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Philippians 2:1-11 (ANIV)
If you have any encouragement from being united with Christ, if any comfort from his love, if any fellowship with the Spirit, if any tenderness and compassion, then make my joy complete by being like-minded, having the same love, being one in spirit and purpose. Do nothing out of selfish ambition or vain conceit, but in humility consider others better than yourselves. Each of you should look not only to your own interests, but also to the interests of others.
Your attitude should be the same as that of Christ Jesus:
Who, being in very nature God,
did not consider equality with God something to be grasped,
but made himself nothing,
taking the very nature of a servant,
being made in human likeness.
And being found in appearance as a man,
he humbled himself
and became obedient to death—even death on a cross!
Therefore God exalted him to the highest place
and gave him the name that is above every name,
that at the name of Jesus every knee should bow,
in heaven and on earth and under the earth,
and every tongue confess that Jesus Christ is Lord,
to the glory of God the Father.
DRAWING NOTES:
TIME OF DAY:
Unspecified.
LIGHTING NOTES:
Lighting for this scene comes from the heavenly figure of God on the right of the scene.
CHARACTERS PRESENT:
The two main figures are both Jesus. On the left we see him hanging on the cross & on the right we see him ascended into heaven & glowing with divine light. There are many worshipping figures around this figures feet.
RESEARCH/ADDITIONAL NOTES:
I once heard a preacher talking about this verse & he used a big “V” for victory to describe this scriptural text. The preacher pointed out that Jesus has 2 natures: that of God & that of man. Jesus was eternally in heaven having all the attributes of God, but then gave up his rightful position of honour in heaven in order to become a man & live amongst his creation. In so doing we have a supreme example of sinless perfection in Jesus the Christ. But Jesus went further, his mission was not simply to live amongst us, it was always to die for us, in our place, & so atone for our sinfulness & take our sins upon his own body. Only then could that sinless man take away our sins, once & for all, & thereby gain for us a complete salvation, opening up our own pathway back to the Father in heaven. It was always necessary for Jesus to die as a substitute for us, but he went even further than that: he died on a cross, which to the Jews was the worst form of capital punishment. Indeed there is a scripture which reads “Cursed is everyone who is hung on a tree (or cross.)” * This descent in humility is represented in the text on the left of the “V”, which is read from top to bottom (verses 5-8.)
The bottom of the “V” is the point of Jesus’ death on the cross.
Verse 9 starts with “Therefore” - referring to the previous verses 5-8; Paul now gives us the consequence of Jesus’ death on the cross: the ascending outcome of his sacrifice on our behalf, which is that his name (Jesus) is now the most powerful name in all the cosmos. “Therefore God exalted him to the highest place and gave him the name that is above every name...”
Following the crucifixion (the humiliation) we have Jesus’ bodily resurrection & ascension back into heaven. As a result of Christ’s personal sacrifice of his life for all mankind, God the father exalts the Son. The atonement for our sins is the greatest event in history. The sinless man dying for all mankind is the ultimate sacrifice of a loving God for His own created beings (us.) Therefore, after the cross of Jesus comes the ascension into glory & recognition of the value of the finished work of Jesus.
The text on the right of the “V” is read from the bottom to the top (verses 9-11.) The text clearly says that God the Father has given Jesus the name above every name & that all people everywhere will have to bend the knee in submission to Jesus as a result of his mission to Earth, to save everyone.
*Galatians 3:13 (ANIV)
Christ redeemed us from the curse of the law by becoming a curse for us, for it is written: "Cursed is everyone who is hung on a tree."
Why not visit my website & see all the cartoons there? www.biblecartoons.co.uk
This nice shirt I had made in normal shirt fabric, but with a 11 cm collar. Inside the collar they is a lockable inner leather collar.
Read more about me and my life on my website with lots of pictures, videos and texts (en/en). You can find the link on the info/start page on the right side under the showcase pictures.
I love to wear women's underwear and girdles, I don't own men's underwear since a long time. But I don't want to simulate femininity and I don't have transsexual ambitions. I'm just a fat, effeminate loser, who always failed in relationships with women as a real man. I was brought up to be a sissified, feminized boy who wore girly panties, camisoles and tights, so I grew up to be a feminized sissy. For many, many years I expose my shame in public for my humiliation. I do this on the Internet and I wear blouses and skirts, bras and silicone breasts, girdle suspenders and stockings on the street and in parks, as can be seen in some photos. I am very well known in the neighborhood as a ridiculous, effeminate sissy.
(take a look to the painting to image the scene: The mocking of Christ by Caravaggio)
Twelfth Hour from 4 to 5 AM: Jesus at the mercy of the soldiers (Italian version text below)
"My Most Sweet Life, Jesus, while sleeping, clinging to Your Heart, I often feel the pricks of the thorns which prick Your Most Holy Heart. And wanting to wake up together with You, that You may have at least one who notices all of Your pains and feels compassion for You, I cling more tightly to Your Heart; and feeling Your prickings more vividly, I wake up. But, what do I see? What do I hear? I would like to hide You in my heart to expose myself in Your place, and receive upon myself pains so intense, insults and humiliations so incredible. But only Your Love could bear so many outrages. My Most Patient Jesus, what could You expect from people so inhuman?
