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This log Stable Quarter was reconstructed based on archaeological evidence of its existence among the stable and craft complex. It was separate from the domestic slave quarters and the rest of the formal grounds. Unlike the adjacent South Yard buildings, which utilized timber-frame construction, this home was built by and for enslaved individuals and constructed of hand-hewn logs. Though the documentary record does not definitively tell us who lived here, investigation of surviving documents, artifacts and its location suggest a few possibilities include skilled laborers, or perhaps Madison's slave, Granny Milly (Milley), who reportedly lived to be 104 years old.
Montpelier, set on a 2,700-acre estate facing the Blue Ridge Mountains, was the plantain house of the Madison family, including James Madison, who was hailed as the "Father of the Constitution," and served as the fourth President of the United States, his wife, Dolley Madison, and six generations of enslaved individuals The manor house was originally built around 1764 by Madison's father, James Madison Sr., on a 2,700-acre estate originally granted to Madison's grandfather Ambrose Madison and his brother in law Thomas Chew, and expanded by Madison himself in 1797 after returning home with his new wife, and then again in 1809-1812. William du Pont, Sr., bought the estate in 1901 and enlarged the mansion. Now owned by the National Trust for Historic Preservation, it has been restored back to its 1820's design and is open to the public.
Montpelier National Register #66000843(1966), VLR #068-0030
Madison–Barbour Rural Historic District #90002115, VLR #068-0304
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Korean People's Army Air and Anti-Air Force began as the "Korean Aviation Society" in 1945. It was organized along the lines of flying clubs in the Soviet Union. In 1946, the society became a military organization and became an aviation division of the Korean People's Army (KPA). It became a branch of the army in its own right in November 1948. The KPAF incorporated much of the original Soviet air tactics, as well as North Korean experience from the UN bombings during the Korean War.
North Korea’s first indigenous jet fighter aircraft, the Wonsan Aircraft Works 여-1 (known as “W-1” outside of the country), started its existence in China as the Shenyang J-3 (Jianjiji = fighter). The J-3 was a project to exploit the knowledge and hardware gained through the license production of the Soviet MiG-15UTI trainer, locally designated JJ-2 (Jianjiji Jiaolianji – fighter trainer), a study that was primarily intended to improve China’s aircraft industry and the country’s respective engineering know how after the Korean War. The Soviet VVS and PVO had been the primary users of the MiG-15 during the Korean war, but not the only ones; it was also used by the PLAAF and KPAF (known as the United Air Army).
The J-3 was designed during the Korean War between 1952 and 1953 and two prototypes were built with Soviet help and tested in 1953, but the aircraft came too late – and it was not regarded as a successor or even an alternative to the Soviet MiG-15, because it lacked modern features like swept wings. The J-3’s design drew more on American rather than British inspiration, having elected to use features such as a very thin (but almost straight) wing akin to the Lockheed P-80 Shooting Star and a basic configuration comparable to the North American F-86 Sabre. Due to its conceptual interceptor role, an emphasis had been placed on a fast rate of climb. Power came from a Klimov VK-1 centrifugal-flow turbojet, a derivative of the British Rolls-Royce Nene Mk.104B that also powered the MiG-15. Armament consisted of four 23 mm (0.906 in) Nudelman-Suranov NS-23 autocannon under the nose.
The J-3’s rate of progress on the project was such that, within 15 months of design work having formally started, the first prototype had been fully constructed. On 28 October 1953, the first J-3 fighter prototype conducted its first flight, even though it still lacked pressurization, armament, and other military equipment. Gradually, new hardware was integrated and tested, and a second aircraft joined the tests in January 1954. Flight tests followed quickly and showed that the J-3 was easy to fly and had exceptional performance and maneuverability for a straight-wing aircraft. Unfortunately, it soon became clear that the laminar flow section used for the original tail unit was totally unsuitable, with extremely severe buffeting setting in at 500 km/h (310 mph). The buffeting was so bad that the test pilots were thrown about in the cockpit, banging their head on the canopy, and the needles fell off all the flight instruments. Fortunately, accidents could be avoided, and the tailplane section was changed with much improved results.
The gun armament caused troubles, too. Firing all four NS-23 at once made the robust engine surge – a problem that did not occur on the MiG-15, but it only carried two of these weapons. A remedy was eventually found through the introduction of a slightly elongated nose that kept the air intake further away from the gun blast shock waves. The flight and test program lasted until 1955, and a total of five J-3 prototypes were built, but with no serious plan to put this aircraft into series production, even more so after China had been offered to produce the even more modern and capable Soviet MiG-17 fighter under license as the J-5. In the People's Republic of China (PRC), an initial MiG-17F was assembled from parts in 1956, with license production following in 1957 at Shenyang. The Chinese-built version was/is known as the Shenyang J-5 (for local use) or F-5 (for export). After this decision, the J-3 program was stopped, but the machines were retained in flightworthy condition as testbeds and chase planes by the PLAAF until the late Sixties
However, this was not the end of the J-3. After fighting had ended on 27 July 1953 when the Korean Armistice Agreement was signed, the Korean People's Army Air and Anti-Air Force (KPAAF) was keen to boost its capabilities and build a domestic aircraft industry, beyond the option to produce existing designs in license. Turning to its main sponsor China, North Korea was offered the plans for the J-3 and its tools, together with a supply of Chinese-built VK-1 engines. Even though the J-3 did not represent the state-of-the-art in jet fighters anymore, it was the best option for an industrial quickstart and until 1956 a dedicated production site for the J-3 was built at Wonsan, leading to the Wonsan Aircraft Works (Wonsan hang-gong-gi jag-eob , 원산 항공기 작업) and its first military product, the 여-1 (Yeo-1 = W-1). When NATO became aware of the aircraft it received the reporting code name “Freshman”.
However, despite the J-3’s plans and tools at hand, the W-1’s production was hampered by the lack of experience, sub-optimal materials, and poor logistics (esp. concerning vital imported components like the Chinese WP-5 engine, a license-built VK-1). Consequently, it took almost three years to roll out the first pre-serial production aircraft in 1959, and even then, the W-1 was plagued with material and reliability problems. Furthermore, once the W-1 became operational in 1961, the aircraft had become outdated. The W-1 had been designed to intercept straight-and-level-flying enemy bombers, not for air-to-air combat (dogfighting) with other fighters. The subsonic (Mach .76) fighter was effective against slower (Mach .6-.8), heavily loaded U.S. fighter-bombers from the Fifties, as well as the mainstay American strategic bombers during the aircraft's development cycle (such as the Boeing B-50 Superfortress or Convair B-36 Peacemaker, which were both still powered by piston engines). It was not however able to intercept the new generation of British jet bombers such as the Avro Vulcan and Handley Page Victor, which could both fly higher. Most W-1s were initially used as night fighters – even though they lacked any on-board radar and the pilot had to rely on visual contact and/or radio guidance from ground stations to make out and close in on a potential target. The USAF's introduction of strategic bombers capable of supersonic dash speeds such as the B-58 Hustler and General Dynamics FB-111 rendered the W-1 totally obsolete in front-line KPAAF service, and they were quickly supplanted by supersonic interceptors such as the MiG-21 and MiG-23.
The rugged aircraft was not retired, though, and found use as ground attack aircraft (despite its limited payload of around 2 tons) and as an advanced fighter trainer. Total production numbers are uncertain, but less than 100 W-1s were produced until 1969, with no further variants becoming known. In 1990, probably forty were still operational, and even after 2000 some KPAAF W-1s were still flying.
General characteristics:
Crew: 1
Length: 10.73 m (35 ft 2 in)
Wingspan: 12.16 m (39 ft 10½ in)
Height: 4.46 m (14 ft 7½ in)
Wing area: 23.8 m² (256 sq ft)
Aspect ratio: 7.3
Empty weight: 4,142 kg (9,132 lb)
Gross weight: 7,404 kg (16,323 lb)
Max takeoff weight: 7,900 kg (17,417 lb)
Powerplant:
1× Wopen WP-5 (Rolls-Royce Nene Mk.104B) centrifugal-flow turbojet
with 26.5 kN (5,950 lbf) thrust
Performance:
Maximum speed: 940 km/h (580 mph, 510 kn) at sea level
Maximum speed: Mach 0.76
Cruise speed: 750 km/h (470 mph, 400 kn)
Maximum Mach number: M0.83
Combat range: 450 km (280 mi, 240 nmi)
Ferry range: 920 km (570 mi, 500 nmi)
Service ceiling: 13,000 m (43,000 ft)
Rate of climb: 38 m/s (7,500 ft/min)
Take-off run: 783 m (2,569 ft)
Landing run: 910 m (2,986 ft)
Armament:
4× 23 mm (0.906 in) Nudelman-Suranov NS-23 autocannon with 100 rounds per gun
2× underwing hardpoints for 2.000 kg of payload, including a variety of unguided iron bombs such
as 2× 250 kg (500 lb) bombs, napalm tanks, pods with unguided missiles, or 2× 350 l (92 US
gal; 77 imp gal) drop tanks for extended range.
The kit and its assembly:
I always thought that the tubby Dassault Ouragan had something “Soviet-ish” about it, looking much like one of the obscure early Yakowlew jet fighter prototypes (e .g. the straight-wing Yak-25 [first use of this designation in 1947] or the swept-wing Yak-30) around 1950. With this idea I had stashed away a Heller Ouragan for a while, and recently wondered about an indigenous North-Korean aircraft that could have emerged after the Korean War? The Ouragan looked like a good basis, and so this project started as a simple conversion of the Heller kit.
While most of the airframe was retained, I made some cosmetic changes to change the aircraft’s looks and add a Warsaw Pact flavor. The characteristic wing tip tanks disappeared, and the wings’ ends were rounded off. The fin tip was extended with a piece of 1.5 mm styrene sheet and a different fin shape was sculpted from it. The original stabilizers were replaced with what I think are stabilizers from a VEB Plasticart 1:100 An-24 – they better match the wing shape than the OOB parts!
The cockpit was taken OOB, I just replaced the ejection seat with a different piece from a KP 1:72 MiG-19. The air intake was modified with the opening from a Heller 1:72 F-84G, extending and narrowing it slightly, even though the internal splitter plate (which also bears the front wheel well) was retained. The landing gear was also basically taken OOB, but the main wheels were now mounted on the outside position (with an adaptation of the covers), and the front wheel was moved 3 mm further forward, to compensate for the slightly longer nose section, and its cover was modified accordingly. The flaps were lowered, primarily because this modification is easy to realize on this kit and it makes the simple aircraft look “livelier”, and the canopy was cut into three parts for open display.
Pylons were added under the wings, together with drop tanks from a Hobby Boss 1:72 MiG-15. The same source provided the swept antenna mast behind the cockpit and the small but characteristic altimeter sensors under the wings. As a final twist of “Sovietization” I added small fences to the wings, made from styrene profiles – they would not be necessary on the aircraft’s straight wings, but they help change the model’s overall look. 😉
Building the Heller Ouragan was a straightforward affair, even though the plastic of the recent re-boxing I used was pretty soft and took long to cure after gluing parts together. A real problem occurred when I tried to close the fuselage halves, though, because the parts did not align well behind the cockpit, as if they were warped? The walls were rather thin, too, and as a result a lot of PSR went into the spine and the ventral area behind the wings, which mismatched badly. The rather thin material in these areas did not help much, either. I have built the Ouragan before, and I do not remember these massive troubles?!
Painting and markings:
I initially considered a North-Korean night fighter camouflage from the Korea War, but since the aircraft would have been introduced into service after the open hostilities, I rather settled for a very dry NMF finish with minimal markings. Therefore, the model received an overall coat with “White Aluminum” from the rattle can and a light overall rubbing treatment with graphite to emphasize the raised panel lines and add a slightly irregular metallic shine to the paint. Since they had disappeared through PSR, I also added/recreated some panel lines with a soft pencil.
The cockpit interior was painted in medium grey and Soviet cockpit turquoise, the landing gear and its wells became metallic-grey (Humbrol 56). The areas around the exhaust and the guns were painted with Revell 91 (Iron), the only color contrasts are red trim tabs.
The large KPAAF roundels with a white background came from a Cutting Edge MiG-15 sheet, the large red tactical code was left over from an unidentifiable “Eastern Bloc” model’s decal sheet. After some more graphite treatment around the guns and the tail section the model was sealed with a coat of semi-gloss acrylic varnish (Italeri), resulting in a nice metallic shine that looks better than expected on this uniform aircraft.
Well, this converted Ouragan looks pretty dull at first sight, due to its simple livery. But this makes it pretty plausible, and the small cosmetic changes add a serious Soviet-esque touch to the aircraft.
307. Those forces that manipulate the world, so that they can work undisturbed, want to accomplish two things: first and foremost that their existence be questioned, and if this does not work, they would at least like to appear undefeatable.
528. Modern culture is the culture of anti-spirituality and anti-traditionality. Consequently, it can only be considered as pseudo-culture, or rather, counter-culture. This term denotes counter-cultivation, that is, the cultivation of man and the world in such a way and to such a degree that they are continually becoming more fit to receive the dark instead of the light.
344. Modernity is not a stiffened, static reality, but a dynamic process, which is continuously working to make itself darker and darker.
361. Today’s man has gradually built a denatured world for himself: he has already been cut off from the supernatural, and now he is about to take leave of the natural.
366. A machine is demonic for it contributes to the emergence of a considerable alienation between producer, production and product - and this is always accompanied by an inner alienation.
9. The »ideal« of dark tendencies is the person without world-views.
29. In the background of the modern world’s conceptions, elaborated by a vast rational apparatus, there work manias which are generated by demonic forces.
58. Amalgamation most extremely contrasts with unity.
137. The case when someone ignores essentiality involves not only that the most important thing starts missing but that there can be found something else in its place.
138. Sticking to the only-human leads not to remaining in the human sphere but to becoming sub-human. For persisting in something is to loose it: to loose that which was intended to be retained.
307. Those forces that manipulate the world, so that they can work undisturbed, want to accomplish two things: first and foremost that their existence be questioned, and if this does not work, they would at least like to appear undefeatable.
309. Disintegration can also be seen on the surface. The act of disintegration, however, is forever under the surface which makes it even more difficult to notice it.
310. The path leading to chaos is not yet chaotic, only in its ultimate phase. For, though a chaos-creating force is creating chaos in its course, it necessarily gets structured into dark order of things.
314. That which is in opposition to what transcends life, ultimately, is in opposition to what belongs to the domain of life - for life gets life from what transcends life.
315. As the forces of modernity first annihilate the connection with the supernatural and ruin man’s relationship with nature and only then destroy nature, in the same way they destroy the connection with what transcends life first and only then annihilate life itself.
317. First, only he who maintains his principles is considered a fool (though he is not), then it comes true that only the fool maintains his principles...
318. Those things which are usually referred to as superstitions are in fact innocent and harmless superstitions. The harming and harmful superstitions appear in totally different forms such as evolutionism, antihierarchical views, beliefs in the equality of mankind and as all those phenomena which, philosophically speaking, belong to the realm of humanism.
328. Modernity is the way to conformity - the way to conformity forever in the direction of the lowest.
329. Kali-yuga is characterised mainly by the passionate clinging to the continuous deterioration and disintegration of consciousness.
331. »Being devoured«: this is the fundamental word for what the rule of darkness realises; being devoured, which is followed by annihilation.
332. Kali-yuga is not merely a state but a threatening and devouring throat.
333. The disintegrating forces of darkness are living forces, living forces that bring death.
335. The forces of darkness can gain power in the world only because they have already gained power in the soul.
341. Kali-yuga is present in the consciousness, in the strict sense of the word, in the human psyche, in the spiritual manifestations and deeds of man, just as it is present in the surrounding world, in buildings, in music, in the different manifestations of artistic trends and in the very processes of nature. Wherever man directs his attention, be it inward or outward, he is everywhere surrounded and ruled by a world which is under the aegis of antitraditionality - that is being cut off from God, heaven, transcendence, superiority and the essence.
344. Modernity is not a stiffened, static reality, but a dynamic process, which is continuously working to make itself darker and darker.
361. Today’s man has gradually built a denatured world for himself: he has already been cut off from the supernatural, and now he is about to take leave of the natural.
364. The specific blindnesses of the dark age as a rule cloak themselves in rationalism.
366. A machine is demonic for it contributes to the emergence of a considerable alienation between producer, production and product - and this is always accompanied by an inner alienation.
375. The forces of darkness and the forces of light in a way want the same in the present age: to make the kali-yuga progress to its end. But whereas the forces of darkness tend to annihilate the true values as well, the forces of light tend to maintain the true values in the course of kali-yuga so as to serve in the building up of a future golden age.
376. One has to accommodate himself to the modern world so that his powers will not wear him out - but not in the sense of bending and assimilating to it, but as a kind of acclimatisation; for he who gets acclimatised will not »serve« the climate but resists the climate.
377. Despite all its losing track, deterioration and dissipation, today’s world and the tendencies operating in it show one direction: the direction of nothingness.
