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through everyone's childlikeness...of humility, affection, and innocence...that Humanity will hopefully experience peace...
A little angel depicted on the headstone of Mary Dougherty, her granddaughter Hilda Nelson and her daughter Mary Ann Nelson kneels over the family grave.
Kneeling symbolises worship and honour. It is a gesture of humility before the Lord and is often accompanied with a request or prayer. The angel’s wings are spread wide open symbolising the flight of the soul to heaven or rebirth. [1]
The arch of the once white gothic shaped headstone which represents a portal to heaven, is decorated with a chain of shamrocks. The shamrock has been a symbol of Ireland since the 18th century and is commonly found on Irish Catholic grave monuments. [2] Yet the Waikumete Catholic Burial book records Mary Dougherty, who passed away of bronchitis, was a native of England and had been in Auckland for 31 years. She was indeed born in Preston, Lancashire and baptized at St Peters Priory, Lancashire, England in 1831 [3]. It was Mary’s husband Richard who was born in Ireland and died at Auckland Hospital at the age of 68 years on June 11 1891, due to stricture of the oesophagus and Pthysis which he had suffered for 3 years. He was interred in Waikumete Cemetery Roman Catholic Division B, Row 4, Plot 18. [4] [5]
Mary Ann Coyle married Richard Dougherty in 1853 at the Church of Saint Ignatius Preston, Lancashire, England. [5]
The couple arrived in New Zealand sometime before the birth of their youngest daughter Mary Ann Dougherty in 1867. [6] [37]
Life in New Zealand was no bed of roses for Mary or her family of four children. [5] Newspapers reveal that she was a victim of domestic violence at the hand of her drunkard husband who threatened her life and beat her. [7] [8] [9] [10] [11] [12] [13] Also in an attack by her teenage daughter Lizzie in 1878 Mary was stabbed with a knife in the head. [14]
By the age of 17 years Richard, a shoemaker, had already spent time as a prisoner in the house of correction at Preston for stealing a dress. [15] [16] [17] And in 1889 when on trial for larceny the police gazette reveals that Richard had 12 previous convictions in New Zealand. [17] These included yet were not limited to drunkenness and disorderly behaviour, indecent exposure, selling and receiving stolen goods, stealing from the person, failing to support/being in arrears in support of his wife, and violent assault. [7] [8] [9] [10] [11] [12] [13] [19] [20] [21] [22] [23] [24] [25] [26] [27] [28] [29] [30] [31] [32] [33] [34] [35] [36]
In July 1874 Richard was serving a sentence for robbery and in September the same year Mary was gaoled for vagrancy. It appears that with both parents unable to care for their younger children they were placed into care, and during December 1874 Mary and Richard’s two youngest girls Lizzy and Mary Ann [37] ran away from the St Marys Industrial school. They were found with their sister Catherine Dougherty and her partner William Scurry/Scarrah who were charged with harbouring the escapees. [38] [39] [40]
Mary was charged with vagrancy again 10 years later when in 1884 without any means of support she was sentenced to 2 months imprisonment. Once she had completed her sentence she was unable to be taken into ‘the old women’s refuge’ so was returned to gaol for another 30 days. [41]
By 1893 Mary was working as a domestic and living in Auckland city's Durham St West. [5] [42] Her death notice reveals that she had been ill for some time before her death which occurred at her residence. “Her end was peace” [43]
Mary’s young granddaughter Hilda who passed away at her home in 1909 [44] rests with Mary in Roman Catholic Division A Row 7, Plot 42. The Auckland Council online cemeteries data base reveals that Mary’s daughter Mary Ann Nelson who appears to have married young to Ernest Saxwell in 1883 and despite leaving him soon after, gave birth to at least two children by him, passed away in 1925 and lies alongside her mother and child. [45] [46] [47] [48] They were finally joined by Mary Ann’s 2nd husband Andrew Nelson, a master Mariner who passed away at the Epsom infirmary in 1932. [49] [50]
Their grave markers are inscribed:
In Loving Memory Of
MARY DOUGHERTY
Died 29th Nov. 1893
Aged 48 years
Also
HILDA
Grandchild of above and daughter of
A & M NELSON
Died 20th Jan. 1909
Aged 11 years & 4 months
Also of MARY ANN.
