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“Never, will an individual fight an opponent as dangerous, damaging, stubborn or underhand as when that individual faces the dark parts of their own mind” - Pete Glogiewicz
ESA astronaut Thomas Pesquet during International Space Station spacewalk maintenance 2 training at the Neutral Buoyancy Laboratory.
Thomas exchanged some of the Space Station heat exchangers that interface the internal cooling loops collecting heat loads, and external ammonia cooling loops that reject heatt via the radiators.
The exchangers are underneath the micro meteorite shields so hard to get to.
Another task involved exchanging ammonia tanks. These tasks are part of 12 major failures that would force an astronaut to go out the door in a short amount of time to repair, and need to be rehears in the NBL pool before flight.
Credits: NASA–Bill Stafford
Bandelier National Monument
This chamber-inside-chamber view at Bandelier was an enigmatic experience for me as my imagination took flight for its exact usage. I’m sure it was a highly functional construct but I just couldn’t help but wondering if it had been a mischievous, playful trick.
The thin brass tube goes all the way through with two reinforcements at either end. Tubes are all prepped and I can finally put this one together. #macro #fillet #brasstube #steel #chapmancycles
Unless you visit the depot you won't see these Quicksilver support vehicles as they are all confined to the depot complex and never venture out onto the public highway. The Fordson tractor yard shunter should be familiar as it has been pictured here a couple of times already. The skid-steer loader is a weathered and detailed Matchbox toy and the sweeper is a Wiking HO scale model. The forklift, a vital piece of equipment for performing engine changes, is from B-T Models/Base Toys, and the little electric truck is a plastic moulding by a company called J&LR Ltd that I picked up cheaply at a model railway show; it was perhaps not my best buy though as the plastic has gone brittle and I've already had to repair it a couple of times! It is delivering a safe that will eventually be installed in the traffic office upstairs.
Today at work, things were hairier and scarier than I've seen them in a long time. When the hospital declares a state of internal disaster based on the state of the ER, things are ugly. Mark my words on this.
My wife cut into a papaya the other day and, found the oddest thing. Inside the fruit, which was completely sealed with no visible cracks or holes, the seeds had started sprouting. She has probably cut open over a thousand papayas in her life and has never seen seeds sprouting. The only thing that could have been stranger would have been to see a picture of a space alien. Mondo bizarro!
I took four different pictures here, with only the focus point changing, and then blended them in Photoshop CS4, in a technique called focus stacking. To see other pictures where I used this same technique to achieve maximum depth of feld, please see my Maximum Depth of Field Macros set. www.flickr.com/photos/9422878@N08/sets/72157624044378381/
Just a picture to show the storage capacity of the vehicle, and another view to help show overall sizing to the scale of minifigures.
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Girls my age, they're so...obnoxious. They make the boys look good. Seems all they care about is their thighs touching, or tans and bikinis. The girls on tumblr will never amount to the girls in REAL life. those ones who are always posting anorexia shit and their boyfriends. What happened to living life? YOLO? is that something to get notes? Do you not know what Yolo means?
No. All they know is that everyone else is saying it, so they may as well do it too.
Me and my friends, made a pact to never become one of them. Those plastic little fake things. That when we go to the beach, we don't tan. But we get up all in that water!! haha(:
I hate those beautiful, perfect girls.
A real girl, is a beautiful one. A girl that dances instead of parties. A girl who is plus size and not one who thinks beauty is all about your thighs. And a girl who doesn't try to blend with all the others. That one girl, who says, yeah this is me, and if you don't like it, well then fuck it, because I don't care.
A Newton fractal created using the Fractal Science Kit fractal generator - www.fractalsciencekit.com/
Erasmus Medical Centre Rotterdam NL by EGM Architects
In the heart of Rotterdam, the largest university medical centre in the Netherlands has been constructed: the Erasmus MC. On the site of the existing hospital, a new complex has been realised, where healthcare, research and education all come together. The new building allows the Erasmus MC to transform itself from a collection of detached buildings connected by pedestrian bridges, into a compact, efficient and integrated whole. Improvement and innovation in the care of today and the health of tomorrow; that is one of the philosophies of the Erasmus MC. Connection is one of the core values of the Erasmus MC. Essentially, the hospital is a medical city within a city, with streets, squares, greenery and facades with an urban flair. Connecting the outer edges of the hospital to the city are the glass roofed outdoor areas, the atriums. And the 120 m high office tower fits right into Rotterdam’s skyline.
One important component of the new Erasmus MC is the glass roofed public area. This space, at one point a 300 m long, 20 m wide passageway, connects the existing buildings with the new building. All of the hospital departments can be easily accessed from here. The various facilities are no longer spread out, but linked together and interwoven between the departments for outpatient care and for diagnostics, the ICU and the operating theatre. The facilities are organised so that the outpatient facilities and emergency room are located downstairs in the most dynamic environment, whereas the nursing rooms enjoy the tranquillity of the upper floors. The public area offers structure and an overview. The atrium provides an orientation point as well as natural light to the building facades, even in the areas located at the lowest levels. In the outpatient facilities and the nursing ward, the waiting rooms, corridors and stairwells are all located along the facade of the building. This offers views of the passageway, the atrium, the city and the greenery, helping to reduce stress levels experienced while waiting and encouraging the use of the stairs.