381. The postmodern state, in which everything can be manifested without any real consequence, and in which everything will be free, but nothing will matter, must be accomplished before everything falls apart in postmodernity. Without this, the final disintegration will not come about, since there would always be left certain positive remnants.
404. As light magnetises certain insects, so spiritual darkness attracts the overwhelming majority of people.
427. Everything that is against the supernatural also turns, sooner or later, against the natural.
488. Liberalism not only represents the view according to which every man is equal (to one another), but it also does its best to abolish quality in order to make every men equal.
528. Modern culture is the culture of anti-spirituality and anti-traditionality. Consequently, it can only be considered as pseudo-culture, or rather, counter-culture. This term denotes counter-cultivation, that is, the cultivation of man and the world in such a way and to such a degree that they are continually becoming more fit to receive the dark instead of the light.
529. Counter-culture does not simply mean being a poor hand at culture or that man’s world is inundated with cheap things instead of higher values. The real meaning of counter-culture is that man and his world turn in a completely different direction to the one they ought to, since instead of dominating and cultivating the light, he dominates and cultivates the dark.
531. That which is called the Enlightenment today was, unambiguously, darkening; and exactly that which was dark in it resulted in it being called »Enlightenment«: the denial of the spirit.
533. Turning towards the earth clearly reveals darkening and decay. But how degenerated this [materialistic] view has become is really shown by the fact that it is called »Enlightenment« instead of »Endarkenment«.
[The contemporary manifestations of these kinds of processes at the time were similarly criticised by Plato, according to whom this attitude originated in »grievous ignorance which, however, appears to be the greatest discretion.« (Laws 886B).]
538. The bulk of negative processes and tendencies, be they communism, environmental pollution or economic crises, might be suppressed and reversed. However, there is one process which cannot be held back, and there is not even a wish to hold it back, namely, the rapidly increasing »not-anything-like-ness« or »not-any-kind-of-ness«.
738. Each world that has lost its origin-awareness is characterized by annihilation.
773. Since the return to the origin is only possible from well-ordered states, anti-traditional forces and powers primarily attack the internal and external order of man. This way they create such counter-conditions from which the return to the origin becomes impossible, or almost impossible.
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Metaphysical aphorisms by András László
www.tradicio.org/english/solumipsum.htm
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Painting by Tadeus Brzozowski
Foundation stone 10 Oct 1896 by Lady Victoria Buxton, architect Fredrick William Dancker, opened 25 Feb 1897, sold 1961 to Minister of Education when OBI amalgamated with Youth Clubs Association, converted 2007 to boutique hotel. Our Boys’ Institute (OBI) founded 1888.
“Mr. F. Chappie, B.A., B.Sc., the President of Our Boys’ Institute, gave a very instructive scientific lecturette to the lads in their rooms in Gawler-place. Considering the unfavourable state of the weather the lads turned out in force. The subject of electricity was ably dealt with, and was illustrated with numerous experiments, which made the lecture much more interesting. The Institute is fast becoming popular amongst the better lads of the city, and the various classes are well attended. A class for instruction in the use of tools is just about being started under the directorship of Mr. Johnson, from Victoria. Messrs. J. Colton & Co. have presented the class with some tools, and Mr. Trudgeon with a bench. Other gifts in this direction will be appreciated. Mr. L. J, Keckwick has undertaken to form a class for Bible instruction.” [Evening Journal 13 Jul 1888]
“That “our boys' Institute” has proved so successful is a matter for congratulation. There are two shorthand classes, also Bookkeeping, Elocution, and Bible Classes. For muscular development there are two gymnastic classes, and a room has been fitted up where members arc instructed in the use of tools, also a cricket club has been started. . . talks on botany and other scientific subjects. Debates are ably carried on by the members. The reading-room is open every Tuesday and Thursday evening, and a lending library is in operation: The class of boys attracted to these privileges is a respectable one. They are composed chiefly of lads that have left school and are engaged in shops and warehouses.” [Christian Colonist 12 Oct 1888]
“Mr. Kirkham Evans . . . started the work of Our Boys' Institute some seven years ago in connection with the Y. M. C. A., but it soon outgrew the accommodation available and removed its operations to premises belonging to Messrs. J. Dunn & Co., in Freeman-street.” [Chronicle 7 Mar 1896]
“Our work reaches not the newspaper boys, but the middle and better classes, just as they reach the age of thirteen, and are allowed to leave the day-school. This we consider is the most critical period in a boy's life, and if we can get them before they drift on to the streets and attend doubtful places of amusement we are doing incalculable good.” [Evening Journal 28 May 1896]
“what O.B.I. is doing:— Classes — Shorthand, bookkeeping, business methods, drawing and painting, use of tools, gymnasium, Indian clubs, ambulance, elocution, drum and fife band, Latin, photography, magic lantern slide-making, Bible study. Clubs — Rambling, cricket, swimming, bicycle, and boating; Boys' Cricketing Association, containing eight clubs, established in O.B.l. to improve the tone of junior cricket. Boys are assisted in obtaining situations. Boys from the country helped in obtaining suitable lodging. Lending library, reading-room, gameroom, medical talks, medical advice, fortnightly entertainments, debates, Easter encampment, chess and draught tournaments, manuscript newspaper, and Savings Bank. A good nightschool will be established when the new building is erected.” [Register 28 May 1896]
“Our Boys Institute. . . Prevention better than cure is the motto of O.B.I., but the reason for its existence is the desire to benefit and improve humanity. Not only does it act as a preventive of immorality, but it supplies a means whereby boys can continue their studies after they leave school, and its athletic clubs leave their beneficial impression upon the youth of the present generation. . . At first it was initiated as a sort of younger brother to the Y.M.C.A., and forty members answered to the first roll-call. . . It was now eight years since the O.B.I, was started, and during that time over 3.000 boys had passed through the institution. The present membership was about 500.
“The building will be thoroughly substantial, plain, and useful. The principal architectural effect will be in the front elevation, which is to be in Venetian Gothic style, three-storied in front, and two stories — comprising the classrooms and gymnasium — at the back. The base of walls up to plinth line will be in Glen Osmond dark stone, the first story and all quoins in front elevation will be in Stirling white freestone with rock face, producing a bold and substantial effect, and will be pierced by square trandsom [sic] window openings. The two upper stories will be of buff-coloured dressed Para freestone, with white freestone rock face quoins, and string courses and cornices in Portland cement. The front entrance will have a semi-circular headed doorway with rusticated stone pilasters and arch, and cement cornice and balustrade. The first-floor window openings will have lancet heads with cement dressings. The chief feature of the elevation will be in the second story, which will be constructed with open Gothic tracery and columns in Portland cement, standing clear of a recessed wall of dark-red brickwork, with alternate window openings, and surmounted by a stringcourse, cantilevers, and bold cornice, and freestone parapet. The sides and back and internal walls will be of plain brickwork.” [Adelaide Observer 17 Oct 1896]
“This week will witness the celebration of the opening of Our Boys' Institute by various festivities. The handsome new building in Wakefield-street will be declared open to the public by his Excellency the Governor this evening, and speeches will also be delivered by the Right Hon. S. J. Way and Bishop Harmer. The members of the Cathedral choir will sing, and there will be a display of limelight views of O.B.I. work. On Wednesday there will be a gymnastic display and basket-ball match, O.B.I. v. Y.M.C.A.; on Thursday a Sunbeam concert, and on Friday a promenade concert and inspection of the building.” [Advertiser 23 Feb 1897]
“To celebrate the jubilee year of Our Boys' Institute, £4,000 has been spent on additions to the building in Wakefield street, City. Tonight the Lord Mayor (Mr. Barrett) will open the new hall, when a full programme of acrobatics will be given. A troupe from the City Fire Brigade will give a display of weight lifting and gymnastics, and Miss G. Biggs and Mr. R. Moorland will give an exhibition of skating. Parents and their boys are invited to attend. Admission is free.” [News 25 May 1938]
The bhavacakra (Sanskrit; Pāli: bhavacakka; Tibetan: srid pa'i 'khor lo) is a symbolic representation of saṃsāra (or cyclic existence) found on the outside walls of Tibetan Buddhist temples and monasteries in the Indo-Tibetan region. In the Mahayana Buddhism, it is believed that the drawing was designed by the Buddha himself in order to help ordinary people understand Buddhist teachings.
The bhavacakra is popularly referred to as the wheel of life, and may also be glossed as wheel of cyclic existence or wheel of becoming.
ORIGIN
Legend has it that the historical Buddha himself created the first depiction of the bhavacakra, and the story of how he gave the illustration to King Rudrāyaṇa appears in the anthology of Buddhist narratives called the Divyāvadāna.
The bhavacakra is painted on the outside walls of nearly every Tibetan Buddhist temple in Tibet and India. Dzongsar Jamyang Khyentse Rinpoche states:
One of the reasons why the Wheel of Life was painted outside the monasteries and on the walls (and was really encouraged even by the Buddha himself) was to teach this very profound Buddhist philosophy of life and perception to more simple-minded farmers or cowherds. So these images on the Wheel of Life are just to communicate to the general audience.
EXPLANATION OF THE DIAGRAM
OVERVIEW
The meanings of the main parts of the diagram are:
The images in the hub of the wheel represent the three poisons of ignorance, attachment and aversion.
The second layer represents karma.
The third layer represents the six realms of samsara.
The fourth layer represents the twelve links of dependent origination.
The fierce figure holding the wheel represents impermanence.
The moon above the wheel represents liberation from samsara or cyclic existence.
The Buddha pointing to the moon indicates that liberation is possible.
Symbolically, the three inner circles, moving from the center outward, show that the three poisons of ignorance, attachment, and aversion give rise to positive and negative actions; these actions and their results are called karma. Karma in turn gives rise to the six realms, which represent the different types of suffering within samsara.
The fourth and outer layer of the wheel symbolizes the twelve links of dependent origination; these links indicate how the sources of suffering - the three poisons and karma - produce lives within cyclic existence.
The fierce being holding the wheel represents impermanence; this symbolizes that the entire process of samsara or cyclic existence is impermanent, transient, constantly changing. The moon above the wheel indicates liberation. The Buddha is pointing to the moon, indicating that liberation from samsara is possible.
HUB: THE THREE POISONS
In the hub of the wheel are three animals: a pig, a snake, and a bird. They represent the three poisons of ignorance, aversion, and attachment, respectively. The pig stands for ignorance; this comparison is based on the Indian concept of a pig being the most foolish of animals, since it sleeps in the dirtiest places and eats whatever comes to its mouth. The snake represents aversion or anger; this is because it will be aroused and strike at the slightest touch. The bird represents attachment (also translated as desire or clinging). The particular bird used in this diagram represents an Indian bird that is very attached to its partner. These three animals represent the three poisons, which are the core of the bhavacakra. From these three poisons, the whole cycle of existence evolves.
In many drawings of the wheel, the snake and bird are shown as coming out of the mouth of the pig, indicating that aversion and attachment arise from ignorance. The snake and bird are also shown grasping the tail of the pig, indicating that they in turn promote greater ignorance.
Under the influence of the three poisons, beings create karma, as shown in the next layer of the circle.
SECOND LAYER: KARMA
The second layer of the wheel shows two-half circles:
One half-circle (usually light) shows contented people moving upwards to higher states, possibly to the higher realms.
The other half-circle (usually dark) shows people in a miserable state being led downwards to lower states, possibly to the lower realms.
These images represent karma, the law of cause and effect. The light half-circle indicates people experiencing the results of positive actions. The dark half-circle indicates people experiencing the results of negative actions.
Ringu Tulku states:
We create karma in three different ways, through actions that are positive, negative, or neutral. When we feel kindness and love and with this attitude do good things, which are beneficial to both ourselves and others, this is positive action. When we commit harmful deeds out of equally harmful intentions, this is negative action. Finally, when our motivation is indifferent and our deeds are neither harmful or beneficial, this is neutral action. The results we experience will accord with the quality of our actions.
Propelled by their karma, beings take rebirth in the six realms of samsara, as shown in the next layer of the circle.
THIRD LAYER: THE SIX REALMS OF SAMSARA
OVERVIEW
The third layer of the wheel is divided into six sections that represent the six realms of samsara. These six realms are divided into three higher realms and three lower realms.
The three higher realms are shown in the top half of the circle; the higher realms consist of the god realm, the demi-god realm and the human realm. The god realm is shown in the top middle and the human realm and demi-god realms are on either side of the god realm.
The three lower realms are shown in the bottom half of the circle; the lower realms consist of the hell realm, the animal realm and the hungry ghost realm. The hell realm is shown in the bottom middle of the circle, with the animal realm and hungry ghost realm on either side of the hell realm.
WHAT IS SAMSARA?
The six realms are six different types of rebirth that beings can enter into, each representing different types of suffering. Samsara, or cyclic existence, refers to the process of cycling through one rebirth after another.
Patrul Rinpoche states:
The term samsara, the wheel or round of existence, is used here to mean going round and round from one place to another in a circle, like a potter's wheel, or the wheel of a water mill. When a fly is trapped in a closed jar, no matter where it flies, it can not get out. Likewise, whether we are born in the higher or lower realms, we are never outside samsara. The upper part of the jar is like the higher realms of gods and men, and the lower part like the three unfortunate realms. It is said that samsara is a circle because we turn round and round, taking rebirth in one after another of the six realms as a result of our own actions, which, whether positive or negative, are tainted by clinging.
A BRIEF DESCRIPTION OF THE SIX REALMS
Six realms of existence are identified in the Buddhist teachings: gods, demi-gods, humans, animals, hungry ghosts and hells. These realms can be understood on a psychological level, or as aspects of Buddhist cosmology.
These six realms can be divided into three higher realms and three lower realms. The three higher realms are:
GOD REALM: the gods lead long and enjoyable lives full of pleasure and abundance, but they spend their lives pursuing meaningless distractions and never think to practice the dharma. When death comes to them, they are completely unprepared; without realizing it, they have completely exhausted their good karma (which was the cause for being reborn in the god realm) and they suffer through being reborn in the lower realms.
DEMI-GODS REALM: the demi-gods have pleasure and abundance almost as much as the gods, but they spend their time fighting among themselves or making war on the gods. When they make war on the gods, they always lose, since the gods are much more powerful. The demi-gods suffer from constant fighting and jealousy, and from being killed and wounded in their wars with each other and with the gods.
HUMAN REALM: humans suffer from hunger, thirst, heat, cold, separation from friends, being attacked by enemies, not getting what they want, and getting what they don't want. They also suffer from the general sufferings of birth, old age, sickness and death. Yet the human realm is considered to be the most suitable realm for practicing the dharma, because humans are not completely distracted by pleasure (like the gods or demi-gods) or by pain and suffering (like the beings in the lower realms).
The three lower realms are:
ANIMAL REALM: wild animals suffer from being attacked and eaten by other animals; they generally lead lives of constant fear. Domestic animals suffer from being exploited by humans; for example, they are slaughtered for food, overworked, and so on.
HUNGRY GHOST REALM: hungry ghosts suffer from extreme hunger and thirst. They wander constantly in search of food and drink, only to be miserably frustrated any time they come close to actually getting what they want. For example, they see a stream of pure, clear water in the distance, but by the time they get there the stream has dried up. Hungry ghosts have huge bellies and long, thin necks. On the rare occasions that they do manage to find something to eat or drink, the food or water burns their neck as it goes down to their belly, causing them intense agony.
HELL REALM: hell beings endure unimaginable suffering for eons of time. There are actually eighteen different types of hells, each inflicting a different kind of torment. In the hot hells, beings suffer from unbearable heat and continual torments of various kinds. In the cold hells, beings suffer from unbearable cold and other torments.
Generally speaking, each realm is said to be the result of one of the six main negative emotions: pride, jealousy, desire, ignorance, greed, and anger. Dzongsar Khyentse states:
So we have six realms. Loosely, you can say when the perception comes more from aggression, you experience things in a hellish way. When your perception is filtered through attachment, grasping or miserliness, you experience the hungry ghost realm. When your perception is filtered through ignorance, then you experience the animal realm. When you have a lot of pride, you are reborn in the god realm. When you have jealousy, you are reborn in the asura (demi-god) realm. When you have a lot of passion, you are reborn in the human realm.
Among the six realms, the human realm is considered to offer the best opportunity to practice the dharma. Dzongsar Khyentse states:
If we need to judge the value of these six realms, the Buddhists would say the best realm is the human realm. Why is this the best realm? Because you have a choice ... The gods don't have a choice. Why? They're too happy. When you are too happy you have no choice. You become arrogant. The hell realm: no choice, too painful. The human realm: not too happy and also not too painful. When you are not so happy and not in so much pain, what does that mean? A step closer to the normality of mind, remember? When you are really, really excited and in ecstasy, there is no normality of mind. And when you are totally in pain, you don't experience normality of mind either. So someone in the human realm has the best chance of acquiring that normality of mind. And this is why in Buddhist prayers you will always read: ideally may we get out of this place, but if we can't do it within this life, may we be reborn in the human realm, not the others.
