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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.
Terezín was in de Tweede Wereldoorlog de tot concentratiekamp en getto veranderde Tsjechische vestingstad. Het was vooral een doorgangskamp voor Joden die meestal spoedig naar Auschwitz-Birkenau of andere vernietigingskampen werden gestuurd. In Terezín stierven 31.000 mensen.
Deze foto's zijn van het zogenaamde kleine fort. Het gaf me een dubbel gevoel. Het is uit bouwhistorisch oogpunt een prachtige vesting met verdedigingswerken. Maar de horror die hier onder Duitse Leiding plaats vond is niet te bevatten. Het maakte meer indruk dan mijn eerste bezoek, in 1987.
The old fortress of Theresienstadt was a hybrid concentration camp and ghetto established by the SS during World War II. It was located in the Protectorate of Bohemia and Moravia (a German-occupied region of Czechoslovakia). Theresienstadt served two main purposes: it was simultaneously a waystation to the extermination camps, and a "retirement settlement" for elderly and prominent Jews to mislead their communities about the Final Solution. Its conditions were deliberately engineered to hasten the death of its prisoners, and the ghetto also served a propaganda role.
Photo c. 1897 of the elegant Carey Hotel in Wichita, KS, built in 1887. This second-empire style structure is still standing today (06/02/2010) and listed on the National Register of Historic Places. William Henry Sternberg (1832 - 1906) was one of two prime contractors to erect this building. He was responsible for all the doors, windows and interior finish carpentry. W.H. Sternberg built more commercial buildings such as this than any other contractor in the late 1800s... "probably twice as many as have been put by any other contractor in the city", Portrait And Biographical Album of Sedgwick County, Kan., Chapman Brothers 1888, pgs. 190 - 191. In addition to putting up more of the commercial buildings than anyone else he also designed and erected most of the large, upscale homes of the day, including homes for: C.N. Lewis, Albert. W. Oliver (Co-Owner, large flour mill), Aaron Katz (business merchant), Mark J. Oliver (Atty), Hiram Imboden (Co-Owner, large flour mill), M.W. Levy (bank president), Peter Getto (Capitalist), Reuben H. Roys (Atty), Finlay Ross (Mayor), William H. Whitman, Jacob Henry Aley (prominent merchant, boots & shoes), Robert E. Gutherie (Capitalist), J.R. Van Zandt (prominent busienssman), George Pratt (lumber baron), Charles W. Bitting, Alfred W. Bitting (prominent businessman), Judge James L. Dyer (Judge), Charles M Jones (Clothier), Dr. G. E. McAdams (Physician), Capt. Charles Smyth, Dr. J. H. Russell (Physician), Kos Harris (Atty), William Greiffenstein (Mayor), Russell Harding (a railroad superintendent), Ben Aldrich (Mayor & prominent businessman) and many others...
This hotel was purchased by the manager of it (Ben Eaton) in 1899 and has since been known as the Hotel Eaton. When Eaton acquired this, he modified the northeast corner and the east side (between the two arches) by removing the brick and limestone and installing large windows. See photostream for another photo of the Hotel Eaton with its large windows. In addition to being a hotel, this building also housed offices. For example this was the office location for the O.Z. Smith Realty Company. In 1900, hotel rates were $2.00 - $3.00 per day, but Smith's agency was advertising "All Hotel Bills paid and Free Livery Hire to all Prospective Buyers".
What appear to be chimney flues on this building are actually decorative tops to structural supports - made to look like chimney tops. A similar feature (structural supports outfitted with dummy chimney flues at the top) was also seen on the Bitting Brothers Building at Douglas and Market (another Sternberg-built structure). In its day the Carey House Hotel was certainly a first class hotel... It had an elevator (believed to be hydraulic), steam heat, hot and cold running water in all of the guest rooms and a dining room that was the talk of the town. See photo stream for photos of the interior of this hotel. The arched sign at the very top says "J.B. Carey" on the lower portion. John Carey lived here in this hotel when he owned it. The hotel also housed some business offices, like for example the headquarters of the Oscar Z. Smith Realty Company. Rates in 1900 were between $2.00 to $3.00 / day (depending on the level of luxury). However if you were a prospective real estate buyer, Smith's Realty Company advertised, "All Hotel Bills paid and Free Livery Hire to all Prospective Buyers". "Livery Hire" meant "you had a ride" - a horse and carriage to take you around town and go see some real estate!
Your thoughts, comments and/or additional information about this place and/or this photo are welcome and appreciated.
In pre-war Warsaw there was a street connecting Grzybowska Street to the Hala Mirowska market. Originally called Gnojna, after the local dungheap, it was officially renamed to Rynkowa Street in 1902, but colloquially the old name stuck.
During the 1920s the street became home to a restaurant owned by Józef Ładowski, who was known as "Gruby Josek" (Fat Joe). The restaurant closed in October 1932 after Ładowski died of a heart attack, but was immortalised in a popular song called "Bal Na Gnojnej" (Party On Gnojna Street) - also known as "Bal U Grubego Jośka" or "Bal U Starego Jośka".
The song is still played by street musicians in Warsaw today, even though Gnojna no longer exists. From 1940 to 1942 the street was at the northern edge of the smaller of the two parts of the Warsaw ghetto. The area through which it ran is now a leafy green space.
Józef Ładowski was buried in the Jewish Cemetery on Okopowa Street. The only member of his family known to have survived the Second World War was his daughter, Alicja Ładowska, who emigrated to Canada. Her son is the jazz pianist Ron Davis, who included three versions of "Bal Na Gnojnej" on his 2010 album "My Mother's Father's Song"....
An American couple was sitting in the same train as me... when we drove away from the city and passed some community gardens with little wooden houses on it (so people can save some stuff there) he said to his wife... look honey... the getto's of Rotterdam. His wife was reacting "oohhhww how said is that!" Later on he saw a windmill... look honey, a couple of years ago everyone in The Netherlands used to live in that kind of houses...
Welcome to the world!!!!
Photo of the Getto Block Building at 235 North Main in Wichita, KS. This four-story brick block-style building was erected by William Henry Sternberg (1832-1906). It was commonly known as the "Getto Building" and multiple references indicate it was located on the southwest corner of Main & Second Street. This structure no longer exists. It burned to the ground on February 5th, 1923 leaving only the exterior walls and taking with it nine lives.
