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SPEAK YOUR DREAMS INTO EXISTENCE / WEALTHY MINDS Murals by Shawn Perkins in collaboration with Billionaire P.A at Union Market District along 5th Street between Florida Avenue and Morse Street, NE, Washington DC on Monday afternoon, 31 January 2022 by Elvert Barnes Photography
SHAWN PERKINS website at www.sptheplug.com/
Elvert Barnes GRAFFITI Writings On The Wall 2022 at elvertxbarnes.com/graffiti
Elvert Barnes Public Art 2022 at elvertxbarnes.com/public-art-2022
Trip to / from Union Market District, NE, and Columbia Heights, NW, Washington DC
Elvert Barnes January 2022 at elvertxbarnes.com/january-2022
Vesuvio Café in North Beach, San Francisco.
Photographs in this collection have been produced by Heather Do, Connor Rowe, Kathleen Markham, Alison Lowrie, Kenneth Chiu, Katie Salmond, Diana Chavez, Elena Toffalori, Ashley Vink, Aimee O'Dea, Liz Dolinar, Allison Barden, Justine Khoury, Daniele Alaniz-Roux, and Justin Thach at the request of Michael Ashley for the UC Berkeley Anthropology 136e class, Spring 2011. The purpose was to digitally document the cultural heritage of Vesuvio Café to not only document the cultural history embeded into the ageless walls but also to connect spatially the symbiotic relationship that preserves the legacy of beatnik culture today.
Vesuvio Cafe, (37.79757°N 122.40625°W), located in the North Beach region of San Francisco Bay, is a cultural bastion preserving the cultural heritage of bohemian era and the beatnik culture that generated its establishment by Henri Lenoir in 1949 and made infamous by the renown authors such as Jack Kerouac from which the adjacent alley is named. The building in which the bar is housed is otherwise known as the Cavalri building built in 1913 and expanded to a second story in 1918 and designed by Zanolini with Italian Renaissance revival elements. The transient existence of these unkempt literary members and their constituents is reflected in the liminal location of the former saloon restaurant at the border between the vagrant Chinese- Italian communities; by 1970[1], most of the diverse cultures regressed into economical housing . Vesuvio Café despite its rich history back to the 1950’s , are not historically preserved site; in fact, they were rented until 1999[2] by managers Chris and Janet Clyde, whose proprietary hopes to protect the building from other commercial interest. Over the years, Vesuvio has undergone its share of renovations and damages such as the 1999 retrofitting for earthquake safety or even the 1973 damage dealt to the building by an errant bus[3]. Over the years, the "I'll never forget after the retro-fitting, one man came in, he was about 55 years old and in a business suit," Clyde said. "He actually had tears in his eyes when he looked at the place. He said, `You didn't change anything.' Vesuvio has kept its character as a neighborhood bar.”[4]
Photographs in this collection were shot on April 11, 2011 between 7:30 am and 5:00 pm Pacific Time under variable natural lighting due to cloudy skies with intermittent periods of morning exposure conditions. Photos were captured on the following cameras: Canon DSLR XTI/T2i, S95, Sony Cybershot, Canon Powershot. Lenses used include: Macro 60mm, Telephoto 70-200, Canon T2i 18-55mm, Canon XTI 17-85mm. A tripod was used for timelapse, Gigapan, macro, telephoto, HDR, and photogrammetry shots. iPhones were also used for documentation shots and Geo-tagging. The photos were post-processed in Adobe Photoshop Lightroom 3.
Description written by Kenneth Chiu, following Addison’s proposed virtual heritage metadata format in his chapter “The Vanishing Virtual” in New Heritage: New Media and Cultural Heritage, edited by Kalay, et al., and published by Routledge in 2007.
All photos Copyright ©2011 Center for Digital Archaeology, Berkeley CA, licensed under Creative Commons BY-NC 3.0 For more information contact Center for Digital Archaeology, Berkeley, CA, 94720 or visit www.codifi.info/licensing
All photos Copyright ©2011 Center for Digital Archaeology, Berkeley CA
Creative Commons creativecommons.org/licenses/by-nc/3.0/
For more information contact Center for Digital Archaeology, Berkeley, CA,
94720 or visit www.codifi.info/licensing
For more facts and information about Alcatraz, please visit
[1] news.google.com/newspapers?id=WKI_AAAAIBAJ&sjid=JlYMA...
[2] news.google.com/newspapers?id=M0IfAAAAIBAJ&sjid=yc8EA...
[3] news.google.com/newspapers?id=hwsrAAAAIBAJ&sjid=cZoFA...
[4] www.highbeam.com/doc/1P2-4550312.html
Original Filename:
ANTHRO136SP11_VVO_Cam25-24.dng
Colonnaded street and stoa
Recent excavations have revealed the existence of a stoa, or covered walkway, dating to ca. 400 AD, and colonnaded street. A Temple of Artemis, dating to the time of Claudius (41-54), was demolished to make way for the colonnaded street which ran for 450 m (1,480 ft) and led to the sanctuary of Meter Steunene
Aizanoi Antique City.
UNESCO Tentative Lists
whc.unesco.org/en/tentativelists/5724/
Description
The Aizanoi ancient city is located in the inner Western Anatolia Region, 48 km Southwest of the Kütahya Province, and within the boundaries of the Çavdarhisar district. Today, it is approximately at a 1000-1050 m altitude in the flat treeless plateau which is known as Örencik Plain. The City was located approximately 40 km Southwest of the Cotiaeum, 25 km Northeast of Cadi, 40 km Northwest of Appia, West of Alia and on the edge of the River Rhyndakos.
The city was re-discovered by the European travellers in 1824 and surveyed and identified between the years of 1830 and 1840. The scientific excavations within Aizanoi were launched in 1926 by D. Krencker and M.Schede on behalf of the German Archeological Institute and presently the excavations works are being carried out by the Pamukkale University.
Aizanoi was the capital of Aizanitis, who belonged to Phrigia. There was less information about Pre-Roman period for Aizanoi. It is said that the early settlement in the region dates back to the second millennium BC. During the excavations carried out around the Zeus Temple, settlement layers dated to the third millennium were unearthed. Aizanoi acquired importance in the political sense, during the conflict between the Bithyniaand PergamonKingdoms. During the Hellenistic Period, Aizanoi was alternated between the hegemonies of the Pergamon and Bithynia Kingdoms and then came under Roman control in 133 BC. Phrygia Epictetos which consists of Aizanoi, Nacoleia, Cotiation, Midaion, Doryleion, Cadoi minted their own coins after 133 BC. This case shows that Aizanoi was in metropolis statue in the first century BC. However, big monumental public buildings and urban infrastructure in the city were constructed during the early imperial period. During the Roman Period Aizanoi was not only one of the most important cities in the Phrgyia Region but also had an important status as a commercial road network. Through its production of cereals, wine and sheep's wool the city was to rise to prosperity during the period of the Roman Empire.Since the intensive architectural development activities were realized especially in the 2nd and 3rd centuries AD., the local stone workshops gained importance during that period. Because of the religious and political power of Aizanoi, Rome provided an important relationship with the communities in the region. During the early Byzantine Period, the city was the seat of a bishopric and it had lost its importance after the 7th century. In medieval times the hill upon which the temple stands was transformed into a fortified citadel which subsequently served a group of the Çavdar Tatars as a fort of Seljuk dynasties, thus giving the community its present name, Çavdarhisar.
The visible remains of the city are mostly derived from the period of the Roman Empire. The city has significant remains such as the Zeus Temple, the Complex of Stadium-Theatre, Macellum, Portico Street, the bridges and dam, two necropolises, odeon, the Roman Baths
Justification of Outstanding Universal Value
Aizanoi is one of the most significant cities of the Roman Period with the Zeus Temple, the Complex of Stadium-Theatre and the Macellum.
The structure of the Temple which is one of the best preserved Zeus Temples in the world. The Temple of Zeus, situated upon a hill, was the city's main sanctuary.There is an area covered with vaults under the temple. The temple has an unusual feature in Anatolia with this plan. The temple is composed of pronoas, naos, opisthodomos and a vaulted room under the basement. The distance between the columns and the walls of the inner rooms is twice as much as the distance between the columns; that means the building is a pseudodipteros. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. Covering the ancient inscriptions and ashlar masonry of the temple are simple representations of riders, combat scenes and horses. These engraved images depict episodes from the life of the Çavdar Tatars in the 13th century, who lived within the citadel walls surrounding the temple plateau. The magnificent Temple of Zeus contributed much to the city's prominence in antiquity and it is among the rarest ancient buildings in Anatolia which have survived till today by preserving its original form.
The Complex of Stadium-Theatre is located in the north part of the city and was one of the most intensive development activities in the city during the Roman Period. The stadium with a capacity of 13500 people and the theatre with the capacity of 20.000 people were constructed adjacently and as such it is unique in the ancient world.
One of the first stock exchange markets of the world was established in Aizanoi. The Macellum (Round Building) is dated to the midst of the 2nd century AD., probably serving as a food market. Inscriptions on the walls of this building show the prices of all goods sold in the markets of the Imperial that were controlled by an edict issued in 301 A.D. by the Roman Emperor Diocletianus in order to fight the inflation in that period. The inscriptions survived till today and can be read completely at present. It can be understood that Aizanoi was a cradle of trade with such as the most significant inscription.
Criterion (ii): The Macellum in Aizanoi dated to the midst of 2nd century AD is one of the first exchange stock markets in the world. Inscriptions on the Macellum showing the prices of all goods sold in the markets of the Imperial survived till today and can be read completely. These inscriptions have been used as a reference source for the other similar inscriptions unearthed during the excavations.
Criterion (iv): The Stadium with a capacity of 13500 people and the theatre with a capacity of 20.000 people were constructed adjacently and as such it is unique in the ancient world. The form of the complex erected in Aizanoi is not seen elsewhere in the ancient times.
The structure of the Temple is one of the best preserved Zeus Temples in the world. There is an area covered with vaults under the temple. The temple has an unusual feature in Anatolia with this plan. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. The temple is among the rarest ancient buildings in Anatolia which have survived till today by preserving its original form.
Statements of authenticity and/or integrity
Aizanoi Ancient City was first registered as an archaeological site with the decision of the Superior Council of Immovable Antiquities and Monuments dated 20th December 1975 numbered 8854. By the decision of the related Conservation Council dated 1989 numbered 488, the borders of the 1st and 3rd degree archaeological site were determined. Afterwards, by the decision of the Conservation Council taken in 2011, the rural settlement area located within the first degree archeological site was registered as an urban archeological site.
The conservation plan prepared for the 3rd degree archeological site was approved by the related Conservation Council in 1993. Its revision was approved in 2000. Also, the conservation plan prepared for the 1st archeological site and the urban archeological site was approved by the related conservation council in 2011.
The scientific excavations within Aizanoi were launched in 1926 by D. Krencker and M. Schede on behalf of the German Archeological Institute and today the excavation works are being carried out by the Pamukkale University.
Comparison with other similar properties
When compared to the other Zeus Temples in the World, the Zeus Temple in Aizanoi is one of the best preserved. Since the space surrounded by the columns in the temple is marble-covered, the Zeus Temple in Aizanoi is unique in the pseudodipteros plan. The other temples in this plan have a wooden roof cover. The temple is among the rarest religious buildings in Anatolia which have survived till today by preserving its form.
The Complex of Stadium-Theatre which was constructed adjacently is unique in the ancient world. The Macellum in Aizanoi dated to the midst of 2nd century AD is one of the first exchange stock markets in the world. Inscriptions on the Macellum showing the prices of all goods sold in the markets of the Imperial are survived till today and can be read completely at present.
Penkalas Bridge
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Penkalas Bridge
Penkalas Bridge in 1992
Coordinates
39.200833°N 29.612222°E
Coordinates: 39.200833°N 29.612222°E
Crosses
Penkalas (Kocaçay)
Locale
Aezani, Turkey
Characteristics
Design
Arch bridge
Material
Stone
No. of spans
5
History
Construction end
2nd century AD
Penkalas Bridge
Location in Turkey
The Penkalas Bridge is a Roman bridge over the Penkalas (today Kocaçay), a small tributary of the Rhyndakos (Adırnas Çayı), in Aezani, Asia Minor (Çavdarhisar in present-day Turkey).
The 2nd-century AD structure was once one of four ancient bridges in Aezani and is assumed to have been the most important crossing-point due to its central location in the vicinity of the Zeus temple and the direct access it provided to the Roman road to Cotyaeum (Kütahya).[1] According to reports by European travellers, the ancient parapet remained in use as late as 1829, having been replaced today by an unsightly iron railing.[1]
Around 290 m upstream, another well-preserved, almost identical five-arched Roman bridge leads across the Penkalas.[
In 1967, the United States learned of the existence of the Ye-155, an experimental Soviet fighter that had reached speeds of nearly Mach 3 and altitudes of 115,000 feet. Intelligence on the aircraft indicated a heavy fighter with superb maneuverability, excellent radar, and speed unmatched by anything in the Western inventory. In response, the US Navy accelerated the program that would lead to the F-14 Tomcat, while the USAF began the FSX study that would become the F-15 Eagle. Even this was feared would not be enough against the production Ye-155, what was known as the MiG-25 and given the reporting name of Foxbat. It was not until September 1976, when a MiG-25 pilot, Viktor Belenko, defected to Japan with his aircraft that the West learned the truth: the MiG-25 was not a super-plane at all.