Sometimes, the wheel is represented as only having five realms because the God realm and the Demi-god realm are combined into a single realm.
In some representations of the wheel, there is a buddha or bodhisattva depicted within each realm, trying to help sentient beings find their way to nirvana.
SANSKRIT TERMS FOR THE SIX REALMS
The Sanskrit terms for the six realms are:
Deva realm: God realm
Asura realm: Demi-god realm
Manuṣya realm: Human realm
Tiryagyoni realm: Animal realm
Preta realm: Hungry Ghost realm
Naraka realm: Hell realm
OUTER RIM: THE TWELVE LINKS
The outer rim of the wheel is divided into twelve sections that represent the Twelve Nidānas. As previously stated, the three inner layers of the wheel show that the three poisons lead to karma, which leads to the suffering of the six realms. The twelve links of the outer rim show how this happens - by presenting the process of cause and effect in detail.
These twelve links can be understood to operate on an outer or inner level.
On the outer level, the twelve links can be seen to operate over several lifetimes; in this case, these links show how our past lives influence our current lifetime, and how our actions in this lifetime influence our future lifetimes.
On the inner level, the twelve links can be understood to operate in every moment of existence in an interdependent manner. On this level, the twelve links can be applied to show the effects of one particular action.
By contemplating on the twelve links, one gains greater insight into the workings of karma; this insight enables us to begin to unravel our habitual way of thinking and reacting.
The twelve causal links, paired with their corresponding symbols, are:
Avidyā lack of knowledge – a blind person, often walking, or a person peering out
Saṃskāra constructive volitional activity – a potter shaping a vessel or vessels
Vijñāna consciousness – a man or a monkey grasping a fruit
Nāmarūpa name and form (constituent elements of mental and physical existence) – two men afloat in a boat
Ṣaḍāyatana six senses (eye, ear, nose, tongue, body, and mind) – a dwelling with six windows
Sparśa contact – lovers consorting, kissing, or entwined
Vedanā pain – an arrow to the eye
Tṛṣṇa thirst – a drinker receiving drink
Upādāna grasping – a man or a monkey picking fruit
Bhava coming to be – a couple engaged in intercourse, a standing, leaping, or reflective person
Jāti being born – woman giving birth
Jarāmaraṇa old age and death – corpse being carried
THE FIGURE HOLDING THE WHEEL: IMPERMANENCE
The wheel is being held by a fearsome figure who represents impermanence. The 14th Dalai Lama states:The fierce being holding the wheel symbolizes impermanence, which is why the being is a wrathful monster, though there is no need for it to be drawn with ornaments and so forth ... Once I had such a painting drawn with a skeleton rather than a monster, in order to symbolize impermanence more clearly.
This figure is most commonly depicted as Yama, the lord of death. Regardless of the figure depicted, the inner meaning remains the same–that the entire process of cyclic existence (samsara) is transient; everything within this wheel is constantly changing.
Yama has the following attributes:
He wears a crown of five skulls that symbolize the impermanence of the five aggregates. (The skulls are also said to symbolize the five poisons.)
He has a third eye that symbolizes the wisdom of understanding impermanence.
He is sometimes shown adorned with a tiger skin, which symbolizes fearfulness. (The tiger skin is typically seen hanging beneath the wheel.)
His four limbs (that are clutching the wheel) symbolize the sufferings of birth, old age, sickness, and death.
THE MOON: LIBERATION
Above the wheel is an image of the moon; the moon represents liberation from the sufferings of samsara.
Thubten Chodron states:
The moon is nirvana [i.e. liberation]. Nirvana is the cessation of all the unsatisfactory experiences and their causes in such a way that they can no longer occur again. It's the removal, the final absence, the cessation of those things, their non-arising. The Buddha is pointing us to that.
Chögyam Trungpa states:
The truth of cessation is a personal discovery. It is not mystical and does not have any connotations of religion or psychology. It is simply your experience ... Likewise, cessation is not just a theoretical discovery, but an experience that is very real to you–a sudden gain. It is like experiencing instantaneous good health: you have no cold, no flu, no aches, and no pains in your body. You feel perfectly well, absolutely refreshed and wakeful! Such an experience is possible.
Some drawings may show an image of a "pure land" to indicate liberation, rather than a moon.
THE BUDDHA POINTING TO THE MOON: THE PATH TO LIBERATION
The upper part of the drawing also shows an image of the Buddha pointing toward the moon; this represents the path to liberation.
Thubten Chodron states:
So the Buddha's gesture is like the path to enlightenment. It's not that the Buddha is the cause of nirvana. The Buddha is a cooperative condition of our nirvana. He indicates the path to us, he points out to us what to practice and what to abandon in order to be liberated. When we follow the path, we get the result, which is nirvana.
Chögyam Trungpa states:
The nature of the path is more like an exploration or an expedition than following a path that has already been built. When people hear that they should follow the path, they might think that a ready-make system exists, and that individual expressions are not required. They may think that one does not have to surrender or give or open. But when you actually begin to tread on the path, you realize that you have to clear out the jungle and all the trees, underbrush, and obstacles growing in front of you. You have to bypass tigers and elephants and poisonous snakes.
Mark Epstein states:
The entire Wheel of Life is but a representation of the possibility of transforming suffering by changing the way we relate to it. As the Buddha taught in his final exhortation to his faithful attendant Ananda, it is only through becoming a "lamp unto yourself" that enlightenment can be won. Liberation from the Wheel of Life does not mean escape, the Buddha implied. It means clear perception of oneself, of the entire range of the human experience ...
According to the Buddhist tradition, the Buddha told his followers:
I have shown you the path that leads to liberation
But you should know that liberation depends upon yourself.
INSCRIPTION
Drawings of the Bhavacakra usually contain an inscription consisting of a few lines of text that explain the process that keeps us in samara and how to reverse that process.
PSYCHOLOGICAL INTERPRETATION
From a psychological point of view, different karmic actions contribute to one's metaphorical existence in different realms, or rather, different actions reinforce personal characteristics described by the realms.
Mark Epstein states:
The core question of Buddhist practice, after all, is the psychological one of "Who am I?" Investigating this question requires exploration of the entire wheel. Each realm becomes not so much a specific place but rather a metaphor for a different psychological state, with the entire wheel becoming a representation of neurotic suffering.
WITHIN THE THERAVADA TRADITION
T. B. Karunaratne states:
Though in Theravāda literature there is no mention of an actual pictorial execution of a "Wheel of Life," yet the concept of comparing Dependent Origination to a wheel is not unknown. In the Path of Purification (Visuddhimagga), the famous commentator Buddhaghosa Acariya says:
"It is the beginningless round of rebirths that is called the 'Wheel of the round of rebirths' (saṃsāracakka). Ignorance (avijjā) is its hub (or nave) because it is its root. Ageing-and-death (jarā-maraṇa) is its rim (or felly) because it terminates it. The remaining ten links (of the Dependent Origination) are its spokes (i.e. karma formations [saṅkhāra] up to process of becoming [bhava])."
WIKIPEDIA
Raids on businesses suspected of selling counterfeit goods. The raids took place in the Strangeways area on 24 October 2013.
Agencies across Greater Manchester have joined forces to declare war on organised criminal gangs across the region.
This week has seen the launch of Challenger, the largest ever multi-agency response to tackling organised criminal gangs (OCGS) in Manchester's history.
Over the past five days, more than 100 warrants have been carried out by numerous agencies to root out the drug dealers, loan sharks, rogue landlords and counterfeit good suppliers who are the lynchpins of these criminal networks.
The aim of Challenger is to identify every single organised crime group in existence and use all the weapons available to agencies across both Manchester and the UK to disrupt, dismantle and destroy these gangs.
This week alone, more than 50 suspected members of criminal gangs have been arrested for a variety of offences including drugs, firearms and money laundering.
More than £330,000 worth of drugs were recovered, £25,000 in cash seized along with weapons such as high-powered air rifles, a BB gun, a Taser and a baton. Seven high powered cars were also seized.
Up to 50 tonnes worth of counterfeit goods - worth at least £2m - including fake trainers, watches and clothing, were also seized from three properties in the Strangeways area, all of which were stocked to the brim across several different floors with fake goods.
Detective Chief Superintendent Rebekah Sutcliffe, who heads Challenger for Greater Manchester Police, said: "Organised crime groups have a corrosive and insidious effect on our communities. These sorts of people mistakenly believe they 'own their turf' and use violence and intimidation to make people's lives a misery.
"However, this week we have brought the fight to these gangs and through Challenger we are now declaring war on these criminal networks who for too long have been bullying communities and enjoying a lavish lifestyle.
"Challenger is not about cutting off the head of a monster - it is about systematically dismantling these gangs member by member and making it impossible for them to operate. To do that, we need to get into the ribs of these people and hit them where it hurts.
"By working in partnership with so many other agencies, we can attack these gangs from every angle. We can expose benefit scams and leave these people penniless; we can seize their flash motors which are often not insured or taxed; we can shut down nail bars, takeaways and pubs where organised criminals often launder their dirty cash and we stop loan sharks from bullying victims into taking out exorbitant loans which fund their criminality.
"Through this partnership approach, Challenger will unmask every single organised crime group in Manchester and use every available tool to bring them crashing down."
There are currently more than 160 known organised criminal gangs in Greater Manchester, costing the local economy between 850m and 1.7bn each year.
However, it is thought they may be up to 500 of these networks in operation.
Thanks to Challenger, a central taskforce has been set up which will gather intelligence and build up an accurate picture of every single criminal gang in Manchester.
The taskforce will then work with partners from the local community, including neighbourhood policing teams, local authorities, Immigration Enforcement, the England Illegal Money Lending Team, housing providers, the Department for Work and Pensions, the DVLA, HMRC and other agencies to draw up bespoke plans for how best to dismantle these gangs.
In addition to this important local approach, Challenger is also being supported by the Home Office and the National Crime Agency (NCA). Officers from these national agencies are providing regular support and expertise about how best to tackle organised criminality.
But central to the success of Challenger will be the support of the local community and people coming forward with information about criminality in their area.
Detective Chief Superintendent Sutcliffe said: "There may be a misconception among people that organised criminality is all about drugs and guns and that it does not affect their lives. They could not be more wrong.
"Organised criminality is not just about firearms and drug dealing - it is happening on people's doorsteps every day without them realising it.
"The way these gangs fund their criminal empires is through the sale of counterfeit goods, loan sharking, electricity, housing and benefit scams, human trafficking and rogue landlords.
"If you suspect any of this is happening in your community, you need to report it because the endgame of these sorts of offences are the brutal shootings we saw last year that resulted in innocent people being killed.
"But, with your help, we can break this chain. If you don't buy counterfeit goods or turn to loan sharks you are cutting off the funds for these criminals to buy guns and drugs. If you report housing scams you will be making it impossible for these gangs to have bases from which to operate. If you report someone who is driving around in a flash motor you know is not insured, you will be stopping these cars from being used as getaway vehicle during serious crime.
"This is a war we can win with the public's help. We can give communities back to law-abiding people. If you help us to identify the foundations these empires are built on, we will bring them crashing down. And if you wish to report anything anonymously, you can do so by contacting Crimestoppers."
National Crime Agency regional head of investigations, Steve Baldwin, said: "Organised crime deprives people of their security and prosperity, leads to loss of life and costs the UK well over £20billion each year. It directly affects all of our communities. The NCA's role is to lead the UK's fight against organised crime. But to do that we need to work closely with our law enforcement partners like Greater Manchester Police, as we have done in supporting this operation. Together we will use every technique available to relentlessly and continuously disrupt serious organised criminals and make their lives as difficult as possible."
Jim Battle, Deputy Police and Crime Commissioner said: "These so-called 'Mr Bigs' think they can control our communities with a grip of fear. But the action taken by police, local councils and other agencies this week sends a clear message to these abhorrent individuals that there is no place for you in our communities - you will be hunted down and you will be brought to justice.
"The fight is ongoing and we can only keep up the pressure on these criminal gangs with the support of our communities across Greater Manchester. I thank the decent, law-abiding people for their continued help and urge you all to stand with us so together we can bring down these criminals and build safer communities."
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
In a discussion on a fellow Flickrite's photostream about this trio of Fylde (Lytham St Anne's Corporation) Massey bodied Titan PD2s, it seems that I reported the demise of CTF 645B prematurely. Talking to it's owner last night, it appears that it escaped the big cull and is currently still stored awaiting a decision on it's future... or if indeed it has one.
The fibreglass fronted PD2 had been in use at Matcham's Motor sport centre and had been acquired as a runnable, if not quite usable bus. It was driven to an agreed rendezvous point from where a recovery vehicle was to collect it. However the lorry didn't arrive for several days beyond the appointed time in which gap it was severely vandalised. Many smaller items have been removed or damaged, but the basic mechanical units are believed to be sound and the engine starts and runs well.
*They started their primordial existence as microscopic lifeforms placed on separate parts of the Earth's Oceans by a dying race of ancients with the hopes of reviving a once great species. Over ions of existence the unpredictable conditions of this planet slowly morphed them into strange and unrecognizable versions of themselves."
"Like her sister, was born in water. But unlike her sister she felt cradled by the dark. The depths of the ocean provided solitude. She feared the sun and it's violent rays. Unable to stand even the faint light that peaked through the surface she delved into the darkest depths she could find. A large section of this ocean is an endless expanse of pitch black water or an "abyss" which interconnects with countless maze-like rocky passageways that expand for thousands of miles. This entire area, completely void of sunlight and home to very few lifeforms, provided a shelter for the her. However, while these underwater caverns are mostly void of life, the few that do manage to exist are extremely aggressive and monstrous in appearance. In the abyss she evolved into a silent ambush predator to feed and hide from horrifying creatures that roam the deep dark. Millenniums pass and she can heard the voices of humans in the water. They tell legends of her and call her Sobek. After ions of lonely existence something in the void calls to her and she discovers an ancient life form of unknown origin even older than herself. A sentient orb covered in metallic scales that is able to telepathically communicate with her. The creature reveals ancient cosmic knowledge, telling her she has a sister, and proposes a trade. It will guide her to her brethren and protect her from the sunlight she fears, but only if she allows the scaled orb to bond with her flesh."
Sobek is a OOAK Nnaji in Milk skintone and Busty chest option. Her body blushing is lilac and burned turquoise. Her head is covered in hand sculpted scales to enhance her monstrous looks. Her lips and nails are a palest pearl pink and her fanged teeth share the same steel grey as her alien gharial eyes. Sobek wears a hand stitched haute couture armour with a poseable tail, each sequin sewn to a form sculpture that bristles in the back as gharial scales, adorns the shoulders leaving sensuous naked spots and exaggerates the hips for a feminine silhouette. She wears spiky heels painted to match her skintone.
This is a commission order for a private collector, not for sale.
In a dystopian 1984, Winston Smith endures a squalid existence in the totalitarian superstate of Oceania under the constant surveillance of the Thought Police. The story takes place in London, the capital city of the territory of Airstrip One (formerly "either England or Britain").
Winston works in a small office cubicle at the Ministry of Truth, rewriting history in accordance with the dictates of the Party and its supreme figurehead, Big Brother. A man haunted by painful memories and restless desires, Winston is an everyman who keeps a secret diary of his private thoughts, thus creating evidence of his thoughtcrime — the crime of independent thought, contrary to the dictates and aims of the Party.
His life takes a fatal turn when he is accosted by a fellow Outer Party worker — a mysterious, bold-looking girl named Julia — and they begin an illicit affair. Their first meeting takes place in the remote countryside where they exchange subversive ideas before having sex. Shortly after, Winston rents a room above a pawn shop (in the supposedly safe proletarian area) where they continue their liaison. Julia — a sensual, free-spirited young woman — procures contraband food and clothing on the black market, and for a brief few months they secretly meet and enjoy an idyllic life of relative freedom and contentment together.
It comes to an end one evening, with the sudden raid of the Thought Police. They are both arrested and it's revealed that there is a telescreen hidden behind a picture on the wall in their room, and that the proprietor of the pawn shop, Mr. Charrington, is a covert agent of the Thought Police. Winston and Julia are taken away to be detained, questioned and brutally "rehabilitated", separately. Winston is brought to the Ministry of Love, where O'Brien, a high-ranking member of the Inner Party whom Winston had previously believed to be a fellow thoughtcriminal and agent of the resistance movement led by the archenemy of the Party, Emmanuel Goldstein, systematically tortured him.
O'Brien instructs Winston about the state's true purpose and schools him in a kind of catechism on the principles of doublethink — the practice of holding two contradictory thoughts in the mind simultaneously. For his final rehabilitation, Winston is brought to Room 101, where O'Brien tells him he will be subjected to the "worst thing in the world", designed specifically around Smith's personal phobias. When confronted with this unbearable horror — which turns out to be a cage filled with wild rats — Winston's psychological resistance finally and irretrievably breaks down, and he hysterically repudiates his allegiance to Julia. Now completely subjugated and purged of any rebellious thoughts, impulses, or personal attachments, Winston is restored to physical health and released.