Wichita was a confluence of people from all over the country and the world looking for opportunity. Peter Getto (12/31/1841 - 03/10/1902) originally from Germany came to Wichita in 1871 by way of Ohio and when he arrived in Wichita he started doing various jobs working as a soda jerk and selling cigars wholesale to various retail establishments. Not long after arriving, Peter Getto went into business with A. Hess (also from Germany) and together they formed, "Wichita Wholesale Grocer". This partnership was dissolved in 1877 (by Getto) on account of him being injured in a train accident while traveling to Ohio to visit relatives. "When he got back to Wichita", stated Hess about his partner, "not wishing to be on his feet, he dissolved the partnership with me in order to have rest and fully recover from the injury." By 1887, Peter Getto also was part owner of a boot and shoe company (the Getto-McClung Boot & Shoe Co) and that store was here in this building. Peter Getto also officed here in this building on the top floor (room 47). Peter Getto was a highly industrious business man getting involved in numerous businesses in Wichita... In 1878, he began manufacturing bottled mineral water from a shack in his back yard. This proved quite successful and in 1879, he had a one-story building at Main & Second Street (same location as photo above) built to handle the growing mineral water production (that building not pictured here but likely erected by W.H. Sternberg). About ten years after this Getto's brother-in-law joined the mineral water business as a parter. They moved the business to Waco Avenue & First Street and worked there until his brother-in-law passed away in 1896. In the 1890s, Getto had another building built at the corner of Douglas and Market (unconfirmed at this time but likely it was built by W.H. Sternberg). Still later, Getto replaced the one-story building with this multi-story building (confirmed to have been erected by W.H. Sternberg). Getto served on the Wichita City Council from 1878 to 1882.
Peter Getto also used W.H. Sternberg to design & build his own home (at 255 N. Water) in Wichita, KS (Getto's residential photos not yet posted to this photostream but will be shortly). Because of Sternberg's reputation for quality and fairness, many persons turned to him repeatedly to handle all of their building needs.
Peter Getto passed away suddenly on March 10, 1902 of a heart attack. At the time of his death, the Eagle reported, "As a citizen he held the best interest of the city at heart and was always an attendant on public meetings where the good of the town was to be considered."
Interesting to know what the pile of stuff is in the lower right-hand corner of this photo...
Any thoughts, comments, ideas or additional information about this building are welcome and appreciated!
This photo courtesy of the Wichita-Sedgwick County Historic Museum (www.WichitaHistory.org).
Modigliani - Volti di donna - Bicchieri.
Bicchiere in ceramica lavorato e decorato a mano, per acqua, vino, thè, bibite, etc.
I decori, su fondo bianco, si ispirano o riprendono i particolari di famosi dipinti di Amedeo Modigliani.
Le irregolarità, nelle forme e nei colori, sono un segno distintivo del lavoro manuale.
Misure: h 11 x 7,5 cm.
Decoro: Donna con i capelli rossi.
Amedeo Modigliani:
Un artista famoso per le sue figure allungate e per i suoi nudi voluttuosi.
Nato in Italia, ma vissuto a Parigi, concentrò il proprio interesse sulle sculture e sulle maschere africane, come si rende evidente nella raffigurazione dei visi dei suoi modelli, piatti e simili a una maschera, con occhi a mandorla e lineamenti distorti.
A differenza delle opere degli altri pittori appartenenti alla Scuola di Parigi, i dipinti di Modigliani non raffiguravano nulla del contesto circostante alla persona che veniva raffigurata. I personaggi apparivano autonomi e rivelavano poco del loro tempo e del loro ambiente, se non per i dettagli che si potevano dedurre dalle acconciature e dall’abbigliamento. I modelli di Modigliani si trovavano in un rapporto frontale rispetto allo sguardo del pittore e dell’osservatore. Nei nudi, solitamente, le modelle posavano con un atteggiamento esibizionista, scoprendo il seno, il ventre e il pube.
Per arrivare a un risultato soddisfacente Modigliani passava attraverso numerose fasi preparatorie, come dimostrano i disegni, a volte più di cento, che faceva prima di iniziare a dipingere sulla tela. Modigliani disegnava con grande rapidità, senza mai ritoccare le linee. Piuttosto che tornare sulla linea appena tracciata preferiva ricominciare, finché non riusciva a ottenere il profilo desiderato attraverso un unico getto.
Nella rappresentazione delle sue aggraziate distorsioni figurative e delle ampie aree piatte colorate, Modigliani risente fortemente dell’influsso di Cezanne.
Morì all’età di 35 anni di tubercolosi, il cui decorso fu accelerato dall’abuso di alcool, droghe e dalla povertà.
Modigliani - Woman faces - Glasses.
Glass ceramic crafted and decorated by hand, for water, wine, tea, soft drinks, etc.
The decorations on a white background, are inspired or take the details of famous paintings by Amedeo Modigliani.
Irregularities, shapes and colors, are a hallmark of manual labor.
Measurements: h 11 x 7,5 cm.
Decoration: Woman with red hair.
Amedeo Modigliani:
An artist famous for his elongated figures and his voluptuous nudes.
Born in Italy, but lived in Paris, she focused their interest on the sculptures and African masks, as is evident in the depiction of the faces of his models, dishes and mask-like, with almond eyes and twisted features.
Unlike the works of other painters belonging to the School of Paris, the paintings of Modigliani not depict anything about the context surrounding the person who was depicted. The characters appeared autonomous and revealed little of their time and their environment, if not for details that could be inferred from clothing and hairdos. The models of Modigliani were in a relationship front compared to the look of the artist and the observer. Nudes, usually, the models rested with an attitude exhibitionist, discovering the breast, stomach and groin.
To arrive at a satisfactory result Modigliani went through several preparatory stages, as shown by the drawings, sometimes more than a hundred, that was before you begin painting on canvas. Modigliani drew very rapidly, never touch the lines. Rather than go back on line soon traced preferred to start again, until he could get the desired profile through a single jet.
In the representation of its graceful figurative distortions and large flat areas of color, Modigliani were strongly influenced by Cezanne.
He died at age 35 of tuberculosis, whose course was accelerated by the abuse of alcohol, drugs and poverty.
LE CAVALIER NAPOLEON ET SES CHEVAUX
Article de Louis Merllié publié dans le Carnet de la « Sabretache » en 1971
Lors de la commémoration en 1969 du bicentenaire de la naissance de l’empereur Napoléon 1er, l’auteur de cet article s’est amusé a recueillir dans les différentes revues hippiques françaises les articles consacrés aux relations du grand homme avec la plus noble conquête de l’espèce humaine, en un mot comment il montait, les incidents de sa vie à cheval et ce que furent ses chevaux personnels.
Les sources de cet article
L’auteur a rassemblé ainsi trois articles de M. André Monteilhet dans Information hippique (nº 141, 142, 143 de février, mars et avril 1969) sous le titre : « Le cavalier Napoléon Bona-parte », un article de M. Jacques Branet, paru dans le numéro de mai de l’Eperon : « Napoléon et ses chevaux » et enfin un article paru dans le Nº 5 de « Plaisirs Equestres » en novembre--décembre 1962 sous la plume de M. G. Albert Roulhac sous le titre : « Un curieux cavalier, Napoléon Bonaparte ».