Wife of ANDREW NELSON
Who died 6th July 1925
Aged 59 Years
Rest In Peace
Plaque at the base:
Also ANDREW NELSON
Died 19th March 1932
Aged 65 years
Roman Catholic Division A Row 7, Plots 40 - 42
Mary Dougherty and Hilda Nelson Plot 42
Andrew Nelson Plot 40
Mary Ann Nelson between Plot 40 and 42
[1] www.thankgodforjesus.org/spiritual-meaning-of-bowing-knee...
[2] www.gmct.com.au/media/720756/gmct-information-sheet-_ceme...
[3] Liverpool Record Office; Liverpool, England; Liber Baptizatorum; Reference Number: 282 PET/1/3
Liverpool, England, Catholic Baptisms, 1802-1906 Ancestry.com 2011
[4] 581/1891 Richards death entry
[5] Waikumete Cemetery Catholic burials, 1886-1923 p102 and p13
[5] P582 England & Wales, Civil Registration Marriage Index, 1837-1915 Ancestry.com 2006
[6] Dept internal affairs NZ 1867/97831867DoughertyMary AnnMary Ann Richard
[7] paperspast.natlib.govt.nz/newspapers/DSC18700527.2.27.2
POLICE COURT.—Thursday. [Before James Naughton and James Baber, Esqs., J.P.s.], Daily Southern Cross, Volume XXVI, Issue 3982, 27 May 1870
[8] paperspast.natlib.govt.nz/newspapers/DSC18720420.2.20.2
POLICE COURT.-Friday. [Before J. M. Dargaville and W. A. Gra. HAM, Esqs., J.P.s.], Daily Southern Cross, Volume XXVIII, Issue 4573, 20 April 1872
[9] paperspast.natlib.govt.nz/newspapers/DSC18700527.2.10
The Daily Southern Cross., Daily Southern Cross, Volume XXVI, Issue 3982, 27 May 1870
[10] paperspast.natlib.govt.nz/newspapers/DSC18700527.2.27.2
POLICE COURT.—Thursday. [Before James Naughton and James Baber, Esqs., J.P.s.], Daily Southern Cross, Volume XXVI, Issue 3982, 27 May 1870
[11] paperspast.natlib.govt.nz/newspapers/DSC18711102.2.21.2
POLICE COURT.—Wednesday., Daily Southern Cross, Volume XXVII, Issue 4427, 2 November 1871
[12] paperspast.natlib.govt.nz/newspapers/DSC18720420.2.11.1
SATURDAY,'APRIL 20, 1872., Daily Southern Cross, Volume XXVIII, Issue 4573, 20 April 1872
[13] paperspast.natlib.govt.nz/newspapers/DSC18730715.2.22
POLICE COURT.- Monday. [Before his Worship the Mayor.], Daily Southern Cross, Volume XXIX, Issue 4958, 15 July 1873
[14] paperspast.natlib.govt.nz/newspapers/AS18780125.2.23
POLICE COURT.—This Day, Auckland Star, Volume IX, Issue 2447, 25 January 1878
[15] census Class: HO107; Piece: 2267; Folio: 804; Page: 18; GSU roll: 87292 ancestry.com
[16] England & Wales, Criminal Registers, 1791-1892 [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2009.
[17] www.britishnewspaperarchive.co.uk/viewer/bl/0000099/18510...
Preston Chronicle - Saturday 12 April 1851
[18] New Zealand Police Gazettes, 1878-1945. Archives New Zealand, Wellington, New Zealand. Ancestry.com. New Zealand, Police Gazettes, 1878-1945 2018.