I now see that they are making fun of You. They cover Your Face with thick spit; the light of Your beautiful eyes is covered by the spit; and You, pouring rivers of tears for our salvation, push that spit away from Your eyes, and Your enemies, with hearts incapable of seeing the Light of Your eyes, cover them with spit again. Others, becoming braver in evil, open Your most sweet mouth and fill it with disgusting spit, to the point that they themselves feel nausea. And since some of that spit flows away, revealing, in part, the Majesty of Your Face and Your superhuman Sweetness, they shudder and feel ashamed of themselves. And in order to feel more free, they blindfold You with a miserable rag, to be able to hurl themselves, unrestrained, at Your Adorable Person. And so they beat You up without pity; they drag You; they trample You under their feet and they repeat the blows and the slaps to Your Face and over Your Head, scratching You, and tearing Your hair, and pushing You from one point to another.
Jesus, my Love, my heart cannot bear seeing You in the midst of so many pains. You want me to notice everything, but I feel I would rather cover my eyes so as not to see scenes so painful, which tear the heart from any chest. But my love for You forces me to look at what happens to You.
And I see that You utter not a breath, that You say not a word to defend Yourself; that You are in the hands of these soldiers like a rag, and they can do with You whatever they want. And in seeing them jumping on You, I fear You may die under their feet.
My Good and my All, the sorrow I feel for Your pains is so great, that I would like to shout so loudly as to be heard up there in Heaven, and call the Father, the Holy Spirit and all the Angels; and here on earth, from one point to another, to call Sweet Mama first, and all the souls who love You, so that, forming a circle around You, we may prevent these insolent soldiers from drawing near You to insult You and torment You more. Together with You, we repair for all the night sins, especially those committed at night by sectarians, over Your Sacramental Person, and for all the offenses of the souls who do not remain faithful in the night of trial.
But I see, my insulted Good, that the soldiers, tired and drunk, would like to rest, and my poor heart, oppressed and lacerated by Your so many pains, does not want to remain alone with You—it feels the need of another company. O please, my Sweet Mama, be my inseparable company; let us embrace Jesus together, in order to console Him! O Jesus, together with Mama, I kiss You and I bless You; and with Her, I will have the sleep of Love upon Your Adorable Heart.
Vita mia dolcissima, Gesù, mentre dormivo stretta al tuo cuore, spesso spesso mi sentivo pungere dalle spine che pungono il tuo santissimo cuore. E volendo svegliarmi perché tu abbia una almeno che noti tutte le tue pene e ti compatisca, mi stringo più forte al tuo cuore, e, sentendo più al vivo le tue punture, mi sveglio. Ma che vedo? Che sento? Vorrei nasconderti nel mio cuore per espormi in vece tua e ricevere su di me pene così dolorose, insulti ed umiliazioni così indicibili. Ma solo il tuo amore poteva sostenere tanti oltraggi. Mio pazientissimo Gesù, che cosa potevi sperare da gente così inumana?
Già vedo che si prendono gioco di te. Ti coprono il volto di densi sputi, la luce dei tuoi begli occhi resta coperta di sputi; e tu, mandando fiumi di lacrime per la nostra salvezza, spingi dai tuoi occhi quegli sputi. E i tuoi nemici, non essendo il loro cuore capace di vedere la luce dei tuoi occhi, tornano di nuovo a coprirli di sputi.
Altri, facendosi più bravi nel male, ti aprono la dolcissima bocca e te la riempiono di sputi fetenti, tanto che loro stessi ne sentono la nausea. E siccome quegli sputi scendono e mostrano in parte la maestà del tuo volto e la tua sovrumana dolcezza, si sentono rabbrividire e si vergognano di se stessi; e per essere più liberi ti bendano gli occhi con uno straccio vilissimo, in modo da potersi del tutto sfrenare sulla tua adorabile persona. Sicché ti battono senza pietà, ti trascinano, ti pestano sotto i piedi e ripetono i pugni, gli schiaffi sul tuo volto e sulla testa, graffiandoti e tirandoti per i capelli, e ti sbalzano da un punto all’altro.
Gesù, Amor mio, il cuore non regge vedendoti in tante pene. Tu vuoi che noti tutto, ma io mi sento che vorrei coprirmi gli occhi per non vedere scene così dolorose che fanno strappare il cuore da ogni petto, ma l’amore per te mi costringe a guardare che ne è di te. E vedo che non fiati, che non dici una parola per difenderti, che stai in mano a questi soldati come uno straccio e possono fare di te quello che vogliono, e, vedendoli saltare sopra di te, temo che tu muoia sotto i loro piedi.
Mio Bene e mio Tutto, è tanto il dolore che sento per le tue pene, che vorrei dare grida così forti da farmi sentire su nel cielo, e chiamare il Padre, lo Spirito Santo e gli angeli tutti, e qui in terra, da un punto all’altro, chiamare per prima la dolce Mamma e tutte le anime che ti amano, in modo che, formando cerchio attorno a te, impediamo a questi insolenti soldati di avvicinarsi a te per insultarti e tormentarti ancora. Ed insieme con te ripariamo tutte le specie di peccati notturni, soprattutto quelli commessi dai settari sulla tua sacramentale persona durante la notte, e tutte le offese delle anime che non si mantengono fedeli nella notte della prova.