La documentation de l’auteur se complète d’un article beaucoup plus ancien paru dans le magazine “Je Sais Tout” au début du siècle. Il est signé de M. Camille Audigier et s’intitule : « Un grand général mauvais cavalier ». Cet article est illustré de façon très amusante : il y a d’abord la gravure de Mécou d’après les dessins d’Isabey (pour les personnages) et de Carle Vemet (pour les chevaux) représentant la Revue du Décadi où Bonaparte apparaît tel qu’il devait toujours se tenir à cheval.
Le Premier Consul Bonaparte à la revue du Décadi vers 1802. On le voit sur son cheval le Aly. L’animal avait été ramené d’Egypte où il appartenait initialement au 18ème rgt de dragons, d’où le « 18 » marqué sur la fesse (Partie d’une oeuvre de Patrice Courcelle pour le Projet « Napoléon & Bonaparte ». ( Original: collection privée, Céroux, Belgique).
Napoléon à cheval a été beaucoup représenté de sont temps et ensuite, des exemples parmi d’autres : Le Napoléon à léna d’Horace Vernet, celui du baron Gros le représentant a Eylau, le Bonaparte en Egypte de Barthélemy, le Napoléon à Tilsit de Debret, le Bonaparte à Rivoli de Philippoteaux, le Napoléon à Waterloo de Diego Sigrist, encore du baron Gros le Bonaparte en Italie, diffé-rentes images de Charlet et de Raffet, enfin deux Horace Vernet : Napoléon à Friedland, Napoléon à Wagram. Toutes ces toiles ne constituent évidemment pas une documentation valable sur la manière de monter de Napoléon : il n’avait ni le temps ni la patience de poser.
Les différents auteurs des articles cités ci-dessus, exception faite de l’article de Je sais tout, se référent a une source commune : un petit ouvrage de Frédéric Masson paru chez Ollendorf en 1907 : « Napoléon à cheval » , dans la série des “Jadis”. C’est ce méme titre que l’on trouve sur une plaquette du médecin-vétérinaire L. Guillot parue en 1939 a l’Imprimerie Alençonnaise.
Nous allons essayer de tirer de tout cet ensemble un résumé qui nous dira :
Comment Napoléon Bonaparte montait et pourquoi?
Les incidents de la vie à cheval du personnage, en un mot l’histoire de ses chutes.
Sa cavalerie personnelle : ses chevaux, ce qu’ils étaient et comment on les dressait.
Le cavalier Napoléon Bonaparte
Les écrivains cavaliers que cités plus haut s’ac-cordent tous pour dire que si la monte de Napoléon Bonaparte était peu gracieuse et pas du tout conforme aux principes du noble art de l’équitation, il était à cheval d’une résistance extraordinaire et accomplissait sur sa monture des prodiges peu communs.
Napoléon Bonaparte n’apprit jamais l’équitation. Tout jeune, il montait déja les petits poneys de sa Corse natale. Il les montait la bride sur le cou, les étriers longs, la poitrine en dedans, genoux ouverts et cuisses plates. A l’Ecole militaire, pendant les dix mois qu’il y passa, il fut bien initié aux rudiments de l’art équestre par le fameux M. Dauvergne, mais celui-ci disait qu’il lui fallait trois ans pour faire de lui un cavalier. Enfin le futur empereur n’avait rien du physique cavalier : il était trop petit avec un buste trop long et étreignait mal son cheval avec ses jambes trop courtes. Le torse écrasé sur le ventre, il manquait d’assiette. Mais malgré ce défaut, A cheval Napoléon n’avait peur de rien.
Aucun obstacle ne l’effrayait. Certain jour au fort de Batz, il franchit seul un fossé de six mètres, laissant pantois les gens de son escorte incapables d’en faire autant. A la chasse il lui est arrivé de tirer à cheval lièvres et corbeaux, tout en sautant les murs et les haies. Il montrait également à cheval une endurance exceptionnelle. Il lui est arrivé de rester en selle huit heures de suite. On raconte qu’en Espagne, montant Montevideo, il franchit en trois heures et demie la distance considérable de Burgos à Valladolid (23 lieues) fouettant la croupe du cheval de Savary qui courait devant, bourrant sa propre monture de coups d’éperons, laissant une fois de plus, sans s’en soucier, l’escorte derrière lui.
Les chutes de cheval de Napoléon
Il n’admettait pratiquement que le galop. Aussi son manque d’assiette lui jouait-elle des tours. Le nombre de ses chutes est mémorable. On connait celle qu’il fit au camp de Boulogne, A cause d’un enfant (le père du futur peintre napoléonien Edouard Detaille) qui traversa brusquement le chemin étroit où l’Empereur galopait. Ce jour-là il montait Tauris.
Un autre jour, chez Joseph A Mortefontaine, il essaie un cheval qui fait un écart et le projette la tête contre un tronc d’arbre, le laissant évanoui un moment. En Allemagne, il renverse une femme, mais reste en selle. Par contre un jour qu’il avait traité de “ maladroit” un vieux chasseur de son escorte ayant roulé au sol, le même grognard l’aide quelques instants plus tard à se relever, Cyrus ayant butté et entraîné son cavalier dans sa chute. Napoléon entend alors le vieux soldat grommeler : “ Il parait que je ne suis pas maladroit tout seul aujourd’hui “.
Mais la chute la plus connue, car elle revêt un caractère historique, est celle que rapporte le Grand Ecuyer Caulain-court. “ Un jour, raconte-t-il, (c’était le matin du 23 juin 1812 avant le passage du Niémen) un lièvre partit dans les jambes de son cheval qui fit un brusque écart. L’Empereur qui se tenait fort mal, roula à terre mais se releva aussitôt avant que je n’arrivasse sur lui. « Ceci est un mauvais présage, dit-on au quartier général, Un Romain reculerait “. Mais le Corse hélas, défia le sort et franchit le Niémen sur le même cheval : le Friedland.
Le dressage des chevaux de l’empereur
A leur arrivée aux écuries, ils étaient “cassés” par le premier piqueur Jardin qui leur faisait entendre des coups de feu et mille bruits divers. On les habituait à l’éclair des sabres et des baïonnettes, on allait jusqu’à leur jeter des chiens et des porcs dans les jambes ! Puis l’écuyer ordinaire, M. de Canisy les montait quelque temps pour les habituer à la façon assez particulière dont montait l’Empereur. Ils étaient alors quali-fiés « du rang de Sa Majesté ».
Napoléon à cheval suivi de son état-major vers 1812. Illustration d’Edouard Detaille parue en 1909 dans « l’Armée Française » de Jules Richard.
Quelques chevaux de Napoléon
Et voilà que nous avons déjà cité quatre des chevaux de l’Empereur. Le Montevideo, le Tauris, Cyrus (rebaptisé Austerlitz après la bataille où il porta l’Empereur, le Fried-land. On ignore le nom du cheval qui fut tué sous lui à la batterie du Petit Gibraltar, lors du siège de Toulon, mais on sait que s’appelait Calumet celui dont la mort le précipita dans les marais d’Arcole. A Sainte-Héléne, l’Empereur dit un jour à O’Meara qu’il avait eu dix-huit ou dix-neuf chevaux tués sous lui. Lorsque général de brigade il est nommé à l’Armée de Vendée, ses chevaux envoyés d’avance sont enlevés par les Blancs (1). Les chevaux sont hors de prix et sa bourse est plate. Mais un an plus tard, à l’Armée d’Italie, elle est mieux garnie et il peut se permettre de crever cinq chevaux en quelques semaines.
Empereur, il en aura des quantités et de toutes les races : des russes, des allemands, des espagnols, des arabes offerts par le dey d’Alger et l’empereur du Maroc ou achetés en Turquie. Il envoya même en Russie Lavigne, un de ses piqueurs, pour lui chercher des chevaux russes afin de compléter ceux offerts par le tsar Alexandre. Il n’aimait pas les allemands, trop grands et trop lourds, mais il appréciait les produits du “ haras sauvage” du Grand duc de Berg. L’écurie de l’empereur comptait aussi des limousins et des normands, mais elle ne comprenait que des juments et chevaux entiers.
Les favoris
Parmi les chevaux du rang de Sa Majesté, l’Empereur avait ses favoris : Il y avait l’Ingénu (surnommé le Wagram) cadeau de l’empereur d’Autriche. C’était un pur-sang pommelé qui reconnaissait l’Empereur A son pas et frappait le sol jusqu’à ce qu’il ait obtenu le morceau de sucre attendu. Il y avait l’Intendant, surnommé Coco par les grognards, un autre gris que montait l’Empereur ¡\ l’entrée dans Berlin. A Vienne il montait Coquet, encore un gris; A Moscou, Ali qu’il montait déjà A Marengo.
Un autre favori de l’Empereur était le Roitelet, un grand alezan croisé d’anglais et de limousin. A Lutzen, il eut la croupe frôlée par un boulet qui passa si près que le poil ne repoussa jamais. A Arcis-sur-Aube, un obus étant venu en sifflant s’enfoncer en terre A proximité de Napoléon, celui-ci pour raffermir les jeunes recrues, poussa dessus le même Roitelet. L’obus éclata, le cheval se jeta de côté, envoyant son cavalier à terre. Celui-ci remonta en selle en disant à sa monture : • Allons, nous en sommes encore quittes pour la peur ! »
Citons encore parmi les chevaux de l’Empereur :
Le Désiré, monté pour la revue du Décadi et à Marengo. L’Embelli (limousin truité), le Vizir, le Néron (bai) montés à Eylau, le Cordoue (alezan brúlé), le Gonsalve (bel andalou bai doré), l’Emir (alezan à raie de mulet) montés en Espagne.
Le Cantal, un auvergnat gris truité, né à Mauriac dans la ferme de l’abbé Baduel, mort à Ligny. Le Calvados, le Gisors, le Kurde, Le Cid, l’Epicurien, la Styrie, le Tamerlan et l’Hippogryphe. Ces deux derniers chevaux furent peints par Horace Vernet pour la somme de 250 francs chacun. Tamerlan qui était un étalon gris fut également peint par Géricault.
Quand l’Empereur partit pour l’ile d’Elbe, il emmena huit chevaux, trois gris et cinq alezans ou bais : le Wagram, le Tauris, l’Intendant dit Coco, le Montevideo, le Roitelet, le Gonsalve et l’Emir, mais l’écurie du minuscule royaume compta vite une cinquantaine de chevaux. A Sainte-Hélène, par contre, l’Empereur n’en eut qu’une dizaine : six de selle et quatre pour la calèche. L’une des montures amenée du Cap de Bonne Espérance s’appelait Le Bonaparte. On la rebaptisa Le Numide.
C’est le Sheik qui suivit le corbillard à Sainte-Héléne.
On voit par cette énumération que l’Empereur, contrai-rement à la légende, ne montait pas que des chevaux gris.
Les chevaux de Waterloo
M. Nicaise dans La Figurine Belge (numéro du 3ème trimestre 1964) a recherché quelle fut la fin de certains des chevaux de l’Empereur, notamment de ceux figurant à Waterloo. On sait que ce jour-là l’Empereur monta successivement la Marie ou dite aussi la Zina (une jument mecklembourgeoise de robe grise), Désirée une autre jument grise et enfin Marengo un petit barbe gris fer, le doyen de l’écurie de l’Empereur. la Marie (ou Zina) et le Marengo furent abandonnés à la ferme du Caillou, la première fut rendue par Blücher à son propriétaire d’origine, le second emmené en Angleterre par un officier de la suite de Wellington. Son squelette est à l’Institut militaire de Whitehall. A Waterloo étaient encore présents le Cerbère qui sera tué par un boulet et le Jafa qui, capturé par les Anglais, vivra jusqu’á l’âge de 37 ans et sera enterré dans la propriété de la baronne Nettebladt à Gloessenburg.
Napoléon à Waterloo montant le Jafa. Bien qu’il ait monté plusieurs chevaux de robes diverses, on représente généralement et à tort l’empereur sur un cheval blanc ou gris lors de la grande bataille. Partie d’une oeuvre de Patrice Courcelle pour le Projet « Napoléon & Bonaparte ». ( Original: collection privée – Céroux, Belgique).
Les « brigades »
Les chevaux de l’Empereur étaient répartis en dix brigades (de onze à treize chevaux chacune) et chaque brigade comprenait :
– Deux chevaux de bataille et un d’allure (route) pour Sa Majesté.
– Un cheval pour le Grand Ecuyer ou l’écuyer de service.
– Un pour le page de service, un pour le chirurgien de service, un pour le piqueur de service.
– Un pour le mameluck et trois pour les palefreniers.
1) Surnom donné aux royalistes. Les républicains étant surnommés les Bleus.
IL CAVALIERE NAPOLEONE E I SUOI CAVALLI
Articolo di Louis Merllié pubblicato nel Carnet de la “Sabretache” nel 1971
Durante la commemorazione nel 1969 del bicentenario della nascita dell'imperatore Napoleone I, l'autore di questo articolo si è divertito a raccogliere nelle varie riviste equestri francesi gli articoli dedicati ai rapporti del grande uomo con la più nobile conquista della specie umana, in una parola come cavalcava, gli incidenti della sua vita a cavallo e quali erano i suoi cavalli personali.
Le fonti di questo articolo
L'autore ha così raccolto tre articoli di M. André Monteilhet in Information hippique (nº 141, 142, 143 di febbraio, marzo e aprile 1969) sotto il titolo: “Le cavalier Napoléon Bonaparte”, un articolo di M. Jacques Branet, apparso nel numero di maggio de l'Eperon: “Napoleon and his horse” e infine un articolo pubblicato nel Nº 5 di “Plaisirs Equestres” nel novembre-dicembre 1962 sotto la penna di MG Albert Roulhac con il titolo: “Un curieux rider, Napoleon Bonaparte”.
La documentazione dell'autore è integrata da un articolo molto più antico apparso sulla rivista "Je sais Tout" all'inizio del secolo. È firmato dal signor Camille Audigier ed è intitolato: "Un grande generale cattivo pilota". Questo articolo è illustrato in modo molto divertente: c'è prima l'incisione di Mécou dai disegni di Isabella (per i personaggi) e Carle Vemet (per i cavalli) che rappresenta la Revue du Décadi dove Bonaparte appare come quello che doveva sempre tenere a cavallo.
Il Primo Console Bonaparte alla rassegna Decadi intorno al 1802. Lo vediamo sul suo cavallo l'Aly. L'animale era stato riportato dall'Egitto dove originariamente apparteneva al 18° rgt dei draghi, da qui il "18" segnato sul gluteo (Parte di un'opera di Patrice Courcelle per il Progetto "Napoleone & Bonaparte". (Originale: collezione privata , Ceroux, Belgio).
Napoleone a cavallo è stato rappresentato molto del suo tempo e poi, esempi tra gli altri: Il Napoleone a Jena di Horace Vernet, quello del barone Gros che lo rappresenta a Eylau, Bonaparte in Egitto da Bartolomeo, Napoleone a Tilsit da Debret, il Bonaparte a Rivoli di Philippoteaux, il Napoleone a Waterloo di Diego Sigrist, sempre del Barone Gros le Bonaparte in Italia, diverse immagini di Charlet e Raffet, infine due Horace Vernet: Napoleone a Friedland, Napoleone a Wagram. Tutte queste tele ovviamente non costituiscono una valida documentazione sul modo di montare di Napoleone: non ebbe né il tempo né la pazienza per posare.
I vari autori degli articoli sopra citati, ad eccezione dell'articolo in Je sais tout, fanno riferimento a una fonte comune: una piccola opera di Frédéric Masson pubblicata da Ollendorf nel 1907: “Napoleone a cavallo”, nella serie di “Un tempo ”. È lo stesso titolo che si trova su un opuscolo del veterinario L. Guillot pubblicato nel 1939 presso l'Imprimerie Alençonnaise.
Cercheremo di trarre da tutto questo insieme un riassunto che ci dica:
Come nacque Napoleone Bonaparte e perché?
Le vicende della vita a cavallo del personaggio, insomma la storia delle sue cadute.
La sua cavalleria personale: i suoi cavalli, cosa erano e come venivano addestrati.
Il cavaliere Napoleone Bonaparte
Gli scrittori cavalieri sopra citati concordano che se la cavalcata di Napoleone Bonaparte non era molto aggraziata e per nulla conforme ai principi della nobile arte dell'equitazione, egli era a cavallo con straordinaria resistenza e si esibiva sulla sua cavalcatura di insolite meraviglie.
Napoleone Bonaparte non imparò mai l'equitazione. Giovanissimo, cavalcava già i piccoli pony della sua nativa Corsica. Li cavalcava con le briglie al collo, le staffe lunghe, il petto in dentro, le ginocchia aperte e le cosce piatte. Alla Scuola Militare, durante i dieci mesi che vi trascorse, fu ben introdotto ai rudimenti dell'arte equestre dal famoso signor Dauvergne, ma quest'ultimo disse che gli ci vollero tre anni per farne un cavaliere. Infine, il futuro imperatore non aveva nulla del cavaliere fisico: era troppo piccolo con un petto troppo lungo e abbracciava malamente il suo cavallo con le gambe troppo corte. Con il petto schiacciato sullo stomaco, gli mancava l'assetto. Ma nonostante questo difetto, A Cheval Napoleon non aveva paura di nulla.
Nessun ostacolo lo spaventava. Un giorno, a Fort de Batz, attraversò da solo un fosso di sei metri, lasciando sbalordite le persone della sua scorta, impossibilitate a farlo. Durante la caccia, a volte sparava a lepri e corvi a cavallo, mentre saltava su muri e siepi. Ha anche mostrato una resistenza eccezionale a cavallo. Gli è capitato di stare in sella otto ore di fila. Si narra che in Spagna, salendo a Montevideo, in tre ore e mezza percorse la notevole distanza da Burgos a Valladolid (23 leghe), frustando il groppone del cavallo di Savary che correva davanti, riempiendo il proprio cavallo di colpi di sprona, partendo ancora una volta, a prescindere, la scorta dietro di sé.
Cade il cavallo di Napoleone
Praticamente permetteva solo di galoppare. Quindi la sua mancanza di assetto gli stava giocando brutti scherzi. Il numero delle sue cadute è memorabile. Conosciamo quella che fece al campo di Boulogne, a causa di un bambino (il padre del futuro pittore napoleonico Edouard Detaille) che all'improvviso attraversò lo stretto sentiero dove galoppava l'imperatore. Quel giorno stava cavalcando Tauris.
Un altro giorno da Joseph A Mortefontaine, prova un cavallo che sbanda e lancia la testa contro un tronco d'albero, lasciandolo svenuto per un po'. In Germania abbatte una donna, ma resta in sella. D'altra parte un giorno quando aveva chiamato "goffo" un vecchio cacciatore della sua scorta che si era rotolato a terra, lo stesso scontroso lo aiutava qualche istante dopo a rialzarsi, essendo Ciro inciampato e trascinato il suo cavaliere nella caduta. Napoleone udì allora il vecchio soldato borbottare: "Sembra che oggi non sia maldestro da solo".
Ma la caduta più famosa, perché ha un carattere storico, è quella riportata dal Grand Ecuyer Caulaincourt. "Un giorno", dice, "(era la mattina del 23 giugno 1812 prima del passaggio del Niemen) una lepre si trasferì nelle gambe del suo cavallo, che sbandò bruscamente. L'imperatore, che stava molto male, rotolò a terra ma si alzò subito prima che lo incontrassi. "Questo è un cattivo presagio, dicono al quartier generale, un romano si tirerebbe indietro". Ma purtroppo la Corsica ha sfidato la sorte e ha attraversato il Niemen sullo stesso cavallo: il Friedland.
L'addestramento dei cavalli dell'imperatore
Quando sono arrivati alle scuderie, sono stati “spezzati” dal primo raccoglitore del Garden che ha fatto sentire loro degli spari e mille rumori diversi. Li abbiamo abituati ai lampi di sciabole e baionette, siamo arrivati al punto di gettare loro cani e maiali alle gambe! Poi il comune scudiero, M. de Canisy li cavalcò per un po' per abituarli al modo piuttosto particolare in cui cavalcava l'imperatore. Furono quindi qualificati "del grado di Sua Maestà".
Napoleone a cavallo seguito dal suo staff intorno al 1812. Illustrazione di Edouard Detaille pubblicata nel 1909 in "The French Army" di Jules Richard.
Alcuni cavalli Napoleone
E ora abbiamo già menzionato quattro dei cavalli dell'Imperatore. Il Montevideo, il Tauris, Cyrus (ribattezzato Austerlitz dopo la battaglia in cui portò l'imperatore, il Friedland. Non conosciamo il nome del cavallo che fu ucciso sotto di lui alla batteria di Petit Gibraltar, durante l'assedio di Tolone, ma sappiamo chi si chiamava Calumet, l'uomo la cui morte lo gettò nelle paludi di Arcole.A Sant'Elena, l'imperatore un giorno disse a O'Meara che aveva fatto uccidere diciotto o diciannove cavalli sotto di lui.Quando fu nominato generale di brigata all'esercito della Vandea, i suoi cavalli inviati in anticipo sono stati rapiti dai Bianchi (1). I cavalli erano troppo cari e la sua borsa era piatta. Ma un anno dopo, all'esercito d'Italia, è più rifornito e può permettersi di uccidere cinque cavalli in poche settimane.
Imperatore, ce ne saranno quantità e di tutte le razze: Russi, Tedeschi, Spagnoli, Arabi offerti dal dey di Algeri e dall'Imperatore del Marocco o acquistati in Turchia. Mandò persino Lavigne, uno dei suoi piqueur, in Russia a cercare cavalli russi per integrare quelli offerti dallo zar Alessandro. Non gli piacevano i tedeschi, troppo grossi e troppo pesanti, ma apprezzava i prodotti dello “stallone selvaggio” del Granduca di Berg. La scuderia dell'Imperatore aveva anche Limousine e Normanni, ma comprendeva solo cavalle intere e cavalli.
preferiti
Tra i cavalli del rango di Sua Maestà, l'Imperatore aveva i suoi preferiti: c'era l'Ingenu (soprannominato il Wagram) dono dell'Imperatore d'Austria. Era un purosangue pezzato che riconobbe l'Imperatore nelle sue orme e colpì il suolo fino a quando non ottenne la zolletta di zucchero prevista. C'era il quartiermastro, soprannominato Coco dagli sgridatori, un altro grigio che cavalcò l'ingresso dell'imperatore a Berlino. A Vienna cavalcava Coquet, ancora grigio; A Mosca, Ali stava già cavalcando a Marengo.
Un altro favorito dell'imperatore era lo Wren, una grossa castagna mista a inglese e limousine. A Lutzen, la sua groppa sfiorò una palla che passò così vicina che i capelli non ricrescevano mai. Ad Arcis-sur-Aube, una conchiglia caduta sibilando nel terreno, vicino a Napoleone, quest'ultimo per rafforzare le giovani reclute, spinse sullo stesso Wren. L'autobus scoppiò, il cavallo si spostò di lato, mandando a terra il suo cavaliere. Quest'ultimo risalì in sella, dicendo alla sua cavalcatura: - Dai, ne abbiamo ancora paura! "
Citiamo anche tra i cavalli dell'Imperatore:
Le Désiré, in scena per la rassegna Décadi ea Marengo. L'Embelli (limosino con trote), il Vizir, il Néron (baia) montato a Eylau, il Cordoba (castagno bruciato), il Gonsalve (bellissimo baio d'oro andaluso), l'Emir (castagno con muggine) montato in Spagna.
Le Cantal, una trota grigia Auvergne, nata a Mauriac nell'allevamento dell'abate Baduel, morto a Ligny. Calvados, Gisors, Curdo, Le Cid, Epicureo, Stiria, Tamerlano e Ippogrifo. Questi ultimi due cavalli furono dipinti da Horace Vernet per la somma di 250 franchi ciascuno. Tamerlan, che era uno stallone grigio, è stato anche dipinto da Géricault.
Quando l'Imperatore partì per l'isola d'Elba, prese otto cavalli, tre grigi e cinque castani o bai: il Wagram, il Tauris, l'Intendente detto Coco, il Montevideo, il Kinglet, il Gonsalve e l'Emiro, ma la scuderia di il piccolo regno contava rapidamente una cinquantina di cavalli. A Sant'Elena, invece, l'imperatore ne aveva solo una decina: sei per la sella e quattro per la carrozza. Una delle cavalcature portate dal Capo di Buona Speranza si chiamava Le Bonaparte. Fu ribattezzato Le Numide.
Fu lo sceicco che seguì il carro funebre a Sant'Elena.
Da questa enumerazione vediamo che l'imperatore, contrariamente alla leggenda, non montava solo cavalli grigi.
Cavalli di Waterloo
M. Nicaise in La Figurine Belge (numero del terzo trimestre 1964) ha indagato sulla fine di alcuni cavalli dell'imperatore, in particolare quelli che apparivano a Waterloo. Sappiamo che in quel giorno l'Imperatore cavalcava successivamente la Marie o anche detta Zina (una cavalla Mecklenburgische dal vestito grigio), Désirée un'altra cavalla grigia e infine Marengo una barbetta grigio ferro, la più antica della scuderia dell'Imperatore. il Marie (o Zina) e il Marengo furono abbandonati alla fattoria Caillou, il primo fu restituito da Blücher al suo proprietario originario, il secondo portato in Inghilterra da un ufficiale del seguito di Wellington. Il suo scheletro è al Whitehall Military Institute. A Waterloo erano ancora presenti i Cerberus che verranno uccisi da una palla di cannone e i Jafa che, catturati dagli inglesi, vivranno fino all'età di 37 anni e saranno sepolti nella proprietà della baronessa Nettebladt a Gloessenburg.
Napoleone a Waterloo in sella alla Jafa. Sebbene montasse diversi cavalli di vari abiti, l'Imperatore è solitamente e erroneamente raffigurato su un cavallo bianco o grigio nella grande battaglia. Parte di un'opera di Patrice Courcelle per il Progetto "Napoleone & Bonaparte". (Originale: collezione privata - Céroux, Belgio).
Le "brigate"
I cavalli dell'Imperatore erano divisi in dieci brigate (da undici a tredici cavalli ciascuna) e ciascuna brigata era composta da:
- Due cavalli da tiro e un'andatura (stradale) per Sua Maestà.
- Un cavallo per il Gran Scudiero o per lo scudiero di turno.
- Uno per la pagina del servizio, uno per il chirurgo del servizio, uno per il selezionatore del servizio.
- Uno per il mamelucco e tre per gli sposi.
1) Soprannome dato ai realisti. I repubblicani vengono soprannominati i Blues.
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.
Artes De Calidad A Buenos Precios!
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The Markarian Chain is a physical structure composed of numerous galaxy clusters that extends for several million light-years in space. This chain is known for the presence of numerous active galaxies that emit large amounts of radiation across different wavelengths, from X-rays to radio waves.
One of the most notable objects within the Markarian Chain is the galaxy Messier 87 (also known as M87), located at the center of the Virgo Supercluster. M87 is a massive elliptical galaxy with a supermassive black hole at its center that emits a jet of matter at very high speeds, forming a "tube" of luminous matter that extends for thousands of light-years in space.
This jet of matter is one of the most powerful and well-studied in the universe, and its interaction with the surrounding intergalactic medium has various implications for galaxy formation and supercluster dynamics. The Markarian Chain and Messier 87 are therefore both objects of great interest to astronomers and astrophysicists studying the formation and evolution of galaxies and cosmic structures on a large scale.
SharpStar 13028NHT
QHYCCD 183M
N-EQ6 belt mod.
L 227 x 300sec
L 79 x 60sec
HA 58 x 600sec
R 48 x 120sec
G 48 x 120sec
B 48 x 120sec
tot. 34 ore e 42 minuti @ f.2.8
Processed only with Pixinsight
Average SQM 21.19
shots by: Giosi Amante
La Catena Markarian è una struttura fisica composta da numerosi ammassi di galassie che si estende per diversi milioni di anni luce nello spazio. Questa catena è nota per la presenza di numerose galassie attive che emettono grandi quantità di radiazioni su diverse lunghezze d'onda, dai raggi X alle onde radio.
Uno degli oggetti più importanti all'interno della Catena Markarian è la galassia Messier 87 (conosciuta anche come M87), situata al centro del Superammasso della Vergine. M87 è una massiccia galassia ellittica con al centro un buco nero supermassiccio che emette un getto di materia ad altissima velocità, formando un “tubo” di materia luminosa che si estende per migliaia di anni luce nello spazio.
Questo getto di materia è uno dei più potenti e ben studiati dell’universo, e la sua interazione con il mezzo intergalattico circostante ha varie implicazioni per la formazione delle galassie e le dinamiche dei superammassi. La Catena Markarian e Messier 87 sono quindi entrambi oggetti di grande interesse per astronomi e astrofisici che studiano la formazione e l'evoluzione delle galassie e delle strutture cosmiche su larga scala.
SharpStar 13028NHT
QHYCCD 183M
N-EQ6 belt mod.
L 227 x 300sec
L 79 x 60sec
HA 58 x 600sec
R 48 x 120sec
G 48 x 120sec
B 48 x 120sec
tot. 34 ore e 42 minuti @ f.2.8
Processato solo con Pixinsight
Media SQM 21.19
Riprese di: Giosi Amante
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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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.
Modigliani - Volti di donna - Bicchieri.
Bicchiere in ceramica lavorato e decorato a mano, per acqua, vino, thè, bibite, etc.
I decori, su fondo bianco, si ispirano o riprendono i particolari di famosi dipinti di Amedeo Modigliani.
Le irregolarità, nelle forme e nei colori, sono un segno distintivo del lavoro manuale.
Misure: h 11 x 7,5 cm.
Decoro: Donna con i capelli rossi.
Amedeo Modigliani:
Un artista famoso per le sue figure allungate e per i suoi nudi voluttuosi.
Nato in Italia, ma vissuto a Parigi, concentrò il proprio interesse sulle sculture e sulle maschere africane, come si rende evidente nella raffigurazione dei visi dei suoi modelli, piatti e simili a una maschera, con occhi a mandorla e lineamenti distorti.
A differenza delle opere degli altri pittori appartenenti alla Scuola di Parigi, i dipinti di Modigliani non raffiguravano nulla del contesto circostante alla persona che veniva raffigurata. I personaggi apparivano autonomi e rivelavano poco del loro tempo e del loro ambiente, se non per i dettagli che si potevano dedurre dalle acconciature e dall’abbigliamento. I modelli di Modigliani si trovavano in un rapporto frontale rispetto allo sguardo del pittore e dell’osservatore. Nei nudi, solitamente, le modelle posavano con un atteggiamento esibizionista, scoprendo il seno, il ventre e il pube.
Per arrivare a un risultato soddisfacente Modigliani passava attraverso numerose fasi preparatorie, come dimostrano i disegni, a volte più di cento, che faceva prima di iniziare a dipingere sulla tela. Modigliani disegnava con grande rapidità, senza mai ritoccare le linee. Piuttosto che tornare sulla linea appena tracciata preferiva ricominciare, finché non riusciva a ottenere il profilo desiderato attraverso un unico getto.
Nella rappresentazione delle sue aggraziate distorsioni figurative e delle ampie aree piatte colorate, Modigliani risente fortemente dell’influsso di Cezanne.
Morì all’età di 35 anni di tubercolosi, il cui decorso fu accelerato dall’abuso di alcool, droghe e dalla povertà.
Modigliani - Woman faces - Glasses.
Glass ceramic crafted and decorated by hand, for water, wine, tea, soft drinks, etc.
The decorations on a white background, are inspired or take the details of famous paintings by Amedeo Modigliani.
Irregularities, shapes and colors, are a hallmark of manual labor.
Measurements: h 11 x 7,5 cm.
Decoration: Woman with red hair.
Amedeo Modigliani:
An artist famous for his elongated figures and his voluptuous nudes.
Born in Italy, but lived in Paris, she focused their interest on the sculptures and African masks, as is evident in the depiction of the faces of his models, dishes and mask-like, with almond eyes and twisted features.
Unlike the works of other painters belonging to the School of Paris, the paintings of Modigliani not depict anything about the context surrounding the person who was depicted. The characters appeared autonomous and revealed little of their time and their environment, if not for details that could be inferred from clothing and hairdos. The models of Modigliani were in a relationship front compared to the look of the artist and the observer. Nudes, usually, the models rested with an attitude exhibitionist, discovering the breast, stomach and groin.
To arrive at a satisfactory result Modigliani went through several preparatory stages, as shown by the drawings, sometimes more than a hundred, that was before you begin painting on canvas. Modigliani drew very rapidly, never touch the lines. Rather than go back on line soon traced preferred to start again, until he could get the desired profile through a single jet.
In the representation of its graceful figurative distortions and large flat areas of color, Modigliani were strongly influenced by Cezanne.
He died at age 35 of tuberculosis, whose course was accelerated by the abuse of alcohol, drugs and poverty.
Minister Sikorski greeting Lee A. Feinstein, the ambassador of the United States to Poland.
Minister Sikorski wita się z Lee A. Feinsteinem, ambasadorem Stanów Zjednoczonych w Polsce.
Modigliani - Volti di donna - Bicchieri.
Bicchiere in ceramica lavorato e decorato a mano, per acqua, vino, thè, bibite, etc.
I decori, su fondo bianco, si ispirano o riprendono i particolari di famosi dipinti di Amedeo Modigliani.
Le irregolarità, nelle forme e nei colori, sono un segno distintivo del lavoro manuale.
Misure: h 11 x 7,5 cm.
Decoro: Donna con i capelli rossi.
Amedeo Modigliani:
Un artista famoso per le sue figure allungate e per i suoi nudi voluttuosi.
Nato in Italia, ma vissuto a Parigi, concentrò il proprio interesse sulle sculture e sulle maschere africane, come si rende evidente nella raffigurazione dei visi dei suoi modelli, piatti e simili a una maschera, con occhi a mandorla e lineamenti distorti.
A differenza delle opere degli altri pittori appartenenti alla Scuola di Parigi, i dipinti di Modigliani non raffiguravano nulla del contesto circostante alla persona che veniva raffigurata. I personaggi apparivano autonomi e rivelavano poco del loro tempo e del loro ambiente, se non per i dettagli che si potevano dedurre dalle acconciature e dall’abbigliamento. I modelli di Modigliani si trovavano in un rapporto frontale rispetto allo sguardo del pittore e dell’osservatore. Nei nudi, solitamente, le modelle posavano con un atteggiamento esibizionista, scoprendo il seno, il ventre e il pube.
Per arrivare a un risultato soddisfacente Modigliani passava attraverso numerose fasi preparatorie, come dimostrano i disegni, a volte più di cento, che faceva prima di iniziare a dipingere sulla tela. Modigliani disegnava con grande rapidità, senza mai ritoccare le linee. Piuttosto che tornare sulla linea appena tracciata preferiva ricominciare, finché non riusciva a ottenere il profilo desiderato attraverso un unico getto.
Nella rappresentazione delle sue aggraziate distorsioni figurative e delle ampie aree piatte colorate, Modigliani risente fortemente dell’influsso di Cezanne.
Morì all’età di 35 anni di tubercolosi, il cui decorso fu accelerato dall’abuso di alcool, droghe e dalla povertà.
Modigliani - Woman faces - Glasses.
Glass ceramic crafted and decorated by hand, for water, wine, tea, soft drinks, etc.
The decorations on a white background, are inspired or take the details of famous paintings by Amedeo Modigliani.
Irregularities, shapes and colors, are a hallmark of manual labor.
Measurements: h 11 x 7,5 cm.
Decoration: Woman with red hair.
Amedeo Modigliani:
An artist famous for his elongated figures and his voluptuous nudes.
Born in Italy, but lived in Paris, she focused their interest on the sculptures and African masks, as is evident in the depiction of the faces of his models, dishes and mask-like, with almond eyes and twisted features.
Unlike the works of other painters belonging to the School of Paris, the paintings of Modigliani not depict anything about the context surrounding the person who was depicted. The characters appeared autonomous and revealed little of their time and their environment, if not for details that could be inferred from clothing and hairdos. The models of Modigliani were in a relationship front compared to the look of the artist and the observer. Nudes, usually, the models rested with an attitude exhibitionist, discovering the breast, stomach and groin.
To arrive at a satisfactory result Modigliani went through several preparatory stages, as shown by the drawings, sometimes more than a hundred, that was before you begin painting on canvas. Modigliani drew very rapidly, never touch the lines. Rather than go back on line soon traced preferred to start again, until he could get the desired profile through a single jet.
In the representation of its graceful figurative distortions and large flat areas of color, Modigliani were strongly influenced by Cezanne.
He died at age 35 of tuberculosis, whose course was accelerated by the abuse of alcohol, drugs and poverty.
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"
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...
Storico Carnevale di Ivrea
edizione 2013
Battaglia delle Arance
Tuchini del Borghetto
Lunedì 11 febbraio 2013
i tuchini ...sotto la neve!
la battaglia
Borghetto
Ivrea
Italia
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.
This marker is located on the wall of the Jewish Cemetery near its border with the Muslim Cemetery. This was the north-western boundary of the Warsaw ghetto from November 1940 to December 1941, when the Jewish Cemetery was excluded from the ghetto....
Warsaw ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
When the "Jewish quarter" was first closed in 1940 it included a small north eastern enclave bordered by Sapieżyńska, Freta and Świętojerska streets - and there was a gate here at the intersection of Świętojerska Street and Nowiniarska Street.
This area was removed from the ghetto in December 1941....
Warsaw ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
This point, at the former intersection of Bonifraterska and Żoliborska streets, was the north-eastern corner of the ghetto. A wooden footbridge was constructed over Przebieg Street, which was not included in the "Jewish quarter" – one of four such structures built in the ghetto.
Warsaw ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
In 1940, the German Nazis began to concentrate Poland's population of over three million Jews into a number of extremely crowded ghettos located in large Polish cities. The largest of these, the Warsaw Ghetto, concentrated approximately 300,000–400,000 people into a densely packed central area of Warsaw. Thousands of Jews died due to rampant disease and starvation under the SS and Police Leader Odilo Globocnik and SS-Standartenführer Ludwig Hahn, even before the mass deportations from the ghetto to the Treblinka extermination camp began.
The Warsaw Ghetto Uprising of 1943 took place over a year before the Warsaw Uprising of 1944. The Ghetto had been totally destroyed by the time of the Warsaw uprising, which was part of the larger Operation Tempest. Hundreds of the survivors from the first uprising took part in the 1944 Warsaw Uprising, fighting in the ranks of Armia Krajowa and Armia Ludowa.
en.wikipedia.org/wiki/Warsaw_Ghetto_Uprising
Never Forget - Fight Fascism!
Kościół św Augustyna w Warszawie
The church is located on Nowolipki Street and was within the wartime Warsaw ghetto, which existed from October 1940 to May 1943. It survived the liquidation of the ghetto because the Germans used it as a warehouse to store property they'd looted from the Jews.
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:
Minister Sikorski shaking hands with Pinchas Avivi, the Deputy Director-General and head of the Division for Central Europe and Eurasia in the Israeli Foreign Ministry.
Minister Sikorski wymienia uścisk ręki z Zastępcą Dyrektora Generalnego i szefem Departamentu Europy Środkowej i Eurazji w izraelskim Ministerstwie Spraw Zagranicznych, Pinchasem Avivi
Week No: 2
Please don't use my images on websites or any other media without asking for my written permission.
52 weeks 2016
Week No: 2
Theme: Ghetto Lighting
Category: Technique
Lighting used: Small flashlight with red and bleu flash and a smal torche hang above the scene and the red light is off the mouse from the computer.
Photo of the Getto Block Building at 235 N. Main erected for Peter Getto by William Henry Sternberg (1832 - 1906). This structure was erected in 1886 at a cost of $42,000. Peter Getto (a German immigrant) was involved in several businesses from wholesale groceries and wholesale tobacco to boots and shoes and bottled mineral water. In addition to this structure here which Sternberg erected, Peter Getto also had Sternberg design and build a nice two-story home at 255 N. Water. That home is no longer standing. Photos of the Getto home will be posted to this Photostream. The Getto Block Building (image above) is also no longer standing - destroyed by fire in 1923 which took the lives of nine persons.