In the final scene, Winston returns to the Chestnut Tree Café, where he had previously seen the rehabilitated thoughtcriminals Jones, Aaronson and Rutherford (themselves once prominent but later disgraced members of the Inner Party) who have since been "vaporized" and rendered unpersons. While sitting at the chess table, Winston is approached by Julia, who was similarly "rehabilitated". They share a bottle of Victory Gin and impassively exchange a few words about how they have betrayed each other. After she leaves, Winston watches a broadcast of himself on the large telescreen confessing his "crimes" against the state and imploring forgiveness of the populace.
Upon hearing a news report declaring the Oceanian army's utter rout of the enemy (Eurasian)'s forces in North Africa, Winston looks at the still image of Big Brother that appears on the telescreen, then turns away and almost silently says "I love you" - a phrase that he and Julia repeatedly used during their relationship, indicating the possibility that he still loves Julia. However, he could also be declaring his love for Big Brother instead. The novel unambiguously ends with the words: "He loved Big Brother," whereas the movie seems to deliberately allow for either interpretation. Earlier, during Winston's conversation with Julia in the rented room, he stated that "if they can make me change my feelings, they can stop me from loving you, that would be real betrayal". In the final scene, the "real betrayal" has therefore either been committed or averted, depending on whether the "you" that Winston loves is Big Brother or Julia.
The history of Elliston is not complete without reference to the Elliston Massacre of 1849. The first white people to traverse this region and come into contact with the local Aboriginal people were the men who comprised the exploration party of Edward John Eyre in 1839. Eyre’s account of the Peninsula with no rivers and not a lot of fresh water and Mallee scrub everywhere deterred even the pastoralists for many years. Only a few ventured beyond the Port Lincoln area in the 1840s and even into the 1850s. But some did and conflict with the local Aboriginal people resulted. Dr William Browne of the Booborowie run and others took out a pastoral lease for Talia station in the Lake Newland region in the late 1840s. He employed two brothers named Hamp to manage the station and he employed them as shepherds. According to legends and reports one Hamp brother was murdered by Aboriginal people on 23 June 1848 after several months of skirmishes and conflict. A neighbouring shepherd visited the hut and found it had been rifled and the body of John Hamp was lying a few yards from the hut. He reported the finding to his manager who just happened to be entertaining the local police trooper who had visited a ship wreck on the coast. Trooper Driver (and Resident Commissioner) inspected the hut and noticed that John Hamp had been waddied to death and his skull partly sawn in two by a hand saw. Aboriginal tracks were evident and followed by Police trooper Driver and the manager of the station for a day before they were lost. When the Resident (Commissioner) of Port Lincoln wrote his report in July he was critical of the Police for wasting time by trying to track the Aborigines when they should have returned to report the incident in Port Lincoln. Two Aboriginal men were apprehended and tried by the Resident of Port Lincoln one year later before being tried in the Supreme Court of South Australia where the sentence was upheld. They were sentenced to death but given a reprieve by Governor Young.
But following the trial the Resident of Port Lincoln recommended that police stations be established at Lake Hamilton and Franklin Harbour(Cowell). But the murder of Hamp was not the end of conflict. In August the Aboriginals attacked the area of Hamp’s hut again and one shepherd was speared and one Aboriginal shot. Another report followed and the police troopers and other station hands went out on a punitive trip but with no reported incidents emerging. Perhaps this is where the story of the “Elliston Massacre” emerged but not according to later government reports. Following two murders of white settlers in May of 1849 Inspector Tolmer (later the Police Commissioner) gathered a party of men and riders together to search for the culprits of these murders. They found four Aborigines who were suspected of being responsible for the two murders in May of 1849 and of John Hamp in June of 1848. They were tried in the Supreme Court of South Australia and convicted but given a reprieve from the death sentence. There was no official or police attempt to round up groups of Aboriginal people and drive them to their death but stories of a massacre emerged. The area that was named Waterloo Bay in 1865 was a popular camping spot for Aboriginal people in the 1840s. Aboriginal oral traditions tell of a massacre of a number of people in 1849 when white men tried to round up Aboriginal people accused of crimes. The Aboriginals’ story goes that the white expedition party found Aboriginal people near a lake south of what is now Elliston. As the Aboriginal people fled some were followed through the scrub towards the coast. Shots were fired and several Aboriginal people were killed. When the white horsemen reached the top of the cliffs the group they were following had disappeared. It was presumed that some Aboriginal people had jumped 150 feet to their deaths into the ocean. There were no official reports on this expedition which is unusual to say the least for 1849 when all incidents with Aboriginal people were reported to the police, the Resident of Port Lincoln and/or the Protector of Aborigines in Adelaide. In fact the Protector of Aborigines Mr Moorhouse travelled to Port Lincoln to hear abolut the search for the murderers first hand in June 1849. Perhaps some Aboriginal people had heard stories of Police Inspector Tolmer and his party looking for murderers and translated that into a major punitive expedition with drastic results for a large group of people. The government was always assiduous about protecting the legal rights of Aborigines even if they did not treat them well. But the lack of any government or official report does not mean that such a punitive expedition by white men did not occur but there is no way that it would have been Inspector Tolmer’s party. A local pastoralist of Lake Newland Mr Horne also led a punitive expedition against Aboriginal people in 1849 and this incident is more likely to have been the basis of the coastal Elliston Massacre. The first written report of an Elliston Massacre appeared in an Adelaide newspaper in 1880 with the story presented by someone who only gave their initials. Since then it has been repeated many times but with little real evidence to support the existence of a massacre. But whether or not a massacre occurred there were certainly numerous incidents of conflict between white settlers and Aboriginal people but they were usually reported to the police and investigated by the authorities. Deaths occurred among white settlers and Aboriginal people before violence subsided after the Hamp and other murder trails of 1849. The number of Aboriginal people killed is impossible to enumerate precisely. In 2018 the Elliston community erected a monument to the massacre so that it will never be forgotten by present day Australians.
The Protestant City church Kitzingen (also Petrini church) is a church building in the old town of Kitzingen. With its high tower and its monumental Baroque façade it dominates the townscape. It is consecrated to John the Baptist but usually in contrast to the Catholic St. John's church it is only called City church. The Church is the largest Protestant church in Lower Franconia.
History
The history of Kitzingen is closely linked to the Town church. The predecessor building of the present church was a monastery. Already in the 8th century report sources of its existence. It was founded as a Benedictine (the female ones) abbey.
Until the Reformation (-1568)
The tower of Petrini church
Founder of the monastery was Hadeloga who belonged to the family of Mattonen (the family of Mattonen was an East-Frankonian, early medieval noble family. Proved is the family from the 8th century until the year 926, some Frankish noble families of the Middle Ages, like the Counts of Castell and the lords of Rothenburg being counted among the cognate descendants of Mattonen). A family foundation let arise the monastery for supply of female, Frankish aristocrats. In 745, St. Boniface consecrated the monastery and sent his confidant Thekla in the Franconian town. She should take the lead of the abbey after the death of Abbess Hadeloga. The Benedictine convent was founded as an Imperial monastery and therefore directly to the Frankish king subordinated. Only in 1007 it came to the Diocese of Bamberg, the diocesan power remaining with the Würzburg Prince Bishop.
In the 12th century the Holy Hedwig of Silesia visited the monastery and was educated here by the sisters. In 1443 Kitzingen was pledged to Margrave Albert of Brandenburg as the Archbishopric had amassed large debts. 1484 burned the monastery, whereby the two bell towers, all the bells and half the abbey church went up in flames. The reconstruction operation then Margaret Steward of Baldersheim proceeded who now presided over the monastery.
In German Peasants' War, the church was destroyed again. The inventory was stolen by marauding rebels, on this occasion also works by Tilman Riemenschneider were destroyed. After the monastery on December 7, 1527 was consecrated a third time it was then dissolved in the year 1544. Previously, in the twenties of the 16th century, the Protestant doctrine in Kitzingen had prevailed, so that in 1568 again sisters celebrated in the convent church services. In the rooms of the monastery now a noble, Protestant convent for women had moved.
Until the new building (-1699)
Interior: view towards the choir
In 1629 the Bisphoric of Würzburg the city of Kitzingen and the Monastery got back from the Brandenburgers. Immediately a recatholicization set in. Many Protestants were expelled. A few years later, during the Thirty Years' War, Swedens occupied the city and introduced again the Lutheran doctrine. Only the Edict of Toleration of Johann Philipp von Schönborn ended 1650 the religious wars and strengthened the double confessionality of the city.
Even the monastery suffered under the constant persecutions. 1650 it has been described as dilapidated and "totally shrunken". Anna Lerch of Dirmstein, last abbess of the monastery Rupertsberg near Bingen and savior of the relics of St. Hildegard, spent here her final years of life in exile, until her death on September 11, 1660. In 1685 was began with the rebuilding. Ursulines from Metz had taken care of the decaying buildings and moved on 24 June 1693 into the reconstructed buildings. As master builder Antonio Petrini could be won. He teared down the existing buildings and built for 85,773 florins a new monastery. The consecration was held on August 9, 1699.
Til today
1802, the monastery was secularized and the monastery church desecrated. In 1806, Prussian prisoners of war were housed by the French in the monastery buildings. Furthermore, they were also used as a hospital, medical examination office and warehouse. In 1817 the Evangelical community Kitzingen then obtained the monastery church in exchange for the St. Michael church in Etwashausen. In the remaining monastery buildings was housed a school.
In the following years several structural changes to the building were made. 1891 the church got a new access on the nave side and a double stairway. In addition, the arched windows with baroquized frames and segment pediment crownings were inserted. In the last year of the war of the Second World War, on 23 February 1945, the church building was hit by several bombs. The renovation dragged on until April 2, 1950 and was directed by Harald Schlegel.
After the restoration of the monastery church the building up to the present time saw further renewals. In 1977 and 1985 it was again extensively refurbished. The Bavarian State Conservation Office classified the church building under the number D-6-75-141-37 as a monument.
Die Evangelische Stadtkirche Kitzingen (auch Petrini-Kirche) ist ein Kirchengebäude in der Altstadt von Kitzingen. Mit ihrem hohen Turm und ihrer monumentalen Barockfassade prägt sie das Stadtbild. Sie ist Johannes dem Täufer geweiht, wird aber in Abgrenzung zur katholischen Johanneskirche meist nur Stadtkirche genannt. Die Kirche ist das größte evangelische Gotteshaus in Unterfranken.
Geschichte
Die Geschichte der Stadtkirche ist eng mit der der Stadt Kitzingen verbunden. Der Vorgängerbau der heutigen Kirche war ein Kloster. Bereits im 8. Jahrhundert berichten Quellen von dessen Existenz. Es wurde als Benediktinerinnenabtei gegründet.
Bis zur Reformation (-1568)[Bearbeiten]
Der Turm der Petrinikirche
Gründerin des Klosters war Hadeloga, die dem Geschlecht der Mattonen angehörte. Eine Sippenstiftung ließ das Kloster zur Versorgung von weiblichen, fränkischen Adeligen entstehen. Im Jahr 745 weihte der heilige Bonifatius das Kloster und schickte seine Vertraute Thekla in die fränkische Stadt. Sie sollte nach dem Tod von Äbtissin Hadeloga die Führung der Abtei übernehmen. Das Benediktinerinnenkloster war als Reichskloster gegründet und deshalb dem fränkischen König direkt unterstellt. Erst im Jahr 1007 kam es ans Bistum Bamberg, wobei die Diözesangewalt beim Würzburger Fürstbischof verblieb.[2]
Im 12. Jahrhundert besuchte die Heilige Hedwig von Andechs das Kloster und wurde hier von den Schwestern erzogen. Im Jahr 1443 wurde Kitzingen an den Markgrafen Albrecht von Brandenburg verpfändet, da das Fürstbistum große Schulden angehäuft hatte. 1484 brannte das Kloster, wobei die zwei Glockentürme, alle Glocken und die halbe Abteikirche in Flammen aufging. Den Wiederaufbau trieb dann Margarete Truchseß von Baldersheim voran, die nun dem Kloster vorstand.
Im Deutschen Bauernkrieg wurde die Kirche dann erneut zerstört. Das Inventar wurde von marodierenden Aufständischen geraubt, hierbei wurden auch Werke von Tilman Riemenschneider zerstört. Nachdem am 7. Dezember 1527 das Kloster ein drittes Mal geweiht worden war, wurde es im Jahr 1544 dann aufgelöst. Zuvor, in den zwanziger Jahren des 16. Jahrhunderts, hatte sich die protestantische Lehre in Kitzingen durchgesetzt, sodass im Jahr 1568 erneut Schwestern in der Klosterkirche Gottesdienste feierten. In die Räume des Klosters war nun ein adeliges, protestantisches Damenstift eingezogen.
Bis zum Neubau (-1699)
Innenansicht: Blick zum Chorraum
Im Jahr 1629 erhielt das Fürstbistum Würzburg die Stadt Kitzingen und das Kloster von den Brandenburgern wieder zurück. Sofort setzte eine Rekatholisierung ein. Viele Protestanten wurden vertrieben. Wenige Jahre später, während des Dreißigjährigen Krieges, besetzten Schweden die Stadt und führten erneut die lutherische Lehre ein. Erst der Gnadenvertrag von Johann Philipp von Schönborn beendete 1650 die Glaubenskriege und festige die Doppelkonfessionalität der Stadt.
Auch das Kloster litt unter den ständigen Verfolgungen. 1650 wurde es als baufällig und „gantz eingegangen“ beschrieben. Anna Lerch von Dirmstein, letzte Äbtissin des Klosters Rupertsberg bei Bingen und Retterin der Reliquien der hl. Hildegard, verbrachte hier ihre letzten Lebensjahre im Exil, bis zu ihrem Tod am 11. September 1660. Im Jahr 1685 wurde mit dem Wiederaufbau begonnen. Ursulinen aus Metz hatten sich den verfallenden Gebäuden angenommen und zogen am 24. Juni 1693 in die wiedererrichteten Bauten ein. Als Baumeister hatte man Antonio Petrini gewinnen können. Er riss die bestehenden Gebäude ein und baute für 85.773 fl. ein neues Kloster. Die Konsekration konnte am 9. August 1699 stattfinden.
Bis heute
1802 wurde das Kloster säkularisiert und die Klosterkirche profaniert. Im Jahr 1806 wurden preußische Kriegsgefangene von den Franzosen in den Klostergebäuden untergebracht. Außerdem wurden sie als Spital, Musterungsbüro und Lager genutzt. Im Jahr 1817 erhielt dann die evangelische Gemeinde Kitzingen die Klosterkirche im Tausch gegen die St. Michaelskirche in Etwashausen. In den übrigen Klostergebäuden wurde eine Schule untergebracht.
In der Folgezeit wurden einige bauliche Veränderungen am Gebäude vorgenommen. 1891 erhielt die Kirche einen neuen Zugang auf der Langhausseite und einen zweiläufigen Treppenaufgang. Außerdem wurden die Rundbogenfenster mit barockisierenden Rahmungen und Segmentgiebelbekrönungen eingesetzt. Im letzten Kriegsjahr des Zweiten Weltkriegs, am 23. Februar 1945, trafen mehrere Bomben das Kirchengebäude. Die Renovierung zog sich bis zum 2. April 1950 hin und wurde von Harald Schlegel geleitet.
Nach der Wiederherstellung der Klosterkirche erfuhr der Bau bis in die heutige Zeit weitere Erneuerungen. Im Jahr 1977 und 1985 wurde erneut umfassend renoviert. Das Bayerische Landesamt für Denkmalpflege ordnet das Kirchengebäude unter der Nummer D-6-75-141-37 als Baudenkmal ein.
Baddesley Clinton is not one the grandest of houses, nor is it filled with rare works of art, but having been owned by one family, the Ferrers, since the 16th century and maintained largely intact and original, it is a rare example of the average early-modern home of the lesser gentry. Unlike such mansions as nearby Coughton Court, Baddesley Clinton is relatively small, even cozy, and one can easily imagine the life of the people who lived here. It is best known for being the home of the Jesuit Henry Garnet for almost 14 years, and the existence of several priest hides conceived and built by Nicholas Owen.
The Clintons settled here in the thirteenth century, when it was called just Baddesley, and added their name to the place. They were responsible for the digging of the moat that you see above. It was eventually sold in 1438 to John Brome, a wealthy lawyer, and the Bromes built most of the east and west sides of the house.
John Brome was the Under Treasurer of England but a Lancastrian, and when Henry VI was deposed in 1461 by the Yorkist claimant Edward IV, Brome lost all of his court appointments. He later quarreled with John Herthill, Steward to Richard "the Kingmaker", Earl of Warwick, and Herthill murdered him in 1468 on the porch of the Whitefriars Church in London. Brome's second son, Nicholas, who inherited the estate, eventually avenged his father's murder by killing Herthill in 1471.
