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Stephen came round for his final visit on Friday. We now have our garden and house back. As with all babies, I am greatly fascinated by every little leaf movement, every flower smiling . . . whereas to everyone else, it's just a leaf and flower. Maggie, my one-time business partner, is coming over on Tuesday with some plants from her garden . . . a bit like bringing some baby clothes! This is a garden in its real infancy. I'm not sure that with clients I would have ever dared to leave them with such a helpless newborn. It needs the shrubs to grow, it needs height, it needs to fill out . . . and I shall be there every step of the way! . . . . but you will not. I shall post more as and when there are significant changes . . . but I thought I'd share my baby with you . . .
Finally able to return to Splinter Hill today after TS Cindy left the area, I was glad to find the most recently found Hickory Horned Devil doing well and nearing full maturity! As expected, the fully mature one we had chronicled since infancy had completely stripped it's branch by binge eating over the last few days and burrowed into the ground until it emerges as a Regal Moth!
The hands of women, (the power of organizations and infancy education) hold the power to change reality, reaching out to every woman wherever she is, we need to choose the right path for us and make sure to embark on this journey strong and determined.
Equality and adequate representation in the work world is possible, rewarding, and is worth fighting for. This book is an invitation to a journey through (via) authentic life stories of 111 women in the Israeli society who have not given up, fell and rose up over and over again. They made their voices heard, progressed and made a personal breakthrough.
The writing in the book is about real life and career. A Women and Career Book -A Leading Influential Presence - A fascinating, instructive and transformative journey which transforms business discourse about leadership.
Seven months into the infancy of Conrail and renumberings were quite evident. Some were acceptable by the Conrail "Fallen Flags" followers and some were just plain brutal. Ex EL, exx Erie NW2 #415 has been renumbered and it seemed to me that Conrail had no standardization when it came to dealing with it's "Patch Jobs" at this time. Shop workers probably did the best that they could do under the circumstances. Suffern N.Y. 11-03-1976. Howard Kent Jr. photo.
El parque de mis recuerdos // The park of my memories © All rights reserved - © Todos los Derechos Reservados
Aconsejo verla sobre fondo negro // I advise to see it on a black
Llegará un día que nuestros recuerdos serán nuestra riqueza.
(Paul Géraldy)
A day that our memories are our wealth.
(Paul Géraldy)
Dando un paseo en el coche con mi mujer, por una carretera poco transitada, ella me comentó que muy cerca de allí, disfrutaba en su infancia de un pequeño parque infantil, pero no recordaba donde estaba exactamente.
Pasados unos dias volví solo y lo busqué, el resultado es la imagen que estais viendo. Mi mujer lo vio, para sorpresa de ella, el recuerdo que conservaba de él, coincidia exactamente con lo fotografiado por mí, treintaytantos años después. Mereció la pena, dar vida a sus recuerdos...
Taking a ride in the car with my wife, on a road with little traffic, she told me that very near there, enjoy your infancy in a small playground, but could not remember where it was exactly.
After a few days I went back and searched only, the result is the image that you are seeing. My wife saw, to her surprise, retaining the memory of him, coincided exactly with the photographed by me, thirtysomething years later. It was worth it, give life to your memories ...
A Northern automobile, photographed between 1902 and 1908. My colorization of a Detroit Publishing Co. image in the Library of Congress archive.
"Northern Manufacturing Company was a manufacturer of Brass Era automobiles in Detroit, Michigan, automobiles designed by Charles Brady King."
"The 1904 Northern was a runabout model. It could seat 2 passengers and sold for US $750 ($18,460 in 2007). The flat-mounted water-cooled single-cylinder engine, situated at the center of the car, produced 6 hp (4.5 kW). A 2-speed transmission was fitted. The tubular-framed car weighed 950 lb (431 kg) and used Concord springs. In 1902 Charles B. King and Jonathan Maxwell created the Northern Manufacturing Company, which eventually went on to be the automotive portion of Studebaker and part of which - along with Chalmers - became Chrysler. Maxwell would later become a well-known name as a line of automobiles would bear his name. King would not experience that same level of fame, though he is remembered as the first person to drive an internal combustion car on the streets of Detroit.Though the automobile industry was in its infancy, both of these men had already compiled a resume of automotive experience. Both had worked for R. E. Olds. King, who had an engineering degree from Cornell and had moved to Detroit in 1891, was the chief designer at Oldsmobile but left the company after the 1901 fire at the plant. Four years after moving to Detroit, he formed the American Motor League to promote good roads. His first car was created in 1896, and was immediately driven on the streets, much to the dismay of other travelers. The new contraption was loud (as were most other vehicles of the time) and disturbed the horse-drawn carriages. Henry Ford's first vehicle was built three months after King's.Maxwell had produced a single-cylinder 5-horsepower engine which was used to power the new Northern automobiles. The design was similar to that of the Oldsmobile's and with the relatively advanced engine, the vehicles gained a reputation as “Silent Northern.”In 1903 the company produced 300 examples of the runabout, and in 1904 expanded their offerings with the introduction of a twin-cylinder Touring model. In 1903, Maxwell was lured away by Benjamin Briscoe, and the Maxwell-Briscoe Motor Company in Tarrytown, New York, was formed. The Maxwell car was introduced in 1905. Maxwell was absorbed into the newly created Chrysler Corporation in 1925.King remained at Northern, continually improving the capabilities of the car. A twin-cylinder, shaft drive unit was introduced, followed by a four-cylinder engine in 1906. By 1907, the single-cylinder cars were discontinued. King left Northern in 1908, but by then, the company was in precarious shape. It was soon taken over by the Wayne Automobile Company, which was quickly acquired by E-M-F, which became the automotive portion of Studebaker in 1913. (Wikipedia)
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
---------------------------
Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenységét.