The hospital works with patient-related themes, where the atrium and the connecting intersections form the heart of every theme. Patients can always find what they need for their specific concerns. In addition, the hospital only contains single patient rooms. This contributes to the recovery process by improving privacy, tranquillity and hygiene. As far as possible, the nursing ward and the outpatient facilities share the same layout. The uniform layout is extended throughout the entire building shell, providing a sense of familiarity, flexibility and efficiency. In addition, the shell of the building is separate from the interior. This allowed for the latest concepts and technical developments to be included in the design plan and in the choice of the medical technical design. Sustainability is part of the total design. The hospital has the Pharmafilter installation at its disposal. Green rooftops provide for delayed drainage of rainwater. In addition, warm and cold energy storage is utilised.
In 2002 the new building project group was granted permission by the former Minister of Public Health to start developing. In 2004 execution of Phase 0 started, the preparation of the construction site. The actual construction of the new hospital building started in 2009; in 2018 the new building was put into use. Nevertheless, a large part of the existing buildings will be kept in use as they are now. For example the faculty tower, the Education Centre and Erasmus MC-Sophia. Erasmus MC-Daniel den Hoed will move from the South of Rotterdam to the new building at the Hoboken location.
Nikon D800E Alana Blanchard, Laura Enever, and Bianca Buitendag Freesurfing at the Van's US Open Huntington Beach Pier! Gorgeous surf girl goddesses all! Alana Blanchard was in the Sports Illustrated Swimsuit Issue! Shot with the awesome Nikon D800E & the Sigma 150-500mm f/5-6.3 AF APO DG OS HSM Telephoto Zoom Lens for Nikon Digital SLR Cameras. They're all professional models too (Alana was a Sports Illustrated Swimsuit Model and Rip Curl Bikini Model!)!
And here're some epic video of pretty goddess Alanna Blanchard I shot at the same time with the Panasonic X900MK 3MOS 3D Full HD SD Camcorder with 32GB Internal Memory mounted on my Nikon D800E via the 45surfer configuration.
www.youtube.com/watch?v=9bX4gXnfLtc (alana running on beach, paddling out, surfing)
www.youtube.com/watch?v=-5LLePW95N0
www.youtube.com/watch?v=ANM70cBDNVo
www.youtube.com/watch?v=HIqA-0TOkjk
www.youtube.com/watch?v=GVEcj3bTdeQ
Last year I was shooting with a Nikon D4 with a 600mm F4 Prime monster Nikkor lens mounted on the tripod:
www.flickr.com/photos/herosjourneymythology45surf/8555104...
This year I wanted to be more nimble and work the whole area (shoot surfers warming up down the beach, coming and goring, running, hanging out/watching/etc.), so I opted to shoot with a Nikon D800E with the Sigma 150-500m lens mounted on a monopod. It can be tough to move tripod around with a 600mm F4 Prime monster Nikkor lens on a crowded beach, and it would be easy to upset folks each time you tried to set it up! There's a good chance they would say "enough" and throw you and all your equipment in the water! There's a common etiquette that one ought arrive early to claim a good spot, set up there, and keep it for the day. Latecomers are not welcome to set up on the main beach once it has filled up. But it's OK to walk around with a smaller setup as long as you stay out of everyone's way. Generally you can hug the water/shoreline with your feet and monopod in the water, as you're down low enough so that you don't block anyone's view from higher up on the beach, where all the tripods are mounted. The Sigma 150-500mm lens also allowed me to zoom out when surfers ran down the beach or got in and out of the water, and I also had a Nikon D800E with the 28-300 mm lens strapped around my neck. And both cameras had video cameras mounted to them in my famous 45surfer configuration! Needless to say, it can be a bit scary standing knee-deep in water with all that equipment, with large waves breaking. You wouldn't want to fall in!
Well, hope you enjoy the surf goddess photography!
All the best on your epic hero's journey from Johnny Ranger McCoy! :)
P.S. There's nothing like shooting the nikon D4 with the 600mm prime for quality, but I felt it was cool to give up a bit of quality for far more variety this year! Plus I do not want to become a pixel-peeper! :)
Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Location[edit]
Croome Court is located near to Croome D'Abitot, in Worcestershire,[1] near Pirton, Worcestershire.[2] The wider estate was established on lands that were once part of the royal forest of Horewell.[3] Traces of these older landscapes, such as unimproved commons and ancient woodlands, can be found across the former Croome Estate.[4]
House[edit]
Croome Court South Portico
History[edit]
The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s.[5] Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry.[6]
In 1751, George Coventry, the 6th Earl, inherited the estate, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate.[7][1] It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work",[8] and it is an important and seminal work.[9] It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire).[1] Robert Adam worked on the interior of the building from 1760 onwards.[10]
The house has been visited by George III,[2][11] as well as Queen Victoria[7] during summers when she was a child, and George V (then Duke of York).[11]
A jam factory was built by the 9th Earl of Coventry, near to Pershore railway station, in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam making had ceased, during the First World War, the building was leased by the Croome Estate Trust to the Huddersfield Fruit Preserving Company as a pulping station.[12]
The First World War deeply affected Croome, with many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the County, who needed a residence for his many official engagements.[13]
During the Second World War Croome Court was requisitioned by the Ministry of Works and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands; to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada.[14]
In 1948 the Croome Estate Trust sold the Court, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns[15] from 1950[11] until 1979.[15]
The house was listed on 11 August 1952; it is currently Grade I listed.[10]
In 1979 the hall was taken over by the International Society for Krishna Consciousness (Hare Krishna movement), who used it as their UK headquarters and a training college[16] called Chaitanya College,[15] run by 25 members of the movement.[16] During their tenure they repainted the Dining Room.[17] In 1984 they had to leave the estate for financial reasons. They held a festival at the hall in 2011.[16]
From 1984 onwards various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course,[15] before once more becoming a private family home,[2][15] with outbuildings converted to private houses.[15]
The house was purchased by the Croome Heritage Trust, a registered charity,[18] in October 2007,[19] and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had restored, costing £400,000, including the Saloon. It was estimated that another £4 million[2][20] to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust.[21] An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund.[15] As of 2009, the service wing was empty and in need of substantial repair.[22]
Exterior[edit]
The mansion is faced with Bath stone,[7] limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house.[10]
Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with cast stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.[10]
A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs.[10] It was designed by Capability Brown in 1751-2.[22] On the far side of the service wing, a wall connects it to a stable court.[10]
Interior[edit]
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by J. Rose Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end.[10]
The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758-59 by Capability Brown.[10] The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s.[17]
The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases.[10] George III was entertained by George Coventry, the 6th Earl, in the house's Saloon.[2] A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace.[10]
To the east of the saloon is the Tapestry Room.[10] This was designed in 1763-71, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by Jacques Germain Soufflot, and made by Manufacture Nationale des Gobelins.[23] Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. In 1949 the Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and the door surrounds, which were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959 the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats.[7][23] A copy of the ceiling was installed in place of the original.[10] As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room;[17] the former library was designed by Adam, and was dismantled except for the marble fireplace.[10]
At the west side of the building is a long gallery,[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ).[1] It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton.[10] As of 2016, modern sculptures are displayed in empty niches along the Long Gallery
wikipedia
Nikon 1-J5 with zoomed Lens
The Roman Monumental architecture and specifically of Herod Aggrippa in the first century BCE.
This is the only remaining piece of the Tower of Hippicus from Josephus in Wars of the Jews :
The largeness also of the stones was wonderful; for they were not made of common small stones, nor of such large ones only as men could carry, but they were of white marble, cut out of the rock; each stone was twenty cubits in length, and ten in breadth, and five in depth. They were so exactly united to one another, that each tower looked like one entire rock of stone, so growing naturally, and afterward cut by the hand of the artificers into their present shape and corners; so little, or not at all, did their joints or connexion appear low as these towers were themselves on the north side of the wall, the king had a palace inwardly thereto adjoined, which exceeds all my ability to describe it; for it was so very curious as to want no cost nor skill in its construction, but was entirely walled about to the height of thirty cubits, and was adorned with towers at equal distances, and with large bed-chambers, that would contain beds for a hundred guests a-piece, in which the variety of the stones is not to be expressed; for a large quantity of those that were rare of that kind was collected together. Their roofs were also wonderful, both for the length of the beams, and the splendor of their ornaments. The number of the rooms was also very great, and the variety of the figures that were about them was prodigious; their furniture was complete, and the greatest part of the vessels that were put in them was of silver and gold. There were besides many porticoes, one beyond another, round about, and in each of those porticoes curious pillars; yet were all the courts that were exposed to the air everywhere green. There were, moreover, several groves of trees, and long walks through them, with deep canals, and cisterns, that in several parts were filled with brazen statues, through which the water ran out. There were withal many dove-courts of tame pigeons about the canals. But indeed it is not possible to give a complete description of these palaces; and the very remembrance of them is a torment to one, as putting one in mind what vastly rich buildings that fire which was kindled by the robbers hath consumed; for these were not burnt by the Romans, but by these internal plotters, as we have already related, in the beginning of their rebellion. That fire began at the tower of Antonia, and went on to the palaces, and consumed the upper parts of the three towers themselves.
from the wikipedia entry. Herod's Palace at Jerusalem was built in the last quarter of the 1st century BC by Herod I the Great, King of Judea from 37 BC to 4 BC. It was the second most important building in Jerusalem, after the Temple itself, in Herod’s day and was situated at the northwestern wall of the Upper City of Jerusalem (the Western Hill abandoned after the Babylonian sacking of Jerusalem). Herod lived in it as a principal residence, but not permanently, as he owned other palace-fortresses, notably at Masada, Herodium and Caesarea Maritima. Nothing remains of the Jerusalem Palace today except for portions of the surrounding wall-and-tower complex, much altered and generally known as "the Citadel" (see Tower of David). The site of the former palace is now occupied by the Tower of David Museum, a police station, and a former Turkish barracks/prison known as the Kishle.
This new addition to Singapore's Changi Airport is call the Jewel. It features a central internal waterfall and lots of amenities.
The initial five creatures in this collection all hail from the planet Joltendio, located in the Alpha Octant and being the first planet from said octant's sun, Shinnes.
• Mexotrill: A large, brutish carnivore that falls under the same general classification as the Sardoompa, Grobehom and Dredurcoz of other planets (Xekawiy, Alfriiden and Ergnoplis, respectively) in regards to its role in the ecosystem of its own planet. The Mexotrill is cyclopic and semi–cephalothoracic, lacking a neck of any description and with its "head" containing some of the internal organs that would, in almost any other creature, instead be found in a more clearly–defined torso than this one has. Its most prominent feature is its massive, gaping mouth, which has ten teeth, five of which are small and standard and the other five of which are multi–layered and almost Treymoz–esque, and three separate tongues, the middle specimen of which is larger, stronger and more essential than the peripheral two. Mexotrills have several bluish or yellowing tufts of hair similar to those of the Silahsomes, which is a manifestation of Joltendio's small gene pool in which some genetically–determined physical traits are shared between different creatures (similar phenomena are also present in the ecosystems of Logdlind, Poulbrim and Hulptos). Note that the limbs and extremities of both the humanoids and the beasts share some similarities as well and for the same reason. The Mexotrill's main natural enemy/rival, which it will attempt to eat but which will also attempt to kill and devour it, is the Tinkorement, and while individual Tinkorements are generally unlikely to be able to overpower their larger, stronger and more durable rivals, they often make up for this through teamwork whereas Mexotrills are loners that are rarely found in close proximity to others of their kind. As Tinkorements are concerned, Mexotrills generally wait for their enemies to come to them rather than seeking their rivals out and are thus rarely the first to attack, which is convenient for the Tinkorements considering that they are passive and defenseless approximately half of the time.
Full–grown Mexotrills stand between seven and ten feet tall; at birth, they are roughly a third of their final size, and grow at a steady rate over the first ten–to–fifteen years of their fifty–plus–year lives. Mexotrill durability values range from 1,600 to 2,500. Like all beings from Joltendio, they have a very high threshold for heat and thirst, and they are most often found in the particularly "dust bowl"–like areas of the planet, rarely crossing paths with the Silahsomes and usually leaving the humanoids alone when they do encounter one another.
• Kiselount: A small (basically Flufewog–sized), mammalian beast that has the reputation of being "Silahsome's Best Friend", and with good reason; the Kiselounts and Silahsomes share one of the best relationships between man and beast that can be observed in any part of the Prime Galaxy. Originally herbivores that made their natural homes amid the more forest–or–jungle–like regions of Joltendio, most Kiselounts are presently found living among the settlements of the humanoids that have domesticated their race over the years and to whom they now serve as guardian pets. Some, though, can still be found in the wild, and the Silahsomes leave this portion of the Kiselount population alone, having no intention of removing the creatures from the natural element of the Joltendion environment entirely. Kiselounts are both highly intelligent and highly empathetic for non–humanoid animals. In the wild, they are/were very resourceful and adept at survival, being able to cobble together simple structures to serve as dens or "houses" as well as basic handheld tools and frequently using reasoning and cunning to evade predators such as Tinkorements and other potential dangers. They mate for life, are very caring and protective of their young, which they devote several years to raising, and have even displayed long–term recognition of specific individuals of their kind (and eventually of the Silahsome race) outside of their immediate family units. The characteristic vocal noise produced by Kiselounts is a sort of low purring, and they have durability values between 300 and 500.
Since as far back as can be recorded, Kiselounts and Silahsomes had gotten along well when initially encountering one another in the wild, and the development of the relationship between the humanoids and the animals, including the latter's domestication, was a gradual process, and neither its beginning nor its completion can be assigned to any singular date. While the creatures initially served as simple "cute" pets to their masters after starting to be domesticated, the Silahsomes, in time, began to further explore the potential of the Kiselounts and what they could be taught to do, eventually training the diminutive animals in basic martial arts and the ability to stand and walk upright. Today, most of the Kiselounts living with Silahsomes are more than capable of aggressively protecting their masters in the event that they are attacked, and thankfully, the humanoids are not exploitative of their pets' willingness to fight and die for them.
• Silahsome: Joltendio's humanoids. Silahsomes are blessed, honorable warriors with strictly average body shape and size for a humanoid race but multiple, just as noticeable distinctions that make them more physically unique than most of their peer species in the mortal realm, to say nothing of their personalities and culture. They are solar–powered beings that actively thrive in and gain power from exposure to sunlight, whose negative effects they are largely exempt from. As a result of this, Silahsomes are significantly stronger and healthier, both physically and mentally, during the day than during the night. The primary color of their skin is, rather appropriately, a golden yellow hue, which becomes brighter or, in some cases, even glows when they are particularly "saturated" with solar energy. Although it is, for obvious reasons, almost never a life–or–death issue for them, Silahsomes do indeed need sunlight to live; as a biological necessity, it is secondary only to oxygen, water and food for them, and if one is deprived of it for several consecutive days, it will die. Although they are at their very strongest when their entire bodies are exposed to the sun, they wear at least some clothing or armor at almost all times, for the sake of modesty and decency. Silahsomes have third eyes that provide, in addition to more acute vision, enhanced general willpower and concentration, and even more notably, two mouths, one strictly for eating and the other strictly for speaking (while it is possible for them to at least try to form words with the "eating" mouth, the "speaking" mouth can do so much, much, much more clearly and easily). Three separate tufts of bluish hair atop the head of a Silahsome constitute the only hair on its body. The default durability value of a Silahsome is 750; when an individual is fully "charged" with solar energy, it may raise to more than 1,000.
Silahsomes are presently fairly technologically advanced, having efficiently evolved their civilization over the years from one of basic, isolated villages to one consisting of small but respectable cities with working trade and communication lines between them. They consider it their most important duty as a people to be willing and able to serve the greater good should a major crisis arise, and to this end they have always produced strong warriors, most notably thwarting two separate Skellen invasion attempts on their planet without any outside help during the Fourth Century Relative. The Silahsomes as a whole are very devout and equally as level–headed; most notably, they have never fallen for the tricks of the wandering sun–possessing Primal Deity Alth'Solda, despite their kind being by far the most obvious candidate for turning to such a deity. As explained above in the creature's "biography", the small mammals known as the Kiselounts have long served as the loyal pets of the noble humanoids.
• Tinkorement: A cold–blooded creature of dubious classification, effectively being halfway between a reptile and an insectoid. Tinkorements are tall, slender creatures with four tentacle–like legs and hands consisting of a large, scooping claw and a single articulate tendril. In addition to various plants and small, generic insects and rodents, their dietary options include Poxiwolps, Kiselounts (although they are now scarce in the wild) and Mexotrills (with which they are mutual predators). Despite being known to prey on most other local forms of animate life, it would be inaccurate to call the Tinkorements the most hostile creatures on Joltendio, seeing as they are not always so vicious. The Tinkorement possesses what essentially amounts to a split personality, with its default disposition being harmless and passive and its alternate "form", which gradually emerges and takes over as the beast grows hungry, being just about as vicious as any non–demonic predator anywhere. And while most predatory creatures attack and kill only when they are hungry and feel the need to, none have as evident a duality as the Tinkorement, whose passive state, as it reemerges after eating, appears to be oblivious to the very existence of its counterpart; the "transformation" from either state to the other is clearly involuntary. In their peaceful state, Tinkorements will never attack even if threatened, though this is largely a non–issue, as the only creatures that will ever naturally attack them are the Mexotrills, who rarely, if ever, leave their own territory to seek their rivals out; when the two creatures fight, the Tinkorement(s) is/are almost always the initial aggressor.
Tinkorements live mainly in the deeper parts of Joltendio's pseudo–forests/jungles, with their legs possessing great speed and stamina and allowing them to easily travel well beyond the immediate regions where they make their homes. They each operate alone most of the time, being apathetic towards one another, but sometimes form temporary groups, mainly for the purpose of taking down Mexotrills, which they are seldom able to outmatch when attacking alone. Tinkorements notably have two pairs of eyes, with the outer, very "buggy" eyes on the sides of their heads providing a completely standard range of vision and the inner, bright red eyes providing infrared and X–ray vision when active, during which times they glow dimly but visibly. Whether it be by coincidence or intelligent design, this trait heavily compliments the creature's dual nature. The durability value of the average adult Tinkorement is 800.
• Poxiwolp: An amphibious crustacean that is generally seen as being useful for little more than food. Poxiwolps are the most water–dependent animals on Joltendio (which is to say that their hydration needs are average by general standards), and they make their homes in and near the large, shaded oases sprinkled across the planet's otherwise drier–than–most landscape. They are omnivores, mainly eating the leafy greens and small marine life forms found in said areas, are not a predatory threat to any of the other Joltendion species showcased in this very entry, and are, indeed, the only animals listed here that the Silahsomes hunt and eat. Physically, Poxiwolps are short and stout, having rather large craniums and lower bodies with five point–ended legs that resemble hands/feet and their digits. Their actual hands consist of claws similar to those of the Tinkorements; another example of the often–overlapping genes present in Joltendio's creatures. Poxiwolps are of very little intelligence, with their activities largely being limited to eating, excreting, breeding and aimlessly waddling or swimming around. The durability value range of the Poxiwolp is 400–500.
The next three creatures, seen to the right of the former five, are inhabitants of the Demioid homeworld of Zornemim.
• Kingletort: A large, lumbering and lumberingly large quadruped that has long been used by Demioid aggressor forces, both of the original military and of the Dynamo Legion, as a weaponized war beast, and the only significant creature to be prominently and successfully exploited by the Demioids in this way, as opposed to being one of many varieties as is the case with Gorlunian war beasts. Kingletorts possess elevated bodies held up by very long legs, necks that are (proportionally) even longer than said legs and support rather small heads, and lengthy, segmented tails with large, blunt and heavy end–pieces. They may stand up to or even more than twenty feet tall, though their overall body mass is lesser than that of the comparable Ergnoplian Treymozes, and have durability values ranging from 3,000 to 4,000. Other physical features of the Kingletort that are worth mentioning are the four arced, pillar–like structures on its back and the thick beard on the chin of most males. Despite being herbivores, Kingletorts are highly aggressive and territorial, attacking at the slightest provocation, or even for no apparent reason. In nature, they live among traveling herds of their own kind, which are each led by what Demioids have insistently termed an "Omega–male". The role of omega–male is frequently fought over, often leading to fights but rarely to deaths – after all, a Kingletort can take a lot of abuse, and is intelligent enough to know when it is outmatched without needing to be fatally wounded to realize this.
Roughly one–third of all Kingletorts are presently kept in captivity by the Demioid population. Initially taming them was highly difficult on the part of the wicked humanoids, with the process of securing the animals as a loyal asset taking a matter of years and resulting in much loss of life for both concerned species. After the initial "batch" was successfully tamed, however, obtaining more of the creatures became much easier, since the offspring and subsequent descendants of those captured from nature could be trained starting at birth. Demioid–controlled Kingletorts are generally used in tank–like roles, being ridden by anywhere from one to several soldiers at a time and providing elevated positions to fire down at enemies on the ground from. They also can, and have been, further trained to demolish small or medium–sized buildings.
• Sisealiun: A hostile arthropod of moderate size and having an uncommon body shape in which the "upper" part of the body is positioned upright but the "lower" half is elapsed horizontally so that the creature can walk on all six of its slender legs. It possesses a long, muscly tail ending in a potent stinger that injects venom which is more often than not fatal to most humanoids and consistently carries the nearly immediate effects of severe swelling and paralysis. Death, when it does occur, strikes following a deceptive delay of several hours, after which the more immediate symptoms have usually started to subside, thus potentially giving victims a false sense of recovery, assuming they escaped the attacking creature in the first place after being stung. While this is obviously the Sisealiun's primary method of attack, it may also attempt to inflict harm using its clawed hands, which are basic as far as appendages of that description go. Sisealiuns exhibit significant amounts of the wrinkled, squishy flesh that is found in some form in all Zornemian creatures and which may or may not be an effect of the long–standing demonic influences on the planet, it being present mainly on their particularly wide craniums. They are immune to being harmed by most poisons (predictably including their own), acids and other volatile substances and are known for recovering from injuries the equivalents of which would be fatal to almost any other creature; this is to say that even when a Sisealiun appears to be dead or dying, it may very well not be. Despite this, they have ironically short natural lifespans, seldom living for more than twenty years. The durability value of any Sisealiun specimen can be expected to be no less than 500 and no more than 900.
Sisealiuns live in groups of six–to–twelve in hives/nests that are variably located either underground or in craters. These nests provide not only shelter for both living specimens and eggs (which are produced through standard intercourse–induced fertilization, are laid in batches of three–to–five, and hatch very quickly but have a high stillbirth rate), but also for storing food supplies in the form of victims whose decomposition is slowed by the very same venom that killed them. These creatures are considered vile even by the vile–in–their–own–right Demioids, whose various attempts to tame Sisealiuns for usage as attack/guard animals have consistently failed.
• Naimosper: Considered the least repugnant of Zornemim's native creatures, which is not saying much, the Naimosper is a passive beast–hominid that eats only plants and small insects and attacks only when threatened. It is similar to a Trylepibe in both size and durability value (~500), and can be distinguished by its large, webbed hands and, even more strikingly, its secondary pair of eyes, the spheres comprising which sit atop thick, ropey tentacles that protrude from the sides of the creature's head. The Naimosper's large, heavy, semi–metallic feat which produce louder–than–average footsteps when hitting the ground are also worthy of note. The creature's "face" consists of two vertically–stacked eyes, between which is a small, simple slit of a mouth, surrounded by several bumps/splotches of varying color. It has no visible nose nor ears, and its sensory organs for both smell and hearing are instead collectively contained within the thousands of tiny pores that cover the surface of its body, with the greatest concentration being in/on the hands. When threatened or otherwise provoked, a Naimosper will attack with slaps and punches, and if it manages to incapacitate its attacker or attackers, it will usually flee as soon as they are incapacitated, rather than deliberately finishing them off. Naimospers are the most common prey of Sisealiuns, and Trylepibes have also been known to eat them on occasion. Due to longtime Demioid domination and exploitation of Zornemim and its resources, their numbers plummeted in the decades leading up to the evil humanoids' height of power under the Dynamo Legion, with the Naimosper species eventually becoming severely endangered shortly before the defeat of the Dynamo Legion by the Eggmen Super Team and their allies, after which its population returned to normal levels and became stable again due to the resultant collapse of Demioid society.