Nicholas Brome seems to have had a taste for violence. According to Henry Ferrers, a later owner of the house, it was soon after inheriting Baddesley Clinton that Nicholas 'slew the minister of Baddesley Church findinge him in his plor (parlour) chockinge his wife under ye chinne, and to expiatt these bloody offenses and crimes he built the steeple and raysed the church body ten foote higher". He was pardoned for this killing by both the King and the Pope. Nicholas seems also to have developed a taste for building, and is thought to have been responsible for the building of much of the earliest part of the house. Baddesley Clinton passed into the hands of the Ferrers family in 1517, through the marriage of Nicholas Brome's daughter, Constance, to Sir Edward Ferrers.
The most interesting of the Ferrers is Henry Ferrers (1549-1633), the great-grandson of Sir Edward Ferrers, and contemporary with the times of the Gunpowder Plot. He inherited the property in 1564, and lived through the reigns of Edward VI, Mary I, Elizabeth I and James I, dying in the reign of Charles I. He carried out extensive building, including the wing that contains the Great Hall, as well as adding the Great Parlour above the existing entranceway. He also installed much oak paneling and mantels that are still there as well.
Henry Ferrers was an antiquarian, and spent a lifetime collecting historical information, much of which was later used by Sir William Dugdale in the 'Antiquities of Warwickshire'. This interest of his can be seen by the enormous amount of heraldic glass and devices throughout the house. He was trained in the law, and admitted to the Middle Temple in 1572. He may also have served a term as an MP for Cirencester in 1593.
After the death of Henry Ferrers, the fortunes of the Ferrers family fluctuated through periods of heavy taxation such as during the Civil War and in the early eighteenth century, followed by attempts by some generations to maintain and improve the property in better times. The last Ferrers in the direct male line, Marmion Edward Ferrers (1813-1884), was so poor that Lady Chatterton, the aunt of his wife Rebecca, and her husband, Edward Heneage Deering, had to come and live with him to share the expense. These two were only married because of a misunderstanding. It is said that Deering came to Lady Chatterly to ask permission to pay address to her niece, but she thought it was a proposal to her, and accepted. Deering, although she was old enough to be his mother, was too chivalrous to set the story straight!
The estate passed down through Marmion Edward Ferrer's nephew through several relatives, and it was Mr. Thomas Ferrers-Walker who eventually sold the house to the Government, after which it became part of the National Trust. The Ferrers Archive is kept at the Shakespeare Birthplace Trust in Stratford-upon-Avon.
Henry Ferrers was also a devout Catholic, but a cautious one and was never convicted for recusancy. He must have been aware of the activities of the Vaux sisters, who rented the house from him in the 1590's in order to secretly shelter Father Henry Garnet and other priests, and to be able to conduct catholic services. Soon after they rented the house, Anne Vaux had Nicholas Owen build secret hiding places, including one created out of the sewer and the moat.
A spectacular raid on Baddesley in October 1591 was recorded both by Father John Gerard in his Autobiography of an Elizabethan, and also by Father Henry Garnet in a letter to his Jesuit superior, Aquaviva. Several priests, including Garnet and Gerard, as well as lay assistants had risen early and were preparing to leave the house, when it was surrounded and all the approach roads blocked by pursuviants. The stable-boys, knowing that so many horses saddled and ready to go would be suspicious, armed themselves with farm implements and blocked the pursuviants attempt at violent entry. This bought some time for those inside the house, as the pursuviants had to resort to requests, and led them to believe that the lady of the house had not yet arisen. Those outside had to wait patiently, albeit not quietly, while those inside were quickly hiding away the priests, Catholic vestments, and all other signs of the presence of a Catholic priest, including the overturning of their mattresses so that the pursuviants could not feel the warmth.
The priests stood in the hiding place in the moat, ankle-deep in cold water for over four hours while the pursuviants tore through the house, although their attempts at intimidation seemed to have far outweighed their skills in searching. Anne Vaux said "here was a searcher pounding the walls in unbelievable fury, there another shifting side-tables, turning over beds. Yet, when any of them touched with their hand or foot the actual place where some sacred object was hidden, he paid not the slightest attention to the most obvious evidence of a contrivance."
The searchers turned up nothing, and eventually left after being paid off by Anne Vaux with twelve gold pieces. As Gerard later said, "Yes, that is the pitiful lot of Catholics when men come with a warrant ... it is the Catholics, not the men who send them, who have to pay. As if it were not enough to suffer, they have to pay for their suffering."
You can still inspect these hiding places today, and we must say they are not for those who are claustrophobic or faint of heart. Until you actually see them, it is hard to imagine the cramped, damp, dark and tomb-like conditions these priests endured.
The first of these is a lath and plaster hutch in the roof above a closet off the bedroom in the gatehouse block. It measures six feet three inches by four feet, and is three feet nine inches high. It contains two wooden benches and is lined with fine hair-plaster.
In the corner of the kitchen, where a garderobe once existed, you can see through to the medieval drain where the hiding place used by Father Gerard and Father Garnet was located. At the time, this could only be accessed through the garderobe shaft in the floor of the Sacristy above. A hiding space beneath the floor of the Library was accessed through the fireplace in the Great Parlour, and can now be viewed from the Moat Room. It was in the Library Room that Nicholas Brome was said to have murdered the priest, and it is reputed to be haunted.
For an excellent account of the priest holes and the work of Nicholas Owen at Baddesley Clinton, the article Elizabethan Priest Holes : III - East Anglia, Baddesley Clinton, Hindlip by Michael Hodgetts, and published in Recusant History, is a must read.
The house itself consists almost entirely of building done by either the Bromes in the fifteenth century or by Henry Ferrers in the sixteenth, and although much repair and alteration work has been carried out inside the house, the panelling, fireplaces and heraldic glass throughout the house all date from the work of Henry Ferrers.
Originally quadrangular in shape, the property today consists of only three blocks, the east including the gatehouse and the Great Parlour, the south containing the Hall, and the west containing the kitchen. The gatehouse and kitchen wing are of grey sandstone, whereas the Hall, which was reconstructed in the 18th century, is of brick.
The crenellated gatehouse is one of the house's most interesting features. The lower part with the gun ports was built by Nicholas Brome in the late fifteenth century, and is thought originally to have had a drawbridge. The upper part was re-formed by Henry Ferrers to accommodate the Great Parlour. The brick bridge was built in the early eighteenth century, and the crenelations added in the nineteenth century. The massive carved oak door in the gatehouse leading through to the courtyard dates from Nicholas Brome.
The present owners are still undertaking restoration work to enable all the documented priest hides and trapdoors to be made available for viewing, this work includes part of the moat tunnel complex that is presently plugged in order to prevent midges from penetrating into the Sacristy and bedrooms
Baddesley Clinton, although still a private dwelling was sold to the Government and passed to the National Trust in 1980 and opened to the public in 1982.
The above was copied from "The gunpowder plot" website.
Great to place to visit. If only there had been some sun!
The Holiday House Geographic, is among the most desirable vintage travel trailers in the world. One of only two currently known to be in existence, the body of this trailer was designed by world renowned industrial engineer, Chuck Pelly, designer of the Scarab race car and founder of Designworks USA, which is BMW's California Studio.
David Holmes, President of "Harry & David" fruit company, began producing the Holiday House travel trailers in November of 1959, in Medford, Oregon. These were aluminum and wood constructed trailers as many of their counterparts of this era, however, the Holiday House trailers stood out as distinctive due to their highly progressive and futuristic design.
In 1958 David Holmes enlisted Chuck Pelly to design the Geographic model, also known as Model X, as a super limited production model, which he dubbed the "Trailer For The Rich". The styling was unlike any trailer of it's time. There are thought to have only been parts of 7 of these strikingly futuristic fiberglass trailers ever made with a price tag of almost $8,500. The Holiday House factory burned down in 1962, and the molds that survived were discarded years later.
This 1961 Holiday House Geographic has been completely restored from the frame up with no expense spared, by Flyte Camp, in Bend, OR.
This trailer would make a wonderful addition to any collection, and is fully equipped as a modern luxury travel trailer.
The Holiday House Geographic Serial Number 007:
The exterior was tastefully re-finished with Axalta finishing systems and coatings, in a two-toned champagne and moss green with bronze colored pin-stripping. The entire running system was upgraded with new axels, brakes, wheels, and 10-ply Diamond Back white wall trailer tires. The exterior is completed with a vintage style fabric awning.
The interior features Black Walnut wall skin, cabinetry and black walnut hard wood flooring with custom aluminum detailing. The bathroom/dressing room features Marmoleum flooring, Walnut & Marmoleum countertops and a Stainless Steel shower with a Teak hardwood shower floor insert. Through out the coach original vintage light sconces are combined with LED lighting. Warm LED strip lighting accents the cabinetry, with lighting in cabinet, under cabinet and along the floor in the living area. The kitchen is outfitted with a stainless two burner cook top, a two drawer stainless 3-way fridge, and a stainless sink with a built-in drain board. Stainless kitchen countertops, and luxury upholstery fabric, in moss, accented with high end custom pleated and lined drapery complete the interior finishes. Behind the scenes an LP on-demand hot water heater provides a steady flow of limitless hot water. Off grid the water holding system is made up of a 35 gallon fresh water tank, a 35 gallon black water tank and 40 gallon grey water holding. The 2000 watt Go Power! inverter system is powered by 4 Trojan 6-volt AGM batteries, and is solar capable. There are both 110 outlets, and 12 volt ports throughout the trailer. The A/V system includes a 32” TV, surround sound and a DVD/Bluetooth stereo system. The Air-conditioning system has a heat pump and is tastefully concealed under the front couch. The front L shaped sofa, is 30” deep with pillows removed and can comfortably sleep two. The gaucho couch also extends to sleep two. There is ample storage, with full extension drawers. Aluminum trim and detailing has been added to the bottom of the cabinetry. No detail has been overlooked including the stainless steel front door threshold which has been laser etched with "Geographic".
The icing on the cake was having Chuck Pelly attended the Palm Springs Modernism event in February of this year to see the completed Geographic, and he added his personal signature to the trailer both inside and out!
This may be the only opportunity to own this priceless piece of history. Please contact Flyte Camp with any questions, and for additional detail photos if desired. We accept payment by Cashiers Check if the check is drawn off of an Institution with a Branch in Bend, Oregon. Otherwise, we accept wire transfer. Please let us know if you have any questions regarding payment, or to schedule pickup. Buyer is responsible for all shipping arrangements. Trailer should be picked up within 30 days of auction end. Contact us if you are an international buyer.
Media:
This trailer will be featured on the official 2018 Hot August Nights poster. Hot August Nights is the largest collectable car show in the US, being held August 7-12th, 2018 in Reno, NV.
The Geo was featured on the cover of the June 2018 edition of Vintage Camper Trailers Magazine. The Geographic took the trophy for Best of Modernism at the 2018 Palm Springs Modernism Vintage Travel Trailer Show, and Best Mobile Mansion at the Pismo Coast Rally in May of 2018. The trailer has also been filmed for an upcoming episode of Extreme RVs on the Travel Channel. Please check out footage of the build on the Flyte Camp YouTube Channel.
Photos curtesy of Hal Thomas Photography, Tim Cash of Far From Earth Films, and Anna Scribner of Flyte Camp, LLC.
Credit: Flyte Camp
Source: eBay
"Dan, do you realize we just witnessed a portion of your wife's previous existence, and her death in that existence?" -- Dr. Carl Reiner
“That marriage license cost me six bucks — you know, I can buy six wives for that in the middle of Africa.” -- Dan Fuller
Bride and the Beast , The
Allied Artists Pictures - 78 min
23 February 1958, Los Angeles ( RKO Hill Street )
Produced by Adrian Weiss and Louis Weiss
Director: Adrian Weiss
Screenplay: Edward D. Wood Jr.,
Original Story: Adrian Weiss
Stars: Charlotte Austin, Lance Fuller and Johnny Roth
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The Bride and the Beast @ American Film Institute
Note: The working title of the film was Queen of the Gorillas .
Production Date: early Jan 1957
Premiere Information: San Diego opening: 29 Jan 1958
Release Date: Mar 1958
>> EXTENSIVE BIBLIOGRAPHY
www.afi.com/members/catalog/DetailView.aspx?s=&Movie=...
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WATCH ONLINE >>
The Bride and the Beast - trailer
www.youtube.com/watch?v=0GpQv95V5CQ
CLIPS
Bride and the Beast
www.youtube.com/watch?v=SHrClNjZCRU
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DVD >> BUY Online >> Bride and the Beast , The
www.amazon.com/Bride-Beast-Charlotte-Austin/dp/B0000687F7
AND
www.amazon.com/Bride-Beast-White-Gorilla/dp/B000MV8AFE
AND
www.moviesunlimited.com/musite/product.asp?sku=D35515
AND
shop.tcm.com/product.asp?sku=D35515
AND
www.oldies.com/product-view/5955GD.html
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REVIEW---Boxoffice Magazine - February 17, 1958
www.boxofficemagazine.com/the_vault/issue_page?issue_id=1...
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NEWSPAPER AD - Bride and the Beast , The
February 1958, Los Angeles ( RKO Hill Street )
www.flickr.com/photos/gorillamen/4471892311/
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POSTER, theatrical ( original ) - Bride and the Beast , The
www.wrongsideoftheart.com/2009/08/the-bride-and-the-beast...
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movielove.tumblr.com/post/175006220/theniftyfifties-the-b...
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Edward D. Wood Jr.
Ed Wood
Edward Davis Wood, Jr. (October 10, 1924 – December 10, 1978)
AND
AND
www.imdb.com/name/nm0000248/miscsites
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WATCH ONLINE >>
The Haunted World of Edward D. Wood Jr. (1995)
89 min - Documentary
>> Watch now >>
www.youtube.com/watch?v=tIBNWqfQV_k
AND
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Ed Wood: Look Back in Angora (Video 1994)
51 min - Documentary
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CHARLOTTE AUSTIN
" Her 1958 film The Bride and the Beast (1958),
written by Edward D. Wood Jr., was released on DVD, newly remastered, in the spring of 2002 by Retromedia. VCI's later DVD release of the movie featured an audio commentary with Austin, supporting player Slick Slavin, gorilla movie expert Bob Burns and interviewer Tom Weaver. "
www.imdb.com/name/nm0042349/bio
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CHARLOTTE AUSTIN @ The Astounding B Monster
" Maybe the last thing Charlotte Austin would want to be remembered as is "Queen of the Gorillas." That was the working title of the film for which she may be known best, The Bride and the Beast. Exploitation filmmaker Adrian Weiss commissioned Hollywood fringe-dweller Ed Wood to script the low-budget shocker, in which Charlotte plays a newlywed whose simian genes beckon her to return to the jungle and abandon her understandably confused husband.
But there's more to Charlotte Austin than her brief film career would lead you to believe. She was named for the North Carolina city in which she was born, the daughter of Gene Austin, one of popular music's most unjustly underrated entertainers. Austin's recordings gave rise to the "crooning" craze that made stars of Crosby, Sinatra, Dick Haymes and many others. He also wrote numerous songs that have become pop music standards, My Blue Heaven and Lonesome Road among them. (Gene Austin died in 1972.)...
www.bmonster.com/profile32.html
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in
The Astounding B Monster Book [Paperback]
Marty Baumann
www.amazon.com/exec/obidos/tg/detail/-/0972858547/qid=111...
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CHARLOTTE AUSTIN @ Glamour Girls of the Silver Screen - Biography and Photos
www.glamourgirlsofthesilverscreen.com/show.php?id=16
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CHARLOTTE AUSTIN @ Spooky Tom's Nightmare Mansion
www.spookytoms.com/Charlotte_Austin_Tribute.html
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CHARLOTTE AUSTIN @ " It Came from Horrorwood:
Interviews with Moviemakers in the Science Fiction and Horror Tradition "
By Tom Weaver [Paperback] McFarland & Company (October 2004)
www.amazon.com/Came-Horrorwood-Interviews-Moviemakers-Tra...
AND
www.oldies.com/product-view/BK9503.html
AND
www.angusrobertson.com.au/book/it-came-from-horrorwood-in...
AND
www.powells.com/biblio?isbn=0786420693
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WHEEL OF LIFE
The bhavacakra (Sanskrit; Pāli: bhavacakka; Tibetan: srid pa'i 'khor lo) is a symbolic representation of saṃsāra (or cyclic existence) found on the outside walls of Tibetan Buddhist temples and monasteries in the Indo-Tibetan region. In the Mahayana Buddhism, it is believed that the drawing was designed by the Buddha himself in order to help ordinary people understand Buddhist teachings.
The bhavacakra is popularly referred to as the wheel of life, and may also be glossed as wheel of cyclic existence or wheel of becoming.
ORIGIN
Legend has it that the historical Buddha himself created the first depiction of the bhavacakra, and the story of how he gave the illustration to King Rudrāyaṇa appears in the anthology of Buddhist narratives called the Divyāvadāna.
The bhavacakra is painted on the outside walls of nearly every Tibetan Buddhist temple in Tibet and India. Dzongsar Jamyang Khyentse Rinpoche states:
One of the reasons why the Wheel of Life was painted outside the monasteries and on the walls (and was really encouraged even by the Buddha himself) was to teach this very profound Buddhist philosophy of life and perception to more simple-minded farmers or cowherds. So these images on the Wheel of Life are just to communicate to the general audience.