Róth Miksa 1944-ben halt meg, természetes halállal, hiszen kikeresztelkedettként akkor még védett helyzetben volt, de ekkor már állandó rettegésben élt. Családja sok tagja a holokauszt áldozata lett.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm
The papal basilica of Santa Maria Maggiore, located on Rome's Esquiline Hill, dates to the fifth century, perhaps replacing an earlier church. According to a popular tradition, the site was chosen after a miraculous snow storm in early August was sent by the Virgin Mary. Dedicated by Pope Sixtus III, it was one of the first churches dedicated to the Virgin Mary after the Council of Ephesus declared her Theotokos, or Mother of God, in 431.
One of the centerpieces of the basilica is the cycle of mosaics on the sanctuary arch. These date to the period of the construction of the basilica in the fifth century. They depict the narratives associated with the birth and infancy of Jesus. Many of these come from the Gospels of Matthew and Luke, such as the Annunciation to Mary, the visit of the Magi, and the slaughter of the innocents. Some scenes also seem to be based on apocryphal accounts. At the base of the mosaic are representations of Jerusalem and Bethlehem as cities with magnificent jeweled walls. The name of Pope Sixtus III (here spelled Xystus) at the top center of the program identifies the bishop of Rome as the patron.
For more photography, religion, and art follow me on Twitter @arturoviaggia
When deaths in infancy and childbirth were a regular and real threat to the lives of both women and children, families had tragedies all too frequently. Jane and Jane Alice are remembered on this fine obelisk - but where is/was it and who were the Purves's?
As beachcomberaustralia notes, the catalogue entry reads in full as below. So there may be initial investigative clues here...
Gravestone of Jane and Jane Alice Purves - reads "Sacred to the memory of Jane, wife of William Adams Purves, Sydney, New South Wales. Born 14th April 1851, died 26th October, 1875 and of Jane Alice, their infant daughter, born 21st October, died 14th December
And so, with input in particular from beachcomberaustralia and O Mac, we learned quite a bit about the tragic family involved. William Adams Purves (of Sydney, Australia) married Jane Allan (of Cavamana, Galway) in June 1872. Jane gave birth to a daughter, Jane Alice, in October 1875, but unfortunately she (the mother) died a few days later. Almost certainly from complications arising after childbirth. Adding to the heartbreak, baby Jane Alice died just 7 weeks later still, in December 1875. Both mother and daughter (and seemingly eventually father) were buried in this plot. While the guys tell us that there is a family memorial marker in the famous Greyfriars cemetery in Edinburgh, Scotland, their resting place - captured in this Dillon image - is in Ahascragh, Co Galway. Links, images, register entries from Bernard Healy, and other amazing investigative artefacts are linked by the guys in the comments below....
Photographers: Dillon Family
Contributors: Luke Gerald Dillon, Augusta Caroline Dillon
Collection: Clonbrock photographic Collection
Date: Catalogue dates to c.1870. Though clearly after 1875.
NLI Ref: CLON192
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
Our Daily Challenge: Unconventional
Live music may be an unconventional element to one’s birthday party, but having your grandson get his first percussion lesson is truly the icing on the cake. Happy birthday, Christine, and thank you Roger and Denton for providing this precious moment.
Thank you so much for your views, comments and favs. I really do appreciate every one!
My images are posted here for your enjoyment only. All rights are reserved. Please contact me through flickr if you are interested in using one of my images for any reason.
The I&M Rail Link was in its infancy in 1997 as the staggering amount of variety in locomotion was making its presence known.
Nahant yard was full of eclectic power which seemed to grow more wild upon each visit.
Thomas J. Walsh had emigrated penniless from Ireland to the United States in 1869, then over the next quarter century built up a small fortune as a carpenter, miner, and hotel manager.[1] His first daughter (born in 1880) died in infancy, but his daughter, Evalyn (born in 1886), and son, Vinson (born in 1888), both survived] He lost nearly all his life's savings in the Panic of 1893.[1] The family moved to Ouray, Colorado, in 1896, where Walsh bought the Camp Bird Mine (which was thought to have been worked out) and struck a massive vein of gold and silver.] Now a multi-millionaire, Thomas Walsh moved his family to Washington, D.C., in 1898.[1] After spending 1899–1900 in Paris, France, the Walshes returned to Washington where Thomas Walsh commenced the construction of a mansion on Massachusetts Avenue NW.
Embassy of Indonesia
The Walsh Mansion, completed in 1903, cost $835,000 (the most expensive residence in the city at the time)[3] and had 60 rooms, a theater, a ballroom, a French salon, a grand staircase, and $2 million in furnishings which took several years to purchase and install.[4] Evalyn Walsh married Edward Beale "Ned" McLean (the publishing heir whose family owned The Washington Post) in 1908, and after her father's death in April 1910 lived in the Walsh Mansion.[2] In 1910, Ned McLean bought the allegedly cursed Hope Diamond for his wife for $180,000 (although the purchase was not formalized until February 1911, and not completed until after a lawsuit settled out of court in 1912).[3] Evalyn Walsh died on April 26, 1947.[2] To cover Evalyn's significant debts, the Walsh Mansion was sold in 1952 to the Government of Indonesia for use as an embassy 103
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
---------------------------
Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenységét.
Róth Miksa 1944-ben halt meg, természetes halállal, hiszen kikeresztelkedettként akkor még védett helyzetben volt, de ekkor már állandó rettegésben élt. Családja sok tagja a holokauszt áldozata lett.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm
This is an example of a complete classic Aussie garbage truck, with an International ACCO 2250D cab chassis paired up with a Tusk Industries side loader, which I recall previously referred to as a “Rudderpak” model. Cleanaway’s truck 427 here used to do weekly garbage runs in Baulkham Hills Shire Council throughout the 1990s until JJ Richards took over the contract in 2000. Appropriate for the time, this truck was also equipped with the traditional comb lifter, built during a period where grab lifters were still very much in their infancy or generally unknown. It wasn’t just this type of side loader doing Baulko during this particular contract either, with Fords and Hinos also present, as well as Garpac and Formark bodies. I love the Tusk brand mudguards =D
Painted glass, window panel.
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
____
Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenyégét. 1944-ben halt meg.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
Art Nouveau window panels
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm
Mexican advocation of the infancy of our Lord jesus christ .Devotion to the image of the lord grew when a sister and foundress of the order of the infant of health propogated devotion to the infant of health and the church aproved his cultus . His sanctuary can be found in Morelia Mexico and is highly venearted i mseylf have grate devotion to him . Miracles abound this can be seen by the hundres of exvotos in his shrine . Ninito jesus de La salud gloria y alegria de israel honra y orgullo de Mexico salud del pueblo que te ama . ten piedad de nosotros.
Tanulmány
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
---------------------------
Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenységét.
Róth Miksa 1944-ben halt meg, természetes halállal, hiszen kikeresztelkedettként akkor még védett helyzetben volt, de ekkor már állandó rettegésben élt. Családja sok tagja a holokauszt áldozata lett.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm
This Wide Field and Planetary Camera 2 image captures the infancy of the Stingray nebula (Hen-1357), the youngest known planetary nebula. In this image, the bright central star is in the middle of the green ring of gas. Its companion star is diagonally above it at 10 o'clock. A spur of gas (green) is forming a faint bridge to the companion star due to gravitational attraction. The image also shows a ring of gas (green) surrounding the central star, with bubbles of gas to the lower left and upper right of the ring. The wind of material propelled by radiation from the hot central star has created enough pressure to blow open holes in the ends of the bubbles, allowing gas to escape. The red curved lines represent bright gas that is heated by a "shock" caused when the central star's wind hits the walls of the bubbles. The nebula is as large as 130 solar systems, but, at its distance of 18,000 light-years, it appears only as big as a dime viewed a mile away. The Stingray is located in the direction of the southern constellation Ara (the Altar). The colors shown are actual colors emitted by nitrogen (red), oxygen (green), and hydrogen (blue).
Credit: NASA
Image Number: PR98-15
Date: March 1, 1996
“From infancy on, we are all spies; the shame is not this but that the secrets to be discovered are so paltry and few. ”
― John Updike, The Centaur
Colour photography was in its infancy just after the Second World War, and film was very expensive; in short supply; rather temperamental; and very slow, meaning it could only be used on bright, sunny days.
So those very few photographers who could both afford colour film and get hold of it tended to be very picky about their subjects. This is why this photo of Manchester Corporation trams awaiting scrapping is so rare. The process used for this colour photo was known as Dufay, which gave good colours but had a half-tone appearance with coloured dots.
The colour photo is rare, and so is the subject. Manchester's last tram ran in January 1949, after which all the redundant tramcars were gradually delivered to Manchester's Bennett Street yard. Here, all the metals and glass were removed for salvage and then the remains were simply set on fire to reduce the remains to a pile of ashes.
These trams have run their last trip in Manchester and all the brass, copper and glass have been removed. The next and last step is to set the remainder ablaze, so this was perhaps the last photo of tram number 108 and its colleagues.
If you'd like to know more about the Museum of Transport Greater Manchester and its collection of vintage buses, go to www.gmts.co.uk.
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
---------------------------
Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenységét.
Róth Miksa 1944-ben halt meg, természetes halállal, hiszen kikeresztelkedettként akkor még védett helyzetben volt, de ekkor már állandó rettegésben élt. Családja sok tagja a holokauszt áldozata lett.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
---------------------------
Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenységét.
Róth Miksa 1944-ben halt meg, természetes halállal, hiszen kikeresztelkedettként akkor még védett helyzetben volt, de ekkor már állandó rettegésben élt. Családja sok tagja a holokauszt áldozata lett.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm
Art Nouveau stained glass window panel.
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
____
Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenyégét. 1944-ben halt meg.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm
Art Nouveau stained glass window
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
____
Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenyégét. 1944-ben halt meg.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm
I see when open my flickr that i have been tagged by my flickr friends Aftab bhai, Aminul, and Junaid
Though it is difficult to write 10 points about myself but at last i discovered myself.
Ok, 10 points about me -
1. I think i am very much thoughtful and sensitive who feels pain by minor causes.
2. I used to draw picture and sing when i was in school and obtained prizes also.
3. I was in service for sometime as a Graphic Designer but my draw back is that i cannot linger anything for longtime.
4. My hobbies are perhaps, endless. I used to work on pottery, glass painting and spent longtime for making dolls etc.
5. I have many pet birds and spent most of my times to take care of them.
6.I also like to read books. A good book is enough to spent my whole of the day.
7.Now all i have to do after taking care of my little naughty boy RIDH.
8.I like very much to cook different recipes experimentally.
9. My best friend is MONI who live in London now. I miss her all the times.
10. I hate those people who do not keep their words.
I would like to tag the following flickr friends of mine -
Palace of Charles V
The Palace of Charles V is a Renacentist construction in Granada, southern Spain, located on the top of the hill of the Assabica, inside the Nasrid fortification of the Alhambra. It was commanded by Charles V, Holy Roman Emperor, who wished to establish his residence close to the Alhambra palaces. Although the Catholic Monarchs had already altered some rooms of the Alhambra after the conquest of the city in 1492, Charles V intended to construct a permanent residence befitting an emperor. The project was given to Pedro Machuca, an architect whose biography and influences are poorly understood. At the time, Spanish architecture was immersed in the Plateresque style, still with traces of Gothic origin. Machuca built a palace corresponding stylistically to Mannerism, a mode still in its infancy in Italy. The exterior of the building uses a typically Renaissance combination of rustication on the lower level and ashlar on the upper. Even if accounts that place Machuca in the atelier of Michelangelo are accepted, at the time of the construction of the palace in 1527 the latter had yet to design the majority of his architectural works.
The plan of the palace is a 63 meter square containing an inner circular patio. This structure, the main Mannerist characteristic of the palace, has no precedent in Renaissance architecture, and places the building in the avant-garde of its time. The palace has two floors (not counting mezzanine floors). On the exterior, the lower is of a padded Tuscan order, while the upper is of the ionic order, alternating pilasters and pedimented windows. Both main façades boast portals made of stone from the Sierra Elvira.
