View allAll Photos Tagged Foundations
History
According to John Dlugosz first brick Romanesque church was founded by Bishop Iwo Odrowąż of Cracow in the years 1221-1222 on the site of the original wooden temple. Soon, however, the building was destroyed during the Mongol invasions.
In the years 1290-1300 was built partly on the previous foundations an early Gothic hall church, which was consecrated around the year 1320-1321. The work, however, continued even in the third decade of the fourteenth century.
In the period 1355-1365, through the foundation of Nicholas Wierzynka (citizen of Krakow and Sandomierz esquire carver), built the current sanctuary.
On the other hand, in the years 1392-1397 were instructed master Nicholas Werner better illumination of the church. The builder has lowered the walls of the aisles and, of main introduced the large window openings. In this way the indoor arrangement of the temple has changed over the basilica.
In 1443 (or 1442) he was a strong earthquake that caused the collapse of the ceiling of the temple.
In the first half of the fifteenth century the side chapels were added. Most of them were the work of a master Francis Wiechonia of Kleparz. At the same time it was increased north tower, designed to act as guardians of the city. In 1478 the carpenter Matias Heringkan covered the tower helmet. On it, in 1666, was placed a gilded crown.
At the end of the fifteenth century, the temple of Mary was enriched with sculptural masterpiece of the late Gothic Altar - Great - a work of Veit Stoss.
At the beginning of the sixteenth Polish begin the Paradise demand spolszczenia church belonging to the municipality German. In opposition are mayors of German cities Cipsar, Morsztyn, Ajchler and Shilling, who wanted to defend his possessions. The dispute also enters the Parliament, which in 1537 and under pressure from the nobility found edict of Sigismund I, to the morning worship German confined to after-dinner.
In the eighteenth century, at the behest of Archpriest Jack Augusta Łopackiego, interior thoroughly converted in the late Baroque style. The author of this work was Francesco Placidi. Then listed 26 altars, equipment, furniture, benches, paintings, and the walls are decorated with polychrome brush Andrzej Radwanski. From this period comes too the late Baroque porch.
At the beginning of the nineteenth century, in the framework of reorganizing the city closed down the churchyard. This is how the Marienplatz St. Mary's square arose.
In the years 1887-1891, under the direction of Tadeusz Stryjeński introduced into the interior of the neo-Gothic decor. Temple has a new design and murals by Jan Matejko, which collaborated Stanislaw Wyspianski and Mehoffer - authors of the stained glass windows in the chancel and the main organ.
Since the early 90s of the twentieth century were carried out a comprehensive restoration work, which resulted in the church regained its brilliance. The last element of repair was the replacement of roof in 2003.
April 18, 2010 year at St. Mary's Church held a funeral ceremony tragically deceased President Lech Kaczynski and his wife Maria, whose coffins then buried in a crypt of the Wawel Cathedral.
External architecture
The church from the south-west
View from the west
Church on the south side; on the facade visible sundial
View of St. Mary's Church from Wawel
View of St. Mary's Church mound of Krak
The present shape of the church gave reconstruction system basilica, which took place in the years 1392-1397.
Towers
The facade of the temple is included in two towers:
The tower higher, called the Bugle, it is 82 meters high. It is built on a square plan, which at a height of nine stories goes octagon, opened up lancet niches, falling two stories of windows. Gothic towers covers the helmet, which is the work of a master Matias Heringkana of 1478 helmet consists of an octagonal, sharpened spire, surrounded by a ring of eight lower turrets. On the needle was placed in 1666 gilded crown with a diameter of 2.4 m. And a height of 1.3 m. From the tower, with a height of 54 meters, it is played hourly bugle Mary. It is one of the symbols of Krakow. At the foot, from the north, is a rectangular annex, located a stone staircase leading to the interior of the tower. The entrance to the tower draws attention to a large, cast in bronze plaque depicting the entrance of King Jan III Sobieski. It was made on the basis of the draft sculptor Pius Weloński 1883 to celebrate the 200th anniversary of the siege of Vienna. On the tower there is a bell clock back to 1530 (tons Impact d ', diameter 165 cm).
In 2013. due to the poor technical condition of the tower was closed to the public. Re-making is expected in April 2015, after completion of the work related to the installation of new electrical, heating and plumbing, and the installation of a new - metal - staircase.
Lower tower, with a height of 69 meters, is for the church bell tower. Built on a square plan, it has clearly marked on the entire height of the cornices and windows division storey. On the first floor there is the Renaissance chapel of the Conversion of St. Paul (Kaufman). Outside, next to the window of the chapel, the trójspadowym roof is suspended bell "for the dying", cast by Kacper Koerber from Wroclaw in 1736. Tower covers the late Renaissance helmet, constructed in 1592, consisting of an elliptical dome, mounted on octagonal drum and topped with openwork lantern. In the corners are set four smaller domes on low, hexagonal bases. Suspended bell in the clock back to 1530 (diameter 135 cm), now unused.
Facade
The slender walls of the sanctuary are elongated, arched windows are decorated with floral motifs, and the keys figural sculptures of symbolic. Equally rich sculptural decoration presents 21 figures, placed on consoles, supporting the cornice crowning the walls of the main building. On the wall of the chapel. St. John of Nepomuk is a sundial made in sgraffito technique by Tadeusz Przypkowski in 1954.
Porch
For the interior of the temple, from the front, leading Baroque porch. It was built between 1750-1753, designed by Francesco Placidi. The shape of it is modeled on the architectural form of the Holy Sepulchre. Wooden door decorated with carved heads of Polish saints, prophets and apostles. It made in 1929 by Karol Hukan.
Above the porch is a large, arched window with stained glass windows, projected by Joseph Mehoffer and Wyspiański. Decorative division of windows made in 1891 according to the concept of Jan Matejko.
Kuna
At the entrance to the basilica, from the Saint Mary's square, is mounted kuna (ie. the rim penitents), which was formerly assumed on the heads of particular sinners. Rim penitents was mounted at such a height that convicted her could neither sit up nor kneel, what was all the more a nuisance punishment. For centuries the level of the square plate lifted in and out of the rim is a little above the ground.
Interior
Presbytery
The nave
Choir and organ
The chancel with altar by Veit Stoss
The presbytery is covered with a stellar vault, made by master Czipsera in 1442. The keystones ribs appear coats of arms: Polish, Cracow and the bishop Iwo Odrowąż - founder of the first church of St. Mary. The perimeter niches set statues of prophets, Jeremiah, Daniel, David, Ezekiel, Isaiah and Jonah. He made it in 1891, the Krakow sculptor Zygmunt Langman.
The walls adorned with wall paintings made in the years 1890-1892 by Jan Matejko. With its implementation cooperated with the master many of his students, later famous and prominent painters, m.in .: Anthony Grammar, Edward Better, Stanislaw Bankiewicz, Mehoffer, Stanislaw Wyspianski. Technical drawings made by Tomasz Lisiewicz and gilding work is the work of Michael Stojakowski. Stained glass windows in this part of the church are by Joseph Mehoffer, Stanislaw Wyspianski and Tadeusz Dmochowskiego.
On both sides of the presbytery covered with a canopy set up stalls. They were made in 1586 and then in 1635 supplemented by zapleckami that Fabian Möller decorated with bas-reliefs with scenes from the life of Christ and Mary. At the stalls right to present: Jesse Tree, Nativity of Mary, the Presentation of Mary, Marriage of St. Joseph, the Annunciation, the Visitation of St. Elizabeth and Christmas. At the stalls northern (left) are sculptures: Circumcision, Adoration of the Magi, The Presentation of Jesus in the temple, Farewell to the Mother, the Risen Christ appears to Mary, Our Lady of the Assumption, and the Coronation of the Madonna and Child surrounded by symbols of the Litany of Loreto. On the chorus authorities 12-voice.
The chancel is completed apse, which separates from the rest of the church, made in bronze, openwork balustrade with two goals. Hinged door decorated with the coats of arms of Krakow and archiprezbiterów church - Kłośnik and Prawdzic. Stained glass windows in the apse from the years 1370-1400, and made them master Nicholas called vitreator de Cracowia. They include two thematic cycles: the Book of Genesis in the Old and New Testaments and scenes from the life of Jesus and Mary.
The main altar
Main article: Altarpiece of Veit Stoss.
The main altar dedicated to Mary adorned with the great late Gothic altarpiece made in the years 1477 to 1489 by Veit Stoss what is the chef d'oeuvre of the artist of Krakow and Nuremberg. Numbering approx. 13 × 13 m. Polyptych consists of a main body of the cabinet-pełnoplastycznymi sculptures forming two scenes - the Dormition and Assumption of the Virgin Mary, two pairs of wings, movable and immovable. The continuation of the main thread is placed at the final Coronation of the Virgin in the company of two major Polish patrons - saints Stanislaw and Wojciech. On the side wings deployed bas-relief presenting forming two cycles of the life of Mary and Jesus Christ. The basis creates a predella with a plot Tree of Jesse.
The body of the aisle
The body creates nave nave with a pair of aisles are adjacent chapels. The body consists of four spans, the inside is covered with cross-ribbed vault built with the exception of later chapels, whose vaults are a diverse system of ribs.
The nave
The vault of the nave
The nave with a height of 28 meters is covered with a cross-ribbed vault. Murals done in the years 1890-1892 by Jan Matejko, Mehoffer and Wyspiański, who also designed the stained glass windows.
Above the cornice running around the nave are placed wooden statues: St. Stefan St. Kinga, Saint. Stanislaus Kostka, St.. Casimir, St. Jadwiga of Anjou, St. Ursula, St. Jack St. Adalbert, Bl. Salome and Bl. Bronisława. The sculptures are the work of Zygmunt Langman from the early twentieth century.
With the pillars separating the nave from the side, there are the eighteenth-century, late baroque altars. They have placed in them images: Giovanni Battista Pittoniego, Jacob Martens, Hans Suess Kulmbach, Luke Orlowski and others.
At the main entrance, next to the altar are covered with a canopy stalls councilors, aldermen, trustees and powerful families of Krakow from the seventeenth century. Nave and chancel is divided, placed on a rainbow (designed by Jan Matejko), a crucifix - the work of students Veit Stoss.
The eastern part of the main body houses several works of art, including ciborium of Giovanni Maria Padovano and several altars. Above the entrance to the choir authorities 56-voice bearing a decorative cover.
Northern nave
On the north side (left) is a Baroque church altar. St. Stanislaus (closing the left aisle) from the second half of the seventeenth century with a carved scene of the Resurrection Piotrowin. Mounted here is the Gothic mensa of approx. 1400 płaskorzeźbną decoration.
Second baroque altar was made in 1725 by the architect of Krakow Casper Bazanka. In it is a picture of the Annunciation, painted in 1740 by Giovanni Battista Pittoniego. At the gate railings bears decorative coat of arms Polish.
In front of the altar is a family tomb Celarich made in 1616. In niches set busts of the founders: Paul Celariego and his wife Margaret of Khodorkovsky and Andrew Celariego with his wife Margaret of Mączyńskich. At the top of the allegorical sculptures symbolize Faith and Hope.
Southern nave
Ciborium, on the right - a crucifix by Veit Stoss
Crucifix Veit Stoss
Main article: Crucifix Veit Stoss.
On the south (right) side there is a late Baroque altar (closing the right aisle) 1735, which is a stone crucifix, a work of Veit Stoss. Same crucifix was built in the late 80s and early 90s the fifteenth century at the request of the royal minter John Albert - Henryk Slacker. The image of Christ is characterized by naturalism and doloryzmem. The artist strongly stressed suffering martyrdom, but also its saving, triumphant aspect. Jesus has opened the eyes directed toward the person praying what may certify a devotional character of the dzieła.Tło cross is silver plate with views of Jerusalem, made in 1723 by Joseph Ceyplera.
Other equipment
Next to the altar is a Renaissance ciborium, designed in 1552 by Italian sculptor and architect Jan Maria Padovano, founded by Krakow goldsmiths Andrew Mastelli and Jerzy Pipan. Richly developed architecturally, the building is made of sand stone with the addition of multi-colored marble. From the aisles separating ciborium balustrade railings, and openwork gate, cast in bronze in 1595 by Michael Otto, who decorated them emblems of Polish and Lithuanian. There is also a chorus of historic organs.
Opposite the ciborium is a family tomb Montelupi (Wilczogórskich), whose origin should be attributed to the workshop of postgucciowskim (1600-1603). In the middle of the tombstone are carved in marble busts of the founders: Sebastian Montelupi and his wife Ursula of the base and Valery Montelupi with his wife Helena with Moreckich. In the top there heraldic cartouches and allegorical figures: Fortitude, Temperance and Prudence.
pl.wikipedia.org/wiki/Ko%C5%9Bci%C3%B3%C5%82_Mariacki_w_K...
Beautiful Ballerina Dancer in Pointe Shoes & Leotard! Golden Ratio Composition Ballet, Ballerina, & Dancer Photography Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Support my Epic Physics Theory: Light, Time, Dimension Theory!
www.facebook.com/lightimedimensiontheory/
Regarding the award-winning physicist Dr. Elliot McGucken at Princeton University, the late John Archibald Wheeler stated, "More intellectual curiosity, versatility and yen for physics than Elliot McGucken's I have never seen in any senior or graduate student. . . Originality, powerful motivation, and a can-do spirit make me think that McGucken is a top bet."
Dr. E would go on to heal the blind with his NSF-funded, award-winning Ph.D. dissertation which also laid down the foundations of Light Time Dimension Theory. Over the years, LTD Theory added foundational *physical* postulates, principles, and equations en route to becoming numerous books, with this one forming the simple, illustrated introduction. My fine art photography (writing with light) graces the books!
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
Networking Session: Family Foundations
CGI Idea Exchange: Networking Lunches (New in 2016)
SESSION FEATURES: INTERACTIVE • LUNCH SERVED
As the number of family foundations increases, their role in philanthropy and global development becomes even more pivotal. How can family foundations lead the creation of successful strategies and sustainable partnerships to generate even greater positive impact in the future?
A number of subtopics will be explored, including: innovative funding strategies, launching a foundation, measurement and evaluation, and partnerships.
The 2016 Annual Meeting will feature the CGI IDEA EXCHANGE. This unique series of facilitated networking sessions will offer members the opportunity to:
• Easily connect with other members of the CGI community who share similar professional interests in smaller groups.
• Exchange insight, information, and ideas—as well as lay the groundwork for further conversations and member-driven action beyond the Annual Meeting.
MODERATOR:
Oliver B. Libby, Managing Director, Hatzimemos/ Libby, Chair and Co-Founder, The Resolution Project
Breast cancer has become a bitter reality for women, the second most lethal form of cancer. According to a research one in eight women use to develop breast cancer and 85% of these women are not hereditary predisposed for the disease .For more info click here
"Strange game. The only winning move is not to play."
– Lawrence Lasker and Walter F. Parkes, "WarGames" (1983).
"Books of quotations are an elemental model of how culture is perpetuated, the wisdom of the trite passed on to posterity, to be added to, edited, and modified by subsequent generations."
– Robert Andrews, ed. 'The Columbia dictionary of quotations'. Columbia University Press, 1993.
"The natural scientist must be a modern materialist, a conscious adherent of the materialism represented by Marx, i.e., he must be a dialectical materialist."
– Vladimir Lenin, 'Collected Works', Progress Publishers, Moscow, Volume 33, pp. 227-236.
Digital Foundations uses formal exercises of the Bauhaus to teach the Adobe Creative Suite. All students of digital design and production—whether learning in a classroom or on their own—need to understand the basic principles of design in order to implement them using current software. Far too often design is left out of books that teach software for the trade and academic markets. Consequently, the design software training exercise is often a lost opportunity for visual learning. Digital Foundations reinvigorates software training by integrating Bauhaus formal design exercises inspired by the history of art and design into tutorials fusing design fundamentals and core Adobe Creative Suite methodologies. The result is a cohesive learning experience.
Graz, Stiria (Austria) (la chiesa degli Misericordiosi, la iglesia de los Misericordiosos, l'église des Miséricordieux, the Church of the Merciful) (Barmherzigenkirche)
(further pictures and information you can see by clicking on the link at the end of page)
History of the Austrian Province of the Order
About four centuries of eventful events
The history of the Order in Central Europe has its roots on the Tiber Island in Rome. There runs the dynamic, just now by the Pope confirmed Hospital Fraternities Order of St John of God since 1584 a Hospital. In this Hospital 1604 some of the staff of Prince Karl I of Liechtenstein, Envoy of Emperor Rudolf II in Rome, that have fallen ill from malaria are so excellently treated, that the prince shall ask the General Superior to send him some brothers for his territory in Lower Austria and Moravia. Those brothers take over in 1605 under the leadership of Fr John Baptist de Cassinetti the hospital to Saint Barbara in Feldsberg, the residence of the prince.
The second step follows with the delegation of Brother Gabriel Ferrara, an in Italy highly respected surgeon, to Vienna. He installs in 1614 on the road "towards Tabor" a small hospital with 20 beds. Through him Vienna became the starting point for further operations. Already in 1615 another house was founded in Graz. This is followed by Prague in 1620 and 1622 in Neuburg an der Donau. Those foundations form the framework for the further expansions of the Order in the countries of Central Europe.
The first generation of the brothers consists primarily of Italians who are struggling with social difficulties. The brothers win but by their exemplary nursing more and more prestige because their hospitals differ significantly from the in this country already existing hospital facilities, predominantly being hostels, retirement homes and infirmaries - as the Holy Spirit hospitals in Vienna and Graz. The branches of the Hospital Brothers are exclusively hospitals and therefore represent, regardless of their size of first 12 to 20 beds, in the countries of Central Europe the first hospitals in present-day understanding. One of the biggest sponsors was Emperor Ferdinand II, in 1624 the Vienna home endowing with the privilege to be allowed to collect alms in all Habsburg lands.
Due to the Thirty Years' War, the construction initially was just tough. In this by wars and pestilence devastated time, the Brothers of Charity are always to be found where their help is desperately needed. Many of them lose, as a result, their lives - as in 1679 with the great plague in Vienna.
Garden front of the Graz hospital in 1790
Establishment of the "Province of St. Michael the Archangel"
The six hospitals, Feldsberg, Vienna, Prague, Graz, Neuburg an der Donau and Triest, 1659 are raised to the province of the holy Archangel Michael. Until that time, still dominate Italians and some Spaniards that provide about half of the brothers in the convents of the Order in the countries of Central Europe. The exemplary commitment of the brethren but is bearing fruits, and many locals are joining the Order. From 1680 to 1700 a total of 165 brothers are making their profession.
At the end of the 17th Century in all plants of the brothers extensions and conversions are necessary. It develops a certain type of building with church, monastery, hospital and pharmacy in a front. The monks themselves are the nurses and surgeons. For internal diseases a postdoctoral secular physician is appointed who has the title "Spitalsphysikus (hospital physician)".
In principle, the sick are cared for free of charge. For daily maintenance ensure the collections. Despite the collection privilege and other privileges, the Order for the maintenance of the patients, for necessary purchases and for structural measures is dependent on contributions of the respective local lords and donations of wealthy nobles as well as civic benefactors.
Heyday
Within a few decades, doubled the number of the hospitals: Münster, Timisoara, Wroclaw, Eger, Neustadt/Silesia and Proßnitz are significant start-ups. The quality of training of the young brothers is leveled to those in the Latin countries, and since 1718 training centers in Prague and Feldsberg (Valtice - Czech Republic) are being built.
In addition to the imperial family and the Prince of Liechtenstein, other noble houses build on their dominions hospitals. The branches of the Order reach at the end of the 18th Century from Westphalia to the territory of today's Romania. The 31 hospitals of the province with about 500 monks represent a nationwide, well organized and cooperatively-led "network of Hospitality".
Towards the end of the 18th Century occur profound changes in the from Vienna led province. The Age of Enlightenment, the Josephinism, the side effects of the French Revolution and the changes in the Napoleonic period shape the processes strongly. 1781 Emperor Joseph II dissolves the German branches outside of the Habsburg patrimonial lands from the Provincial Association. The branches in the Habsburg lands themselves he separates from the Order leadership in Rome. Although he promotes the Order, but it comes to the isolation of the individual convents.
View of the Johannes von Gott Care Center in Kainbach in the 19th century
"Vienna and Graz Province"
1853 the province can again be linked to the General Curia in Rome and to reform-minded brothers in 1859 the Graz Convention is passed. This built in Algersdorf at Graz a convalescent home, which later on develops into the Hospital Graz-Eggenberg. In Kainbach at Graz 1875 a nursing home for the chronically ill is established and in 1876 in St. Veit an der Glan a new hospital built. Thus, the conditions for an own province are given, which in 1879 as the Inner Austrian province to the Sacred Heart of Jesus is established.
Due to the increase of Slovenian brothers in Graz the next step was to build in Kram in Rudolfswerth/Kandia a hospital, which is opened in 1898. From this house with its auxiliary facilities in Vrbinje, Kamnik and Stari Grad develops after the disintegration of the Austro-Hungarian Empire a separate Yugoslav General Delegation, whose existence in 1948 comes to an end by the state confiscation of religious institutions.
Archduke Leopold Salvator visits wounded people in the hospital Graz in 1915 .
Well-trained and recognized personalities lead in this period the Province of Vienna, including Celestine Opitz (1810-1866), who is also a great pioneer of the anesthesia surgery, and his student Johannes de Deo Sobel (1839-1903), who is able to bring the surgery in Prague to the most modern stand. These religious men know how to combine the requirements of progress in medicine with the care of the sick in the sense of the order's founder. The time of the great ancient wards once and for all is over, significant new buildings complement or replace the old hospitals in Vienna, Feldsberg, Linz and Graz.
1914 belong to the Austro-Bohemian Province 15 hospitals with a total of 1,550 beds. However, the World War brought lasting changes, because the majority of hospitals is converted into military hospitals and largely deprived of the power of disposition of the brothers. Due to the going to pieces of the Danube Monarchy the for centuries solid unit with Bohemia and Moravia goes astray, which is 1919 canonically separated, too.
Frater Medardus Oszmeyer treats a patient in the dental clinic in Vienna, 1937
Hardships after the First World War
The Viennese province remain next to the hospital in Vienna Leopoldstadt still the hospital in Linz and the convalescent home in Vienna Hütteldorf. In order to remain Province, in Kritzendorf in 1919 a fourth Convention is built. In 1922 comes the hospital in Eisenstadt because of the integration of the German-speaking areas of western Hungary (Burgenland) to the Vienna province. Only with great difficulty operation in the hospitals can be started. Now that all have to fight for the existence and the old foundation and support funds are worthless, the Order has virtually no resources. The closure of the Viennese house can be avoided only by support from foreign aid agencies. Fortunately, the Vienna City Administration allows an annual public collection.
Soon it comes to the expansion of the province: 1923 through the acquisition of Salzburg's troops Hospital and 1931 by the opening of the Kneipp spa hotel in Schärding. Another convent was founded in Walding at Linz, where a brothers holiday house is installed. As fourth foundation Wien-Gersthof comes along where a maternity ward is taken over and from 1936 on a general hospital is run.
Hospital Bad Kreckelmoos near Reutte in Tirol, 1950
Something similar happens with the Graz province. It can build in 1925 a small hospital in Kreckelmoos near Reutte despite difficult financial circumstances. For the first time gynecological departments in 1926 in St. Veit and Linz are opened. The hospitals of both provinces in this time are literally Hospitals of the poors - the distress in the cities is great, and the brothers themselves are living in modest conditions.
The outpatient clinics, where medical help is available free of charge, are constantly crowded, and also among the hospitalized patients, there are many who are totally destitute and absolutely not are able to pay anything, but nonetheless are looked after free of charge to the best of their knowledge and belief. Especially in Vienna and Graz are - despite of all its own financial woes - even hundreds of hungry people fed daily with a warm meal.
Reconstruction after the Second World War
The next turning point occurs at the time of National Socialism and the Second World War. Except for the Viennese house, all branch offices are expropriated. The main event of this period is the merger of the two in Austria located provinces for "Austrian province" in 1951.
Some facilities have been made soon after the war, so Gersthof 1945, the hospital in Nazareth in 1959, Kreckelmoos 1961 and Hütteldorf 1962. Since then, the brothers lead seven hospitals (Vienna, Graz, Linz, Eisenstadt, Graz-Eggenberg, St. Veit, Salzburg), two nursing centers (John of God Care Center in Kainbach, retirement and nursing home in Kritzendorf) and a spa (Kneipp and health center in Schärding). Since 1978 the Order in Vienna also has its own "school for general health and medical care".
Order and works newly profiled
With the creation of central structures, as in 1975 with the computing center of the province in Eisenstadt, important organizational requirements for responsible economic activity are created. Modernizations concern since the mid-70s all of the facilities. They entail the opening of new departments, and also the appearance of all of the houses changes to this day continuously.
Although traditionally the focus of the work of the Brothers of Charity in the Austrian Province of the Order lies on the hospital sector, becomes the caring for people in the sense of the "option for the poor", ousted from the social center because of special disabilities or by their kind of living increasingly important.
In addition to the traditional forms of hospitality emerge various forms of the so-called "New Hospitality". Socially marginalized groups and self-help groups find in the houses of the Order their nursing and medical home. In addition to traditional outpatient clinics for destitutes (dental clinic and general outpatient clinic in Vienna), in Linz (1993 ) and Vienna (1999) are created outpatient clinics for the deaf and in Vienna a special station for acutely ill Justice prisoners. The latter find here because they are not admitted by most of the Vienna's hospitals because of fear of contact and loss of reputation, the necessary nursing and medical care.
In July 1999, the life-world Schenkenfelden (Upper Austria/Mühlviertel) can, an establishment for the deaf and deaf-blind people with special needs, its work start and 2004 is in Kainbach opened a drug treatment center - for the first time in a Central European religious institution.
"Do good and do it well - for the love of Christ". To his motto of St. John of God, the Austrian Province of the Order feels today so deeply committed as 400 years ago.
www.barmherzige-brueder.at/site/barmherzigebrueder/ordens...
Granada Cathedral was built by Queen Isabella immediately after the conquest of Granada on the site of the Mosque. This cathedral is a masterpiece of Spanish Renaissance style.
Cathedral of Granada has impressive facades and a stunning interior with a grand altar and several chapels. In the burial chamber are the tombs of the Catholic kings.
Carlos V, always respectful to the memory of his ancestors, made sure that the Cathedral was built in accordance with desires of the Catholic kings.
The first stone of the Cathedral of Granada was laid in 1523 on the site of the ancient mosque. Its architect was Enrique Egas, master of the Old Gothic School. These works, concentrating on the foundations, lasted five years.
Egas was replaced by Diego of Siloam, another Spanish artist trained in Italy. His first decision was to change the Gothic style of Granada Cathedral to the Renaissance style.
He persuade the King to change the style, which was possible because what built Egas was only the foundation.
And herein lies the skill of Siloe, to build a Renaissance cathedral on Gothic foundations.
Granada Cathedral has many chapels of different ages and styles, the most interesting being the chapel of Nuestra Senora de la Antigua.
The Cathedral of Granada was left incomplete in its facade. Of the two towers planned, only one was built one and its height had to be lowered because the foundations for a Gothic cathedral could not resist the heavy mass of the tower.
Type : Photograph Medium : Print-black-and-white Description : A posed photograph of some of the workmen involved in the construction of the King Edward VII Bridge (opened in 1906) taken c.1905. The men are standing on the steps which led up to one of the three air locks of the caisson and on other parts of the bridge construction. The foundations of the three central piers of the bridge were built on caissons.Bridges Collection : Local Studies Source of Information : Manders F.
Coalition members stationed at Kandahar Airfield came together to participate in the Kandahar Crossfit Hero WOD. The WOD was a fund raiser for wounded warrior foundations from different coalition countries including the U.S., United Kingdom and Australia. The workout tested the strength endurance of competitors, while raising money for a worthy cause.
NEW LONDON, Conn. -- Sixty-six members of the Coast Guard Academy Scholars Program (CGAS) report into the Academy to participate in a 3-week orientation program, July 16, 2018.
The Academy-sponsored scholars program selects a handful of high school graduates, 24 of which are women and 33 are underrepresented minorities, to attend one of three prep schools, Marion Military Institute, the U.S. Naval Academy Prep School or Georgia Military College, for one year to strengthen their military and academic foundations in order to receive a direct appointment to the Academy upon completion.
U.S. Coast Guard photo by Petty Officer 3rd Class Nicole Foguth.
a kibbutz in Israel. 2007.
These are the types of molds used by the original settlers to make bricks, from which they built the first kibbutz on this site.
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna