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the monument remembering krakow ghetto on plac bohaterów getta [ghetto heroes' plaza]
en.wikipedia.org/wiki/Krak%c3%b3w_Ghetto
for more pictures of krakow go to the krakow set here on flickr:
www.flickr.com/photos/smif/sets/72157594189282676/
... or to my photoblog
Questa statua bronzea (posta sopra uno scoglio spugnoso) è denominata "Il Gennaio" o "Appennino" ed è databile tra il 1563 ed il 1565. Opera di Bartolomeo Ammannati (allievo di Michelangelo Buonarroti) essa raffigura un vecchio che tenta di ripararsi dal freddo con le braccia. Originariamente dalla testa della statua usciva un getto d'acqua a ombrello.
Questa bella statua si trova all'interno della Villa Medicea di Castello, nella zona collinare di Firenze, denominata Castello, famosa soprattutto per importanti ville rinascimentali con i magnifici giardini "all'italiana".
This bronze statue (located on a rock sponge) is called the "January" or "Apennines" and is dated between 1563 and 1565. Made by Bartolomeo Ammannati (a pupil of Michelangelo Buonarroti), it depicts an old man who tries to shelter from the cold with her arms. Originally the statue's head came out a jet of water umbrella.
This beautiful statue is located in the Medici Villa di Castello, in the hills of Florence, called Castello, famous for important renaissance villas with magnificent gardens "Italian".
Textura by Skeletal Mess
www.flickr.com/photos/skeletalmess/4303391947/in/faves-bu...
Le bassin de Latone résulte de la volonté de Louis XIV de créer, au centre de son Jardin, une fontaine qui raconte l’enfance d’Apollon, le dieu-soleil qu’il s’est choisi pour emblème. Pour créer cette fontaine, Louis XIV fait transformer un bassin creusé par Louis XIII en y installant progressivement des jeux d’eau et des décors sculptés par les frères Marsy. Le bassin de Latone connaît plusieurs états avant d’épouser sa forme actuelle. En 1667, il est la fontaine aux Crapauds. De 1668 à 1670, un premier bassin de Latone apparaît ; Latone est alors au même niveau que les autres figures et tournée vers le Château. De 1687 à 1689, Jules Hardouin-Mansart crée le bassin actuel, en faisant faire un demi-tour à Latone et en la hissant au sommet d’une pyramide de marbre.
The Bassin de Latone was the result of Louis XIV's desire to create a fountain in the centre of his garden that would tell the story of the childhood of Apollo, the sun god he had chosen as his emblem. To create this fountain, Louis XIV had a basin dug by Louis XIII transformed, gradually adding water features and decorations sculpted by the Marsy brothers. The Latone basin underwent several transformations before taking on its current form. In 1667, it became the Crapauds fountain. From 1668 to 1670, a first Latone basin appeared; Latone was then at the same level as the other figures and turned towards the Château. From 1687 to 1689, Jules Hardouin-Mansart created the current basin, turning Latone around and raising her to the top of a marble pyramid.
Added to the Cream of the Crop pool as my best of 2006.
C'era una volta, in un borgo sulle rive del Serchio, un bravo e stimato campomastro al quale gli abitanti del paese si erano rivolti per fare costruire un ponte che collegasse i due borghi divisi dal fiume. L'abile campomastro si mise subito all'opera, ma ben presto vide che il lavoro non procedeva con quella sveltezza che lui aveva promesso ai compaesani e, siccome era un uomo ligio al dovere e puntuale agli impegni, cadde nel più profondo sconforto e nella disperazione. Continuò a lavorare con lena giorno e notte, pur di finire il ponte per il giorno stabilito nel contratto, ma il lavoro lentamente e, al contrario i giorni passavano veloci. Una sera, mentre il capomastro sedeva da solo sulla sponda del Serchio a guardare il lavoro e a pensare alle vergogna e al disonore che avrebbe subito per non aver terminato il ponte in tempo utile, gli apparve il Diavolo sotto l'aspetto di un rispettabile uomo d'affari. Andò subito incontro al brav'uomo dicendoli che lui sarebbe stato capace di finire il ponte in una sola notte. L'uomo rimase incredulo alle parole del Diavolo, ma continuò ad ascoltarlo e alla fine accetto la proposta. Naturalmente l'avversario avrebbe avuto la sua parte: il campomastro si sarebbe dovuto impegnare a consegnargli l'anima della prima persona che avrebbe attraversato il ponte una volta finito. Il campomastro accettò e il giorno dopo il borgo ebbe il suo ponte snello ed elegante, come si può vedere ancora oggi a Bogo a Mozzano. La gente stupefatta e incredula andò a complimentarsi con il bravo artigiano il quale raccomandò di non oltrepassare il ponte prima che il sole fosse tramontato. Intanto il capomaestro montò sul suo cavallo e si diresse a Lucca, un po' preoccupato a dire il vero, per consultarsi con il Vescovo che a quel tempo era San Frediano. Il santo gli disse di non preoccuparsi e di lasciare che il Diavolo prendesse l'anima del primo che avrebbe attraversato il ponte, ma sarebbe sto dovere suo far sì che per primo passasse un maiale. Così fu fatto, e il Diavolo, inferocito per essere stato sconfitto, si gettò nelle acque del Serchio e da quel giorno non fu più visto da quelle parti.
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The Legend of the Devil's Bridge
Once upon a time a clever and respected master builder lived in a village on the banks of the Serchio River. The inhabitants of the village approached him, asking him to build a bridge to connect their village with the one across the river. He immediately set to work, but he soon saw that the work was not progressing as quickly as he'd promised his fellow citizens it would, and being a man of his word and one who always fulfilled his obligations, he became very unhappy and desperate. He continued to put great effort into the work day and night so as to finish the task within the time allowed for in the contract, but the work continued to proceed very slowly while the days flew by. One evening while the builder was sitting alone on the banks of the Serchio looking at the work and thinking of the shame and discredit he would suffer for not having completed it in time, the devil appeared to him in the form of a respectable businessman.
He went straight up to the builder telling him that he'd be able to finish the bridge in a single night. The man didn't believe what the devil was saying, but listened anyway, and in the end accepted his proposal. Naturally the devil wanted something in return: the builder was to undertake to give him the soul of the first person that crossed the bridge when it was completed. The builder accepted and the following day the village had its beautiful bridge that can still be seen today in Borgo a Mozzano.
The people were stunned and unable to believe what had been accomplished, and went to congratulate this craftsman who ordered them not to cross the bridge before sunset. In the meantime, the builder got on his horse, a little worried if the truth be told, and set off for Lucca to ask the Bishop for advice. At that time the Bishop was Saint Frediano. This saintly man told him not to worry and to allow the devil to take the soul of the first person to cross the bridge, and told him to let a pig cross first. This was done and the devil, furious at having been tricked, threw himself into the waters of the Serchio, and has not been seen in the area since.
Explore # 389 10th june 2009, Thank you for all the comments everyone.
This is Belgian Chocolate sponge melt in the middle pudding by a leading supermarket in UK! 540kcal ! The pudding didn't slide out of the plastic pot as instructed on the box. Half of it was still stuck to the bottom of the pot. I think i had left it too long in the microwave.
Went totally getto with this. 2 Halogen Lamps on either side. Top illumination by 4 Spot lights in the kitchen. EF 60mm f/2.8 macro
La fontana originale, scomparsa già nel '700 e nota solo attraverso un'anonima incisione coeva, era stata realizzata forse su disegno di Francesco Borromini e si trovava nella nicchia, poco profonda e tuttora esistente, ricavata in una parete dell'attuale palazzo Ossoli che si trova di fronte a palazzo Spada. La nicchia, inquadrata in un ampio prospetto a forti finte bugnature, racchiudeva una figura femminile in stucco, nell'atto di premersi il seno dal quale sprizzavano due sottili fili d'acqua che si raccoglievano nella conca sottostante. Da una fessura nascosta alla base della statua, un ampio ventaglio d'acqua si versava in una vasca di granito di forma ovale, adorna di protomi leonine. La fontana attuale, recentemente restaurata è sistemata al posto di quella scomparsa entro la stessa nicchia. E' formata da una ben modellata testa di leone che dalla bocca versa acqua in un sarcofago ovale sollevato su due sostegni di travertino e caratterizzato da una forte strigilatura e da due protomi leonine simmetriche che riversano l'acqua nella sottostante vasca di raccolta a livello stradale, protetta da due colonnine collegate da una ringhiera di ferro. All'interno della nicchia, sopra la testa del leone centrale, è stata collocata la sagoma di un'erma femminile dipinta a monocromo, dai cui seni non proviene più nessun getto d'acqua.
The original fountain, which disappeared as early as the 1700s and known only through an anonymous coeval engraving, was perhaps made to a design by Francesco Borromini and was located in the niche, not very deep and still existing, obtained in a wall of the current Ossoli palace which it is located in front of Palazzo Spada. The niche, framed in a large façade with strong fake ashlar, enclosed a female figure in stucco, in the act of pressing her breast from which two thin threads of water spurted and collected in the basin below. From a hidden crevice at the base of the statue, a large fan of water poured into an oval-shaped granite basin, adorned with lion protomes. The current fountain, recently restored, is placed in the place of the one that disappeared within the same niche. It is formed by a well-modeled lion's head that pours water from its mouth into an oval sarcophagus raised on two travertine supports and characterized by a strong strigilatura and by two symmetrical lion protomes that pour the water into the underlying collection tank at street level , protected by two small columns connected by an iron railing. Inside the niche, above the head of the central lion, the silhouette of a female herm painted in monochrome has been placed, from whose breasts no jet of water comes anymore.
La fontaine originale, qui a disparu dès les années 1700 et connue seulement par une gravure contemporaine anonyme, a peut-être été réalisée sur un dessin de Francesco Borromini et était située dans la niche, peu profonde et toujours existante, obtenue dans un mur de l'actuelle Palais Ossoli dont il est situé en face du Palazzo Spada. La niche, encadrée dans une large façade à forte pierre de taille factice, renfermait une figure féminine en stuc, en train de presser sa poitrine d'où jaillissaient deux minces filets d'eau et s'accumulaient dans le bassin en contrebas. D'une crevasse cachée à la base de la statue, un grand éventail d'eau se déversait dans un bassin de granit de forme ovale, orné de protomes de lion. La fontaine actuelle, récemment restaurée, est placée à la place de celle qui a disparu au sein de la même niche. Il est formé d'une tête de lion bien modelée qui verse de l'eau de sa bouche dans un sarcophage ovale élevé sur deux supports en travertin et caractérisé par une forte strigilature et deux protomes de lion symétriques qui versent l'eau dans le réservoir collecteur sous-jacent au niveau de la rue, protégé par deux colonnettes reliées par une balustrade en fer. A l'intérieur de la niche, au-dessus de la tête du lion central, a été placée la silhouette d'un hermès féminin peint en monochrome, dont les seins ne sortent plus aucun jet d'eau.
This is the location of one of the main ghetto entrances, which was situated opposite the building of the "Collegium" Society at 84 Leszno Street.
This building was eventually destroyed by the Germans, but during the existence of the "Jewish quarter" it housed the Labour & Statistics Departments of the Judenrat (Jewish Council). As it was on the "Aryan" side of the ghetto wall, a wooden footbridge was built over Żelazna Street in September 1941 to allow Jews to enter the building directly at second floor level.
Warsaw ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
This marker commemorates the nearby Supreme Court building on Leszno Street (now Aleja Solidarności), which bordered the ghetto and became a meeting place for people from both sides of the ghetto wall, as well as a potential escape route for Jews wanting to hide outside of the "Jewish quarter".
Biała Street, which led to the Court from Chłodna Street, was located here and provided access from the "Aryan side" of the wall (after the war this street was re-created approximately 200 metres to the west).
Warsaw Ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
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All my photographic images are copyright. All rights are reserved. Do not use, copy or edit any of my photographs without my written permission.
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Così
fosco
come
quest’alacre spugna.
contratta
sotto un fluttuoso
getto d'acqua
il tuo volto
compare
amico
arso
d'uniforme malinconia
____________________Glauco's 2010
Copyright © 2010. All rights reserved.
Please, do not use my photos without my written permission.
© All rights reserved. Use without permission is illegal
...E il ragazzo,mingherlino,debole,malato,si gettò contro il grande Feri Ats con una forza che solo la febbre e il delirio potevano...
...And the boy, skinny, weak, sick, threw himself against the great Feri Ats with a force that only a fever and delirium could ...
This was the original southwest corner of the ghetto. One of its 22 gates stood here and operated from 16th November 1940 to 20th January 1941....
Warsaw Ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
The EBA show was last friday was organised by Karma83 ODN and myself, was a really good evening lots of people lots of good food and lots of beer got drunk all canvas will be hanging there till into the new year
phots by MLSS
Lago di Vico, Viterbo, Italy
2011
Il Lago di Vico è un lago di origine vulcanica dell'Italia centrale situato nella provincia di Viterbo. Esso vanta il primato di altitudine tra i grandi laghi italiani con i suoi 507 m s.l.m. Per le sue peculiari caratteristiche naturali il comprensorio Vicano è incluso tra le aree di particolare valore naturalistico del Lazio e tra i biotopi di rilevante interesse naturalistico in Italia. È circondato dal complesso montuoso dei monti Cimini, in particolare è cinto dal Monte Fogliano (965 m) e dal Monte Venere (851 m), è parte della Riserva naturale Lago di Vico.
Secondo la leggenda ebbe origine dalla clava che Ercole infisse nel terreno per sfidare gli abitanti del luogo; nessuno riuscì a rimuoverla. Quando lo fece Ercole, sgorgò un enorme getto d'acqua che andò a riempire la valle formando così il lago.
Il lago di Vico è in realtà il risultato della attività vulcanica ed è quello che meglio ha conservato la caratteristica forma che ne testimonia l'origine. Il lago ha avuto origine circa 100.000 anni fa in seguito al riempimento della caldera vulcanica.
Lake Vico (Italian Lago di Vico) is a volcanic lake in the northern Lazio region, central Italy. It is one of the highest major Italian lakes, with an altitude of 510 m. Administratively, it is part of the municipalities of Caprarola and Ronciglione.
The lake is surrounded by the Cimini Hills, in particular by the Fogliano (965 m) and Venere (851 m) mountains. It is part of the Lake Vico Natural Reserve.
According to legend, the lake was created by Hercules, who defied the local inhabitants to wield his club. When he did this, a stream sprung up and formed the lake. The lake is in fact a result of the past volcanic activity of Lazio, originating some 100,000 years ago when an extinguished crater was flooded. Before the construction of a tunnel by the Etruscans, the lake was probably deeper than today, the Monte Venere constituting an island within it.
The lake is drained by the River Vicano.
The area is famous for its extensive beech forest, which is one of the most southerly in Europe. The elevation, plus the surrounding sides of the crater, create cool enough conditions for the continued survival of the trees. A large part of the northern side of the crater is a nature reserve to protect this forest.
source: Wikipedia
This memorial monument for the murdered Jews of the Podgorze Ghetto in Krakow is located at Plac Bohaterów Getta (the Ghetto Heroes' Square), before 1948 known as Plac Zgody (the Concordia Square).
It was constructed by Krakow architects Piotr Lewicki and Kazimierz Łatak and includes 33 illuminated chairs (1.4 m high) in the square and 37 smaller chairs (1.2 m high) standing on the edge of the square and at the tram stops.
The fundamental symbolical idea behind the project is a stylistic representation of all the old furniture being thrown out onto the so-called Umschlagplatz at the Podgorze Ghetto, when the inhabitants of the ghetto had finally been assembled by the German SS in so-called Aktionen to be sent to death.
Iceland 2016
La cascata Seljalandsfoss,una delle più belle cascate dell'Islanda sud occidentale.
Seljalandsfoss è una splendida cascata visibile anche dalla strada principale, ed è facilmente accessibile. L'acqua salta da una scarpata rocciosa e si tuffa in un piccolo laghetto. Si può anche passare dietro il getto della cascata camminando lungo un sentiero che passa vicino la roccia.
The Seljalandsfoss waterfall, one of the most beautiful south western Iceland's waterfalls.
Seljalandsfoss is a beautiful waterfall visible from the main road, and is easily accessible. Water jumps from a rocky escarpment and dives in a small pond. You can also go behind the spray of the waterfall walking along a trail passing by the rock.
Visit of the Frecce Tricolori Squadron at NATO E-3A Component Geilenkirchen/Germany, ETNG -----------------------------------------------
The Frecce Tricolori (Italian pronunciation: [ˈfrettʃe trikoˈloːri]; literally "Tricolour Arrows"), officially known as the 313° Gruppo Addestramento Acrobatico, Pattuglia Acrobatica Nazionale (PAN) Frecce Tricolori ("313th Acrobatic Training Group, National Aerobatic Team (PAN) Frecce Tricolori"), is the aerobatic demonstration team of the Italian Air Force. Based at Rivolto Air Base, province of Udine, it was created on 1 March 1961 as a permanent group for the training of Air Force pilots in air acrobatics.[1]
The Tricolour Arrows replaced unofficial teams that had been sponsored by various commands starting in the early 1930s.[2] The team flies the Aermacchi MB-339-A/PAN, a two-seat fighter-trainer craft capable of 898 km/h at sea level.[2][3] With ten aircraft, nine in close formation and a soloist, they are the world's largest acrobatics patrol, and their flight schedule, comprising about twenty acrobatics and about half an hour, made them the most famous in the world.[4] It is one of national symbols of Italy.
Formation
During the performances the formation of the acrobatic patrol is usually composed of 9 aircraft, called "Pony", each labeled with a number ranging from 1 to 10.[18][19] The name "Pony" was coined by the then Captain Zeno Tascio to remember the horse of Francesco Baracca[20] which is the sign of the 4th Wing, at the time 4th Airbase who was already preparing to take over the task PAN for the 1961. Depending on the needs of the Department, aircraft can also be 11 in total, thus including the figure of the acrobatic training manager:
Pony 0 - Commander
Pony 1 - Head of Formation
Pony 2 - 1° Left Domestique
Pony 3 - 1° Right Domestique
Pony 4 - 2° Left Domestique
Pony 5 - 2° Right Domestique
Pony 6 - 1° Tail light
Pony 7 - 3° Left Domestique
Pony 8 - 3° Right Domestique
Pony 9 - 2° Tail light
Pony 10 - Soloist
Pony 11 - Acrobatic Training Supervisor
Pony 12 - Pilot in Training
Pony 13 - Pilot in Training
Pony 14 - Pilot in Training
Pony 15 - Pilot in Training
Pony 16 - Pilot in Training
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Frecce Tricolori (italienisch für Dreifarbige Pfeile) sind eine Kunstflugstaffel der italienischen Luftwaffe, die 1961 als 313º Gruppo Addestramento Acrobatico aufgestellt wurde. Die Staffel ist auf dem Militärflugplatz Rivolto bei Udine stationiert und erhielt am 1. Juli 1961 den heutigen Namen: 313º Gruppo Addestramento Acrobatico - Pattuglia Acrobatica Nazionale (PAN) “Frecce Tricolori”.
Der Ursprung des Kunstflugteams reicht bis in die 1920er Jahre zurück. Bei einem Besuch in Großbritannien hatten einige hohe Fliegeroffiziere die Anfänge des Formationskunstflugs kennengelernt. Der Befehl zur Gründung einer Kunstflugstaffel ging an Oberst Rino Corso Fougier in Udine. Er gilt als Vater des italienischen Formationskunstflugs und prägte maßgeblich den Ausbildungsstandard der Militärpiloten.
Die erste Fünfer-Kunstflugstaffel seines 1. Geschwaders (1º Stormo) war in Campoformido stationiert. Die erste Staffel erschien am 8. Juni 1930 bei der 1ª Giornata Aerea dell’Ala in Rom als offizieller Repräsentant der italienischen Luftwaffe.[1] In dieser Geburtsstunde zeigten sie mit sieben Jagddoppeldeckern vom Typ Fiat CR.20 ihr erstes Programm. Die 2ª Giornata Aerea dell’Ala 1932 zeigte mit Doppeldeckern vom Typ Breda Ba.19 ihr Programm. 1936 erhielten die „Frecce“ die Fiat CR.32.
Nach der Unterbrechung durch den Zweiten Weltkrieg begannen sie erneut mit Düsenflugzeugen das Formationskunstflugtraining. Die Teams Cavallino Rampante („Aufbäumendes Pferdchen“), Getti Tonanti („Donnernde Jets“), Tigri Bianche („Weiße Tiger“), Lancieri Neri („Schwarze Lanzenreiter“) und die Diavoli Rossi („Rote Teufel“) wurden bekannt.
Die erste wirkliche italienische Kunstflugstaffel wurde vom 4º Stormo aufgestellt. Als erste Einheit mit den Doppelrumpfjägern de Havilland D.H.100F.B.52 bildeten die Piloten des Geschwaders 1954 das erste italienische Kunstflug-Jet-Team mit dem Namen „Cavallino Rampante“. Mit der Republic F-84G starteten die „Getti Tonanti“ als Nachfolger der Staffel „Cavallino Rampante“. Der Fliegerfilm I quattro del getto tonante („Die vier donnernden Jets“) wurde mit dem Team gedreht. Die 51ª Aerobrigata übernahm 1955 mit dem Team „Tigri Bianche“ die Funktion der offiziellen Kunstflugstaffel der italienischen Luftwaffe, geflogen mit F84G Thunderjets. 1956 flog wieder das 4° Stormo mit neuen Canadair F-86 Sabre Mk4[2]. Das 6° Stormo flog als „rote Teufel“ („Diavoli Rossi“) die Republic F84F Thunderstreaks erstmals am 19. Mai 1957 auf dem Flughafen Turin-Caselle. 1958 wurde die 2ª Aerobrigata mit dem Namen „Lancieri Neri“ aufgestellt. Die sechs Piloten flogen eine F-86 Sabre.
Das Generalstab der italienischen Luftwaffe entschloss sich Ende 1960, ein eigenes Kunstflugteam aufzubauen, das nur noch in der Nebenrolle als leichte Jagdbomberstaffel zur Verfügung stehen sollte. Mit dieser Aufgabe wurde die 313º Gruppo betraut.
More info and other languages available at:
"With a palm full of stars
I throw them like dice
I shake them like dice
And throw them on the table repeatedly
Until the desired constellation appears
And I ask myself:
How am I going to make it right?"
Bjork
"Con un palmo pieno di stelle
Le lancio come dadi
Le scuoto come dadi
e le getto sul tavolo ripetutamente
finchè compare la costellazione desiderata
e mi chiedo:
Come farò a farlo in modo giusto?"
Una rastra cañera, desviada por el Sitramss, botó dos postes del tendido eléctrico y otro de telefonía en el final Bulevar de Los Héroes frente al Hospital Nacional de niños Benjamín Bloom, lo que provocó congestionamiento y corte de energía durante 11 horas el sector, por lo que fue necesario cerrar el paso vehicular para la reparación de cables y postes. Un taxista también se salvó de milagro, ya que uno de los postes cayó en la parte trasera del carro.
A sugarcane dredge, diverted by the Sitramss, threw two poles, electrical lines and other telephony at the end of Boulevard of Heroes against the Hospital Nacional de Niños Benjamín Bloom, causing congestion and power for 11 hours cut the sector, so it was necessary to shut off traffic for the repair of cables and poles. A taxi driver also escaped miracle, since one of the posts fell on the back of truck.
Una chiatta di canna da zucchero, deviata dalla Sitramss, gettò due pali, linee elettriche e altri telefonia alla fine del viale degli eroi contro la fioritura di Benjamín Hospital Nacional de Niños, causando la congestione e il potere per 11 ore tagliare il settore, quindi è stato necessario chiudere al traffico per la riparazione di cavi e pali. Un tassista anche sfuggito il miracolo, poiché uno dei post cadde sul retro del camion.
Una chiatta di canna da zucchero, deviata dalla Sitramss, gettò due pali, linee elettriche e altri telefonia alla fine del viale degli eroi contro la fioritura di Benjamín Hospital Nacional de Niños, causando la congestione e il potere per 11 ore tagliare il settore, quindi è stato necessario chiudere al traffico per la riparazione di cavi e pali. Un tassista anche sfuggito il miracolo, poiché uno dei post cadde sul retro del camion.
Bałuty | Aleja Pamięci Ofiar Litzmannstadt Getto
During World War II, the Radogoszcz station built originally between 1926 and 1937, was the main railway link of the Łódź Ghetto to the outside world, used predominantly for the Holocaust transports organized by German Nazis.
In 2004, the commemoration ceremonies on the 60th anniversary of the destruction of the Łódź Ghetto in 1944 and the departure of the last transport from Radegast spurred efforts to transform the former station into a Holocaust memorial. On August 28, 2005, a monument commemorating the Jewish victims who passed through the station was unveiled, based on design by Czesław Bielecki, and featuring the 140 metres Tunnel of the Deported. The renovated station building serves as one of the divisions of the Łódź Museum of Independence.
Fiat G 91 R atterraggio con parafreno.
Il Fiat G.91, poi Aeritalia G-91, era un cacciabombardiere-ricognitore monomotore a getto ed ala a freccia progettato dall'ing. Giuseppe Gabrielli e prodotto dall'azienda aeronautica italiana Fiat Aviazione (divenuta Aeritalia in un secondo tempo) dalla metà degli anni cinquanta. Fu il vincitore del concorso bandito dalla NATO nel 1953 per la produzione di un nuovo aereo leggero da supporto tattico. Utilizzato principalmente dalla tedesca Luftwaffe e dall'Aeronautica Militare, in Italia è noto anche per essere stato a lungo il velivolo della pattuglia acrobatica nazionale Frecce Tricolori fino alla sua sostituzione con l'Aermacchi MB-339PAN. La Força Aérea Portuguesa impiegò il G.91 dal 1966 al 1973 nelle operazioni di controguerriglia nella Guinea portoghese e in Mozambico. Restò in produzione per 19 anni. Ne furono costruiti 756 esemplari, inclusi i prototipi e i modelli di pre-produzione.
Fiat G 91 R landing with brake guard.
The Fiat G.91, later Aeritalia G-91, was a single-engine jet and swept-wing fighter-reconnaissance fighter-bomber designed by Eng. Giuseppe Gabrielli and produced by the Italian aeronautical company Fiat Aviazione (which later became Aeritalia) since the mid-1950s. It was the winner of the competition announced by NATO in 1953 for the production of a new light tactical support aircraft. Used mainly by the German Luftwaffe and the Air Force, in Italy it is also known for having long been the aircraft of the national aerobatic team Frecce Tricolori until its replacement with the Aermacchi MB-339PAN. The Portuguesa Air Force employed the G.91 from 1966 to 1973 in counter-guerrilla operations in Portuguese Guinea and Mozambique. It remained in production for 19 years. 756 examples were built, including prototypes and pre-production models.
Atterrissage Fiat G 91 R avec protection de frein.
Le Fiat G.91, plus tard Aeritalia G-91, était un avion à réaction monomoteur et un chasseur-bombardier de reconnaissance à ailes en flèche conçu par l'ingénieur. Giuseppe Gabrielli et produit par la société aéronautique italienne Fiat Aviazione (devenue plus tard Aeritalia) depuis le milieu des années 1950. Il fut lauréat du concours annoncé par l'OTAN en 1953 pour la production d'un nouvel avion léger de soutien tactique. Utilisé principalement par la Luftwaffe allemande et l'armée de l'air, il est également connu en Italie pour avoir longtemps été l'avion de l'équipe nationale de voltige aérienne Frecce Tricolori jusqu'à son remplacement par l'Aermacchi MB-339PAN. L'armée de l'air portugaise a utilisé le G.91 de 1966 à 1973 dans des opérations de contre-guérilla en Guinée portugaise et au Mozambique. Il est resté en production pendant 19 ans. 756 exemplaires ont été construits, dont des prototypes et des modèles de pré-production.
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To the black Camel, (1, Bogner alley 5, part, conscription number 312), house sign.
Here were originally two buildings: a house was already in the second quarter of the 15th century owned by bowyers and belonged in 1455 the bowyer Erhart Fütterer of Retz and 1458 the bowyer Stefan Leyser. The other house was also owned by bowyers. Its first documentary mention dates from the year 1456. In 1527 painter Hanns Gruntmann acquired both houses. His successor in ownership the two before 1539 had developed into one, which came in 1619 in the possession of the merchant Johann Baptist Cameel, who (coming from his native city of Brno to Vienna) established a spice factory here. He named his shop "The Black Camel" and later gave the house an identical sign. Since Cameel left large debts, the building together with his two other houses city 307 and 311 (both went up in the house Bogner alley 5) in 1640 was publicly auctioned and acquired by the tradesman Andre Getto, who also the house city 320 (Hallweilsches house; 3, part) possessed. After that, however, the three buildings had different owners again.
At the beginning of the 19th century, the store, which was expanded to a wine bar (wine and delicatessen), was frequented by the better society of Vienna and was known as a breakfast parlor. Beethoven was a frequent guest who bought wine, sugar and coffee from the then owner, Mrs. Stiebitz. The upper floor of the house was home to the poet and composer Friedrich August Kanne at the beginning of the 1820s. At that time, the building belonged to the k.k. Captain Franz Galle, who according to a commemorative publication (F.J. Stiebitz: commemorative on the occasion of the demolition of the old Kameelhaus in Bogner alley, 1901), is said to have become the first victim of the cholera raging in Vienna in 1830 and to have died within three hours.
Between 1828 and 1882 there are different details about this house: According to Czeike (Felix Czeike: Historical Dictionary of Vienna) house and wine bar 1828 were owned by Joseph Stiebitz († 1852), who the adjacent house "Zu den drei Tirolern (to the three Tyroleans)" (city 313 also Bogner alley 5) had to buy in order to use its first floor premise to expand his flourishing business. In 1882, his grandson (Franz) Josef Stiebitz was the owner.
Harrer (Paul Harrer: Vienna, its houses), however, indicates that the house was divided after Gaul's death on three heirs. The wine and delicatessen, however, belonged since May 1818 to Joseph Stiebitz and two co-owners and from 1823 Joseph Stiebitz alone. The interest payable for restaurants, wineries and dwellings amounted to 6,500 guilders in 1824, which was a very high amount for the time. In 1835 Stiebitz bought the neighboring house city 313 ("To the three Tyroleans" or "Zu den drei Schweizern/To the three Swiss men") in order to expand his business. Joseph Stiebitz also made a name for himself as the "father of the poor of the city". In addition to other foundations, he supported above all the still very young Handlungskrankeninstitut (hospital) "Confraternity", for whose chapel he donated a large part of the decoration. In 1830 he was appointed general director of the bourgeois merchant profession. He was also one of the first members of the Gesellschaft der Musikfreunde (Society of Friends of the Music in Vienna). All parts of the house city 312 (but without the ownership rights to the shop) came under a inheritance contract from 2 May 1842 together with the house city 307 in one hand. On October 31, 1848, the house was hit by two shotgun balls, which penetrated through an iron-studded balcony in the back of the wine bar and were found only years later in an adaptation. When the troops moved into the city, nobody was allowed to show themselves on the streets or behind the windows. However, a maid ignored this ban and looked out of the window of this house, whereupon she was killed by a shotgun in front of the eyes of nineteen-year-old Rosa Stiebitz, the wife of Alois Stiebitz (son of Joseph Stiebitz). Rosa and Alois Stiebitz introduced regular music evenings in the house, in which the most important artists of the time were often and welcome guests. Between 1842 and 1882 the two houses 307 and 312 were built into one, which was acquired in 1882 by Franz Josef Stiebitz, who already owned the house city 313.
In 1901, the house together with the neighboring buildings city 313 and 314 was replaced by a new building designed by Julius Mayreder, in which the wine and delicatessen "Zum schwarzen Kameel (to the black Camel)" was again housed. It was still owned by the Stiebitz family until 1951 and was sold to the Erste Österreichische Sparkasse (First Austrian Savings Bank) this year.
From the family of Johann Baptist Cameel sprang the learned missionary and botanist P. Georg Josef Cameel (Camelius), after whom Carl Linnaeus one of him in the Philippines discovered flower "camellia" named.
See also: Bogner alley 5.
Dependence of the employee on the employer
The employees in the wine and delicatessen "To the black camel" had 1818 as employees accounts with their boss, on that their salary was booked on a monthly basis. As was customary a that time, no cash was issued. Only if one could motivate that one needed cash for a special occasion, money was paid out. The boss participated from time to time in the purchases. The thriftiness of the employees was promoted in such a way that some could become self-employed after 10 or 20 years with the saved money. Even the marriage license had to give the boss. The relationship of subservience of employees was emphasized by the fact that they were called "individuals" in their contracts, even if they were in a "high position".
Businesses and companies within the house over the years
Gewürzkrämerei (spice store) "To the black camel"
Wine and delicatessen "To the black camel"
Zum schwarzen Kameel, (1, Bognergasse 5, Teil; Konskriptionsnummer 312), Hausschild.
Hier standen ursprünglich zwei Gebäude: Ein Haus war schon ab dem zweiten Viertel des 15. Jahrhunderts im Besitz von Bognern und gehörte 1455 dem Bogner Erhart Fütterer von Retz und 1458 dem Bogner Stefan Leyser. Auch das andere Haus gehörte Bognern. Seine erste urkundliche Erwähnung stammt aus dem Jahr 1456. Im Jahr 1527 erwarb Maler Hanns Gruntmann beide Häuser. Sein Besitznachfolger ließ die beiden vor 1539 zu einem verbauen, das 1619 in den Besitz des Handelsmannes Johann Baptist Cameel kam, der (aus seiner Vaterstadt Brünn nach Wien gekommen) hier eine Gewürzkrämerei einrichtete. Sein Geschäft benannte er "Zum schwarzen Kameel" und gab später auch dem Haus ein gleichlautendes Schild. Da Cameel große Schulden hinterließ, wurde das Gebäude gemeinsam mit seinen beiden anderen Häusern Stadt 307 und 311 (beide gingen im Haus Bognergasse 5 auf) 1640 öffentlich versteigert und vom Handelsmann Andre Getto erworben, der auch das Haus Stadt 320 (Hallweilsches Haus; Am Hof 3, Teil) besaß. Danach hatten die drei Gebäude jedoch wieder unterschiedliche Besitzer.
Anfang 19. Jahrhundert wurde der zu einer Weinstube erweiterte Laden (Wein- und Delikatessenhandlung) von der besseren Gesellschaft Wiens gern aufgesucht und war vor allem als Frühstücksstube stadtbekannt. Beethoven war ein häufiger Gast, der bei der damaligen Besitzerin, Frau Stiebitz, Wein, Zucker und Kaffee kaufte. Im oberen Stockwerk des Hauses wohnte Anfang der 20er Jahre des 19. Jahrhunderts der Dichter und Komponist Friedrich August Kanne. Zu dieser Zeit gehörte das Gebäude dem k.k. Hauptmann Franz Galle, der laut einer Gedenkschrift (F. J. Stiebitz: Gedenkschrift anläßlich der Demolierung des alten Kameelhauses in der Bognergasse. 1901) das erste Opfer der 1830 in Wien grassierenden Cholera geworden und binnen drei Stunden gestorben sein soll.
Zwischen 1828 und 1882 gibt es unterschiedliche Angaben zu diesem Haus: Laut Czeike (Felix Czeike: Historisches Lexikon Wien) waren Haus und Weinstube 1828 im Besitz von Joseph Stiebitz († 1852), der das angrenzende Haus "Zu den drei Tirolern" (Stadt 313; heute ebenfalls Bognergasse 5) dazukaufen musste, um dessen Parterrelokal zur Erweiterung seines florierenden Geschäfts zu benützen. 1882 war sein Enkel (Franz) Josef Stiebitz Besitzer.
Harrer (Paul Harrer: Wien, seine Häuser) hingegen gibt an, dass das Haus nach Galles Tod auf drei Erben aufgeteilt wurde. Die Wein- und Delikatessenhandlung gehörte jedoch seit Mai 1818 Joseph Stiebitz und zwei Mitbesitzern und ab 1823 Joseph Stiebitz allein. Der zu zahlende Zins für Lokal, Kellereien und Wohnung betrug im Jahr 1824 6.500 Gulden, was für die damalige Zeit ein sehr hoher Betrag war. 1835 (nach der bereits erwähnten Gedenkschrift 1828) kaufte Stiebitz das Nachbarhaus Stadt 313 ("Zu den drei Tirolern" oder "Zu den drei Schweizern"), um sein Geschäft zu erweitern. Joseph Stiebitz machte sich auch einen Namen als "Armenvater der Stadt". Neben anderen Stiftungen unterstützte er vor allem das noch sehr junge Handlungskrankeninstitut "Confraternität", für dessen Kapelle er einen Großteil der Ausschmückung spendete. 1830 wurde er zum Generalvorstand des bürgerlichen Handelsstandes ernannt. Er gehörte außerdem zu den ersten Mitgliedern der Gesellschaft der Musikfreunde. Alle Teile des Hauses Stadt 312 (jedoch ohne die Besitzrechte am Geschäft) kamen laut einem Erbschaftsvertrag vom 2. Mai 1842 zusammen mit dem Haus Stadt 307 in eine Hand. Am 31. Oktober 1848 wurde das Haus von zwei Kartätschenkugeln getroffen, die durch einen mit Eisen beschlagenen Balkon in den hinteren Teil der Weinstube eindrangen und erst Jahre danach bei einer Adaptierung gefunden wurden. Als die Truppen in die Stadt einzogen, durfte sich niemand auf den Straßen oder hinter den Fenstern zeigen. Ein Dienstmädchen missachtete jedoch dieses Verbot und sah aus dem Fenster dieses Hauses, worauf es durch einen Flintenschuss vor den Augen der neunzehnjährigen Rosa Stiebitz, der Gattin von Alois Stiebitz (Sohn von Joseph Stiebitz), getötet wurde. Rosa und Alois Stiebitz führten im Haus regelmäßige Musikabende ein, bei denen die bedeutensten Künstler der damaligen Zeit oft und gern gesehene Gäste waren. Zwischen 1842 und 1882 wurden die beiden Häuser 307 und 312 zu einem verbaut, das 1882 von Franz Josef Stiebitz erworben wurde, der bereits das Haus Stadt 313 besaß.
1901 wurde das Haus samt den Nachbarhäusern Stadt 313 und 314 durch einen Neubau nach Plänen von Julius Mayreder ersetzt, in dem wieder die Wein- und Delikatessenhandlung "Zum schwarzen Kameel" untergebracht wurde. Es stand noch bis 1951 im Besitz der Familie Stiebitz und wurde in diesem Jahr an die Erste österreichische Sparkasse verkauft.
Aus der Familie des Johann Baptist Cameel entsproß der gelehrte Missionar und Botaniker P. Georg Josef Cameel (Camelius), nach dem Linné eine von ihm auf den Philippinen entdeckte Blume "Kamelie" benannte.
Siehe auch: Bognergasse 5.
Abhängigkeit der Arbeitnehmer vom Arbeitgeber
Die Arbeitnehmer in der Wein- und Delikatessenhandlung "Zum schwarzen Kameel" hatten 1818 als Angestellte Konten bei ihrem Chef, auf die ihr Gehalt monatlich gut gebucht wurde. Nach damaligem Brauch wurde kein Bargeld ausgestellt. Nur wenn man motivieren konnte, dass man aus einem besonderen Anlass Bargeld brauchte, wurde ausbezahlt. Der Chef beteiligte sich ab und zu bei den Ankäufen. Der Sparsinn der Angestellten wurde derart gefördert, dass sich manche nach 10 oder 20 Jahren mit dem gesparten Geld selbständig machen konnten. Selbst die Eheerlaubnis hatte den Chef zu erteilen. Das Untertänigheitsverhältnis der Angestellten wurde dadurch betont, dass sie in ihren Kontrakten "Individuen" genannt wurden, auch wenn sie sich in "gehobener Stellung" befunden.
Gewerbe und Firmen innerhalb des Hauses im Laufe der Jahre
Gewürzkrämerei "Zum schwarzen Kameel"
Wein- und Delikatessenhandlung "Zum schwarzen Kameel"
This small street situated between Zielna Street and Gzybowski Square was at the eastern extremity of the so-called "small ghetto" (the part of the Warsaw ghetto south of Chłodna Street) from November 1940 until the autumn of 1942, when this area of the ghetto was liquidated during Grossaktion Warschau. Much of the street has recently been renovated but a few original buildings that were occupied by inhabitants of the ghetto are still standing....
Visit of the Frecce Tricolori Squadron at NATO E-3A Component Geilenkirchen/Germany, ETNG -----------------------------------------------
The Frecce Tricolori (Italian pronunciation: [ˈfrettʃe trikoˈloːri]; literally "Tricolour Arrows"), officially known as the 313° Gruppo Addestramento Acrobatico, Pattuglia Acrobatica Nazionale (PAN) Frecce Tricolori ("313th Acrobatic Training Group, National Aerobatic Team (PAN) Frecce Tricolori"), is the aerobatic demonstration team of the Italian Air Force. Based at Rivolto Air Base, province of Udine, it was created on 1 March 1961 as a permanent group for the training of Air Force pilots in air acrobatics.[1]
The Tricolour Arrows replaced unofficial teams that had been sponsored by various commands starting in the early 1930s.[2] The team flies the Aermacchi MB-339-A/PAN, a two-seat fighter-trainer craft capable of 898 km/h at sea level.[2][3] With ten aircraft, nine in close formation and a soloist, they are the world's largest acrobatics patrol, and their flight schedule, comprising about twenty acrobatics and about half an hour, made them the most famous in the world.[4] It is one of national symbols of Italy.
Formation
During the performances the formation of the acrobatic patrol is usually composed of 9 aircraft, called "Pony", each labeled with a number ranging from 1 to 10.[18][19] The name "Pony" was coined by the then Captain Zeno Tascio to remember the horse of Francesco Baracca[20] which is the sign of the 4th Wing, at the time 4th Airbase who was already preparing to take over the task PAN for the 1961. Depending on the needs of the Department, aircraft can also be 11 in total, thus including the figure of the acrobatic training manager:
Pony 0 - Commander
Pony 1 - Head of Formation
Pony 2 - 1° Left Domestique
Pony 3 - 1° Right Domestique
Pony 4 - 2° Left Domestique
Pony 5 - 2° Right Domestique
Pony 6 - 1° Tail light
Pony 7 - 3° Left Domestique
Pony 8 - 3° Right Domestique
Pony 9 - 2° Tail light
Pony 10 - Soloist
Pony 11 - Acrobatic Training Supervisor
Pony 12 - Pilot in Training
Pony 13 - Pilot in Training
Pony 14 - Pilot in Training
Pony 15 - Pilot in Training
Pony 16 - Pilot in Training
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Frecce Tricolori (italienisch für Dreifarbige Pfeile) sind eine Kunstflugstaffel der italienischen Luftwaffe, die 1961 als 313º Gruppo Addestramento Acrobatico aufgestellt wurde. Die Staffel ist auf dem Militärflugplatz Rivolto bei Udine stationiert und erhielt am 1. Juli 1961 den heutigen Namen: 313º Gruppo Addestramento Acrobatico - Pattuglia Acrobatica Nazionale (PAN) “Frecce Tricolori”.
Der Ursprung des Kunstflugteams reicht bis in die 1920er Jahre zurück. Bei einem Besuch in Großbritannien hatten einige hohe Fliegeroffiziere die Anfänge des Formationskunstflugs kennengelernt. Der Befehl zur Gründung einer Kunstflugstaffel ging an Oberst Rino Corso Fougier in Udine. Er gilt als Vater des italienischen Formationskunstflugs und prägte maßgeblich den Ausbildungsstandard der Militärpiloten.
Die erste Fünfer-Kunstflugstaffel seines 1. Geschwaders (1º Stormo) war in Campoformido stationiert. Die erste Staffel erschien am 8. Juni 1930 bei der 1ª Giornata Aerea dell’Ala in Rom als offizieller Repräsentant der italienischen Luftwaffe.[1] In dieser Geburtsstunde zeigten sie mit sieben Jagddoppeldeckern vom Typ Fiat CR.20 ihr erstes Programm. Die 2ª Giornata Aerea dell’Ala 1932 zeigte mit Doppeldeckern vom Typ Breda Ba.19 ihr Programm. 1936 erhielten die „Frecce“ die Fiat CR.32.
Nach der Unterbrechung durch den Zweiten Weltkrieg begannen sie erneut mit Düsenflugzeugen das Formationskunstflugtraining. Die Teams Cavallino Rampante („Aufbäumendes Pferdchen“), Getti Tonanti („Donnernde Jets“), Tigri Bianche („Weiße Tiger“), Lancieri Neri („Schwarze Lanzenreiter“) und die Diavoli Rossi („Rote Teufel“) wurden bekannt.
Die erste wirkliche italienische Kunstflugstaffel wurde vom 4º Stormo aufgestellt. Als erste Einheit mit den Doppelrumpfjägern de Havilland D.H.100F.B.52 bildeten die Piloten des Geschwaders 1954 das erste italienische Kunstflug-Jet-Team mit dem Namen „Cavallino Rampante“. Mit der Republic F-84G starteten die „Getti Tonanti“ als Nachfolger der Staffel „Cavallino Rampante“. Der Fliegerfilm I quattro del getto tonante („Die vier donnernden Jets“) wurde mit dem Team gedreht. Die 51ª Aerobrigata übernahm 1955 mit dem Team „Tigri Bianche“ die Funktion der offiziellen Kunstflugstaffel der italienischen Luftwaffe, geflogen mit F84G Thunderjets. 1956 flog wieder das 4° Stormo mit neuen Canadair F-86 Sabre Mk4[2]. Das 6° Stormo flog als „rote Teufel“ („Diavoli Rossi“) die Republic F84F Thunderstreaks erstmals am 19. Mai 1957 auf dem Flughafen Turin-Caselle. 1958 wurde die 2ª Aerobrigata mit dem Namen „Lancieri Neri“ aufgestellt. Die sechs Piloten flogen eine F-86 Sabre.
Das Generalstab der italienischen Luftwaffe entschloss sich Ende 1960, ein eigenes Kunstflugteam aufzubauen, das nur noch in der Nebenrolle als leichte Jagdbomberstaffel zur Verfügung stehen sollte. Mit dieser Aufgabe wurde die 313º Gruppo betraut.
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It hit a record high of 15.4C yesterday, all week it has been unusually warm. Guess we won't getto walk on the creek this year.
Gettolar bizim için özgürlüktür dostum! #ankarakalesi #kale #ankaracastle #castle #gecekondu #slum #kışgüneşi #kış #winter #bulut #cloud #sun #sunshine #gölge #shadow #getto #ghetto by oukaraca www.instagram.com/p/BAez-w8gyAY/ in scontent.cdninstagram.com/hphotos-xpa1/t51.2885-15/e35/11...
Tokonoma, Closet and Kami-dana
Getto-shi of Okinawa and Washi are used for wall and closet door finishes.
Four and a half tatami size room, Suginami, Tokyo, Japan
First try at strobist type things. D50 with SB-600 setup in a dark room with a long shutter. I controlled the flash manually from and angle by pressing the test button.
This is a pretty getto way of doing it but it will do till my cactus ebay trigger gets here. I burned the bottom right edge a little in Photohop just to clean it a little. I'm not sure witch angle a took this from. The watch is a Fossil that looks pretty cool.
Loches (Indre-et-Loire)
Le Logis royal (façade orientale) vu depuis le Jardin Public.
De gauche à droite : La tour Agnès Sorel, le château médiéval et à moitié droite le château Renaissance.
Le "logis royal" des XIVe et XVe, gothique flamboyant, est bâti sur la pointe de l'éperon rocheux dominant la vallée de l'Indre.
Le Logis royal était l'une des résidences favorites des Valois pendant la guerre de cent ans.
Trois femmes illustres ont marqué son histoire : Jeanne D'Arc, Agnès Sorel, favorite de Charles VII et première maîtresse royale officielle, et Anne de Bretagne.
La grande tour, dite "Tour Agnès Sorel", appelée ainsi parce que la maîtresse de Charles VII y aurait eu sa chambre, existait seule au XIIIème siècle.
Le bâtiment qui jouxte la tour, dit "Vieux Logis", est du XIVème siècle, il est attribué à Charles VII. Il comprend encore des élément féodaux : quatre tourelles reliées par un chemin de ronde.
Le Vieux Logis fut complété au nord, sous Charles VIII et Louis XII, par un bâtiment Renaissance. L'extrémité de l'aile Louis XII est continuée par une terrasse avec balustrade.
Le jardin public a été inauguré en 1909.
En 1907, les élus lochois décidaient l'aménagement d'un jardin public entre le Grand Mail et l'Indre. Le 13 juin 1910, le jardin est inondé par une crue de l'Indre, le kiosque à musique à les pieds dans l'eau. A l'occasion des fêtes du 15 août 1910, la musique du 66eRégiment d'Infanterie exerça ses talents dans le kiosque à musique du jardin public. Le 26 août 1938, les fêtes d'été ont lieu dans le jardin public.