The circular patio has also two levels. The lower consists of a doric colonnade of conglomerate stone, with an orthodox classical entablature formed of triglyphs and metopes. The upper floor is formed by a stylized ionic colonnade whose entablature has no decoration. This organisation of the patio shows a deep knowledge of the architecture of the Roman Empire, and would be framed in pure Renaissance style but for its curved shape, which surprises the visitor entering from the main façades. The interior spaces and the staircases are also governed by the combination of square and circle. Similar aesthetic devices would be developed in the following decades under the classification of Mannerism.
Art Nouveau stained glass window panel.
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
____
Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenyégét. 1944-ben halt meg.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm
[I am taking a few days’ break from black-and-white uploads to show you some new photographs I was able to take recently in the Burgundy village church of Bois-Sainte-Marie.]
Bois-Sainte-Marie may be a very quiet village today, but from around Year 1000 and throughout the Middle Ages, it was a busy market town on the road linking Paray-le-Monial to Cluny. Enclosed in a sheet wall, it was the seat of an archpriesthood dependent on the cathedral of Autun. There was a granary and a salt store, judicial authorities and even a mint.
The parish church was built with significant input from Lombard architects and masons, at least as far as the apse and chancel are concerned, as the decorative bandes lombardes indicate. Construction probably began around 1025, as the eastern part of the church was completed by 1050, and it is quite large. Quite archaic as well, it is the only church in the the whole of Burgundy that features an ambulatory without any radiating chapels: the ambulatory formula was quite in its infancy back then. Ambulatories are often associated with pilgrimage churches, as they allow for the circulation of pilgrims around the relics, while the opus Dei is still being carried out in the chancel. However, in the case of Bois-Sainte-Marie, I could find no claims regarding possession of any relics at any point in time. Maybe they intended to procure some and didn’t succeed? Or maybe the concept of ambulatory was only being tested here for the first time, without any particular intent to obtain relics?
The rest of the church, dedicated to Notre-Dame de la Nativité, was built later, towards the end of the 11th century. It is very large as well (for a village church, that is), and abundantly decorated with a collection of extremely interesting historied capitals which I will show you in some detail. They are fascinating.
The church was substantially (but tastefully and tactfully, which was rare enough back then to underline) restored in 1848 and listed as a Historic Landmark (“Monument historique”) in 1862.
The admirable, groin-vaulted ambulatory. Its vaults are supported by those pairs of slender columns that feature different types of capitals, some extremely simple and bare, other slightly more complex with floral or just abstract motifs.
Art Nouveau stained glass window.
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
____
Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenyégét. 1944-ben halt meg.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
---------------------------
Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenységét.
Róth Miksa 1944-ben halt meg, természetes halállal, hiszen kikeresztelkedettként akkor még védett helyzetben volt, de ekkor már állandó rettegésben élt. Családja sok tagja a holokauszt áldozata lett.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm
The infancy to the start of a project often belies the final result - This is the Start of a Journey
People were upset when these trees were cut down. They were grown to be farmed eventually. We have to hope the land is replanted and not turned into something else due to the lure of money........
Ilford FP4 plus Sheet Film @ ASA80
The Recipe
5 mins pre soak
20 mins Ilford ID11 @ 1:3 plus 20% stand
Stop 60 secs
5 mins Ilford Fixer
10 mins wash
Ilfotol Wetting Agent
A story untold and wanting. Emotions were high and Epstein suffered greatly from the loss of his work.
I have thought long and hard over the last few months about undertaking this project on Epstein. We all have our own methods of working. I work with my Spirit guides and occasionally the energy of a dead Spirit attaches itself to my psyche and I have to work through the highs and lows of these encounters. These are involuntary actions and not something I can put succinctly into words but I do at times feel the anguish of the unseen Spirit and their wounds. This particular journey began a few months ago. I suddenly became aware of a strong presence and from that moment I have been on an incredible adventure with Epstein.
Jacob Epstein is one of the most significant figures in British sculpture. He was born in New York City in 1880, from Polish Jewish parents; and studied with Rodin in Paris. He later moved to England, where he received his first commission from the Medical Council in the Strand. The controversy around his work which depicted nudity, fertility and birth, all subjects considered inappropriate for public sculptures at the time, reached a pinnacle in 1907 with the unveiling of the magnificent sculptures know as The Ages of Man -18 monumental, anatomically correct nudes on the façade of the British Medical Association building (now Zimbabwe House) on The Strand. The sculptures were considered so shocking by Edwardian standards that they were later mutilated. This event shocked many artists around the world; one in particular was Henry Moore, another British sculpture. In 1908 a campaign to remove the offending sculptures was matched by the appearance of a group of equally vocal supporters. Leading artists heaped praise on Epstein’s innovative work and the British Medical Association decided to stand by their artist. In 1923 the building was taken over by the Rhodesian government as their High Commission. By the 1930s the new owners appeared very keen to remove the sculptures which they claimed were deteriorating into a dangerous condition. Some have suggested that actually the straight-laced Rhodesians objected to the figures on the same grounds as the Edwardian moralists had a few decades previously. It may also have been that Epstein’s Jewish background counted against the art works. Whatever the reason the sculptures were not saved or repaired. Today the shattered remains of Epstein’s work are still visible on the outside of what is Zimbabwe House. It is here that I raise my concerns. I have often been to view these shattered remains and it breaks my heart that such wonderful works of art have been destroyed. Woman of Infancy was a sculpture that Epstein created. It showed an old woman carrying a little baby in her arms. He was a modern visionary. After creating Rock Drill and encountering the horrors of World War I, he destroyed the original which was a remarkable narrative, predicting our futures in faraway times.
Many artists ask me questions which I cannot answer. I don’t know why one work of art can attract hundreds of viewers and another none. I don’t know what makes a person a successful artist. I don’t know what a gallery wants or doesn't want. I only need to look at artists like Van Gogh, who had nothing, struggled and lived a life of poverty but were steadfast to their beliefs. I can’t generate the answers in any concrete way. I believe that we are all creative animals and that we all need to find our own paths of self-transformation and investigate our higher potential through our mind, body and Spirit. Every one of us has the potential to grow and find a route that serves us and makes us feel whole and complete. As a Spirit artist who encounters many past lives and is able to access these memories I find that I am very fortunate to have the support of my Spirit guides. There is purpose and meaning behind our life choices and creativity in any shape or form is the biggest gift we could possibly have and share. I would like to thank everyone for their constant support and positive feedback.
