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Rumbach Street Synagogue, built from1869 to 1872.
Style: Moorish Revival
Architect: Otto Wagner & Kallina Mór (Moritz Kallina)
en.wikipedia.org/wiki/Otto_Wagner
mek.oszk.hu/04000/04093/html/szocikk/12423.htm
Exodus 34:4 "So Moses carved out two stone tablets like the first ones, got up early in the morning, and climbed Mount Sinai, just as the LORD had commanded him. He took with him the two stone tablets. "
en.wikipedia.org/wiki/Rumbach_Street_synagogue
en.wikipedia.org/wiki/Otto_Wagner
hu.wikipedia.org/wiki/Rumbach_utcai_zsinag%C3%B3ga
hu.wikipedia.org/wiki/Otto_Wagner
A „zsinagóga háromszög” (a volt gettó területe):
www.mazsike.hu/a+%E2%80%9Elezart+dossziet%E2%80%9D+ujra+m...
www.mazsike.hu/a+%E2%80%9Elezart+dossziet%E2%80%9D+ujra+m...
The eighteenth granite block - mounted on the wall of 10 Stawki Street.
After being herded towards the Umschlagplatz, the people of the Warsaw ghetto were detained in this building prior to being transported to Treblinka.
On 1st August 1944 - the first day of the Warsaw Uprising - a group of approximately 50 Jews who had been kept behind as slave labourers after the Germans liquidated the ghetto were liberated when the Polish resistance captured the building....
Photo, c. 1887 of the Finlay Ross home at 821 North Waco Avenue in Wichita, KS. This residence is confirmed to have been built by William Henry Sternberg (1832 - 1906) and many of
Sternberg's design influences can be seen in this home. Sternberg was the leading designer and builder of fine homes such as this one in the Wichita area in the last quarter century of the 1800s. Finlay Ross was a prominent businessman in Wichita and later on became Mayor of Wichita during which time he established Riverside Park - ever popular today. While headquartered in Wichita KS, Sternberg did branch out and build fine homes and buildings throughout southern Kansas and Missouri. To wit, in the late 1800s, Sternberg built the original limestone City Hall in Springfield MO (now the Greene County Historical Museum), still standing today and on the National Register of Historic Places.
Sternberg was a highly skilled and popular builder during Wichita’s boom years of the 1870s and 1880s. Mr. Sternberg came to Kansas from New York in 1875. He grew up on a family farm in Norwich, New York helping his father in the family saw mill, felling and hauling trees, cutting lumber, woodworking and working as a carpenter on local homes and buildings. As years passed and Sternberg continued working as a contractor and a carpenter, his skills in building grew and he became well-known throughout New York State for his elegant and innovative building designs, his integrity, work quality and prudent approach to costs. People far and wide knew of his reputation for quality and knew him as a fair man in his dealings with customers. Partly as a result of his reputation for being a fair and honest man, he was elected Mayor of Norwich for a period of several years. Although comfortable with his life in New York, Mr. Sternberg increasingly heard about Wichita, Kansas ~ a rapidly growing nucleus on the plains. Indeed the growth bubble (from the late 1870’s until about 1890) was so significant that Wichita was by some estimates the fastest growing city in the country. At one point, the absolute value of real estate transactions in Wichita ranked it the third highest in the nation in terms of dollars transacted. This was behind only New York City and Kansas City! People were speculating on land and buildings and making handsome profits in return.
“In the first five months of 1887 real estate transactions
totaled $34,893,565 according to Dunn and Bradstreet’s
reports. Wichita was third in the nation in total real estate
transactions. Only New York and Kansas City were ahead
of Wichita (in terms of volume). Chicago was fourth having
$33,173,950 in transactions.”
However... in terms of the dollar value PER CAPITA (dollars per person), Wichita was first in the nation for a period of several years in the mid-late 1880s. New York and Kansas City had much larger populations than Wichita to produce a higher absolute volume of real estate transactions. But their dollar volumes per capita were in fact lower than Wichita, KS. With its new found wealth, Wichita was progressive in its early days and news of its budding wealth traveled the country. Evidence of its progressive spirit was noted with much fanfare on May 23, 1873 when Wichita’s first regularly-scheduled electrified street cars (trolley cars) began shuttling people between the bustling downtown and the outskirts of the city. Three years later, Wichita installed several hundred nighttime electric street lamps throughout downtown, while still retaining some of its existing gas and “vapor” lamps. And in the Spring of 1883, Wichita's new underground water system with 60 fire hydrants spread throughout the City was tested, on-line and ready-to-go. One of the things Wichita did with this wealth is invest in public systems and buildings to the tune of over ten million dollars per year in some years in the 1880s. This was W.H. Sternberg's hey-day. Impressive buildings were going up... literally as fast as they could possibly build. Between July 1, 1886 and June 30, 1887 almost 3,000 new completed structures were erected in Wichita and all of this with a population of only about 12,000.
