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Surf's up! Nikon D810 Photos Pro Women Surfers Surfing! Surf Girl Goddesses! Sports Photography With New Tamron SP 150-600mm F/5-6.3 Di VC USD Lens for Nikon!
Nikon D810 Photos Pro Women's Surfing Trestles Sports Photography With New Tamron SP 150-600mm F/5-6.3 Di VC USD Lens for Nikon D810!
Join my new instagram! instagram.com/45surf
The new Nikon D810 rocks for sports photography! New Instagram!
Nikon D810 Photos Pro Women's Surfing Sports Photography Tamron SP 150-600mm F/5-6.3 Di VC USD !
I shot in DX mode which crops away the extra pixels and takes me 1.5X closer while allowing for up to 7 FPS with the Nikon D810's Nikon MB-D12 Battery Grip using the 8 AA battery option! 8 Duracells took me through around 3,000 shots no problem--maybe more! I was shooting at the equivalent of 900mm with the 1.5x crop factor! Pretty close! Had I gone with the Nikon D4s, I would have gotten 12 fps, but no DX crop factor, as the sensor has only around 24mp, compared to the d810's 36 megapixels! Sure the larger pixel size on the Nikon D4s full frame sensor comes in handy indoors or at night, but in the bright sun, there's more than enough light for the smaller pixels in crop mode! Sure we lose some pixels from the outer edges when shooting in DX crop mode, but most of those pixels would be cropped away in Lightroom anyway. And the smaller files make the memory cards last longer, while also upping the FPS to 7 shots per second! Not quite 12 FPS, but still awesome and enough I felt!
What a beautiful way to test the Nikon D810 and Tamron 150-600mm zoom lens for sports photography!
Athletic graceful girl goddesses! Tall, thin, fit and in shape! Pro women's surfers form the van's us open wearing both long wetsuits and bikini bottoms with shorty wetsuit tops/summer wetsuits. Sexy, beautiful beach babes and water goddesses all! Many are professional swimsuit bikini / surf lifestyle models too!
45surf photography! :)
View your artistic mission into photography as an epic odyssey of heroic poetry! Take it from Homer in Homer's Odyssey: "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them. " --Samuel Butler Translation of Homer's Odyssey
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
For more information about the camera and/or lens used, or the full resolution of this image, please contact me. Please do not use this image without my written permission.
Copyright © 2014 Sven Kester. All rights reserved.
For my class had to do a window light assignment, but no one said you couldn't do it with "night light"! One of my favorite portraits taken up to date of my dear friend Emma!
Excited to do more "Night Window Light" portraits! :)
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
For a LUSITANIS chalenge from my LUG Comunidade 0937.
Also the monthly challenge for the 10th Great game.
Somewhere in the south there were these strange people. Some said they where from another world... fact is that they had superior inteligente and superior technology...
So where did they came from?
Apollo arriving at Rosyth for Navy Days - 1984.
HMS Apollo (F70) was a Batch 3B Broadbeam Leander-class frigate of the Royal Navy (RN). She was, like the rest of the class, named after a figure of mythology. Apollo was built by Yarrow Shipbuilders of Scotstoun. She was launched on the 15th October 1970 and commissioned on the 28th May 1972 (the penultimate Leander).
Propulsion: 2 x steam turbines developing 30,000 HP providing a top speed of 28 Knots and a range of 4,000 miles at 15 Knots.
Dimensions: 2,500 tonnes (standard load)/2962 tonnes (full load) displacement; 372 ft length; 43 ft beam and 18 ft draught.
Both the Apollo and the Ariadne are easily distinguished from the other Leanders' by their 'witches hat' - fitted to the top of the foremast as a part of the electronic warfare array.
Apollo was fitted out as a general purpose frigate. Her armaments were: 2 x 4.5 inch (114mm) Vickers 45 Mk6 naval guns mounted in a single twin turret with MRS3/Plessey Type 904 gunnery control system; quadruple Seacat missile launcher platform with GWS22 guidance system; Mk10 anti-submarine triple barrel mortar tubes (auto-load, 92kg warhead); Westland Wasp helicopter and two 20mm Oerlikon heavy machine guns.
She saw her first 'action' during the Second Cod War in 1973, during the fishing disputes with Iceland, when Apollo, while on a Fishery Protection Patrol, was rammed by the Icelandic gunboat V/s Ægiron 29/8/73.
In January 1977 the UK extended its territorial waters from 12 miles to 200 miles to create an Exclusive Economic Zone for fishery rights. Apollo took turns with other frigates to police the North Sea pending the introduction into service of the Island Class fishery protection vessels. This short action was termed 'The Herring War'.
In 1977, Apollo took part in the last Fleet Review of the Royal Navy so far, in celebration of HM the Queen's Silver Jubilee. As Captain of the Second Frigate Squadron, Apollo was responsible for anchorages of all warships at the Royal Fleet Review. In recognition of this work, the admiralty awarded the ship four rather than two 1977 QEII Silver Jubilee Medals. Apollo was positioned in the middle of HM ships Hardy and Salisbury.
Apollo was intended to be modernised, which would have included the removal of her one 4.5-in twin gun, which would have been replaced by the Exocet anti-ship missile, but the modernisation was cancelled due to the 1981 Defence Review by the minister John Nott. In July 1982, Apollo was sent to patrol the South Atlantic in the aftermath of the Falklands War and returned home in September. In late 1983, Apollo once again returned to the South Atlantic. On this occasion Apollo encountered heavy seas in the South Atlantic that damaged her hull.
In 1988, Apollo's Royal Navy career came to an end when she was decommissioned and subsequently sold to Pakistan, being renamed PNS Zulfiqar. From 1991-93 she underwent a major refit - 20mm and seacat system replaced by twin 25mm mounts, Westland Wasp replaced by SA 319B Alouette III helicopter (standard PN helo). Zulfiqar continued in service for 18 years with the Pakistan Navy until 29 October 2006 when she was decommissioned into training
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The ES-E28 Slide Copying Adapter is an accessory attachment used to allow select Nikon Coolpix cameras to perform basic digital copies of processed 35mm (135) format positive or negative film that is either in a slide mount or film strip. While not designed to replace a high-quality film scanner, copied images using this system can be used for many purposes.
This adapter may be used with these Nikon Coolpix cameras: 880, 950, 990, 995, 885, 4300, 5000, 5400. Some notes regarding usage with particular cameras:
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Please mark your calendars for our Spring Bread and Cheese Creek which will be are largest cleanup to date! These photos show the current sad condition of this historic stream. We plan to clean up Bread and Cheese Creek form the Berkshire section to North Point Road on Saturday, April 5, 2014 at 8:00 AM - 2:00 PM, All the assistance from volunteers and sponsor is greatly appreciated! We know this is a huge section of stream to tackle but I know we can do it!
This cleanup will be in conjunction with the Alliance for the Chesapeake Bay’s Project Clean Stream and it will be our fifth year working with them! This cleanup will also be in conjunction with American Rivers. We will supply trash bags, gloves, water, snacks and lunch. A limited supply of waders and tools will also be available for sign out during the cleanup.
Remember, there plenty of ways for volunteers to participate. We will need every type of person of every ability level to contribute and assist with the Clean Up. Though it is true we will need people to dig out shopping carts and haul trash to the dumpsters, we can use people to run water, food, tools, and trash bags (both empty and full) to individuals in the creek. People to sort recyclables from the debris removed. People will be needed to work the grills as well as many other less strenuous activities. We are also authorized to sign-off on Community Service and Service Learning Hours for students. The more people we have, the easier the work will be for everyone. Please feel free to pass this information on to other who might be interesting in helping as well. As my grandfather always said, "Many hands makes the work light". We run our cleanups as a family event with all age groups welcome by developing plenty of ways for volunteers to participate.