EXPLANATION OF THE DIAGRAM
OVERVIEW
The meanings of the main parts of the diagram are:
- The images in the hub of the wheel represent the three poisons of ignorance, attachment and aversion.
- The second layer represents karma.
- The third layer represents the six realms of samsara.
- The fourth layer represents the twelve links of dependent origination.
- The fierce figure holding the wheel represents impermanence.
- The moon above the wheel represents liberation from samsara or cyclic existence.
- The Buddha pointing to the moon indicates that liberation is possible.
- Symbolically, the three inner circles, moving from the center outward, show that the three poisons of ignorance, attachment, and aversion give rise to positive and negative actions; these actions and their results are called karma. Karma in turn gives rise to the six realms, which represent the different types of suffering within samsara.
- The fourth and outer layer of the wheel symbolizes the twelve links of dependent origination; these links indicate how the sources of suffering - the three poisons and karma - produce lives within cyclic existence.
- The fierce being holding the wheel represents impermanence; this symbolizes that the entire process of samsara or cyclic existence is impermanent, transient, constantly changing. The moon above the wheel indicates liberation. The Buddha is pointing to the moon, indicating that liberation from samsara is possible.
HUB: THE THREE POISONS
In the hub of the wheel are three animals: a pig, a snake, and a bird. They represent the three poisons of ignorance, aversion, and attachment, respectively. The pig stands for ignorance; this comparison is based on the Indian concept of a pig being the most foolish of animals, since it sleeps in the dirtiest places and eats whatever comes to its mouth. The snake represents aversion or anger; this is because it will be aroused and strike at the slightest touch. The bird represents attachment (also translated as desire or clinging). The particular bird used in this diagram represents an Indian bird that is very attached to its partner. These three animals represent the three poisons, which are the core of the bhavacakra. From these three poisons, the whole cycle of existence evolves.
In many drawings of the wheel, the snake and bird are shown as coming out of the mouth of the pig, indicating that aversion and attachment arise from ignorance. The snake and bird are also shown grasping the tail of the pig, indicating that they in turn promote greater ignorance.
Under the influence of the three poisons, beings create karma, as shown in the next layer of the circle.
SECOND LAYER: KARMA
The second layer of the wheel shows two-half circles:
- One half-circle (usually light) shows contented people moving upwards to higher states, possibly to the higher realms.
- The other half-circle (usually dark) shows people in a miserable state being led downwards to lower states, possibly to the lower realms.
- These images represent karma, the law of cause and effect. The light half-circle indicates people experiencing the results of positive actions. The dark half-circle indicates people experiencing the results of negative actions.
Ringu Tulku states:
We create karma in three different ways, through actions that are positive, negative, or neutral. When we feel kindness and love and with this attitude do good things, which are beneficial to both ourselves and others, this is positive action. When we commit harmful deeds out of equally harmful intentions, this is negative action. Finally, when our motivation is indifferent and our deeds are neither harmful or beneficial, this is neutral action. The results we experience will accord with the quality of our actions.
Propelled by their karma, beings take rebirth in the six realms of samsara, as shown in the next layer of the circle.
THIRD LAYER: THE SIX REALMS OF SAMSARA
OVERVIEW
The third layer of the wheel is divided into six sections that represent the six realms of samsara. These six realms are divided into three higher realms and three lower realms.
The three higher realms are shown in the top half of the circle; the higher realms consist of the god realm, the demi-god realm and the human realm. The god realm is shown in the top middle and the human realm and demi-god realms are on either side of the god realm.
The three lower realms are shown in the bottom half of the circle; the lower realms consist of the hell realm, the animal realm and the hungry ghost realm. The hell realm is shown in the bottom middle of the circle, with the animal realm and hungry ghost realm on either side of the hell realm.
WHAT IS SAMSARA?
The six realms are six different types of rebirth that beings can enter into, each representing different types of suffering. Samsara, or cyclic existence, refers to the process of cycling through one rebirth after another.
Patrul Rinpoche states:
The term samsara, the wheel or round of existence, is used here to mean going round and round from one place to another in a circle, like a potter's wheel, or the wheel of a water mill. When a fly is trapped in a closed jar, no matter where it flies, it can not get out. Likewise, whether we are born in the higher or lower realms, we are never outside samsara. The upper part of the jar is like the higher realms of gods and men, and the lower part like the three unfortunate realms. It is said that samsara is a circle because we turn round and round, taking rebirth in one after another of the six realms as a result of our own actions, which, whether positive or negative, are tainted by clinging.
A BRIEF DESCRIPTION OF THE SIX REALMS
Six realms of existence are identified in the Buddhist teachings: gods, demi-gods, humans, animals, hungry ghosts and hells. These realms can be understood on a psychological level, or as aspects of Buddhist cosmology.
These six realms can be divided into three higher realms and three lower realms. The three higher realms are:
GOD REALM: the gods lead long and enjoyable lives full of pleasure and abundance, but they spend their lives pursuing meaningless distractions and never think to practice the dharma. When death comes to them, they are completely unprepared; without realizing it, they have completely exhausted their good karma (which was the cause for being reborn in the god realm) and they suffer through being reborn in the lower realms.
DEMI-GODS REALM: the demi-gods have pleasure and abundance almost as much as the gods, but they spend their time fighting among themselves or making war on the gods. When they make war on the gods, they always lose, since the gods are much more powerful. The demi-gods suffer from constant fighting and jealousy, and from being killed and wounded in their wars with each other and with the gods.
HUMAN REALM: humans suffer from hunger, thirst, heat, cold, separation from friends, being attacked by enemies, not getting what they want, and getting what they don't want. They also suffer from the general sufferings of birth, old age, sickness and death. Yet the human realm is considered to be the most suitable realm for practicing the dharma, because humans are not completely distracted by pleasure (like the gods or demi-gods) or by pain and suffering (like the beings in the lower realms).
The three lower realms are:
ANIMAL REALM: wild animals suffer from being attacked and eaten by other animals; they generally lead lives of constant fear. Domestic animals suffer from being exploited by humans; for example, they are slaughtered for food, overworked, and so on.
HUNGRY GHOST REALM: hungry ghosts suffer from extreme hunger and thirst. They wander constantly in search of food and drink, only to be miserably frustrated any time they come close to actually getting what they want. For example, they see a stream of pure, clear water in the distance, but by the time they get there the stream has dried up. Hungry ghosts have huge bellies and long, thin necks. On the rare occasions that they do manage to find something to eat or drink, the food or water burns their neck as it goes down to their belly, causing them intense agony.
HELL REALM: hell beings endure unimaginable suffering for eons of time. There are actually eighteen different types of hells, each inflicting a different kind of torment. In the hot hells, beings suffer from unbearable heat and continual torments of various kinds. In the cold hells, beings suffer from unbearable cold and other torments.
Generally speaking, each realm is said to be the result of one of the six main negative emotions: pride, jealousy, desire, ignorance, greed, and anger. Dzongsar Khyentse states:
So we have six realms. Loosely, you can say when the perception comes more from aggression, you experience things in a hellish way. When your perception is filtered through attachment, grasping or miserliness, you experience the hungry ghost realm. When your perception is filtered through ignorance, then you experience the animal realm. When you have a lot of pride, you are reborn in the god realm. When you have jealousy, you are reborn in the asura (demi-god) realm. When you have a lot of passion, you are reborn in the human realm.
Among the six realms, the human realm is considered to offer the best opportunity to practice the dharma. Dzongsar Khyentse states:
If we need to judge the value of these six realms, the Buddhists would say the best realm is the human realm. Why is this the best realm? Because you have a choice ... The gods don't have a choice. Why? They're too happy. When you are too happy you have no choice. You become arrogant. The hell realm: no choice, too painful. The human realm: not too happy and also not too painful. When you are not so happy and not in so much pain, what does that mean? A step closer to the normality of mind, remember? When you are really, really excited and in ecstasy, there is no normality of mind. And when you are totally in pain, you don't experience normality of mind either. So someone in the human realm has the best chance of acquiring that normality of mind. And this is why in Buddhist prayers you will always read: ideally may we get out of this place, but if we can't do it within this life, may we be reborn in the human realm, not the others.
Sometimes, the wheel is represented as only having five realms because the God realm and the Demi-god realm are combined into a single realm.
In some representations of the wheel, there is a buddha or bodhisattva depicted within each realm, trying to help sentient beings find their way to nirvana.
SANSKRIT TERMS FOR THE SIX REALMS
The Sanskrit terms for the six realms are:
Deva realm: God realm
Asura realm: Demi-god realm
Manuṣya realm: Human realm
Tiryagyoni realm: Animal realm
Preta realm: Hungry Ghost realm
Naraka realm: Hell realm
OUTER RIM: THE TWELVE LINKS
The outer rim of the wheel is divided into twelve sections that represent the Twelve Nidānas. As previously stated, the three inner layers of the wheel show that the three poisons lead to karma, which leads to the suffering of the six realms. The twelve links of the outer rim show how this happens - by presenting the process of cause and effect in detail.
These twelve links can be understood to operate on an outer or inner level.
On the outer level, the twelve links can be seen to operate over several lifetimes; in this case, these links show how our past lives influence our current lifetime, and how our actions in this lifetime influence our future lifetimes.
On the inner level, the twelve links can be understood to operate in every moment of existence in an interdependent manner. On this level, the twelve links can be applied to show the effects of one particular action.
By contemplating on the twelve links, one gains greater insight into the workings of karma; this insight enables us to begin to unravel our habitual way of thinking and reacting.
The twelve causal links, paired with their corresponding symbols, are:
- Avidyā lack of knowledge – a blind person, often walking, or a person peering out
- Saṃskāra constructive volitional activity – a potter shaping a vessel or vessels
- Vijñāna consciousness – a man or a monkey grasping a fruit
- Nāmarūpa name and form (constituent elements of mental and physical existence) – two men afloat in a boat
- Ṣaḍāyatana six senses (eye, ear, nose, tongue, body, and mind) – a dwelling with six windows
- Sparśa contact – lovers consorting, kissing, or entwined
- Vedanā pain – an arrow to the eye
- Tṛṣṇa thirst – a drinker receiving drink
- Upādāna grasping – a man or a monkey picking fruit
- Bhava coming to be – a couple engaged in intercourse, a standing, leaping, or reflective person
- Jāti being born – woman giving birth
- Jarāmaraṇa old age and death – corpse being carried
THE FIGURE HOLDING THE WHEEL: IMPERMANENCE
The wheel is being held by a fearsome figure who represents impermanence. The 14th Dalai Lama states: The fierce being holding the wheel symbolizes impermanence, which is why the being is a wrathful monster, though there is no need for it to be drawn with ornaments and so forth ... Once I had such a painting drawn with a skeleton rather than a monster, in order to symbolize impermanence more clearly.
This figure is most commonly depicted as Yama, the lord of death. Regardless of the figure depicted, the inner meaning remains the same–that the entire process of cyclic existence (samsara) is transient; everything within this wheel is constantly changing.
Yama has the following attributes:
- He wears a crown of five skulls that symbolize the impermanence of the five aggregates. (The skulls are also said to symbolize the five poisons.)
- He has a third eye that symbolizes the wisdom of understanding impermanence.
- He is sometimes shown adorned with a tiger skin, which symbolizes fearfulness. (The tiger skin is typically seen hanging beneath the wheel.)
- His four limbs (that are clutching the wheel) symbolize the sufferings of birth, old age, sickness, and death.
THE MOON: LIBERATION
Above the wheel is an image of the moon; the moon represents liberation from the sufferings of samsara.
Thubten Chodron states:
The moon is nirvana [i.e. liberation]. Nirvana is the cessation of all the unsatisfactory experiences and their causes in such a way that they can no longer occur again. It's the removal, the final absence, the cessation of those things, their non-arising. The Buddha is pointing us to that.
Chögyam Trungpa states:
The truth of cessation is a personal discovery. It is not mystical and does not have any connotations of religion or psychology. It is simply your experience ... Likewise, cessation is not just a theoretical discovery, but an experience that is very real to you–a sudden gain. It is like experiencing instantaneous good health: you have no cold, no flu, no aches, and no pains in your body. You feel perfectly well, absolutely refreshed and wakeful! Such an experience is possible.
Some drawings may show an image of a "pure land" to indicate liberation, rather than a moon.
THE BUDDHA POINTING TO THE MOON: THE PATH TO LIBERATION
The upper part of the drawing also shows an image of the Buddha pointing toward the moon; this represents the path to liberation.
Thubten Chodron states:
So the Buddha's gesture is like the path to enlightenment. It's not that the Buddha is the cause of nirvana. The Buddha is a cooperative condition of our nirvana. He indicates the path to us, he points out to us what to practice and what to abandon in order to be liberated. When we follow the path, we get the result, which is nirvana.
Chögyam Trungpa states:
The nature of the path is more like an exploration or an expedition than following a path that has already been built. When people hear that they should follow the path, they might think that a ready-make system exists, and that individual expressions are not required. They may think that one does not have to surrender or give or open. But when you actually begin to tread on the path, you realize that you have to clear out the jungle and all the trees, underbrush, and obstacles growing in front of you. You have to bypass tigers and elephants and poisonous snakes.
Mark Epstein states:
The entire Wheel of Life is but a representation of the possibility of transforming suffering by changing the way we relate to it. As the Buddha taught in his final exhortation to his faithful attendant Ananda, it is only through becoming a "lamp unto yourself" that enlightenment can be won. Liberation from the Wheel of Life does not mean escape, the Buddha implied. It means clear perception of oneself, of the entire range of the human experience ...
According to the Buddhist tradition, the Buddha told his followers:
I have shown you the path that leads to liberation
But you should know that liberation depends upon yourself.
INSCRIPTION
Drawings of the Bhavacakra usually contain an inscription consisting of a few lines of text that explain the process that keeps us in samara and how to reverse that process.
PSYCHOLOGICAL INTERPRETATION
From a psychological point of view, different karmic actions contribute to one's metaphorical existence in different realms, or rather, different actions reinforce personal characteristics described by the realms.
Mark Epstein states:
The core question of Buddhist practice, after all, is the psychological one of "Who am I?" Investigating this question requires exploration of the entire wheel. Each realm becomes not so much a specific place but rather a metaphor for a different psychological state, with the entire wheel becoming a representation of neurotic suffering.
WITHIN THE THERAVADA TRADITION
T. B. Karunaratne states:
Though in Theravāda literature there is no mention of an actual pictorial execution of a "Wheel of Life," yet the concept of comparing Dependent Origination to a wheel is not unknown. In the Path of Purification (Visuddhimagga), the famous commentator Buddhaghosa Acariya says:
"It is the beginningless round of rebirths that is called the 'Wheel of the round of rebirths' (saṃsāracakka). Ignorance (avijjā) is its hub (or nave) because it is its root. Ageing-and-death (jarā-maraṇa) is its rim (or felly) because it terminates it. The remaining ten links (of the Dependent Origination) are its spokes (i.e. karma formations [saṅkhāra] up to process of becoming [bhava])."
WIKIPEDIA
The city of York owes its existence to the rivers. The city was founded in AD 71, when Romans constructed a fortress above the River Ouse close to its confluence with the River Foss. Today both of these rivers remain navigable and Yorkboat, the longest established cruise operator, offers its services throughout the year. Here you can see some of its vessels at Lendal Bridge Landing on the River Ouse.
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 continued to grow 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 in1926 .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 several prominent Aboriginal leaders in SA including Lowitcha O’Donoghue, Faith Thomas and Ruby Ahchee( Hammond).
Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
Baddesley Clinton is not one the grandest of houses, nor is it filled with rare works of art, but having been owned by one family, the Ferrers, since the 16th century and maintained largely intact and original, it is a rare example of the average early-modern home of the lesser gentry. Unlike such mansions as nearby Coughton Court, Baddesley Clinton is relatively small, even cozy, and one can easily imagine the life of the people who lived here. It is best known for being the home of the Jesuit Henry Garnet for almost 14 years, and the existence of several priest hides conceived and built by Nicholas Owen.
The Clintons settled here in the thirteenth century, when it was called just Baddesley, and added their name to the place. They were responsible for the digging of the moat that you see above. It was eventually sold in 1438 to John Brome, a wealthy lawyer, and the Bromes built most of the east and west sides of the house.
John Brome was the Under Treasurer of England but a Lancastrian, and when Henry VI was deposed in 1461 by the Yorkist claimant Edward IV, Brome lost all of his court appointments. He later quarreled with John Herthill, Steward to Richard "the Kingmaker", Earl of Warwick, and Herthill murdered him in 1468 on the porch of the Whitefriars Church in London. Brome's second son, Nicholas, who inherited the estate, eventually avenged his father's murder by killing Herthill in 1471.
Nicholas Brome seems to have had a taste for violence. According to Henry Ferrers, a later owner of the house, it was soon after inheriting Baddesley Clinton that Nicholas 'slew the minister of Baddesley Church findinge him in his plor (parlour) chockinge his wife under ye chinne, and to expiatt these bloody offenses and crimes he built the steeple and raysed the church body ten foote higher". He was pardoned for this killing by both the King and the Pope. Nicholas seems also to have developed a taste for building, and is thought to have been responsible for the building of much of the earliest part of the house. Baddesley Clinton passed into the hands of the Ferrers family in 1517, through the marriage of Nicholas Brome's daughter, Constance, to Sir Edward Ferrers.
The most interesting of the Ferrers is Henry Ferrers (1549-1633), the great-grandson of Sir Edward Ferrers, and contemporary with the times of the Gunpowder Plot. He inherited the property in 1564, and lived through the reigns of Edward VI, Mary I, Elizabeth I and James I, dying in the reign of Charles I. He carried out extensive building, including the wing that contains the Great Hall, as well as adding the Great Parlour above the existing entranceway. He also installed much oak paneling and mantels that are still there as well.
Henry Ferrers was an antiquarian, and spent a lifetime collecting historical information, much of which was later used by Sir William Dugdale in the 'Antiquities of Warwickshire'. This interest of his can be seen by the enormous amount of heraldic glass and devices throughout the house. He was trained in the law, and admitted to the Middle Temple in 1572. He may also have served a term as an MP for Cirencester in 1593.
After the death of Henry Ferrers, the fortunes of the Ferrers family fluctuated through periods of heavy taxation such as during the Civil War and in the early eighteenth century, followed by attempts by some generations to maintain and improve the property in better times. The last Ferrers in the direct male line, Marmion Edward Ferrers (1813-1884), was so poor that Lady Chatterton, the aunt of his wife Rebecca, and her husband, Edward Heneage Deering, had to come and live with him to share the expense. These two were only married because of a misunderstanding. It is said that Deering came to Lady Chatterly to ask permission to pay address to her niece, but she thought it was a proposal to her, and accepted. Deering, although she was old enough to be his mother, was too chivalrous to set the story straight!
The estate passed down through Marmion Edward Ferrer's nephew through several relatives, and it was Mr. Thomas Ferrers-Walker who eventually sold the house to the Government, after which it became part of the National Trust. The Ferrers Archive is kept at the Shakespeare Birthplace Trust in Stratford-upon-Avon.
Henry Ferrers was also a devout Catholic, but a cautious one and was never convicted for recusancy. He must have been aware of the activities of the Vaux sisters, who rented the house from him in the 1590's in order to secretly shelter Father Henry Garnet and other priests, and to be able to conduct catholic services. Soon after they rented the house, Anne Vaux had Nicholas Owen build secret hiding places, including one created out of the sewer and the moat.
A spectacular raid on Baddesley in October 1591 was recorded both by Father John Gerard in his Autobiography of an Elizabethan, and also by Father Henry Garnet in a letter to his Jesuit superior, Aquaviva. Several priests, including Garnet and Gerard, as well as lay assistants had risen early and were preparing to leave the house, when it was surrounded and all the approach roads blocked by pursuviants. The stable-boys, knowing that so many horses saddled and ready to go would be suspicious, armed themselves with farm implements and blocked the pursuviants attempt at violent entry. This bought some time for those inside the house, as the pursuviants had to resort to requests, and led them to believe that the lady of the house had not yet arisen. Those outside had to wait patiently, albeit not quietly, while those inside were quickly hiding away the priests, Catholic vestments, and all other signs of the presence of a Catholic priest, including the overturning of their mattresses so that the pursuviants could not feel the warmth.
The priests stood in the hiding place in the moat, ankle-deep in cold water for over four hours while the pursuviants tore through the house, although their attempts at intimidation seemed to have far outweighed their skills in searching. Anne Vaux said "here was a searcher pounding the walls in unbelievable fury, there another shifting side-tables, turning over beds. Yet, when any of them touched with their hand or foot the actual place where some sacred object was hidden, he paid not the slightest attention to the most obvious evidence of a contrivance."
The searchers turned up nothing, and eventually left after being paid off by Anne Vaux with twelve gold pieces. As Gerard later said, "Yes, that is the pitiful lot of Catholics when men come with a warrant ... it is the Catholics, not the men who send them, who have to pay. As if it were not enough to suffer, they have to pay for their suffering."
You can still inspect these hiding places today, and we must say they are not for those who are claustrophobic or faint of heart. Until you actually see them, it is hard to imagine the cramped, damp, dark and tomb-like conditions these priests endured.
The first of these is a lath and plaster hutch in the roof above a closet off the bedroom in the gatehouse block. It measures six feet three inches by four feet, and is three feet nine inches high. It contains two wooden benches and is lined with fine hair-plaster.
In the corner of the kitchen, where a garderobe once existed, you can see through to the medieval drain where the hiding place used by Father Gerard and Father Garnet was located. At the time, this could only be accessed through the garderobe shaft in the floor of the Sacristy above. A hiding space beneath the floor of the Library was accessed through the fireplace in the Great Parlour, and can now be viewed from the Moat Room. It was in the Library Room that Nicholas Brome was said to have murdered the priest, and it is reputed to be haunted.
For an excellent account of the priest holes and the work of Nicholas Owen at Baddesley Clinton, the article Elizabethan Priest Holes : III - East Anglia, Baddesley Clinton, Hindlip by Michael Hodgetts, and published in Recusant History, is a must read.
The house itself consists almost entirely of building done by either the Bromes in the fifteenth century or by Henry Ferrers in the sixteenth, and although much repair and alteration work has been carried out inside the house, the panelling, fireplaces and heraldic glass throughout the house all date from the work of Henry Ferrers.
Originally quadrangular in shape, the property today consists of only three blocks, the east including the gatehouse and the Great Parlour, the south containing the Hall, and the west containing the kitchen. The gatehouse and kitchen wing are of grey sandstone, whereas the Hall, which was reconstructed in the 18th century, is of brick.
The crenellated gatehouse is one of the house's most interesting features. The lower part with the gun ports was built by Nicholas Brome in the late fifteenth century, and is thought originally to have had a drawbridge. The upper part was re-formed by Henry Ferrers to accommodate the Great Parlour. The brick bridge was built in the early eighteenth century, and the crenelations added in the nineteenth century. The massive carved oak door in the gatehouse leading through to the courtyard dates from Nicholas Brome.
The present owners are still undertaking restoration work to enable all the documented priest hides and trapdoors to be made available for viewing, this work includes part of the moat tunnel complex that is presently plugged in order to prevent midges from penetrating into the Sacristy and bedrooms
Baddesley Clinton, although still a private dwelling was sold to the Government and passed to the National Trust in 1980 and opened to the public in 1982.
The above was copied from "The gunpowder plot" website.
Great to place to visit. If only there had been some sun!
From the intro (written by Natalie J McCarthy) of She Took Her Own Picture..
There are approximately 3.3 billion women in the world, all of whom doubtlessly live a split existence: the person viewed by others, molded according to culture, and created for display to the rest of the world, and the true self, the woman who exists in, of, and for herself. When Laurel Fiszer started posting her photos on flickr.com a few years ago, she certainly did not imagine plunging into an existential debate. Instead, she noticed that female self-portrait photographers were often seen as narcissistic princesses who had to defend their work against an onslaught of criticism—most of which was not directed toward the photograph’s technical merits. When Laurel founded the Female Self Portrait Artists’ Support Group, her primary goal was to create a place online where female photographers could share self-portraits and receive constructive criticism in a supportive, encouraging, and non-judgmental environment.
Since its founding, the Group has grown to include hundreds of women from all over the globe--all of whom share a passion for interpreting, inventing and reinventing themselves through pictures. Despite this commonality, the artists come from different countries and cultures, demonstrate diverse worldviews in their photos, and have distinct artistic motivations. Members of the Group hail from Latin America, Europe, North America, Oceania, and the Caribbean. Some within the Group are professional photographers with an accomplished body of work; others only recently picked up a camera and are working out their own sense of focus, light, and composition. Moreover, not every artist is catapulted into self-portraiture for the same reason. Many do it for lack of other models. Other women appreciate the creative control that self-portraiture affords them, and some embark on a self-portrait series as a form of therapy, self-discovery, or self-empowerment. Still more women photograph themselves as a feminist statement; for them, self-portraiture is a way of removing themselves from a male-artist/female-object paradigm. These cultural, geographic, and artistic differences do more than add to the diversity of the Group; they more importantly highlight the diversity and complexity of all women, not just photographers, and not just women with access to computers, internet connections, and digital cameras. The Group’s photographic campaigns about women’s issues, such as domestic abuse and mental health, highlight each photographer’s quest to portray not only herself, but also her place within the world’s collective of women.
This overarching female experience is evident in group members’ common need to defend their work. The artists in this collection have stood up against all-too-common misconceptions of self-portraiture: Only an egomaniac would photograph themselves! You’re so self-absorbed! On the other side of the critical spectrum, female self-portrait artists often hear that photos of pretty girls are not art; rather, they are magazine ads, fashion spreads, pornography or eye candy. These criticisms present female self-portrait artists with an exciting and powerful opportunity: the chance to categorically refute antiquated notions of the woman’s role as an art object, and to create a new, empowered vision of the female model.
She Took Her Own Picture is certainly constructed upon this feminist foundation. However, while this book brings to light women’s own empowered visions of self, it also presents a collection of first-rate photography. At the end of the day, the Female Self Portrait Artists’ Support Group is a collective of women photographers who strengthen their friendship by sharing inspired, artistic, and well-executed photographs. With She Took Her Own Picture they bring you into their circle of friends and share their art with you.
This is not the front cover, this is merely an advertisement, a little sampler of what you will see in the finished product. Stay tuned.
Beleg / proof of existence:
Oreonebria Daniel 1903
Oreonebria castanea Dan./ Bon. complex
Dt. Name / Engl. Name
Berg-Dammläufer, "Gletscherkäfer"
Funddatum /Collection Date:
05.08.2022
Fundort /Location/temperature:
Austria/Swizzerland, Vorarlberg, Rätikon, Schesaplana, below Mannheimer Hütte, on edge-ice of the Brandner glacier under a rock on the ice. Fed by meltwaters:
Nival oder Kryalfauna / Nival or Kryal fauna.
2606m üNN
47°03'44.7''N 9°41'25.5''E
Sammlungsnummer / collection code:
Lkn 162 (only photo images).
Geschlecht / Sex:
tarsa appear broad -> ♂
Größe des Exemplars / Size of specimen
Merkmale Kladistik / Morphologic features, cladisics:
Note from Horion, A. 1941. Faunistik der deutschen Käfer, vol. 1 - Adephaga - Caraboidea:
"Jeannel 1937 introduced the Oreonebria complex as an independent genus. The structure of the male genitalia is closer to the arctic genus Pelophila than to those of Nebria
A recent cladistic approach by Kavanaugh et al. reaches another conclusion. This study was based on 8 diagnostic barcoding markers: "The phylogeny of the carabid beetle supertribe Nebriitae is inferred from analyses of DNA sequence data from eight gene fragments including one nuclear ribosomal gene (28S), four nuclear-protein cod-
ing genes (CAD, topoisomerase 1, PEPCK, and wingless), and three mitochondrial gene fragments (16S
+ tRNA-Leu + ND1, COI (“barcode” region) and COI (“Pat/Jer” region)). " .... "Within Nebria, four major clades are recognized:
(1) the Oreonebria Series, including eight subgenera arrayed in two subgeneric complexes (the Eonebria
and Oreonebria Complexes); (2) the Nebriola Series, including only subgenus Nebriola; (3) the Nebria
Series, including ten subgenera arrayed in two subgeneric complexes, the Boreonebria and Nebria Com-
plexes, with the latter further subdivided into three subgeneric subcomplexes (the Nebria, Epinebriola, and
Eunebria Subcomplexes)); and (4) the Catonebria Series, including seven subgenera arrayed in two subge-
neric complexes (the Reductonebria and Catonebria Complexes)."
1. Kavanaugh, D., D. Maddison, B. Simison, S. Schoville, J. Schmidt, and A. Faille. 2021. Phylogeny of the supertribe Nebriitae (Coleoptera: Carabidae) based on analyses of molecular sequence data--some surprises. ZooKeys 1044:41-152.
Bemerkungen / Notices:
highly - climate-endangered habitat
Bestimmungsreferenz u.a. / Reference of determination a.o. :
morphospecies-level determination:
1. Freude, H., K. W. Harde, and G. A. Lohse. 1976. Die Käfer Mitteleuropas - Adephaga, vol. 2. Goecke & Evers, Krefeld.
2. Holdhaus, K. 1954. Die Spuren der Eiszeit in der Tierwelt Europas. Abhandlungen der Zoologisch-Botanischen Gesellschaft in Wien 18:1-605.
Fotoinformation / Photo-Information:
(Photo Dirk-H. Lankenau
Camera: Sony DSC-RX100M3
In a dystopian 1984, Winston Smith endures a squalid existence in the totalitarian superstate of Oceania under the constant surveillance of the Thought Police. The story takes place in London, the capital city of the territory of Airstrip One (formerly "either England or Britain").
Winston works in a small office cubicle at the Ministry of Truth, rewriting history in accordance with the dictates of the Party and its supreme figurehead, Big Brother. A man haunted by painful memories and restless desires, Winston is an everyman who keeps a secret diary of his private thoughts, thus creating evidence of his thoughtcrime — the crime of independent thought, contrary to the dictates and aims of the Party.
His life takes a fatal turn when he is accosted by a fellow Outer Party worker — a mysterious, bold-looking girl named Julia — and they begin an illicit affair. Their first meeting takes place in the remote countryside where they exchange subversive ideas before having sex. Shortly after, Winston rents a room above a pawn shop (in the supposedly safe proletarian area) where they continue their liaison. Julia — a sensual, free-spirited young woman — procures contraband food and clothing on the black market, and for a brief few months they secretly meet and enjoy an idyllic life of relative freedom and contentment together.
It comes to an end one evening, with the sudden raid of the Thought Police. They are both arrested and it's revealed that there is a telescreen hidden behind a picture on the wall in their room, and that the proprietor of the pawn shop, Mr. Charrington, is a covert agent of the Thought Police. Winston and Julia are taken away to be detained, questioned and brutally "rehabilitated", separately. Winston is brought to the Ministry of Love, where O'Brien, a high-ranking member of the Inner Party whom Winston had previously believed to be a fellow thoughtcriminal and agent of the resistance movement led by the archenemy of the Party, Emmanuel Goldstein, systematically tortured him.
O'Brien instructs Winston about the state's true purpose and schools him in a kind of catechism on the principles of doublethink — the practice of holding two contradictory thoughts in the mind simultaneously. For his final rehabilitation, Winston is brought to Room 101, where O'Brien tells him he will be subjected to the "worst thing in the world", designed specifically around Smith's personal phobias. When confronted with this unbearable horror — which turns out to be a cage filled with wild rats — Winston's psychological resistance finally and irretrievably breaks down, and he hysterically repudiates his allegiance to Julia. Now completely subjugated and purged of any rebellious thoughts, impulses, or personal attachments, Winston is restored to physical health and released.
In the final scene, Winston returns to the Chestnut Tree Café, where he had previously seen the rehabilitated thoughtcriminals Jones, Aaronson and Rutherford (themselves once prominent but later disgraced members of the Inner Party) who have since been "vaporized" and rendered unpersons. While sitting at the chess table, Winston is approached by Julia, who was similarly "rehabilitated". They share a bottle of Victory Gin and impassively exchange a few words about how they have betrayed each other. After she leaves, Winston watches a broadcast of himself on the large telescreen confessing his "crimes" against the state and imploring forgiveness of the populace.
Upon hearing a news report declaring the Oceanian army's utter rout of the enemy (Eurasian)'s forces in North Africa, Winston looks at the still image of Big Brother that appears on the telescreen, then turns away and almost silently says "I love you" - a phrase that he and Julia repeatedly used during their relationship, indicating the possibility that he still loves Julia. However, he could also be declaring his love for Big Brother instead. The novel unambiguously ends with the words: "He loved Big Brother," whereas the movie seems to deliberately allow for either interpretation. Earlier, during Winston's conversation with Julia in the rented room, he stated that "if they can make me change my feelings, they can stop me from loving you, that would be real betrayal". In the final scene, the "real betrayal" has therefore either been committed or averted, depending on whether the "you" that Winston loves is Big Brother or Julia.
This is not about world peace.
This is a restless dream of existence. The unceasing cycle of feeding and living.
Terns hover and glide and fly away. Nimble and fleet winged, they put on an aerial display of swiftness.
This picture kept untouched for the dreamy soft look.
I have been trying for 3 years to capture the terns in flight with a singular lack of success.
Today was a lucky day . I was trying to capture the dive sequence of Brahminy kites diving in to the water and picking up their prey with a swift leg motion.
The terns can not employ the fast leg movement as their muscles and talons will not support the movement and the strength required. The terns have to perforce pick up the food with their beaks and that is the opportunity that gives you the split second advantage in capturing this bird as it has to slow down its movement in the air just before it can actually use its beak to pick the food up from the water.
DSC_4261 hand held jpeg trans
- Primary Image
Manufacturer = NIKON CORPORATION
Model = NIKON D70
- Exif Specific
Exposure Time = 1/1000 sec [0.001]
F Number = 53/10 [5.300]
Metering mode = Pattern
Light Source = Unknown
Flash = Flash did not fire
Focal Length = 190 mm
DAKSHINESWAR KALI TEMPLE
Dakshineswar Kali Temple is a Hindu temple located in Dakshineswar near Kolkata. Situated on the eastern bank of the Hooghly River, the presiding deity of the temple is Bhavatarini, an aspect of Kali, meaning, 'She who liberates Her devotees from the ocean of existence i.e. Saṃsāra'.[1] The temple was built in 1855 by Rani Rashmoni, a philanthropist and a devotee of Kali. The temple is famous for its association with Ramakrishna, a mystic of 19th Century Bengal.[2][3]
The temple compound, apart from the nine-spired main temple, contains a large courtyard surrounding the temple, with rooms along the boundary walls. There are twelve shrines dedicated to Shiva—Kali's companion—along the riverfront, a temple to Radha-Krishna, a bathing ghat on the river, a shrine dedicated to Rani Rashmoni. 'Nahavat-Khana', the chamber in the northwestern corner just beyond the last of the Shiva temples, is where Ramakrishna spent a considerable part of his life
The Dakshineswar Kali Temple was founded around the middle of the 19th century by Rani Rashmoni.[5] Rani Rashmoni was a Mahishya by caste[6] and was well known for her philanthropic activities. In the year 1847, Rashmoni, prepared to go upon a long pilgrimage to the sacred Hindu city of Kashi to express her devotions to the Divine Mother. Rani was to travel in twenty four boats, carrying relatives, servants and supplies.[4] According to traditional accounts, the night before the pilgrimage began, Rashmoni had a vision of the Divine Mother, in the form of the goddess Kali in a dream and reportedly said,[7]
There is no need to go to Banaras. Install my statue in a beautiful temple on the banks of the Ganges river and arrange for my worship there. Then I shall manifest myself in the image and accept worship at that place.
Profoundly affected by the dream, Rani immediately looked for and purchased a 20-acred plot in the village of Dakshineswar. The large temple complex was built between 1847 and 1855. The 20-acre (81,000 m2) plot was bought from an Englishman, John Hastie and was then popularly known as Saheban Bagicha,[8]partly old Muslim burial ground shaped like a tortoise, considered befitting for the worship of Shakti according to Tantra traditions, it took eight years and nine hundred thousand rupees to complete the construction, and finally the idol of Goddess Kali was installed on the Snana Yatra day on 31 May 1855, amid festivities at the temple formally known as Sri Sri Jagadishwari Mahakali, with Ramkumar Chhattopadhyay as the head priest; soon his younger brother Gadai or Gadadhar (later known as Ramakrishna) moved in and so did nephew Hriday to assist him.[1][2][3][4][9] On 31 May 1855 more than 1 lakh Brahmins were invited from different parts of the country to grace the auspicious occasion. The next year, Ramkumar Chhattopadhyay died, the position was given to Ramakrishna, along with his wife Sarada Devi, who stayed in the south side of the Nahabat (music room), in a small room on the ground floor, which now a shrine dedicated to her.[citation needed]
From then until his death 30 years later in 1886, Ramakrishna was responsible for bringing much in the way of both fame and pilgrims to the temple.[10]
Rani Rashmoni lived only for five years and nine months after the inauguration of the temple. She seriously fell ill in 1861. Realizing that her death was near she decided to handover the property she purchased in Dinajpur (now in Bangladesh) as a legacy for the maintenance of the temple to the temple trust. She accomplished her task on 18 February 1861 and died on the next day.
By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
Where does one find the courage ?
to lean on broken dreams
How does one see more clearly ?
than the things that he has seen
more dark than most of them know
always with non belief
yet knowing all the while
that the valley held
more secrets
behind it's deep dark sheaf
but reddish dawn loomed
and drove the dark away
we thanked the rising sun
for holding back the gloom
smelled the wet grass
clean air and heard the birds
A new day was arriving
and if you were feeling well
it boded happiness.
".. all existence of creation does not exist when it is compared to Allah's existence"
CLICK LINK FOR SUFIS WORLDWIDE ALBUM:
As far as we can discern, the sole purpose of human existence is to kindle a light in the darkness of mere being.
Carl Jung
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 continued to grow 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 in1926 .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 several prominent Aboriginal leaders in SA including Lowitcha O’Donoghue, Faith Thomas and Ruby Ahchee( Hammond).
The mature trees surrounding this property owe their existence to the house that once stood on this site.
A house was built on a plot originally purchased by William and Isabella Cross from Robert Banks, owner of the Howstrake and Ballachurry Farms in 1811 for £10.
The house was built close to the new road (Governors Road) and had its entrance in the side gable.
The garden was extended by further purchases of land in 1835, 1886 and 1888 until it formed a large space with central lawn, a kitchen garden adjoining the side of Skillicorns Cottages (38 – 42 Governors Road) and the Primitive Methodist Chapel.
The boundary wall to Summerhill Road was built in stone with a castlelated top whilst the cast iron entrance gates were set within gate pillars and curved walls that were rendered and painted. One pillar still remains on the downside of the present entrance but it is partially hidden by bushes.
The house was called “Ballacurrie House” and occupied in the late 1890s by Frederick George Callow and his wife the former Miss Travis. He was brought up in Hawthorn Villa, the home of his widowed mother and previously that of his grandmother Mrs Chubb (see Tour No 1). His father was Samuel Shallcross Callow who drowned on a fishing trip one night in August 1871 whilst in a rowing boat with friends setting out from Onchan Harbour and being found the next morning on Groudle beach.
Frederick was to inherit the huge Howstrake Estate but in the meantime it was held by Trustees, one of whom was to become his father-in-law. When he married, in October 1894 the people of Onchan strung a banner across the road at The Butt between the top two houses to wish happiness to the couple. He was educated at King William’s College, trained and qualified as a advocate (1889), became the first chairman of Onchan Parish (1894) and then Onchan Village Commissioners (1895) and was the elected to the House of Keys to represent Middle in 1898.
Such was the jubilation of his success that when he returned from the poll count in Douglas the locals unhitched his horse from his carriage which they pulled through the village and back again to his house. Life however was not to be rosy for much longer. The crash of Dumbell’s Bank in February 1900 affected many but F.G. Callow in a large way because of the involvement of the company developing the Howstrake Farm with the bank and also because of his involvement with other related ventures.
So ashamed was he of the situation that he immediately resigned from the commissioners, the House of Keys and all his other commitments and then left the island.
In England he found employment as the Secretary of a golf club perhaps through his previous involvement as Captain of the Howstrake Golf Club in Onchan.
He returned to the island in 1927 a broken man in ill health. He died on 5th January 1929 in a small terraced house in Dukes Road, Douglas.
Ballacurrie House was demolished in 1989 and this large office block was built to the designs of The Ellis Brown Partnership of Douglas. The rustic brick building being set more or less in the position of the former lawn.
Part of the bluebell woods disappeared to make way for car parking.
Capernaum:
Also known as Tell Hum, Khirbet Karazeh, Bethsaida, Capharnaum, Chorazin, Kefar Nahum, Kafarnaum, Kefar Tanhum, Talhum, Tanhum
In existence from the 2nd c. B.C. to the 7th c. A.D., Capernaum was built along the edge of the Sea of Galilee and had up to 1500 residents.
Today the ruins are owned by two churches: the Franciscans control the western portion with the synagogue and the Greek Orthodox’s property is marked by the white church with red domes.
Jesus made Capernaum his home during the years of his ministry: “Leaving Nazareth he went and lived in Capernaum” (Matt 4:13).
Peter, Andrew, James and John were fishermen living in the village. Matthew the tax collector also dwelt here.
Capernaum is one of the three cities cursed by Jesus for its lack of faith.
The Synagogue
The dating of this synagogue is debated, but it is clearly later than the first century. Excavations have revealed a synagogue from the time of Jesus with walls made of worked stone and 4 feet thick.
These earlier walls were preserved up to 3 feet high and the entire western wall still exists and was used as the foundation for the later synagogue.
Jesus was confronted by a demoniac while teaching here (Mark 1:21-27).
In Capernaum, Jesus healed the servant of the centurion. This Roman official was credited with building the synagogue (Luke 7:3).
In this synagogue, Jesus gave sermon on the bread of life (John 6:35-59).
The House of Peter
Excavations revealed one residence that stood out from the others. This house was the object of early Christian attention with 2nd century graffiti and a 4th century house church built above it. In the 5th century a large octagonal Byzantine church was erected above this, complete with a baptistery. Pilgrims referred to this as the house of the ap
ostle Peter.
First of Four in the CornFlower Series.
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Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
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The first frescos at St Mary’s were painted in the 1130s when the church was first built. They were painted onto fresh lime plaster which absorbed and set the colours as it dried - the artists had to work fast as the plaster dried in a few hours (fresco technique). Other details were added once the plaster had dried (secco technique). They also painted directly onto the stonework. Further paintings were added in the 14th and 15th centuries.
The frescos were covered in whitewash during the Reformation of the mid-16th century so that worshippers wouldn’t be distracted by idolatrous images. This saved them from further damage and they remained hidden until the 1870s although they weren’t properly uncovered and restored until the 1950s.
St Mary's at Kempley is a beautiful 12th century Norman church built on an earlier Saxon church. It was constructed in the 1120s and the original oak roof beams are the oldest of their type in existence (sadly not actually visible, being hidden by a 17th century ceiling). The tower was added around 1200. The interior is decorated with extremely rare 12th, 14th and 15th century frescos.
Fortepiano, Company Bösendorfer, design Josef Frank, Vienna, 1928
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
A lush garden, with shrubs and flowerbeds pruned in very many artistic shapes, surrounds the palace. Quite obviously; the art of topiary has been in existence in Orchha for centuries. The Mahal was built in honor of the ‘Nightingale of Orchha’, Rai Praveen, and the second floor is resplendent with scenes of Nritya Mudra, the poses and postures of Indian dance.
Rai Praveen was as well identified for her charming beauty as for her poetry and music. The paramour of Indrajit Singh, in whose court she performed, her fame inevitably spread far and wide and finally reached the Imperial Court of Akbar. The Mughal emperor was smitten by her, and he arrogantly summoned her to his durbar. Indrajit Singh, Rai Parveen’s paramour, was too weak-kneed a ruler to defy the Imperial summons. Touched by her loyalty, Akbar decided to restore her to Orchha with both her dignity and that of her kingdom intact. The palace is now a fitting memorial to this lady.
The Orchha Fort complex, which houses a large number of ancient monuments consisting of the fort, palaces, temple and other edifices, is located in the Orchha town in the Indian state of Madhya Pradesh. The fort and other structures within it were built by the Bundela Rajputs starting from early 16th century by King Rudra Pratap Singh of the Orchha State and others who followed him.
The fort complex, which is accessed from an arched causeway, leads to a large gateway. This is followed by a large quadrangular open yard surrounded by palaces. These are Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, a temple, gardens and pavilions. The battlements of the fort have ornamentation. Notable architectural features in the fort complex are projected balconies, open flat areas and decorated latticed windows.
LOCATION
The fort complex is located in the Tikamgarh district of Madhya Pradesh in the erstwhile state of Orchha. The fort complex is within an island formed by the confluence of the Betwa River and Jamni River in Orchha town. Approach to the complex from the eastern part of the market in the town is through a multiple arched bridge with 14 arches built in granite stones.
Orchha town is approximately 80 kilometres away from Tikamgarh town, which is the district headquarters of the district of the same name. Jhansi town is 15 kilometres away. Orchha is a railway station of the Central Railway on the Jhansi-Manikpur section.
HISTORY
The fort was built following the founding of the Orchha State in 1501 AD by Rudra Pratap Singh (r. 1501–1531), a Bundela rajput. The palaces and temples within the fort complex were built over a period of time by successive Maharajas of the Orchha State. Of these, the Raja Mandir or Raja Mahal was built by Madhukar Shah who ruled from 1554 to 1591. Jahangir Mahal and Sawan Bhadon Mahal were built during the reign of Vir Singh Deo (r. 1605–1627). The features of "pepper pots and domes" seen in the fort complex are believed to have inspired Lutyens in the architecture of the structures which he built in New Delhi.
MONUMENTS
The fort complex, accessed from an arched causeway, leads to a large gateway followed by a large quadrangular open space which is surrounded by palaces such as Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, a temple, gardens and pavilions. The fort walls have battlements, which have ornamentation. Notable architectural features seen in the fort complex consist of projected balconies, open flat areas and decorated latticed windows.
RAJA MAHAL
The Raja Mahal (King’s Palace), where the kings and the queens had resided till it was abandoned in 1783, was built in the early part of 16th century. Its exterior is simple without any embellishments but the interior chambers of the palace are elaborately royal in its architectural design, decorated with murals of social and religious themes of gods, mythical animals and people. In the upper floor of the palace there are traces of mirrors in the ceilings and walls. Its windows, arcaded passages and layout plan are designed in such a way that the "sunlight and shadow create areas of different moods and temperatures throughout the day". The interior walls of the Mahal have murals of Lord Vishnu. The Mahal has several secret passages.
A part of this Mahal was converted into a temple and named Rama Raja Temple in honour of the god Rama. There is legend associated with naming it as a temple. According to a local legend, the temple was built following Rani Ganeshkuwari, the queen getting a "dream visitation" by Lord Rama directing her to build a temple for Him; while Madhukar Shah was a devotee of Krishna, his wife's dedication was to Rama. Following this a new temple known as the Chaturbuj Temple was approved to be built, and the queen went to Ayodhya to obtain an image of Lord Rama that was to be enshrined in her new temple. When she came back from Ayodhya with the image of Rama, initially she kept the idol in her palace as the Chaturbuj Temple was still under construction. She was, however, unaware of an injunction that the image to be deified in a temple could not be kept in a palace. Once the temple construction was completed and the idol of the lord had to be moved for installation at the Chatrubhuj Temple, it refused to be shifted from the palace. Hence, instead of the Chaturbhuj Temple, the Rama's idol remained in the palace where as the Chaturbhuj Temple remained without an idol in its sanctum. As Rama was worshipped in the palace, part of the palace was converted into the Rama Raja Temple; it is the only shrine in the country where Rama is worshipped as a King. The temple is guarded by a police force and the deity, Lord Rama, is considered as the king and is given a gun salute of honour every day.
SHEESH MAHAL
Sheesh Mahal is flanked on either side by the Raja Mahal and the Jahangir Mahal. This has royal accommodation, which was built for king Udait Singh. It has now been converted into a hotel. The interior of this edifice consists of a huge impressive hall with high ceiling, which is the dining hall. Its recent colour scheme renovations are an eyesore. But staying in two of its royal suites on the upper floor, which provide scenic views of the town, gives the guest a feeling of royalty.
JAHANGIR MAHAL
Jahangir Mahal is a palace that was exclusively built by Bir Singh Deo in 1605 to humor the Mughal emperor Jahangir who was a guest of the Maharaja for one night only. The palace is built in four levels with elegant architectural features of both Muslim and Rajput architecture. Its layout is a symmetrical square built in the inner courtyard of the fort and has eight large domes. It has a plethora of rooms with arcaded openings, projecting platforms and windows with lattice design work. The roof above top floor of this Mahal is accessed through a steep stairway. It provides picture perfect views of the temples and the Betwa River outside the fort complex. The palace also houses a small archaeological museum.
The entrance gate from this palace, which was earlier the main gate and which has carved ornamentation, leads to the royal baths and then to an elegant small dwelling unit built within a garden in typical Mughal architectural style; this had been built exclusively for Rai Parveen, the female escort of the Raja Indramani (1672 – 76); her large-size portrait in a revealing and seductive attire adorns hall in this Mahal. She was a poet and musician. The building is a double storied structure built with bricks, rising to the height of the trees in the well tended garden called Anand Mahal. The garden is laid out with octagonal flower beds and has good network of water supply. There are niches in the Mahal which permit natural light to the main hall and smaller rooms.
It is said that Emperor Akbar (r. 1556 – 1605) who was enamored by Parveen's beauty had taken her to his palace in Agra to be his courtesan. But Parveen, who wanted to get out of the situation, composed a gazal or a couplet which stated her status as an already used woman not fit for an emperor, which enabled her to get release from Akbar's court and return to Orchha.
PHOOL BAGH
Phool Bagh is an elegantly laid out garden in the fort complex which has a line of water fountains that terminates in a "palace-pavilion" which has eight pillars. Below this garden is an underground structure which was used by the royalty as a cool summer retreat. This cooling system consists of water ventilation system that is linked to an underground palace with "Chandan Katora", which is in the shape of a bowl from where fountains of droplets trickle through the roof creating rainfall.
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