[19] paperspast.natlib.govt.nz/newspapers/NZH18891113.2.7
LAW AND POLICE., New Zealand Herald, Volume XXVI, Issue 9521, 13 November 1889
[20] paperspast.natlib.govt.nz/newspapers/NZH18870228.2.8
LAW AND POLICE., New Zealand Herald, Volume XXIV, Issue 7883, 28 February 1887
[21] paperspast.natlib.govt.nz/newspapers/NZH18690227.2.29
MANGAPAL.—A CHILD DROWNED., New Zealand Herald, Volume VI, Issue 1644, 27 February 1869
[22] paperspast.natlib.govt.nz/newspapers/AS18801028.2.32
POLICE COURT.—This Day., Auckland Star, Volume XI, Issue 3204, 28 October 1880
[23] paperspast.natlib.govt.nz/newspapers/AS18810528.2.24
POLICE COURT.-This day., Auckland Star, Volume XII, Issue 3381, 28 May 1881
[24] paperspast.natlib.govt.nz/newspapers/NZH18690817.2.25
POLICE COURT.-TUESDSAY., New Zealand Herald, Volume VI, Issue 1790, 17 August 1869
[25] paperspast.natlib.govt.nz/newspapers/NZH18700223.2.24
POLICE COURT.-TUESDAY., New Zealand Herald, Volume VII, Issue 1905, 23 February 1870
[26] paperspast.natlib.govt.nz/newspapers/NZH18700511.2.28
POLICE COURT.—Tuesday., New Zealand Herald, Volume VII, Issue 1970, 11 May 1870
[27] paperspast.natlib.govt.nz/newspapers/DSC18700514.2.24.2
POLICE COURT. -Friday. [Before G. M. Mitford, and Joseph May, Esqs., J.P.s.], Daily Southern Cross, Volume XXVI, Issue 3971, 14 May 1870
[28] paperspast.natlib.govt.nz/newspapers/AS18701117.2.13
POLICE COURT—THURSDAY., Auckland Star, Volume I, Issue 267, 17 November 1870
[29] paperspast.natlib.govt.nz/newspapers/DSC18710331.2.10
The Daily Southern Cross., Daily Southern Cross, Volume XXVII, Issue 4252, 31 March 1871
[30] paperspast.natlib.govt.nz/newspapers/DSC18710704.2.29.2
POLICE COURT.—Monday. [Before J. O'Neill and J. M. Dargaville, Esqs., J.P.s.], Daily Southern Cross, Volume XXVII, Issue 4332, 4 July 1871
[31] paperspast.natlib.govt.nz/newspapers/AS18720805.2.17
POLICE COURT., Auckland Star, Volume III, Issue 795, 5 August 1872
[32] paperspast.natlib.govt.nz/newspapers/AS18801028.2.32
POLICE COURT.—This Day., Auckland Star, Volume XI, Issue 3204, 28 October 1880
[33] paperspast.natlib.govt.nz/newspapers/AS18820608.2.13
POLICE COURT.-This day., Auckland Star, Volume XIII, Issue 3690, 8 June 1882
[34] paperspast.natlib.govt.nz/newspapers/NZH18821017.2.5
LAW AND POLICE., New Zealand Herald, Volume XIX, Issue 6526, 17 October 1882
[35] paperspast.natlib.govt.nz/newspapers/AS18850623.2.22
Auckland Star, Auckland Star, Volume XXVI, Issue 141, 23 June 1885
[36] paperspast.natlib.govt.nz/newspapers/NZH18891213.2.8
LAW AND POLICE., New Zealand Herald, Volume XXVI, Issue 9547, 13 December 1889
[37] Turner family tree ancestry.com
www.ancestry.com.au/family-tree/person/tree/120100662/per...
[38] paperspast.natlib.govt.nz/newspapers/TS18740703.2.17
INQUEST., Star, Issue 1974, 3 July 1874
[39] paperspast.natlib.govt.nz/newspapers/DSC18740902.2.19
THE POST OFFICE SAVINGS BANK., Daily Southern Cross, Volume XXX, Issue 5312, 2 September 1874
[40] paperspast.natlib.govt.nz/newspapers/AS18741214.2.12
POLICE COURT.- This Day., Auckland Star, Volume V, Issue 1511, 14 December 1874
[41] paperspast.natlib.govt.nz/newspapers/NZH18840804.2.6
LAW AND POLICE., New Zealand Herald, Volume XXI, Issue 7087, 4 August 1884
[42] New Zealand City & Area Directories, 1866–1955. Microfilm publication, 921 fiche. Anne Bromell Collection, BAB Microfilming. Auckland, New Zealand. Ancestry.com. New Zealand, City & Area Directories, 1866-1954 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2010.
[43] paperspast.natlib.govt.nz/newspapers/THS18931130.2.5
DEATH., Thames Star, Volume XXIV, Issue 4598, 30 November 1893
[44] paperspast.natlib.govt.nz/newspapers/NZH19090121.2.2.2
DEATHS., New Zealand Herald, Volume XLVI, Issue 13964, 21 January 1909
[45] Dept internal affairs NZ 1883/9101883Mary AnnDoughertyErnestSaxwell
[46] paperspast.natlib.govt.nz/newspapers/NZH18830510.2.2.6
Page 1 Advertisements Column 6, New Zealand Herald, Volume XX, Issue 6701, 10 May 1883
[47] Department of Internal Affairs NZ
1885/94451885SaxwellErnest WilliamMary AnnErnest
1887/170521887SaxwellMary CatherineMary AnnErnest
[48] paperspast.natlib.govt.nz/newspapers/NZH19250707.2.2.3
DEATHS., New Zealand Herald, Volume LXII, Issue 19063, 7 July 1925
[49] paperspast.natlib.govt.nz/newspapers/NZH19320321.2.2.4
DEATHS., New Zealand Herald, Volume LXIX, Issue 21137, 21 March 1932
[50] paperspast.natlib.govt.nz/newspapers/AS19320321.2.3
DEATHS., Auckland Star, Volume LXIII, Issue 68, 21 March 1932
Link to image of the kneeling angel
www.flickr.com/photos/discoverwaikumetecemetery/418313528...
Photo: Cathy Currie
Must be fall... I've been away from you a few days as I've been busy hosting a visit from my mom who lives far away. Precious time with a special person. Hope you've all been well. Hope you each had someone like her to teach you kindness, compassion, determination, and service. And may they all live long.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 2013, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
Alone we can do so little. Together we can do so much. - Helen Keller
More Helen Keller Quotes and Sayings
Picture Quotes on Humility
12 Beautiful destinations in Thailand to explore
Original photo credit: Lukas Johnns
Humility in the Oratorio del Rosario in Santa Cita. Maybe the pigeon on her head forces her to be humble, through mortification!
January 21, 2010
Taken with my iPhone
The sky over the ocean was a beautiful sight tonight. We may not have a lot of sun but we do have the most amazing sunsets in the winter. Alaska makes me feel so small with beauty this big.
Rose colours have different meanings.
White - Purity, Innocence, Silence, Secrecy, Reverence, Humility, Youthfulness, "I am worthy of you" Heavenly.
"Do you wish people to think well of you? Don't speak well of yourself."
Blaise Pascal
The fern as a chrisitian symbol represents humility according to website I found catholic-saints.info
Picture of fern in my parents yard in Ventura, California
If there is any advice Col. Kirk Gibbs can give to his successor, it is this: Lead with honor and humility.
As Gibbs, U.S. Army Corps of Engineers Los Angeles District’s 61st commander, prepares to relinquish command of the LA District July 19 to Col. Aaron Barta, he offered up some advice and reflected on the past three years as the leader of one of the largest Corps districts in the country.
There are many things Gibbs said he is proud of when it comes to the LA District, but three things stand out: the District being recognized two years in a row as a "Best Place to Work" in the Corps; completing Weed Army Hospital at Fort Irwin, California – the Department of Defense’s only Leadership in Energy and Environmental Design-Platinum, carbon-neutral, net-zero certifiable hospital – on time and within budget; and the one-on-one time he was able to spend with employees in the District.
It is the people Gibbs said he will miss the most – the employees and the District’s close partners across the four-state area.
“I have never focused on relationships like I have here in this District, and I sincerely believe it is part of the District's culture,” he said. “When projects are tough, the close relationships get us through those challenges and ultimately deliver the program.”
During his time with the LA District, Gibbs has overseen a multimillion-dollar program that provides engineering, construction, planning, contracting, real estate, emergency operations, environmental and regulatory services to military, federal, state and local governments across a 226,000-square-mile area of Southern California, Nevada, Arizona and Utah. That also includes leading about 750 military and civilian personnel with a wide array of expertise.
But leading people is nothing new to Gibbs, who has served for more than 24 years as an active-duty Soldier, leading both military and civilian personnel.
“Each person is different, and I have learned that good leaders get to know each person individually and then lead them in a way that brings out the best in that employee,” he said.
Providing priorities and a solid intent on the District’s missions, particularly disaster response operations, helps employees stay focused on what’s really important, he said.
Gibbs will now serve as the chief of staff at the Corps’ headquarters in Washington, D.C. There, he said, he hopes to be an advocate for all of the Corps’ districts nationwide.
“I feel that this District and the great people are responsible for giving me the incredible opportunity of being the Corps’ chief of staff,” he said. “The people have taught me so much, and I will take that with me to make a positive impact on the Corps’ enterprise and help our Districts deliver our programs in civil works, military, Interagency and International Services, real estate and regulatory.”
Gibbs knows how the importance of mentors and having a good support system have played in shaping his career, and he credits his parents with instilling in him respect for others; his wife, Kim, who taught him to endure all challenges, no matter how great, with grace and dignity; and his former chief of staff – Col. Steve Hill – for giving him tough jobs to prepare him for success.
“(Hill) gave me tough jobs that I thought he could have done at the time, but as I look back, the toughest assignments he gave me in that civilian organization at the Corps headquarters prepared me for District command and enabled me to achieve the goal of commanding at the battalion, brigade and District levels,” he said. “I also remember he told me I would be a chief of staff for the Corps one day. He was preparing me for that. I didn't believe him, but that is my next job.”
And, as for additional advice he can share with Barta, Gibbs provided these words of wisdom:
- Be prepared to change leadership style when leading a District of professional civilians. Don't lead them in the same way as Soldiers;
- Engage with people and get around to see them across the District's entire area of operation. Don't sit behind a desk;
- Study hard initially and learn the policies, processes and programs. “You will never be the expert, but you must prepare yourself to make effective decisions as quickly as possible”;
- Always provide a commander's intent and an end state. The civilian workforce appreciates that; and, lastly,
- Lead with honor and humility. “It isn't about you. It is about the District's people and our vital mission.”
As for the future of the LA District, Gibbs said he hopes future leaders continue to change the culture to an organization that is more risk tolerant in streamlining processes and moving projects forward; deliver the Department of Veterans Affairs and Customs and Border Protection programs phenomenally – on time, within budget and to the highest quality; and to remain a "Best Place to Work" in order to retain and recruit talent to the high-cost living area of Southern California.
“I want the District to do what it always does and ‘knock those programs out of the park,’” he said.
‘Hadha Min Fadli Rabbi’ is an Arabic phrase whose translation in English nears "This is by the Grace of my Lord."
The phrase is most often used to convey a sense of humility and most importantly, gratitude to God for having something, be it material or spiritual, or otherwise, such as a talent one may possess, or good health, good income, good spouse, children, etc.
El Retablo de Señor de la Paciencia y la Humildad (The Altar of the Lord of Patience and Humility) at la Basílica Nuestra Señora del Pilar is a polychrome hand wood carving made in the 18th century and attributed to Spanish sculptor Andalusia. Christ is pictured seated on a rock, waiting for his crucifixion. On both sides are San Pascual Bailón and San Benito de Palermo--the latter of which was restored in 2004.
La Basílica Nuestra Señora del Pilar (Basilica of Our Lady of the Pillar) at Junín 1904, was inaugurated in 1732, making it the second-oldest church in Buenos Aires, as part of a convent belonging to Padres Recoletos. The church owes its name to the patron saint of the city of Zaragoza in Spain, the hometown of Juan de Narbona who financed the construction starting in 1716. Construction was started by Italian Jesuit architect Andrés Bianchi and it was completed by Juan Bautista Premoli.
The order of the Recoletos was expelled in 1822 by Governor Martin Rodriguez, and after their property was expropriated, the convent became a mendicant's home in 1934 and then a retirement home. It returned to ecclesiastical use opening as a parish church in 1829, and was declared a Basilica in 1936 by Pope Pio XI.
The pristine white unadorned exterior is a modern alteration. The colonial-style building was originally a sun yellow. Inside, the basilica fetures outstanding Spanish colonial artwork and six German Baroque-style altars, the center one of which is overlaid with Peruvian engraved silver and features an image of the Virgen del Pilar.
Los Claustros Historicos Del Pilar (The Cloisters), which date from 1716 and still have their original floors and some fixtures, was opened to the public in 1997 as Museo de los Claustros del Pilar. The 3-floor museum features religious artifacts and photographs documenting Recoleta's evolution.
Therefore, as Go'ds chosen people, holy and dearly loved, clothe yourselves with compassion, kindness, humility, gentleness and patience. Bear with each other and forgive whatever grievances you may have against one another. Forgive as the Lord forgave you. And over all these virtues put on love, which binds them all together in perfect unity.
February 23rd, 2009
As you can see, this isn't really a self-portrait. But you can barely see me in the reflection, and that counts enough for me. I really don't feel like doing anything different. I took this at about 6:24 this morning. 20 minutes before I went to my bus stop. Excuse the dirty window, our cats like to jump, and our dog is slobbery. :P I just liked the heart. I'm not sure where it came from. But iiiiii like it. :D
Today, I woke up, and just..didn't wanna wake up. Haha. But I did, of course. I got up, showered, did my hair, got dressed, did my make-up, etc. This girl that went to Falcon (her name was Sarah Conrad) died over the weekend, and so everyone wore yellow because that was her favorite color. She got into a car accident, and wasn't wearing her seatbelt. So, yeah. I don't think I knew her, but it's still super sad. Her poor brother is heart-broken, they were really close.
I got to school, and saw Howie and Mo. Went to all my classes, and nothing really exciting happened. Just a regular school day. In Freshman Seminar, we made posters for a movie night for Friday, it was fun. And a waste of time. I liked it. :] Pretty much the whole time, I was trying to convince Mo to come to church with me. We're learning about the Bible, where it came from, why we believe it, etc. Mo always says that the Bible isn't real, so I wanted to invite him. I tried FOREVERRRR to convince him, and he wouldn't go. It was sad. But then, after school, Mo told Howie about it, and Howie said that he would go. I'm excited. I hope that he DOES go. And maybe he'll like it, that woud be good. :]
Then, I came home, and am just hanging out. Did some homework, tried to take a picture but failed, etc. Now I'm here.
At 7, Nathan has a game. I plan on going.
My Dad called and asked for his number. And....I just realized that that could be bad news. Why does my Dad want to talk to Nathan? Hm. That's really weird.....really weird....Whoa. I should ask him.
I think I'm gunna ask Sam to take some pictures with me on the football and track field. I think it would be way fun. Maybe we could take the activity bus home, and she could hang out. It's been a long time since we've done anything. And she's PERFECT for taking pictures.
If there is any advice Col. Kirk Gibbs can give to his successor, it is this: Lead with honor and humility.
As Gibbs, U.S. Army Corps of Engineers Los Angeles District’s 61st commander, prepares to relinquish command of the LA District July 19 to Col. Aaron Barta, he offered up some advice and reflected on the past three years as the leader of one of the largest Corps districts in the country.
There are many things Gibbs said he is proud of when it comes to the LA District, but three things stand out: the District being recognized two years in a row as a "Best Place to Work" in the Corps; completing Weed Army Hospital at Fort Irwin, California – the Department of Defense’s only Leadership in Energy and Environmental Design-Platinum, carbon-neutral, net-zero certifiable hospital – on time and within budget; and the one-on-one time he was able to spend with employees in the District.
It is the people Gibbs said he will miss the most – the employees and the District’s close partners across the four-state area.
“I have never focused on relationships like I have here in this District, and I sincerely believe it is part of the District's culture,” he said. “When projects are tough, the close relationships get us through those challenges and ultimately deliver the program.”
During his time with the LA District, Gibbs has overseen a multimillion-dollar program that provides engineering, construction, planning, contracting, real estate, emergency operations, environmental and regulatory services to military, federal, state and local governments across a 226,000-square-mile area of Southern California, Nevada, Arizona and Utah. That also includes leading about 750 military and civilian personnel with a wide array of expertise.
But leading people is nothing new to Gibbs, who has served for more than 24 years as an active-duty Soldier, leading both military and civilian personnel.
“Each person is different, and I have learned that good leaders get to know each person individually and then lead them in a way that brings out the best in that employee,” he said.
Providing priorities and a solid intent on the District’s missions, particularly disaster response operations, helps employees stay focused on what’s really important, he said.
Gibbs will now serve as the chief of staff at the Corps’ headquarters in Washington, D.C. There, he said, he hopes to be an advocate for all of the Corps’ districts nationwide.
“I feel that this District and the great people are responsible for giving me the incredible opportunity of being the Corps’ chief of staff,” he said. “The people have taught me so much, and I will take that with me to make a positive impact on the Corps’ enterprise and help our Districts deliver our programs in civil works, military, Interagency and International Services, real estate and regulatory.”
Gibbs knows how the importance of mentors and having a good support system have played in shaping his career, and he credits his parents with instilling in him respect for others; his wife, Kim, who taught him to endure all challenges, no matter how great, with grace and dignity; and his former chief of staff – Col. Steve Hill – for giving him tough jobs to prepare him for success.
“(Hill) gave me tough jobs that I thought he could have done at the time, but as I look back, the toughest assignments he gave me in that civilian organization at the Corps headquarters prepared me for District command and enabled me to achieve the goal of commanding at the battalion, brigade and District levels,” he said. “I also remember he told me I would be a chief of staff for the Corps one day. He was preparing me for that. I didn't believe him, but that is my next job.”
And, as for additional advice he can share with Barta, Gibbs provided these words of wisdom:
- Be prepared to change leadership style when leading a District of professional civilians. Don't lead them in the same way as Soldiers;
- Engage with people and get around to see them across the District's entire area of operation. Don't sit behind a desk;
- Study hard initially and learn the policies, processes and programs. “You will never be the expert, but you must prepare yourself to make effective decisions as quickly as possible”;
- Always provide a commander's intent and an end state. The civilian workforce appreciates that; and, lastly,
- Lead with honor and humility. “It isn't about you. It is about the District's people and our vital mission.”
As for the future of the LA District, Gibbs said he hopes future leaders continue to change the culture to an organization that is more risk tolerant in streamlining processes and moving projects forward; deliver the Department of Veterans Affairs and Customs and Border Protection programs phenomenally – on time, within budget and to the highest quality; and to remain a "Best Place to Work" in order to retain and recruit talent to the high-cost living area of Southern California.
“I want the District to do what it always does and ‘knock those programs out of the park,’” he said.
If there is any advice Col. Kirk Gibbs can give to his successor, it is this: Lead with honor and humility.
As Gibbs, U.S. Army Corps of Engineers Los Angeles District’s 61st commander, prepares to relinquish command of the LA District July 19 to Col. Aaron Barta, he offered up some advice and reflected on the past three years as the leader of one of the largest Corps districts in the country.
There are many things Gibbs said he is proud of when it comes to the LA District, but three things stand out: the District being recognized two years in a row as a "Best Place to Work" in the Corps; completing Weed Army Hospital at Fort Irwin, California – the Department of Defense’s only Leadership in Energy and Environmental Design-Platinum, carbon-neutral, net-zero certifiable hospital – on time and within budget; and the one-on-one time he was able to spend with employees in the District.
It is the people Gibbs said he will miss the most – the employees and the District’s close partners across the four-state area.
“I have never focused on relationships like I have here in this District, and I sincerely believe it is part of the District's culture,” he said. “When projects are tough, the close relationships get us through those challenges and ultimately deliver the program.”
During his time with the LA District, Gibbs has overseen a multimillion-dollar program that provides engineering, construction, planning, contracting, real estate, emergency operations, environmental and regulatory services to military, federal, state and local governments across a 226,000-square-mile area of Southern California, Nevada, Arizona and Utah. That also includes leading about 750 military and civilian personnel with a wide array of expertise.
But leading people is nothing new to Gibbs, who has served for more than 24 years as an active-duty Soldier, leading both military and civilian personnel.
“Each person is different, and I have learned that good leaders get to know each person individually and then lead them in a way that brings out the best in that employee,” he said.
Providing priorities and a solid intent on the District’s missions, particularly disaster response operations, helps employees stay focused on what’s really important, he said.
Gibbs will now serve as the chief of staff at the Corps’ headquarters in Washington, D.C. There, he said, he hopes to be an advocate for all of the Corps’ districts nationwide.
“I feel that this District and the great people are responsible for giving me the incredible opportunity of being the Corps’ chief of staff,” he said. “The people have taught me so much, and I will take that with me to make a positive impact on the Corps’ enterprise and help our Districts deliver our programs in civil works, military, Interagency and International Services, real estate and regulatory.”
Gibbs knows how the importance of mentors and having a good support system have played in shaping his career, and he credits his parents with instilling in him respect for others; his wife, Kim, who taught him to endure all challenges, no matter how great, with grace and dignity; and his former chief of staff – Col. Steve Hill – for giving him tough jobs to prepare him for success.
“(Hill) gave me tough jobs that I thought he could have done at the time, but as I look back, the toughest assignments he gave me in that civilian organization at the Corps headquarters prepared me for District command and enabled me to achieve the goal of commanding at the battalion, brigade and District levels,” he said. “I also remember he told me I would be a chief of staff for the Corps one day. He was preparing me for that. I didn't believe him, but that is my next job.”
And, as for additional advice he can share with Barta, Gibbs provided these words of wisdom:
- Be prepared to change leadership style when leading a District of professional civilians. Don't lead them in the same way as Soldiers;
- Engage with people and get around to see them across the District's entire area of operation. Don't sit behind a desk;
- Study hard initially and learn the policies, processes and programs. “You will never be the expert, but you must prepare yourself to make effective decisions as quickly as possible”;
- Always provide a commander's intent and an end state. The civilian workforce appreciates that; and, lastly,
- Lead with honor and humility. “It isn't about you. It is about the District's people and our vital mission.”
As for the future of the LA District, Gibbs said he hopes future leaders continue to change the culture to an organization that is more risk tolerant in streamlining processes and moving projects forward; deliver the Department of Veterans Affairs and Customs and Border Protection programs phenomenally – on time, within budget and to the highest quality; and to remain a "Best Place to Work" in order to retain and recruit talent to the high-cost living area of Southern California.
“I want the District to do what it always does and ‘knock those programs out of the park,’” he said.
Francesco Lupicini (1588/91 - after 1652 (?), active in Florence
Martha reproving her vain sister Mary Magdalene, about 1625/30
The suspenseful confrontation between asceticism and luxury, humility and pride should always be understood as an invitation to conversion and repentance. Lupicini, however, succumbs to the seduction of terrestrial beauty and vain trumpery. He paints the sinner at her dressing table with devotion to detail and dedicates himself precisely to the testimonies of her wastefulness joined to form a still live.
Francesco Lupicini (1588/91 - nach 1652 (?), tätig in Florenz
Martha tadelt ihre eitle Schwester Maria Magdalena, um 1625/30
Die spannungsreiche Gegenüberstellung von Askese und Luxus, Demut und Hoffart sollte stets als Aufforderung zu Umkehr und Buße verstanden werden. Lupicini erliegt allerdings der Verführung irdischer Schönheit und eitlen Tands: Er malt mit hingebungsvoller Ausführlichkeit die Sünderin an ihrem Putztisch und widmet sich präzise den zu einem Stillleben gefügten Zeugnissen ihrer Verschwendungssucht.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
The main access to the Church of the Nativity in Bethlehem is this Liliputian and simple door in the main façade known as "Door of Humility". It dates back to the Ottoman period and its small size meant to prevent carts being driven in by looters, and to force even the most important visitor to dismount from his horse as they entered the holy place. The doorway was reduced from an earlier Crusader doorway, the pointed arch of which can still be seen above the current door.
Macro-mondays
Theme Humility
Life makes me humble. The picture is of one of my boys right index-finger and represents life and the variety of it.
... indem ihr mit aller Demut und Sanftmut, mit Langmut einander in Liebe ertragt ...
Epheser 4,2
... with all humility and gentleness, with patience, bearing with one another in love ...
Eph. 4,2
Men exist for the sake of one another. Teach them then or bear with them. - Marcus Aurelius
More Marcus Aurelius Quotes and Sayings
Picture Quotes on Humility
25 Top landmarks in the world for 2018
Original photo credit: Surprising_Shots
Another one of those humility blocks! In the lower left corner grouping of nine patches (why is it always in the lower left corner with me!) the red and white block should have had five reds, so one swan was missing. I saw this when it was all sewn together except the corner triangles and the border. So, instead of ripping, I set in a tiny swan in the lower left corner triangle. Turned out, I liked him down there :)
The Friend of God has these three qualities: a generosity like that of the ocean, a compassion like that of the sun, and a humility like that of the earth.
---Bayazid
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