Our cleanups are part of an ongoing effort clean the entire stream by the 2014 bicentennial celebration of War of 1812 Bicentennial Celebration. (Bread and Cheese Creek has been noted as one of the highlighted location on the Star-Spangled Banner National Historic Trail) The creek played a rather significant part in the Battle of North Point which took place on September 12, 1814. Both the American and British Troops camped along its banks. It is rumored that the young heroes Daniel Wells (19) and Henry McComas (18) used the stream channel to sneak up on British General Robert Ross killing him with their muskets before being killed in return fire. This important part of our history should not be left the eyesore it currently is and those who died defending our country honored in this way.
You can learn more about us through our website at www.BreadandCheeseCreek.org, become our friend on FaceBook, Google+, Instagram, Pinterest or follow us on Twitter and/or join the Clean Break and Cheese Creek Group. You can also see photos of our past cleanups on Flickr and our videos on YouTube. You can also subscribe to out Electronic Newsletter.
If you have any comments or questions please contact us. Thank you again for your interest!
My entry for the CCCX Trade and Toll category
Also entry for LCC Loreos LC 8, "Tax and tolls"
After getting through the zombie infested dark forest, and meeting up with Nicohloas Mactagen in Dragonsmouth town. Mencot and Hannah, now joined by Nicohloas continued their journey northeast towards Garheim. Taking a small vessel from Dragonsmouth, travling up the river Fyrla they soon approached the Garheim boarder. The forests changed into harsher terrains,
high mountains and low valleys. The weather change quickly also, temperatur dropped and snow started to fall. The journey on the river was about to get really dangerous, nearly going under. But that´s an diffrent story.
Finally crossing the Garheim boarder the first stop was, as for all travlers by river the toll tower at Flussquelle village. The toll master there Johann Löwenkopf, was one of the official toll masters appointed by Jhirian Eindrik ruler of Garheim. But to some people these toll masters where "Robber Barons", because they thought that the toll masters charged an unjust and higher toll then needed.
But Mencot and his company stopped here with delight because the toll master was Mencots cousin. Altough half of the cargo was lost in the danger of the river, the most important was saved and delivered here.
_______________________________________________________________________
Credits for "Growling Lion" shield sticker goes to A.Sava (found here: www.classic-castle.com/howto/articles/TriangularShields.html)
The solider torsos is made by me using the "Growling Lion" from the shielddesign.
The Real Hong Kong Car Culture
Hong Kong Car | Automotive Photography since 2011
For a detailed introduction | guide on Hong Kong Car Licence Plates | Car Vanity Plates click on the link below to learn more :
✚ www.j3consultantshongkong.com/hk-car-vanity-plates
One of the largest collections of quality Hong Kong Car Images and specialising in Car Licence Plates | Car Vanity Plates or as the Hong Kong Government likes to call them - Vehicle Registration Marks
I photograph all car brands and please do bear in mind I am an enthusiastic amateur and NOT a professional photographer but I do have a fairly distinctive style and it has got better over the years.
☛.... and if you want to read about my views on Hong Kong, then go to my blog, link is shown below, I have lived in Hong Kong for over 50 years!
✚ www.j3consultantshongkong.com/j3c-blog
☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!
Instagram: instagram.com/45surf
Nikon D800E Photos Pretty 45surf Swimsuit Bikini Model Goddess with Super Sharp Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens For Nikon!
Pretty Swimsuit Bikini Model Goddess!
She was tall, thin, fit, and most beautiful!
All the best on your epic hero's odyssey from Johnny Ranger McCoy!
Facebook:
www.facebook.com/45surfAchillesOdysseyMythology
Instagram: instagram.com/45surf
blog: 45surf.wordpress.com
Modeling the new black & gold & "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Odyssey Physics here:
herosodysseyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
For the first time in more than a quarter-century, a new space vehicle stands ready in NASA Kennedy Space Center's Vehicle Assembly Building in Florida. The final segments of the Ares I-X rocket, including the simulated crew module and launch abort system, were stacked on Aug. 13 on a mobile launcher platform, completing the 327-foot launch vehicle and providing the first entire look of Ares I-X’s distinctive shape. The Ares I-X flight test is targeted for Oct. 31.
Image credit: NASA
More about Ares I-X: www.nasa.gov/aresIX
p.s. You can see all of the Ares photos in the Ares Group in Flickr at: www.flickr.com/groups/ares/ We'd love to have you as a member!
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in the Sicilian city of Randazzo, is Celebrated in mid-August day, hits principal feast of the "living vara" that evokes the mystery of the faith of the Assumption of Mary into Heaven with soul and body, for this reference She is call Mary Assumption; the feast may be originated around the sixteenth century; the "vara" (Sicilian name Refers to "float"), it's a "votive machine" about 20 meters high, made of a structure in iron and wood, decorated with gilding, mirrors, colored coatings, Whose allegorical meaning Seems To have inspirations from the figures reproduced in a painting by John Caniglia of 1548 (you can admire it inside the Crucifix chapel of the Basilica of St. Mary in Randazzo), machine consisting about several plans and rotating, with hand-operated mechanisms, and making reference to the rotation of the heavens of the medieval conception. The first low part of the "machine-float" is the Tomb of Mary, full of flowers, but as She got to the Sky also with Her Body, it's an empty tomb, a bit higher up we find St. Thomas in prayer, still more on we find St. Michael the Archangel with a sword, surrounded by singing Angels; on the highest level it finally takes place the Virgin Mary. Various "young actors", present on float are children of various age, which intone chants turned to Virgin Mary, each with its own role, each surrounded by a iron structures for own security. Up to 1960 different "human figures" were all male, included Maria Assunta; in ancient times the fast of the children was strictly Observed (even now, more for practical reasons to stay on the float, Which for devotional Reasons); in ancient times the float at the end of the procession was always assaulted from the faithful, taking with them the precious souvenirs of the event, considering That like relics; to the end of the 18th century the traditional feast He had a decline, abolished in 1795, then restored in the Second Half of 1800, again suppressed the first in 1911 for the raging cholera, then to the events linked to the First and Second World War, than the feast started again in 1952, at first once every 5 years, then every three years finally annually since 1973. During the trip the children receive from Inhabitants leaning out of windows and balconies, candies, biscuits, sweets of various genre, so this "rain of sweets" shows a more happy and picturesque manifestation, but so the children "are distracted" being from "hanging" in several meters from the soil (likeably who is finding down, he may be "bombarded" by a shower of candies and chocolates).
PS: This report, which I have Made 15 August 2016 in the town of Randazzo, to whom I gave the name of the movie "for love, only for love", I dedicate it to my friend professional nurse Guido, whose its universal love for people and animals was opposed by those who are unable to understand his greatness, has meant that he decided yesterday to get out of life scenes.