In reality, the MiG-25 itself was designed in the state of near-panic that characterized the F-15’s development. Soviet intelligence had learned of the development of the SR-71 by the United States, which could fly at speeds and altitude that made it untouchable by Soviet defenses—which were at the time just able to stop U-2 overflights. To make matters worse, the Americans were developing a bomber, the XB-70 Valkyrie, with nearly the same speed and altitude capability of the SR-71, except this aircraft would be carrying nuclear weapons. The Soviet air defense network (PVO-Strany) needed a fighter to stop the XB-70, and fast.
Mikoyan-Gurevich had already been working on designs to counter the U-2, and were experimenting with various wing and engine configurations, as high altitude, speed, and twin engines were requirements. Ironically, Mikoyan-Gurevich might have found their best inspiration in an American design, the A-5 Vigilante carrier-based nuclear bomber, which was a sleek two-engined design optimized for high speed. Using high-mounted wings for lift and building the aircraft around its two gigantic Tumansky R-15 turbojets, the most powerful the Soviet Union could produce, the MiG-25 began to take shape.
The biggest obstacle was not engine power, however, but what those engines could do: the MiG-25 would easily be able to get over Mach 2.5, at which time the airframe would begin to experience considerable heat friction. The solution was titanium, which was light, strong, and heat-resistant; while the Soviet Union had plenty of titanium, it had no means of working it. Instead, the MiG-25 would be mostly made of nickel steel, which was strong and heat-resistant, but heavy. As a result, while the MiG-25 would have few peers in raw speed, it could not maneuver. This was not seen as a problem in an aircraft designed for straight-line interception of B-70s. It came as a surprise when the XB-70 was cancelled by the Americans, but the MiG-25 remained in development: it would be an improvement over the much slower and less advanced Su-9 and Tu-128 interceptors currently in use, and might prove capable of intercepting the SR-71. Certainly the V-VS could use a high-speed reconnaissance aircraft as well.
The powerful radar of the Foxbat was also noticed by the West as well, and it was equally surprising when Belenko’s aircraft was examined: unlike Western radars, which used solid-state technology, the MiG-25’s used outdated vacuum tubes. This, however, had been done deliberately by Mikoyan-Gurevich. Vaccum tubes were less expensive to produce, more tolerant of heat and cold, and easy to replace by unskilled mechanics. They also produced enormous power, capable of burning through ECM jamming: the Soviets correctly anticipated that any attack on the Soviet Union by the USAF’s B-52s would be preceded by heavy jamming; during Operation Linebacker II, North Vietnam’s MiG-21 radars had been blinded by B-52 defensive suites. The MiG-25’s sole armament was its four missiles—no gun was mounted as it was not figured to be needed at high speeds.
The MiG-25R reconnaissance version entered service in 1969, and this further impressed the West by being invulnerable to interception in flights over Iran and Israel in the early 1970s; neither air forces’ F-4s could hope to attack it, and one Soviet-flown Egyptian MiG-25R was tracked over Israel at Mach 3.2. What was not known was that the pilot had destroyed both engines in the process and barely returned to base. The MiG-25P interceptor entered service in 1971. The Soviets noticed the West’s panic over the MiG-25 and enthusiastically fed it, promoting the Foxbat as being far more capable than it really was; this came as a surprise to Belenko and other MiG-25 pilots, who regarded their machines as difficult to fly, poorly maintained “lead sleds.”
Belenko’s defection did not end Foxbat production; in fact, PVO-Strany accelerated production of improved versions. The MiG-25PD, which entered service in 1978, used the same solid-state radar of the MiG-23, with an infrared backup. Production also continued on the reconnaissance versions, namely the MiG-25RBS with side-looking radar. Surprisingly, the MiG-25BM was developed as a “Wild Weasel” SEAD aircraft in 1988, though it was never used operationally. MiG-25RBS aircraft became the backbone of Soviet reconnaissance units, and were exported as well along with their interceptor brethren.
Exporting the Foxbat to Syria and Iraq brought the MiG-25 into combat with the aircraft designed to stop it for the first time: the F-14 and F-15. Iranian F-14s shot down as many as twenty MiG-25s during the Iran-Iraq War, while Israeli F-15s accounted for four Syrians and American F-15s two Iraqis in 1982 and 1991 respectively; a third was claimed by a USAF F-16 in 1992, the first ever kill with an AIM-120 AMRAAM. However, of Iraqi aircraft, the MiG-25 may have been the most successful: an Iraqi Foxbat pilot may have scored eight kills over Iranian F-4s and F-14s during the Iran-Iraq War, while LCDR Scott Speicher was shot down and killed by a MiG-25 on the first night of Operation Desert Storm, the only Coalition aircraft lost in air-to-air combat.
The age and difficulty maintaining the MiG-25 led to its eventual retirement, though MiG-25RBS are still found in surprising numbers in Russian service, while Algeria maintains a large Foxbat fleet. India also used Foxbats until they were retired in 2006. In Russian service, the interceptor MiG-25s were replaced by the far superior two-seat MiG-31 Foxhound beginning in 1993. 1190 Foxbats were produced, and a few can be found in museums around the world.
This aircraft, Bort 31, was assigned to the 513th Fighter Regiment at Chuguyevka in eastern Siberia, and it was the Foxbat Viktor Belenko flew to Hakodate, Japan, where he defected on 6 September 1976. It was later disassembled and returned to the Soviet Union. It carries the standard early PVO-Strany scheme of overall light blue; later Foxbats were painted overall light gray or left bare metal. It carries as armament four R-40 (AA-6 Acrid) missiles—two radar guided and two heat-seeking.
This is an ancient place of worship – the Gospel has been preached here for probably 1,200 years. The Anglo-Saxons had a royal burgh here and the existence of the Anglian cross would indicate that there was a church here in those days.
It is surprising that any relics of old churches are found in the Coquet Valley. There were two periods of destruction of churches in England – the Reformation and Cromwell’s Commonwealth. In addition to that, in this area there were Viking and Norman invasions, followed for many years by the incursions of the Scots. The Coquet valley, serene as it may seem today, was one of the most violent parts of England.
The monastic church at Rothbury must have been destroyed either by the Vikings or even the Normans; however the eastern part seems to have survived to become the foundation of a new building at some time in the thirteenth century, part of which can still be seen in the chancel, the chancel arch and the east walls of the transepts.
In the eighteenth century the church had galleries, dormer windows and a three-decker pulpit but these all disappeared in the restoration of 1850, undertaken by the Rector, Canon C. Vernon Harcourt. With a few additions and alterations this is the church we see today. This was a busy period of church building in the valley. Within two years, the churches at Rothbury, Alwinton and Holystone were either rebuilt, modified or restored.
Most of the stained glass in the Church is Victorian, the exceptions being two windows on the north wall in memory of local head teachers and those in the Memorial Chapel in the south transept.
In the Baptistry (1) is the greatest treasure of the church; the pedestal of the font. This is part of the shaft of the Anglo-Saxon cross, dated around 800AD. More remnants of this cross were discovered during the 1850 restoration; they are now in the Museum of Antiquities, Newcastle. On the north side is what is said to be the earliest carving of the Ascension in this country. The Disciples can be seen gazing up to the ascending Christ. The south side is a panel of intricate knotwork, the west side has a carving of beasts preying on one another and on the east side an animal (a lion) can be seen walking between double branches bearing fruit in clusters of three.
The bowl of the font dates from 1664 replacing one damaged during the unrest of the Civil War and the Commonwealth. The font cover is twentieth-century, given in memory of Lady Armstrong. Lord Armstrong’s funeral hatchment hangs on the south wall (2).
In the corner stands a small bell which hung in the tower above until 1893 when the present peal of eight bells was given to the church. It is inscribed ‘John Thomlinson, Rector of Rothbury 1682’. It was a product of the well known Whitechapel Foundry.
On the east side of the Baptistry screen are the boards bearing the names of the Rectors of Rothbury from Lucas in 1287, to the last Rector of the parish of Rothbury. In the new parish of Upper Coquetdale, the incumbent also carries the title of Rector.
The Bells
There is a peal of eight bells in the tower with the tenor bell weighing 13cwt 3qr 15lb. They were presented to the church in 1893 in memory of William Dawson by his sister, Mary.
The Nave
The nave was totally restored in 1850 – of necessity it would seem. However, the nave arch has origins as far back as the thirteenth century.
The pews are numbered, possibly from the era when individuals or families had their own private pew. Either for a standard fee, or in some cases by auction, a pew could be acquired for personal occupation. This custom died mostly during the late Victorian period. The numbering system was sometimes retained after this time as a means of keeping maintenance records.
The pulpit (3) is a fine piece of Victorian carving, given in 1901 in memory of Lady Armstrong depicting Bernard Gilpin, the 16th century “Apostle of the North” along with Saints Columba, Paulinus, Hilda and Aidan. The brass eagle lectern is of the same period.
The screen (4), another piece of beautiful wood carving, was installed in 1901 in memory of Lord Armstrong. On the mouldings of the beam is a series of eighteen shields blazoned with the arms of landowners, benefactors, patrons, and communities connected with Rothbury Church and parish from the 12th century down to the time of installation.
The inner porch on the south door (5) was erected in 1929 in memory of Dr Thomas Sharpe, Rector 1720 – 1758; another great benefactor of the Parish. One legacy of Dr. Sharpe is “Sharpe’s Folly” half a mile away at Whitton. It is a 30ft high tower, reported to be built to provide local masons with employment, but also to be used as an observatory.
The Chancel
There are two thirteenth century arches in the north wall of the chancel, separating the chancel from the vestries (6). The building containing the vestries stands on the site of the old Cartington chantry, and was built in 1886. The chantry which belonged to the Cartington estate was endowed for the maintenance of a priest to celebrate masses for the benefit of the souls of the founder and his family. After the Reformation, when prayers for the dead were forbidden, the chantry appears to have fallen into decay over the next hundred years. The arches were sealed to keep out inclement weather (and vandals), and remained that way for another two hundred years before the modifications in 1886.
In 1658 it was, ordered that “no grave be dig’d in ye bodye of the Church under the price of 5/-. Because it not being flag’ d would not only spoile the seats and floor, but endanger ye people’s health by infectious aire” – consequently the chancel had a marble pavement laid about 1710 (this was later covered) and the Nave was flagged for the first time in 1730.
The oak choir stalls are dedicated to the memory of Edward Mallet Young, Rector of Rothbury, 1894-1900.
The oak screen that divides the chancel from the priest’s vestry (6) is decorated with tracery work, and in its twelve panels there are the family coats of arms of twelve of the rectors of Rothbury.
The organ screen is a memorial to those who fell in the First World War. This screen is surmounted by organ pipes which are purely decorative. Looking between these pipes, the highly decorated genuine functional pipes may be seen.
Around 1840, the music in the services was provided by a string band, clarinets and violins, which were succeeded by a barrel organ. The present organ was given by Lord Armstrong and the rector, Rev. C.G.V. Harcourt in 1866. It was built by Hill and Sons of London in 1866, a company that operated in London from 1862 to 1917 before becoming Hill, Norman and Beard. When installed, it was sited at the west end of the church. Its precise location is not known but it may be assumed from the design of the instrument that the organist would sit with his back to the congregation. Playing while trying to control the choir at the east end of the church at the same time must have been extremely difficult, and it is probable that the choir sat at the west end of the church at that time.
The organ was later moved to its present position (7), certainly earlier than 1901, and would presumably be following or at the time of building the new vestry in 1887.
It is a two manual instrument with eleven speaking stops, and has never been modified in design – it still has a flat pedal board and the swell pedal is unbalanced, being able to be notched in position as the organist wishes.
An electric blower was installed many years ago, but the handle for hand blowing the bellows is still in place should it ever be needed.
The Sanctuary
On the east wall behind the altar is a finely made reredos (8) of Corsham Down stone, alabaster, and marble, consisting of five trefoil-headed arches.
The paneling in the sanctuary was installed in the early twentieth century. On the north side is the Thomlinson Memorial. (9) Dr John Thomlinson was Rector of Rothbury from 1679 to 1720. He was one of the greatest benefactor of the Parish; among many other things he founded a school where there were two masters “to teach gratis all such children within the Parish to read and understand the English, Latin and Greek tongues and to write, cast accounts and the Church catechism”.
The heraldic devices on the paneling belong to former Rectors who were also Lords of the Manor of Whitton.
To the south of the Altar is a thirteenth century Piscina (10) where the priest washes his fingers before the consecration in the Communion service. The carpet in the sanctuary and along the altar rail was worked by eighteen ladies of the Parish in 1972, the design being based on the knotwork of the Font.
The Memorial Chapel
The Chapel (11) is dedicated to the memory of the men of Rothbury who died in both World Wars.
The altar came from Sleights Church in North Yorkshire, the ends of the altar and the paneling from the old oak pews of the Church which in turn were made from trees from the ancient Rothbury Forest.
The windows were designed by LE. Evetts in keeping with the clear glass of old Northumbrian churches. He also executed the Regimental badges.
External features
The foundations of the tower are medieval but it has been much restored, and the village clock was placed in the tower in 1897. In more recent years the clock has been modified and is now electrically powered.
The west door was restored in the Early English style and is generally used on special occasions such as weddings, funerals and festivals.
In the outer porch (12) wall are three mediaeval stones, thought to be fragments from old grave covers.
On the south outside wall of the Chancel are two scratch sundials (13,14) – these are frequently found near the Priest’s Door of medieval churches as they are here. Also, on the south lawn, is a block sundial (15) – this used to be on the roof of the porch. It had four dials and was white-leaded for easier reading. (in 1728 this cost 1s 9d.).
The graveyards around the church and on the west side of the road are no longer in use. They contain the graves of some interesting people including the Armstrong family of Cragside.