Ma vedo, insultato mio Bene, che i soldati, stanchi e ubriachi, vorrebbero riposarsi; ed il povero mio cuore, oppresso e lacerato da tante tue pene, non vuol restare solo insieme con te, sente il bisogno di un’altra compagnia.
Deh! Dolce Mamma mia, sii tu la mia inseparabile compagnia, abbracciamo insieme Gesù per consolarlo. O Gesù, insieme con la Mamma ti bacio e benedico, e con lei prenderò il sonno dell’amore sul tuo adorabile cuore.
Riflessioni e Pratiche
Gesù in quest’ora è in mezzo ai soldati con animo imperturbabile, con costanza ferrea. Da quel Dio che è, soffre tutti gli strapazzi che i soldati gli fanno, e li guarda con tanto amore, da sembrare che li inviti a dargli più pene.
E noi, nelle ripetute sofferenze, siamo costanti, oppure ci lamentiamo, c’infastidiamo, perdiamo la pace, quella pace del cuore necessaria per fare che Gesù possa trovare in noi una felice dimora?
La fermezza è quella virtù che fa conoscere se Dio regna veramente in noi. Se è vera virtù la nostra, saremo fermi nella prova con una fermezza, non a periodi, ma sempre eguale a se stessa, ed è questa sola fermezza che ci dà la pace. Come più ci rendiamo fermi nel bene, nel patire e nell’operare, così veniamo ad allargare il campo intorno a noi, dove Gesù allargherà le sue grazie. Sicché, se noi saremo incostanti, piccolo sarà il nostro campo, e Gesù poco o nulla potrà spaziarsi. Se invece noi saremo fermi e costanti, trovando Gesù il campo molto esteso, troverà in noi il suo appoggio e sostegno, e dove distendere le sue grazie.
Se vogliamo che il nostro amato Gesù riposi in noi, circondiamolo della stessa fermezza con cui operava per la salvezza delle anime nostre. Egli così difeso starà nel nostro cuore in dolce riposo.
Gesù guardava con amore quelli che lo maltrattavano. E noi, guardiamo con lo stesso amore quelli che ci offendono? E l’amore che mostriamo loro è tanto, da far che sia voce così potente per i loro cuori da convertirli a Gesù?
Mio Gesù, Amore senza confine, dammi questo amore e fa che ogni pena chiami anime a te.
Inzamam-ul-Haq played one of the innings of his life to save Pakistan from humiliation and break Bangladeshi hearts. On the third afternoon, Bangladesh's first Test win, so desperately longed for during three years of demoralising defeat, was within touching distance. On a pitch helping seamers, Pakistan were 132 for six - still 129 short of victory.
But Inzamam stood firm for five hours 17 minutes, and his unbeaten 138 guided Pakistan home. It was only the tenth one-wicket win in Test history, and Inzamam had now been at the crease for two of them. While the 1994-95 victory over Mark Taylor's Australians came at Karachi, this triumph was in front of his home crowd, who showered him in rose petals as he left the field.
It was cruel for Bangladesh. They dominated from the word go, and despite Inzamam's heroics might still have won, given a bit more luck. But things went against them on the fourth morning. First, Hannan Sarkar at second slip dropped Shabbir Ahmed on nought. It was perhaps the most costly miss in Bangladesh's short Test history: Shabbir and Inzamam went on to add 41 for the eighth wicket.
Later, with 49 now needed, eight wickets down and Inzamam farming the strike, the No. 10 Umar Gul survived a run-out despite being beaten by a direct hit. The crestfallen bowler, Mohammad Rafiq, had brushed the stumps and dislodged the bails before the ball struck. In the same over, Rafiq sportingly chose not to run out Gul when he was backing up too far. By the time Gul was finally run out, after a bad call from Inzamam, they had added 52. Gul's contribution was five.
Four runs were now needed, five balls remained in the over and the No. 11 coming to the striker's end was Yasir Ali - a 17-year-old on first-class debut, with only a handful of junior games and a hurried lunchtime batting lesson from Javed Miandad, the Pakistan coach, behind him. But Yasir kept out three balls and then tickled a single into the leg side. Off the last delivery of the over, Inzamam flicked the winning boundary. Ramiz Raja, the former Test batsman, now chief executive of the PCB, called it "one of the best Test innings of modern times". That might have been a little overblown, but Inzamam's concentration had been steely and his hitting authoritative. Supporters rushed on to the field to hug their local hero.
For this final Test, Pakistan had made five changes, three of them enforced: Shoaib Akhtar had returned to Durham, while Shoaib Malik and Taufeeq Umar were injured. But the decision to rest Yousuf Youhana and Danish Kaneria, and to include three debutants, raised a few eyebrows. Pakistan nearly paid the price.
After two placid wickets in Karachi and Peshawar, the Multan pitch had a hint of grass, and the pace bowlers found considerable movement. Given the conditions, Bangladesh's batsmen did very well to reach 281, after Khaled Mahmud made the brave decision to bat first. Habibul Bashar hit 72 - his fourth innings of fifty-plus in the series - and again led the way. However, Shabbir Ahmed took three wickets in six balls to mop up the tail rapidly.
The Bangladeshi bowlers did even better than their batsmen. Pakistan were restricted to 175: Mahmud, whose form had been lousy, seamed the ball around and took the first four wickets to fall. After that, Mohammad Rafiq, with another five-wicket haul, took over. Just before tea on the second day, Bangladesh had a lead of 106 runs - and every right to start dreaming of victory.
But Pakistan fought back, dismissing them for 154 in a second innings twice delayed by sand storms. However, the biggest tumult involved Pakistan's captain and wicketkeeper, Rashid Latif. After diving to catch an edge from Alok Kapali, Latif claimed a catch. The umpires, who were unsighted as Latif rolled over on landing, gave it out. But TV replays clearly showed the ball briefly dropping out of Latif's gloves and on to the ground as he tumbled. The Bangladesh team management lodged a complaint to match referee Mike Procter, and Latif was later banned for five one-day internationals.
His temporary replacement was - almost inevitably - Inzamam. Having begun the series battling for a place in the side, he ended it with his career revived.
Read more about me and my life on my website with lots of pictures, videos and texts (en/en). You can find the link on the info/start page on the right side under the showcase pictures.
I love to wear women's underwear and girdles, I don't own men's underwear since a long time. But I don't want to simulate femininity and I don't have transsexual ambitions. I'm just a fat, effeminate loser, who always failed in relationships with women as a real man. I was brought up to be a sissified, feminized boy who wore girly panties, camisoles and tights, so I grew up to be a feminized sissy. For many, many years I expose my shame in public for my humiliation. I do this on the Internet and I wear blouses and skirts, bras and silicone breasts, girdle suspenders and stockings on the street and in parks, as can be seen in some photos. I am very well known in the neighborhood as a ridiculous, effeminate sissy.
Read more about me and my life on my website with lots of pictures, videos and texts (en/en). You can find the link on the info/start page on the right side under the showcase pictures.
I love to wear women's underwear and girdles, I don't own men's underwear since a long time. But I don't want to simulate femininity and I don't have transsexual ambitions. I'm just a fat, effeminate loser, who always failed in relationships with women as a real man. I was brought up to be a sissified, feminized boy who wore girly panties, camisoles and tights, so I grew up to be a feminized sissy. For many, many years I expose my shame in public for my humiliation. I do this on the Internet and I wear blouses and skirts, bras and silicone breasts, girdle suspenders and stockings on the street and in parks, as can be seen in some photos. I am very well known in the neighborhood as a ridiculous, effeminate sissy.
Prom scene: www.youtube.com/watch?v=MdDV0xNc1mk
Carrie is a 1976 American horror film directed by Brian De Palma and written by Lawrence D. Cohen, based on the novel Carrie by Stephen King. The film and the novel deal with a socially outcast teenage girl, Carrie White, who discovers she possesses telekinetic powers. Carrie's powers become apparent after her humiliation by her peers, teachers, and mother. The film stars Sissy Spacek, Piper Laurie, Betty Buckley, Amy Irving, Nancy Allen, William Katt, John Travolta, and Priscilla Pointer.
The film was a major success for United Artists, grossing over US$33 million at the U.S. box office, on a budget of $1,800,000. It received a mostly positive response from critics.[1][2] The film spawned a sequel The Rage: Carrie 2 and a made for television remake, released in 2002, neither of which involved De Palma. During a survey taken in October 2008, it was revealed that Carrie was considered one of the most popular movies teens watch on Halloween.
PLUG IT UP, PLUG IT UP!
Eduard van der Nüll: The Vienna State Opera commemorates the 200th birthday of its architect. Once he was driven to death.
Carmen is stabbed, Tosca jumps to her death and the Bajazzo murders his wife and rival. Much worse - because really true - is the fate of the two men who have built Vienna's State Opera, in which these masterpieces are performed: Eduard van der Nüll hanged himself after the building on the Ring Road had been fiercly criticized, and his partner, August Sicard of Sicardsburg a few weeks later died of a heart attack. The two architects literally perished in the construction of the Vienna Opera House.
The opera was still under construction, as the Viennese already mocked in rhyming form the various architectural epochs summarized here: Sicardsburg and van der Nüll, both have no style, Greek, Gothic, Renaissance, that's all the same to them!
In newspaper reports, the opera was referred to as "Königgrätz of the architecture", which was then, a few years after the most momentous military defeat of the monarchy, a special humiliation. The architects were even more annoyed by the commentary of Emperor Franz Joseph, who called the Hofoper a "sunken box".
Bad planning
In fact, the level of the track of the Opera Ring was one meter higher than the archways of the still unfinished structure. However, Sicardsburg and van der Nüll were not able to do anything. Instead, a misplaced planning by the Hofbauamt (Vienna Court Building Department) meant that the carriageway was laid higher than planned. However, it was clear to the public that the architects of the opera were responsible for the structural catastrophe. The 56-year-old van der Nüll was able to withstand the hostility towards him from all parts of society. He hanged himself on 4 April 1868 in his apartment in Windmühl alley (6th district of Vienna). Two months later, after a heart failure, Sicardsburg collapsed dead over his drawing table. He could not get over the suicide of his friend.
The two architects have been inseparable since their studies at the Vienna Academy of Arts, they had a joint studio and were also closely associated privately. In Internet forums they are referred to as a gay couple, there are guides through the "Gay Vienna", which point to the buildings of Sicardsburg and van der Nülls.
Pregnant
However, van der Nüll had married a year before his death, which gives the suicide another dramatic touch: his wife Maria was in the eighth month pregnant when she found the body of her husband in her apartment. In the Vienna City and State Archives is the estate of van der Nülls, whose letters bear witness to deep love to his wife. "For your loving affection, may God reward you, I can find no words for the recognition that is preserved in my heart," he wrote shortly before his death to her.
Whether the hostility against him and his partner was the sole cause of the tragedy is unclear. It is clear that both were ill: If van der Nüll's suicide in the forensic expert's report with "mental confusion" is explained, this is probably due to the fact that him should be made possible a church funeral. However, the death certificate also shows pulmonary edema. All in all, the illness, the strain of opera building and the public attacks could have led to suicide. And Sicardsburg had been suffering from a long-term illness.
Eduard van der Nüll was - despite the Dutch-sounding name - a genuine Vienna man. Born the illegitimate son of an officer, he grew up modest after the early death of his parents after his guardian had misappropriated most of his family fortune.
Founder time
Just as he and Sicardsburg had completed their study of architecture, Vienna's urban expansion was decided upon, which resulted in an unprecedented building activity. The soon-to-be-prominent architectural duo received numerous contracts in the early days, before he was entrusted with the planning of the six million gulden (= around € 70 million today) expensive Court opera. It was to be the highlight of their work. And became a deadly burden.
On May 25, 1869, about a year after van der Nüll and Sicardsburg's death, the opera was opened in the presence of Emperor Franz Joseph with a festive performance of Mozart's "Don Giovanni". Meanwhile, the level of the roadway had been adapted to the building and the Viennese were enthusiastic about the new magnificent building on the ring road. No one could understand why polemic against the late architects was once so violent.
Least of all Emperor Franz Joseph, who was so shaken by the tragic events surrounding the construction of the opera that he avoided ever again publicly announcing his personal opinion. The now used by him, made famous as meaningless as uncritical phrase "It was very beautiful, I was very happy," is the direct result of the drama to the two architects.
Symbol
Today, the Staatsoper is the landmark and most important symbol of the music metropolis Vienna. Opera director Dominique Meyer appreciates the contribution made by the two creators of the house: on January 9, Eduard van der Nüll's 200th birthday, he lays down a wreath at the architect's honorary grave at Vienna's Central Cemetery
The architects: They built Vienna's opera
Eduard van der Nüll. Born on January 9, 1812 in Vienna as the illegitimate son of Field Marshal von Welden. While studying architecture at the Vienna Art Academy, he met his future partner, August Sicard von Sicardsburg, with whom he founded an architectural office after a three-year joint study tour through Europe. Eduard van der Nüll took his life on April 4, 1868.
August von Sicardsburg. Born on December 6, 1813 in Budapest. Coined the architecture of Viennese Historicism of the Wilhelminian era with van der Nüll. Common buildings: Sophienbad (bath), Carltheater, Arsenal, Haas house on Saint Stephen's square, several noble palais and the Vienna Opera. Sicardsburg died on June 11, 1868 in Weidling near Vienna, only two months after the suicide of his partner.
Eduard van der Nüll: Die Wiener Staatsoper gedenkt des 200. Geburtstags ihres Architekten. Einst wurde er in den Tod getrieben.
Carmen wird erstochen, Tosca springt in den Tod und der Bajazzo ermordet seine Frau samt Nebenbuhler. Viel schlimmer noch – weil wirklich wahr – ist das Schicksal der beiden Männer, die Wiens Staatsoper, in der diese Meisterwerke aufgeführt werden, gebaut haben: Eduard van der Nüll erhängte sich, nachdem man den Prunkbau an der Ringstraße heftig kritisiert hatte, und sein Partner August Sicard von Sicardsburg erlag wenige Wochen danach einem Herzschlag. Die beiden Architekten sind an der Errichtung des Wiener Opernhauses buchstäblich zugrunde gegangen.
Die Oper stand noch im Rohbau, da spotteten die Wiener bereits in Reimform über die verschiedenen hier zusammengefassten Architektur-Epochen: Sicardsburg und van der Nüll, die haben beide keinen Styl, griechisch, gotisch, Renaissance, das is denen alles ans!
In Zeitungsberichten wurde die Oper als „Königgrätz der Baukunst“ bezeichnet, was damals, wenige Jahre nach der folgenschwersten militärischen Niederlage der Monarchie, eine besondere Demütigung war. Als noch ärger empfanden die Architekten den Kommentar Kaiser Franz Josephs, der die Hofoper eine „versunkene Kiste“ nannte.
Fehlplanung
Tatsächlich war das Niveau der Fahrbahn des Opernrings um einen Meter höher als die Torbögen des noch unfertigen Bauwerks. Doch dafür konnten Sicardsburg und van der Nüll nichts, vielmehr hatte eine Fehlplanung des Hofbauamtes dazu geführt, dass die Fahrbahn höher als vorgesehen angelegt wurde. Für die Öffentlichkeit stand aber fest, dass die Architekten der Oper die bauliche Katastrophe zu verantworten hätten. Der 56-jährige van der Nüll war den gegen ihn aus allen Kreisen der Gesellschaft gerichteten Anfeindungen nicht gewachsen. Er erhängte sich am 4. April 1868 in seiner Wohnung in der Windmühlgasse. Zwei Monate später brach Sicardsburg nach einem Herzschlag über seinem Zeichentisch tot zusammen. Er konnte den Selbstmord des Freundes nicht verwinden.
Die beiden Architekten waren seit ihrer Studienzeit an der Wiener Kunstakademie unzertrennlich, sie hatten ein gemeinsames Atelier und waren auch privat eng verbunden. In Internetforen werden sie als homosexuelles Paar bezeichnet, es gibt Reiseführer durch das „Schwule Wien“, die auf die Bauten Sicardsburgs und van der Nülls hinweisen.
Schwanger
Allerdings hatte van der Nüll ein Jahr vor seinem Tod geheiratet, was dem Selbstmord eine weitere dramatische Note verleiht: Seine Frau Maria war, als sie die Leiche ihres Mannes in ihrer Wohnung fand, im achten Monat schwanger. Im Wiener Stadt- und Landesarchiv liegt der Nachlass van der Nülls, dessen Briefe an seine Frau von tiefer Liebe zeugen. „Für Deine liebende Zuneigung möge Gott Dich belohnen, ich finde keine Worte für die Anerkennung, die in meinem Herzen dafür bewahrt ist“, schrieb er ihr noch kurz vor seinem Tod.
Ob die Anfeindungen gegen ihn und seinen Kompagnon der alleinige Grund für die Tragödie waren, ist unklar. Fest steht, dass beide krank waren: Wenn van der Nülls Selbstmord im gerichtsmedizinischen Gutachten mit „geistiger Verwirrung“ erklärt wird, ist das wohl darauf zurückzuführen, dass ihm ein kirchliches Begräbnis ermöglicht werden sollte. Allerdings zeigt das Totenbeschauprotokoll auch ein Lungenödem auf. Alles in allem könnten die Krankheit, die Belastung durch den Opernbau und die Angriffe in der Öffentlichkeit zum Freitod geführt haben. Und Sicardsburg war seit längerem herzleidend.
Eduard van der Nüll war – trotz des holländisch klingenden Namens – ein waschechter Wiener. Als unehelicher Sohn eines Offiziers zur Welt gekommen, wuchs er nach dem frühen Tod der Eltern in bescheidenen Verhältnissen auf, nachdem sein Vormund den Großteil des Familienvermögens veruntreut hatte.
Gründerzeit
Gerade als er und Sicardsburg ihr Architekturstudium beendet hatten, wurde Wiens Stadterweiterung beschlossen, die eine nie dagewesene Bautätigkeit zur Folge hatte. Das bald prominente Architektenduo erhielt in der Gründerzeit zahlreiche Aufträge, ehe ihm die Planung der sechs Millionen Gulden (= heute rund 70 Millionen €) teuren Hofoper anvertraut wurde. Sie sollte zum Höhepunkt ihres Schaffens werden. Und wurde zur tödlichen Belastung.
Am 25. Mai 1869, rund ein Jahr nach van der Nülls und Sicardsburgs Tod, wurde die Oper in Anwesenheit Kaiser Franz Josephs mit einer Festvorstellung von Mozarts „Don Giovanni“ eröffnet. Mittlerweile war das Niveau der Fahrbahn dem Gebäude angeglichen worden und die Wiener waren von dem neuen Prunkbau an der Ringstraße hellauf begeistert. Niemand konnte verstehen, warum gegen die verstorbenen Architekten einst so heftig polemisiert wurde.
Am allerwenigsten Kaiser Franz Joseph, den die tragischen Ereignisse um den Bau der Oper dermaßen erschütterten, dass er es vermied, je wieder öffentlich seine persönliche Meinung kundzutun. Die von ihm ab jetzt verwendete, berühmt gewordene, ebenso nichtssagende wie kritiklose Floskel „Es war sehr schön, es hat mich sehr gefreut“, ist die direkte Folge des Dramas um die beiden Architekten.
Symbol
Heute ist die Staatsoper Wahrzeichen und wichtigstes Symbol der Musikmetropole Wien. Operndirektor Dominique Meyer weiß den Anteil der beiden Schöpfer des Hauses zu schätzen: Er lässt am 9. Jänner, Eduard van der Nülls 200. Geburtstag, am Ehrengrab des Architekten am Wiener Zentralfriedhof einen Kranz niederlege
Die Architekten: Sie bauten Wiens Oper
Eduard van der Nüll Geboren am 9. Jänner 1812 in Wien als unehelicher Sohn des Feldmarschalls von Welden. Lernte während des Architekturstudiums an der Wiener Kunstakademie seinen späteren Partner August Sicard von Sicardsburg kennen, mit dem er nach einer dreijährigen gemeinsamen Studienreise durch Europa ein Architekturbüro gründete. Eduard van der Nüll nahm sich am 4. April 1868 das Leben.
August von Sicardsburg Geboren am 6. Dezember 1813 in Budapest. Prägte mit van der Nüll die Baukunst des Wiener Historismus der Gründerzeit. Gemeinsame Bauten: Sophienbad, Carltheater, Arsenal, Haashaus am Stephansplatz, mehrere Adelspalais und die Wiener Oper. Sicardsburg starb am 11. Juni 1868 in Weidling bei Wien, nur zwei Monate nach dem Selbstmord seines Partners.
Tommy gets humiliated. His Sister forced him to wear her Swimming Trunks and Tied him up with Tape. Poor Boy !
Read more about me and my life on my website with lots of pictures, videos and texts (en/en). You can find the link on the info/start page on the right side under the showcase pictures.
I love to wear women's underwear and girdles, I don't own men's underwear since a long time. But I don't want to simulate femininity and I don't have transsexual ambitions. I'm just a fat, effeminate loser, who always failed in relationships with women as a real man. I was brought up to be a sissified, feminized boy who wore girly panties, camisoles and tights, so I grew up to be a feminized sissy. For many, many years I expose my shame in public for my humiliation. I do this on the Internet and I wear blouses and skirts, bras and silicone breasts, girdle suspenders and stockings on the street and in parks, as can be seen in some photos. I am very well known in the neighborhood as a ridiculous, effeminate sissy.
Read more about me and my life on my website with lots of pictures, videos and texts (en/en). You can find the link on the info/start page on the right side under the showcase pictures.
I love to wear women's underwear and girdles, I don't own men's underwear since a long time. But I don't want to simulate femininity and I don't have transsexual ambitions. I'm just a fat, effeminate loser, who always failed in relationships with women as a real man. I was brought up to be a sissified, feminized boy who wore girly panties, camisoles and tights, so I grew up to be a feminized sissy. For many, many years I expose my shame in public for my humiliation. I do this on the Internet and I wear blouses and skirts, bras and silicone breasts, girdle suspenders and stockings on the street and in parks, as can be seen in some photos. I am very well known in the neighborhood as a ridiculous, effeminate sissy.
Read more about me and my life on my website with lots of pictures, videos and texts (en/en). You can find the link on the info/start page on the right side under the showcase pictures.
I love to wear women's underwear and girdles, I don't own men's underwear since a long time. But I don't want to simulate femininity and I don't have transsexual ambitions. I'm just a fat, effeminate loser, who always failed in relationships with women as a real man. I was brought up to be a sissified, feminized boy who wore girly panties, camisoles and tights, so I grew up to be a feminized sissy. For many, many years I expose my shame in public for my humiliation. I do this on the Internet and I wear blouses and skirts, bras and silicone breasts, girdle suspenders and stockings on the street and in parks, as can be seen in some photos. I am very well known in the neighborhood as a ridiculous, effeminate sissy.
After being humiliated by the lack of balls when it comes to corn thievery, the boys decide to re-assert their masculinity by chopping wood.
Not enough wood to be actually helpful with the task of chopping wood, mind, but just one piece in order to prove they can.
Men.
Read more about me and my life on my website with lots of pictures, videos and texts (en/en). You can find the link on the info/start page on the right side under the showcase pictures.
I love to wear women's underwear and girdles, I don't own men's underwear since a long time. But I don't want to simulate femininity and I don't have transsexual ambitions. I'm just a fat, effeminate loser, who always failed in relationships with women as a real man. I was brought up to be a sissified, feminized boy who wore girly panties, camisoles and tights, so I grew up to be a feminized sissy. For many, many years I expose my shame in public for my humiliation. I do this on the Internet and I wear blouses and skirts, bras and silicone breasts, girdle suspenders and stockings on the street and in parks, as can be seen in some photos. I am very well known in the neighborhood as a ridiculous, effeminate sissy.
Read more about me and my life on my website with lots of pictures, videos and texts (en/en). You can find the link on the info/start page on the right side under the showcase pictures.
I love to wear women's underwear and girdles, I don't own men's underwear since a long time. But I don't want to simulate femininity and I don't have transsexual ambitions. I'm just a fat, effeminate loser, who always failed in relationships with women as a real man. I was brought up to be a sissified, feminized boy who wore girly panties, camisoles and tights, so I grew up to be a feminized sissy. For many, many years I expose my shame in public for my humiliation. I do this on the Internet and I wear blouses and skirts, bras and silicone breasts, girdle suspenders and stockings on the street and in parks, as can be seen in some photos. I am very well known in the neighborhood as a ridiculous, effeminate sissy.
Dutch Press photo by Kippa to promote the TV screening by EO in 1996. Sissy Spacek in A Place for Annie (John Gray, 1994).
Sissy Spacek (1949) is an American actress and singer with an enduring and award-winning career in film and television. She became a star with her Oscar-nominated performance in Carrie (1976), in which she played a humiliated prom queen who goes postal with her telekinesis. She won the Oscar for Best Actress for her performance as country singer Loretta Lynn in Coal Miner's Daughter (1980).
Mary Elizabeth ‘Sissy’ Spacek was born in Quitman, Texas, in 1949. She was the daughter of Virginia Frances and Edwin Arnold Spacek Sr., a county agricultural agent. Spacek was nicknamed ‘Sissy’ by her older brothers. Sissy attended Quitman High School and was homecoming queen. During her senior year in 1967, she was violently shaken by the death of her 18-year-old brother Robbie from leukaemia. She decided life was way too short to waste it in four years of college and she moved to New York. Spacek began her career as a country singer. Under the name ‘Rainbo’, she recorded the single, ‘John, You Went Too Far This Time’, about John Lennon. When sales of her music sputtered, Spacek was dropped by her record label. She switched her focus to acting. Spacek worked as a photographic model represented by Ford Models and as an extra at Andy Warhol's Factory. With the help of her cousin, actor Rip Torn, she was able to enrol at Lee Strasberg's Actors Studio and then at the Lee Strasberg Institute in New York. In her early career, she often played girls younger than her age. Her first film role was in Prime Cut (Michael Ritchie, 1972), starring Lee Marvin and Gene Hackman in which she played a young woman sold as a sex slave. The film led to a guest role in the television series The Waltons (1973), which she played twice. The first role in which she was noticed was in Terrence Malick's Neo Noir Badlands (1973). She played Holly, the film's narrator and 15-year-old girlfriend of serial killer Kit (Martin Sheen). Her performance earned her a nomination for the BAFTA Award for Most Promising Newcomer. On the set, she met art director Jack Fisk, whom she would later marry. She worked as the set dresser for Brian De Palma's film Phantom of the Paradise (1974), to assist Fisk, who was the film's production designer.
Sissy Spacek broke through with the lead role in the supernatural Horror film Carrie (Brian De Palma, 1976). She played an unpopular and emotionally confused teenager with telekinetic abilities. For this, she received a nomination for the Academy Award for Best Actress, which, however, was not cashed. She then starred in Robert Altman's psychological drama 3 Women (1977). Spacek helped finance Eraserhead (1977), David Lynch's directorial debut and is thanked in the film's credits. She received the Oscar in 1980 for Coal Miner's Daughter (Michael Apted, 1980), in which she played country star Loretta Lynn from the age of about 13 to near middle age and did her own singing. The soundtrack peaked at no. 2 on the Billboard Top Country Albums chart and garnered her a nomination for the Grammy Award for Best Female Country Vocal Performance. Spacek subsequently released her debut studio album, 'Hangin' Up My Heart' (1983). She received four more Academy Award nominations for her roles in Costa-Gavras's biographical thriller drama Missing (1982) opposite Jack Lemmon, the drama The River (Mark Rydell, 1984) with Mel Gibson, Crimes of the Heart (Bruce Beresford, 1986), and In the Bedroom (Todd Field, 2001). Spacek won a Golden Globe Award for her portrayal of the grieving Ruth Fowler in Inthe Bedroom. Her other notable films include Raggedy Man (Jack Fisk, 1981), 'night, Mother (Tom Moore, 1986), JFK (Oliver Stone, 1991), Affliction (Paul Schrader, 1997), The Straight Story (David Lynch, 1999), North Country (Niki Caro, 2005) starring Charlize Theron, and the period drama The Help (Tate Taylor, 2011). In 2011, Spacek received a star on the famous Hollywood Walk of Fame. In 2012, Spacek published her memoir, 'My Extraordinary Ordinary Life', with co-author Maryanne Vollers. Sissy Spacek married Jack Fisk in 1974. They had two daughters, Schuyler Elizabeth and Madison Fisk. Schuyler Fisk also acts in films. Spacek lives with her family on a horse ranch near Charlottesville, Virginia. She is an activist for women's rights. Her recent films include The Old Man & the Gun (David Lowery, 2018) starring Robert Redford, and Sam & Kate (Darren Le Gallo, 2022) with Dustin Hoffman.
Sources: KD Haisch (IMDb), Wikipedia (Dutch and English) and IMDb.
And, please check out our blog European Film Star Postcards.
Read more about me and my life on my website with lots of pictures, videos and texts (en/en). You can find the link on the info/start page on the right side under the showcase pictures.
I love to wear women's underwear and girdles, I don't own men's underwear since a long time. But I don't want to simulate femininity and I don't have transsexual ambitions. I'm just a fat, effeminate loser, who always failed in relationships with women as a real man. I was brought up to be a sissified, feminized boy who wore girly panties, camisoles and tights, so I grew up to be a feminized sissy. For many, many years I expose my shame in public for my humiliation. I do this on the Internet and I wear blouses and skirts, bras and silicone breasts, girdle suspenders and stockings on the street and in parks, as can be seen in some photos. I am very well known in the neighborhood as a ridiculous, effeminate sissy.
A hidden straitjacket with a heavy hut with a flab in front of my face and a rubber inner side of flab