At the bottom–left is the sole demon variety that will be catalogued in this particular grouping of beings:
• Veksinpora: A small humanoid demon, being marginally larger than a Shindoke, with an armored physique and some mechanical qualities. Veksinporas are agents of toxicity, pollution and, more specifically, chemical warfare, with their main ability being the production and spreading of poisonous gases, mainly of the sulfuric and arsenic varieties. These gases are primarily emitted in streams through the pair of chimney–like structures jutting out diagonally from the top of the Veksinpora's head, but can also be manifested in small, functionally grenade–like spheres of energy conjured in the demon's hands. In either case, these poisonous attacks rely on Infernal Energy, of which a Veksinpora possesses a moderately deep, regenerating personal supply, to be activated. This demon is asexual in every way, although its voice, while still somewhat androgynous, resembles that of a male more–so than a female voice. On its lower face is a perpetually present gas mask–like mouthpiece that prevents it from eating, not that it requires any physical sustenance, which most demons do not. On a Veksinpora's back is an almost reptilian shell (pictured here to the left of the creature's frontal–view main image) which displays a hazard symbol positioned parallel to but distinct from another, different hazard symbol on its chest. If this shell is removed, which is extremely difficult to do by force, the Veksinpora will die, but not before releasing a massive payload of particularly deadly toxins that basically constitute an explosion. As a suicide attack, this can be trigger this voluntarily, but unlike other beings capable of offensive self–destruction, Veksinporas have an above–average sense of self–preservation, and because of this self–worth they will do this only as a true last resort; only in situations where death seems guaranteed either way.
The Veksinpora is usually said to have been one of the final extant species of demon to come into existence, with the first "batch" supposedly spawning in and around the City of Drenn near the time of the Relative Calendar's invention (i.e. shortly either before or after Age 0) and the first recorded sighting of one in the mortal realm taking place in Age 12. The Veksinpora's overall level of power is on par with that of the "Greater Beings" of each of the Seven Deadly Sins, and it is sometimes referred to by the colloquially–assigned title of "Being of Pestilence". Its durability value is a precise 800, and there seems to be little variation, in terms of both abilities and physical form, between individual specimens. Veksinporas are more intelligent and articulate than most demons, their personalities being much like the Hoilidants' would be were those demons not so inherently predisposed to subservience; this is to say that they are sophisticated and pragmatic, but usually disgruntled. Though Veksinporas can speak fluently in terms of wording, their speech, as it is heard by those around them, always ends up coming out in muffled form due to their "masks"; this contributes to their aforementioned general disgruntlement.
A great number of Veksinporas have worked for the Arcane Order, sometimes as "sleeper agents" and generally taking orders from Princess Tzsicsz (who has some powers similar to theirs). Most notably, the demons almost certainly provided the inspiration for and definitely provided much of the bodily material for the creation of Lord Reson's artificial bioweapon known as Toxie #6, for which potentially hundreds of them were cannibalized. The "terms" of their being sacrificed to create the pseudo–Abomination are uncertain, but given the relatively high value they tend to place on their own individual lives, it seems unlikely that all of these Veksinporas gave themselves up voluntarily.
The final three creatures in this meta–set are all mortal animals, each coming from a different planet.
• Pegushike: A hostile large insectoid found on Finngaed, the Omega Octant planet ruled by the vampiric but mostly peaceful Wabacawlers. It is the most prominent local hazard that said humanoids have to deal with when traveling, and furthermore, due to its lack of warm blood, they cannot use it for feeding (or any other constructive purpose, for that matter). The Pegushike is known for its obscene number of limbs, having exactly a dozen – six arms and the same number of legs – in total. While its six legs are identical in form to one another, having standard shafts and clawed, lightly armored feet, each of the creature's three pairs of hands, as well as their respective arms, are distinct from one another. All of the Pegushike's hands, however, are simple, and having only one pair of them would be inadequate for allowing the creature to survive and thrive in nature; as it stands, the three pairs it does have need to be frequently used in conjunction with one another for maximum efficiency. These beasts have torsos that are wide and rounded but not particularly tough, and structures atop their heads that may appear to be horns but are actually soft nervous muscles which constitute the most vulnerable points on the creatures' exteriors. They are rarely, if ever, found alone; the presence of one Pegushike usually signifies that more are nearby, even if their positions are not readily visible; note that they commonly use hide–and–ambush tactics. While attacking, the primary instruments used by Pegushikes for inflicting harm are their mouths and teeth; here, their hands are used mainly for getting a hold of prey, rather than for directly dealing fatal blows. Pegushikes vary considerably in size, stand anywhere from two to four feet tall during adulthood. Their durability values, which generally correspond with the relative sizes of various individuals, range from 300 to 600.