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nella città siciliana di Randazzo, si celebra nel giorno di Ferragosto 15 agosto, la sua principale festa della "vara vivente" che rievoca il mistero di fede dell'Assunzione di Maria in Cielo sia in anima che in corpo, per questo riferimento viene chiamata Maria Assunta, festa che sembra abbia avuto origine attorno al XVI secolo; la "vara" (nome siciliano riferito al fercolo), è una “macchina votiva” alta circa 20 metri, composta da una struttura in ferro e legno, abbellita da dorature, specchi, rivestimenti colorati, il cui significato allegorico sembra ricalcare i motivi ascensionali riprodotti in un quadro di Giovanni Caniglia del 1548 (dipinto che si può ammirare nella cappella del Crocifisso della basilica di Santa Maria, in Randazzo), macchina costituita da diversi piani sovrapposti ruotanti, con meccanismi azionati a mano, che fanno riferimento alla rotazione dei cieli di concezione medioevale. Alla base della “macchina-vara” c’è il sepolcro di Maria, pieno di fiori ma, poiché Ella è salita in cielo anche col suo corpo, tale sepolcro è vuoto, un po’ più in alto troviamo S.Tommaso in preghiera, ancora più su troviamo S.Michele Arcangelo con in pugno la sua spada, attorniato da Angeli, sul livello più alto infine prende posto la Vergine Maria. Le varie figure, presenti sulla vara sono bimbi di varie età, dai più piccoli ai più grandicelli, che intonano canti rivolti alla Madonna, ognuno col proprio ruolo di figurante, ognuno cinto da una struttura in ferro che lo assicura alla macchina votiva: fino agli anni ’60 i vari personaggi erano tutti di sesso maschile, inclusa Maria Assunta, il digiuno dei bimbi era rigorosamente osservato (anche adesso, più per motivi pratici di permanenza sulla vara, che per motivi devozionali); in passato la vara alla fine della processione veniva presa d’assalto dai fedeli, che letteralmente la spogliavano, portando con se un prezioso ricordo della manifestazione, considerandola al pari di una reliquia; alla fine del 18° secolo la tradizionale festa ebbe un declino, soppressa nel 1795, poi ripristinata nella seconda metà del 1800, nuovamente soppressa prima nel 1911 per l’imperversare del colera, successivamente per le vicende legate alla prima ed alla seconda Guerra Mondiale, la festa riprese vita solamente nel 1952, dapprima una volta ogni 5 anni, poi ogni tre anni, infine annualmente dal 1973. Durante il tragitto i bimbi ricevono dagli abitanti affacciati alle finestre ed ai balconi, caramelle, biscotti, dolciumi di vario genere, che ripongono a mò di bottino dentro delle sacche di tela, delle quali ognuno è fornito, questo da un lato rende ancora più gaia e pittoresca la manifestazione, dall’altro lato i bimbi “vengono distratti” dal trovarsi “appesi” a svariati metri dal suolo (simpaticamente chi si trova sotto, può venire “bombardato” da una pioggia di caramelle e cioccolatini).
P.S. questo report, che ho Realizzato il 15 Agosto 2016 nel paese di Randazzo, al quale ho dato il nome del film "per amore, solo per amore", io lo dedico all'infermiere professionale e mio amico Guido, il cui Amore Universale per le persone e per gli animali, osteggiato da chi è incapace di capirne la sua grandezza, ha fatto si che egli decidesse ieri di uscire dalle scene della vita.
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ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: I Fori Imperiali, oltre 15mila reperti archeologicI nascosti in un magazzino, LA REPUBBLICA (01|05|2015), & ROMA - I gioielli del Museo dei Fori diecimila reperti di Roma antica, CORRIERE DELLA SERA (21|09|2004)& LA REPUBBLICA (24|09|2001).
"Oltre 15mila reperti chiusi in un magazzino e invisibili al pubblico [1998-2015]. E' il tesoro ritrovato ai Fori Imperiali durante gli scavi giubilari e in quelli successivi. Studiati, schedati e riposti negli scaffali, nelle cantine cinquecentesche del quartiere Alessandrino sopravvissuto alla demolizione degli anni Trenta, quei reperti si trovano oggi "nascosti" nella galleria sotterranea che collega il Foro di Traiano a quello di Cesare." LA REP. (01|05|2015).
1). FORO DI TRAIANO - Capitelli, teste, trionfi. Il tesoro segreto dei Fori: "Portiamolo alla luce" - Alla scoperta dei depositi accanto alla colonna di Traiano, conservano 15mila reperti. "Vogliamo esporre questi marmi." LA REPUBBLICA (01|05|2015).
Un tesoro custodito nell'ombra. Oltre le grate e i cancelli che oggi il pubblico sfiora, percorrendo la galleria sotterranea che collega il Foro di Traiano a quello di Cesare, nel nuovo spettacolo itinerante ideato da Piero Angela. È quello conservato nei depositi dei Fori Imperiali: un nucleo di 10-15 mila reperti, per ora invisibili al pubblico, rinvenuti durante gli scavi giubilari e in quelli successivi. Studiati, schedati e riposti sugli scaffali, nelle cantine cinquecentesche del quartiere Alessandrino sopravvissute alla demolizione degli anni Trenta. Dove a ergersi, oggi, sono vere e proprie "colonne" di cassette, in cui si celano splendidi frammenti architettonici e decorativi, perlopiù del Foro di Traiano, ma anche di quelli di Augusto, di Cesare e della Pace.
Il rilievo di una manina, che pare aggrapparsi con le piccole dita sul bordo di un fregio, conquistando la superficie, si fa immagine e metafora del sogno degli archeologi: quello - come spiega Beatrice Pinna Caboni, funzionario dell'ufficio Fori Imperiali della Sovrintendenza capitolina - "di poter arrivare un giorno alla pubblica fruizione, almeno dei reperti più eclatanti, leggibili e meglio conservati". Qualche passo è già stato fatto, proprio in occasione delle passeggiate notturne al Foro di Cesare firmate da Piero Angela e Paco Lanciano.
All'inizio della galleria sotterranea dei Fori Imperiali, ad esempio, sono stati riproposti nel loro contesto originario alcuni frammenti di colonne e lesene del colonnato che chiudeva il Foro di Traiano sul lato meridionale. Mentre più avanti, lungo il percorso ipogeo, viene illuminato un lacerto dello splendido pavimento in marmo del portico occidentale, restaurato con una parte degli incassi della prima edizione dello spettacolo sul "Foro di Augusto". Fondi serviti anche per il restauro dei quattro maestosi "blocchi" poggiati sull'erba all'uscita della galleria, coronamento delle trabeazioni del Tempio di Venere Genitrice, nel Foro di Cesare. E per i pavimenti in opus sectile e opus spicatum della vicina Basilica Argentaria, con gli intonaci scalfiti dagli antichi graffiti con versi dell'Eneide.
Ma per riportare alla luce le meraviglie nascoste del Foro di Traiano e svelarle finalmente al pubblico servirebbe uno spazio ad hoc. E a mostrarlo è Marina Milella del Museo dei Fori Imperiali: siamo a pochi passi dalla Colonna Traiana, nei depositi della Basilica Ulpia e della Biblioteca occidentale. Dove "già negli anni Trenta - racconta Milella - si progettò e si cominciò ad allestire un museo sotterraneo".
Sotto la soletta in cemento - da poco risanata per prevenire le infiltrazioni, con la risistemazione anche dell'aiuola in superficie - il tempo pare essersi fermato. Con gli spezzoni di colonne in marmo grigio egiziano della Basilica Ulpia e quelle bianche della Biblioteca lasciate in posizione di caduta, gli scorci della pavimentazione originaria e i capolavori architettonici e decorativi oggi coperti dalla polvere. A cominciare dall'enorme e maestoso frammento, protetto da un velo di cellophane, con la Vittoria Tauroctona del fregioarchitrave della Basilica Ulpia. Il più grande oggi conservato, che sarà riprodotto in materiale simile all'originario e usato per l'anastilosi delle colonne della Basilica finanziata dal magnate uzbeco Alisher Usmanov. "L'idea - spiega Milella - è di fare di questi depositi uno spazio visitabile che completi il Museo dei Fori, dove manca una sezione dedicata a quello di Traiano".
FONTE | SOURCE:
-- LA REPUBBLICA (01|05|2015).
roma.repubblica.it/cronaca/2015/05/01/news/fori-113265302/
2). ROMA - FORI IMPERIALI - I tesori della Basilica Ulpia nascosti nel ventre della città, CORRIERE DELLA SERA (21|09|2004).
Allo stupito Montaigne, che parlava correntemente il latino come fosse una lingua viva, Roma doveva apparire la traduzione architettonica della vitalità dell' antico: una città, scriveva ammirato, dove si ha la sensazione di camminare «sul culmine di case intere», dove lo strato archeologico sembrava una seconda natura sulla quale s' innalzavano, come escrescenze della passata grandezza, gli edifici del Rinascimento. Perfino le costruzioni moderne, aggiungerà tre secoli dopo Henry James, sembrano quasi ritornare, attraverso un' impenetrabile stratigrafia naturale-artificiale «alla primitiva, tirannica coesione con la roccia vergine». Se si volesse comunicare il fascino di una Roma interpretata come costruzione geologica che si rigenera sulle proprie rovine, bisognerebbe costruire un grande museo nel ventre della città, ricomponendo la continuità tra architetture sepolte dove i ruderi, come quelli della Basilica Ulpia, non vengano riportati alla luce, ma custoditi nelle ramificazioni del sottosuolo.
Quattromila metri quadrati inaccessibili al pubblico Basilica Ulpia il tesoro segreto sotto via dei Fori Ventimila reperti «sepolti» dalla strada Nel cuore sotterraneo della Roma antica, almeno quattromila metri quadrati inaccessibili, segreti. Che il grande pubblico non conosce e non ha mai conosciuto. Un magazzino, oggi. Una specie di maxi deposito per più di ventimila reperti (alcuni di straordinario livello) che potrebbero - anzi, dovrebbero - essere esposti e musealizzati almeno in parte. E che invece se ne stanno lì, ammonticchiati su vecchi scaffali fin dagli anni Trenta, data in cui vennero disseppelliti. Alcuni, i più importanti, sono stati studiati, puliti e restaurati. Ma a tutt' oggi giacciono impacchettati in grandi fogli di plastica trasparente: altorilievi con raffigurazioni di prigionieri Daci, antiche trabeazioni e altri fregi con decorazioni su temi bellici e sacrali, tutti elementi compositivi della decorazione architettonica e scultorea che fu. Questo pezzo sconosciuto e affascinante della Roma antica - scoperto e scavato settant' anni fa da Corrado Ricci - è una parte integrante della Basilica Ulpia: quel maestoso complesso di cui molto si sa (e altrettanto ancora si ignora) e che è uno degli esempi più evidenti, a Roma, di «archeologia interrotta». Questa parte della basilica - la più importante dell' antichità - è infatti sotterranea e invisibile da sempre. Salvo che agli studiosi, l' unica zona del monumento che si può ammirare è quella esterna, compresa tra il cortile della Colonna Traiana e la grande piazza forense. Il resto, appunto, esiste. Ma non si vede. A meno di non penetrare nel grande sotterraneo che giunge fin sotto la via dei Fori Imperiali, ben oltre l' area sottostante alla grande esedra arborea che si apre subito sulla sinistra imboccando la via da piazza Venezia. «Di un progetto di riuso dell' intera zona sotterranea si è spesso parlato» dice Lucrezia Ungaro, archeologa responsabile del complesso archeologico dei Fori Traiani: «Il recupero dell' area consentirebbe infatti di riconnettere esterno ed interno, di ridare unità, con un asse museale unico, a ciò che oggi appare interrotto». Progetto caro agli archeologi, a cui osta l' annosa questione dei finanziamenti. Recuperare l' area costerebbe infatti, a occhio, non meno di dieci milioni di euro: necessari intanto per affrontare una prima serie di problemi oggettivi, dalle numerose perdite d' acqua alla soletta di cemento armato degli anni Trenta che comincia a mostrare i segni del tempo. Una spesa che, se affrontata, potrebbe però restituire ai romani una zona ipogea ad alta densità di interesse archeologico, con indubbi elementi anche di spettacolarità visiva. Già oggi infatti, nonostante il vecchio sistema di illuminazione (presente solo in una zona ristretta) e nonostante i cumuli di polvere sedimentata nel tempo, non è impossibile immaginare come questo enorme «magazzino» potrebbe essere trasformato in area espositiva e interamente percorribile. Un' operazione da cui qualsiasi discorso sul futuro della via dei Fori Imperiali - questione di stretta attualità - non potrebbe evidentemente prescindere.
Lì sotto, ad esempio, si trova ancora l' unico tratto degli scalini originali con cui si ascendeva alla maestosità della grande Basilica. Sempre lì c' è la prosecuzione delle navate centrali e laterali del complesso. E, pur sotto le spesse incrostazioni, ben si vede come il calpestio insista su parti eccezionalmente conservate degli antichi marmi pavimentali: lastre di raro e pregiato «africano», ad esempio, di cui all' esterno si conservano solo minimi frammenti.
La Proposta - C' è un grande museo nelle viscere della città. Si potrebbero collegare i resti sotto Palazzo Valentini con l' area a ridosso della Colonna Traiana È possibile realizzare un poderoso sistema integrato nel cuore della Capitale Il visitatore vi scoprirebbe l' ordine della storia che si frammenta e si ricompone nella metropoli contemporanea, l' enigma delle sue complesse sezioni, l' energia inesauribile delle permanenze antiche capaci di trasmettere la propria forma nascosta alla città moderna. Credo che questo straordinario museo dovrebbe riutilizzare i vasti spazi ipogei sotto via dei Fori Imperiali e sotto piazza Madonna di Loreto, dove Corrado Ricci fece disporre i frammenti venuti alla luce nel corso della campagna di scavo condotta tra il 1926 ed il 1933: una vasta, dimenticata costruzione, mai aperta al pubblico, sospesa tra i giardini moderni sulla copertura e i resti di mura rovinate al suolo, di magnifiche trabeazioni semisepolte che affiorano dal pavimento. La parte più vasta di questa costruzione, che occupa l' intera ala occidentale della basilica innalzata da Apollodoro di Damasco, potrebbe costituire l' embrione di un sorprendente sistema museale composto da spazi sotterranei. A cominciare dalla sistemazione della galleria, peraltro già prevista nei piani della Soprintendenza archeologica, che collega i resti romani sotto Palazzo Valentini (utilizzando anche il rifugio antiaereo costruito sotto il cortile) all' area degli horrea ancora sommersi a ridosso della Colonna Traiana, per continuare con gli scavi da eseguire di sotto via dei Fori Imperiali allo scopo di connettere tra loro parti del complesso archeologico oggi separate. Sull' altro lato di via dei Fori, continuando le gallerie abbandonate che si dirigono verso il Monumento a Vittorio Emanuele II (vecchi sondaggi che raggiungono il limite del Foro di Traiano) ritengo che si potrebbe arrivare ai grandi spazi sotto le volte, poco distanti, che sostengono la scalinata del Vittoriano. Continuando, potrebbero essere raggiunti i vuoti sotto la scalinata dell' Aracoeli, oggi ridotti a deposito, valutando poi non solo l' ipotesi di spingersi ad utilizzare le estese cavità prodotte dalla secolare estrazione del tufo sotto il Campidoglio (le quali, ora convertite a magazzini, dovranno in ogni modo essere consolidate), ma perfino la possibilità di percorsi che potrebbero congiungere e rendere visitabile il sistema di passaggi, gallerie, cunicoli, che conduce al teatro di Marcello. Ne risulterebbe, in alternativa all' idea di parco archeologico segregato, un poderoso sistema dimostrativo integrato nel cuore stesso di Roma, ricavato ristrutturando e collegando tra loro spazi esistenti oggi in abbandono. Un complesso degno di una grande capitale, che ripagherebbe i grandi sforzi necessari alla sua realizzazione raccogliendo la vocazione ipogea comune a molti spazi archeologici romani: mitrei, ninfei interrati, cripte, carceri, cimiteri. Una vocazione consolidata dalla memoria della Roma sotterranea, misteriosa, magica, iniziatica, indagata nel passato con solitaria passione da scrittori e artisti, verrebbe così raccolta e riproposta come potente narrazione, corale e continua, sepolta nelle vive viscere della città.
FONTE | SOURCE:
-- CORRIERE DELLA SERA (21|09|2004).
archiviostorico.corriere.it/2004/settembre/21/tesori_dell...
3). ROMA - I gioielli del Museo dei Fori diecimila reperti di Roma antica - E per Palazzo Rivaldi pronti 14 miliardi - Visita nei depositi sotto la Basilica Ulpia tra fregi architettonici e statue in attesa di esposizione. Apertura a metà 2003, LA REPUBBLICA (24|09|2001), p. 3.
In attesa. Diecimila reperti architettonici, statue, capitelli, colonne. Chiusi nei depositi ai piedi della Colonna Traiana, nella biblioteca della Basilica Ulpia, a lato della grande mezzaluna dei Mercati Traianei. Sigillati, catalogati e riposti sugli scaffali ancora per qualche stagione, prima di tornare sotto gli occhi della gente a testimoniare la storia di Roma antica ancora più a fondo di quanto facciano scavi e monumenti. Sono i gioielli che andranno a costituire il Museo dei Fori imperiali, l'anello ancora mancante della mastodontica impresa di riorganizzazione dell'area archeologica centrale, che troverà sede all'interno dei Mercati di Traiano. Visitare questi depositi sotterranei, soffiar via la polvere del tempo da questi capolavori è, insieme, un rapido tuffo nel passato e uno sguardo a un futuro ormai prossimo.
Per il "polo museale" dei Fori l'inaugurazione è prevista a metà 2003: verranno esposti i pezzi migliori portati alla luce nel corso degli scavi degli anni Trenta ma anche delle più recenti campagne giubilari. Ecco così i due guerrieri daci ritrovati nel Foro di Traiano un paio di anni fa ora custoditi in un'aula dei Mercati semisconosciuta, destinati a stare accanto ai fregi architettonici che decoravano le piazze dell'imperatore, colossali e sufficienti a dare l'idea della maestosità degli spazi pubblici frequentati dal popolo romano. Oltre i cancelli incatenati del deposito della basilica Ulpia, oggi sorvegliati da implacabili occhi elettronici e da magnifici gatti a mo' di sentinelle, stanno allineati a perdita d'occhio i pezzi che accendono di entusiasmo la passione di studioso del sovraintendente Eugenio La Rocca in visita insieme alla direttrice dei Mercati, Lucrezia Ungaro.
Ma il Museo dei Fori ai Mercati di Traiano non si limiterà a tirar fuori alcuni tra gli ultimi "invisibilia" romani. Nelle casse dell'assessorato alle Politiche culturali sono infatti già pronti 14 miliardi per l'acquisizione di Palazzo Rivaldi, di fronte alla Basilica di Massenzio, che accoglierà la sezione virtualedidattica del museo con plastici e ricostruzioni digitali. L'edificio, in condizioni di grave degrado, è di proprietà Ipab, nei confronti della quale il Comune intende avvalersi del diritto di prelazione nel momento di un'asta pubblica. Circa cinquanta miliardi servirebbero poi al restauro e all'allestimento.
Tra i vari cantieri aperti nell'area, quello per la sostituzione della "passerella di Campo Carleo" che portava da via dei Fori proprio all'interno dei Mercati: dietro le impalcature si sta rimpiazzando la vecchia struttura con una leggera. Sono conclusi, invece, i lavori di riordino del giardino ai piedi della Torre delle Milizie aperta per visite guidate e attrezzata di nuovi camminamenti che conducono i turisti fino a un belvedere sopra la piazza del Foro.
«Il complesso di questi interventi si inquadra nella prospettiva di musealizzazione e risistemazione dei Fori per la quale è al lavoro una commissione specifica spiega l'assessore Gianni Borgna Esclusa la parte del Museo dei Fori imperiali vero e proprio nei Mercati, l'accesso dovrà essere libero, tranne alcune parti per le quali progettiamo di istiture comunque un unico biglietto e una gestione unitaria. I visitatori dovranno potersi muovere liberamente dal Colosseo alla Colonna Traiana».
Dunque, il Museo dei Fori sarà un insieme complesso, nel quale si incroceranno sezioni didattiche a monumenti all'aria aperta, tante sale espositive già pronte e passeggiate sotterranee da mettere a punto in termini più precisi nei prossimi mesi. Ma non è ancora tutto. Eugenio La Rocca e Gianni Borgna guardano già da qualche tempo con interesse particolare a Palazzo Tiberi, sede del cosiddetto "viscontino" su via IV Novembre. Là dove ora siedono nei banchi i ragazzini del centro storico potrebbe nascere una nuova struttura legata al Museo e ai Fori imperiali: servizi aggiuntivi, libreria, biblioteca e anche uno splendido caffè.
FONTE | SOURCE:
-- LA REPUBBLICA (24|09|2001).
ricerca.repubblica.it/repubblica/archivio/repubblica/2001...
s.v.,
-- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: I Fori Imperiali – Dott.ssa FRANCESCA CAVAGNINO, et. alli., “PROGETTO DI ALLESTIMENTO DEL SISTEMA DI AMBIENTI SOTTERRANEI DI COLLEGAMENTO FRA IL FORO DI TRAIANO E IL FORO DI CESARE,” FORMA VRBIS, NO. 10 | OTT (2012), pp. 30-39 [in PDF]. [Anche s.v., Dott.ssa Arch. Barbara Baldrati (2002-04), = “Tavola 1, Il Foro di Cesare: Il monumento, dalla sua realizzazione ad oggi (61 a. C. – 2001). Planimetrie dell’area dei Fori (quota + 22,00 m s.l.m. e quota + 13,00 m s.l.m.). Scala metrica 1:500.” La Sapienza (2002-04).
-- ROMA ARCHEOLOGIA & RESTAURO ARCHITETTURA: Via dei Fori - tunnel che collega il Foro di Cesare e il Foro di Traiano (1999-2015). Foto & Stampa (1 di 71) [05|2015].
www.flickr.com/photos/imperial_fora_of_rome/sets/72157643...
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Director Theophilus Raynsford Mann
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馬天亮導演
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《造福人民》
SUMMARY
Theophilus Raynsford Mann is a naturalist, occultist, Buddhist and Taoist. In 1982, Mann developed a technique for abstract photography, applied “Rayonism” into photographic works. Mann staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Mann’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Mann’s works have been quoted by the scholars many times, making Mann one of the highly cited technological, artistic, and managing public administrators in the academia. Mann was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
Theophilus Raynsford Mann possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Mann about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Mann takes great pride in his roots, which go back 150 years (since 1864); Mann’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Mann obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Mann’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Mann’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Mann instituted Mann’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Mann studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Mann completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013 www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Mann immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Mann is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand Theophilus Raynsford Mann. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Mann just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Mann understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As Theophilus Raynsford Mann’s saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Mann ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Mann will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Mann’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Mann had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Mann studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Mann would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Mann really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Mann has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Mann settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Mann was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Mann had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Mann developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Mann was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
Theophilus Raynsford Mann Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
Theophilus Raynsford Mann Photographic Exhibition of Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Mann staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Mann was the first exhibitor around the country. All of the invited displays were by the Taiwan’s Government, cultural and artistic organisations, and sponsors. Mann’s earliest exhibition took place in the National Taiwan Arts Education Center (Museum) on 19 December 1983 when Mann was 25 years old; Mann was the youngest exhibitor in the history of the Center in any solo exhibitions. The Center that was opened in March 1957, kept a collection of Mann’s work. It is currently updating the Center’s internal organisation and strengthening co-operation with leading centers and museums around the world. Meanwhile, it widened the center’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Mann’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Mann may sprout, grow and bloom. Mann aims to provide an educational stimulus for society by introducing his works - Mann can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Mann believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Mann should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, Theophilus Raynsford Mann completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Mann was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Mann’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Mann was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “Theophilus Raynsford Mann Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Mann’s writings.
Authorship
Mann’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Mann was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Mann one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Mann’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Mann is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original 「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “Theophilus Raynsford Mann Photographic Exhibitions of Rayonnisme” © May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」(individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Mann’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Mann’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Mann’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.
Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Mann promoted and founded the Consortium Juridical Person Mr. Theophilus Raynsford Mann Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.
near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Mann was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and filmmaking.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和製作影片。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Mann Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director and Photographer at Shapely Studio of Creative and Cultural Industries, 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。Theophilus Raynsford Mann (TianLiang Maa) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
mtltwp.pixnet.net/album/set/1265208
www.facebook.com/sonate1c/info
LINKS:
University of California, Berkeley
berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...
berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...
oskicat.berkeley.edu/record=b11283690~S1
University of Michigan
mirlyn.lib.umich.edu/Record/006237256
catalog.hathitrust.org/Record/006237256
WorldCat® Identities
www.worldcat.org/search?q=au%3AMa%2C+Tianliang%2C&dbl...
www.worldcat.org/wcidentities/np-ma,%20tianliang$1958
Google Books
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National Bibliographic Information Network (NBINet)
nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...
192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE
National Yang Ming University 國立陽明大學
library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...
National Taiwan University of Science and Technology 國立臺灣科技大學
millennium.lib.ntust.edu.tw/record=b1016706~S1
Wikimedia Commons 維基共享資源
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國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...
聲音藝術的審美角度, 大學雜誌, 天然
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為文化中心把脈, 幼獅文藝
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科學家與守財奴, 中國地方自治
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Yahoo, Bing, Google Search
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www.google.com/search?q=TianLiang+Maa
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Vice Chair for Supervision Barr unveiled his recommendations for enhancing banking system strength at Bipartisan Policy Center earlier today. federalreserve.gov/newsevents/speech/barr20230710a.htm
Learn more about Vice Chair for Supervision Barr: federalreserve.gov/aboutthefed/bios/board/barr.htm
Aleant is hiring! Apply now for the position of Sales Recruiter t.co/TE6TriJyNQ (via Twitter twitter.com/AleantLLC/status/824380246485037057)
In Rome, Ukrainian President Volodymyr Zelenskyy met with Italian President Sergio Mattarella.
The President of Ukraine expressed gratitude for Italy’s steadfast support for Ukraine’s sovereignty and territorial integrity, as well as its consistent focus on Ukraine during Italy’s presidency of the G7.
"I recall all our meetings, and they always concluded with us finding solutions to very complex issues. One of the most challenging is protecting the rights of people in Ukraine, as well as defending our sovereignty and territorial integrity. I am very pleased that your position in supporting Ukraine, our people, and our children has always remained unwavering," said Volodymyr Zelenskyy.
The Ukrainian President provided an update on the situation at the front lines and on Russia’s ongoing missile terror targeting civilians.
During the meeting, the leaders discussed the continuation of military assistance to Ukraine. Volodymyr Zelenskyy expressed his appreciation to Italy for its significant military-technical support, including the approval of the 10th aid package.
He emphasized the importance of coordinated actions by partner countries to end the war with a just and lasting peace.
The President of Ukraine also commended Italy’s firm stance on maintaining and enforcing sanctions against Russia.
A key topic of negotiations was the return of Ukrainian children abducted by Russia.
The President thanked Italy for its care and support of Ukrainian orphans currently residing in Italy because of the Russian aggression.
The leaders also discussed preparations for the International Ukraine Recovery Conference, scheduled for July 10–11 in Rome. Volodymyr Zelenskyy noted that Italian experts could join the restoration of Ukraine’s cultural heritage.
President Zelenskyy extended an invitation to President Mattarella to visit Ukraine.
Model: Floofie
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And so to the weekend again. And what might be the last orchid-free weekend until well into June or even August.
So, enjoy the churches while you can.
Saturday, and not much really planned. We get up at half six with it fully light outside. The cloud and drizzle had not arrived, instead it was pretty clear and sunny.
No time for thinking about going out to take shots, as we had hunter-gathering to do.
In fact, we didn't need much, just the usual stuff to keep us going. That and the car was running on fumes. So we will that up first, and then into Tesco and round and round we go, fully the trolley up. It being Mother's Day on Saturday, we were having Jen round on Sunday, we were to have steak, so I get mushrooms.
And once back, we have breakfast then go to Preston for the actual steak, three ribeyes, all cut from the same stip. Jools had gone to look at the garden centre for ideas as we're going to dig up the raspberries, so just wondering what to put in their place.
By then the rain had come, and so we dashed back to the car, and on the way home called in at two churches.
First off was Goodnestone, just the other side of Wingham.
Its a fine estate church, covered in wonderfully knapped bricks, giving it an East Anglian feel. Before we went in, we sheltered under a tree to much on a sausage roll I had bought at the butcher, that done, we go to the church, which is open.
I have been here quite recently, five years back, and in truth no much glass to record, but I do my best, leave a fiver of the weekly collection and we drove over the fields to Eastry.
St Mary is an impressive church, with carved and decorated west face of the Norman tower, at its base an odd lean-to porch has been created, leading into the church, which does have interest other than the 35 painted medallions high in the Chancel Arch, once the backdrop to the Rood.
I snap them with the big lens, and the windows too. A warden points out what looks like a very much older painted window high among the roof timbers in the east wall of the Chancel.
I get a shot, which is good enough, but even with a 400mm lens, is some crop.
I finish up and we go home, taking it carefully along nearly flooded roads.
Being a Saturday, there is football, though nothing much of interest until three when Norwich kick off against Stoke: could they kick it on a wet Saturday afternoon in the Potteries?
No. No, they couldn't.
Ended 0-0, City second best, barely laid a glove on the Stoke goal.
And then spots galore: Ireland v England in the egg-chasing, Citeh v Burnley in the Cup and Chelsea v Everton in the league, all live on various TV channels.
I watch the first half of the rugby, then switch over when England were reduced to 14, so did enjoy the lad Haarland score another hat-trick in a 6-0 demolition.
And that was that, another day over with.....
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A large and eminently satisfying village church. The old part - north aisle of fourteenth-century date and tower of the fifteenth century - was enlarged in 1839 by a rebuilt nave and chancel. The architects were Rickman and Hussey, pioneers of the nineteenth-century Gothic Revival. The exterior is of knapped flints with stone dressings. Inside all is light and of a piece with an elaborate and dignified chancel. In the north aisle is the monument by Scheemakers to Sir Brook Bridges (d. 1717) who built Goodnestone Park, the gardens of which abut the churchyard. There are small pieces of medieval glass, but by far the most impressive window is at the east end of the north aisle, dated and signed E.S. 1899, showing the story of St Gregory and the Slave Boys.
www.kentchurches.info/church.asp?p=Goodnestone+2
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GOODNESTON,
GENERALLY called, and known by the name of GUNSTON, lies the next parish south-eastward from Wingham. It is usually written in antient records, Godwineston, which name it took from earl Godwine, once owner of it.
GUNSTON is situated exceedingly healthy and pleasant, in a fine dry and open champaign country, of upland hill and dale. The soil is fertile, though in general inclined to chalk; the lands are mostly arable, open and uninclosed, having a few small inclosures scattered among them, especially about Gunston house, and the village, where it is well cloathed with elms. The village, which contains about thirty houses, stands, with the church, in the southern part of it, having Gunston-house and park adjoining to it, which, though small in extent, and commanding but little, if any prospect beyond the bounds of it, is a beautiful and elegant situation. At the northern boundary of the parish is the hamlet of Twitham, part only of which is in it; beyond which, at Brook, (the parish of Wingham intervening) is a small district of land within this parish. At the eastern boundary of it is the hamlet and street of Rolling, in which is a small seat, belonging to Sir Brook William Bridges, which a few years ago was in the occupation of Thomas Knight, esq. of Godmersham, and afterwards of Edward Austen, esq. It is now the residence of George Dering, esq. At some distance still further eastward from which there is another small district of land in it, entirely surrounded by the parish of Norborne.
A fair is held here for cattle and pedlary, on the 25th of September, yearly.
The MANOR OF WINGHAM claims paramount over this parish, in which there is one borough, viz. of Rolling, which claims over it.
The MANOR OF GOODNESTON, which before the Norman conquest, was part of the possessions of Godwine, earl of Kent, at whose death it probably came to his son king Harold, and after the battle of Hastings, to the Conqueror; after which it appears to have been held by a family who took their surname from it, one of whom, Thomas de Goodwyneston, held it of the archbishop in king Henry III.'s reign, and in this family, (who bore for their arms, Sable, three martlets, between seven cross-croslets, argent; as they were formerly painted in the windows of this church) it continued down to William de Goodneston, who did homage for it to archbishop Warham at the beginning of king Henry VIII.'s reign. After which it seems to have been divided, and the manor itself, with part of the demesne lands, to have passed into the name of Henecre; and the mansion, with the rest of the demesne lands, by Edith, daughter and heir of William Goodneston, in marriage to Vincent Engeham, who afterwards resided here. The antient residence of this family of Edingham, called Engeham by contraction, was at Engeham, in Woodchurch. They divided into three branches, settled at Woodchurch, Great Chart, and Goodneston. They bore for their arms, Argent, a chevron, sable, between three pellets, on a chief, gules, a lion passant-guardant, or. (fn. 1) John Henecre, of Good neston, as appears by his will, died possessed of this manor in 1559, and gave it to William, son of his brother Nicholas, who sold it to Sir Thomas Engeham, grandson of Vincent before-mentioned, and possessor of the mansion, and other part of the lands of it, so that he then became possessed of the whole of it, (fn. 2) held in capite, and it continued in his descendants down to Sir Thomas Engeham, of Goodneston, who about the reign of queen Anne, alienated it, with the appropriation, to Brook Bridges, esq. descended from John Bridges, who was of Worcestershire, at the latter end of queen Elizabeth's reign, whose great-grandson Col. John Bridges, of Warwickshire, left two sons, John, and Brook, the former of whom was of Barton Seagrave, in Northamptonshire, esq. the eldest of whose sons, John Bridges, esq. of that place, wrote the history of that county; Brook Bridges, esq. the second son of Col. John Bridges, was of Grove, in Middlesex, auditor of the imprest in king Charles II.'s reign, and purchaser of Goodnestone, which seat he rebuilt, and dying in 1717, was buried in the chancel of this church, bearing for his arms, Azure, three water bougets, or, within a bordure, ermine. Brook Bridges, esq. his eldest son, succeeded him at Goodneston, and was created a baronet on April 19, 1718, anno 4 George I. and was for many years one of the auditors of the imprest of the treasury, and was twice married, first to Margaret, daughter of Robert, lord Romney, by whom he had no issue; but by his second wife Mary, second daughter of Sir Thomas Hales, bart. of Bekesborne, he left a son Brook, and a daughter Margaret, married to John Plumptree, esq. He died in 1728, and was succeeded by his only son Sir Brook Bridges, bart of Goodneston, sheriff in 1733, in which year he died, having married Elizabeth, eldest surviving daughter and coheir of Sir Thomas Palmer, bart. of Wingham, (who afterwards remarried Charles Fielding, esq. brother to the earl of Denbigh, by whom she had a son Charles). At the death of Sir Brook she was pregnant, and was some months afterwards delivered of a son, the late Sir Brook Bridges, bart. who represented this county in two successive parliaments. He rebuilt this seat, and new laid out the park in the improved modern taste, having married Fanny, only daughter and heir of Edmund Fowler, esq. of Danbury, in Essex, by whom he had five sons and six daughters, of whom, Brook the eldest son, died at Eton school in 1781; William, the second son, after his brother's death, by the archbishop's licence, took the Christian name of Brook likewise, and Brook Henry, the third son, is rector of Danbury, in Essex; of the daughters, Fanny, the eldest, married Lewis Cage, esq. Sophia, the second, married William Deedes, esq. and Elizabeth, the third, married Edward Austen, esq. of Godmersham. Sir Brook Bridges died in 1791, and was succeeded by his eldest surviving son the present Sir Brook Wm. Bridges, bart. who is the possessor of this manor, with the seat, park, and appropriation of the church of Goodneston. A court baron is held for this manor.
ROLLING, usually called Rowling, is a manor and hamlet, in the eastern part of this parish, which takes its name from the borough in which it is situated. The manor, now obselete, was antiently the residence of a family who took their name from it. In an old leiger book of Davington priory, beginning at king Henry III.'s reign, there is mention of several of this family among its principal benefactors. How it passed after they were become extinct here, which was not till after king Henry IV.'s reign, I have not found; but in the latter end of king Henry VIII.'s reign, John Adams was become possessed of it, and he sold it to John Idley, gent. who resided here, and dying in 1568, was buried in this church. He left it to John his se cond son, who alienated it to Thomas Butler, a younger son of Richard, of Heronden, in Eastry, esq. and he soon afterwards sold it to Sir Roger Manwood, chief baron, whose son Sir Peter Manwood, K. B. alienated it to Dickenson, who parted with it to John Richards, gent. afterwards of Rowling, and in whose descendants, who bore for their arms, Sable, a chevron, between three fleurs de lis, argent, and lie buried in this church, it continued down to John Richards, gent. who died in 1661, (fn. 3) and by will gave it to William Hammond, esq. of St. Albans, and his son, of the same name, in 1696, an act having passed for that purpose, sold it to Sir John Narborough, bart. whose only sister and heir Elizabeth entitled her husband Sir Thomas D' Aeth, bart. of Knolton, to the possession of it, and his grandson Sir Narborough D'Aeth, bart. now of Knolton, is the present owner of this manor, called Rowling-court, for which there has not been any court held for many years past.
The HOSPITALS OF HARBLEDOWN, and of ST. JOHN, near Canterbury, are jointly possessed of a farm and lands at Rowling, which is demised by them to Sir Narborough D'Aeth, bart.
BONNINGTON, in the south-east part of this parish, was in early times the property and residence of a family of the same name, who appear to have been possessed of it so late as the latter end of the reign of king Edward I. but it became of much more eminent note afterwards, from being the antient seat from whence the numerous and knightly family of Bois branched out, as from their original stock, and spread with distinguished reputation through the eastern parts of this county, deriving their descent from R. de Boys, or de Bosco, who is mentioned in the Battle abbey roil of those who accompanied the Conqueror into England, and were amply rewarded by him with the possessions of the conquered Saxons. From R. de Boys, or de Bosco, before-mentioned, descended John Boys, who was of Bonnington in the 30th year of king Edward III. but his descendant William Boys having purchased Fredville, in the adjoining parish of Nonington, removed thither, though some time before his death he returned to Bonnington, where he died in 1507, and was buried in this church. He left five sons and three daughters. To his eldest son John, he gave Fredville; and to the second, Thomas, he gave Bonnington; giving, as Philipott says, the fairest estate to the former, and the antient family seat to the latter; and from the descendants of John Boys, the eldest son, of Fredville, sprang those of Fredville, Hode, Holt-street, Betshanger, Challock, Deal, Sandwich, St. Gregory's, in Canterbury, Denton, and of Surry; and from the descendants of Thomas Boys, esq. of Bonnington, sprang those of Bonnington, Hith, Mersham, Wilsborough, Sevington, and Uffington, all which are now extinct in the male line, excepting those of Sandwich and Wilsborough, a more particular account of all which may be seen under those several places. In the descendants of Thomas Boys, esq. the second son above-mentioned, of Bonnington, resident here, it continued down to Sir John Boys, to whose coat armour king Charles I. gave the augmentation of a crown imperial, or, on a canton, azure; for his loyalty and valour at Donington castle, in Berkshire, of which he was governor, where being summoned by the parliament forces, to surrender the place under peril of being put to the sword, he stoutly answered, that he would never quit the castle without the king's order, nor take nor give quarter. He died in 1664, and was buried at Goodneston, leaving three daughters his coheirs, and they, in 1666, joined in the sale of it to Thomas Brome, esq. sergeant at-law, whose son William Brome, esq. of Farnborough, alienated it in 1710 to Brook Bridges, esq. Whose descendant Sir Brook William Bridges, bart. of Goodneston, is the present owner of it.
ARCHBISHOP PECKHAM, on the foundation of the college of Wingham in 1286, endowed the second prebend of it with the tithes of the lands of Thomas de Bonyngton and others, in the hamlet of Bonnyngton, in this parish. (fn. 4)
UFFINGTION, in the south-west part of this parish, was another seat of the family of Boys, being purchased by William Boys, esq. (son of Vincent Boys, esq. of Bonnington) for his residence, and he died possessed of it in 1629, in whose descendants it continued till it was at length sold to Oxenden, in which family it has remained ever since, being now the property of Sir Henry Oxenden, bart. of Brome.
Charities.
THOMAS APPLETON, yeoman, of Eastry, by his will in 1593, gave to the poor of this parish, 5l. yearly, to be distributed to the poor people, inhabitants here, fourteen days before Christmas-day; to be paid out of lands belonging to him, called Hardiles, in Woodnesborough.
GABRIEL RICHARDS, gent. by will in 1671, gave a house, barn, stable, and twenty-six acres of land, in this parish, for the support and maintenance of four aged, decayed gentlemen or gentlewomen, single men or single women, born in Kent; with four lodging-rooms for them, with preference to such persons as should be his relations, now vested in feoffees, and worth about 20l. per annum.
The poor constantly relieved are about eighteen, casually thirteen.
GOODNESTON, or Gunston, is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.
The church, which is dedicated to the Holy Cross, consists of two isles and two chancels, having a beacon tower at the west end, in which are four bells. This church seems to have been erected in great measure by the assistance of the family of Boys, of Bonnington, about the time of king Edward III. for on one side of the west door, under the steeple, is carved in the stone work, Orate p T. boye adjutor isti op. On each side a shield of arms, one a cross, the other a saltier; and at top three more shields, the first of which is that of Langley, and the third of Oxenden; and over a window of the south isle (now stopped up) the centre stone has carved on it, Willyam boyes, and at each corner are carved the singular emblematical figures of a sow with a litter of pigs, and of a sow sitting upright, a chain about its neck, fastened to a rock behind, and an infant child in swaddling clothes in its lap. In the south isle is a stone, with figures in brass, and inscription for William Boys and Isabell his wife. He died anno 1507. In the north isle are monuments for the Richards's, of Rowling, in this parish. In the north window, at the east end, is the figure of a saint, holding in his left hand a shield of arms, Argent, a cross, gules; in his right, a staff, with a cross at top, the lower end in a dragon's mouth, which lies on its back under his feet; and in the same window, the figure of an archbishop, mitre, and pall, his left hand lifted up, as blessing; in his right hand, a staff, with a cross pomelle at top. The pillars between the isles are remarkably large and clumsy, and by their capitals appear antient. In the north chancel, belonging to the estate of Bonnington, are interred the family of Boys, of that seat, though the brasses of most of their stones are lost. A stone, with brasses, and inscription for William Goodneston, gent. obt. 1423; arms, Three martlets, between seven cross-croslets. A stone, with figures in brass, and inscription for Thomas Engeham, esq. and Elizabeth his wife, obt. 1558, both the same year. A monument, with the figures kneeling, for Sir Edward Engeham and his lady; he died in 1636. Another for W. Wood, A. M. minister here, and rector of St. Mary Bredman and St. Andrew, Canterbury, obt. 1735. In the south or high chancel, is a monument for Sir Thomas Engeham, descended from those of Woodchurch; he married Priscilla Honywood, daughter of Mrs. Anne Honywood, who hardly escaping martyrdom in queen Mary's reign, lived to see about four hundred descended from her, obt. 1621. A neat monument for Brook Bridges, esq. (second son of John, of Harcourt-hall, in Worcestershire, esq.) auditor of imprests. He repaired and adorned the church, and built a mansion here on the estate which he had purchased, obt. 1717. In the church-yard is a stone, on which were once figures in brass, long since gone, for Thomas Boys, of Bonnington, and Edith his wife. He died in 1479.
¶The church of Goodneston was antiently a chapel of ease to that of Wingham, and was at the time of the foundation of the college there by archbishop Peckham, in 1286, separated from it, and made a distinct parish of itself, (fn. 5) and then given to the college; and becoming thus appropriated to the college, continued with it till its suppression in king Edward VI.'s reign, when this parsonage appropriate, with the advowson or patronage of the vicarage or curacy of it, came into the hands of the crown, where, though in the intermediate time it had been granted in lease for a term of years, yet the fee of it remained in the crown till the 43d year of queen Elizabeth, who granted it that year to Nicholas Fortescue, esq. and John Shelbury, in fee, to hold in socage, by a yearly rent, and a payment to the vicar yearly of 13l. 6s. 8d. and they passed away their interest in it to Sir Edward Engeham, of Canterbury, who in the beginning of king James I.'s reign, alienated this rectory, and the vicarage-house of Goodneston, with the vicarage, tithes, and profits belonging to it, and the donation of the curacy, to Henry Vanner, alderman of Canterbury, who by will in 1630, augmented the curate's salary, to be paid out of this parsonage, with the further yearly sum of 6l. 13s. 4d. His heirs quickly afterwards passed it away to William Prude, alias Proude, jun. esq. of Canterbury, who died in 1632, in whose descendants it remained till it was sold to one of the family of Engeham, owners of the manor of Goodneston, and continued so till Sir Thomas Engeham alienated it, with that manor, to Brook Bridges, esq. in whose descendants, baronets, of this place, it has continued down to Sir Brook William Bridges, bart. of Goodnestone, the present impropriator and patron of the curacy of this church.
This church is now esteemed as a donative, the value of which has not been certified. In 1640 here were communicants one hundred and seventy.
Gabriel Richards, gent. of Rowling, by his will in 1672, gave to the use of the minister of this parish, a house and orchard, valued at 6l. IOS. per annum.
For those of who have enjoyed our sharings, thank you! We had such a beautiful day we wanted to be sure to include in this album all that are close to our hearts.
For a view of the entire album from our wedding, you can go Kelly and Scott's Wedding Album
(for further information please click on the link at the end of page!)
Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.
Testing Sony Alpha ZV-E10 Mirrorless Vlog Camera |&| Tamron 11-20mm f/2.8 Di III-A RXD Lens for Sony
Published by the Federal Council for the Advancement of Aborigines and Torres Strait Islanders, this flyer is from the Union of Australian Women archival collection.
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For those interested, this is our rain barrel system. We took video to explain it, haven't gotten around to editing it yet.
We have 7-55 gallon barrels all hooked together. They fill at the same time and drain together. We have one spigot to fill watering cans and a pump with another spigot for use with the hose or sprinkler.
There's an overflow as well, they're all hooked together and overflow into the downspout if they're full. We have a clear tube at the end so we can see how much water we have. The system is also easily expandable if we want to add more barrels, we think we can fit 7-10 more across the back of the garage.
One of the best things about this system is the cost. We only spent about $120 for the entire system (including deck). The deck was built with lumber we removed from the deck on our house, we wanted a smaller sized deck on the house. The barrels are food grade plastic barrels and cost us only $10 each (you want to make sure you don't get barrels that had chemicals in them). We spent about $50 on other materials, posts, PVC (we also had some of that sitting around that we used up).
For Mount Airy, Maryland videos and more photos see: www.frederick.com/mountairy
photos by Frederick.com
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Heading for the line.
This week (15/8/12) saw members of Greater Manchester Police and Greater Manchester Fire and Rescue Service come face-to-face on the rugby field to raise money for charity.
The match, dubbed The Battle of the Badges, and the first a in two game series, raised money for The Asia Centre Foundation. The charity helps improve the quality of life for young people in Thailand, who in many cases are still suffering as a result of the tsunami of 2004.
The match was played at Broughton Park Rugby Club in Charlton and saw Greater Manchester Fire and Rescue Service run out 22-10 winners.
The second game will be played on the 12th of September.
This is the second year the two services have played this fixture.
Find out more about the Asia Centre Foundation.
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
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