Best Wishes,
Sophie Shapiro
Jacob Epstein's Woman of Infancy, rocked now in the cradle of time. Epstein Series.
Thanks To Pryere For Photographing My Work
Painting in memory of Jacob Epstein using acrylic, gouache and graphite on paper
for Flickriver - Sophie Shapiro
.
This is Hogarth's most ambitious portrait of children. He gives the figures in this large painting something of the same frank grandeur found in his portraits of adults, without losing a sense of childish gaiety.
The Grahams' father, Daniel, was Apothecary to the King. The seated boy plays a mechanical organ, as though accompanying the singing of the bird. The youngest child is sitting in a chair with a long handle, beside which is an elaborate basket of fruit.
However, the clock on the mantelpiece is decorated with the figure of Cupid holding a scythe and standing beside an hour-glass, symbols of death. Opposite, an animated cat has climbed the back of a chair and gazes at the caged bird. We know that the baby was dead when the portrait was painted, and this must account for the sombre references to mortality, at a time when many children died in infancy.
Source: National Gallery
Este es el más ambicioso retrato de los retratos infantiles de Hogarth. Da a las figuras de este gran cuadro algo de la misma grandeza que se encuentra en sus retratos de adultos , sin perder el sentido de la alegría infantil.
El padre de los Graham, Daniel, era boticario dell Rey . El muchacho sentado juega con un órgano mecánico , como si les acompañara el canto de las aves. El niño más joven está sentado en una silla junto a la cual hay una canasta llena de fruta.
Sin embargo , el reloj de la repisa de la chimenea está decorado con la figura de Cupido sosteniendo una guadaña y de pie junto a un reloj de arena , símbolos de la muerte . Enfrente, un gato que parece de dibujos animados ha subido el respaldo de una silla y mira al pájaro enjaulado. Sabemos que el bebé estaba muerto cuando fue pintado el retrato, y hay que tener en cuenta esto y las sombrías referencias a la mortalidad , en un momento en que muchos niños murieron en la infancia.
Fuente:National Gallery
Built in the mid-1600s, the Farris windmill is said to be the oldest in the United States. A group of Ford dealers purchased the aged Cape Cod, Massachusetts windmill in 1935 and moved it to Greenfield Village as a gift for Henry and Edsel Ford.
The origins of the Farris Windmill go back nearly 400 years to the infancy of not only Cape Cod but the country as a whole. In 1620 the Pilgrims landed at Provincetown and then onto Plymouth. Seven years later the Aptucxet Trading Post became the first such outpost on Cape Cod in the present-day town of Bourne. Six years after that, in 1633, the story of the Farris Mill is purported to have begun.
The Dutch-style windmill built of wood was first erected near the town line of Sandwich and Barnstable on the north side of Cape Cod making it one of the oldest windmills in the country. Windmills were quite commonplace during the initial few hundred years of America’s existence, allowing settlers to take advantage of wind power thus not needing to live close to water to thrive.
The first move of the windmill would occur in 1750 when it was bought by Lot Crowell and moved to the Lower Village of Bass River. Moving such a structure required numerous men and teams of oxen as the two millstones used to grind the corn, wheat and more weighed three and a half tons. With mill makers being in short supply it was more common for a mill to be moved rather than a new one being built. The windmill would be set near the water on the western bank of Bass River north of present-day Route 28.
The time in the Lower Village was relatively short as the mill would be purchased in 1782 by Captain Samuel Farris and moved to his Farris Field in South Yarmouth. It was after this purchase and move that the mill would become known as Farris Windmill. The three-story tower with sails measuring fifty-four feet across would remain in the Farris family for three generations. In 1894 the mill would be sold and moved a third time. This time it was purchased by F.A. Abell and moved to the present-day intersection of Route 28 and Berry Avenue in West Yarmouth directly across from where the Yarmouth Chamber of Commerce currently stands. Abell would place the mill close to his estate, today there is an Abells Road within sight of the location.
After Abell’s death the windmill was sold to Dr. Edward Gleason of Hyannis and Boston. He would see the mill restored and open to the public. This effort brought major attention to the Farris Windmill. Gleason was approached in 1935 by a group of Ford automobile dealers who wished to buy the mill and have it moved to Dearborn, Michigan as a gift for their founder Henry Ford. Eight years earlier Gleason had attempted to give the mill and six acres of land to the town of Yarmouth, however they balked at the potential taxes on the property claiming the town was too poor to afford it.
There was much public outcry of the potential move of the windmill, Gleason was there to remind the town of his attempted gift. Henry Ford actually did not want the windmill at first either. In 1926 Ford had actually approached Gleason about purchasing another historic spot, the Baxter Mill, located further down Route 28 in West Yarmouth. Gleason would immediately turn his offer down. He would however convince Ford to take the Farris Windmill stating that rebuilding it in a museum setting would preserve it better than leaving it to the harsh Cape Cod elements. Gleason said it was a little late for locals to care and the mill was sold in November 1935.
This would be the mill’s fourth move and most arduous of all. The Farris Windmill was dismantled and shipped more than 800 miles to Dearborn to become a part of Greenfield Village, Henry Ford’s museum. In the summer of 1936 the windmill was reassembled and placed atop a ten foot stone foundation so to avoid anyone being struck by the mill’s sails. That November ceremonies were held to officially present the Farris Windmill to Henry Ford. The ceremony was attended by several Ford dealers from Cape Cod.
Greenfield Village is visited annually by more than 1.77 million people. In the more than eighty years since its fourth and likely final move the Farris Windmill has been viewed by tens of millions of people from all over the world. It may rival the most viewed historical Cape Cod artifacts anywhere, despite the fact that it resides nearly a thousand miles from its original home.
From its humble beginnings at the dawn of the settling of Cape Cod by Europeans to its remaining relevance as an important historical artifact nearly four centuries later, the Farris Windmill is a little piece of Cape Cod now nestled in Central Michigan.
CEL: City Electric & Light Company box:
While scientists had known of the existence of electricity for hundreds of years, American inventor Thomas Edison made the first practical use of electric light in 1878. In Brisbane, the first display of the new electric lighting was conducted in 1882 using eight arc lamps strung along North Quay near the Victoria Bridge. Queensland’s Parliament House was illuminated with electricity in 1886. The first public supply of electricity occurred in 1888 when Barton, White & Co installed a generator in Telegraph (later renamed Edison) Lane that was connected to the General Post Office.
The electricity industry, however, was still in its infancy in this period. Nonetheless, the benefits of electricity became increasingly obvious to the colonial government and the public. In 1896, the Queensland government introduced the Electric Light and Power Act to regulate the supply of electricity to Queenslanders. By 1904, the number of electricity suppliers within Brisbane had grown to fourteen, including the City Electric and Light (CEL) Company.
The key figure associated with the formation of CEL, Edward Barton, first became involved in the electricity supply business in 1888 as part of Barton, White & Co. The first major contract for the company was to provide electric lighting to the Old Exhibition Building in Adelaide Street, which had been converted into a skating rink. A subsequent fire destroyed the building and left the company in possession of a heavily mortgaged generator. The company undertook negotiations with the General Post Office (GPO) and two months later the generator was providing electricity to the GPO building in Queen Street.
The company’s financial position declined in the early 1890s, however, due to a combination of factors including over-capitalisation, an economic depression, the 1893 flood, and competition from Brisbane’s gas suppliers. The company was reorganised in 1896 and renamed the Brisbane Electric Supply Company. The company built its first powerhouse in Ann Street at this time. The company then changed its name to City Electric and Light in 1904. Barton remained the driving force behind the various incarnations of the company in this period.
Initially, CEL was only able to supply power to a small section of the Central Business District (CBD). Indeed, it was not until 1908 that the electricity grid had reached Fortitude Valley. Nonetheless, the popularity of electricity continued to increase in this period. CEL established a second powerhouse, located in William Street (near Parliament House), in July 1911. By 1917, the first electric street lighting had been installed in Alice, Mary, Margaret, Charlotte, and Albert Streets. In 1925, the newly formed Brisbane City Council established the Electricity Department, which acted as a central authority guiding the provision of electricity throughout the city. By this time, CEL had become the dominant supplier for Brisbane, with the company servicing 12,054 customers in 1925.
Each of the cast iron junction boxes marked the spread of the electrical network throughout the CBD. Electrical plants were placed along CBD footpaths either above ground (in the junction boxes) or underground via designated manhole covers. The junction boxes were erected at different times as the electricity grid spread throughout the CBD. This explains the variety of styles in the CBD junction boxes; why only some are marked with the CEL logo; and why different foundries such as Balmer & Crowther, Smith & Faulkner and Sargeant Engineering were involved in their production.
CEL continued to prosper as a supplier of electricity to Brisbane. In February 1926, CEL opened another, larger powerhouse at Bulimba. Electricity supply in Queensland was provided by a variety of private companies in this period and a State Electricity Commission (SEC) was established by the state government in 1937 to rationalise and co-ordinate supply. By 1940, the SEC had given CEL and the Brisbane City Council control of the electricity supply for all of Brisbane. In 1953, the Queensland government used its powers to convert the City Electric and Light Company into a public authority and CEL became the Southern Electric Authority of Queensland (SEAQ). The SEAQ in turn became the South East Queensland Electricity Board (SEQEB) and then, more recently, Energex.
In 2001, nine CBD junction boxes were identified as being of heritage significance by the Institute of Engineers Australia (Queensland Division) in their publication Engineering Heritage Inner Brisbane – A Walk/Drive Tour. There is only one other CEL junction box known to be still in existence and this stands near the corner of Annerley Road and Stanley Street, on the footpath outside of the Mater Hospital.
The Austral Motors Building:
The former Austral Motors Building, which closes the vista at the end of Upper Adelaide Street, Petrie Bight, is located on the Fortitude Valley side of Boundary Street at the northern end of the Brisbane central business district. Constructed in 1924 - 1926 for the Austral Motors Company, it has a close association with the 20th Century interwar re-development of the Petrie Bight area as an important warehousing precinct and motor vehicle servicing and distribution district.
Petrie Bight is a sharp curve in the Brisbane River at the northern end of the Town Reach. The name is derived from the association of the area with early Brisbane builder Andrew Petrie, who in 1838 established his workshop and residence at the corner of Wharf and Queen Streets.
Early Petrie Bight land use:
Surveyor Henry Wade, on his 1844 Map of the Environs of Brisbane Town, identified the Petrie's Bight area south of Boundary Street and east of Queen Street as 'Reserved for Dry Dock'. Surveyor Galloway did the same on his 1856 Plan of the Suggested Extension of the Town of Brisbane. At this time the surrounding area was sparsely occupied, with Andrew Petrie's house and factory at the corner of Wharf and Queen Streets; Dr Hobbs' house (now Saint John's Deanery) a little further north in Adelaide Street; the original customs house in Queen Street, beside the Brisbane River; and a ferry jetty just north of the Customs Houses.
A circa 1860 map of Brisbane Town showing the new town boundaries no longer labelled Petrie's Bight as a reserve for a dry dock (no dry dock was ever established there), but the site remained unsurveyed Government land. An early track (the northern end of Queen Street) ran through this land, branching off in three directions to New Farm, Fortitude Valley, and the northwest end of Spring Hollow.
Under the provisions of the Brisbane Gas Company Bill 1864 the Government granted to the Company a site bounded by what are now Ann, Boundary, and Macrossan streets and a 160-metre frontage to the Brisbane River, as the site for Brisbane's first gas works. This was the northern half of the Government land at Petrie's Bight. Gas production commenced there in 1865, providing the Brisbane Municipal Council with a regular supply of gas for street lighting. By the early 1870s the demand for gas for domestic consumption was outstripping supply, and in the mid-1870s a second gasometer was constructed on the site. In 1873 the Brisbane Gas Company gained a formal deed of grant to the Petrie's Bight land, an area of 4 acres 17.5 perches (1.66ha), which the Company had purchased from the Government in May 1873 for £4,300.
An April 1873 survey plan titled Survey of Site of Gas Works and Adjacent Crown Land Shewing Road Through Same indicates that by this date the gasworks site was fenced along the entire length of its land boundaries, but that through this the government had just surveyed a 20 feet wide road between Macrossan and Boundary streets, which later became an extension of Adelaide Street. Photographs from the 1860s and early 1870s show a tall paling fence around the perimeter of the gasworks, prohibiting public access. Early Brisbane resident Victor Drury, writing in the Courier Mail in 1939, recalled: "When Adelaide Street was extended to Boundary Street, there were turnstiles there, and only pedestrians could use the path as a shortcut to Queen Street."
River wharfage:
In the early 1840s wharfage in Brisbane was concentrated along the South Brisbane Reach of the Brisbane River, but within a decade had extended to the Town Reach further downstream, which soon rivalled South Brisbane in terms of shipping activity. An 1849 decision to locate Brisbane's first purpose-built Customs House at the northern end of the Town Reach acted as the impetus for the development of wharves on this part of the river. The Commissariat Store below William Street, which had served as Brisbane's first customs facility, was replaced in 1850 by a new customs building on the site of the present Customs House in Queen Street, at Petrie's Bight. This in turn was replaced in 1886 - 1889 by the current building. During the 1850s and 1860s, a number of shipping companies and private investors constructed wharves and warehouses between the Customs House and Alice Street, near the Botanic Gardens.
Construction of a Government wharf, Kennedy Wharf, at Petrie's Bight north of the Customs House commenced in 1875 was completed in 1877 and was leased to private shipping firms. In 1880 the Brisbane Municipal Council acquired the wharf and immediately extended it northward. In 1884 the Council also constructed a wharf at the end of Boundary Street, and in the mid-1880s William Collin established his own wharf at Petrie's Bight, just downstream from the Council's Boundary Street wharf. Purchase of land from the Brisbane Gas Company in 1902 gave the Council control of the river frontage from the Customs House to Boundary Street, and between 1913 and 1916 the Council constructed reinforced concrete wharves between Macrossan and Boundary Streets, and between Kennedy Wharf and the Customs House. The whole of the Council's wharfage at Petrie's Bight was subsequently re-named Circular Quay Wharves.
Between 1900 and 1912 Brisbane Wharves Ltd established wharves at Petrie's Bight from Boundary Street to Bowen Terrace, rivalling the Council's Circular Quay facilities in importance. Principal investors in the Brisbane Wharf Company were Howard Smith and William Collin and Sons. From the late 1890s, Howard Smith and Company Ltd occupied the Council's Boundary Street Wharf at Petrie's Bight and in the early years of the 20th Century leased the adjacent new wharves constructed by Brisbane Wharves Limited at the base of the New Farm cliffs, below Bowen Terrace. These wharves were extended in the 1920s, and in the 1930s were resumed by the Queensland government for the construction of the Story Bridge.
Adelaide Street widening:
In the early 20th Century the roads to Petrie's Bight were improved significantly by the Brisbane City Council, providing an important impetus for the construction of new warehouses in the Upper Adelaide Street area.
Under the provisions of the City of Brisbane Improvement Act 1916 and the Local Authorities Act Amendment Act 1923 the Brisbane City Council contributed significantly to the 1920s building boom, with a programme of city beautification and street improvements, including the cutting down and widening of several of the principal thoroughfares. The 1916 Act empowered the City Council, with the approval of the Governor-in-Council, to resume land simply by passing a resolution to the effect that resumption was necessary. Property rights on resumed lands were then converted into compensation rights. The 1923 Act further facilitated this process by exempting all improvements made to a property after resumption notices had been issued, from the payment of compensation.
From 1923 to 1928 the Brisbane City Council implemented its most ambitious town improvement scheme to that date: the widening of Adelaide Street by 14 feet along its entire length. . Resumptions in Adelaide Street had commenced in the 1910s, but work on the street widening did not take place until the 1920s. The work was undertaken in stages, commencing in 1923 at the southern end where the new Brisbane City Hall was under construction. Some buildings had the front section removed and a contemporary façade installed on the new road alignment. Elsewhere, earlier buildings were demolished and substantial new structures took their place. At the northern end of Adelaide Street, the cutting down of the hill below Saint John's Cathedral in 1928 facilitated greater access to Petrie Bight, which, close to new city wharves at the end of Boundary Street, boomed in the 1920s as a warehousing district.
By 1921 Queensland was poised to resume the economic boom interrupted by the First World War (1914 - 1918). In the period 1922 - 1928, Queensland experienced its first and last economic boom between the outbreak of war in 1914 and the 1950s. The benefits of the boom economy were reflected throughout the State, but nowhere more so than in Brisbane, with 29% of the Queensland population in December 1924. In physical terms the boom was expressed in a spate of building activity that transported the central business district of Brisbane into the 20th Century, shedding its late Victorian image.
The take-off in the building industry was evident during 1922 - 1923, reflected in an active central business district real estate market, and prompting the Brisbane City Council to re-assess central city rateable values in 1923. By September 1925 property in Queen Street, the principal retail and financial street of Brisbane could be acquired only at highly inflated prices, forcing investors into more peripheral locations such as Petrie's Bight. A fall in the price of building materials, combined with the trend in using concrete, a more economical product than brick, for large construction projects, further stimulated building activity.
From 1922 the business of re-building Brisbane assumed impressive proportions. Between 1923 and 1925, an average of 50 new commercial buildings a year were being constructed in Brisbane, contrasting markedly with the 8 constructed twenty years earlier in 1903. During 1925 the value of contracts for buildings in Brisbane, either in course of erection or in contemplation, was reported at £3,000,000. The Greater Brisbane City Council meticulously monitored progress through its building approvals process, statistics for which were released monthly from October 1925 to an eager local press. Construction peaked in 1926 with £3,411,285 worth of building works (new buildings, alterations, and additions) approved in the Greater Brisbane area during the year. This included a substantial residential component. In 1927 the figure was around £2,823,000 and in 1928 just over £2,810,000.
The Motor Car Industry:
In the 1910s the increasing availability of motor vehicles began to revolutionise public, private, and commercial transport. In Brisbane, activities associated with horse transport began to convert to activities associated with motor transport, as coach and carriage builders became motor vehicle repairers or retailers, and livery stables became parking and service stations. In this way, the Austral Carriage Works, established around 1907 by Uhlmann and Lane at 51 Adelaide St, Brisbane, entered the motor trade shortly after the First World War. Austral Motors Limited became the sole agents in Queensland and the Northern Rivers for Dodge Brothers, an American firm that had manufactured motor cars since 1914 and light trucks since 1917. They were successful and by 1924 had two branches, with the Austral Carriage & Motor Works at Stanley Street in South Brisbane, and Austral Motors Distributors at Boundary Street, Spring Hill.
Queenslanders adopted motor vehicles with enthusiasm. Of the six Australian states, Queensland recorded the third largest number of motor vehicle registrations, 31,233, in 1923 - 1924, behind New South Wales and Victoria. At the international level in 1923 - 1924, Australia, with approximately 274,000 motor vehicle registrations, was fifth behind France (545,000), Canada (666,000), the United Kingdom (1,085,000), and the United States (15,400,000), and well ahead of Germany, in sixth place with 211,500 registrations.
Through the daily press, Brisbanites were exposed to a barrage of advertising from the motor vehicle industry, with regular features on aspects of motors and motoring. To accommodate this explosion of public interest in, and acceptance of, the motor vehicle, the number of Brisbane motor engineers' agents, car manufacturers, car importers, and garages listed in the local postal directories increased from 89 in 1920 - 1921, to 134 in 1924 -1925. This was accompanied by a corresponding increase in the number of motor vehicle accessory dealers, windscreen manufacturers, tyre dealers, and motorcar body manufacturers.
By September 1925, the Brisbane City Council was raising the problem of providing parking for motor vehicles in the inner city. Purpose-built privately operated parking stations began to appear in the central business district from the mid-1920s. Numerous small garages and service stations also provided motor vehicle parking and car hire.
From the mid-1920s, Australia's premier building and architectural trade journal, the Sydney Publication Building, had printed articles on designing public and commercial buildings to accommodate motor vehicles. Much of the journal's reference material came from the United States, which was leading the way in this type of design. Queensland architects had ready access to this and other architectural journals, and kept informed of the latest in international design developments.
In 1923 Austral Motors Limited engaged Brisbane architects Lange L Powell and George G Hutton Powell to design a showroom and service station at Petrie Bight. The land on which the Austral Motors building was constructed was part of two larger parcels of land first alienated from the Crown in 1852 and was surveyed and subdivided, together with the adjacent lane, in April 1923. The new road, Dodge Lane, was approved in May 1923 and is believed to have derived its name from the firm's Dodge agency. Tenders for construction were let in August 1923, the successful tenderer being Blair Cunningham. The first stage, on the corner of Dodge Lane, was completed in March 1924 at a projected cost of £9,300 and occupied by Austral Motors Limited from the 1st of April 1924. The two-storeyed building was constructed largely of concrete and steel, with a floor space of approximately 20,000 square feet (1858m²). Due to the slope of the land, both floors had street access. The Boundary Street level accommodated a motor vehicle showroom. The upper level, accessed off Dodge Lane at the rear, was fitted out as the Dodge Brothers Service Station.
In 1925 the firm undertook substantial extensions to their premises. George Hutton, who briefly occupied the position of Queensland Government Architect in 1922 prior to joining Powell in partnership in 1922, established his own practice in 1924, and called tenders for site excavations for Austral Motors Ltd in late 1924, the contract being let by January 1925. By April 1925 WR Juster's tender for additions and alterations to Austral Motors Ltd. had been accepted, but this appears not to have progressed, for by June 1925 Blair Cunningham's tender for the additions had been accepted. In July 1925 Austral Motors Ltd obtained Brisbane City Council approval for the construction, to cost £10,230.
The location was an excellent choice for a business of this type, being close to the city's main wharves at Petrie Bight, and in a location favoured by other motor vehicle retailers and ancillary businesses. The Evers Motor Co. Ltd had established a garage/paint shop at the eastern corner of Ivory and Boundary streets as early as 1918, and by 1920 HS Simpson, motor painter, was located next door to Evers. About 1926/27 Evers constructed a three-storeyed brick motor shed, offices and workshops at the corner of Boundary and Ivory streets, and a single-storeyed brick parking and filling station adjacent in Ivory Street, known as the Super Parking Station. As warehousing activity in Upper Adelaide Street expanding during the 1920s, many buildings were occupied by firms connected with the motor vehicle trade and industry and with car hire and garaging. In 1928, Collin House, a purpose-designed parking station and garage and a four-storey brick warehouse for the Dunlop Rubber Company of Australasia Pty Ltd were constructed in the vicinity. Tyre sales, automotive electricians and spare parts suppliers formed a substantial proportion of tenants in buildings in upper Adelaide Street during the 1920s and 1930s.
In the second half of the 1920s Austral Motors expanded rapidly, due to the Queensland-wide economic boom that coincided with the increasing availability of and public interest in motor vehicles. By 1929 the company was operating from several addresses and two cities, with the Austral Carriage & Motor Works continuing at Stanley Street, South Brisbane; Austral Cars Ltd established at Adelaide Street, Brisbane; and Austral Motors Ltd located at Boundary St, Spring Hill, and at Sturt Street, Townsville.
In 1939 Austral Motors Pty Ltd acquired title to the allotment along the eastern boundary of the Company's mid-1920s acquisitions.
In 1986 Austral Motors sold the property to the Sisters of Mercy in Queensland who own the adjacent All Hallows girl's school. It continues its connection with motor vehicles and is leased out as a parking station as well as being used to park vehicles of All Hallows staff.
Source: Brisbane City Council Heritage Register & Queensland Heritage Register.
Stained glass window panel.
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
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Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenyégét. 1944-ben halt meg.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm