. It was a three hour long line. (And the announcement changed from "closing at 4pm" to "closing at 4pm or when food runs out".) And I endured it.
In the heat. I had had no sleep (because that's just how things go for me), I had eaten nothing all day, and by the time I was almost at the counter, I had low blood sugar, was dehydrated and on the brink of heat exhaustion and fainting. I had sun burn and was pretty miserable. But I held in there. And I'm so glad I did.
It was worth it.
I'm sure many people were and are wondering what the big deal was about. If you were a patron of The Fireplace or grew up with it as a fixture, you understand. But if you didn't, it probably seemed like a lot of ridiculous fanfare for nothing. It's very hard to put into words why it was important. But much the way music can be the backdrop to a person's life, the places we find ourselves, consistently, through all the chapters of our lives provide crucial elements of the stage of our lives. The "home" we all return to. We can look back on those places with memories from every aspect of our lives. Our childhoods, the college years, dates and break-ups, and places to collect our thoughts when life gets really hard. The Fireplace was that place. You really don't realize the importance of some of these places (and people) until they are gone. So THAT is what all the big to-do was about. Because EVERYONE (in my area) had this shared experience with this one place. I realized today that I could sit in that restaurant, look out the window, and look directly at pieces of my life that go way back to when I was just a little girl. It's funny, I never lived in Paramus. I never went to school in Paramus. I never had friends from Paramus. But because both my parents grew up in Paramus and have deep roots there, Paramus has been just as intrinsic and formative a part of my life as New Milford ever was. In fact, oddly, in many ways, it has provided more history for me than New Milford has. So, when I learned that The Fireplace was closing its' doors and I only had this one last chance to capture those memories on "film" and have one last meal there, I decided I really needed to do that. Furthermore, I knew that many people were not as fortunate as I was to have the day off. Or to be nearby enough to go. And I felt like I could give a lot of other people that experience through my pictures and by relating the experience. And I was right. There were many of you who really seemed appreciative that I was there and you could share the experience from my reports and pictures.
So, here's what's funny. I didn't sleep the night before. Maybe an hour, if I was lucky. And I needed to be up early. So, I was exhausted to begin with. I laid down to rest when I was able to, but I couldn't really SLEEP. All I could think about was, "If I fall asleep, I won't wake up in time to go to The Fireplace. I will have missed the whole thing. And I really want those pictures. I'd really like one last meal there." So, I decided to forgo the shut-eye and just go. I had NO IDEA it would be the community event that it was. And I would have fared better if I'd gone earlier. But it must have been meant to be because I pretty much got in at the end of the line of people who were actually served, and was pleasantly surprised to see that I wasn't left with the dregs. It wasn't the meal I had planned, but in some ways, it was better. I do wish I'd been better prepared (sunscreen, water, something to nibble on, and a sun umbrella), and it was by no means easy to put in a full day with no sleep, no food, sunburn and bordering on heat exhaustion, but I'm really glad I did it. It was truly a moment to commune. And in the age of Covid, not to mention our current political climate, that was a 'breath of fresh air" (that's a poor covid joke). And I really wasn't sure it was ok to be amongst all those people. I tend to not congregate with large numbers of people (although it's not a hard-and-fast rule, and I will be making another exception this coming week), this was not something I wanted to let Covid steal from me. And it was so nice for people to come together and just be kind to one another. To share a moment. It happens so infrequently anymore. At the end of it all, it was really a very surreal moment. Anyone who was left in the building was roaming around taking pictures and videos with their phones. Almost zombie-like. People didn't want to leave. Alas, change is a constant, and they say change is good. So, as sad as I am (and others are), I'm warmly happy to have the memories and warm fuzzies.
I will be adding more pictures to this album over time. They will all be public and I invite any and all people to share them. If you want the images, you can go to my FB page, where they are public, as well. From there, you can take them. Enjoy the memories.
EXIF:
Nikon D7000
AF-D Nikkor 80-400mm Telephoto lens
1/160 Sec
F/5.3
Focal Length 200 mm
ISO-640
Photo by Kacey Jordan
Editing by Cary Jordan
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The beauty is eternal, maybe you should give a touch to embrace it. You wanna feel the existence.
Indoor experiment without external light.
Theban Sphinx mauling a boy. Reconstruction after fragments in showcase II, on loan from the University of Vienna, Institute of Classical Archaeology.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
South Yorkshire PTE Leyland Atlantean / East Lancs 1579 was part of a legacy order from Doncaster Transport that originally specified Fleetlines. 15 of the latter were delivered, as 1561-1575 and the balance of the order switched to the Atlantean. All had dual-doorway bodywork, but the Atlanteans featured the later style of East Lancs body with this example also extolling the virtues of SYPTE's 10 years of existence.
This image is scanned from an original slide added to the collection in 2022.
Listen Tout le monde Carla Bruni
The first news of which has its existence dates back to 978. Around the church of Sant Marti, as documented by the year 1088 began to wake up the first houses in this picturesque town that even today retains all its medieval charm.
Historically, work in the field was the main dedication of its people; particular importance was conreo of grapes, from the eighteenth century shifted more traditional forms of agriculture. This was a particularly arduous task given the characteristics of the mountainous terrain, settled in part by building jars at the foot of vineyards, which were used for the storage of must and grapes. Already into the nineteenth century, the phylloxera conditioned conreo and resulted in a significant decline in population. Another important task, until mid-twentieth century, was the development of charcoal, until such time as the electricity found their disappearance. Since then, its people were devoted to another kind of work in line with the changing times. It set up a textile factory in the early twentieth century, which was in operation until the year 1964. Logically, closing it was important socio-economic consequences on the lives of the people, determining the migration of population towards the industrial cities or to neighboring towns. Since then, the physiognomy of Mura se ha ido transforming into a large number of people with second homes, laying the groundwork for a tradition tourist potential. Precisely for the new work and revenue earned from tourism, was very relevant to the creation of the Natural Park Sant Llorenç del Munt i l'Obac, in 1972. Since then increased the number of tourists and visitors. Nobody is aware that, as in many other municipalities of Catalunya, tourism could ensure the future of the people so that asentare solidly its core population.
Tout le monde est une drôle de personne,
Et tout le monde a l'âme emmêlée,
Tout le monde a de l'enfance qui ronronne,
Au fond d'une poche oubliée,
Tout le monde a des restes de rêves,
Et des coins de vie dévastés,
Tout le monde a cherché quelque chose un jour,
Mais tout le monde ne l'a pas trouvé,
Mais tout le monde ne l'a pas trouvé.
Il faudrait que tout l'monde réclame auprès des autorités,
Une loi contre toute notre solitude,
Que personne ne soit oublié,
Et que personne ne soit oublié
Tout le monde a une sale vie qui passe,
Mais tout le monde ne s'en souvient pas,
J'en vois qui la plient et même qui la cassent,
Et j'en vois qui ne la voient même pas,
Et j'en vois qui ne la voient même pas.
Il faudrait que tout l'monde réclame auprès des autorités,
Une loi contre toute notre indifférence,
Que personne ne soit oublié,
Et que personne ne soit oublié.
Tout le monde est une drôle de personne,
Et tout le monde a une âme emmêlée,
Tout le monde a de l'enfance qui résonne,
Au fond d'une heure oubliée,
Au fond d'une heure oubliée
The first news of which has its existence dates back to 978. Around the church of Sant Marti, as documented by the year 1088 began to wake up the first houses in this picturesque town that even today retains all its medieval charm.
Historically, work in the field was the main dedication of its people; particular importance was conreo of grapes, from the eighteenth century shifted more traditional forms of agriculture. This was a particularly arduous task given the characteristics of the mountainous terrain, settled in part by building jars at the foot of vineyards, which were used for the storage of must and grapes. Already into the nineteenth century, the phylloxera conditioned conreo and resulted in a significant decline in population. Another important task, until mid-twentieth century, was the development of charcoal, until such time as the electricity found their disappearance. Since then, its people were devoted to another kind of work in line with the changing times. It set up a textile factory in the early twentieth century, which was in operation until the year 1964. Logically, closing it was important socio-economic consequences on the lives of the people, determining the migration of population towards the industrial cities or to neighboring towns. Since then, the physiognomy of Mura se ha ido transforming into a large number of people with second homes, laying the groundwork for a tradition tourist potential. Precisely for the new work and revenue earned from tourism, was very relevant to the creation of the Natural Park Sant Llorenç del Munt i l'Obac, in 1972. Since then increased the number of tourists and visitors. Nobody is aware that, as in many other municipalities of Catalunya, tourism could ensure the future of the people so that asentare solidly its core population.
In Wordpress In Blogger photo.net/photos/Reinante/ In Onexposure
This cherry tree is 2,000 years old (*o*;
take
HASSELBLAD SWC
Carl Zeiss Biogon 38mm f4.5
EPSON GT-X970
FujiFilm REALA 100
Quorn.
The first European squatters and pastoralists arrived in the Quorn area in the 1850s but the town did not come into existence until 1875. It was named after Quorn in Leicestershire by Governor Jervois whose private secretary came from there. South Australian Railways chose the site for the town of Quorn and in 1878 the government sold the first blocks of land. In 1879 Quorn became the first terminus of the Great Northern Railway line from Port Augusta. The current station with its charming Dutch gables was built in 1916. However Quorn’s greatest period of importance as a railway centre was between 1917 and 1937 when it was the junction for both the western line to Perth and the northern line to Oodnadatta and Alice Springs. This importance continued during World War II when over 400 people in the town were employed by the railways as it was a major troop stop over point with the Country Women’s Association providing over 1 million meals to the servicemen. The establishment of a new standard gauge railway to Marree and the Leigh Creek coal fields west of the Flinders Ranges in 1956 saw the town decline. The various hotels in the main street located to service the needs of travelling rail passengers then became a movie set for several films including: The Sundowners, Sunday Too Far Away, Robbery under Arms, The Shiralee and more recently Gallipoli.
Quorn’s early development was similar to that of many SA towns. One of the first structures (1878) was a flour mill for the wheat farmers built by Mr Cowan. Mr Dunn the wealthy flour miller of Mt Barker built a second three storied flour mill in 1879. It was converted to a motel in the 1960s and is now a backpacker’s accommodation centre. Other early buildings were the Austral Hotel (1878), where many of us will stay, and the Criterion Hotel built in 1881 and the Transcontinental Hotel in 1878. The first National Bank opened in 1878, along with the Post Office, the Court House (1879) and Matthews Emporium (1886). The first church in town was a Methodist Church in 1880, followed by the Anglican (1880 replaced in 1897), Catholic (1883), the Salvation Army Hall in 1884(now a gallery) and the Lutheran Church in 1890. Three years after its founding, Quorn had a population of 540 and was the 19th largest town north of Adelaide! A reservoir was made for the railways and the town. Other important public town buildings were the Institute (1881) and the Town Hall (1907). A school started soon after the founding of the town and in 1909 it became a Higher Primary School and then in 1914 it became a High School. It was the first high school in the north of SA. Quorn grew in importance once the railway was extended from Quorn through to Oodnadatta in 1891.
Colebrook Home in Quorn was established by the Australian Aborigines Mission. It began as a children’s home for Aboriginals in Oodnadatta in 1926 .In 1927 the home moved to Quorn with 12 children in residence. In 1933 the Mission got a new house, 2 miles outside Quorn and in 1935 the 30 resident children were sent to Magill for the summer holidays. This practice continued until 1940 when the children spent the summer holidays at Eden Hills. Following this, the Mission established Colebrook Children’s Home at Eden Hills. Among the children raised at Colebrook were prominent Aboriginal leaders in SA -Lowitcha O’Donoghue, Faith Thomas, Ruby Ahchee( Hammond).
I visited this wonderful place for the 2nd time, I will return soon as there is a lot to see in one visit.
I love the huge scale of the structures at
The Historic Dockyard Chatham
HMS Gannet at Chatham Dockyard
Chatham Dockyard is located in Kent Chatham Dockyard
Chatham Dockyard showed within Kent (grid reference TQ759692)
The Commissioner's House (1704), was built for Captain George St Lo, who found the previous house unsuitable. It remains the oldest surviving naval building in England.
Chatham Dockyard was a Royal Navy Dockyard located on the River Medway in Kent. Established in Chatham in the mid-16th century, the dockyard subsequently expanded into neighboring Gillingham (at its most extensive, in the early 20th century, two-thirds of the dockyard lay in Gillingham, one-third in Chatham).
It came into existence at the time when, following the Reformation, relations with the Catholic countries of Europe had worsened, leading to a requirement for additional defenses. For 414 years Chatham Royal Dockyard provided over 500 ships for the Royal Navy and was at the forefront of shipbuilding, industrial and architectural technology. At its height, it employed over 10,000 skilled artisans and covered 400 acres (1.6 km²). Chatham dockyard closed in 1984, and 84 acres (340,000 m2) of the Georgian dockyard is now managed as a visitor attraction by the Chatham Historic Dockyard Trust.
Outline history
Engraving of "Chatham Dockyard from Fort Pitt" from Ireland's History of Kent, Vol. 4, 1831. Facing p. 349. Drawn by G. Sheppard, engraved by R. Roffe.
The Treasurer of the Navy's accounts of the King's Exchequer for the year 1544 identifies Deptford as the Dockyard that carried out all the major repairs to the King's Ships that year. That was soon to change (although Deptford remained a dockyard for over three centuries).
Jillingham water
Chatham's establishment as a naval dockyard was precipitated by the use of the Medway as a safe anchorage by the ships of what was to become (under King Henry VIII) England's permanent Royal Navy. In 1550, a decree was issued to the Lord High Admiral that:
the Kinges shipps shulde be harbored [harboured] in Jillingham Water – saving [except] those that be at Portsmouth – to remaigne there till the yere be further spent...
Even prior to this, there is evidence of certain shore facilities being established in the vicinity for the benefit of the King's ships at anchor: there are isolated references from as early as 1509 to the hiring of a storehouse nearby and from 1547 this becomes a fixed item in the Treasurer's annual accounts. (At around the same time a victualling store was also established, in nearby Rochester, to provide the ships and their crews with food.) The storehouse would have furnished ships with such necessary consumables as rope, pulleys, sailcloth, and timber; for more specialized repairs and maintenance, however, they would have had to travel to one of the purpose-built royal dockyards (the nearest being those on the Thames: Deptford and Woolwich).
The early dockyard
1567 is generally seen as the date of Chatham's establishment as a Royal Naval Dockyard.
In the years that followed the ground was prepared, accommodation was secured and a mast pond was installed. The renowned Tudor shipwright Mathew Baker was appointed to Chatham in 1572 (though he was primarily based at Deptford). Under his supervision, the site was developed to include sawpits, workshops, a wharf with a crane and, most significantly, its first dry dock, which opened in 1581.
The dockyard received its first royal visit, from Elizabeth I, in 1573. The first ship to be built at the dockyard, HMS Sunne was launched in 1586.
Relocation and consolidation
James, I used Chatham dockyard for a meeting in 1606 with Christian IV of Denmark.[4] In 1613, the dockyard moved from its original location (now the gun wharf to the south) to its present site.[3] The growing importance of the dockyard was illustrated with the addition of two new mast ponds, and the granting of additional land on which a dock, storehouse, and various brick and lime kilns were planned. Peter Pett, of the family of shipwrights whose history is closely connected to the Chatham Dockyard, became commissioner in 1649.
Dutch Attack on the Medway, June 1667 by Pieter Cornelisz van Soest, painted c. 1667. The captured ship Royal Charles is right of center.
One of the disadvantages of Chatham (and also of the Thames-side yards) was their relative inaccessibility for ships at sea (including those anchored in The Nore). Therefore, rather than risk being constrained by wind, tide, and draught on a journey upriver, ships would seek as often as possible to do running repairs and maintenance while at anchor, and would only travel to the dockyard when necessary. Thus deliveries of victuals, ordnance, and other supplies were made by small boats, sailing regularly between Chatham and The Nore.
Sheerness
Seeking to alleviate this less-than-satisfactory situation, the Navy Board explored options for developing a shore facility with direct access from the open water of the Thames Estuary. The escalating Anglo-Dutch wars forced their hand, however: several temporary buildings were hastily erected on Sheerness, at the mouth of the Medway, to enable ships to re-arm, re-victual and (if necessary) be repaired as quickly as possible. In 1665, the Navy Board approved Sheerness as a site for a new dockyard, and building work began; but in 1667 the still-incomplete Sheerness Dockyard was captured by the Dutch Navy and used as the base for a humiliating attack on the English fleet at anchor in the Medway itself. Sheerness remained operational as a royal dockyard until 1959, but it was never considered a major shore establishment and in several respects, it operated as a subsidiary yard to Chatham.
Expansion
By the late 17th century Chatham was the largest refitting dockyard, important during the Dutch wars. It was, however, superseded in the following century, first by Portsmouth, then Plymouth, when the main naval enemy became France, and the Western approaches the chief theatre of operations. In addition, the Medway had begun to silt up, making navigation more difficult. Nevertheless, following a visit by the Admiralty Board in 1773, the decision was taken to invest further in Chatham, which developed into a building yard rather than a refitting base.
Among many vessels built in this Dockyard and which still exist, are HMS Victory, launched in 1765 – now preserved at Portsmouth Historic Dockyard.
By the year 1770 the establishment had so expanded that, including the gun wharf, it stretched a mile (1.6 km) in length, and included an area of in excess of 95 acres (384,000 m²), possessing four slipways and four large docks. The officers and men employed in the yard also increased, and by 1798 they numbered 1,664, including 49 officers and clerks and 624 shipwrights. Additionally required were the blockmakers, caulkers, pitch-heaters, blacksmiths, joiners and carpenters, sail makers, riggers, and ropemakers (274), as well as bricklayers, laborers, and others.
Mechanisation
1884 map, showing the 'Royal Dock Yard' (center) with the river to the west, new extension to the north, barracks, and fortifications to the east.
Between 1862 and 1885, the yard underwent another large building programme as the Admiralty adjusted to the new technology of steam-powered ships with metal hulls. Three basins were constructed along St Mary's creek: of 28 acres (110,000 m2), 20 acres (81,000 m2) and 21 acres (85,000 m2). There were four new dry docks. Much of the work was done by convict labor. The construction materials required regenerated the North Kent brick and cement industries. It is estimated that 110 million bricks were used. These basins formed the Victorian Dockyard. Chatham built on average, two new ships each year. HMS Unicorn, (a Leda class frigate), now preserved afloat at Dundee, was launched at Chatham in 1824.
With the 20th century came the submarine. HMS C17 was launched at Chatham in 1908, and during World War I, twelve submarines were built here, but when hostilities ceased, uncompleted boats were scrapped and five years passed before a further ship was launched. In the interwar years, 8 "S" class submarines were built at Chatham but this was a period of decline. During World War II there were 1,360 refits and sixteen launchings.
Last years
The final boats constructed in Chatham were Oberon class submarines – Ocelot was the last vessel built for the Royal Navy, and the final vessel was Okanagan built for the Royal Canadian Navy and launched on 17 September 1966. In 1968, a nuclear submarine refitting complex was built complete with refueling cranes and health physics building. In spite of this in June 1981, it was announced to Parliament that the dockyard would be run down and closed in 1984.
In the mid-1980s Defence Estates disposed of the former Royal Navy ratings Married Quarters on the nearby Walderslade Estate, which were sold by public auction. These were previously occupied by personnel from the Royal Navy dockyard Chatham, with 110 married quarters being sold. The Georgian site is now a visitor attraction, under the care of the Chatham Historic Dockyard Trust. The Trust is preparing an application for the Dockyard and its Defences to become a World Heritage Site.
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A Minstrel Bug Graphosoma lineatum on a wild carrot seedhead, there is a spider lurking on the underside- I am not sure the spider is a threat to this large bug, but smaller insects are probably supper for the spider.
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Eine Streifenwanze , Graphosoma lineatum auf einer Wilden Rübe- unten lauert eine Spinne. Ich glaube zwar nicht dass die Spinne eine Gefahr ist für diesen grossen Käfer, aber kleine Insekten sind bestimmt eine Mahlzeit für die Spinne.
Hi Guys! My store in Existence is finally opened -- so please drop on by and take a look and the things available. All releases are mesh items so you would need a mesh viewer to see it. To see if you have a compatible viewer, check out if the deer head in the store rezzes for you; if it doesn't, then please download either Viewer 3.0, Firestorm or Kristen!
Taxi to Beetlebones
Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better. -Samuel Beckett
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Sakharibazar, Old Dhaka, 2012
Normal people with extraordinary lifestyles
Along with smile and the gloomy, here life has its own rhyme, has its own colour.
Time passed by, humanity changed along with its history...
But these people remained here tolerating the hardest truth of existences
..........its their story of extraordinary existences.
Sakharibazar, Old Dhaka. A very interesting place for all of us to visit. Culture and customs of old Dhaka are the tribute to the ancient history of Bangladesh. Peoples still living in 100 years old building from generations after generations. With the reflection of their religious beauty Old Dhaka attracts peoples from here and abroad.
Shakhari Bazaar is one of the oldest mohallas (a traditional neighbourhood) in Puran Dhaka (Old Dhaka), located near the intersection of Islampur Road and Nawabpur Road;the two main arteries of the old city and only a block away from the Buriganga River. Shakhari Bazaar stretches along a narrow lane, lined with thin slices of richly decorated brick buildings, built during the late Mughal or Colonial period. Despite rampant modifications, accretion, extension over time, even redevelopment, many still bear the testimony of a rich tradition.
Shakhari Bazaar is the manifestation of the irrational policies, lack of adequate development control rules and distorted legal framework, all of which have left their indelible mark on this precious little mohalla that shares a long history of more than 400 years with Dhaka city itself.The history of Shakhari Bazaar goes back to the pre-Mughal days if not earlier. The first mention of Puran Dhaka can be found in the writings of Mirza Nathan, the general turned historian, who traveled with Subahdar Islam Khan. He mentioned Puran Dhaka, as the area between Dholai Khal and Buriganga river covering Shakhari Bazaar, Tanti Bazaar, Bangla Bazaar, Lakhsmi Bazaar, Bangla Bazaar, Kamar Nagar, Sutar Nagar, Goala Nagar, etc. Each mohalla belonged to separate communities depending on their craft and trade. The influences of the Mughal vocabulary in the planning of the spaces are literally evident in the use of Persian names to identify different spaces..
“Existence has greater depths of beauty, mystery, and benediction than the wildest visionary has ever dared to dream.” -- Frederick Buechner
Everything that grow up will fall down; some cottonwoods sooner. We walked Sage Trail around the south of the pond when we were trekking out at North Boulder Open Space some time back. I got stuck when I caught this downed cottonwood in the corner of my eye. This detail has texture that I could never pass up if it registers with me first. This tight frame includes a wealth of texture. Frankly, I don't get details often enough, IMHO. This monoculture of moss really jumps from the capture. It's a good thing the light has already softened and that I had the monopod in tow. Dead cottonwoods provide little more that humus. This is the Boulder Valley Ranch. The pasture grasses here were so well watered that it looks like Ireland out there, magnificent but not Colorado. This shot was from early summer but... we are still getting unusual weather not unlike the entire globe. Few areas have not been impacted by more violent weather. This day dripped on me before I got back in the car but I had a grocery bag in my back pocket to put over the camera.
On this day, it was our project to walk the Sage Trail ahead. Our outdoors time might be limited today from the look of the sky over the closer hills and the Flatirons just west. The darker foothills behind are already under clouding. Translating for the young now, a flat iron was an iron for clothes that was left on a wood/coal burning stove to heat up. Using the irons was never exact science particularly when they were hot enough! Doing laundry could be a scorching experience.