Spying an opportunity for building, Mr. Sternberg moved his family to Wichita in 1875 and after only a few months, was successfully bidding contracts, hiring workers and constructing buildings at a frenzied pace. The economic bubble of Wichita in the 1880s was perhaps the most dynamic growth spurt of any city in American history. Wealth sprung up practically overnight and people such as: C.N. Lewis, Albert. W. Oliver (Businessman), Aaron Katz (Merchant), Mark J. Oliver (Atty), Hiram Imboden (Businessman), M.W. Levy (Bank President), Peter Getto (Capitalist), Reuben H. Roys (Atty), Finlay Ross (Mayor & Businessman), William H. Whitman, Jacob Henry Aley (Businessman), Robert E. Gutherie, J.R. Van Zandt (prominent businessman), George Pratt (lumber baron), Charles W. Bitting (prominent Businessman), Alfred W. Bitting (Prominent Businessman), Judge James L. Dyer (Judge), Charles M Jones, Dr. G.E. McAdams (physician), Capt. Charles Smyth, Dr. J. Russell (physician), Kos Harris (Atty), William Greiffenstein (Mayor), Russell Harding (Railroad Superintendent), Ben Aldrich (Mayor & prominent businessman) and many others... displayed their newly found wealth by building palatial mansions of the highest quality and most extraordinary craftsmanship. When Wichita’s well-to-do wanted homes or buildings, W.H. Sternberg was the builder of choice by a wide margin. The 1888 book, Portrait and Biographical Album of Sedgwick County, Kansas (Chapman Brothers; Chicago, 1888) in which Sternberg is noted states about him,
“Ninety brick stores in Wichita stand as monuments of
his skill and industry, besides numberless other
buildings, probably twice as many as have been put
up by any other contractor in the city.”
Not long after coming to Wichita, Mr. Sternberg used a marketing approach – common today, but relatively unheard of at the time, called a “spec home”. The spec home he built was his own home and it was a huge 7,500 sq. ft. showcase home that contained virtually every ornamental and stylish feature that he and his crews could muster. He located his home on the most elite street in Wichita at the time ~ Waco Avenue ("Waco Street" as it was then and "Waco Avenue" as it was to become). Before Waco became the “elite street” of Wichita, city planners named it “Waco Street”. As elegant mansions continued to appear on Waco, property owners in this well-dressed district became dissatisfied with the designation of “Street” and so local residents petitioned the City to officially have the name changed to “Avenue” to be more in keeping with the fashionable tone of the neighborhood. Today, the official name of Waco is still "Waco Avenue". Mr. Sternberg reckoned that showcasing the capabilities and ornate building skills of the construction trade would draw customers to him, and it proved to be a very successful technique. Even back in 1886 when he completed his Victorian gingerbread mansion people acknowledged it was something extraordinary. His worthy showcase mansion was written up in the newspapers as well as the 1888 Portrait and Biographical Album of Sedgwick, County, Kansas as follows,
“The residence of Mr. Sternberg, a handsome and costly structure,
is beautifully located on a rise of ground commanding a fine view
of its surroundings. Within and without it bears the evidence of
refined tastes and ample means, and it is universally admired
by all who have occasion to pass it.”
Even before the Sternberg’s mansion was finished, people were remarking about it as the September 6, 1886 edition of the Wichita Beacon commented,
“Mr. Sternberg is building for his own use a fine residence
on the corner of 10th and Waco Streets. Judging by the
foundation it will be one of the largest and finest in the city.”
Within weeks after finishing his home at 1065 North Waco Avenue, Mr. Sternberg was flooded with requests to build other fine mansions for Wichita’s “polite society”. And in 1887 and 1888, Sternberg and his crews built first-class mansions and buildings all over Wichita as quickly as they could. Sternberg was one of the largest employers in Wichita with a skilled crew of approximately 40 full-time persons working at various locations.
Sternberg set precedence in building design at a time when style and social status was everything and people had the money (and the willingness) to express it. Sternberg (unlike other builders of the day) built custom features into his homes that allowed the occupants to enjoy their home more. In addition to an extensive use of smaller more intimate porches in his homes and particularly romantic highly corbelled chimney flues, Sternberg was also the first builder in Wichita to construct a very practical laundry chute into a home (the first home in Wichita to have a laundry chute was the Pratt house at 1313 North Emporia). The idea of such a feature so that people didn’t have to climb up and down stairs was new and unheard of in 1887, but Sternberg believed a home should be both beautiful and comfortable. It was new and trend-setting features such laundry chutes, ornate porches and his ability to create exceptional milled gingerbread work that brought acclaim and respect to Sternberg. Other builders simply didn’t offer such features, and most didn’t have the expertise to do so. In New York state where Sternberg grew up and worked for many years before coming to Wichita, he is credited with being the first person to build a Mansard-style roof. The concept was made popular at the 1850’s World's Fair in Paris . A mansard roof is a French style that allows more unencumbered space on the attic level than a traditional pitched roof does. Although not an architect by training, Sternberg often had considerable input into the design and layout of the homes he built. Many of his customers, unaware of the need for an architect at the time when deciding to building a house, would contact Sternberg first when they wanted to build and then it was Sternberg who would usually contact an architect of his choice and advise the architect on what the home-owner wanted and could afford. Sternberg was the first recorded builder to use an “outside” (New York) architect purely for style and design in upscale an upscale Wichita residence. That residence designed by both Stanford White and William Sternberg and built by Sternberg was the Charles R. Miller residence at 509 S. Lawrence Rd (now Broadway). Miller affectionately chistened the home, "Lyndhurst". Stanford White although building a national reputation would a few years later would receive national acclaim for his designs including Madison Square Garden in New York and homes for the ultra wealthy in Newport RI and New York. The design and construction of this Sternberg-built home that Stanford White-designed was eye-catching and charming to Wichitans of the day and the local Wichita Beacon in April 18, 1883 commented about the house,
“It will be of brick, 40 x 44 feet in area, with basement
eight feet, two stories above that, and a ten foot mansard
attic. The basement will be used for a steam heater,
laundry, coal, etc. The facades will be broken by swells,
bay windows and porches. It will be one of the finest
in southern Kansas.”
Obviously, Sternberg felt that for some exceptional projects, local architects were not up to the task, and Sternberg liked the press attention. What's more and another “first” for Sternberg is that he was the only builder during the 1870s-1880s working in Wichita to have also built major public and private buildings in at least two other states. In addition, he’s the only builder during Wichita’s boom period to have his works from three states (Kansas Missouri and New York) listed on the National Register of Historic Places. Additionally his 30 years of experience in the lumber business grading qualities of woods and knowing the particular characteristics of various woods allowed Sternberg to build with exceptional quality. Arguably he was the highest quality builder and most highly skilled builder of the day in Wichita. An article from November 2, 1969 in the Eagle-Beacon newspaper noted the quality of the Sternberg Mansion,
“It was built to last with joists
of 2 by 8-inch timbers, and wood-
work of pine so hard it will not take
a regular nail and one interior
wall that is 15 inches thick.”
In all W. H. Sternberg built well over 100 buildings and homes in Wichita alone after coming in 1875. Other homes and buildings he is known to have built before coming to Wichita include: (1) the Methodist Church in Guilford, New York, (2) the Chenango County Poor House in Norwich, New York, (3) the Methodist Episcopal Church in Norwich, New York at a cost of $47,000, he later completed the beautiful case inside this church for the church organ, (4) the residence of Charles Merritt in Norwich, New York at a cost of $35,000, (5) the store of John O. Hill & Co. at a cost of $23,000, (6) the residence of Warren Newton in New York and (7) “an elegant mansion for himself” which had the first mansard roof in the town.
Mr. Sternberg was a remarkable man. In 1888, Chapman Brothers in Chicago, Illinois printed an expensive first-class volume of notable persons in Sedgwick County, Kansas ~ a sort of “Who’s Who” of the time. The book, entitled “Portrait and Biographical Album of Sedgwick County, Kan.” Contained “Full Page Portraits and Biographical Sketches of Prominent and Representative Citizens of the County together with Portraits and biographies of all the governors of Kansas, and of the Presidents of the United States.” Mr. Sternberg is listed on pages 190 – 191 in the Album. His biography notes:
“William H. Sternberg, who is one of the prominent citizens
of Wichita, arrived here in time to assist in the building up of
the town, the growth of which has been phenomenal. He has
been one of the most interested witnesses of its progress
and development, and no unimportant factor in bringing it to
its present proud position. As a man of influence, public
spirit and liberal, this brief record of his history will be more
than ordinarily interesting to those who are identified in any
way with the business or industrial interests of one of the
leading cities of the West.”
In addition the biography noted that,
“Ninety brick stores in Wichita stand as monuments of
his skill and industry, besides numberless other
buildings, probably twice as many as have been
put up by any other contractor in the city.”
And as always, whatever the job, W. H. Sternberg was noted for work of the finest quality and expertise. Mr. Sternberg had a reputation for only hiring the best workers which sometimes was hard to do as the building boom created quite a shortage of workers, never-the-less, he was known for the fact that he and “his workmen should be persons of the highest skill and reliability.” In 1888, just two years after Sternberg personally built and constructed his own “showcase” mansion for himself, it was written up in the Portrait and Biographical Album as though it was undeniably a special residence in Wichita . . . .
“The residence of Mr. Sternberg, a handsome and costly
structure is beautifully located on a rise of ground
commanding a fine view of its surroundings. Within and
without it bears the evidence of refined tastes and ample
means, and is universally admired by all who have
occasion to pass it.”
Today, historical authorities who know the Sternberg Mansion lay accolades on it for its style, its authentic representation of Victorian influence, its extreme ornamentation and its first-rate quality throughout. It has appeared in numerous books, magazines and approximately 30 different newspaper articles over the past 125 years. The following is an excerpt from the City of Wichita’s Historic Landmark website (www.wichitagov.org/Residents/History/Listing51-60) about the Sternberg Mansion:
“William H. Sternberg, a prominent builder during Wichita's
economic boom days of the 1880's built his own resi-
dence in 1886, incorporating the Victorian penchant
for "gingerbread" millwork with this extravagantly gabled
Queen Anne-styled home. This house is one of a few
remaining homes of this elaborate style in the city and
is regarded as a quintessential product of the late
Queen Anne residential design and stylistic features.
From its native stone foundation to the four corbelled
brick chimneys with their decorative flues, the house
served as a showcase for the builder's trade including
colored glass window panes, stained glass windows in
the ornate stairway, several fireplaces and combination
gas/electric chandeliers. The two and one-half story
residence also has porches projecting from each of
the three main elevations.”
A quote in the Wichita Eagle-Beacon from Wichita’s Historic Preservation Officer, Marian Cone on April 10, 1977 stated about the mansion,
“The Sternberg Mansion…is unusual in that its
eclectic style incorporates all the elements Stern-
berg could fabricate…Sternberg used his own
home as a sort of ‘model home,’ a tangible ex-
ample of his expertise for prospective customers…
it is the only remaining Queen Anne-style man-
sion of its size in the city and it is a magnificent
example of architecture…The use of exterior
wood in patterns is most unusual as are the var-
iations of the use of colored and plain glass.
The leaded and stained glass windows on the
landing of the very ornate staircase are most
unusual in that they are of a geometric pattern
not common until the 1920s.”
Yet another article about the Sternberg Mansion in the Eagle-Beacon in November 16, 1976 states,
“The house, built in 1886 by William H. Stern-
berg, one of Wichita’s foremost builders during
the city’s early boom days, is the only remaining
Queen Anne style mansion of this size in the city.
It is seen as a magnificent example of Victorian
architecture, with most of the original detailing
and gingerbread on the exterior, a large walnut
staircase, wood paneling, and four fireplaces.”
And Mr. Sternberg located his first-rate mansion in Wichita’s finest district at the time (on Waco Avenue). Yet another article appearing in the Wichita Evening Eagle on August 3, 1933 comments,
“in the early ‘70s (1870s)…Waco avenue was
‘the elite’ street. Waco avenue in the very early
day was considered to be the best residential street
and many believed that when the city grew large it
would be the choice residence district of the city.”
Indeed, W. H. Sternberg was an extraordinary person in Wichita at a time when the rest of the country was curiously taking note of this fast-growing prairie town. His work as a contractor, his involvement in civic groups, his reputation for doing the highest quality work possible, his reputation for being hard-working and fair to all, his diligence to hire only the most highly skilled workers, his generosity to lesser causes and his pioneering ideas in building style and function bestowed to the people of Wichita and beyond an authentic Victorian legacy to be enjoyed by all for generations to come.
Your comments, thoughts, stories, ideas and/or additional information about this photo or this place are welcomed and appreciated!!
Urban fashion shot with a Mamiya 7.
As a reminder, keep in mind that this picture is available only for non-commercial use and that visible attribution is required. If you'd like to use this photo outside these terms, please contact me ahead of time to arrange for a paid license.
Sculptures and graffiti @ the Autonomous Factory Rog in Ljublana, a squated former bicycle factory being transformed into a center for sociocultural activities. atrog.org
Camera: Lomography Simple Use Camera. Film: LomoChrome Metropolis, home-developed with the Rollei Digibase C-41 kit.
After liquidating the Warsaw ghetto in 1943 the Germans retained a few thousand Jewish slave labourers, most of whom were imprisoned in the "Gęsiowka" concentration camp. On 27th July 1944 the Germans decided to evacuate the Gęsiówka camp to Dachau. More than 400 inmates, incapable of marching, were shot and only 350 were left behind.
The camp was liberated by Polish resistance fighters belonging to the Zośka battalion of the Armia Krajowa on 5th August 1944, during the Warsaw Uprising, freeing the remaining 350 Jewish prisoners (mainly foreigners from Czechoslovakia, France, Greece, Hungary, Belgium and Germany).
This marker at the intersection of Chłodna Street and Żelazna Street commemorates the site of the wooden footbridge over Chłodna Street which was built in January 1942 to re-connect the two parts of the Warsaw ghetto which were disconnected when this street was excluded from the ghetto in December 1941.
When Warsaw's German occupiers created the "Jewish Residential District" at the end of 1940, it initially included a narrow strip of land between Wronia and Żelazna streets which linked the "large ghetto" in the north to the "small" ghetto in the south. However, this meant that a short section of Chłodna Street (which was an important east-west transport corridor) became enclosed within the ghetto, which caused considerable traffic disruption in Warsaw over the next few months.
As a result, the Germans eventually decided to exclude Chłodna Street from the ghetto, thus dividing it in two. But doing so prevented the free movement of the Jews from one part of the ghetto to the other, which meant that it was still necessary to periodically stop the traffic on Chłodna Street to allow the inhabitants of the ghetto to cross.
This prompted the Germans to create the footbridge, which kept the traffic flowing and re-enabled free movement for the Jews, as well as allowing them a brief glimpse of the city outside the ghetto to which they no longer had access....
Warsaw ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
This marker at the corner of Żelazna Street and Grzybowska Street indicates the former location of one of the gates into the Warsaw ghetto....
Warsaw Ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
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.
Getto warszawskie / Warschauer Ghetto, Dezember 1940
de.wikipedia.org/wiki/Warschauer_Ghetto
"Warschau 1940 am Ghetto der Juden - Dezember 1940"
Le projet du sculpteur palermitain Mario Rutelli, achevé et inauguré en 1901, se composait de quatre figures féminines nues en bronze représentant des scènes de nymphes : la Nymphe des Lacs, reconnaissable au cygne qu'elle tient contre elle, la Nymphe des Fleuves, couchée sur un monstre aquatique, la Nymphe des Eaux souterraines, allongée sur un dragon, et la Nymphe des Océans3, en selle sur un cheval, symbole de la mer. Un grand jet d'eau tombe sur les statues, tandis qu'une nombreuse série de petits jets d'eau est dirigée vers l'intérieur.
En 1912, enfin, la fontaine a pris son aspect actuel, avec l'arrangement, dans le centre du groupe du Glauco, où un personnage masculin, nu, saisit un dauphin, symbolisant la domination de l'homme sur les forces naturelles.
The project by Palermo sculptor Mario Rutelli, completed and inaugurated in 1901, consisted of four nude female figures in bronze depicting scenes of nymphs: the Nymph of the Lakes, recognisable by the swan she holds against her, the Nymph of the Rivers, reclining on a water monster, the Nymph of the Subterranean Waters, reclining on a dragon, and the Nymph of the Oceans3, riding a horse, the symbol of the sea. A large jet of water falls on the statues, while a series of smaller jets of water are directed inwards.
Finally, in 1912, the fountain took on its current appearance, with the arrangement in the centre of the Glauco group of a nude male figure holding a dolphin, symbolising man's domination over natural forces.
Lago di Vico - Viterbo, Lazio, Italy - HDR
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
I took this shot last week while out looking for things to take pictures of urban decay for the group One Shot Weekly. I ended up submitting another one instead but thought i'd upload this one anyway! This is 'downtown' warrington in the getto yo.
All of my images are now available as limited edition prints at various sizes on the following materials:
- Canvas
- Aluminium
- High Quality Art Poster
Contact me at stephen@studio29design.co.uk or via my website at www.studio29design.co.uk for more info.
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
LDN 1251 - CHEPEUS CONSTELLATION
LDN 1251, è una nube molecolare facente parte della vasta nube molecolare del Cefeo. Distante circa 1000 anni luce dal sistema solare, le sue nubi raggiungono temperature prossime allo zero assoluto, rendendolo uno degli oggetti più freddi del cosmo.
LDN 1251 è una nube allungata in senso est-ovest sul bordo orientale del complesso; la sua forma a cometa suggerisce che sia in interazione con la grande superbolla causata dall'esplosione di supernova. La sua distanza da noi è stata determinata in vari modi e la nube è stata mappata a diverse linee di emissione, come il 13CO, il SiO, l'NH3, l'HCN ed altri ancora. Studiando la popolazione di oggetti stellari giovani, alcuni autori hanno rinvenuto una dozzina di stelle Hα e una sorgente di radiazione infrarossa, dalla quale emerge un getto ottico, classificato come HH 149. Sono presenti anche due sorgenti di onde radio termali.
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LDN 1251, is a molecular cloud that is part of the vast molecular cloud of Cepheus. About 1000 light-years away from the solar system, its clouds reach temperatures close to absolute zero, making it one of the coldest objects in the cosmos.
LDN 1251 is an east-west elongated cloud on the eastern edge of the complex; its comet shape suggests that it is interacting with the large superbubble caused by the supernova explosion. Its distance from us has been determined in various ways and the cloud has been mapped to different emission lines, such as 13CO, SiO, NH3, HCN and more. By studying the population of young stellar objects, some authors found a dozen Hα stars and a source of infrared radiation, from which emerges an optical jet, classified as HH 149. There are also two sources of thermal radio waves.
POLLINO NATIONAL PARK - 26/08/2022 - SQM 21.3
Light 33x600s -5° No Filter
15 DARK 15 FLAT 11 DARK FLAT
Tecnosky 130OWL + Primalucelab Sestosenso 2
Omegon.com veTEC 571 C Color
IOptron CEM120
Pegasus Astro Pocket Powerbox Advance
Pixinsight + SGP + PHD2 + Photoshop 22
I primi giorni, Settembre 2010
I'm up in the clouds
And I can't and I can't come down
I can watch and not take part
Where I end and where you start
Where you, you left me alone
You left me
Exhibition Kraków under Nazi Occupation 1939–1945 is located in the former administrative building of Oskar Schindler’s Enamel Factory at 4 Lipowa Street.
The exhibition is primarily a story about Kraków and its inhabitants, both Polish and Jewish, during World War Two. It is also a story about Nazi Germans – the occupiers who arrived here on 6 September 1939, brutally disrupting Kraków’s centuries-long history of Polish-Jewish relations. The great history of World War Two intersects here with everyday life, and the personal dramas of individual people overlap with the tragedy which affected the whole world.
The wartime history of Deutsche Emailwarenfabrik – DEF – and its owner Oskar Schindler was brought into the limelight in 1993 by Steven Spielberg’s film Schindler’s List. Ever since that time, tourists from all over the world have been coming to Lipowa Street to visit the place where Schindler saved the lives of over a thousand people. The character of Oskar Schindler and the life stories of the Kraków Jews he saved are presented in the exhibition as part of the city’s complex wartime history. Oskar Schindler’s heroic attitude is presented in close-up in his former office – luckily, the historic room located in the factory’s administrative building has been preserved intact throughout the years. The dominant feature here is the symbolic “Survivors’ Ark” made of thousands of enamelled pots, similar to those manufactured by Schindler’s employees during the war.
Ah a cidade, a cidade maravilhosa. Uma cidade quente, e ao mesmo tempo de corações frios, onde muitas vezes o medo é o governante.
Estava esses dias pensando, pensando em como o Rio de Janeiro está violento. Estamos em um novo ano e muita coisa aconteceu no fim do ano passado. Ataques terroristas acontecendo em plena rua, uma verdadeira guerra civil. Nunca iríamos imaginar que nossas belas paisagens fossem substituídas pelo medo e terror.
Essa foto é meu protesto, contra a onda de crimes em que estamos vivendo nessa cidade maravilhosa.
L'Aquila Air Show 2023_ Aeroporto Dei Parchi_Preturo (Aq).
Soko G-2 Galeb
Il Soko G-2 Galeb è un monomotore a getto da addestramento basico ad ala dritta prodotto dall'allora azienda iugoslava SOKO dagli anni sessanta agli anni ottanta.
Primo velivolo a getto di progettazione nazionale ad entrare in produzione in serie, il Galeb venne utilizzato principalmente nelle scuole di volo militari e dall'aeronautica militare della ex Jugoslavia.
Nel 1957 la SOKO iniziò a sviluppare, su propria iniziativa, un progetto per un velivolo biposto da addestramento equipaggiato con un motore a getto, dotato di armamento e con capacità acrobatiche, da proporre alla forza aerea iugoslava per sostituire lo statunitense Lockheed T-33 Shooting Star che fino ad allora era in dotazione alle scuole di volo militari. Il velivolo, equipaggiato con un motore a getto e realizzato interamente in metallo, rispecchiava un'impostazione classica, già adottata dall'italiano Aermacchi MB-326 e dal cecoslovacco Aero L-29 Delfin, con l'ala montata bassa ed una cabina di pilotaggio a due posti in tandem.
L'Aquila Air Show 2023_ Parks Airport Parks Airport Preturo (Aq).
Soko G-2 Galeb
The Soko G-2 Galeb is a single-engine straight-wing basic training jet aircraft produced by the then Yugoslav company SOKO from the 1960s to the 1980s.
The first domestically designed jet aircraft to go into serial production, the Galeb was mainly used in military flying schools and by the Air Force of the former Yugoslavia.
In 1957, SOKO began to develop, on its own initiative, a project for a two-seat jet-powered trainer aircraft, equipped with armament and with aerobatic capabilities, to be proposed to the Yugoslav Air Force to replace the US Lockheed T-33 Shooting Star which until then was supplied to military flight schools. The aircraft, equipped with a jet engine and made entirely of metal, reflected a classic layout, already adopted by the Italian Aermacchi MB-326 and the Czechoslovakian Aero L-29 Delfin, with a low mounted wing and a cockpit two-seater in tandem.
Spectacle aérien de L'Aquila 2023_ Aéroport Des Parchi_Preturo (Aq).
Soko G-2 Galeb
Le Soko G-2 Galeb est un avion à réaction d'entraînement de base monomoteur à aile droite produit par la société yougoslave d'alors SOKO des années 1960 aux années 1980.
Premier avion à réaction de conception nationale à être produit en série, le Galeb était principalement utilisé dans les écoles de pilotage militaires et par l'armée de l'air de l'ex-Yougoslavie.
En 1957, SOKO commence à développer, de sa propre initiative, un projet d'avion d'entraînement biplace à réaction, doté d'armement et de capacités de voltige, à proposer à l'armée de l'air yougoslave en remplacement du Lockheed T-33 américain. Shooting Star qui jusqu'alors était fourni aux écoles de pilotage militaires. L'avion, équipé d'un moteur à réaction et entièrement réalisé en métal, reflétait une disposition classique, déjà adoptée par l'italien Aermacchi MB-326 et le tchécoslovaque Aero L-29 Delfin, avec une aile montée basse et un cockpit biplace en tandem .
New stencil i have just finished, very very pleased with how this come out.
Size w 70cm x h 110
there is also a very poor qulity vid of the progress of it
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
Italian postcard by B.F.F. Edit., no. 3327. Photo: ENIC. Publicity still for I quattro del getto tonante/The four thundering jets (Fernando Cerchio, 1955).
Handsome Antonio Cifariello (1930–1968) was an Italian actor and documentary filmmaker. In his short but intense career he starred in several Italian comedies as a young and seductive Don Giovanni. He worked with several famous directors, including Federico Fellini, Dino Risi, Luigi Comencini and Valerio Zurlini. Cifariello also appeared in a few international films.
Antonio Cifariello was born in Naples, Italy, in 1930. He was the grandson of the sculptor Filippo Cifariello, notorious for killing his wife out of jealousy in 1905. Antonio was discovered for the screen while rowing at the Canottieri Savoia club in the seaside village of Saint Lucia in 1950. He auditioned and got the lead part, credited as Fabio Montale, in La sposa che vestiva di bianco/The bride wore white (Mario Baffico, 1950-1957). The film had several production issues and was only released as Amanti senza peccato in 1957. In the meanwhile Cifariello had enrolled at the Centro Sperimentale di Cinematografia in Rome, graduating in 1953. Cifariello also appeared in several Fotoromanzi using another stage name, Mauro Vellani. His official film debut was in Italian historical drama Eran trecento... (La spigolatrice di Sapri) /They were 300 (Gian Paolo Callegari, 1953), starring Rossano Brazzi. Federico Fellini then chose him to play a journalist in Un Agenzia matrimoniale/Marriage Agency, one of six segments of an anthology about love, L’amore in città/Love in the City (Michelangelo Antonioni, Carlo Lizzani, Federico Fellini a.o., 1953). Fellini’s segment is a delight. Bethany Cox at IMDb: “The beautiful visuals, deliberate pacing, nostalgic yet mystical storytelling and colourful music are all there, and Fellini's poetic and quite ambitious style is as distinctive as you would expect.” In a short time Cifariello then established himself as one of the most requested young actors in the Italian cinema. He starred in the debut of director Valerio Zurlini, Le ragazze di San Frediano/the Girls of San Frediano (1954) as a Florentine mechanic, who romances several women simultaneously and secretly, but they conceive a plot to punish him. He appeared opposite Sophia Loren and Vittorio De Sica in the comedy Pane, amore e.../Scandal in Sorrento (Dino Risi, 1955), the third film of the trilogy, formed by Pane, amore e fantasia/Bread, Love and Dreams (Luigi Comencini, 1953) and Pane, amore e gelosia/Bread, Love and Jealousy (Luigi Comencini, 1954). Next he starred with Silvana Pampanini and Alberto Sordi in the comedy La bella di Roma/The Belle of Rome (Luigi Comencini, 1955). He appeared with Anna Magnani in the comedy drama Suor Letizia/ The Awakening (Mario Camerini, 1956). He had a supporting part in the comedy Giovani mariti/Young Husbands (Mauro Bolognini, 1958), featuring Gérard Blain. In the Italian-West German crime-drama-comedy Le bellissme gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1958), he co-starred with Mamie Van Doren. It was Van Doren's first film made away from Hollywood. The film was a flop and is now largely forgotten.
Antonio Cifariello became tired of playing stereotypical characters of seducers or boyfriends in comedies. In the 1960s, he appeared in such adventure films as I masnadieri/Rome 1585 (Mario Bonnard, 1961) with Daniela Rocca and Debra Paget, and the Walt Disney Productions feature film In Search of the Castaways (Robert Stevenson, 1962), starring Hayley Mills and Maurice Chevalier. Cifariello played an Indian Chief in this tale about a worldwide search for a shipwrecked sea captain, based on Jules Verne's novel Captain Grant's Children. Craig Butler at AllMovie: “Castaways has a lovely cast, with Hayley Mills in fine form, whether falling in love or falling down a slope. If Maurice Chevalier and Wilfrid Hyde-White go over the top, they still have charm, and George Sanders's understatement counteracts them nicely. In smaller roles, Antonio Cifariello and Wilfrid Brambell make strong impressions as a stolid Indian and a not-so-crazy lunatic. Advances in screen technology may have reduced Castaways' impact, but most children will still find it entertaining -- as will those parents willing to meet it halfway.” In Search of the Castaways was worldwide a box office hit and was the 3rd highest grossing film of 1962 in the US. Cifariello also appeared in another American production, Jessica (Jean Negulesco, Oreste Palella, 1962), starring Maurice Chevalier and Angie Dickinson. He also appeared in the historical musical La bella Lola/The Lovely Lola (Alfonso Balcázar, 1962) starring Sara Montiel. The film, a co-production between France, Italy and Spain, was based on the 1848 novel The Lady of the Camellias by Alexandre Dumas. Cifariello gradually moved his career towards journalism and television documentaries. His last feature film was the Polish film Giuseppe w Warszawie/Giuseppe in Warsaw (Stanislaw Lenartowicz, 1964) with Zbigniew Cybulski. Cifariello played an Italian deserter in Nazi-occupied Poland in 1943, who moved between the Germans and the Polish resistance. In 1968 Antonio Cifariello suddenly died. He was on a trip in Zambia, making a documentary for RAI television, when his plane crashed. He was only 38. Between 1954 and 1960, he had been married to actress Patrizia Della Rovere. They had one son, composer Fabio Cifariello Ciardi. At the time of his death, Antonio Cifariello was the partner of actress Annie Gorassini.
Sources: Craig Butler (AllMovie), Bethany Cox (IMDb), Movieplayer (Italian), Wikipedia (English and Italian) and IMDb.
From this point westwards up to Żelazna Street, a narrow strip of land was excluded from the ghetto due to the importance of Chłodna Street as an east-west transport corridor....
Warsaw Ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
This wall was part of the southern boundary of the so-called "small ghetto" from November 1940 to October 1941....
Warsaw Ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
Schindler’s factory (Schindlers fabriek) werd wereldberoemd door de Oscarwinnende film ‘Schindler’s List’ van Steven Spielberg. Het verhaal speelt zich even buiten het centrum van Krakau af, in een emaille fabriek onder leiding van de Duitse Oskar Schindler. Naarmate de oorlog vordert en de nazi’s steeds agressiever joodse mensen uit het getto van Krakau deporteren, zet Schindler een plan in werking om zijn joodse werknemers te redden van het kamp. Uiteindelijk redt hij zo de levens van 1100 mensen.
TOTW: Lighting-Good or Getto
Yes I have been slacking on my 365 but it's not that bad...I have friends...motivating me but my brain and creativity is running like fire I become overwhelmed...that I just say I want to do that and this and I just can't decide when I want to do it...
I did give my Camera a name...His name is Passion...and Today Passion got some friends...his Ebay Triggers..and his stands are coming in Later but thats a surprise...
Well today in Central Fl, there was a bunch of thunder, for some reason my power went out..while I was watching T.V. it read stay away from Windows hahah..so I just went to the hall way and sat there singing to my self...I love to sing...
Well as you can see my Ebay Triggers Came in and yes..Im strobing..hahaha...I loved every minute of it..this setup took a while..but i like the reflection i got on the floor..must have been the long exposure...let me see if I can give you my strobist details...lets begin..
Strobist: Passion's (Camera) setup straight ahead down hall, shutter at 2.5", F-14 set WB setting to Incandescent---- SB-28 to my left set at 1/4 bare..zoom set to 85mm
and candle
(I keep reading about people changing the zoom on the flash...to control light spread is that right?) I hope I gave my strobist info out right...
www.flickr.com/groups/napolinobilissima/discuss/721576321...
www.flickr.com/groups/homer-illustrated/discuss/721576286...
www.flickr.com/groups/69646291@N00/discuss/72157631480572...
Laodamia was the wife of Protesilaus and daughter of Acastus and Astydameia. After Protesilaus was killed in the Trojan War he was allowed to return to his wife for only three hours before returning to the underworld because they had only just married. Thereafter Laodamia committed suicide by stabbing herself, rather than be without him.[30][31] According to Hyginus' Fabulae, the story runs like this: "When Laodamia, daughter of Acastus, after her husband's loss had spent the three hours which she had asked from the gods, she could not endure her weeping and grief. And so she made a bronze likeness of her husband Protesilaus, put it in her room under pretense of sacred rites, and devoted herself to it. When a servant early in the morning had brought fruit for the offerings, he looked through a crack in the door and saw her holding the image of Protesilaus in her embrace and kissing it. Thinking she had a lover he told her father Acastus. When he came and burst into the room, he saw the statue of Protesilaus. To put an end to her torture he had the statue and the sacred offerings burned on a pyre he had made, but Laodamia, not enduring her grief, threw herself on it and was burned to death."[32]
Una volta sceso negli inferi Protesilao implorò Ade e Persefone di poter rivedere ancora una volta la sposa: i due dèi, infastiditi e un po' commossi, concessero allo sventurato un ultimo giorno di vita, e lo condussero fuori dall'Ade. Laodamia vedendo il suo amato marito far ritorno quasi impazzì dalla gioia; ma Protesilao le spiegò che generosamente i sovrani dell'Ade gli avevano concesso un ultimo giorno e che avendo poco tempo egli aveva intenzione di passarlo a fare l'amore con lei. Venne poi il momento del distacco: Laodamia decise allora di realizzare una statua con le fattezze del marito in modo da poterla abbracciare e dormire con essa.[8][9]. Acasto, nei giorni successivi, notando l'assenza della figlia, mandò un suo servo a spiarla. Il servo riferì al re che sua figlia stava tutto il giorno chiusa nella sua camera ad amoreggiare con una statua e Acasto, per il bene della figlia, decise di far sciogliere la statua nell'olio bollente, ma Laodamia mentre la statua si scioglieva si gettò nel calderone ricongiungendosi così all'amato.[10]
This marker at the intersection of Chłodna Street and Żelazna Street commemorates the site of the wooden footbridge over Chłodna Street which was built in January 1942 to re-connect the two parts of the Warsaw ghetto which were disconnected when this street was excluded from the ghetto in December 1941.
When Warsaw's German occupiers created the "Jewish Residential District" at the end of 1940, it initially included a narrow strip of land between Wronia and Żelazna streets which linked the "large ghetto" in the north to the "small" ghetto in the south. However, this meant that a short section of Chłodna Street (which was an important east-west transport corridor) became enclosed within the ghetto, which caused considerable traffic disruption in Warsaw over the next few months.
As a result, the Germans eventually decided to exclude Chłodna Street from the ghetto, thus dividing it in two. But doing so prevented the free movement of the Jews from one part of the ghetto to the other, which meant that it was still necessary to periodically stop the traffic on Chłodna Street to allow the inhabitants of the ghetto to cross.
This prompted the Germans to create the footbridge, which kept the traffic flowing and re-enabled free movement for the Jews, as well as allowing them a brief glimpse of the city outside the ghetto to which they no longer had access....
Warsaw ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
Storico Carnevale di Ivrea
edizione 2013
Battaglia delle Arance
Tuchini del Borghetto
Lunedì 11 febbraio 2013
i tuchini ...sotto la neve!
Soldati alla guerra...
Borghetto
Ivrea
Italia
have a look to the whole set on facebook:
www.facebook.com/media/set/?set=a.426405797441658.99167.1...
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"
The Jet d'Eau (French pronunciation: [ʒɛ do], Water-Jet) is a large fountain in Geneva, Switzerland, and is one of the city's most famous landmarks, being featured on the city's official tourism web site and on the official logo for Geneva's hosting of the 2008 UEFA Championships.[1] It is also one of the largest fountains in the world.[2] Situated at the point where Lake Geneva empties into the Rhone River, it is visible throughout the city and from the air, even when flying over Geneva at an altitude of 10 km (33,000 ft).
Five hundred litres (132 gallons) of water per second are jetted to an altitude of 140 metres (459 feet) by two 500 kW pumps, operating at 2,400 V, consuming over one megawatt of electricity.[3][4][5] The water leaves the nozzle at a speed of 200 km/h (124 mph). When it is in operation, at any given moment there are about 7,000 litres (1849 gallons) of water in the air. Unsuspecting visitors to the fountain—which can be reached via a stone jetty from the left bank of the lake—may be surprised to find themselves drenched after a slight change in wind direction.
This is the fountain seen in the TV series The Champions. The fountain was the first route marker for Leg 10 of The Amazing Race 3.
The first Jet d'Eau was installed in 1886 at the Usine de la Coulouvrenière, a little bit further downstream from its present location.[5] It was used as a safety valve for a hydraulic power network and could reach a height of about 30 metres (98 feet). In 1891, its aesthetic value was recognised and it was moved to its present location to celebrate the Federal Gymnastics Festival and the 600th anniversary of the Swiss Confederation, on which occasion it was operated for the first time. Its maximum height was about 90 metres (295 feet). The present Jet d'Eau was installed in 1951 in a partially submerged pumping station to pump lake water instead of city water.[6]
Since 2003, the fountain has operated during the day all year round, except in case of frost and particularly strong wind.[5][7] It also operates in the evening between spring and autumn and is lit by a set of 12 lights totaling 108 kW.[6]
N E W | O U T N O W
MUUDYLAND
Monked Records
monkedrecords.bandcamp.com/album/muudyland
Cassette Edition
Feat present : Marcel Kalt Drwn , Mazinga Paddon
Cover art : King Pom
MUUDYLAND è l'album più intimo di Odeeno.
Nato dall'insieme di dolori e gioie che lo portato a manifestare questo suo lato più intimo fino al punto più pronfondo dell'animo.
Un disco di solo anima e corpo, tutto di getto senza pensare a nessuna minima forza , ma fancedosi trasportare dai colori e dalle emozioni.
Grazie a tutti voi che mi siete stati vicino a tutte le persone che mi hanno accompagnato in questo cammino.
Grazie
Volevo Ringraziare tutti voi che mi avete dato forza e permesso che questo disco uscisse.
Dario BassLuigi Silvestro OohGiLindaCayo KunRaffaele CristofaroGianluca RussoAgro AgrooGaetano PalminiAntonio CicalaMarco OttavioLuigi EsemplareMelania MartinelliBreakstarrAndrea PollastroLorenzo GravinaBrian NoizeEddie FangoUmberto CioffiMauro RussoCiro MartinottiMarika PunzoRoberto Di VincenzoPasquale PiccoloMario MarinoPasquale CicalaAston Rico
Grazie a tutti voi.
MUUDYLAND is Odeeno's most intimate album.
Born from the combination of pains and joys that led him to manifest this most intimate side of his up to the deepest point of the soul.
A disc of only soul and body, all in one go without thinking of any minimum force, but fancedosi carried by colors and emotions.
Thanks to all of you who have been close to me to all the people who have accompanied me on this journey.
Thank you