Tamil poet Bharathi -A real life hero
The Tamil poet, Maha Kavi Subramaniam Bharathiar, familiarly referred to as Bharathi, has been a real life hero. His extraordinary power was his poetry, his weapon of choice- his pen. He wrote at a time when his country was crying out for reform. Though many may remember him for inspiring his people to seek freedom from alien rule, he also spoke out for the freedom and equality of the Indian woman - his damsel in distress - in a time when they were barely acknowledged for their existence.
The mid 19th century was a time when the Indian woman had absolutely no rights and their relationship with their husbands were close to that of Master and Slave. Women were not thought important enough to pursue studies, as their role was more as the dutiful wife at home.
Bharathi was first among the growing school of Renaissance poets during this period who insisted that the only way for a country to grow was through empowering its women.
"Aanum Pennum nigarrenak kolvathaal
Ariviloanki ivvagayakam thalaikumaam"
Taken from his poem Puthumai Penn (New Woman) the line evokes that "When we realize that man and woman are equal, this world will flourish with knowledge".
Born on December 11, 1882, in the Tamil village of Ettayapuram, Bharathi a Brahmin was recognized for his talent as a poet even at the age of 11. After an early marriage Bharathi curious about the outside world travelled to Kasi in 1898, where the next four years led him discover a nation in tumult and misery under British rule. By the early 1900s Bharathi had fully immersed himself in the nationalist rule and took an active part in the Congress gatherings throughout the country. He also took an avid interest in the world of journalism and the print media of the West. He joined the Swadeshamitran, a Tamil daily as Assistant Editor and later on started his own Tamil weekly Bala Bharatham and also the English newspaper India. He was frequently thrown into prison as a result of his strong views against the British who were suppressing freedom fighters at the time.
From religious hymns to inspiring nationalist anthems and poems shattering without hesitation every social taboo that was held close by conventional South Indians, Bharathi voiced his opinion without hesitation in a lyrical style that has not even been surpassed by literature that followed his period. Among his well-known poetry is Oadi vilayaadu paapaa. While a poem of instruction for children it also hints to all ages on accepting people as human beings and not on their caste or creed.
Jaadhigal illaiyadi paaapaa,
Kulath thaalchi uyarchi sollal paavam paapaa
Neethi uyarntha mathi kalvi
Anbu niraiya udayavargal meloar paapaa
"There is no caste little one. It is a sin to categorise people as high and low caste. Only those who possess justice, intelligence and education and great love are of a high caste"
Thus he included the Tamil woman in his fight for freedom who, in one of his essays he called "Slaves who remain conservative and orthodox" as they were "not permitted to make their own choices".
Woman as a mother was Bharathi's favourite theme and the book 'Woman in Modern Tamil Literature' by Loganayagy Nannithamby says that "Bharati who envisages women as the incarnation of Sakti [Parasakti - the great Goddess or the Mother-Goddess] says in one of his essays on philosophy: As a man, all the female deities you pray to, represent the latent powers of Parasakti hidden in women like your mother, wife, sister and daughter."
Bharati's idealist views later turned to more down-to-earth, reformist views with the seeping in of Northern influences like the coming of the Brahmins and Puranas, which was slowly deteorating the status of the woman of the South. He argued that if women's freedom were to be deprived, man would perish along with it and that men were not to monopolize freedom.
Aettayum pengal thoduvadhu theemaiyendren niyirunthavar
Maaynthuvittar
Veetukkullay pennaip pooti vaippoam endra vindai manithar thalai
Kavilnthaaar
"Those who thought that women should not touch books and learn have died! Those surprising people who said that we have to lock women in homes to do their duties, have put their heads down in shame."
His hope for women included a librated free woman who thought independently and used her knowledge, like men, for the betterment of the country. His wife Chellamal Bharati, in her biography of her husband related incidents when she says how her husband put all social barriers to the wind and clung to her arms while walking boldly next to her (Brahmin women were required to walk a few steps behind her husband).
"Nimirntha nannenjum naer konda paarvaiyum
Nilathinil yaarukkum anjaatha nerigalum
Thimirntha gnanach cherukkum iruppadhaal
Semmai maadhargal thirambuvathillaiyaam"
"With upright heart and steadfast look and ideas that are not afraid of anyone in the world- the woman does not falter as she has the delight of wisdom."
This great poet died on September 11, 1921 after being trampled by an Elephant when he went seeking blessings at the temple.
He was thought of as such an outcast at the time that only seven people attended his funeral. But his poetry, which belied his time, caused the birth of new ideas and the emancipation of the status of the woman in India today and remains as inspiration to millions of people around the world.
Poster I designed and shot for a short student film.
Mamiya 645 AFD with ZD digital back. 1/125" @ f/8, 80mm f/2.8 lens. ISO 50, WB flash.
Post in Capture One. Composite, plus additional colour and tonal work in Photoshop.
Strobist info: Photogenic PL1500-SL @ 1/4 power in 5' octobox directly behind each figure to create a seamless white, as well as for rim/spill light. Photogenic PL1500-R @ 1/2 power in 22" gridded beauty dish high to camera left, about 2 feet from each subject and about 90º around to help give a little bit of detail and definition to the shadows.
St Peter's
The first part of the large and ancient parish of Guiseley to get a Chapel of Ease was Horsforth where one was in existence before 1575. Francis Layton saw that Rawdon was the next most distant part of the Parish and despite previous heavy fines, he still remained wealthy enough to commence building a Chapel of Ease in 1645. The work proceeded slowly no doubt due to the unsettled state of the county in the aftermath of the Civil War and even the wealthy could have cash-flow problems.
Slater quotes a tradition that it was 15 years before the roof was on and this is compatible with the inscription on the bell “Francis Layton 1660”. Slater also speaks of a fire but gives no details.
In his will of 1653 Francis directed that his son Henry should finish the chapel. He directed that a rent charge be raised on part of his estate, of which £20 p.a. was to be paid to the Minister of Rawdon “provided that such Minister had gained possession by induction and reading” i.e. the 39 Articles implying traditional Anglican beliefs. This would have been inspired by the intrusion of Puritan ministers into churches during the Commonwealth period.
There is a full note in the Guiseley Registers on the consecration as follows:
“On Friday the Second of May, 1684, John Dolben, Archbishop of York, came from his primary visitation at Otley and Guiesley and laid that night at ye Parsonage house. Dr. Will Brearey, Archdeacon of yr East Riding, being then Rector of Guiesley, where the next day His Grace confirmed at morning and evening prayer about three hundred and fifty persons of ye Parishes of Guiesley and Addle. On Sunday, ye fourth of May, Hee concerated ye Chappell of Rawden and preached there. In ye afternoon Hee concerated ye Chappell yard, and after the Evening Prayer Hee confirmed several persons in that Chappell. On Munday, ye fifth of May, Hee returned to His Grace’s Pallace at Bishopthorpe, having laid three nights at ye Parsonage of Guiesley.”
There was comment at the time of the number of dissenting families in the parish who failed to attend the consecration service. The Archbishop was John Dolben (1624-88) who was at York from 1683 to 1688. He had been the King’s Standard Bearer at Marston Moor in 1644 and had been wounded in the shoulder. As an old Cavalier he may have been sympathetic to Francis Layton and his family.
Very few churches were built during the Commonwealth period, Staunton Harold, Leicestershire being perhaps the best known. Built by Sir Robert Shirley, it was said of him, as could be said of Francis Layton that “he did the best of things in the worst of times”.
It seems that after Francis’ death it was his younger son Thomas who did more than Henry to complete the church. He built the tower, where a stone is still visible with the inscription “T.L. 1704”, the old parsonage, the wall to Town Street and the gates.
A print of the church from the 1820s does not show it as a very impressive building and a writer in ‘The Leeds Intelligencer’ (later The Yorkshire Post) wrote in 1843:
“Rawdon church is of small dimension ... for the most part neat. A tower with an elevated roof stands at the west end and at the east, a chancel of proportionate size. This latter part seems to have been separated from the nave by a screen which has been taken down and demolished except a small decorated portion which has been placed in a most unsuitable position over the altar. It is inscribed Thomas Layton de Rawdon 1713 - aged 78. Appended to the same is an unsightly nondescript object, sign board-like, and which is affixed for the purpose of recording the names of certain individuals, who were honoured officials of the church, when it was once painted and coloured.
At the opposite end, a gallery has been recently erected;4 it (the church) contains a good toned organ; but the church is not graced by its windows which are of the kind peculiar to the 17th century, when architecture is said to have been at its lowest ebb.
The Parsonage is now, what it has long been celebrated as being, a receptacle for the education of youth.”
Very little is known about the rebuilding of 1864. The architect was Alexander Crawford of East Parade, Leeds. He had been a pupil of the great Cuthbert Broderick (Leeds Town Hall, Leeds Corn Exchange, The Grand Hotel, Scarborough, etc.) but by 1882 he had ceased to practise and it seems Rawdon Church was his only major project. The nave and the chancel were rebuilt with a small vestry to the north of the chancel (later enlarged). The south aisle was added covering some tombs, the tower left as it was but the gallery removed. The pitch of the roof was lowered as is evidenced by the blocked window on the east wall of the tower. Some of the original stone may have been reused, especially on the north wall.
The total cost was £1,200 (maybe £500,000 today) part of which was raised by assigning seats in the south aisle and as late as 1923 one of these was still claimed by Miss Stables of Four Lane Ends Farm, Horsforth. A small choir vestry was erected in 1908 to the northwest at a cost of £947. The nave was re-roofed in 1969 at a cost of £2,000, it being possible to reuse many of the slates.
The former school, (‘The Institute’) was sold in 1979 for £15,000 for housing conversion and this helped towards the replacement of the choir vestry with the larger St. Peter’s Room at a total cost of £35,000. This was opened in 1980.
Shortly before the Tercentenary Celebrations in 1984 there was considerable internal re-ordering to bring the area in front of the chancel screen into line with modern ideas of layout and liturgical practice. The main addition was a free-standing oak altar in memory of Tony Slack (1920-82) together with a Jacobean style embroidered frontal.
The original parsonage built by Thomas Layton was restored and extended in the time of the Rev. John Deason (1745-80), partly at his own expense. By 1963 it had become virtually uninhabitable and was demolished and replaced by the modern vicarage to the design of Peter Hill.
The original churchyard measured 180 feet by 105 feet and has been extended twice, first to the north in 1829 when it was walled at the expense of Mrs Oswald Emmott. It was closed in 1869 by Order in Council. Secondly in 1870 by a gift from the Major General of about one and a half acres which were laid out and walled at a cost of £215. In about 1980 it was levelled, over 160 tons of kerbs removed and tidied to make it easier to mow.
The stocks are clearly visible on an old print. They were removed in the 1860s but after some vicissitudes found and restored to the church in 1925.5
The Jubilee Hall, mainly for Scout and Guide use was opened in 1978 on part of the Church Field 6 in Layton Avenue, leased from Leeds City Council for 99 years. It is vested in the Scout Trust Corporation on trust for local use.
Having built and endowed the church, the Laytons naturally retained the patronage of the living and this is confirmed in the consecration deed which also imposed on the estate the liability to repair and refit the church. Payments for this purpose were made as late as 1905.
In 1740 there was a dispute over patronage involving the then Rector of Guiseley (the Rev. Henry Wickham). Affidavits were taken from various old inhabitants but ultimately he admitted that the Lord of the Manor had the right. However in 1909 the advowson was transferred to the Bishop of the Diocese (then Ripon), the Archdeacon and trustees.
It was never a wealthy living. It was augmented in 1742 by Christopher Wainhouse, (later Emmott) with a gift of £200 and a further £200 from Queen Anne’s Bounty. Richard Emmott gave a further £200 in 1769 and Queen Anne’s Bounty helped again in 1822 and 1824. The transfer in 1909 enabled Queen Anne’s Bounty to help yet again and in 1930 Henry Fison Killick 7 left £250 to further augment the living. Even today the Church Commissioners' accounts only show a yield of £489 on the invested capital.
I do not propose to discuss the windows and internal fittings in detail, as I have done that elsewhere, but the east window, a better than normal example of Victorian stained glass by Wm. Wailes of Newcastle was given in memory of John White of Upperwood House, Apperley Lane. He was churchwarden in 1824 and 1827 and the employer of Charlotte Brontë as governess for his children from March to December 1841. There is no record of Charlotte actually attending Rawdon Church during her stay. What is curious is that though the window is at Rawdon, White was buried in a family vault at Calverley under a large and tasteless monument. There is also a memorial tablet to him in that church.
As for the incumbents, little is known about the first five, not even the Christian names of the first two. Of the Rev. John Deason (1718-80, at Rawdon 1745-80) we can assume that he had some private means as it is known that he was able to advance £100 out of his own pocket to purchase land to augment the living; give £10 towards the cost of underdrawing the church roof (which no doubt made the building easier to warm) and, as we have seen, paid towards the improvement of the parsonage. His grave in the chancel has recently been uncovered.
The Rev. Samuel Stones (1745-1823), at Rawdon 1780-1823 is a clearer figure. There is a brass tablet in the church in his memory with a fulsome inscription that reads:
“Sacred to the memory of the late Rev. Samuel Stones curate8 of this chapelry, for 42 years; who departed this life May 12th, 1823, aged 78 years. He died in the faith of Christ; in whom alone he trusted for the salvation of his soul. While God was pleased to give him health he discharged all the duties of his sacred office with Failthfullness, Zeal, Dilligence and Love. He was a kind and affectionate father, a good master and an exemplary Christian.
As a preacher he was plain and forthright, zealous, scriptural and spiritual, particularly anxious to impress on others those evangelical truths which were the delight and support of his own soul. When it pleased the Lord to deprive him of that privilege he was anxiously careful to provide a faithful pastor to watch over his flock.”
However this is not mere 18th century flattery as John Wesley’s9 Journal confirms:
“On Tuesday 6th May 1778 I accepted the invitation of Mr. Stone a truly pious and active man, and preached in his church at Rawdon to a very serious congregation on “Repent ye and believe the Gospel”.
There is an interesting entry in the Burial Register in Mr Stones’s time:
“1800 April 13th. Buried Sarah Bailey, executed at York.”
She was 25 years of age and had been hanged the previous day for passing forged notes. As it is highly unlikely that the body would have been brought from York, one wonders whether Mr Stones had the grisly task of attending her on the scaffold and if so, why was he chosen?
Mr Stones’s successor was the Rev. Antony Ibbotson who, as we shall see, ran a boys’ seminary. The Rev. John Dickinson Knowles (at Rawdon 1858-65) was the incumbent during the 1864 rebuilding and was followed by the Rev. George Mills, who in 1877 gave way to his elder brother, the Rev. Septimus Mills. However there were problems for the Rev. Septimus. In 1905, as a result of an enquiry instituted by the Bishop of Ripon, he was suspended as vicar though allowed to remain in the vicarage until his death in 1921.10 He had been accused of “neglect of duty whereby the Church, the Churchyard, Sunday School and all church work had been brought into a most woeful state”. Though the charge may have been true it is now accepted that he was a most generous man who had given away a considerable amount of money during his stay in Rawdon. If anything it shows the tragic inability of the Church of England, still not entirely solved, to provide accommodation and decent pensions for its servants when they become past coping. As I have written elsewhere on them I do not propose to discuss more recent incumbents.
There are some interesting items of silver, especially a goblet-chalice and two pattens marked “Rawden Chapell Plate 1723”. It is curious that there is also silver at Horsforth with the same date. A possible explanation is that about that time there was a dispute over the presentation to Guiseley Rectory and an interregnum there over a year. Thus it may have been thought that they were necessary for the celebration of Holy Communion at Rawdon and Horsforth. But who gave them?
Andy Biersack of Black Veil Brides, live at the Best Buy Theater NYC 11.23.14
Check out the gallery on Music Existence: musicexistence.com/blog/2014/11/25/gallery-black-veil-bri...
Throughout its nearly five years of existence, High Places has toured extensively and performed in a multitude of environments. Whether playing at the Guggenheim Museum in Manhattan or in an industrial warehouse in Santiago, Chile, the band's enveloping sound and propulsive energy allow the music to translate to a variety of venues. Much to our enjoyment, they recently came by Room 205 to play inside our enormous yarn sculpture.
BIO
High Places began as an experiment in collaboration: two people with diverse artistic backgrounds coming together to merge their skills and aesthetic tastes. Rob Barber grew up listening to punk and hardcore, and Mary Pearson studied bassoon performance, but both gravitated toward a DIY compositional style and a love of layers. High Places' songs contain a fascinating range of aural layers: bells and bird calls over a wash of ocean waves; mallets hitting mixing bowls over treated guitar and glockenspiel; Mary's reflective vocals over Rob's homemade beats. The result is an imaginative and spacious amalgam of sounds that is as immediate as it is refreshing.
COMPONENTS
Video
• YouTube: youtube.com/playlist?list=PLC4EEUwd7e4kYsSY8n8HzG6ixrFpKv40m
• Vimeo: vimeo.com/album/2230432
Photos
• Flickr: flic.kr/s/aHsjtMC5pX
Music
• SoundCloud: soundcloud.com/goincase/sets/high-places-at-room-205
CREDITS
Executive Producer
• Incase: goincase.com
Producer
• Arlie Carstens: disastercasual.typepad.com
Director
• Otto Arsenault: ottoarsenault.com
Set Designer
• Sophia Rubio: nothingisbeautifulanymore.com
Audio Engineer
• Butchy Fuego: twitter.com/butchyfuego
Camera
• Jon Barlow: vimeo.com/jonbarlow
• Sophia Rubio: nothingisbeautifulanymore.com
• Otto Arsenault: ottoarsenault.com
Editor
• Otto Arsenault: ottoarsenault.com
Art Department
• Lauren Barlow
• Melissa Huddleston
Gaffer
• Frits Dejong: imdb.com/name/nm0208997
Photos
• Arlie Carstens: disastercasual.typepad.com
Performing Artist
• High Places: hellohighplaces.blogspot.com
Label
• Thrill Jockey: thrilljockey.com
Room 205 Theme Song
• Cora Foxx: theheapsf.com
Built to compete with wheel tractors
Center drive track to run on softer ground
Only one in existence
4500 lbs
Gasoline
12-20 hp
4 cylinders
Heidrick Ag History Center, Woodland, California, USA
For the video; youtu.be/ScyIVd4DCtA
Jellies are one of the most fascinating animals and a popular attraction at Monterey Bay Aquarium. People seem to get lost staring at them drifting about.
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
Adding colour to my life is perhaps the best way to describe the effect on me when I became Jojo. No more boring clothes or seemingly like everyone else it would seem that need to hide the fact that I like sex and being sexy. As Christopher I felt like I was trapped in some sort of cage and it led to poor self-esteem as I didn't like myself as what I could see was not the real me or the dreams in my head. I never thought there would be a way but thankfully the times changed and at last I was able to step out into the sunshine and now I am trangendered enough to be happy..
The Tuol Sleng Genocide Museum is a museum chronicling the Cambodian genocide. Located in Phnom Penh, the site is a former secondary school which was used as Security Prison 21 (S-21; Khmer: មន្ទីរស-២១) by the Khmer Rouge regime from 1975 until its fall in 1979. From 1976 to 1979, an estimated 20,000 people were imprisoned at Tuol Sleng and it was one of between 150 and 196 torture and execution centers established by the Khmer Rouge. On 26 July 2010, the Extraordinary Chambers in the Courts of Cambodia convicted the prison's chief, Kang Kek Iew, for crimes against humanity and grave breaches of the 1949 Geneva Conventions. He died on 2 September 2020 while serving a life sentence.
To accommodate the victims of purges that were important enough for the attention of the Khmer Rouge, a new detention center was planned in the building that was formerly known as Tuol Svay Prey High School, named after a royal ancestor of King Norodom Sihanouk, the five buildings of the complex were converted in March or April 1976 into a prison and an interrogation center. Before, other buildings in town were used already as prison S-21. The Khmer Rouge renamed the complex "Security Prison 21" (S-21) and construction began to adapt the prison for the inmates: the buildings were enclosed in electrified barbed wire, the classrooms converted into tiny prison and torture chambers, and all windows were covered with iron bars and barbed wire to prevent escapes and suicides.
From 1976 to 1979, an estimated 20,000 people were imprisoned at Tuol Sleng (the real number is unknown). At any one time, the prison held between 1,000 and 1,500 prisoners. They were repeatedly tortured and coerced into naming family members and close associates, who were in turn arrested, tortured and killed. In the early months of S-21's existence, most of the victims were from the previous Lon Nol regime and included soldiers, government officials, as well as academics, doctors, teachers, students, factory workers, monks, engineers, etc. Later, the party leadership's paranoia turned on its own ranks and purges throughout the country saw thousands of party activists and their families brought to Tuol Sleng and murdered. Those arrested included some of the highest ranking politicians such as Khoy Thoun, Vorn Vet and Hu Nim. Although the official reason for their arrest was "espionage", these men may have been viewed by Khmer Rouge leader Pol Pot as potential leaders of a coup against him. Prisoners' families were sometimes brought en masse to be interrogated and later executed at the Choeung Ek extermination center.
In 1979, the prison was uncovered by the invading Vietnamese army. At some point between 1979 and 1980 the prison was reopened by the government of the People's Republic of Kampuchea as a historical museum memorializing the actions of the Khmer Rouge regime.
Upon arrival at the prison, prisoners were photographed and required to give detailed autobiographies, beginning with their childhood and ending with their arrest. After that, they were forced to strip to their underwear, and their possessions were confiscated. The prisoners were then taken to their cells. Those taken to the smaller cells were shackled to the walls or the concrete floor. Those who were held in the large mass cells were collectively shackled to long pieces of iron bar. The shackles were fixed to alternating bars; the prisoners slept with their heads in opposite directions. They slept on the floor without mats, mosquito nets, or blankets. They were forbidden to talk to each other.
The day began in the prison at 4:30 a.m. when prisoners were ordered to strip for inspection. The guards checked to see if the shackles were loose or if the prisoners had hidden objects they could use to commit suicide. Over the years, several prisoners managed to kill themselves, so the guards were very careful in checking the shackles and cells. The prisoners received four small spoonfuls of rice porridge and a watery soup of leaves twice a day. Drinking water without asking the guards for permission resulted in serious beatings. The inmates were hosed down every four days.
The prison had very strict regulations, and severe beatings were inflicted upon any prisoner who disobeyed. Almost every action had to be approved by one of the prison's guards. The prisoners were sometimes forced to eat human feces and drink human urine. The unhygienic living conditions in the prison caused skin diseases, lice, rashes, ringworm and other ailments. The prison's medical staff were untrained and offered treatment only to sustain prisoners' lives after they had been injured during interrogation. When prisoners were taken from one place to another for interrogation, they were blindfolded. Guards and prisoners were not allowed to converse. Moreover, within the prison, people who were in different groups were not allowed to have contact with one another.[5]
Most prisoners at S-21 were held there for two to three months. However, several high-ranking Khmer Rouge cadres were held longer. Within two or three days after they were brought to S-21, all prisoners were taken for interrogation. The torture system at Tuol Sleng was designed to make prisoners confess to whatever crimes they were charged with by their captors. Prisoners were routinely beaten and tortured with electric shocks, searing hot metal instruments and hanging, as well as through the use of various other devices. Some prisoners were cut with knives or suffocated with plastic bags. Other methods for generating confessions included pulling out fingernails while pouring alcohol on the wounds, holding prisoners' heads under water, and the use of the waterboarding technique. Women were sometimes raped by the interrogators, even though sexual abuse was against Democratic Kampuchea (DK) policy. The perpetrators who were found out were executed. Although many prisoners died from this kind of abuse, killing them outright was discouraged, since the Khmer Rouge needed their confessions. The "Medical Unit" at Tuol Sleng, however, did kill at least 100 prisoners by bleeding them to death. It is proven that medical experiments were performed on certain prisoners. There is clear evidence that patients in Cambodia were sliced open and had organs removed with no anesthetic. The camp's director, Kang Kek Iew, has acknowledged that "live prisoners were used for surgical study and training. Draining blood was also done."
In their confessions, the prisoners were asked to describe their personal background. If they were party members, they had to say when they joined the revolution and describe their work assignments in DK. Then the prisoners would relate their supposed treasonous activities in chronological order. The third section of the confession text described prisoners' thwarted conspiracies and supposed treasonous conversations. At the end, the confessions would list a string of traitors who were the prisoners' friends, colleagues, or acquaintances. Some lists contained over a hundred names. People whose names were in the confession list were often called in for interrogation.
Typical confessions ran into thousands of words in which the prisoner would interweave true events in their lives with imaginary accounts of their espionage activities for the CIA, the KGB, or Vietnam. Physical torture was combined with sleep deprivation and deliberate neglect of the prisoners. The torture implements are on display in the museum. It is believed that the vast majority of prisoners were innocent of the charges against them and that the torture produced false confessions.
For the first year of S-21's existence, corpses were buried near the prison. However, by the end of 1976, cadres ran out of burial spaces, the prisoner and family members were taken to the Boeung Choeung Ek ("Crow's Feet Pond") extermination centre, fifteen kilometers from Phnom Penh. There, they were killed by a group of teenagers led by a Comrade Teng, being battered to death with iron bars, pickaxes, machetes and many other makeshift weapons owing to the scarcity and cost of ammunition. After the prisoners were executed, the soldiers who had accompanied them from S-21 buried them in graves that held as few as 6 and as many as 100 bodies.
Almost all non-Cambodians had left the country by early May 1975, following an overland evacuation of the French Embassy in trucks. The few who remained were seen as a security risk. Though most of the foreign victims were either Vietnamese or Thai, a number of Western prisoners, many picked up at sea by Khmer Rouge patrol boats, also passed through S-21 between April 1976 and December 1978. No foreign prisoners survived captivity in S-21.
Even though the vast majority of the victims were Cambodian, some were foreigners, including 488 Vietnamese, 31 Thai, four French, two Americans, two Australians, one Laotian, one Arab, one Briton, one Canadian, one New Zealander, and one Indonesian. Khmers of Indian and Pakistani descent were also victims.
Two Franco-Vietnamese brothers named Rovin and Harad Bernard were detained in April 1976 after they were transferred from Siem Reap, where they had worked tending cattle. Another Frenchman named Andre Gaston Courtigne, a 30-year-old clerk and typist at the French embassy, was arrested the same month along with his Khmer wife in Siem Reap.
It is possible that a handful of French nationals who went missing after the 1975 evacuation of Phnom Penh also passed through S-21. Two Americans were captured under similar circumstances. James Clark and Lance McNamara in April 1978 were sailing when their boat drifted off course and sailed into Cambodian waters. They were arrested by Khmer patrol boats, taken ashore, where they were blindfolded, placed on trucks, and taken to the then-deserted Phnom Penh.
Twenty-six-year-old John D. Dewhirst, a British tourist, was one of the youngest foreigners to die in the prison. He was sailing with his New Zealand companion, Kerry Hamill, and their Canadian friend Stuart Glass when their boat drifted into Cambodian territory and was intercepted by Khmer patrol boats on August 13, 1978. Glass was killed during the arrest, while Dewhirst and Hamill were captured, blindfolded, and taken to shore. Both were executed after having been tortured for several months at Tuol Sleng. Witnesses reported that a foreigner was burned alive; initially, it was suggested that this might have been John Dewhirst, but a survivor would later identify Kerry Hamill as the victim of this particular act of brutality. Robert Hamill, his brother and a champion Atlantic rower, would years later make a documentary, Brother Number One, about his brother's incarceration.
One of the last foreign prisoners to die was twenty-nine-year-old American Michael S. Deeds, who was captured with his friend Christopher E. DeLance on November 24, 1978, while sailing from Singapore to Hawaii. His confession was signed a week before the Vietnamese army invaded Cambodia and ousted the Khmer Rouge. In 1989, Deeds' brother, Karl Deeds, traveled to Cambodia in attempts to find his brother's remains, but was unsuccessful. On September 3, 2012, DeLance's photograph was identified among the caches of inmate portraits.
As of 1999, there were a total of 79 foreign victims on record, but former Tuol Sleng Khmer Rouge photographer Nim Im claims that the records are not complete. On top of that, there is also an eyewitness account of a Filipino, a Cuban and a Swiss who passed through the prison, though no official records of either are shown.
Out of an estimated 20,000 people imprisoned at Tuol Sleng, there were only twelve known survivors: seven adults and five children. One child died shortly after the liberation.[5] As of mid-September 2011, only three of the adults and four children are thought to still be alive: Chum Mey, Bou Meng, and Chim Meth. All three said they were kept alive because they had skills their captors judged to be useful. Bou Meng, whose wife was killed in the prison, is an artist. Chum Mey was kept alive because of his skills in repairing machinery. Chim Meth was held in S-21 for 2 weeks and transferred to the nearby Prey Sar prison. She may have been spared because she was from Stoeung district in Kampong Thom where Comrade Duch was born. She intentionally distinguished herself by emphasising her provincial accent during her interrogations. Vann Nath, who was spared because of his ability to paint, died on September 5, 2011. Norng Chan Phal, one of the surviving children, published his story in 2018.
The Documentation Center of Cambodia has recently estimated that, in fact, at least 179 prisoners were freed from S-21 between 1975 and 1979 and approximately 23 prisoners (including 5 children, two of them siblings Norng Chanphal and Norng Chanly) survived when the prison was liberated in January 1979. One child died shortly thereafter. Of the 179 prisoners who were released, most disappeared and only a few are known to have survived after 1979. It was found that at least 60 persons (out of the DC Cam list) who are listed as having survived were first released but later rearrested and executed.
The prison had a staff of 1,720 people throughout the whole period. Of those, approximately 300 were office staff, internal workforce and interrogators. The other 1,400 were general workers, including people who grew food for the prison. Several of these workers were children taken from the prisoner families. The chief of the prison was Khang Khek Ieu (also known as Comrade Duch), a former mathematics teacher who worked closely with Khmer Rouge leader Pol Pot. Other leading figures of S-21 were Kim Vat aka Ho (deputy chief of S-21), Peng (chief of guards), Mam Nai aka Chan (chief of the Interrogation Unit), and Tang Sin Hean aka Pon (interrogator). Pon was the person who interrogated important people such as Keo Meas, Nay Sarann, Ho Nim, Tiv Ol, and Phok Chhay.
The documentation unit was responsible for transcribing tape recorded confessions, typing the handwritten notes from prisoners' confessions, preparing summaries of confessions, and maintaining files. In the photography sub-unit, workers took mug shots of prisoners when they arrived, pictures of prisoners who had died while in detention, and pictures of important prisoners after they were executed. Thousands of photographs have survived, but thousands are still missing.
The defense unit was the largest unit in S-21. The guards in this unit were mostly teenagers. Many guards found the unit's strict rules hard to obey. Guards were not allowed to talk to prisoners, to learn their names, or to beat them. They were also forbidden to observe or eavesdrop on interrogations, and they were expected to obey 30 regulations, which barred them from such things as taking naps, sitting down or leaning against a wall while on duty. They had to walk, guard, and examine everything carefully. Guards who made serious mistakes were arrested, interrogated, jailed and put to death. Most of the people employed at S-21 were terrified of making mistakes and feared being tortured and killed.
The interrogation unit was split into three separate groups: Krom Noyobai or the political unit, Krom Kdao or the hot unit and Krom Angkiem, or the chewing unit. The hot unit (sometimes called the cruel unit) was allowed to use torture. In contrast, the cold unit (sometimes called the gentle unit) was prohibited from using torture to obtain confessions. If they could not make prisoners confess, they would transfer them to the hot unit. The chewing unit dealt with tough and important cases. Those who worked as interrogators were literate and usually in their 20s.
Some of the staff who worked in Tuol Sleng also ended up as prisoners. They confessed to being lazy in preparing documents, to having damaged machines and various equipment, and to having beaten prisoners to death without permission when assisting with interrogations.
When prisoners were first brought to Tuol Sleng, they were made aware of ten rules that they were to follow during their incarceration. What follows is what is posted today at the Tuol Sleng Museum; the imperfect grammar is a result of faulty translation from the original Khmer:
You must answer accordingly to my question. Don't turn them away.
Don't try to hide the facts by making pretexts this and that, you are strictly prohibited to contest me.
Don't be a fool for you are a chap who dare to thwart the revolution.
You must immediately answer my questions without wasting time to reflect.
Don't tell me either about your immoralities or the essence of the revolution.
While getting lashes or electrification you must not cry at all.
Do nothing, sit still and wait for my orders. If there is no order, keep quiet. When I ask you to do something, you must do it right away without protesting.
Don't make pretext about Kampuchea Krom in order to hide your secret or traitor.
If you don't follow all the above rules, you shall get many lashes of electric wire.
If you disobey any point of my regulations you shall get either ten lashes or five shocks of electric discharge.
During testimony at the Khmer Rouge Tribunal on April 27, 2009, Duch claimed the 10 security regulations were a fabrication of the Vietnamese officials that first set up the Tuol Sleng Genocide Museum.
In 1979, Hồ Văn Tây, a Vietnamese combat photographer, was the first journalist to document Tuol Sleng to the world. Hồ and his colleagues followed the stench of rotting corpses to the gates of Tuol Sleng. The photos of Hồ documenting what he saw when he entered the site are exhibited in Tuol Sleng today.
The Khmer Rouge required that the prison staff make a detailed dossier for each prisoner. Included in the documentation was a photograph. Since the original negatives and photographs were separated from the dossiers in the 1979–1980 period, most of the photographs remain anonymous to this day.
The buildings at Tuol Sleng are preserved, with some rooms still appearing just as they were when the Khmer Rouge were driven out in 1979. The regime kept extensive records, including thousands of photographs. Several rooms of the museum are now lined, floor to ceiling, with black and white photographs of some of the estimated 20,000 prisoners who passed through the prison.
The site has four main buildings, known as Building A, B, C, and D. Building A holds the large cells in which the bodies of the last victims were discovered. Building B holds galleries of photographs. Building C holds the rooms subdivided into small cells for prisoners. Building D holds other memorabilia including instruments of torture.
Other rooms contain only a rusting iron bedframe, beneath a black and white photograph showing the room as it was found by the Vietnamese. In each photograph, the mutilated body of a prisoner is chained to the bed, killed by his fleeing captors only hours before the prison was captured. Other rooms preserve leg-irons and instruments of torture. They are accompanied by paintings by former inmate Vann Nath showing people being tortured, which were added by the post-Khmer Rouge regime installed by the Vietnamese in 1979.
The museum is open to the public from 8:00 a.m. to 5:00 p.m. On weekdays, visitors have the opportunity of viewing a 'survivor testimony' from 2:30 p.m. to 3:00 p.m. Along with the Choeung Ek Memorial (the Killing Fields), the Tuol Sleng Genocide Museum is included as a point of interest for those visiting Cambodia. Tuol Sleng also remains an important educational site as well as memorial for Cambodians. Since 2010, the ECCC brings Cambodians on a 'study tour' consisting of the Tuol Sleng, followed by the Choeung Ek, and finishing at the ECCC complex. The tour drew approximately 27,000 visitors in 2010.
S-21: The Khmer Rouge Killing Machine is a 2003 film by Rithy Panh, a Cambodian-born, French-trained filmmaker who lost his family when he was 11. The film features two Tuol Sleng survivors, Vann Nath and Chum Mey, confronting their former Khmer Rouge captors, including guards, interrogators, a doctor and a photographer. The focus of the film is the difference between the feelings of the survivors, who want to understand what happened at Tuol Sleng to warn future generations, and the former jailers, who cannot escape the horror of the genocide they helped create.
A number of images from Tuol Sleng are featured in the 1992 Ron Fricke film Baraka.
The Killing Fields are a number of sites in Cambodia where collectively more than 1,000,000 people were killed and buried by the Communist Party of Kampuchea during Khmer Rouge rule of the country from 1975 to 1979, immediately after the end of the Cambodian Civil War (1970–1975). The mass killings were part of the broad, state-sponsored Cambodian genocide.
Analysis of 20,000 mass grave sites by the DC-Cam Mapping Program and Yale University indicates at least 1,386,734 victims of execution. Estimates of the total deaths resulting from Khmer Rouge policies, including death from disease and starvation, range from 1.7 to 2.5 million out of a 1975 population of roughly 8 million. In 1979, Vietnam invaded Democratic Kampuchea and toppled the Khmer Rouge regime, ending the genocide.
The Cambodian journalist Dith Pran coined the term "killing fields" after his escape from the regime.
The Khmer Rouge regime arrested and eventually executed almost everyone suspected of connections with the former government or with foreign governments, as well as professionals and intellectuals. Ethnic Vietnamese, ethnic Thai, ethnic Chinese, ethnic Cham, Cambodian Christians, and Buddhist monks were the demographic targets of persecution. As a result, Pol Pot has been described as "a genocidal tyrant". Martin Shaw described the Cambodian genocide as "the purest genocide of the Cold War era".
Ben Kiernan estimates that about 1.7 million people were killed. Researcher Craig Etcheson of the Documentation Center of Cambodia suggests that the death toll was between 2 and 2.5 million, with a "most likely" figure of 2.2 million. After five years of researching some 20,000 grave sites, he concludes that "these mass graves contain the remains of 1,386,734 victims of execution". A United Nations investigation reported 2–3 million dead, while UNICEF estimated 3 million had been killed. Demographic analysis by Patrick Heuveline suggests that between 1.17 and 3.42 million Cambodians were killed, while Marek Sliwinski suggests that 1.8 million is a conservative figure. Even the Khmer Rouge acknowledged that 2 million had been killed—though they attributed those deaths to a subsequent Vietnamese invasion. By late 1979, UN and Red Cross officials were warning that another 2.25 million Cambodians faced death by starvation due to "the near destruction of Cambodian society under the regime of ousted Prime Minister Pol Pot", who were saved by international aid after the Vietnamese invasion.
Process
The judicial process of the Khmer Rouge regime, for minor or political crimes, began with a warning from the Angkar, the government of Cambodia under the regime. People receiving more than two warnings were sent for "re-education," which meant near-certain death. People were often encouraged to confess to Angkar their "pre-revolutionary lifestyles and crimes" (which usually included some kind of free-market activity; having had contact with a foreign source, such as a U.S. missionary, international relief or government agency; or contact with any foreigner or with the outside world at all), being told that Angkar would forgive them and "wipe the slate clean." They were then taken away to a place such as Tuol Sleng or Choeung Ek for torture and/or execution.[citation needed]
The executed were buried in mass graves. In order to save ammunition, the executions were often carried out using poison or improvised weapons such as sharpened bamboo sticks, hammers, machetes and axes. Inside the Buddhist Memorial Stupa at Choeung Ek, there is evidence of bayonets, knives, wooden clubs, hoes for farming and curved scythes being used to kill victims, with images of skulls, damaged by these implements, as evidence. In some cases the children and infants of adult victims were killed by having their heads bashed against the trunks of Chankiri trees, and then were thrown into the pits alongside their parents. The rationale was "to stop them growing up and taking revenge for their parents' deaths."[citation needed]
Prosecution for crimes against humanity
In 1997 the Cambodian government asked for the UN's assistance in setting up a genocide tribunal. It took nine years to agree to the shape and structure of the court—a hybrid of Cambodian and international laws—before the judges were sworn in, in 2006. The investigating judges were presented with the names of five possible suspects by the prosecution on 18 July 2007. On 19 September 2007 Nuon Chea, second in command of the Khmer Rouge and its most senior surviving member, was charged with war crimes and crimes against humanity. He faced Cambodian and foreign judges at the special genocide tribunal and was convicted on 7 August 2014 and received a life sentence. On 26 July 2010 Kang Kek Iew (aka Comrade Duch), director of the S-21 prison camp, was convicted of crimes against humanity and sentenced to 35 years' imprisonment. His sentence was reduced to 19 years, as he had already spent 11 years in prison. On 2 February 2012, his sentence was extended to life imprisonment by the Extraordinary Chambers in the Courts of Cambodia. He died on 2 September 2020.
Legacy
The best known monument of the Killing Fields is at the village of Choeung Ek. Today, it is the site of a Buddhist memorial to the victims, and Tuol Sleng has a museum commemorating the genocide. The memorial park at Choeung Ek has been built around the mass graves of many thousands of victims, most of whom were executed after interrogation at the S-21 Prison in Phnom Penh. The majority of those buried at Choeung Ek were Khmer Rouge killed during the purges within the regime. Many dozens of mass graves are visible above ground, many which have not been excavated yet. Commonly, bones and clothing surface after heavy rainfalls due to the large number of bodies still buried in shallow mass graves. It is not uncommon to run across the bones or teeth of the victims scattered on the surface as one tours the memorial park. If these are found, visitors are asked to notify a memorial park officer or guide.
A survivor of the genocide, Dara Duong, founded The Killing Fields Museum in Seattle, US.
The Khmer Rouge is the name that was popularly given to members of the Communist Party of Kampuchea (CPK) and by extension to the regime through which the CPK ruled Cambodia between 1975 and 1979. The name was coined in the 1960s by then Chief of State Norodom Sihanouk to describe his country's heterogeneous, communist-led dissidents, with whom he allied after his 1970 overthrow.
The Khmer Rouge army was slowly built up in the jungles of eastern Cambodia during the late 1960s, supported by the North Vietnamese army, the Viet Cong, the Pathet Lao, and the Chinese Communist Party (CCP). Although it originally fought against Sihanouk, the Khmer Rouge changed its position and supported Sihanouk following the CCP's advice after he was overthrown in a 1970 coup by Lon Nol who established the pro-American Khmer Republic. Despite a massive American bombing campaign (Operation Freedom Deal) against them, the Khmer Rouge won the Cambodian Civil War when they captured the Cambodian capital and overthrew the Khmer Republic in 1975. Following their victory, the Khmer Rouge, who were led by Pol Pot, Nuon Chea, Ieng Sary, Son Sen, and Khieu Samphan, immediately set about forcibly evacuating the country's major cities. In 1976, they renamed the country Democratic Kampuchea.
The Khmer Rouge regime was highly autocratic, totalitarian, and repressive. Many deaths resulted from the regime's social engineering policies and the "Moha Lout Plaoh", an imitation of China's Great Leap Forward which had caused the Great Chinese Famine. The Khmer Rouge's attempts at agricultural reform through collectivization similarly led to widespread famine, while its insistence on absolute self-sufficiency, including the supply of medicine, led to the death of many thousands from treatable diseases such as malaria.
The Khmer Rouge regime murdered hundreds of thousands of their perceived political opponents, and its racist emphasis on national purity resulted in the genocide of Cambodian minorities. Summary executions and torture were carried out by its cadres against perceived subversive elements, or during genocidal purges of its own ranks between 1975 and 1978. Ultimately, the Cambodian genocide which took place under the Khmer Rouge regime led to the deaths of 1.5 to 2 million people, around 25% of Cambodia's population.
In the 1970s, the Khmer Rouge were largely supported and funded by the Chinese Communist Party, receiving approval from Mao Zedong; it is estimated that at least 90% of the foreign aid which was provided to the Khmer Rouge came from China. The regime was removed from power in 1979 when Vietnam invaded Cambodia and quickly destroyed most of its forces. The Khmer Rouge then fled to Thailand, whose government saw them as a buffer force against the Communist Vietnamese. The Khmer Rouge continued to fight against the Vietnamese and the government of the new People's Republic of Kampuchea until the end of the war in 1989. The Cambodian governments-in-exile (including the Khmer Rouge) held onto Cambodia's United Nations seat (with considerable international support) until 1993, when the monarchy was restored and the name of the Cambodian state was changed to the Kingdom of Cambodia. A year later, thousands of Khmer Rouge guerrillas surrendered themselves in a government amnesty.
In 1996, a new political party called the Democratic National Union Movement was formed by Ieng Sary, who was granted amnesty for his role as the deputy leader of the Khmer Rouge. The organisation was largely dissolved by the mid-1990s and finally surrendered completely in 1999. In 2014, two Khmer Rouge leaders, Nuon Chea and Khieu Samphan, were jailed for life by a United Nations-backed court which found them guilty of crimes against humanity for their roles in the Khmer Rouge's genocidal campaign.
The Cambodian genocide was the systematic persecution and killing of Cambodian citizens by the Khmer Rouge under the leadership of Communist Party of Kampuchea general secretary Pol Pot. It resulted in the deaths of 1.5 to 2 million people from 1975 to 1979, nearly a quarter of Cambodia's population in 1975 (c. 7.8 million).
Pol Pot and the Khmer Rouge had long been supported by the Chinese Communist Party (CCP) and its chairman, Mao Zedong; it is estimated that at least 90% of the foreign aid which the Khmer Rouge received came from China, including at least US$1 billion in interest-free economic and military aid in 1975 alone. After it seized power in April 1975, the Khmer Rouge wanted to turn the country into an agrarian socialist republic, founded on the policies of ultra-Maoism and influenced by the Cultural Revolution. Pol Pot and other Khmer Rouge officials met with Mao in Beijing in June 1975, receiving approval and advice, while high-ranking CCP officials such as Politburo Standing Committee member Zhang Chunqiao later visited Cambodia to offer help. To fulfill its goals, the Khmer Rouge emptied the cities and forced Cambodians to relocate to labor camps in the countryside, where mass executions, forced labor, physical abuse, malnutrition, and disease were rampant. In 1976, the Khmer Rouge renamed the country Democratic Kampuchea.
The massacres ended when the Vietnamese military invaded in 1978 and toppled the Khmer Rouge regime. By January 1979, 1.5 to 2 million people had died due to the Khmer Rouge's policies, including 200,000–300,000 Chinese Cambodians, 90,000–500,000 Cambodian Cham (who are mostly Muslim), and 20,000 Vietnamese Cambodians. 20,000 people passed through the Security Prison 21, one of the 196 prisons the Khmer Rouge operated, and only seven adults survived. The prisoners were taken to the Killing Fields, where they were executed (often with pickaxes, to save bullets) and buried in mass graves. Abduction and indoctrination of children was widespread, and many were persuaded or forced to commit atrocities. As of 2009, the Documentation Center of Cambodia has mapped 23,745 mass graves containing approximately 1.3 million suspected victims of execution. Direct execution is believed to account for up to 60% of the genocide's death toll, with other victims succumbing to starvation, exhaustion, or disease.
The genocide triggered a second outflow of refugees, many of whom escaped to neighboring Thailand and, to a lesser extent, Vietnam. In 2003, by agreement between the Cambodian government and the United Nations, the Extraordinary Chambers in the Court of Cambodia (Khmer Rouge Tribunal) were established to try the members of the Khmer Rouge leadership responsible for the Cambodian genocide. Trials began in 2009. On 26 July 2010, the Trial Chamber convicted Kaing Guek Eav (alias Duch) for crimes against humanity and grave breaches of the 1949 Geneva Conventions. The Supreme Court Chamber increased his sentence to life imprisonment. Nuon Chea and Khieu Samphan were tried and convicted in 2014 of crimes against humanity and grave breaches of the Geneva Conventions. On 28 March 2019, the Trial Chamber found Nuon Chea and Khieu Samphan guilty of crimes against humanity, grave breaches of the Geneva Conventions, and genocide of the Vietnamese ethnic, national and racial group. The Chamber additionally convicted Nuon Chea of genocide of the Cham ethnic and religious group under the doctrine of superior responsibility. Both Nuon Chea and Khieu Samphan were sentenced to terms of life imprisonment.
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.
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
Grade II listed and constructed in the 1860's for the Cockermouth, Keswick and Penrith Railway Company.
"Keswick (/ˈkɛzɪk/ KEZ-ik) is an English market town and a civil parish, historically in Cumberland, and since 1974 in the Borough of Allerdale in Cumbria. Lying within the Lake District National Park, Keswick is just north of Derwentwater and is 4 miles (6.4 km) from Bassenthwaite Lake. It had a population of 5,243 at the 2011 census.
There is evidence of prehistoric occupation of the area, but the first recorded mention of the town dates from the 13th century, when Edward I of England granted a charter for Keswick's market, which has maintained a continuous 700-year existence. The town was an important mining area, and from the 18th century has been known as a holiday centre; tourism has been its principal industry for more than 150 years. Its features include the Moot Hall; a modern theatre, the Theatre by the Lake; one of Britain's oldest surviving cinemas, the Alhambra; and the Keswick Museum and Art Gallery in the town's largest open space, Fitz Park. Among the town's annual events is the Keswick Convention, an Evangelical gathering attracting visitors from many countries.
Keswick became widely known for its association with the poets Samuel Taylor Coleridge and Robert Southey. Together with their fellow Lake Poet William Wordsworth, based at Grasmere, 12 miles (19 km) away, they made the scenic beauty of the area widely known to readers in Britain and beyond. In the late 19th century and into the 20th, Keswick was the focus of several important initiatives by the growing conservation movement, often led by Hardwicke Rawnsley, vicar of the nearby Crosthwaite parish and co-founder of the National Trust, which has built up extensive holdings in the area." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
Trojans FC has been providing top class Southampton Rugby for 142 years! Established in 1874 Trojans operates 3 Senior Men's, a Senior Ladies and teams at every youth age group.
#proudtobeatrojan
The Trojans Club was founded in 1874 initially as a rugby club - The Trojans Football Club.
There are now four very active sporting sections, Rugby, Cricket, Hockey and Squash with a total membership of well over one thousand.
During its long and proud history, Trojans has done much to foster amateur sport and has, over the years, produced many county and international players.
The original minute books are still in existence and are held in the Southampton City archives and there are many other documents and press reports that have been used extensively to create the following documents, broken into two sections, the History and the Playing Archives.
This is not intended to be a definitive history of the Trojans Football Club, the oldest rugby club in Hampshire, but more a selection of the highlights of the early years and a brief review of the past few years.
The Beginning
On the 3rd of September 1874 a meeting was held at the Antelope Hotel, Southampton, by members of a previous club, with a view to forming the "Trojans".
The previous Club was the "Southampton Football Club" which existed for one season under that name having previous been the "Grammar School Old Boys". The earliest recorded game so far found was the Old Boys against the Shirley Club on 5th October 1872 at Porter's Meadow. The match was won by Shirley by 2 touchdowns to one. H F Gibbs was captain of both of these forerunners.
H F Gibbs was voted the first Captain of the Trojans Football Club and the Club colours were voted as blue and red. It was agreed that the first annual subscription should be five shillings per year. The first rugby games of the Club were played at Porters Mead, which is now called Queens Park, Southampton.
The first Annual Meeting of the Club took place on the 24th September 1875 when the Treasurer reported a small credit balance of five pence halfpenny (2.29p). The results for the 1874/75 season produced five victories and three defeats.
The Club joined the Rugby Football Union in 1881.
Change the Laws
At a committee Meeting on the 5th September 1874 the Playing Rules of Rugby Football were read through and the worthy members of the Trojans decided to make an amendment to Rule number 15 which read "It is lawful to run in anywhere across the goal line". The addition made by the Trojans at that stage was "except between the goal posts". The Club soon found it necessary to alter this!
The First Results
Southsea (A) lost by two punts out and seven touch downs
Salisbury (A) Won by one goal and two touch downs to nil.
Salisbury (H) Lost by one goal, one try and two touch downs to two tries and four touch downs.
Magpies Won by three tries and seven touch downs to nil.
Southsea (H) Won by one goal to nil
Springhill Won by one goal and three touch downs to one goal.
Royal Academy Gosport Lost by four tries and six touch downs to one try.
First Floodlit game
On the evening of 28th November 1878, a match was played against the Rovers Football Club by electric light, having been cancelled the night before because of rain. This was the first exhibition of electric light in Southampton, and believed to be the first ever game of rugby under lights. The local newspaper reported that "at times the light was very brilliant and players could be seen plainly".
Ban the Game!
During the 1880 season, S E Gibbs died as a result of an injury while playing against Romsey. There was much local comment and the then Mayor of Southampton issued a handbill, published in full in "The Times", condemning the game as follows:
"The Mayor in consequence of the many serious accidents and the recent deplorable death in Southampton resulting from the dangerous practice of playing football requests the Heads of Families, the Principals of Scholastic Establishments in the Town and Members of Clubs to take such steps as may be necessary for preventing the game being played in future according to Rugby Union, Association and other rules of a dangerous character. The Mayor considers it his duty to use every means in his power for prohibiting the game as hitherto played being continued in the Porters Meadow field or upon any other of the Public lands in Southampton".
At the Committee Meeting of 16th December 1880 "It was decided to play as usual unless we found out before that the Mayor had given any instruction to the police. In that case it was thought best to summons any offending "arm of the law" for assault".
The Formation of the Hampshire Rugby Football Union
At the Trojan Club's initiative, a meeting was held on 13th April 1883 to discuss the formation of "The Hampshire County Rugby Football Union". In the first season of the County Club, at least seven Trojans represented the County.
In 1901 County activities ceased and it was again the Trojans, along with United Services, who, in 1910, convened a meeting at the Trojans Club for the purpose of forming a Rugby Football Union in Hampshire.
Over 400 Trojan members have represented the county at rugby at the various levels and 140 at senior level.
“International” Football"
Although a rugby club, Trojans were known, on occasions, to play with the round ball. The following team was selected to play Curries French team (from Havre) on the New Football Ground, Archers Road (the Dell) on Tuesday 1st November 1898. Scotney, goal, Denning & Maundrell, backs, Densham, Ellerby & Colson, halfs, Ellaby, Page, Macdonald, Gamble & Hussey (councillor and later Sir George), forwards. Trojans were allowed to take half the gate money. The Echo reported this as a game against a team of French players and thus it claimed the honour of being the first international match played at the Dell.
The First Hampshire Cup
In May 1888 the Trojans Committee proposed the starting of a Rugby Union Cup Competition in the interests of Rugby Football. The County Challenge Cup (Presented by Tankerville Chamberlayne M.P., President of Trojans, and pictured here) was started in the 1889/1890 season and the Club entered the same. During this year, not only was the pitch enclosed by rope, but a charge of sixpence was made to all spectators. The Cup was duly won by Trojans in March 1890. Whether it was ever played for again is not sure as, in 1891, Trojans decided not to enter because " it was felt that it was a farce putting up the cup at the fag end of the season to be competed for by three clubs"! The present whereabouts of the grand cup is not known, although it is believed it was presented back to Tankerville Chamberlayne.
Service to the County
As well as forming the County Union (twice), Trojan members have served the County well and it can be said that there has always been a Trojan involved in Hampshire Rugby since its formation.
In particular, over the 108 active years of the Union, six Trojan members have served as President of the Union serving a total of 49 years. Six Secretaries served a total of 36 years and for the first sixty-two years of County representation on the RFU Committee the Hampshire representative was a Trojan.
Mr. Hampshire
There can be no more respected and faithful servant of the County and the Game than one particular Trojan, Dudley Kemp, as the following record illustrates -
Captain of Trojans 1927-34, 1935-38
Captain of Hampshire 1935
Played for England 1935.
Barbarian
President of the Rugby Football Union 1969
Member of the International Board 1971-77
Hampshire representative on the RFU Committee 1955-69
President HRFU 1973-76
Secretary HRFU 1946-67
Assistant Secretary HRFU 1967-68
Team Secretary HRFU 1946-53
Match Secretary HRFU 1953-56
Dudley died at his home in Devon in January 2003 aged 93.
Doggy Spectators
During a match between Trojans and Portsmouth Victoria in 1886, the ball was kicked into the Trojans' in-goal area where it rebounded off a stray dog. One of the Portsmouth players gathered it and touched down to claim a try. The Trojans protested, and claimed "dead-ball" the ball having struck a "spectator". The objection was later referred to the RFU Committee who ruled that the try should stand, as dogs could not be classed as spectators!
The Barbarians
H A Haigh-Smith was elected Trojans Captain in 1912. He was instrumental in forming the Barbarians Club and was later made president of that Club. He was also assistant Manager of the Lions tour in 1935.
Trojans played the Barbarians on January 9th 1895 but the result does not appear to have been recorded for posterity!
The Wars!
Trojans Rugby had to be suspended three times because of wars - in 1897 because of the Boer War, 1914, the Great War and 1939 the World War.
Moving Home
Although always considered a Southampton Club, Trojans actually now play in the Test Valley District. Over the years there have been many homes -
1874 the first games were played at Porters Mead, which is now called Queens Park on Queens Terrace. (by the Dock Gates)
1884 the Club donated the sum of two guineas towards the purchase of the proposed Cricket Ground in Bannister Park, until recently, the County Cricket Ground, and commenced playing rugby there in the 1884/85 season.
1897 Freemantle Ground, Stafford Road
1905 County Cricket Ground, Northlands Road
1923 G H Brown's farm in Wide Lane, Swathling with Atlantic Park (now Southampton Airport) being used for the dressing accommodation.
1929 Southampton Stadium, Banister Road
1931 Bannister Court as well as G H Brown's farm
1933 11 acres of land purchased in Cemetery Road, Swaythling (sold in 1945)
1946 County Cricket Ground, Northlands Road
1947 Sports Centre, Southampton
1958 Stoneham Park (the present ground). The ground, 22.8 acres, was purchased in 1953 for £1,205 and was another example of the members' foresight, as the timber in the ground was sold for sums almost sufficient to cover the cost of purchase! In 1958, a temporary corrugated iron changing room was completed and the foundations of the pavilion commenced. The pavilion was officially opened by A.T. Voyce, President of the Rugby Football Union, on 27th December 1960.
The Prime Years
Throughout the early and mid 1900s, Trojans went from strength to strength and provided many County Players as well a number of Internationals.
The modern peak was probably reached in the early 1960s when the Club could justifiably consider itself to be the premier civilian rugby club in the South of England (outside London). In 1961, seven rugby sides were fielded with over 200 players available for selection.
Before league tables were introduced in 1987/88, local newspapers ran Merit Tables, the Wessex Merit Table and the Hampshire Merit Table both being won in the 1978/79 and the 1980/81 seasons.
The Lean Years
There were many reasons for the decline from that peak which started in the early 80s. More local clubs, easier transport and a change of working patterns (Trojans being very much a "transit camp" in those days) were some of them. The introduction of leagues in 1987 hit the Club at the worst possible time. In the first year, the Club was put into London Division 3 but could not cope at that level and dropped straight into Hampshire Division One. Luck was also in short supply when the Club, having finished fifth, seventh from bottom (!), the team was still relegated to Hampshire Division Two (a quirk of the league structure). There the Club stayed, battling for promotion with the other strong clubs to be relegated in the mass drop, until the 1992/93 season when the league was won with a record of played 10, won 10, for 353, against 37 which included a league record win of 91-0 against Waterlooville.
Three seasons were spent in Hampshire One but the 1995/96 season saw what was probably
the strongest ever Hampshire Division 1 and relegation again befell the team. 1996/97 season saw us just lose out on promotion but success was achieved in 1997/98.
The Revival Years
Success was achieved in the 2000/2001 season when promotion was achieved to London Division 4SW (The old Division 3SW having been broken into two divisions). The first season at that level was quite successful, ending mid-table, but the next was not when Hampshire 1 again beckoned. Promotion and relegation followed over a number of seasons until London Division 1 was achieved in the 2011/12 season.
Competition is maintained throughout the Senior Club with the 2nd XV being in the Hampshire Senior merit table and the 3rd XV being in the Hampshire Division 1 merit table.
One significant advance was the introduction of Women's rugby which has developed into the strongest team in Southern England. The end of the 2006/07 season saw them promoted to the Championship 1 South (National level 2) and in 2009/10 a second team was entered into the leagues.
The Strength of Youth
One thing that has remained a strength since it's formation in the mid 70s is the Youth Section. Being one of the first clubs to introduce Mini Rugby in England (imported from Wales) the Mini and Junior Sections have encouraged many thousands of youngsters into the game and the Youth section now runs teams in every year group from under 8s to under 17s, holds annual tournaments and is generally held up to be a model of organization.
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
File name: 10_03_001160a
Binder label: Medical
Title: $1000 reward for the proof of the existence of a better liniment for human & animal flesh than 'Merchant's Gargling Oil' or a better worm remedy than 'Merchant's Worm Tablets' (front)
Created/Published: Buffalo, N. Y. : The Courier Lith. Co.
Date issued: 1870-1900 (approximate)
Physical description: 1 print : chromolithograph ; 8 x 14 cm.
Subject: Horses; Patent medicines; Oils & fats
Notes: Title from item. Unrelated advertisement printed on verso: Ross & Eberhardt, merchant tailors, no. 29, south side Main Street, Leroy, N. Y.
Statement of responsibility: Merchant's Gargling Oil Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
Trojans FC has been providing top class Southampton Rugby for 142 years! Established in 1874 Trojans operates 3 Senior Men's, a Senior Ladies and teams at every youth age group.
#proudtobeatrojan
The Trojans Club was founded in 1874 initially as a rugby club - The Trojans Football Club.
There are now four very active sporting sections, Rugby, Cricket, Hockey and Squash with a total membership of well over one thousand.
During its long and proud history, Trojans has done much to foster amateur sport and has, over the years, produced many county and international players.
The original minute books are still in existence and are held in the Southampton City archives and there are many other documents and press reports that have been used extensively to create the following documents, broken into two sections, the History and the Playing Archives.
This is not intended to be a definitive history of the Trojans Football Club, the oldest rugby club in Hampshire, but more a selection of the highlights of the early years and a brief review of the past few years.
The Beginning
On the 3rd of September 1874 a meeting was held at the Antelope Hotel, Southampton, by members of a previous club, with a view to forming the "Trojans".
The previous Club was the "Southampton Football Club" which existed for one season under that name having previous been the "Grammar School Old Boys". The earliest recorded game so far found was the Old Boys against the Shirley Club on 5th October 1872 at Porter's Meadow. The match was won by Shirley by 2 touchdowns to one. H F Gibbs was captain of both of these forerunners.
H F Gibbs was voted the first Captain of the Trojans Football Club and the Club colours were voted as blue and red. It was agreed that the first annual subscription should be five shillings per year. The first rugby games of the Club were played at Porters Mead, which is now called Queens Park, Southampton.
The first Annual Meeting of the Club took place on the 24th September 1875 when the Treasurer reported a small credit balance of five pence halfpenny (2.29p). The results for the 1874/75 season produced five victories and three defeats.
The Club joined the Rugby Football Union in 1881.
Change the Laws
At a committee Meeting on the 5th September 1874 the Playing Rules of Rugby Football were read through and the worthy members of the Trojans decided to make an amendment to Rule number 15 which read "It is lawful to run in anywhere across the goal line". The addition made by the Trojans at that stage was "except between the goal posts". The Club soon found it necessary to alter this!
The First Results
Southsea (A) lost by two punts out and seven touch downs
Salisbury (A) Won by one goal and two touch downs to nil.
Salisbury (H) Lost by one goal, one try and two touch downs to two tries and four touch downs.
Magpies Won by three tries and seven touch downs to nil.
Southsea (H) Won by one goal to nil
Springhill Won by one goal and three touch downs to one goal.
Royal Academy Gosport Lost by four tries and six touch downs to one try.
First Floodlit game
On the evening of 28th November 1878, a match was played against the Rovers Football Club by electric light, having been cancelled the night before because of rain. This was the first exhibition of electric light in Southampton, and believed to be the first ever game of rugby under lights. The local newspaper reported that "at times the light was very brilliant and players could be seen plainly".
Ban the Game!
During the 1880 season, S E Gibbs died as a result of an injury while playing against Romsey. There was much local comment and the then Mayor of Southampton issued a handbill, published in full in "The Times", condemning the game as follows:
"The Mayor in consequence of the many serious accidents and the recent deplorable death in Southampton resulting from the dangerous practice of playing football requests the Heads of Families, the Principals of Scholastic Establishments in the Town and Members of Clubs to take such steps as may be necessary for preventing the game being played in future according to Rugby Union, Association and other rules of a dangerous character. The Mayor considers it his duty to use every means in his power for prohibiting the game as hitherto played being continued in the Porters Meadow field or upon any other of the Public lands in Southampton".
At the Committee Meeting of 16th December 1880 "It was decided to play as usual unless we found out before that the Mayor had given any instruction to the police. In that case it was thought best to summons any offending "arm of the law" for assault".
The Formation of the Hampshire Rugby Football Union
At the Trojan Club's initiative, a meeting was held on 13th April 1883 to discuss the formation of "The Hampshire County Rugby Football Union". In the first season of the County Club, at least seven Trojans represented the County.
In 1901 County activities ceased and it was again the Trojans, along with United Services, who, in 1910, convened a meeting at the Trojans Club for the purpose of forming a Rugby Football Union in Hampshire.
Over 400 Trojan members have represented the county at rugby at the various levels and 140 at senior level.
“International” Football"
Although a rugby club, Trojans were known, on occasions, to play with the round ball. The following team was selected to play Curries French team (from Havre) on the New Football Ground, Archers Road (the Dell) on Tuesday 1st November 1898. Scotney, goal, Denning & Maundrell, backs, Densham, Ellerby & Colson, halfs, Ellaby, Page, Macdonald, Gamble & Hussey (councillor and later Sir George), forwards. Trojans were allowed to take half the gate money. The Echo reported this as a game against a team of French players and thus it claimed the honour of being the first international match played at the Dell.
The First Hampshire Cup
In May 1888 the Trojans Committee proposed the starting of a Rugby Union Cup Competition in the interests of Rugby Football. The County Challenge Cup (Presented by Tankerville Chamberlayne M.P., President of Trojans, and pictured here) was started in the 1889/1890 season and the Club entered the same. During this year, not only was the pitch enclosed by rope, but a charge of sixpence was made to all spectators. The Cup was duly won by Trojans in March 1890. Whether it was ever played for again is not sure as, in 1891, Trojans decided not to enter because " it was felt that it was a farce putting up the cup at the fag end of the season to be competed for by three clubs"! The present whereabouts of the grand cup is not known, although it is believed it was presented back to Tankerville Chamberlayne.
Service to the County
As well as forming the County Union (twice), Trojan members have served the County well and it can be said that there has always been a Trojan involved in Hampshire Rugby since its formation.
In particular, over the 108 active years of the Union, six Trojan members have served as President of the Union serving a total of 49 years. Six Secretaries served a total of 36 years and for the first sixty-two years of County representation on the RFU Committee the Hampshire representative was a Trojan.
Mr. Hampshire
There can be no more respected and faithful servant of the County and the Game than one particular Trojan, Dudley Kemp, as the following record illustrates -
Captain of Trojans 1927-34, 1935-38
Captain of Hampshire 1935
Played for England 1935.
Barbarian
President of the Rugby Football Union 1969
Member of the International Board 1971-77
Hampshire representative on the RFU Committee 1955-69
President HRFU 1973-76
Secretary HRFU 1946-67
Assistant Secretary HRFU 1967-68
Team Secretary HRFU 1946-53
Match Secretary HRFU 1953-56
Dudley died at his home in Devon in January 2003 aged 93.
Doggy Spectators
During a match between Trojans and Portsmouth Victoria in 1886, the ball was kicked into the Trojans' in-goal area where it rebounded off a stray dog. One of the Portsmouth players gathered it and touched down to claim a try. The Trojans protested, and claimed "dead-ball" the ball having struck a "spectator". The objection was later referred to the RFU Committee who ruled that the try should stand, as dogs could not be classed as spectators!
The Barbarians
H A Haigh-Smith was elected Trojans Captain in 1912. He was instrumental in forming the Barbarians Club and was later made president of that Club. He was also assistant Manager of the Lions tour in 1935.
Trojans played the Barbarians on January 9th 1895 but the result does not appear to have been recorded for posterity!
The Wars!
Trojans Rugby had to be suspended three times because of wars - in 1897 because of the Boer War, 1914, the Great War and 1939 the World War.
Moving Home
Although always considered a Southampton Club, Trojans actually now play in the Test Valley District. Over the years there have been many homes -
1874 the first games were played at Porters Mead, which is now called Queens Park on Queens Terrace. (by the Dock Gates)
1884 the Club donated the sum of two guineas towards the purchase of the proposed Cricket Ground in Bannister Park, until recently, the County Cricket Ground, and commenced playing rugby there in the 1884/85 season.
1897 Freemantle Ground, Stafford Road
1905 County Cricket Ground, Northlands Road
1923 G H Brown's farm in Wide Lane, Swathling with Atlantic Park (now Southampton Airport) being used for the dressing accommodation.
1929 Southampton Stadium, Banister Road
1931 Bannister Court as well as G H Brown's farm
1933 11 acres of land purchased in Cemetery Road, Swaythling (sold in 1945)
1946 County Cricket Ground, Northlands Road
1947 Sports Centre, Southampton
1958 Stoneham Park (the present ground). The ground, 22.8 acres, was purchased in 1953 for £1,205 and was another example of the members' foresight, as the timber in the ground was sold for sums almost sufficient to cover the cost of purchase! In 1958, a temporary corrugated iron changing room was completed and the foundations of the pavilion commenced. The pavilion was officially opened by A.T. Voyce, President of the Rugby Football Union, on 27th December 1960.
The Prime Years
Throughout the early and mid 1900s, Trojans went from strength to strength and provided many County Players as well a number of Internationals.
The modern peak was probably reached in the early 1960s when the Club could justifiably consider itself to be the premier civilian rugby club in the South of England (outside London). In 1961, seven rugby sides were fielded with over 200 players available for selection.
Before league tables were introduced in 1987/88, local newspapers ran Merit Tables, the Wessex Merit Table and the Hampshire Merit Table both being won in the 1978/79 and the 1980/81 seasons.
The Lean Years
There were many reasons for the decline from that peak which started in the early 80s. More local clubs, easier transport and a change of working patterns (Trojans being very much a "transit camp" in those days) were some of them. The introduction of leagues in 1987 hit the Club at the worst possible time. In the first year, the Club was put into London Division 3 but could not cope at that level and dropped straight into Hampshire Division One. Luck was also in short supply when the Club, having finished fifth, seventh from bottom (!), the team was still relegated to Hampshire Division Two (a quirk of the league structure). There the Club stayed, battling for promotion with the other strong clubs to be relegated in the mass drop, until the 1992/93 season when the league was won with a record of played 10, won 10, for 353, against 37 which included a league record win of 91-0 against Waterlooville.
Three seasons were spent in Hampshire One but the 1995/96 season saw what was probably
the strongest ever Hampshire Division 1 and relegation again befell the team. 1996/97 season saw us just lose out on promotion but success was achieved in 1997/98.
The Revival Years
Success was achieved in the 2000/2001 season when promotion was achieved to London Division 4SW (The old Division 3SW having been broken into two divisions). The first season at that level was quite successful, ending mid-table, but the next was not when Hampshire 1 again beckoned. Promotion and relegation followed over a number of seasons until London Division 1 was achieved in the 2011/12 season.
Competition is maintained throughout the Senior Club with the 2nd XV being in the Hampshire Senior merit table and the 3rd XV being in the Hampshire Division 1 merit table.
One significant advance was the introduction of Women's rugby which has developed into the strongest team in Southern England. The end of the 2006/07 season saw them promoted to the Championship 1 South (National level 2) and in 2009/10 a second team was entered into the leagues.
The Strength of Youth
One thing that has remained a strength since it's formation in the mid 70s is the Youth Section. Being one of the first clubs to introduce Mini Rugby in England (imported from Wales) the Mini and Junior Sections have encouraged many thousands of youngsters into the game and the Youth section now runs teams in every year group from under 8s to under 17s, holds annual tournaments and is generally held up to be a model of organization.
Amidst existence lies another
So close to reach
So familiar
as the fingers join
A new union evolves
merge
become one
We sit in silence
swimming inwardly among the waves of contemplation
It is here with a hush and muteness that I understand
It is here that I find peace.
Model: Laurel Daugherty
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
"Let the mind beware, that though the flesh be bugged, the circumstances of existence are pretty glorious" — Kerouac, The Dharma Bums
I believe in the compelling power of love. I do not understand it. I believe it to be the most fragrant blossom of all this thorny existence.
~Theodore Dreiser~
© All rights reserved
Images may not be copied or used in any way without my written permission.
GP500 motorcycle windshields
The History of Bimota motorcycle company
The Beginning
In September 1972, Massimo Tamburini crashed his Honda 750 Four at the Misano racetrack. The accident left him with three broken ribs. If the accident hadn't occurred, Bimota may never have come into existence. While Massimo was recuperating, he constructed a tubular steel frame that could withstand the horsepower being produced by the big Japanese manufacturer's engines. The frame Massimo constructed lowered the center of gravity and reduced the weight of the original Honda. With the creation of the HB1, the Bimota was born. Only ten of these bikes were ever produced.
The Bimota Name
The Bimota name was derived from its founder's initials; Bianchi, Morri and Tamburini. However, it was the enthusiasm and engineering excellence of Massimo Tamburini that carried the Company to success. In the 1970s, Bimota produced racing frames that caught the attention of serious bike racers. Frames such as the YB1, YB2, YB3 and HDB1, HDB2 and SB1, were of superior quality and the perception of what a racing bike should be was changed forever.
New Market
Bimota discovered a new market niche in 1977. The Company began to produce exclusive high performance bikes. Some of these bikes were sold in the form of kits. However, the development of the KB1, that is legendary today, marked the point where Bimota began the journey to commercial success.
Success
The small Bimota factory located in Rimini was very successful during the 1980s, as was the Company's record at the track. Bimota also began to produce dream machines for the open road and streets during this time.
Tamburini Leaves Bimota
In 1983, Massimo Tamburini left Bimota. A talented young engineer by the name of Frederico Martini filled his position. Martini had worked with Ducati and brought with him a wealth of experience that allowed him to take Bimota to new heights. He led the Company to develop, produce and use basic concepts that he had developed at Ducati. These were used at Bimota during the 1990s.
Models Produced in the 1980s
Bimota produced several models during the 1980s, including the HB2, HB3, SB3, SB4, SB5, YB4ie, YB6, YB6 Tuatara, YB6 Exup, DB1se, DB1rs, KB2 and KB3.
Bimota at the Track
Martini took Bimota to new heights at the racetrack. In 1980, Jon Ekerold rode to victory in the 350cc championship. In 1987, Virginio Ferrari rode a YB4R to victory at the TT F1 World Championship.Martini Leaves Bimota
When the new decade of the 1990s arrived, Frederico Martini left Bimota. Pierluigi Marconi took his place as Technical Director. Marconi had collaborated with Martini as a student and he had great technical insight. He directed Bimota to produce bikes with aircraft alloy frames.
Models by Marconi
Under Marconi's supervision, Bimota produced the YB8, YB8e, YB8 Furano, DB2, DB2sv, DB2ef, DB3 Mantra, YB9 Bellaria, YB9sri, YB10, YB10 biposto, SB6, SB6R, SB7, SB8R, Supermono and others. The model that showed Marconi's genius and innovation, as well as the superior quality of Bimota was the hub steered TESI 1D. It was created in a wide range of forms that included the 1D, 1DSR, 1DES and 1DEF.
Giuseppe Morri Leaves Bimota
In 1993, the remaining founder of Bimota, Giuseppe Morri left the Company. Walter Martini filled his position of General Manager. Bimota doubled its production under Martini's leadership. 1,250 bikes were produced in 1995.
Bimota's 25th Anniversary
Bimota celebrated its 25th Anniversary in 1996 at the Santamonica track in Misano. Fans from all over the world flocked to the track for the celebrations. As the 90s decade drew to a close, the first all-Bimota bike went from development to the production line. It was the 500 Vdue, designed by Robbiano. The bike, engineered by Marconi, was created for the road as a Moto G.P.
Customer's demands for the 500 Vdue that was powered by the 500cc twin-cylinder Bimota engine were high. This lead the Company to deliver bikes before the model had been fully developed. All of the bikes had to be recalled, which left Bimota in a financial crisis.
The New Millennium
By 2000, Bimota was under new management and the future of the Company looked promising. New models were popular at the most prestigious bike shows around the world.
Top Model
During this time, the top model at Bimota was the SB8R. It was produced in both carbon fiber and fiberglass versions. Bimota had returned to its roots with an innovative frame that carried a powerful Suzuki engine. After being absent from the racetrack for eleven years, Bimota returned. It took part in the Super-bike World Championship. Virginio Ferrari managed the racing team. Technical Director was Franco Farne. Anthony Gobert rode the Bimota bike and was classified 12th in both the first and second race in Kyalami, South Africa. Anthony Gobert rode to victory again, two weeks later at the Australian GP on Philip Island - two great victories for Bimota.
Financial Crisis
Even though the results of these two races were amazing, Bimota found itself in dire financial straits once again. The Vdue engine project that had been started in the 1990s went terribly wrong. The Bimota factory went into bankruptcy. The factory closed. The first phase of Bimota ended abruptly at this time.
Revival
Fortunately, Bimota was able to regain its footing and get back into production in 2003, after many attempts to do so. Under new management, both the Bimota name and the Company traditions were revived. Today, Bimota is once again producing legendary bikes that have innovative design.
Awards
Bimota won the Motorcycle Design Award in the Supersport category at the Intermot Show. It was won by the Company's DB5 model. This is the latest addition to the trophy wall at the Remini factory.
FBI Stolen motorcycles
gp500.org/FBI_stolen_motorcycles.html
Motorcycles VIN Decoder
"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
****
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=...
****
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
****
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
****
REVIEW---Boxoffice Magazine - February 17, 1958
www.boxofficemagazine.com/the_vault/issue_page?issue_id=1...
****
NEWSPAPER AD - Bride and the Beast , The
February 1958, Los Angeles ( RKO Hill Street )
www.flickr.com/photos/gorillamen/4471892311/
****
POSTER, theatrical ( original ) - Bride and the Beast , The
www.wrongsideoftheart.com/2009/08/the-bride-and-the-beast...
AND
movielove.tumblr.com/post/175006220/theniftyfifties-the-b...
************************************************************************************************
Edward D. Wood Jr.
Ed Wood
Edward Davis Wood, Jr. (October 10, 1924 – December 10, 1978)
AND
AND
www.imdb.com/name/nm0000248/miscsites
****
WATCH ONLINE >>
The Haunted World of Edward D. Wood Jr. (1995)
89 min - Documentary
>> Watch now >>
www.youtube.com/watch?v=tIBNWqfQV_k
AND
****
Ed Wood: Look Back in Angora (Video 1994)
51 min - Documentary
*****************************************
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
****
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
AND
in
The Astounding B Monster Book [Paperback]
Marty Baumann
www.amazon.com/exec/obidos/tg/detail/-/0972858547/qid=111...
****
CHARLOTTE AUSTIN @ Glamour Girls of the Silver Screen - Biography and Photos
www.glamourgirlsofthesilverscreen.com/show.php?id=16
****
CHARLOTTE AUSTIN @ Spooky Tom's Nightmare Mansion
www.spookytoms.com/Charlotte_Austin_Tribute.html
****
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
****
"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
****
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=...
****
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
****
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
****
REVIEW---Boxoffice Magazine - February 17, 1958
www.boxofficemagazine.com/the_vault/issue_page?issue_id=1...
****
NEWSPAPER AD - Bride and the Beast , The
February 1958, Los Angeles ( RKO Hill Street )
www.flickr.com/photos/gorillamen/4471892311/
****
POSTER, theatrical ( original ) - Bride and the Beast , The
www.wrongsideoftheart.com/2009/08/the-bride-and-the-beast...
AND
movielove.tumblr.com/post/175006220/theniftyfifties-the-b...
************************************************************************************************
Edward D. Wood Jr.
Ed Wood
Edward Davis Wood, Jr. (October 10, 1924 – December 10, 1978)
AND
AND
www.imdb.com/name/nm0000248/miscsites
****
WATCH ONLINE >>
The Haunted World of Edward D. Wood Jr. (1995)
89 min - Documentary
>> Watch now >>
www.youtube.com/watch?v=tIBNWqfQV_k
AND
****
Ed Wood: Look Back in Angora (Video 1994)
51 min - Documentary
*****************************************
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
****
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
AND
in
The Astounding B Monster Book [Paperback]
Marty Baumann
www.amazon.com/exec/obidos/tg/detail/-/0972858547/qid=111...
****
CHARLOTTE AUSTIN @ Glamour Girls of the Silver Screen - Biography and Photos
www.glamourgirlsofthesilverscreen.com/show.php?id=16
****
CHARLOTTE AUSTIN @ Spooky Tom's Nightmare Mansion
www.spookytoms.com/Charlotte_Austin_Tribute.html
****
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
****
In memoriam Kaiser Franz Josef
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
Some guys have all the luck!!! Co-Existence's Michel, is set to catch partner Zora in a show they thrilled shoppers with on Ouellette Avenue in Windsor, Ontario.
If you like this shot, you should check out what my friends post in MiRea's Realm
And if you have time, check out our website!!!
Halifax Transit 2014 New Flyer Xcelsior XD40 #1195 is seen during the day on route 55. Notice the block number is 4. This block did our dead 402 in the morning and afternoon and deadheaded to Sambro to do the 402s after that.
This bus 1195 was stuck in traffic during its Dilivery and was a late arrival.
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.
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