• Mingoradra: An obscure and strange beast that inhabits the equally obscure and strange planet of Brinanzy, best known as the homeworld of the unintelligible Manciatents. Mingoradras are slug–like creatures of limited proportional girth but large body scale, the lengths of their partially–upright forms reaching upwards of twenty feet in some specimens and them being the largest native creatures on their planet. They are very chaotic and unpredictable beings with inconsistent behavior in terms of their dispositions toward Manciatents, being known to sometimes be so aggressive as to venture into Manciatent settlements and attack the inhabitants without provocation, while at other times remaining passive even when the humanoids venture into their territories within Brinanzy's swamps, forests and moist caves. Being a simple sort of folk and lacking much physical brawn with which to fight the creatures, the Manciatents usually play things safe by trying to avoid Mingoradras whenever possible, not just due to the possibility that they will attack but also, in part, because they are just plain creepy. The Mingoradra is one of the only creatures to possess multiple heads… of sorts. While the creature does have three separate articles resembling heads, only one of these, the central one which sits atop the torso in a fairly standard manner, contains a brain. This disproportionately small main head resembles raw flesh in texture and features a small mouth with very thick and prominent lips, three minuscule, pupilless eyes in a horizontal row, and no other features. The other, peripheral two "heads" are attached to long, flexible articles that largely resemble arms but are officially classified as necks, and consist mainly of large, singular eyes and sharp–toothed mouths that can flip open so widely as to make the head itself resembles a toilet bowl. Both the visual organs and the mouth organs on the Mingoradra's peripheral quasi–heads are far more powerful and useful than their weak counterparts on the creature's primary head, and thus it is them on which the beast primarily relies for seeing and eating, with its actual head mainly serving only as a control center. Behind each of the three heads is a cartilaginous half–cylinder–like structure that seems to be present to prevent decapitation. Each of the Mingoradra's actual arms, located further down the torso, branches into two "sub–arms" at the midway point equivalent to an elbow joint, resulting in the creature having four hands, the "extras" of which possess more claw–like fingers compared to the "normal" hands. The durability value of an average Mingoradra is 1,200–1,500.
• Critsauda: A mammal of average size found on Ithpinbo, the pseudo–jewel–laden home of the blissfully ignorant Wevaracti. It is currently listed as a "threatened" species and monitored as such, with dozens of specimens being kept in multiple off–world MetaQuariums just in case. Critsaudas are about four feet tall, and walk on four sturdy, closely packed legs and feet while having upright torsos, a body shape shared with relatively few other creatures. They have very long, gangly arms that are significantly hairier than any other parts of their bodies and each boast two upward–curving "spikes" projecting from their rear–sides. Similar protrusions are also present near the creature's waist level. The Critsauda has poor overall eyesight, constantly experiencing a visual filter that essentially amounts to moderate diplopia (double–vision), but this is compensated for by very acute hearing. Critsaudas are omnivorous but tend to lean towards primarily plant–based diets, and while normally living alone following the roughly three–year period for which they are raised by their mothers (fathers move on almost immediately after mating), they are known to sometimes form temporary cooperative groups, which individuals may join and leave as they please. The true defining trait of the Critsauda, however, is not any of these attributes, and relates neither to body shape nor behavior, but rather to body composition. This creature's body naturally contains and grows, particularly in the chest cavity and atop the head, a variation of sapphire crystal. This crystal, which naturally occurs only within the bodies of Critsaudas, is considered the rarest and most sought–after substance on Ithpinbo, where all the other jewel–like materials whose presence is a defining feature of the planet are too abundant for obtaining them to be a real issue, and the only Ithpinbon jewel that is worth significant coin off–world. This has caused Critsaudas to be hunted, or rather poached, by both Wevaracti and traveling seekers of profit for their crystals, the removal of which is fatal, which in turn is the reason for the creature's semi–endangered status and increasing rarity.
The Critsauda's maximum lifespan is about forty years, though crippling symptoms of old age begin to set in shortly after the age of thirty, and it is rare for one of the animals to survive long enough to be able to die of old age, especially given that it is frequently hunted by humanoids. Its mean durability value is 750; slightly higher than it would be were it not for the creature's crystalline features.
deriustattoo, polka dot, eye, design, tattoo, flash tattoo, realistic trash, tattoo design, eye tattoo
I enlarge the vent hole and add another up under the crown. An M3 screw is brazed just about the tube for the return path.
Been meaning to make one of these for a long time. Going to make two radius's on opposite ends. But this is a great start. Works like a charm.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits